呂心純。〈跨文化表演的研究途徑：臺灣一場緬甸音樂表演的互為主體與多點民族誌研究〉。《民俗曲藝》193
(2016.9): 11-62。
Lu Tasaw Hsin-chun. “Approaches
to Understanding Intercultural Performances: Intersubjectivity and Multi-sited
Ethnographic Research on a Taiwan
Abstract
當代表演藝術的跨界交流正蓬勃發展，而在學界，研究者也透過建構、修正與解構「離散」這個概念，將當代各種形式的跨文化表演視為研究場域，梳理各種流動架構底下龐雜的權力關係。在這樣的研究視野下，一場跨文化表演，不僅可反映出社會不同層次的互動外，本身也是一種文化意識形態與政經脈絡共構下的再現，抑或是多元政治力的載體，得以提供探索社會轉型的契機。然而，早期有關跨文化表演的分析論述，研究者經常僅就其當下演出的呈現作為分析文本，往往流於過度主觀；或對表面單純、但實質卻鑲嵌於龐雜結構的聲響表演，只能呈現單一或單向的文化政治分析。
有鑑於此，本文將以國家兩廳院的一場世界音樂講座音樂會為探討對象（即2013年「遷移之聲」系列中「紐約邊城的緬甸流亡者：Kyaw Kyaw Naing」這個節目），嘗試從「互為主體」與「多點民族誌」這兩個理解途徑切入，將其概念化與脈絡化，以供研究者做進一步的思考。本文倡議，要探討跨文化表演，研究者可將視野從表演當下的時空開展，延伸至這個文化產物在創作過程中多位址、多元主體的脈絡軌跡等多向維度，並關注研究者作為中介角色的知識建構過程，進而從中追溯其軌跡下「點」與「點」之間的關聯性，深入其當中所隱含的深層文化政治。
Intercultural exchange of performing arts is booming today.
Drawing scholarly attention to intercultural performance, ethnomusicologists
have long grappled with the intricate powerful relationships occurring in the
transcultural frameworks through the (de)construction and (re)shaping of the
“diaspora” idea. In that, intercultural arts performance has proven to have
great potential in revealing the dynamic interplays between different social
agents and representing cultural ideologies. It can also provide a platform for
social transformation. However, early discourses on intercultural arts
performance centered more on the performance itself as referred to the texts
for analysis. Oftentimes those underlying substances and values embedded within
the performance remain uncovered.
This article introduces and conceptualizes two approaches to the
study of intercultural music performance, including intersubjectivity and
multi-sited ethnography. With a focus on the performance produced by Taiwan
Also in Journal of Chinese
Ritual, Theatre and Folklore:
呂心純。〈音樂作為一種離散社會空間：臺灣中和地區緬甸華僑的音景與族裔空間建構〉。《民俗曲藝》171 (2011.3): 11-64。
Lu Tasaw Hsin-chun. “Music as Diasporic Social Space:
Constructing Soundscapes and Ethnoscapes in a Burmese Chinese Community in Jhong-he , Taiwan