音樂祭的在地實踐－蚵寮小搖滾與南吼音樂季

Abstract

近年來台灣的獨立音樂場景蓬勃發展，也出現了各種型態的音樂祭，其中一種是由在地居民發起，試圖以音樂祭為媒介來帶動地方，例如高雄的蚵寮漁村小搖滾與台南安平的南吼音樂季。本文以這兩個音樂祭為研究對象，探討這類型音樂祭如何出現，並檢視其經由何種地方脈絡形成。作者發現，地方音樂祭的興起與結構性城鄉差距引起的返鄉青年潮有關，年輕人開始回到家鄉並試圖振興地方，策劃音樂祭於是成為一種方式，不僅創造出一個場域，也開啟了一條地方與外界連接的路徑，這類型由下而上的音樂祭因而能在地方培力新的社會關係，跳脫過往官方舉辦或資本化節慶與地方斷裂而遭致的批判。 作者以異托邦（heterotopia）的概念來解釋音樂祭的在地實踐如何創造出一個介於烏托邦與真實地方之間的場域。以蚵寮漁村小搖滾為例，異托邦聚集了外地樂迷與在地居民，獨立搖滾音樂祭被置放於具原真性（authenticity）的漁村場景，由音樂啟動的異托邦一方面帶有狂歡節的張力與解放特性，又同時具有強烈的地方感，因而吸引了不少年輕人，並引發對地方與音樂的認同。 南吼音樂季的在地實踐過程，則是透過幾個計畫達到地方敘事的重構（reconstructing narratives of a place）。例如小南吼暖聲演唱，藉由在不同的廟埕巡迴舉辦音樂會，重新建構出過往的聚落生活路徑。風獅爺復育計畫帶領居民重新想像與創造風獅爺，並讓其重新站回安平的屋頂。透過從地方出發的音樂性活動，南吼的實踐重構出主流歷史以外的地方日常敘事，進而凝聚了安平乃至台南居民的認同。

The indie music scene in Taiwan has become very active in recent years. A variety of music festivals took the stages in both urban and rural settings, and some of them were initiated by devotees of music’s local practice, such as “Small Oyster Rock” in Kezailiao and “South Hawl” in Anping. Their intentions focused on the revitalization of places through the medium of music events. The purpose of this thesis is to explore how the local practices of music festivals emerged in south Taiwan and how they were orchestrated through specific local context. We surmise that one of the major attributions of the rise of local music festival is the homeward bound movement of Taiwan’s young generation. They dedicate to make a difference in their hometowns and rejuvenate the passé sense of place, and curating a music festival is an alternative to create a venue as well as a route extending from the root of a place. The bottom-up music festivals contrast with their top-down counterparts sponsored by the government or corporate capital in that the concern of local practice fosters new social relations of the place. The concept of “heterotopia” is employed to explain how the local practice of music festival polemicizes the concert venues as spaces between utopia and real space. In “Small Oyster Rock”, the heterotopia gathered festival aficionados with Kezailiao locals and implanted an indie rock concert onto an authentic fishing village. The juxtaposition engendered both a tension and an emancipation of a carnival and delivered a strong sense of a real place that attracted many young people. In “South Howl”, the local practice of music festival is considered as a process of reconstructing place narratives through several spatial projects. By bringing small concerts back to the courtyards of different temples, “The Small South Howl” project reinvent the narrative routes of the historical neighborhoods. “The Restoration Plan of Wind Lion God” attempted to remake the traditional talisman “Wind Lion God” and restore them on the rooftops of houses in Anping. Through music events, the South Howl practices reconstructed pico-narratives of local daily life to replace the grand narratives of authorized history, thus strengthened the local identity.