- 期刊
舞蹈、跨域與反殖民：從台灣首位現代舞者林明德赴日拜崔成喜為師，考察日治時期台灣舞蹈史
Dance, Cross Domain and Anti-Colonization: A Historical Trace of Dance Art Legitimated in Taiwan through the Event of Lin Ming-Te studying under Korean Dancer Choe Sung-hui
摘要
本論文試圖描繪日治時期台灣舞蹈藝術發展的軌跡之一，從被稱為「台灣舞蹈藝術第一人」林明德生命史的建構觀察1930年代的台灣舞蹈藝術的開展與政治之間的關係。1936年韓國著名舞者崔承喜透過台灣文藝聯盟東京支部的邀請來台演出，帶動起台灣一股崔承喜旋風，也刺激了被稱為「台灣第一」的男性舞蹈家林明德於同年赴日學舞。令人好奇之處在於崔承喜是何許人？她於1936年來台巡演有何時代意義？為什麼會激發林明德赴日學舞？這些問題與1930年代台灣的反殖民藝文運動有關，也與中國、日本、朝鮮等在東京的左翼跨藝術領域的交流有關。本論文即欲聚焦於崔承喜來台的機緣與對當時台灣在舞蹈藝術與反殖民面向上的啟發，作為思考台灣舞蹈藝術的萌發與抵殖民運動之關係。
並列摘要
This research aims to explore how dance as an art form was legitimated in Taiwan through exploring the life of Lin Ming-Te who is considered as the first of Taiwanese modernized dancer. This paper mainly focuses on the relationships between the art of dance and politics in Taiwan during 1930s. At 1936, famous Korean dancer Choe Sung-hui was invited by Taiwan Art Alliance to perform around Taiwan. This event brought Taiwan a big news during the art circles and even more important it inspired the first Taiwanese dancer Lin Ming-Te to consider dance as an art form and make profession on it. This research aims to explore who was Choe Sung-hui? How did she come and perform around Taiwan in 1936? What kind of effects did she bring about? These questions are mainly related to the anti-colonization of Japanese imperialism by the art circles during 1930s in Taiwan and the cross domains on arts in the left circles between Chinese, Japanese and Korean in Tokyo. This research is to explore how the modern form of dance art Legitimated in Taiwan through the dimensions of anti-colonization of Japanese imperialism.