與K-pop共舞：Cover Dance與台灣年輕女性的身體實踐
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2013
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「韓國流行音樂」（Korean popular music, K-pop）一詞，並非完全指涉單一民族國家之通俗音樂文類，而更係植基於強烈的商業動機與經濟考量，乃至韓國流行音樂產業對於海外市場的想像。隨著韓國流行音樂的商業性、區域性乃至全球性發展，舞曲已逐漸成為韓國流行音樂最主要的類型之一，除卻其對MV影像特質的追求之外，韓國流行音樂對於舞蹈編排與舞蹈風格的注重，再加上現場直播音樂節目的周期性放送，與各種cover dance舞蹈賽事的舉辦，皆自各種面向強化了韓國流行音樂的視覺意涵，使得韓國流行音樂的消費並不僅是一種聽覺性的經驗，更涉及了視覺性的，甚至是身體化（embodiment）意義下個體的感官經驗與身體實踐，進而可能形成不同層次之「聽」韓國流行音樂、「看」韓國流行音樂和「跳」韓國流行音樂的消費意涵。
本研究將與cover dance有關的論述或討論劃分為兩個部分，分別為：K-pop中陰性／陽剛特質的「體」現與重構，以及cover dance作為舞蹈實踐的在地意義。透過強調女性與跳舞的連結，期能為台灣青少女或年輕女性對於cover dance的投入提供一幅更為積極的圖像，並凸顯出cover dance舞者作為一般人、cover dance作為日常生活的舞蹈實踐的意義。更重要的，是指出這樣的舞蹈實踐具備何種特殊的在地意義，而與台灣女性身體、跳舞文化以及社會性別結構乃至性別空間之間的關係有著什麼樣的連結。
綜合而言，本研究從身體化（embodiment）的觀點出發，以台灣青少女或年輕女性為主體，將韓國流行音樂（K-pop）的角色視為個體操演性別、情緒與體現能動性的資源，探究cover dance在台灣青少女或年輕女性的生活中扮演了什麼樣的角色；她們又是如何透過韓國流行音樂的消費與挪用，理解並重構韓國流行音樂中所展演的陰性特質，進而生產、經驗了何種另類自我（alternative sense of self）、身體化經驗（embodied experience）與身體實踐，而得與她們所嚮往的韓國偶像互為主體。
This paper tended to regard K-pop’s role as a resource for configuring emotional and embodied agency, focusing on the consumption of K-pop among Taiwanese young female. Considering the importance of consumption of images, dancing and performances which come from K-pop music videos and live performance especially, the consumption of K-pop could be viewed as physical experience instead of audio experience only that “cover dance” became one of the prominent and significant localized dance practices of K-pop among Taiwanese young female. The intention of this paper was to discover how Taiwanese young females recognized or reconstructed the femininity performed from K-pop, what embodied experiences and bodily practices were produced while consuming K-pop and how they made music personalized though the appropriation of K-pop. By identifying two different kinds of dance practices: the cover dance practice of dance groups and individuals , this paper tended to highlight the alternative senses ofselves which may claim to experience within different bodily practice when “dancing with” K-pop, and a network-oriented dancing culture which related to body consciousness, gender and spaces.
This paper tended to regard K-pop’s role as a resource for configuring emotional and embodied agency, focusing on the consumption of K-pop among Taiwanese young female. Considering the importance of consumption of images, dancing and performances which come from K-pop music videos and live performance especially, the consumption of K-pop could be viewed as physical experience instead of audio experience only that “cover dance” became one of the prominent and significant localized dance practices of K-pop among Taiwanese young female. The intention of this paper was to discover how Taiwanese young females recognized or reconstructed the femininity performed from K-pop, what embodied experiences and bodily practices were produced while consuming K-pop and how they made music personalized though the appropriation of K-pop. By identifying two different kinds of dance practices: the cover dance practice of dance groups and individuals , this paper tended to highlight the alternative senses ofselves which may claim to experience within different bodily practice when “dancing with” K-pop, and a network-oriented dancing culture which related to body consciousness, gender and spaces.
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韓國流行音樂, Cover dance, 身體化, 身體實踐, 跳舞文化, Korean Popular Music（K-pop）, Cover dance, Embodiment, Bodily practice, Dancing culture