搖滾音樂觀光：Rock Werchter音樂祭展演及其消費體驗
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2018
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本研究發想於研究者自身音樂聆聽經驗，循著後現代音樂消費的發展脈絡，從私密聆聽模式逐漸發展成樂迷在live house、演唱會或是音樂祭，尋求共同品味的伙伴建立互動參與的音樂聆聽體驗，當中音樂祭作為主題式體驗觀光為未來音樂觀光市場發展趨勢，本研究以比利時Rock Werchter音樂祭為研究對象，將其分為兩大類，Rock Werchter音樂祭及Rock Werchter音樂祭參與者，試圖剖析音樂祭空間的秩序建立與斷裂、音樂祭回應觀光市場的發展、以及參與者的集體認同感和「他者」（The Others）的生成。
研究以嘉年華會狂歡（carnivalesque）與異質空間的角度切入，藉由回顧狂歡節以及音樂祭於西方的演進，梳理音樂節慶觀光的成形與盛行，從文字、影像、網路資源文獻蒐集和田野調查所獲得的資料，將Rock Werchter音樂祭分為會場外部和會場內部空間配置，針對Rock Werchter的空間建構強化狂歡節意象來加以探究，分析音樂祭的生產層面與文本內容來探討其展演定位演變，文化商品化趨勢對於音樂祭形象的建構導向。
Rock Werchter作為一個刻意強調表演陣容、音樂流動的音樂祭，因而成為一個有趣研究案例，沒有創意市集、戲劇舞蹈「全都包」（all-in-one）等傳統嘉年華會狂歡要素，參與者高流動性補足了狂歡元素，樂迷成為流動的音景。在音樂祭消費體驗中，編碼分析臺陸參與者網誌心得與深度訪談資料，發現在此音樂祭異質空間中，參與者融入成為新部落（neo-tribe）一員，透過觀光凝視、聆聽身體或是其他感官察覺來尋求搖滾音樂祭的原真性體驗，聆聽時的天氣、環境等元素共同造就音樂祭特殊的氛圍，讓樂迷聆聽時的觀光凝視與聆聽身體等感官接收開啟到最大值，參與者在此音樂地景的情境氛圍下一同展演，進而產生對於音樂祭的新部落集體情感認同與群體感。然而，研究結果也發現，即使在營造共同感的音樂祭空間，認同感反而可能放大「他者」的自覺，部落成員在新部落的存在與認同感上不敵族裔、性別、語言所產生的「他者感」。
現今生活型態轉變促使了跨國音樂觀光之風潮，音樂成為人們旅行的目的，歷史脈絡下搖滾樂的政治意涵加諸於音樂祭場景中，碰上消費社會的商業化勢力與大眾觀光趨勢，生產面（音樂祭）到消費面（參與者）之間的相互牽連演變，形塑一個搖滾精神的「異托邦」，而音樂祭結合音樂元素再現中古狂歡節景象，也體現了嘉年華式狂歡，參與者在特殊時空下共享一場狂歌狂舞的新部落音樂祭典，或許當中參與者對於新部落並非完全認同或完全忠誠，但透過音樂祭的消費體驗，確實賦予了音樂觀光另一種面向與視野。
In post-modern society, music consumption has derived its form from private listening to live houses, concerts, or music festivals, seeking for companion who share the common taste or affection. Music festivals particularly play an important role on music tourism nowadays. Based on the researcher’s music-listening experience, this research, taken Rock Werchter in Belgium as an example, aims to explore the construction and destruction of order in the festival space, the development of music festivals in response of the tourism market, and the “we-ness” of participants and the emergence of “the Others.” This research draws on Mikhail Bakhtin’s carnivalesque and Michael Foucault’s heterotopia to examine the forming and popularization of music festival tourism. Words, images, blogs, Internet resources, interviews and data collected during the fieldwork are analyzed from the perspectives outside and inside the field. How the space and the context of Rock Werchter are constructed is the main focus here. Rock Werchter is an intriguing case in terms of a festival emphasizing on its line-up, with the lack of carnival elements, such as dances or theaters. Therefore, the mobility and the participants themselves have become the music scene. Coding the data collected from blogs and interviews through discourse analysis, the participants’ consumption and performances have transformed the group into “neo-tribe, ” where through collective expression, gazing, or listening body, participants generates fellow-feeling and creates a sense of belonging. However, the research finds that differences of races, genders, or languages still expand the awareness of “others” even within the aesthetic aura. Today, the transformation of lifestyle has led to cross-national music tourism, and music becomes the travel destination. Adding the ideology of rock music in the music scene of festivals, blended with commercialization and tourism trend, the festival and participants together shape a special spacetime. Although participants are not fully royal to the neo-tribe, the consumption and performances in Rock Werchter indeed demonstrate an alternative perspective of music tourism.
In post-modern society, music consumption has derived its form from private listening to live houses, concerts, or music festivals, seeking for companion who share the common taste or affection. Music festivals particularly play an important role on music tourism nowadays. Based on the researcher’s music-listening experience, this research, taken Rock Werchter in Belgium as an example, aims to explore the construction and destruction of order in the festival space, the development of music festivals in response of the tourism market, and the “we-ness” of participants and the emergence of “the Others.” This research draws on Mikhail Bakhtin’s carnivalesque and Michael Foucault’s heterotopia to examine the forming and popularization of music festival tourism. Words, images, blogs, Internet resources, interviews and data collected during the fieldwork are analyzed from the perspectives outside and inside the field. How the space and the context of Rock Werchter are constructed is the main focus here. Rock Werchter is an intriguing case in terms of a festival emphasizing on its line-up, with the lack of carnival elements, such as dances or theaters. Therefore, the mobility and the participants themselves have become the music scene. Coding the data collected from blogs and interviews through discourse analysis, the participants’ consumption and performances have transformed the group into “neo-tribe, ” where through collective expression, gazing, or listening body, participants generates fellow-feeling and creates a sense of belonging. However, the research finds that differences of races, genders, or languages still expand the awareness of “others” even within the aesthetic aura. Today, the transformation of lifestyle has led to cross-national music tourism, and music becomes the travel destination. Adding the ideology of rock music in the music scene of festivals, blended with commercialization and tourism trend, the festival and participants together shape a special spacetime. Although participants are not fully royal to the neo-tribe, the consumption and performances in Rock Werchter indeed demonstrate an alternative perspective of music tourism.
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Keywords
音樂觀光, 搖滾音樂祭, 嘉年華會狂歡, 異質空間, 新部落, music tourism, rock festival, carnivalesque, heterotopia, neo-tribe