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    题名: 《Mosh Pit & Solat：半島龐克音樂場景裡的馬來穆斯林》紀實書寫計畫創作論述
    A Non-Fiction Writing Project: Mosh Pit & Solat: Malay Muslims in Peninsular Malaysia Punk Scene
    作者: 馬紅綾
    Ling, Beh Hoong
    贡献者: 鍾適芳
    Chung, Shefong
    馬紅綾
    Beh Hoong Ling
    关键词: 伊斯蘭教
    身份協商
    紀實書寫
    馬來穆斯林
    族群身份
    龐克次文化
    Ethnic identity
    Islam
    Identity negotiation
    Non-fiction writing
    Malay-Muslim
    Punk subculture
    日期: 2022
    上传时间: 2022-09-02 15:52:16 (UTC+8)
    摘要: Mosh Pit是龐克音樂表演時，臺下群眾經常上演的一種肢體衝撞行為；而Solat則是穆斯林一日五拜的日常信仰實踐。「龐克」與「馬來穆斯林」，前者強調以反叛抵抗、不服從規範與權威體制作為其核心精神價值；後者則以服從、遵守宗教教義作為信仰與日常生活方式。是故，在一個將伊斯蘭宗教視為官方宗教的國度，「馬來穆斯林龐克」在馬來西亞社會看似是個悖論的存在。

    馬來穆斯林族群要如何在「抵抗、不服從」的龐克次文化價值觀中，又得同時面對自身需要「順從、遵循」的穆斯林身份？依循此一疑問出發，本研究書寫透過一名馬來西亞華人的視角，探詢與揭示「馬來穆斯林龐克」的複雜性現象。在這場音樂場景的探索旅途中，馬來西亞國家歷史、政治、社會、族群與宗教身份等，各種繁複交織著的背景脈絡得以一一被重新審視。

    本文以「紀實書寫」為創作形式，試圖勾勒出兩層動線：一、敘事主軸為探究「馬來穆斯林」與「龐克」兩種身份在國家社會脈絡下的衝突、實踐與協商；二、馬來西亞華人研究書寫者的向內凝視反思。透過這兩層相互交錯的動線，本文在前進探索、揭露馬來穆斯林龐克場景與當代國家社會的關係之餘，亦回顧、反思一名研究書寫者的族群身份，與他/她所身處的國家社會之間的關係。研究書寫者與其研究對象群之間的斷裂生活經驗，映照出這國度長久以來複雜、敏感而緊張的族群關係。

    因新冠狀病毒肆虐全球致使邊境封閉、無法跨越國界線進行實體田野，本文取徑深度訪談、網路田野觀察與歷史資料蒐集之方法，並將研究結果書寫成五個章節的創作作品。作品中每章節各有獨立的主題，透過研究者的親身參與、歷史事件的挖掘與整理、城鄉空間的生活狀態與活動、龐克誌出版刊物敘事與研究者交換田野經驗心得，拼湊出鮮明的馬來穆斯林龐克場景紀實。研究書寫成果呈現出少數被主流學術研究與社會所探討的馬來穆斯林龐克場景文化，並因此映照出在國家與社會的主流敘事之外，少數被看見的馬來穆斯林之生命經驗與其觀點想法。
    Mosh Pit is a style of physical movement whereby audience members at punk rock concerts bump and push each other violently, while Solat refers to the daily prayers performed by Muslims five times a day. A Punk and a Malay Muslim are generally seen to represent identities on two extreme poles; the former emphasizes disobedience and non-compliance against social norms and an authoritative system as the core belief, while the latter abides by a way of life based on the religion’s doctrine. Therefore, the term “Malay Muslim Punk” seems a paradox in Malaysia society, in which Islam is granted the “religion of the Federation” under the constitution and is the most professed religion.

    How do Malay Muslims conform themselves with religious obedience while still attempting to maintain a self-identity that strengthens the spirit of non-compliance? This research endeavors to reveal the complex phenomenon of the “Malay Muslim Punk” scene from the perspectives of a Malaysian Chinese. Throughout an exploration of the music scene, the complex and intertwined contexts of the Malaysia political and social history as well as the ethnic and religious identities are reinspected.

    By means of non-fiction writing, the text indicates two narratives against the political and social backdrops of Malaysia. The first explores the practice and the negotiation between the two identities “Malay Muslims” and “Punk”, and the second is a self-reflection of a Malaysian Chinese researcher/writer on ethnic issues and tension. Through the two different story lines, besides exploring the conflict and social phenomenon on one hand, the text also reveal the relationships between a Malaysian Chinese writer and the contemporary social contexts in which he/she is embedded.

    Due to the border closures caused by the global COVID-19 pandemic, the research is conducted by using the methodology of in-depth interviews, online field research, and archival data collection. The text is divided into five chapters, and each chapter features an independent theme. It can be regarded as a documentary account of the “Malay Muslim punk scene”, which comprises narrations and documentation of the chronicles, events, spaces, activities, fanzine publications, and the writer’s ethnographic research. As a result, the researcher/writer ventures onto a journey unveiling the distinctive punk culture nurtured in the Malay Muslim punk scene, which is rarely seen in academic research.
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    描述: 碩士
    國立政治大學
    傳播學院傳播碩士學位學程
    107464075
    資料來源: http://thesis.lib.nccu.edu.tw/record/#G0107464075
    数据类型: thesis
    DOI: 10.6814/NCCU202201142
    显示于类别:[傳播學院傳播碩士學位學程] 學位論文

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