〈心中的日月〉或異國風情： 王力宏的華人嘻哈與游移的認同

Abstract

華裔美籍歌手王力宏宣稱「華人流行音樂並沒有夠強的音聲認同」，所以他於2004年遠赴西藏、雲南與新疆等地采風作為專輯《心中的日月》的素材，自創所謂「華人嘻哈曲風」。然而有關王力宏身分認同的研究，卻自限於文宣的框架，忽略了他主要是以音樂建構他的認同，也未意識到文宣與音樂之間的曖昧；若提到他的歌曲，也往往偏重歌詞，無視王力宏的背景、認同及音樂的相互連接。因此，本文從解讀王力宏的文宣與言論及音樂之間的落差為出發點，並以Ralph Locke論異國風情下，自我與他者、真實與虛構、時間今昔、空間遠近的幾重二元對立，對王力宏2004年後的十四張專輯作出風格分類與音樂分析。本文認為王力宏企圖加強華人「自我」的認同，歌曲中的中國元素卻常常在時空錯置的營造下，再現為異國的「他者」；而多重「他者」與「自我」之間的游移，其實反映著王力宏游移的認同。

Leehom Wang, an American-Born Chinese singer, declares that “Chinese pop music does not have a strong enough sonic identity.” So he went all the way to Tibet, Yunnan, and Xinjiang in 2004 to collect traditional music as materials for his album Shangri-La, which initiated his Chinked-Out style hip hop. However, research on Wang’s identity often limits itself to his announced intention, ignoring that his main means of constructing identity is music, and fails to notice the ambiguity between his announced intention and the produced music. Even in discussing his songs, the focus is on the lyrics, neglecting the interconnection between his background, identification, and music. This thesis, therefore, starts with the gap between the discourses and the music, and utilizes the inherent binarisms of the exotic according to Ralph Locke—self and other, the real and the fictive, then and now, nearness and distance—to classify and analyze Wang’s 14 albums published since 2004. This paper argues that Wang’s intention to strengthen the Chinese Self confuses with the exotic Other represented by the temporal and spatial displacement of the Chinese elements in his songs; and this shifting between the Self and Other signifies indeed Wang’s own shifting identifications.