殖民統治下的臺灣與日本，擁有諸如五七節奏、五聲音階等「類似」的歌謠文化資產。然而縱使在皇民化運動時期，日本政府曾將臺語流行歌填上日文歌詞，以進行政治宣傳，但臺語流行歌在發展過程中，卻明顯具有強調「差異」、試圖與日本演歌劃清界限的傾向。 　　戰後初期，臺灣人卻已追求「類似」的方式，主動且大量的接受日本演歌；以高度經濟成長所萌生的農村人口移動，這個臺、日共有的社會變遷為「類似」基礎，大量的日本「都市民謠演歌」被翻唱並流行於臺灣。值得注意的是：這些歌曲在借用日本演歌之餘，同時具有高度社會寫實精神以及精緻的在化過程；因此和原曲相比較，這些「日歌臺唱」述說臺灣人為了生活，必須離鄉背井出外打拼之心酸、無奈、孤獨、無助和不安的企圖更為先烈。 　　臺灣版的「都市民謠演歌」快速滲透到全台各地，但其衝擊卻僅於本省族群。在語言的障礙、社會境遇、職業階級或族群地位迥異的狀況下，外省族群並無法融入這股傾訴社會不平等認知的演歌潮流。戰後初期，外省族群雖然也擁有包括讚美臺灣社會繁榮的國語流行歌，但在70年代後，國語流行歌也開始翻唱日本演歌。「日歌國唱」的現象讓日語、國語、臺語三種演歌之間，在旋律上有了「類似」與重疊，卻凸顯出國、臺語演歌在填譯歌詞時，態度上的「差異」──相對於臺灣演歌經常保留日本演歌中弱者的怨念；國語演歌則往往只借用旋律，傾注於愛情這個議題。而造成兩種演歌「差異」的癥結所在，並不在於文化或語言上的障礙，是在於以族群作為社會資源分配的政治結構。 　　在臺灣三種演歌所交織辯證出的是：戰後初期臺灣社會並存著後殖民情境、再殖民現象與抵抗殖民的企圖。在這個特殊複雜的政治氛圍下，相對於戰後的國語演歌是一種文化傳播現象，臺語演歌則彰顯出本省族群在面對新的支配者時，必須重組「類似」凸顯「差異」再創自我的社會困境。 　　臺語演歌爾後成為本省族群重要的文學經驗，其在文學上、政治活動上被一再地反芻運用，成為族群動員的文化工具；而國語演歌則成為台灣人共同的大眾文化記憶。

Under the Japanese colonial rule, Taiwan and Japan shared many cultural legacies, such as five-seven syllables ballads and pentatonic scale. During the "Kömin- ka movement" (transforming Taiwanese people into Japanese imperial subjects), Jap- anese rulers even rewrote lyrics of Taiwanese popular songs in Japanese. Despite such similarities and policy of assimilation, Taiwanese popular music had shown an unambiguous propensity in its development to distinguish itself from Japanese Enka. However, in the early postwar period, Taiwanese in their pursuit of being assimi- lated embraced Japanese Enka with great enthusiasm. At that time, both Taiwan and Japan were undergoing similar social transformation marked by rural-urban labor migration under rapid economic growth. A number of Japanese "Urban Enka" were adopted, recomposed and became popular in postwar Taiwan. It is worthy to note that these "reproductions" from Japanese Enka were characterized by high social realism and had undergone further refinement in the process of localization. Compar- ed with their original versions, "Taiwanese Enka" depicted even more vividly the pain, sadness, loneliness, helplessness and anxiety of the Taiwanese migrant workers. Taiwanese Urban Enka quickly became popular island-wide, yet only among the local Taiwanese and not the Mainlanders. These two ethnic groups differed in language spoken, social status and occupations held. The Mainlanders would hardly understand or be touched by Taiwanese Urban Enka, whose theme was mainly social imparity. Instead, in the early postwar years, the Mainlanders introduced Mandarin popular songs, filled with compliments of a prospering Taiwan. Nevertheless, after the 1970s, Mandarin popular songs were also recomposed from Japanese Enka, giving rise to "Mandarin Enka". Japanese, Taiwanese and Mandarin Enkas all shared similar melodies but what the lyrics depicted widely differed. While Taiwanese Enka retained the resentment of the weak, as in Japanese Enka, Mandarin Enka focused on the theme of love. Such contrast between Taiwanese and Mandarin Enkas was not resulted from differences in culture or language, but the political structure with uneven distribution of social resources among the ethnic groups. The intermingling of the three types of Enka in Taiwan epitomizes the coexist- ence of post-colonial, re-colonial and anti-colonial situation in Taiwan. Under the intricate political atmosphere, while Mandarin Enka was a cultural dissemination phenomenon, Taiwanese Enka in contrast emphasized the social plight faced by the local ethnic under the new rule of the Mainlanders, and the need of the local Taiwa- nese for self-reconstruction through highlighting differences in similarities. Since then, Taiwanese Enka has become an essential part of the local literary experience, and has been repeatedly utilized in literary and political discourses, serv- ing as an icon of and source of nourishment to local Taiwanese culture. On the other hand, Mandarin Enka has become part of Taiwanese people's collective memories of popular culture.

類似;差異;都市民謠演歌;不平等認知;弱者的怨念

similarities; differences; urban enka; recognition of inequality; the resentment of the weak