舞動台灣─ 談嘻哈街舞自1980年代末期進入台灣後，這20年來的發展流變

Dance Da Taiwan─Dating Back to Late 1980s to Discover The Historical and Social Development of Street Dance In Taiwan

施昱竹(Yu-Chu Shih)

指導教授 ： 林麗雲

共同指導教授 ： 高人傑(Roger Kao)

國立臺灣大學/社會科學院/新聞研究所/碩士(2012年)

https://doi.org/10.6342/NTU.2012.02872

摘要

嘻哈文化（Hip Hop Culture），在1970年代的美國紐約，曼哈頓島東北方的南布朗士區（South Bronx）裡，誕生了，此後因為傳播科技的關係，進而影響席捲全世界迄今。嘻哈教父非洲邦巴塔（Afrika Bambaataa）成立了祖魯國（The Zulu Nation），一個組合了DJs、霹靂舞者、塗鴉藝術家還有街頭年輕人的組織，希望將南布朗士區年輕人的憤怒與熱情，從幫派械鬥導向音樂、舞蹈還有塗鴉。街舞作為一種舞蹈形式，體內流著嘻哈的基因，富含彈性、吸收力，讓接觸者透過肢體傳達出「我是獨立個體，我就是我」。隨著時代發展，街舞從過去象徵黑人內在精神的符碼，已經成為全世界任何人表達內在自我的方式。

1987年，台灣解嚴，資訊開始鬆綁；80年代末期，因為媒體藝人、錄影帶、舞廳文化等因素，嘻哈文化傳入台灣，街舞開始吸引到年輕人的目光。其中，音樂錄影帶是年輕人注意到街舞的重要媒介，透過模仿音樂錄影帶當中的舞蹈，開始學習街舞。曾經在80年代中期，台灣街舞發展比日本還好，當時日本NHK電視台甚至來台拍攝跳街舞的人。但是因為當時社會觀感與眾多因素交相影響之下，第一代舞者多半在服完兵役後，選擇離開圈子，並未傳承原有的技藝。

1988年，更是台灣街舞文化發展重要轉折點。資深舞者小涵在訪談時表示從自己這一代（1988年左右）才開始傳承，「前輩們很厲害，可惜就是中斷了」。在幾乎沒有前人存留資源的情況下，1988年左右開始跳舞的舞者，因為想要跳舞而跳舞，不斷在過程中摸索，即使遭逢許多困境，但依舊憑藉著那股「想跳舞的心」奮鬥下來，當時更不會想到未來有一天會成為台灣舞蹈圈引領者，甚至開設舞蹈教室、透過跳舞賺取生活費。斷層後出現的舞者開始傳承並延續台灣的街舞文化，這20年來，從早期在一片黑暗中摸索，到現在建構完整系統傳承，一路耕耘讓街舞在台灣深根發芽並茁壯。街舞文化背後所蘊含的意涵，是有深度、有廣度、有層次的。

然而，即使跳舞風氣在現在越行興盛，多少人清楚街舞在台灣的流變與實踐的狀況？在風氣不盛、資源不發達的90年代環境之下，資深舞者如何奮鬥？發展超過20年，隨著網際網路日趨發達，資訊流通更顯迅速，街舞的能見度不斷上升。而舞蹈本身是動的，充滿無限生命力，有鑒於此，我希望透過影像紀錄報導輔佐文字的方式，傳遞出舞者的熱情與活力。

本報導將從80年代末90年代初開始談起，帶領讀者了解街舞進入台灣初期的樣貌及台灣社會文化狀況，以及黃金十年的轉變過程，最後在邁入21世紀之初，面臨到網際網路發展，所產生的正向及負向影響，讓社會大眾看身在其中的舞者如何找到自我認同，以及他們對於跳舞至始至終不變的堅持熱情、付出與努力。

關鍵字

嘻哈文化 ； 街舞 ； 媒體資源 ； 次文化 ； 次文化資本 ； 自我認同

並列摘要

Hip Hop culture is raging on. Born in South Bronx, New York in the 1970s, it has spread all over the world and brought great influence due to the development of technology. Afrika Bambaataa, one of the most influential person in Hip hop culture, established The Zulu Nation which combined DJs, breaking dancers, graffiti artists, and rappers, hoping to direct young people’s anger and passion into music, dance and graffiti instead of focusing on gang activities. As a form of dance, street dance embodies the gene of Hip Hop, full of flexibility and attractions, enabling people to express “I am who I am ” with their body movement. From a symbol representing the inner spirits of African Americans, Hip Hop, with the development of eras, has become a way to express inner self for everyone all over the universe.

Shift to the dance scene in Taiwan. Back in the middle of 1980s, the development of street dance in Taiwan was better than that in Japan; NHK, Japan's national public broadcasting organization, even came to Taiwan to film young people dancing on the street. However, because of the social backgrounds and viewpoints at that time, the first generation of Taiwan street dancers stopped it right after completing military services without passing down any dance skills or moves.

Kidd Tseng, the member of Taiwan’s oldest dance crew Popcorn, said it was pity that his former generations quit dancing. As a result, the whole system started to build up from his generation (around the year of 1988). Without any information left by former street dancers, they searched everything by themselves under the circumstances which the Internet was not that popular as now, the information was less in Taiwan. All they had was the passion of dance, “I dance because I want to, so simple”, and they didn’t even think about one day that they would become top dancers in Taiwan, or even open dance studios to teach with a view to earning a living. They started dancing owing to the love of music, and continued it till now to make street dance grow up and blossom.

However, even street dance is getting popular nowadays, I wonder how many people really know the development and history of that in Taiwan, and the ways dancers have strived for in the past 20 years. Within the 20-year development, street dancers possessing complete and massive subcultural capitals have established a system to continue the cultural inheritance of street dance. As a result, I will start the in-depth report back in the 1990s in order to let people understand how street dance was like as it first came into Taiwan and also the social and cultural conditions at that time. Then I will focus on in the Golden Age, 1990s, how street dance developed and changed with the face of the rapid advancement of technology in media.

Because dance itself is full of energy and vivid, I hope to use the form of documentary to let people know how those dancers find their own self-identities, how much efforts they make, and how they love with great passion, insistence and love.

並列關鍵字

Hip Hop Culture ； Street Dance ； Media Sources ； Subculture ； Subcultural Capital ； Self-identity

參考文獻

林浩立（2005）。〈流行化、地方化與想像：台灣嘻哈文化的形成〉，《人類與文化》，

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