「體」現中國？：1950-1960年代威權統治下的臺灣民族舞蹈與創作能動性

Abstract

臺灣現代形式的舞蹈藝術萌發於日本殖民現代化的社會過程，然而，奠定今日舞蹈藝術學院化與形成舞蹈藝術場域的重要歷史轉折期，是在高舉反攻大陸的1950年代。在國民黨反共復國總動員的目標下，政治無可避免插手或管制藝文創作，舞蹈作為藝文之一環也無法逃脫政策的約束。當時，藝文政策鼓勵創作具戰鬥性的反共抗俄作品，與能象徵國民黨統治中國正當性的民族舞蹈。因此，臺灣舞蹈史的書寫對此一時期的舞蹈現象多以政治箝制、牽制舞蹈藝術的觀點總結。本文將此作為提問起點，重回史料觀察1950-1960年代的民族舞蹈與藝文政策之關係。相較於學者們著重由上而下指出政治箝制、牽制舞蹈，本文則由下而上觀察與理解當時舞蹈人如何在回應藝術政策的創作策略上施展能動性，以此豐富民族舞蹈如何可能的想像。同時，進一步理解缺乏反共經驗與中國舞知識技術的臺籍舞蹈名家如何配合民族舞蹈政策創作民族舞蹈。本文以貼近舞蹈家創作與表演的經驗為研究基礎，思考政治與舞蹈間迂迴的互動與辯證關係，彰顯即便在威權體制下，舞蹈作為特殊的藝術類屬，還是有其藝術思維與技術操作上的自我運作方式是政治難以強迫轉變的。舞蹈家在創作過程所開創的美學形式更是形塑民族舞蹈風格的骨架，決定民族舞蹈如何被體現與想像的關鍵。

Dance as a modern art form in Taiwan originated from the period of Japanese colonization, however, the cold war period of 1950s-1960s was a stage of transformation that institutionalized dance and formed the basis of the dance field as we know today. During this time, anti-communism and recovering Mainland China was the goal of the Nationalistic Government Kuomintang（KMT 國民黨）, hence cultural policies were formulated to achieve the goal and so was the policy of dance. The Chinese Nationalistic dance created in Taiwan so called minzu dance（民族舞蹈）was the product promoted by KMT and its aim was to legitimatize the authority of KMT based on cultural nationalism. Scholars who studied minzu dance emphasized its political demands and considered that the dance policy limited the creativity of choreographers. This research turns this assumption into a question. Instead of talking about how the creativity of choreographers were restricted by the dance policy, I analyze documents and literature to see how choreographers created minzu dance that was an invented tradition, and special attention is paid to Taiwanese choreographers who grew up during Japanese colonization and had little experience of Mainland China. By revealing how choreographers created minzu dance in terms of their mentalities, the techniques, the strategies, I argue that minzu dance was the product of the negotiations between dancers and politicians. However, it was the creativity and techniques in dance making rather than the policy seeking to shape it that determined how minzu dance was presented and perceived.