「黃金家族」的想像與驕傲：從Altan Urag樂團看蒙古音樂與民族認同

Abstract

在近代歷史中，蒙古經歷了從遊牧到城市化的轉變，更於1990年經歷民主改革，從共產轉移成民主政體。在這些改變和全球市場化中，蒙古嘗試從傳統和藝術的追尋，來定位自己在世界的位置；而這之中，對傳統音樂的復興，是很重要的部分。自1980年代起，蒙古的菁英份子即著手發展傳統音樂。但是到了現代，受到蘇聯政權和西方的影響，和電視與網際網路的發展，使得城市的年輕一代在創作上，已不受限於「傳統」，而能從現代和傳統元素的融合混雜(hybrid)中，找到自己的「蒙古」與認同的方向。 在這一代的藝術家中，Altan Urag樂團即是其中的一個例子。他們使用傳統樂器（馬頭琴、揚琴等等）搭配現代樂器與技術（爵士鼓組、混音器等等），加上搖滾和重金屬的音樂節奏與型態。自2002年成團後，他們即稱自己的音樂為「蒙古民族搖滾」，訴求是讓城市裡不熟悉傳統的年輕人重新了解喜愛蒙古音樂；之後，他們之後更希望藉著他們的音樂，讓外國人認識蒙古。 本文中，筆者以大略梳理蒙古近代歷史和音樂發展概要起始，先對Altan Urag的民族搖滾音樂和呈現影像作分析，以訪談和個人觀察為輔；接著，從三種不同的角度： Altan Urag、蒙古人�當地、外國人�他者，從他們將蒙古民族搖滾的分類，與對於蒙古音樂的想像，討論蒙古音樂放置在蒙古、在世界的位置。此外，為免二分法過於武斷與籠統，筆者更提出內蒙古和他們發展的音樂，作為介於當地與他者間的一例。 在全球化的衝擊下，蒙古人亟欲對外展現他們的特殊性，但同時也正對內鞏固自己的蒙古認同。認同是一個過程而非結果，是一直在變動的。以Altan Urag為例，筆者認為現代的蒙古人已不再執著於追尋「傳統」，而能夠對融合混雜、但仍彰顯「蒙古」的形式，感到驕傲與認同。

In modern history, Mongolia has gone through the major shift from nomad to city, from communism to democracy. Such transformations made Mongolians to seek for traditional culture to rebuild their pride and identity. The revival of traditional music is an important part of that action from 1980s. Today, however, the traditional culture seems not the only element in the identity building process. The youngsters in city try different ways to create their own “Mongolian” images by combining traditional and modern elements. Altan Urag is such an example. Since 2002, they have played the combination of traditional (Mongolian instruments, vocals, melodies) and modern (drum set, effects units, metal/hard rock style) elements in their “Mongolian folk rock” music. Besides introducing Mongolian tradition to city youngsters through their music, they also intend to show the vary possibilities of their instruments to western world. This article starts with a brief talk about Mongolian modern history and music development. Then I’ll analyze Altan Urag’s most famous folk rock songs and the images they built, using interviews and my observation as references. Afterwards, I separate the masses into three subjects: Altan Urag, Mongolians/local, and foreigners/the other. From their perspectives of categorizing Altan Urag’s Mongolian folk rock and imaginations of Mongolian music, I’ll discuss different positions of Mongolian music in Mongolia and the world. In order to avoid arbitrary dichotomy, I also raise Inner Mongolia as an example in between. Under the impact of globalization, Mongolians are keen to show the world their particularity. Meanwhile, the concept of “Pan Mongol” also deepened within Mongolians. Unlike people in earlier days, nowadays they value their heritage but also try new things in the same time. Furthermore, I argue that the creative way of showing “Mongolian spirit” is more important than just adhering pure “tradition” in this Mongolian identity issue.