陳永淘的客家認同之探討：生命史研究

Understanding Chen Yung-Tao’s Hakka Identity： His Life-Story

鄧君婷(Chun-Ting Deng)

指導教授 ： 蔣淑貞 ； 陳芷凡

國立清華大學/人文社會學院/台灣文學研究所/碩士(2017年)

摘要

本文以客家歌手陳永淘為研究對象，藉由訪談其個人生命史，以及分析其出版的《頭擺的事情》、《離開台灣八百米》、《下課啦》、《水路》四張專輯，逐步找出陳永淘的生命歷程、創作與客家認同的互涉關係。筆者依照陳永淘的口述訪談，將陳永淘的客家認同分作四個階段探討：第一，從關西到台北：故鄉關西的自然環境，孕育陳永淘往後重要的創作泉源，之後因為從鄉村到都市轉換空間的關係，讓陳永淘第一次意識到族群身分，在其創作作品則展現對童年鄉村生活的懷念，以及都會生活的紀錄。第二，三芝階段：陳永淘在原住民意識抬頭的環境中，開啟母語創作與表演的生活，其作品常藉由夢境與離開的意象，反映嚮往原始自然的環境。第三，北埔階段：陳永淘回歸客家鄉村北埔，在客家運動帶來的效應中，奠定其在客家歌曲界的身分位置與獨特性，作品則開始貼近在地的人文風貌，具有紀錄客庄生活的用意。第四，峨眉階段：最後陳永淘選擇長期定居峨眉，此時政黨輪替後，客家族群的政見相繼推動，然其對客家族群內部與政府作為的反省思考，讓陳永淘的創作更強調回歸童真與原始自然的生活方式。故陳永淘四個階段的客家認同，皆與客家運動以來，強調受壓迫的客家意識迥然不同，而是承載他個人以行動、創作對「客家＝童年＝自然環境」的不斷追尋。

關鍵字

陳永淘 ； 生命史 ； 客家認同 ； 客家音樂

並列摘要

The subject of this study is a Hakka singer, Chen Yung-Tao. By interviewing Chen about his life story and analyzing four of his albums, I came to realize the interrelationship between his creativity and the development of his Hakka consciousness, which could be divided into four phases. The first phase happened when he moved from Guanxi to Taipei City during teenage years. Because of the spatial change, from countryside to city, Chen suddenly learned about his inferior ethnic identity. And his hometown, Guanxi, then became the most important inspiration for his creativity. The second phase developed during his stay in Sanzhi, suburban Taipei, where he befriended some aboriginals and hence equated his own ethnic consciousness with the aboriginal one, both yearning for primitive natural environments. The third phase is during his sojourning in Beipu. In this small Hakka village, not far from his hometown, he built up his reputation as an ethnic singer, noted for his description of traditional way of life which was fast disappearing. The most recent phase started when Chen moved to Emei, another Hakka village next to Beipu, for a long stay. During this stage when Taiwan has transformed into a multi-ethnic society, Chen insisted that his Hakka consciousness should not be defined by the ethnic policy. My research shows that Chen’s development of his Hakka consciousness is drastically different from the political assumption of Hakka population as oppressed and inferior. His concern has been mainly environmental protection, which benefits all humankind, especially children, regardless of their ethnicity. But this lifelong struggle cannot go on without his application of his Hakka mother tongue.

並列關鍵字

Chen Yung-Tao ； life story ； Hakka identity ； Hakka music

參考文獻

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