校園裡的土牛溝：以熱音社為教育實踐的批判性反思

Tu-Niu Boundary on Campus: A Critical Reflection on the Field of the Rock Music Club as Education Practice

10.6512/lnp.201812_(6).0003

鄧明宇(Ming-Yu Deng)

自我敘說 ； 批判教育 ； 技職教育 ； 搖滾樂 ； self-narrative ； critical pedagogy ； vocational education ； rock music

生命敘說與心理傳記學

6輯（2018 / 12 / 01）

59 - 88

繁體中文

研究者是後段技職學校的教師，透過行動者的自我敘說，進行教育現場的反思性探索，本文採取批判教育學的立場，將熱門音樂社指導教師有意識地當作另類教育實踐的角色。後段技職學校學生往往來自勞動階層，在經濟資本和文化資本的雙重匱乏下，被家庭工具性的生涯定性。在臺灣邁向發達資本主義社會的階段，技職教育作為階級翻身的想像，吸納了勞動家庭的小孩成為勞動者教育所，教育機構因其職業訓練功能性，往往形成規訓管理的體制，讓準勞動者的本能受到系統所控制，減弱了自我實現的能力；而醫護教育傾向把克盡職責、關愛等文化標籤，當作是個人的內在特質，強加在被教育者身上。在臺灣高教環境的惡化下，教師成為教育機器的一部分，作為教師的專業權力減弱，教師成為教育加工的小工頭，課堂教育往往成為囤積式教育。行動者企圖透過熱門音樂社的社團教師身分，進行具有輔導意涵的教育活動。行動者放下傳統教師的樣子，企圖消解市場取向的人際關係，在私混的雙向社會關係裡，發展出集體性、分享性的生產性關係。陪伴幾個熱門音樂社學生的過程，行動者看到勞動階層學生受苦的生命經驗，如何在以白色純潔規訓的校園文化裡編織更大的痛苦，她們用龐克搖滾的裝扮，作為扺抗社會的武器，在搖滾節奏裡用嘶吼進行痛苦的釋放。行動者有意地創造一個化外之境，在校園最偏僻的角落，長長的看臺區分了校園內規訓與慾望的兩個世界，土牛溝外是充滿反抗體制的有機園地，行動者作為社團的園丁，把奇形怪狀的生命聚在一起，暫時躲避外在現實風暴，扺抗教育規訓的慣行耕作，透過音樂和群體生活，撐起草地上暫存的自由生機，希望讓受傷的生命得到療癒之效。

The researcher is the teacher of the disadvantage vocational technical school. Through the self-narration of the actor, the researcher conducts a reflective exploration of the education field. This article adopts a position of critical pedagogy and the practitioner intentionally choice the guidance teacher of rock music club as an alternative educational practice. The students in the disadvantage technical and vocational schools often come from the working class. Under the dual scarcity of economic capital and cultural capital, they are determined by family-oriented careers. In the stage of Taiwan's march towards a developed capitalist society, technical vocational education, as an imagination of class turning, absorbed the children of working families to become laborer's education institutes. Because of their vocational training function, educational institutions often formed a discipline management system. The instincts of quasi-workers are controlled by the system, which weakens their ability of self-achievement and medical and nursing education tends to put cultural tags such as due diligence and caring as personal intrinsic qualities and impose them on the educated. With the deterioration of the higher education environment in Taiwan, teachers have became screws of the educational machine, as teachers' professional power has weakened, teachers have became little foremen of education processing, and teaching in classroom has already become banking education. The actor attempted to carry out educational activities with the healing implication through identity of the teacher' cohering function of community in rock music club. The actor let go of the traditional teacher image, trying to dissolve market-oriented interpersonal relationships, and develop a collective and sharing productive relationship in a dual-way social relationship. During the process of accompanying several rock music club students, the actor saw the suffering life experience of working-class students, how to weave greater pain in the campus culture trained in white purity discipline. They used punk rock dresses as weapons against the society and released pain in their lives with roar and yell in rock rhythm. The actor deliberately created an anti-alienated environment. In the most remote corner of the campus, a long stand distinguishes two worlds of discipline and desire at school. Outside the Tu-Niu Boundary is an organic garden full of anti-antibody systems. The actor/gardener gathers strange life together, temporarily avoids the external reality storm and resists the customary farming of education and discipline. Through music and group life, we would temporally draft the freedom of suffering life on the field, hoping to heal the injured life to treat well.

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