| Summary: | 碩士 === 國立臺北藝術大學 === 藝術行政與管理研究所 === 104 === The Chinese Indie Music Festival is a communal context where curators, musicians and audiences mutually share their musical tastes and identities regardless of geographical boundaries. Being a multicultural, multiethnic, and a multilingual country, music scenes in Malaysia often divided along ethnic and language lines, resulting in Mandarin, Malay, English, and Tamil music scenes. Since its start in 1997, the Chinese Independent Music scene has entered its 19th year this year. The first Chinese Independent Music Festival was conducted in 2003, and has since evolved from a single festival to several different festivals throughout the years. Each festival has its unique characteristics and objectives, from upholding the recognition of the Chinese bloodline to inter-ethnic and cross-cultural music collaboration. All from the palette has contributed greatly to the shaping of Malaysian Chinese Independent music scene. This study examines the interaction between people throughout the music festival, and how it help to construct sense of identity of the music festival, as well as to promote the development of the Malaysian Chinese Independent music scene.
Focusing on the Chinese music festivals held in Kuala Lumpur, Malaysia during year 2003 to 2016, this study explores the interactions among the music festival participants, namely the organizers, performing bands, and the audiences. Applying the theory of symbolic interaction, data collected via in-depth interviews, observations, and secondary data were analysed., delving into the symbolic meanings behind the interactions among the participants, as well as common meanings constructed by the participants toward the festival, and furthermore providing recommendations on the future developing strategy for the Malaysian Chinese independent music festivals.
The findings show that the music festival participants unanimously agreed on the importances of the music festivals, and noting the festivals as tokens of ‘Fun’, “Live music’, and ‘Platforms for performances’. Secondly, personal roles influence the interactions between different participants and hence the different symbols. Symbols arose from the interaction between festival curators and performing bands included ‘Transactions’, ‘Friendships’ and ‘Proactive’. As for the interaction between curators and audiences, ‘Astounding lineups’, ‘’ and ‘Conveying of messages’ were the main expressions. While between the performing bands and the audiences, their interactions were marked by labels such as ‘Instructions’, ‘Consumptions’, and ‘Enjoyment of music’. Among the curating teams, ‘Enthusiasm’, ‘Selfless’, ‘Active’ are important traits identified. Last but not least, band members agreed on the common grounds of ‘Decisions made after discussion’ and ‘Continuous improvement’.
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