The Local Practice of Music Festival - Small Oyster Rock and South Howl
Date Issued
2016
Date
2016
Author(s)
Chen, Mei-Huan
Abstract
The indie music scene in Taiwan has become very active in recent years. A variety of music festivals took the stages in both urban and rural settings, and some of them were initiated by devotees of music’s local practice, such as “Small Oyster Rock” in Kezailiao and “South Hawl” in Anping. Their intentions focused on the revitalization of places through the medium of music events. The purpose of this thesis is to explore how the local practices of music festivals emerged in south Taiwan and how they were orchestrated through specific local context. We surmise that one of the major attributions of the rise of local music festival is the homeward bound movement of Taiwan’s young generation. They dedicate to make a difference in their hometowns and rejuvenate the passé sense of place, and curating a music festival is an alternative to create a venue as well as a route extending from the root of a place. The bottom-up music festivals contrast with their top-down counterparts sponsored by the government or corporate capital in that the concern of local practice fosters new social relations of the place. The concept of “heterotopia” is employed to explain how the local practice of music festival polemicizes the concert venues as spaces between utopia and real space. In “Small Oyster Rock”, the heterotopia gathered festival aficionados with Kezailiao locals and implanted an indie rock concert onto an authentic fishing village. The juxtaposition engendered both a tension and an emancipation of a carnival and delivered a strong sense of a real place that attracted many young people. In “South Howl”, the local practice of music festival is considered as a process of reconstructing place narratives through several spatial projects. By bringing small concerts back to the courtyards of different temples, “The Small South Howl” project reinvent the narrative routes of the historical neighborhoods. “The Restoration Plan of Wind Lion God” attempted to remake the traditional talisman “Wind Lion God” and restore them on the rooftops of houses in Anping. Through music events, the South Howl practices reconstructed pico-narratives of local daily life to replace the grand narratives of authorized history, thus strengthened the local identity.
Subjects
Small Oyster Rock
South Howl
music festival
heterotopia
narratives of place
Type
thesis
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