由「閨怨」、港邊男性到日本唱腔：1930-1960年代臺語流行歌的流變

From ＂Boudoir Blues＂, Port Songs to Japanese Adaptations: Transformation of Taiwanese Popular Songs, 1930s-1960s

本文以海／港為背景之臺語歌謠－－「港歌」為分析對象，探討此一類型之歌謠於戰前、戰後的異同與衍變；並說明臺語歌曲與臺灣社會、文化、經濟、族群、歷史間繁複且重層的關係。海／港的生成、轉型，或閉鎖、開放，與臺灣戰前資本主義、軍國主義，以及戰後二二八事件、國民黨施行戒嚴等政治、歷史經驗息息相關。海／港承載了一時代臺灣人的集體記憶與想像，並提供臺灣人創作、閱讀、聆聽或吟唱港歌時擁有更多詮釋與隱喻的機制和空間；讓做為大眾文化的港歌，具有控訴或批判現實生活的能動性。由於二二八事件的衝擊，1950年代初期的港歌讓歷經社經荒瘠、官逼民反時期臺灣人之悲憤、不安或自暴自棄等心情，有了隱喻的詮釋空間。1950年代後期的港歌則吐露出底層臺灣人民因經濟窮困，被迫離鄉漂流的社會語境，並反射這些人身心困頓的時代感覺結構。這些感覺結構與戰後初期因農村土地改革政策的實施，農村人口為求生存發展，離鄉往城市謀生的現實處境相契合。雖然當時大多數農村人口的移居地為都市，而非海／港。但「都市」與「海／港」的空間轉異，持續提供了隱喻和類比的啟動機制,讓港歌與現實之間，呈示著一種錯位的書寫關係。港歌的流行更促成了「翻唱」日本歌謠的風潮。而日本演歌中轉音（こぶし）技巧也被嵌進臺語流行歌曲中，進而成為臺語歌謠的重要內涵與特色；此亦是其與國語歌曲最重要的差異。戰後初期港歌的風行，在議題、性別與空間上，均顛覆了戰前以閨怨、女性、室內為主流的流行文化語境。臺語歌謠在主題與內容上的轉變，間接或直接勾勒出臺灣大眾文化由內陸（中國）文化，航向海洋（日本）文化的航線與軌跡。

For countries with coastlines, ports not only offered access to high seas and hence opportunities for development; but also served as important gateways for people fleeing or returning. ＂Port songs＂ was a genre of Taiwanese popular music with themes or backgrounds about the sea/harbor/port. This research traced the surge of port songs and compared their similarities and differences in pre- and post-WWII eras to shed light on the transformation of Taiwanese popular songs and to illustrate their intricate relationships with society, culture, economics, ethnic groups and history of Taiwan. Findings of this study are as follows. (1) The formation and transformation, opening and closing of ports were closely related to the pre-war politics of capitalism and militarism, as well as the post-war historical experiences including the 228 Incident and the imposition of martial law by the Kuomintang (KMT) Government. (2) Ports carried the collective memories and imaginations of people of a particular era. When writing, reading, listening or singing port songs, these memories and imaginations endowed Taiwanese in those days with both means and room for richer interpretations to be drawn and more metaphors to be made. Port songs, as a popular culture, thus contained allegories of the plight suffered by the people and initiatives for criticizing and denouncing the harsh reality they faced. (3) Under the impact of the 228 Incident, port songs written in the early 1950s reflected not only the socio-economic desolation experienced by the Taiwanese, but also portrayed vividly the anxiety and anguish against disparity in treatment received by the Taiwanese and the Mainlanders under the KMT Government, the suppressed urge for rebellion against such injustice and the subsequent low-esteem as second-class citizens. (4) Port songs written in the late 1950s featured the social context in which grass-root Taiwanese trapped in economic deprivation were forced to leave their homes for better opportunities elsewhere, and also reflected the feeling of exhaustion, both physical and mental, commonly shared by the people of that era. Incidentally, such context and feeling were consistent with the predicament and sentiment of the rural population in the early post-war era. The implementation of land reform policy forced the rural population to abandon their land and migrate to cities in search for livelihood and survival. (5) Although the destinations for these rural migrants were cities rather than ports, such spatial switch between cities and ports offered an opportunity for analogies and metaphors to be drawn. There existed a translational relationship between port songs and the reality. The widespread popularity of and hence the huge demand for Taiwanese port songs brought about the trend for Japanese productions to be adapted or 're-created'. Along with these adaptations, singing techniques of enka were embedded into the Taiwanese re-creations and eventually became a unique characteristic of Taiwanese popular songs, making them distinctive from their Mandarin counterparts. The transition from traditional music and pre-war pop music framework with songs featuring feminine, indoor, and feeble elements to post-war modern music with 'port songs' characterized by masculine, outdoor and robust qualities reflect directly or indirectly the shift of Taiwanese popular culture in dependence and resemblance from inland (the Mainland) to overseas (Japan).