建構客家基督徒群體——以新⽵中正⾧⽼教會、關西⾧⽼教會和客家興起⾳樂事⼯的⾳樂實踐為例

Abstract

回顧臺灣基督長老教會過去的宣教歷程，19 世紀末來臺的傳教士已有接觸客家人的記錄，但長老教會近半世紀始將客家視為特殊族群進行宣教。此背景下，位於市區的新竹中正長老教會約有三分之一信徒為客家人，但禮拜詩歌卻幾乎以臺語和華語吟唱；關西長老教會坐落新竹縣關西鎮客家庄，面臨華語和客語的兩難，卻仍堅持吟唱客語詩歌。與長老教會徑路不同，跨教派組織基督教客家福音協會成立客家興起音樂事工，以客家詩歌產製為主要任務。因而本研究試圖提問，上述三個群體如何藉由詩歌揀擇與音樂實踐達成宗教與文化目的，並以客家詩歌作為想像「客家基督徒」身份之媒介？ 本研究透過三個群體之映照，觀察在不同歷史脈絡下，詩歌作為想像客家基督徒共同體的物質中介，如何使信徒的身分在音樂實踐展演中（不）（被）現身。藉由參與觀察中正、關西長老教會與客家興起之音樂相關活動，試以「想像的共同體（Imagined Communities） 」和「語音中心主義（Phonocentrism） 」觀點，呈現相異詩歌集所呈現之不同客家基督徒界線。期望本研究能填補客家音樂研究之族群建構視角，並對宗教音樂與客家族群研究領域有所貢獻。

The missionary history of the Presbyterian Church in Taiwan (PCT) shows that missionaries arriving in Taiwan in the late 19th century already documented encounters with Hakka communities. However, it was not until the past half-century that the Presbyterian Church began to treat Hakka as a distinct ethnic group in its missionary work. Against this backdrop, approximately one-third of the congregants at the urban Hsinchu Chung-Cheng Presbyterian Church are Hakka, yet hymns are sung almost exclusively in Taiwan Mandarin and Kokkien (Hoklo) languages. In contrast, the Guan-Si Presbyterian Church, situated in the Hakka township of Guan-Si in Hsinchu County, faces a linguistic dilemma between Mandarin and Hakka but persists in singing hymns in Hakka. Taking a different path from the Presbyterian Church, the interdenominational Christian Hakka Evangelical Association (CHEA) established the “Hakka Arise” music ministry, with prioritizes the creation and promotion of original Hakka hymns. How do these three groups achieve religious and cultural objectives through hymn selection and musical practice, and use Hakka hymns as a medium for imagining “Hakka Christian” identity? This study examines how these three entities pursue religious and cultural objectives through hymn selection and musical practice, employing Hakka hymns as a medium for imagining and negotiating “Hakka Christian” identity. Drawing on participant observation of music-related activities at Chung-Cheng Presbyterian Church, Guan-Si Presbyterian Church, and Hakka Arise, and applying theoretical lenses of Benedict Anderson’s “imagined communities” and Jacques Derrida’s concept of “phonocentrism,” the research illuminates the diverse and sometimes contested boundaries of Hakka Christian identity manifested through different hymnodies. By doing, it addresses a significant gap in Hakka music scholarship by introducing an ethno-religious perspective and contributes to the broader fields of religious musicology and Hakka studies.