台語搖滾x饒舌樂的生態關懷——以農村武裝青年及拷秋勤樂團創作為例

The Social Concern in Taiwanese Rock and Roll v.s.Rap Music–Exemplified by the Works of the Bands ‘ Village Armed Youth ’and the ‘Kou Chou Ching’

不同時代的人群都有自身獨特的文化表達方式，特定的文化表達方式不僅與特定時代特定人群的生存環境密切相關，而且生動地記錄了人類情感的脈動。吳明益（2012：18）指出，自1980年代以後，自然書寫（nature writing）已成為台灣散文中的一個重要類型。自然寫作是一種呈現出人與自然互動歷程的書寫，那些不同時空下與自然對話隱語，隨著不同時代作者的相異經驗與文字，呈現出有別於其他文學型式的書寫性格。 台灣現代自然寫作在1980年代的逐步形成，一方面承襲了描寫自然的文學傳統，另一面則對應著台灣當時的環境狀況與政經狀況。在當代文學領域有關「自然書寫」的討論中，流行音樂的角色一直被冷落或忽略，流行音樂作為一種「聲音的書寫」形式，其搖滾精神對於政治、經濟、文化、環境議題的批判，往往可以讓我們直接感受到一個世代青年當下的聲音與憤怒。 近年來，政府拼命以「公共利益」為名，強推滿足少數廠商與投機客的開發案，在全台各地進行大規模的圈地徵收惡行。在人民的反叛行動中，越來越多的獨立樂團，不僅創作出音樂來聲援農民與都更受壓迫者，更重要的是，不少樂團也經常出現在第一線的抗爭現場，以義務演唱實踐「音樂」作為一種社會介入的手段。在這篇論文中，我將以台灣兩個凱達格蘭大道的天團：「農村武裝青年」以及「拷秋勤」為討論對象，分析歌手與作品中所呈現出來的土地、環境生態意識，探討音樂做為一種「自然書寫」如何可能？以及青年如何運用聲音的書寫、展演策略成為文化游擊戰的人民反叛武器。

People in different ages have their own unique way to demonstrate their culture. Specific ways of expressions are not only closely related to the environment for the specific people in the specific ages, but also record the pulses of the people's emotions vividly. As Ming-Yi Wu（2012：18）noted, nature writing has become an important genre of Taiwanese prose writing. Nature writing is to demonstrate the process of the interactions between people and nature, and the implying conservation to the nature in different contexts of times and places. With the different experiences and wording of writers in different ages, it demonstrated different characters in writings from other genres. Nature writing in Taiwan gradually formed in 1980s.It inherited the literature tradition of writing the nature, on the other hand, it corresponded with the environment and Socioeconomic situation at that time. In contemporary Taiwanese literature, when ‘nature writing’ has be discussed, the role of popular music has been aside or ignored. However, as a form of ‘writing of sound’, the spirit of rock and roll in popular music has been criticizing politic, economic, cultural and environmental issues, and has been made us directly sense the voice and anger of the current young generation. Recent, in the name of ‘public benefit ’,the government has pushed various development projects to satisfy a few enterprises and speculators, and forcefully expropriated land at large scale all around the country. In civil revolt, there have been more and more independent bands standing up. They composed music to support farmers and oppressed under urban renewal programs. More importantly, many bands appeared at the most front in the demonstrations, and lived up to ‘music as an intervention for the society’ by performing voluntarily.I n this article, it will aim two super-star bands showing in the Kaidagelan Avenue: ‘Village Armed Youth ’and the ‘Kou Chou Ching’. The consciousness of land, environment and ecosystem in the singers and musical pieces will be analyzed, and discuss how it be possible for music as a form of ‘nature writing’. Furthermore, it will explore how youth use the ‘writing of sound’ and performance strategies as people's weapons for cultural combats.