COLLEGE HIGH 街舞競賽對其參與者的文化認同與消費體驗影響之研究

街舞的起源本是出於生活上的發洩、貧富差距的現象,而衍伸出自我意識抬頭的舞蹈方式之一,從生活文化到競技比賽再到表演藝術,從街頭的隨性延伸到休閒娛樂的需求,最後躍上國際舞台舉辦的競技比賽與劇場式演出,一系列的轉型進步與融合發展,將街舞的文化逐步普及於大眾的生活也漸漸往主流意識靠攏。在 2019 年 2 月巴黎奧運會正式向國際奧運會提出將街舞納入正式比賽項目的消息轟動整個街舞圈,也在此表示「競賽」作為街舞表現的手法,在多年的努力下得到了世界對街舞的文化認同。因此,研究生將競賽作為主體,以個案 COLLEGE HIGH 來研究街舞參與者的發展影響。主要是因為 COLLEGE HIGH 在初期的活動思維上,以仿造類似「甲子園」的運動型競賽模式,強調團隊、激情、目標與光榮的內容行銷修飾了整個街舞競賽以往的單調感,也因為街舞在被納入青年奧運後,證實了街舞在運動競賽下的發展是可行的,讓競賽在街舞的表現形態中佔有重要的地位。其次在 COLLEGE HIGH 首創賽制的有趣及激烈競爭下,不但提高了各院校對於能夠進入決賽的渴望,同時放大了參與者的文化認同並伴隨其消費體驗的生成,在街舞競賽的參賽者與觀眾之間產生不一樣的關聯與影響。藉此,本研究旨在探討街舞競賽中文化認同與消費體驗在參與者之間的相互關係與影響,因此討論架構會採用 Wendy Griswold(1994)等學者的文化菱形模型,來分析街舞競賽中參賽者與觀眾,以及作為經銷商的主辦單位,在文化認同與消費體驗的考量下,彼此之間如何運作與相互作用。研究內容如下:一、分析街舞競賽的發展要素。二、競賽對街舞參與者的發展影響。三、街舞競賽的發展模型。

關鍵字

街舞競賽；文化認同；消費體驗；文化菱形模型

並列摘要

The origin of street dance was one of the dance moves sprouted from, at first, the motivations of venting of life stress, disparity between the rich and the poor, etc. It allows people to express themselves and focus more on self-consciousness. Street dance had transformed a lot from living culture, skill competitions to performing arts as well as from casual street side expression, demand of leisure entertainment to finally making it to international stages of skills competitions and theatric performances. The series of changing and combination development have gradually brought street dance culture to a further commonly accepted scene and moved the culture closer to mainstream consciousness. In February of 2019, Paris 2024 officially proposed to International Olympic Committee regarding including street dance in its official competitions. This news shocked the whole street dance cultural camp for becoming recognized as a kind of “official competition”, to certain degree, means that this cultural object is obtaining an international acknowledgement from the globe. Thus, this project applies competition itself as subject, doing a case study of COLLEGE HIGH street dance competition to research on its developmental influences on participants. The major reason of doing so is that, when COLLEGE HIGH was established, it simulated the athletic competition model and marketing measures of Koshien, laying more emphasis on teamwork, enthusiasm, goal pursuing and glory, adding entertaining flavors to street dance competitions before, which were relatively tedious. What’s more, after street dance being include in Youth Olympic Game, it was also proved that it is possible to develop street dance culture under the wings of sports competitions. Secondly, under the newly-made entertaining competition system of COLLEGE HIGH and fierce competition, participants’ eagerness to winning became stronger and stronger. Simultaneously, this also increased participants’ cultural identification and spurred people’s relevant consumer experience as audience, stirring up different connections between street dance participants and the audience. This research aims at exploring the inter-relation and influences among participants’ concerning cultural identification and consumer experience within street dance competitions. Hence, the discussion structure is built on Griswold’s Cultural Diamond Model, analyzing how competition participants, the audience and the host, under the consideration of cultural identification and consumer experience, function and interact. The study contents are as listed below: I. Analysis of developmental factors of street dance competition II. Research on the developmental effects competitions have on street dance participants III. Developmental model of street dance competition