舞，在日落之際：日治到戰後初期台灣舞蹈藝術拓荒者的境遇與突破

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Title:	舞，在日落之際：日治到戰後初期台灣舞蹈藝術拓荒者的境遇與突破
Other Titles:	Dance, At The Falling Sun: The Circumstances and Breakthroughs of Taiwanese Dance Pioneers From The Japanese Governance to The Beginning of Postwar Period
Authors:	徐瑋瑩 Hsu, Wei-Ying
Contributors:	趙剛 Chao, Kang 社會學系
Keywords:	殖民現代性;現代學校教育;文化政治運動;大東亞共榮圈;舞蹈 “Greater East Asia Co-prosperity Sphere”;dance;cultural political movement;colonial modernization;modernized education system
Date:	2014
Issue Date:	2015-03-23T06:55:58Z (UTC)
Abstract:	本研究主要從歷史社會學的角度探問現代形式的新舞蹈藝術在台灣如何興起？本文以史料為基礎，將兩位目前被台灣舞蹈學界公認為「台灣第一」的男女舞蹈家林明德與蔡瑞月的生命史置入當時的時代脈絡，從中探詢形塑舞蹈家各種可能（或不可能）的社會機制，以理解促成台灣舞蹈藝術萌發的社會力。考察這兩位舞蹈家的生命史，本文發現台灣舞蹈藝術的萌發朝向兩條路徑發展：一條是沿著日治時期現代化國家教育體制的規訓與陶塑，而後朝向藝術創作的追尋。一條是與日治時期跨域與跨國的反殖民文化政治運動攸關。「舞蹈藝術在台灣如何興起」此問題與日本殖民台灣所帶來的殖民現代化有關。台灣第一代精緻舞蹈藝術者的養成受到日本殖民帝國極大的社會形塑力，她/他們的舞蹈啟蒙座落在台灣政治運動高漲、經濟型態由農業逐漸邁向工業化與文化逐步現代化，和文學、美術、音樂各藝術領域漸趨發展的1920與1930年代。在此新舊文化交疊的時空下，傳統漢人社會對身體道德的觀點與實踐逐漸鬆綁，而國家對殖民地人身體工具性的要求增強。台籍第一代舞蹈家的啟蒙主要是在現代化的國家教育下透過身體活動、遊戲與遊（學）藝會的展演逐漸累積。然則，身體能夠舞動與把舞蹈當成職志畢竟不同。因此本文更核心的關懷是進一步探問這些少數得以在日治後期赴日學舞的人其養成的家庭階層為何？與1920年代風起雲湧的文化政治運動有何關係？又，舞蹈家的學舞之路與1930年代日本軍國主義高漲、台灣政治運動在各方面受挫後繼起之文化反殖民運動有何關係？再者，這些在二戰之際赴日學舞的青少年/女，在戰時文化統制的控管下學到哪些舞蹈類型？又如何能在高舉皇民化的戰時氣氛中展演具中國特色的民族舞？最後，本文考察戰後初期留日舞蹈家歸台後舞蹈在台灣社會開展的困難與突破。台灣第一代舞蹈家開始在自己家鄉獨當一面之時，也是台灣回歸中國之際，舞蹈家們如何延續或轉變之前所學以投入台灣光復的時代氛圍是本文的關懷。本文希望藉著回答以上問題，揭開舞蹈藝術在台灣上演的第一幕與後台準備的情景。而這看似充滿希望卻困境重重的一幕正是發生在日本帝國戰力國勢日落之時與國民政府遷台前的短暫暮光之際。 The aim of this thesis is to explore how new dance art in Taiwan came about from historical and socio-cultural perspectives. To achieve this, I contextualize the autobiographies and related historical resources of the first generation dancers in order to discover what kinds of social mechanisms motivated them to dance and become dancers. Two chosen dancers Lin Ming-Te and Tsai Jui-Jueh considered as the first male and female dancers by Taiwan dance researchers are the focus of discussions. The finding of how new dance art and the dancers came about in Taiwan can be concluded with two routes. One followed the colonial modernized body education system that emphasized on body discipline and health. The other was related to the cultural political movement of anti-colonialization against Japanese. The rise of new dance art stemmed from Japanese colonial modernization. First generation of Taiwanese dancers started dancing in modernized school education at 1920s-1930s. That was the time when cultural political movement arose with industrial economy gradually incorporated with agriculture ecology, modernization in various aspects of society becoming noticeable, and modern forms of literature, music and painting blooming. While traditional and modern cultures overlapped, old morals on bodily regulations were slowly replaced by utilitarian view on body through the state and modernized education system. This was the circumstance under which first generation of dancers learned to dance at physical education and show their talents on the school work exhibition. Physical education provided chances for children to learn dance; however, dance was not recognized and legitimated as a form of fine art but exercise, and few sought perfection on it. Hence, the questions rise as follow. Firstly, which social stratification did the first generation dancers belong to? Did they come from social elites who were modernized ahead of the society and at the same time leaders of cultural and political movement of Taiwan in 1920s? Secondly, did anti-colonial cultural movement in 1930s pose any impact on recognization of dance as fine art? If so, how could this be possible? Thirdly, what did the dancers learn when they studied dance in Japan at the time Second World War took place? Fourthly, while China and Japan fought against each other in war, how could modernized classical Chinese dances perform in Japan when Japanization was forced on Taiwanese? Finally, I explore how the dancers started choreography and performance at the post war era in Taiwan, and ask what did they perform when the governor changed from Japanese to Chinese?By answering the questions above, I hope to understand how new dance art came about along the history of Taiwan. In 1943 when Japan suffered defeats in the war, Taiwanese dancer Lin Ming-Te premiered the noticeable performance of his own in Tokyo that was considered the first Taiwanese dance performance. The title ” Dance, At the Falling Sun” uses the sun image of Japanese flag in the defeated situation to describe the beginning of dance art of Taiwanese in relation to the broad cultural, political and military circumstances.
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