土風舞又土又瘋？！臺灣新世代土風舞者的承啟與使命

土風舞又稱世界民俗舞蹈，是international folk dance的中文譯名，意即帶有各地風俗文化之民間舞蹈的統稱。對特定年齡層的臺灣人而言，土風舞或許是學生時代最重要的休閒活動之一，現已然成為許多臺灣人年少時的共同記憶；當然也有不少愛好者持續精進舞技並推廣此活動，方使土風舞在臺發展至今邁入一甲子。然而，解嚴後不同流派的發展，加上「傳統」似總為「流行」的相反詞，使土風舞每每被認為是中老年人的專屬活動。但研究者同時身為土風舞者，對土風舞受此誤解的情況深感遺憾，更認為此舞種經歷六十年的傳承與變革，絕不僅是世界各地傳統舞蹈的集合，在技巧與類型方面更不斷擴大、革新，傳統和當代的權衡亦在土風舞圈內形成激烈的辯論。本研究採納與九名年輕土風舞者的對話。這群研究對象為25至35歲之間、大學時期初次接觸土風舞後方持續參與至今的年輕舞者們；他們幾乎是臺灣土風舞圈內最年輕的一群，故也最受前輩們寶貝並視為傳承的希望。本文闡述受訪者邂逅土風舞的契機，亦探討其接觸土風舞前後對此舞種觀點的變動，以及受訪者心目中對「傳統」和「當代」的理解與詮釋。研究者認為，舞者身體作為傳統舞蹈形式與當代對話的媒介，兩者間的平衡必因個人成長經驗、教育及文化等背景而有所差異；尤其曾以休閒、社交為目的的土風舞，透過青年舞者的眼光，將能重新檢視、體會土風舞於當代社會所彰顯的價值和歷史意義的流轉。

關鍵字

土風舞；世界民俗舞蹈；當代民俗舞蹈；休閒舞蹈

並列摘要

Tufengwu is the Chinese term translated from ＂international folk dance,＂ a specific dance genre that contains various regional folk dances. Dancers of different ethnic backgrounds participate in this dancing community with great passion of learning others' cultures. Strikingly, tufengwu was popularized by the government during Taiwanese martial law period (1945-1987), and it has become a unique collective memory of Taiwanese people of specific generations. Currently, many dancers are still practicing this dance form, with the dancing community celebrating its 60th anniversary throughout 2017 and 2018. Tufengwu has diverged into a few sub-communities with different preferences of dance styles since the Martial Law was lifted. Meanwhile, ＂traditional/folk＂ seems to always be opposite of ＂fashionable/stylish.＂ Many Taiwanese people thus now consider tufengwu an activity specifically for the elders and housewives. However, as a dance scholar and an international folk dancer, I am extremely disappointed about this dance form being misunderstood. Experiencing sixty years of evolution, tufengwu in Taiwan not only is a collection of folk dances around the world, but also has been more and more diverse and covers various styles and techniques. Striking a balance between ＂traditional＂ and ＂contemporary＂ has also been a vigorous debate within the dancing community. Interviews of this research focus on some young Taiwanese international folk dancers who are now between 25 to 35 years old. Comparing to most participants, these dancers are so young that they are often considered the future of this community. I invite them to share their dance experiences, their changing/unchanging understandings on tufengwu, and their interpretations of ＂traditional＂ and ＂folk＂ under a contemporary context. I suggest that dancers' bodies are channels of communication between folk dances and the contemporary society. Through these young practitioners' points of view on tufengwu, once an essential recreational dance form in Taiwan, we can rediscover its historical meanings and contemporary social value.