美濃居民在現代化過程中，經歷發展對傳統文化、傳統產業與傳統價值觀之 衝擊，居民「美濃認同」逐漸衰弱。不過，在1990 年代「反水庫運動」的抗爭 過程中，藉由社會運動參與，成功凝聚了美濃當地的「族群／社區／公民」意識， 重新建立鄉土認同。此際，由美濃當地人所組成之交工樂隊，在反水庫運動中使 用歌曲傳唱方式，以原鄉語言描寫了當地人的心聲。本文即以文本與「論述」 (discourse）方式研究分析方式，檢視交工樂園的歌曲之背景與價值脈絡，認為其 為凝聚並「具象」(embodiment）主張的一種方式，配合既有研究文獻、當地訪問和實地考察環境，加以田野調查。並使用文本分析的角度來檢驗交工樂隊的詞 曲文化意涵，其歌詞、歌曲如何以系譜、價值和空間凝聚塑造原鄉。在交工歌曲 之論述中，「原鄉」擁有「絕對性與區隔性」兩種特質， 甚而變成可以認同的對 象物。美濃建構「原鄉情懷」與「區域政治意識」的範例棋式，為社會／文化資 本藉由文藝形式參與和實踐塑造，提供了區域面對轉型之特殊經驗。

Impacted by encroaching urbanization, Meinung, a traditional agriculture town m southern Taiwan, has had to learn to deal with challenges. In defense of a government-proposed dam project, the town mobilized to consolidate its civic leverage through the indigenous Hakka songs to evoke the passion and common bond and to unite the community's identity. The Jaio-gong (Labor Exchange) Band touched the collective community chord with their Hakka music to promote discourse among the people and put forth the embodiment of a united front against the project. The paper examines the process on how Meinung succeeded in converting its indigenous cultural capital force into a powerful political force against the economical capitalism. The paper begins by looking into the band's song lyrics and their origins and conducting a literature review and on-site investigations. We then examine the cultural ingredients of their songs and their lyrics, and how the lyrics combined melody, social values, and physical space to conceptualize homeland that possesses both "absolutism" and "differentiation." Their motto arises from such "nostalgic sentimentalism of home" and "regional political awareness." Social and cultural capital forces can be formed through participation and pragmatism. This paper finally suggests that Meinung community identity is the unique "homeland" concept as the slogan "From Anti-Dam to On-Site Management".