客庄•社區總體營造•鄧雨賢紀念音樂會──以龍潭與芎林兩地為例

Abstract

客家族群在台灣的發展，從一開始的隱性族群，到現在的各種客家文化活動，顯示了客家族群在台灣已經具有一定的地位。從最早的客家運動─還我母語大遊行開始，客家族群漸漸的為自己發聲，爭取自己在政治上、社會上的權益，因而成立了各種客家政府單位。1994年，文建會推動了社區總體營造的計畫，開始打造具有特色的鄉鎮社區，使得各社區結合文化傳統，開始發展自我特色，客家文化館與文物館也相繼建立。社區總體營造計畫也包括了藝文展演的推動，鄧雨賢紀念音樂會就是在上述的脈絡中所產生的音樂活動。鄧雨賢是日治時期台語流行歌曲的重要作曲家。他是在龍潭出生，芎林過世的客家人，兩地皆視鄧雨賢為當地的代表音樂家，也設置了鄧雨賢紀念館與紀念公園，並舉辦鄧雨賢紀念音樂會。但是兩地紀念音樂會的舉辦，無論在表演形式、曲目編排、舉行規模上均不相同。究竟兩地音樂會是如何塑造客家文化特色？是本文將探討的焦點。

From an invisible clan to various cultural activities at present, this development shows that the Hakka community has gained certain status in the Taiwan society nowadays. Through the demonstration of Hakka ethnic movement, they learn to voice for themselves and to claim their political and social benefits. As a result, the government decides to set up various Hakka institutions. In 1994, Council for Cultural Affairs launches the community empowerment project of building local communities with individual characteristics. In response to this, local communities start to develop their individualities combining their cultural traditions. In the process, Hakka cultural halls and Hakka artifacts exhibition halls are constructed. The project also includes popularizing art performances; the memorial concerts for Deng Yu Shian are the musical activities born in such a context mentioned above. Deng Yu Shian was an important composer of Taiwanese popular songs under the Japanese regime. He was a Hakka, born in Longtan and died in Cyonglin. Both towns consider Deng as a musical representation of their own and not only establish memorial halls and parks but also hold memorial concerts for him. However, the concerts held in the two places are very different in their styles of performance, programming and in scale. This thesis will focus on how these concerts are used to shape the features of Hakka culture in these two towns.