黑衣墨鏡下的原生情感與認同抉擇:論羅大佑的專業認同與國族/族群認同

Abstract

本研究主要是透過對羅大佑生命史的分析，探索他專業認同與國族／族群認同發展的過程及狀態。一方面理解一個受過醫學專業訓練的準醫師，為什麼在面臨人生最重要的就業選擇及生涯規劃時，無法對醫師專業身分產生認同，反而專心在原本應該只是業餘玩票性質的流行音樂創作工作。另一方面也探討一個客家人與福佬人的綜合體、一個道道地地的本省人，為什麼會如此堅定地建立起個人對於中國國族主義的認同？他的認同發展是如何形成的？在不同階段的發展過程中，其專業認同以及國族/族群認同的形成基礎是什麼，影響其認同形成的原因有哪些？

本研究將羅大佑的生命史分成四個階段分析：(1)童年與青少年時期（1954-1971）、(2)音樂初放光芒時期（1972-1985）、(3)音樂專業時期（1986-1999）、(4)音樂政治時期（2000-2009）。就專業認同的部分而言，羅大佑在音樂初放光芒時期受困在醫學與音樂的掙扎中，面臨人生道路的重要選擇。這樣的不確定感，終於在音樂專業時期有了決定性的突破，羅大佑在這個時期捨棄醫師專業身分，堅定地擁抱音樂工作，完成他的音樂專業認同，展開他做為一個作曲家的身分認同，並於音樂政治時期朝向舞台音樂劇的作曲家邁進。

至於羅大佑各階段的國族認同狀態，不論是童年與青少年時期（1954-1971）的「國民黨版的中國認同」、或是音樂初放光芒時期（1972-1985）的「反國民黨威權體制的中國認同」、音樂專業時期（1986-1999）的「文化中國版的中國認同」、以及音樂政治時期（2000-2009）「反台獨的中國認同」，雖然沒有出現轉折性的改變，他的中國認同始終如一，但是因為各階段用以對照「我群」的「他群」是有所不同的，也因此形成羅大佑各階段「中國認同」強度上的差異，呈現了 「我群」之所以彰顯，其實是源於「他群」所刺激的實例證明。羅大佑的國族認同觀在台灣統獨爭議及國族認同分歧的架構脈絡下，反應了台灣中國國族主義之國族認同型態及價值。而他的族群認同發展狀態，雖然身為客家人與福佬人的綜合體，童年與青少年時期以及音樂初放光芒時期抱持著內在客家、外在福佬的雙重認同，但是為了抵抗福佬強勢的「台灣民族主義」，逐漸以「我是客家人」的宣稱，將自己的族群認同與中國國族認同相互結合，並在音樂政治時期形成了自然平實的客家族群身分認同。

The main purpose of this research is to investigate the professional and national/ethnic identity of Da-you Luo, a famous Taiwanese popular singer with dark glasses most of the time, through the study of his life history. Two sets of research questions will be raised in this study. First of all, since he was trained as a physician at college, why did he choose music as his profession and become a popular singer finally? What is the developmental process of his professional identity? Second, since he was born with a Hakka father and Hoklo mother, both are the so-called “native Taiwanese,” why is he so firm upon building his own identity toward Chinese nationalism? What is the content and strength of his Hakka identity? How did he gradually form and develop this national as well as ethnic identity?

This research divides the life history of Da-you Luo into four stages: (1). childhood and adolescence (1954-1971); (2). the initial stage of music (1972-1985); (3). the professional stage of music (1986-1999), and (4). the political stage of music (2000-2009). As far as his professional identity is concerned, he wrestled over the choices between physician and musician at the initial stage of music, and shifted away from his physician identity to musical identity at the professional stage of music in the end. Anyhow, the major roles during various stages are different for his musical identity. He perceived himself as a singer at the initial stage of music, a composer at the professional stage of music, and a composer specifically emphasizing on stage performance at the political stage of music.

In terms of his national identity, he possesses a definite “Chinese” identity all the time. From the “KMT version” during childhood and adolescence and “anti-KMT authoritarian version” during the initial stage of music, through “Cultural China version” during the professional stage of music, to “anti-Taiwan-Independence version” during the political stage of music, there exist no dramatic transformation of his national identity throughout all the periods of his life. However, the major “others” which help constructing his national identity during different periods are not the same at all. This observation confirms the point that national identity is defined not only from within, but also from without through distinguishing and differentiating the weness from other collectivities. As for his ethnic identity, he gradually developed a “naïve Hakka identity” during the political stage of music at last, although he possessed a kind of double identities emphasizing both Hakka and Hoklo starting from his adolescence.