凐微的響亮—騰格爾的鄉愁與蒙古認同

Abstract

騰格爾是一位著名的內蒙古歌手，他曾贏得包括蒙特婁影展的最佳音樂藝術貢獻獎在內的多種音樂競賽獎項，2009年升任為中央民族歌舞團的副團長。雖然他多數的歌曲都以漢語演唱，其中許多都包含對蒙古生活和文化的明顯描述。在China’s New Voice中，Nimrod Baranovitch主張這些歌曲是對漢族霸權的抗拒。然而，蒙古放牧生活的影像和鄉愁，是否能作為有力的抗爭武器，或者還存有其他的解釋？ 蒙古並不是一個民族血脈，而是想像的共同體。生活方式，經濟型態、英雄及信仰積淀成的集體記憶，構成了蒙古認同。在二十世紀，內蒙古遭受草原沙化、人口外移及經濟衰退的衝擊，許多青年遷移到城鎮，游牧轉變為農耕和畜牧。蒙古人在自己的故鄉成為少數民族，部分牧民因退牧還林等政策，被迫放棄在草原上的家，甚至，最偉大的英雄—成吉思汗也被官方宣稱是中國的皇帝。這些改變、現代生活和文化記憶的裂隙危及了蒙古認同。 在這篇論文中，筆者主張騰格爾使用蒙古音樂元素，強調蒙古認同，讚美故鄉美麗的行為，是一種鄉愁的論述。藉由這些敘述，騰格爾維持、重建了他的蒙古認同以及文化記憶。騰格爾的鄉愁表述不僅是個體的情感，也反映了內蒙古的文化現況。

Teng Ge’er is a very famous Mongolian singer in mainland China and Taiwan. He has won many music competitions, including the Best Artistic Contribution for Music Award at the Montreal World Film Festival, and was recently promoted to deputy head of The Ethnic Song and Dance Ensemble of State. Although most of his songs are sung in Mandarin Chinese, many of them have conspicuous theme about Mongolian live and culture. In China’s New Voice Nimrod Baranovitch argues they are the resistance to Han hegemony. However, can the image of Mongolian pastoral live and nostalgia be a powerful weapon of resistance, or do there have other explanation? Mongolians are not a lineage ethnic group but an imagined community. The Mogolian identity was formed from the lifestyle, cosmology, heroes and beliefs that precipitated into collective memory. But In the 20 century, Inner Mongolia suffered from land desertification, mass departure and economic depression. Most young generation migrated to city and the traditional pastoral live turned into agriculture and captivity. Mongolians became minority in their homeland, and some were forced to give up their home in the steppes due to the policy of “Return grazing land to forest”（Tuei mu huan lin 退牧還林）. Even the greatest Mongolian hero Chinggis Khan was claimed to be a great Chinese king in history. Those changes and the discrepancy between modern live and cultural memory have endangered their identity. In this presentation, I am going to argue that Teng Ge’er’s use of Mongolian musical elements, emphasis on his Mongolian identity and praise for the beauty of homeland demonstrate his nostalgic intentions. Through these discourses Teng Ge’er can maintain and rebuild his continuity of Mongolian identity and culture memory. Moreover, what lays in Teng Ge’er’s nostalgic expression is not mere an individual emotion but an epitome of culture circumstance of Inner Mongolia.