時空流轉下的緬華革命樂舞

Sino-Burmese Revolutionary Music and Dance in Changing Time and Space

這篇文章響應中國境外的文革樂舞研究，將研究對象聚焦於一群在亞太地區遷徙的緬甸華人，透過具體分析此社群當中一個家庭表演團體──「五朵金花藝術團」之革命精神的形塑及再造，深入其樂舞經驗、創作理念及律動感知，闡述這個在世代承繼的時間軸上運行、並在地理疆域的空間軸上遷徙的藝術團，如何利用樂舞的詩學符碼來刻劃其座標上的紛雜情感紋理，並且映射其所在的政經及社會脈絡。如今在多重時空流轉之後，又如何將他們理想中的核心價值經由持續轉化，內蘊成日常樂舞美學的一部份，體現出一套與社會關係及歷史脈絡共構的知識。本文除了在研究取徑上呼應民族音樂學在當代的多個轉向外，同時也採納人類學家有關「文化親密性」與「社會詩學」的理解途徑，企圖深化對此個案的文化詮釋。

China's Cultural Revolution looms large in the country's recent history, and also in the cultural and political histories of other places as well. As scholars begin to examine this period in the greater depth, some have asserted that the worldwide reach of Maoist cultural-political projects also bears exploration. This paper responds to this increasingly acknowledged body of research, focusing on how a Sino-Burmese performing arts troupe, Five Golden Flowers, has appropriated the movement's emphasis on revolution through music and dance, and engaged with its particular rhetorical strategies. Further discussion includes the new social arrangements and political environments that have reshaped this troupe's Maoist revolutionary expression as troupe members migrated from Burma to Taiwan; and their ideals and aesthetics of dance in continuing to embody Maoism. My approaches to these issues illustrate several significant turns in recent developments in ethnomusicology, while also echoing some anthropological theoretical ideas such as “cultural intimacy” and “social poetics.”