流落他乡的天使:菲律宾驻场乐队产业的艺术商品化倾向

The Angels in Diaspora:The Commodification Trend of Philippines House Bands Industry

本文将菲律宾的驻场乐队产业视为一种具有独特品格的文化现象。通过对田野数据的解读,本文从艺术家与作品、艺术家与受众、艺术家与职业经理人、同一乐队成员之间、艺术家与社区、评论家与作品六个维度,探究这个文化产业的商品化形成脉络。通过标准化产品生产体系对于流行音乐“快消品”特质的跨时空突破,研究者发现这个商品化属性,相反于常规逻辑推理,使现场表演更具有一种超越唯物主义物质与意识二元的“永恒律动”感。乐队的表演,是一种“音符语境”下由乐手、受众、经理人及乐评人的四维隐喻性互动为内隐基底,以演出作品为外显叙事的艺术商品构架。这种产业商品化过程,一方面有效提升了菲律宾乐队产业的国际市场运作机能,另一方面又进一步给菲律宾国家打上了外来文化的烙印。

This paper treats the Philippines house band industry as a unique cultural phenomenon.By examining field data,this paper delves into the commodity relationships between the artists and music,the artists and audience,the artists and agent,among the artists within the band,the artists and local community,the critics and music.This paper concludes that the commodity relation has transformed the Marxism demarcation between material and ideology in churning out the standardized product to suit the ephemeral nature of popular music taste which transcends the limitation of space and time.The performance of the band produces a commodity soundscape as a locus which transcends the metaphoric interplay among the artists,the audience,the agents and the critics.The commodification process of Philippines house band industry serves for the marketability enhancement that leads this unique cultural industry of the nation to a deeper brand of foreign culture.