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The Musical Politics of Taiwanese Rock Bands after 2000: A Case Study of Armed Youth, ChthoniC and Mayday
|關鍵字:||音樂政治性;文化政治;基進音樂;土地正義;民謠搖滾;身體政治;國族想像;性別越界;資本市場;musical politics;cultural politics;radical music;land justice;folk rock;body politics;national imagination;gender crossing;capital market||摘要:||
Rock music is often associated with rebellion, resistance, revolution, and other forms of political consciousness, which may contribute to the fact that it is particularly popular among teenagers. However, being popular is subject to the inevitable risk of being incorporated into capital mechanisms. On this account, rock musicians have to deal with the dilemma of how to find the balance among expressing a political consciousness, initiating the social intervention, and determining the marketing strategies of business mechanism. In this thesis, three Taiwanese rock bands, Armed Youth, ChthoniC and Mayday, with different styles in creation, performance and marketing were taken as the research subjects to explore how Taiwanese rock bands convey the musical politics through creation and action, as well as achieve the balance between maintaining the original intention of creation and creating dialogue with the capital market from various aspects, e.g. processes of creation, self-written songs, music videos, concerts, and social actions.
Armed Youth, regarded as the representative of radical music, reflects the land and rural problems that Taiwan has encountered during the globalization. By integrating Taiwanese folk songs and the street singing culture with their performance, Armed Youth creates unique folk rock songs with Taiwanese characteristics. The members even personally practice their philosophy of creation: return to rural life, bring rock music into the rural people's space, and create a new rural life in the modern century. With unique black metal rock, ChthoniC builds its political subjectivity through the presentation and performance of body image. By reinterpreting Taiwan's history through music, ChthoniC further establishes a view of Taiwan's history from the perspective of an ocean culture, as well as the national identity for Motherland Taiwan. Moreover, the members practice their political ideals through music festivals and protests, and the vocalist even directly participates in politics as a legislator. Besides, Mayday uses the operating mode of music market to condense the recognition of fans, shape their imagination of the subject, and encourage fans to engage in political actions. Through creation and performance, Mayday redefines rock music as an attitude towards life, maps the post-millennial generation, and also illuminates the cultural politics of rock music.
Taiwanese rock bands, being whether in the production chain of the mainstream music or not, are inevitably under the influence of the market economy. To step out of the Chinese markets and develop international markets, they use global information technology to create an alternative space for presentation and performance. They even directly use the market mechanism to express their own ideologies while finding the balance between capitalism, which specifically highlights the musical politics of rock music.
|Appears in Collections:||臺灣文學與跨國文化研究所|
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