現代日本社會中的肚皮舞的性化－以平面媒體為中心

肚皮舞是一種於19世紀末20世紀初期在東方主義背景下，被性化為取悅男性的豔舞。在1970年代美國的女性解放運動中，肚皮舞被重新詮釋為使女性從壓抑中解放出來的舞蹈。與此同時，肚皮舞還被納入健身產業中。上世紀80年代，肚皮舞被移入日本社會。在現代日本社會中，肚皮舞不僅被塑造為營造異國情調的舞蹈在異域風格的餐廳中上演，還開始作為女性的一種特長技藝被實踐，甚至登上劇院的舞臺。隨著時代變遷，雖然肚皮舞的定位也在發生變化，其被性化的特質卻依然健在。因此，考慮到上述狀況，本文以現代日本社會中平面媒體所描述的肚皮舞為研究對象，明確肚皮舞所具有的東方主義色彩後，把性化和著名的社會學者皮耶．布赫迪厄倡導的「慣習」以及「秀異」關聯，探討肚皮舞中被性化的身體。本文目的是，通過討論肚皮舞中的性化問題，不僅瓦解長久以來肚皮舞被片面地認為是勾起男性慾望的舞蹈這種看法，也可發現肚皮舞是女性表達「性賦權」獲取自身主體的方式，同時指出肚皮舞的性化也有著束縛女性行動的一面。也就是說在現代日本社會，通過肚皮舞而被性化的身體具有多樣涵義。

關鍵字

肚皮舞；性化；東方主義；慣習；秀異

並列摘要

In the context of the Orientalism in the late 19th century to the early 20th century, belly dance has been perceived as a dance that satisfies male sexual pleasure. Through the women's liberation movement of the 1970s in the United States, belly dance has been reinterpreted as a dance that can promote sexual liberation of women. Meanwhile, belly dance has also been adopted into the fitness industry. In the 1980s, belly dance has been introduced into Japanese society. In contemporary Japanese society, belly dance is not only danced at the ethnic restaurants for expressing an exotic mood, but also danced as a kind of female accomplishment, and even performed on the stage of theater. Although the position of belly dance is changing, the image of belly dance is still characterized as a sexual dance. Therefore, with the consideration of such a situation, the author focuses on the discourses of belly dance expressed in print media in contemporary Japan and relates ＂sexualization＂ with concepts of Pierre Bourdieu's ＂habitus＂ and ＂distinction＂ to examine the sexualized body in belly dance. In conclusion, the author argues that the dancer's body is sexualized not only as an object to satisfy the sexual desire of men, but also as an expression of 'sexual empowerment' in an active subjectivity. However, since the dancer's sexualized body also plays a normative role, belly dance might be used to restrict women's behavior. In other words, there are various meanings of sexualization intersecting in belly dance.