本研究主要從2009 年到2011 年於雲南瑞麗的歌會田野資料，應用當代社會戲劇論者歐文．高夫曼(Erving Goffman) 的「印象管理」理論，理解少數民族「生活世界」的自我表演空間。藉由評析2009 年一場大型景頗歌會的文化展演，透過現場中演奏者的音樂即興與情緒互動，描繪了景頗人印象管理的主位觀點，並探討跨界族裔與區域社會的互動脈絡。這樣的美學印象是俗民藝術家熱切獻聲，聚焦展演於「舞臺上的真實性」，表達了跨界民族的現身情態，並積極與國家觀光場域下所優位展示的國家民族主義競逐話語權。文化比較視野也能重新理解歌會表達了多個包涵二元範疇的社會現象，包括民間與官方、及景頗與漢族間的異質表述。民族音樂學的音聲美感研究讓我們看到不一樣的聲景細節，讓人聚焦真實生活世界的溝通媒介。景頗歌會的印象管理執著於奇數樂句的再組織，使用在地看重的音樂尾奏，其張力強調了人群集體存有的永恆努力。特別是當民族音樂特徵隱晦地穿梭全場成為可聽見的場景，讓一體的美感經驗揭示成為族裔概念下的跨界文化概念。 This ethnomusic study among the Jinghpaw in Ruili, Yunnan (China) in 2009-2011 investigated how folk singers and dancers collectively managed their ethnic impression, according to anthropological framework of Erving Goffman. Local reflexive awareness on “life-world” across borderland arranged concert details in December of 2009, and performed particular music features that actively represented a unique sonic aesthetics of Jinghpaw (Kachin). Such scenery impression is not only a re-focused ethnic authenticity, but also a compelling authorship of cross-bordered ethnicity against dominant nationalist discourse. Contrasting dualism in singing performance between official and folk, or between Jinghpaw and Han-Chinese, created a differential soundscape, in which local performers always reminded to emphasize odd music sentences in order to re-organize sonic structure of the concert. The staged tension as a powerful presence of bordered social life deeply moved audience, insiders and outsiders. Custom impressed scenes that integrated ethnic aesthetic experience with cross-border consolidation have revealed local essential ideas of cultural struggling.
