全球瑞舞場景：一個反省與變異的南亞版本

Global Configuration of Rave Scene: A Vision of Reflexive and Deviant Southern Asia

黃孫權(Sun-Quan Huang)

指導教授 ： 夏鑄九

國立臺灣大學/工學院/建築與城鄉研究所/博士(2007年)

https://doi.org/10.6342/NTU.2007.02367

摘要

九零年代，瑞舞 (rave)文化成為全球青年文化最巨觀的場景。由大型聚集（gathering）、徹夜狂歡、化學快感、電子網絡、去性別的服飾裝扮所構成的奇景，挑戰了社會時間與空間的規訓，快感的政治無意識翻轉了「顛覆」、「反叛」之傳統搖滾論述。瑞舞客入侵城中心、自然荒野與廢工廠，跨越國界，全球消費。不但成為市場最好的娛樂形式，也透過音樂、化學、電腦的科技佈署，進入日常生活領域，重組社會關係，傳遞不同意識（altered state of consciousness），改變我們曾想的、做的、感覺的，以及曾經驗過的生活。

本研究關切的不是瑞舞文化的形式與內容，或者應是如何的問題，亦即，不是回答其原真性（authenticity）與區域之差異樣貌為何，而是有關瑞舞文化之全球形構如何可能。這裡的假設是：如果不理解亞洲被此文化安置（emplacement）的方式，無能理解瑞舞。

本研究從歐美瑞舞客和新世紀旅行者所開啟的空間旅程做為測繪之起點，90年代的嬉皮棄絕左右意識形態，效法禪、和平、愛、尊重；他們渴求東方、蠻荒與自然，在觀光全球化的脈絡下造就了自己屬地，是克魯雅克（Jack Kerouac）《在路上》之當代全球版本，而電影《海灘》則是對這個真實的擬仿。

空間為此特殊文化景象得以開展並連結不同文化主體的基地。其一，通過對於第三世界空間探索、消費、再製，中心國家（主要為英國、德國、美國）將瑞舞建構成迷人之「全球」神話，因此強化了文化以及經濟輸出的基礎；其二，通過與第一世界瑞舞文化的接觸，亞洲各國客製化自己的瑞舞形式、娛樂工業與音樂風格，並且在區域間互相產製帶領，以特殊的形式回饋全球消費（文化）市場並與之接軌；其三瑞舞源於DIY精神，透過佔屋運動、狂歡節慶等表徵空間的實踐行動，來霸佔、使用、挪用、重申空間之使用權，在各全球城市培力出歡樂形式之新社會運動與集結網絡。這種社會性集結之空間解放力量，必得與解放理論的設計一同構思，方能挑戰與顛覆位置的空間性(spatiality of position)，使得情境的空間性（spatiality of situation）能夠出現。

關鍵字

瑞舞,次文化,亞洲,社會運動,藥物,電子音樂,空間,新世紀旅行者,全球化

並列摘要

Abstract

In the 1990s, rave became one of the most dominant forms of global youth culture. Rave constituted a spectacle by its large-scale gathering, night parties, chemical pleasure, electronic network and de-sexualized costume and make-up. Rave challenged social rules and regulations. Its a-political consciousness based on pleasure subverted traditional rock and roll discourses. Ravers invaded city centers, rural areas and ruined factories. Rave transgressed national boundaries and became a global form of consumption. Through its music, chemical, technological and digital arrangement, it entered the arena of daily lives and re-organized social relations. It was not only one of the best entertainments in the capitalist market but also transmitted an “altered state of consciousness” which changed our feeling, thought, experience and practice.

This thesis does not address the question of what rave should be, its “authentic” form and content, and how it mutated in different regions. Instead, it aims to map out the global formation of rave, which includes the process and effect of its being disseminated from the West to the Global. The hypothesis is: it is impossible to understand rave without exploring how it was relocated in Asia.

In this thesis, mapping rave’s global scene starts from the journeys made by Euro-American ravers and New Age Travelers in the 1990s, and responds to Jack Kerouac’s book On the Road. These hippies of the 1990s abandoned ideology, be it leftist or rightist. They followed Zen Buddhism and desired peace, love and respect. They pursued the East, the primitive and Nature. They created their own territory in the context of global tourism. The film Beach can be seen as a representation of their journeys. In the clubs in the metropolitan South Asian cities, together with local youth they performed a new form of localized global rave.

Rave was also resulted from DIY culture. Through such practices as large-scale festivals and street parties, it occupied and appropriated public spaces and reclaimed its use. Hence, it offered a way to initiate collective solidarity and social movement on the basis of pleasure-making. With the critique of rave informed by such concern over spatial liberation and its potential for social movement, this thesis seeks to define spatiality through “situation” rather than “position”.

Keywords: rave, subculture, electronic music, youth, club, Asia, new age traveler, globalization, drugs, carnival, social movement

並列關鍵字

rave, subculture, electronic music, youth, club, Asia, new age traveler, globalization, drugs, carnival, social movement, space

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