追問新工人文化及其中港台民眾連帶：從「新工人藝術團」形塑「新工人階級」之文化行動入手

Abstract

本文通過檢視大陸最重要的勞工樂團、勞工文化行動者與組織者北京新工人藝術團十餘年來的音樂、打造文化陣地、皮村社區文化等文化行動，及其以工友之家為平台的社會企業、生態農業、打工者組織工作與組織內部狀況，試圖剖析其行動者精神狀況演進、其所想像的「新工人文化」意涵與張力、其所想像的「新工人階級共同體」之組織動能與內在動盪。與在地民眾的連帶企圖之外，樂團同樣開展出更廣闊的視野。在樂團及其NGO所駐的北京郊外小村，我們時常看到豐富的亞洲景觀──由櫻井大造與台灣海筆子劇團搭建的帳篷加工成形的新工人劇場；來自包括香港、台灣在內的亞洲民眾劇場交流；與台灣黑手那卡西、香港迷你噪音共同主辦的「工人文化藝術節」與民眾音樂工作坊。於是，在關於樂團及NGO自身的討論外，論文亦探究其中、港、台三地的民眾文藝與勞工運動串聯行動的行動動力，民眾藝術落差，與連帶縫隙中的知識、運動及情感困境；進而追問此一連帶行動的不／可能性之於大陸「新工人階級」的意味，重思此一連帶行動是否對於我們設想兩岸三地民眾連帶提供新的出口。

New Workers Art Troupe (Beijing) has been the most important labors band, activist and organizer of New Workers culture in Mainland China. This thesis aims at in-depth analyzing the evolution of the mental status of activists in the band, the implication and tension of their imagination on New Workers culture and the organization’s energy and internal turbulence of their imagination on “New Workers Community”, through reviewing their cultural action on music, cultural battle field and community culture of Pi Cun, and their wider action on social enterprise, ecological agriculture, organization work among New Workers and their own organization’s internal situation. Besides the solidarity with local New Workers, the band and their NGO also has broader vision of connection, especially with Black Hand Nakasi Workers Band (Taiwan) and Mininoise (Hong Kong). Hence, the thesis also explore the motivation, gap of people’s art and the dilemma of knowledge, movement and emotion in their action of connection with people’s art and labors’ movement among Mainland China, Hong Kong and Taiwan. Further, the thesis makes detailed inquiry on the im/possibility of their action of solidarity and its implication for the New Working Class in the making, and rethinking the possible way out of people’s solidarity among Mainland, Hong Kong and Taiwan in the future.