菲律賓華人的「南音」音樂活動之探討

Investigating the Musical Activities of Chinese Filipinos' Nanyin

本文嘗試針對菲律賓華人的主要音樂活動，特別是當地「南音」社團的「郎君社」常規活動、演出及生態進行探討。菲律賓華人社會中，因為移民結構的關係，形成主要以來自福建的泉州、晉江、南安和惠安為主，其次為少數的廣東籍移民。這些閩南移民，類似台灣移民結構的主流，也是遍及東南亞很多國家華人社會的主要成員。而閩南的「南音」音樂或台灣所稱的「南管」也透過這些移民，普遍流行於東南亞閩南移民的華人社會中。所以，我們可以看到東南亞的華人社會，也有類似的「南音」社團組織，其各自的社團也有他們本身的特色。菲律賓的閩南移民雖然與台灣的主流移民，有類似的祖籍背景與結構；但是長期在當地發展的結果，受制於地主國的政治、經濟、歷史與人文的生態背景，而發展出一種屬於自己特有的生態、樣貌與歷史。論述中嘗試透過菲律賓歷史的軌跡與發展，剖析華人在期間所扮演的角色，以及直接或間接也影響了當地菲律賓華人、華人的音樂與社團生態；更進一步，剖析已延續200 多年的華人「南音」社團與「南音」音樂在當地產生的影響、互動可能性及未來性的發展觀察。此篇的探討，首先在著重於「南音」音樂從早期閩南華人最初飄洋過海，為了謀求生計，來到一個完全陌生的國境，如何從一種娛樂自己、思鄉解愁、自彈自唱的音樂，過度到組織社團但必須承擔某種政治意涵的任務，又回歸到以娛樂性為主的聯誼活動，期間過程象徵著華人社團在一個異環境下，扮演某種生命共同體」的使命與連結。文中，作者除了對菲律賓「南音」社團成立的背景，有歷史性的觀察之外，從客觀的因素來看，對年輕一代的當地華人，必須面對「新」的祖國，自己的出生地，培養更多的認同感，這種心態，是否意味著與父親「祖國」的文化有所疏離？另一方面，從「南音」音樂本身的特殊性與語言性，提出一些學習者心態上的看法。此外，作者嘗試透過剖析菲律賓華人社會未來發展趨勢的取向，來審視菲律賓華人「南音」社團，在菲律賓社會存在性的多重意義與未來性；這些都與菲律賓地主國的人文生態有不可分割的關係，它們同時也扮演著與原生的中國「祖國」有文化上血緣的聯繫作用。

This essay seeks to investigate the major musical activities of Chinese Filipinos, focusing especially on routine activities and performances of the local 'Nanyin Langjun Society'. The Chinese Filipino society is formed by immigrants that came mostly from Fujien's Quanzhou, Jinjiang, Nan'an and Huian. Those that came from Guangdong are in the minority. Similar to the mainstream immigration structure of Taiwan, these Minnan immigrants are the main group that forms the Chinese socieies in many Southeast Asian countries. Through these immigrants, Minnan's 'Nanyin' music, or 'Nanguan' as known in Taiwan, is made popular in Chinese immigrant societies in different Southeast Asian countries. Because of this we often see that these Chinese immigrant societies have similar community organizations as the Nanyin, each with their own unique features. Although Minnan immigrants in Philippines have similar ancestry and cultural origin as the mainstream immigrants in Taiwan, long term local development and regulations by their host country's politics, economy, and background have given them their own unique features and historical past. The essay seeks to dissect into Philippine history and discover the role played by the Chinese during this period. It will also strive to determine the direct and indirect impact they have upon local Chinese Filipino and Chinese music communities. Going a step further, it will look into the nearly 200 years old Nanyin community and Nanyin music and determine its local impact, activity, and future development. In this investigation the focus is on how Nanyin music first came with the Chinese Filipino immigrants who risked their lives in crossing the sea for a new life in a foreign country, how the playing of music went from being a sort of comfort and self-entertainment into a community with political duties, and how it returned once again to being an entertainment entity. The process of this development is symbolic of the Chinese community bearing the mission for a type of 'unity in life' for the local Chinese. Besides searching into the historical background of Nanyin, the author explores the issue of the necessity of the local younger generation of Chinese identifying themselves with a 'new' motherland and their own birth place. One wonders whether this kind of optimistic request signifies the deviation from their 'native' culture of their fatherland. Through the lenses of a learner, the author will address certain viewpoints regarding the unique cultural and lingual characteristics of Nanyin. In addition, the author seeks to determine the importance of the existence and future directions of 'Nanyin' in Philippines through the trend of future development in Chinese Filipino communities. These discussion points are inseparable with the human ecology in Philippines, and they play a role of maintaining the community's cultural bond with its Chinese ancestry.