現代性與台灣的舞蹈

何謂現代性（Modernity）？其核心概念與價值為 何？「現代性」與現代舞有何關 係？其與「現代化」、「現代主義」的關係又是什麼？如果現代性代表的是人類文 明的整體進步現象，那麼舞蹈作為Susanne K. Langer（1953）所謂的藝術家創造 出來的象徵符號（symbol）及Nestor Garcia Canclini（1995）口中的一種「象徵 的製造業」（symbolic practices），其中現代舞所展演的象徵是否具有一種普遍與 必然的現代性？亦即，歐美人文主義的現代性是否適用於台灣的現代舞對現代性 的集體建構？甚或，現代性的集體意識在台灣的現代舞理論與創作中，是否曾經 存在過？如果有，其中的異同何在？如果沒有，那麼現代舞是憑藉什麼紮根在台 灣這塊土地上？如果當下的人類社會真的正處於Anthony Giddens 眼底的「第二 現代」之中，那麼現代性對台灣舞蹈教育的意義是什麼？提出這些問題，目的在 於透過分析文化結構的宏觀層面，來反思現代舞在台灣自1960 年代以來的問題 與成就，進而探討現代性與（後）殖民論述如何介入台灣的舞蹈、社會、文化錯 綜複雜的網脈關係之中發聲。
What is modernity? What are concepts and values of modernity? How is it related to modern dance? What are the relationships among modernity, modernism, and modernization? If modernity represents a total achievement of human civilization, then has Euro-American modernity necessarily had a global presence in modern dance, intermsofSusanneK.Langer’s“artist’screationofsymbol”andoneofNéstor GarcíaCanclini’s“symbolicpractices”?Inotherwords,whetheracollective construction of modernity is available to modern dance in Taiwan? Or, is there such a thing as collective modernity ever shown in theory and practice of modern dance in Taiwan? If so, what are local differences and similarities of the modernity? Furthermore, if the contemporary human society is under what Anthony Giddens terms as the second coming of modernity, then what is the significance of the modernity towards contemporary dance now and here in Taiwan? The purpose of this study is to re-vision the achievements and dilemmas of modern dance in Taiwan, since the 1970s, and to explore how modernity and post-colonial discourse has negotiated through dance, society and culture in presence in this island, by means of a macro-analysis of socio-cultural structure.