本研究從對饒舌現場表演中的「呼喊與回應」作為儀式的想像，發展成問題意識，一是拷秋勤如何將現場表演建構為與觀眾/樂迷的互動儀式，二是樂迷「儀式性參與」現場表演的內涵。針對此二問題，以台灣獨立樂團拷秋勤的現場表演與其樂迷作為研究對象，採用參與觀察法與深入訪談法，進行為期三個月的資料蒐集與訪談。經過整理，描繪出拷秋勤現場表演的各種面向，以及觀眾的組成與反應。在深度訪談部分探討樂迷從接觸拷秋勤到迷的原因、參與現場表演的動機、經驗與感覺、消費行為等。
研究者發現拷秋勤運用大量的呼喊與回應(call and response)與觀眾互動，其為拷秋勤表演一貫的特色，呼喊與回應作為互動儀式的意義在透過重複的帶動與對話建立與觀眾的連結，宣揚樂團的理念引起認同，提升現場觀眾熱情也凝聚樂迷的向心力。拷秋勤不斷使用關鍵字召喚觀眾的共同身份，製造象徵意義。現場表演的儀式特質在表演流程、表演歌曲的面向特別顯著。在樂迷「儀式性參與」的部分，只有少數受訪者呈現狂熱的參與情形，然而樂迷大多會重複地參與現場演出。樂迷儀式性參與的意義在於從中獲得沈浸的感覺，以及與現場融合為一體的感覺，享受現場的氛圍，擁護共同的理念從中獲得成長，與拷秋勤及現場所有觀眾交流情感。
現場表演是饒舌這個音樂類型與嘻哈文化最終的表現場域與管道，而迷與愛好者的參與是它們能長久發展的根源與基礎，因此呈現樂迷參與現場表演的感受，以及現場表演內容與結構吸引觀眾與樂迷的原因，的確有其必要性。因此，整理分析並呈現饒舌現場表演樣貌以及樂迷與愛好者的聲音、感受與意見，則為本研究與其他台灣嘻哈文化與饒舌研究的不同之處。 / This study is developed from the idea of imagining “call and response” in live rap performance as ritual, and is divided into two research questions. First, how does Taiwan rap band Kou Chow Ching build an interactive ritual in live performances through call and response techniques? Second, how do fans of Kou Chow Ching “ritualistically participate” live performances? In order to answer these questions, this study decides to conduct a three month long research through in-depth interview and participant observation method to collect data. Observation and depiction of six of Kou Chou Ching’s live performances are detailed in the thesis, also the composition and reaction of the audience in each show. In interviews, we discuss these fans’ reason and affection to Kou Chow Ching, motivation of participating live performances, experience and feeling, and their consuming behavior of Kou Chow Ching’s records, related products, and shows.
Kou Chow Ching employs a lot of call and response techniques to interact with audience. The meaning of call and response as ritual, is that the repeated call and talking create bonding between Kou Chow Ching and audience, promote the band’s philosophy, heighten and cohere audience. Kou Chow Ching keeps summoning the audience’s sharing identity with key words, constructing symbolic meaning. Besides, in live performances, the ritualistic nature is also salient in their performing procedure and rap songs.
Only a few of interviewees feverishly participate Kou Chow Ching’s live performances. However, all interviewees do regularly participate these shows. The meanings of fan’s ritualistic participation are gaining the feeling of immersion, merging with other fans and rappers on the scene, and enjoying the atmosphere, giving support to shared beliefs, and exchanging emotions and feelings with Kou Chow Ching and others.
Live performance is the ultimate channel and field to manifest rap as a genre and hip hop culture, and the participation of fans is the root and foundation of rap and hip hop’s continuous growing. So it is necessary to acquire the content and structure of live rap performance, and fan’s response to it. Therefore, this study provides the observation of Kou Chow Ching’s live rap performances, and the voice of fans, which is a different approach comparing to studies of rap and hip hop culture in Taiwan.
| Identifer | oai:union.ndltd.org:CHENGCHI/G0096453019 |
| Creators | 蔡致仁 |
| Publisher | 國立政治大學 |
| Source Sets | National Chengchi University Libraries |
| Language | 中文 |
| Detected Language | English |
| Type | text |
| Rights | Copyright © nccu library on behalf of the copyright holders |
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