异国“街头音乐家”:后亚文化视域下中国文化的国际传播

“Street Musicians”in Foreign Countries:International Communication of Chinese Culture in Post-subculture Perspective

文章从后亚文化理论视角出发,以来自中国的青年异国“街头音乐家”为研究对象,从传播风格和传播模式两个层面分析该群体如何创新中国文化的国际传播。研究发现,中国青年在异国的音乐街演呈现出多元碰撞的国际传播风格,在时间轴上体现出传统与现代、古老与年轻的交织相容,在空间轴上体现出东方与西方、本土与全球的混杂揉合。在传播模式上,青年异国“街头音乐家”表现出“警惕商业化+积极主流化”的特征,他们对商业权力持警惕态度,拒绝被收编和同化,同时积极主动参与主流文化的生产,形成“反向融合”的互动机制。上述特征深受中国文化语境和社会结构的影响,中国的后亚文化在某种程度上是国家主导下的个体化进程。

Based on post-subculture theory,the research takes Chinese youth“street musicians”in foreign countries as study objects.It explores how this group innovates international communication of Chinese culture in style and pattern respectively.It is found that Chinese youth street music performance presents a pluralistic and diversified international communication style.At time axis,it exhibits the integration between modern and traditional,ancient and young styles.At space axis,it reflects the blend between oriental and western,local and global styles.With“vigilant to business+active in mainstream culture”communication pattern,these young“street musicians”resist incorporation and assimilation by business power.Meanwhile,they actively participate in the production of mainstream culture and form“reverse convergence”integration mechanism.The characteristic is deeply influenced by Chinese cultural context and social structure.The post-subculture in China is a state-dominated individualization process.