解放與規訓－殖民現代性、認同政治、台灣早期現代舞中的女性身體

Of Liberation and Discipline: Colonial Modernity, Identity Politics, and the Dancing Female Bodies in Early Taiwanese Modern Dance

陳雅萍(Ya-Ping Chen)

《戲劇學刊》 14期 (2011/07) Pp. 7-40

https://doi.org/10.29776/TTJ.201107.0001

摘要

「身體解放論」（尤其是女性的身體）向來是現代舞歷史論述的核心；然而，近年來愈來愈多的研究顯示，早期現代舞既是身體與精神的解放，但同時也深受當時代各種意識形態的制約與模塑。臺灣早期現代舞因萌芽於1930至40年代的日本殖民時期，因此其內涵與歷史皆無可避免地被鑲嵌於日本國族建構和戰時文化總動員的意識形態網絡之中。前輩舞蹈家們舞動的身體，一方面反應了早期現代舞普遍具有的「解放」與「規訓」之雙重實踐；另一方面也見證了臺灣在日本殖民統治下特殊的「殖民現代性」經驗，尤其是在文化層面的展現。因此，本論文將前輩舞蹈家們舞動的身體置入以下三重論述之歷史脈絡中加以審視：1)現代舞中被解放的女性身體；2)廿世紀前半西方霸權主導的世界架構下，亞洲國家追求現代化的國族計畫；3)「殖民現代性」特有的「遲到的現代性」特徵，以及所描繪的具有殖民特質的「啟蒙進步論」。論文後半並以李彩娥與蔡瑞月二位前輩舞蹈家為例，申論殖民現代性與現代舞中女性身體的複雜互動，並試圖在當時的時空脈絡中，剖析李彩娥演出的《太平洋進行曲》以及蔡瑞月編舞和演出的《印度之歌》，其中女性舞動的身體所體現的文化與政治意涵。

關鍵字

殖民現代性 ； 台灣早期現代舞 ； 女性身體 ； 認同政治

並列摘要

The discourse of bodily liberation, especially the female body, has been at the core of historical narration of modern dance. However, as more and more research reveals, while early modern dance was about bodily and spiritual liberation, it was also molded by various ideologies of its times. Born in the late stage of Japanese colonial period, the early Taiwanese modern dance was inevitably embedded in the ideological network of Japanese nation construction and wartime cultural mobilization spreading across the Japanese empire. Hence, the dancing bodies of the Taiwanese concert dance pioneers reflected the dual practices of ”liberation” and ”discipline” commonly observed in the world's early modern dance history on the one hand, and testified to the peculiar experience of ”colonial modernity” under the Japanese rule on the other hand. This essay examines these dancing bodies in the context of three layers of historical narrations: 1) the liberated female body in modern dance; 2) the national project of modernization conducted by Asian countries in the West-dominated world structure during the first half of the twentieth century; 3) the discourses of ”belated modernity” and ”enlightened progressiveness” characterizing the ideology and practice of colonial modernity. In the later part of the essay, two examples of women dance pioneers, Lee Tsai-e and Tsai Jui-yueh, are used to illustrate the intricate interaction between colonial modernity and the dancing female bodies, as well as the cultural and political implications revealed and embodied in the process.

並列關鍵字

Colonial modernity ； early Taiwanese modern dance ； female body ； identity politics

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