紅了阿妹之後？台灣原住民通俗音樂的生產場域分析

Abstract

本文以20世紀末到21世紀初的原住民通俗音樂為研究對象，採用Bourdieu的文化生產場域理論作為分析架構，試圖採全觀的方式關注社會空間中、權力脈絡之下，原住民通俗音樂的生產場域中的各個行動者位置攫取的實踐，以及鞏固位置佔據合法性的策略。第一部分從客觀的類型架構著手之後，第二部分再擴大範圍討論內部的文化中介和外在公權力介入的生產環境及條件，最後回到原住民主體對位置主觀的詮釋和回應，藉此了解原住民主體在結構中建構的主動性，從中了解他們和自己族群文化的聯繫程度。

研究發現原住民通俗音樂版圖從張惠妹成為大明星之後有了改變，雖然本文暫時將商業操作類型的架構分為三個位置去討論，但場域中因為有越來越多原住民主體有意識的涉入、部分文化中介積極地挑戰原住民音樂產業的結構特性，加上外在文化條件的支持程度，所以原住民歌手在場域中可能處在一個游移交界的位置上，而每一次的位置佔據都改變了每個相對的位置，也決定整個結構的位移。

The thesis attempts to analyze the change on aboriginal popular music in Taiwan during these years by applying Bourdieu’s study on the field of cultural production. The first part is the discussion about the typologies in the aboriginal popular music industry. The second part examines the work of cultural intermediaries and the eternal cultural conditions. In the last, it focuses on the singers’ subjective responses to each position they are given in the field. By their self-interpretations, we understand more about their agency and the space of possibilities in the structure.

There are more and more singers with self-conscious getting involved in the popular music industry, and some of the cultural intermediaries enthusiastically challenge the structure of industry, so the typology concludes is not fixed and it provides opportunities for the performers to break through. Each position-taking will change each comparative position and the structure will also be transformed.