德國雷鬼音樂節之跨文化分析：以科隆Summerjam為例

Abstract

音樂一直以來是節慶活動的組成要素之一，既能夠使節慶成為觀光的主要目的，又可作為一種載體或催化劑，讓聽眾在不同社會結構下，建立出新的文化意義。而音樂節塑造的社會空間具多樣功能，如凝聚節慶參與者進而形成特殊情感，致使其行為上有所轉變甚至整體脫序，種種現象隨不同音樂類型產生的氛圍而異，且包含音樂本質與歌詞意義上的影響。雷鬼音樂於1970年代中期開始受歐美各國的正視，如今出現大眾化趨勢，以音樂節的形式活絡於各地。在德國，以雷鬼音樂作為主題之節慶規模逐漸擴大，除了在地的樂團歌手，亦邀請許多牙買加及非洲藝人，經由各種語言，演唱出相同的文化精神與內涵。然而，跨文化交流不往往都是正面的結果，亦有文化挪用和真實性的疑慮，為在地與異國文化之碰撞，揭開多方視角討論的可能性。本研究透過雷鬼音樂在德國之歷史爬梳，找尋牙買加文化在德國的正負面意象，探究跨文化音樂於節慶脈絡下的意義，並以德國最大的雷鬼音樂節科隆Summerjam作為個案。藉由實際田野調查，了解節慶主辦方推廣文化的出發點，與過程所面臨的文化爭議點；另一方面，記錄並訪談節慶參與者在Summerjam之體驗，以及對牙買加文化的認知，分析文化挪用後形成的矛盾狀態，同時卻能平衡節慶的營運與形象。Music has always been one of the most common elements of festival events. It could not only make festivals become the main purpose of tourism, but also be a kind of vehicle or a catalyst for audiences giving new cultural meanings in different societies. Moreover, the social spaces created by music festivals have several functions. For instance, gathering festival participants together and developing special bonds can change people’s behaviors and even lead to disorder. The above-mentioned facts differ from the vibes of music genres, including influences of the music itself and the lyrics.Reggae has been gradually regarded as a valued music by European countries since the mid-1970s. Nowadays it has been developing as a popular music and becoming one of the forms in festivals around the world. In Germany, reggae music festivals keep growing and expanding their ranges. In addition to the local singers and bands, artists from Jamaica and Africa are also invited to the festivals. The same spirit and connotation in culture can thus be performed in various languages. However, the results of cross-cultural interaction would not always be positive, as there are also issues of cultural appropriation and authenticity. It accordingly opens up the possibility of wide-ranging discussions about the encounter between local and exotic cultures.This research delineates the historical spread of reggae music in Germany, and explores both positive and negative images of Jamaican culture during the development, especially the meaning of cross-cultural music in festivals. As a case study of Summerjam in Cologne, the biggest reggae music festival in Germany, the research is conducted by field works such as in-depth interviews and participant observation. By doing so, the author tries to understand the intention of cultural promotion of the event holder and the controversial issues during the process. Besides, exploring participants’ experience in Summerjam and how they perceive Jamaican cultures are also included, to analyze the relation between cultural appropriation with its contradiction and the operation and impression of the festival.