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| Title: | 短袖善舞：從電子花車到藝陣車隊
Short-sleeved Skilled Dancers: From Electric Flower Cars to Arts Troupe Processions |
| Authors: | 陳楷軒
Chen, Kai-Xuan |
| Contributors: | 康豹
林敬智
Paul R. Katz
Lin, Ching-Chih
陳楷軒
Chen, Kai-Xuan |
| Keywords: | 酬神活動
電子花車
藝陣車隊
陰神系統
鋼管舞
Activities for Offering Thanks to the Gods
Electric Flower Cars
Arts Troupe Processions
Yin-Deity Systems
Pole Dancing |
| Date: | 2021 |
| Issue Date: | 2021-04-01 11:22:04 (UTC+8) |
| Abstract: | 電子花車曾風行於1980-2000年的臺灣，彼時舉凡婚喪喜慶、迎神賽會皆有其蹤跡所在；然由於其展演充斥著道德與性的禁忌，致使電子花車曾一度遭受有關當局的強烈掃蕩。再加上2000年以後臺灣社會風氣、民眾品味逐漸改變，種種因素導致電子花車產業逐漸衰微，儼然已有走入歷史之趨勢。期至2010年左右，再到近幾年來，於臺灣的酬神活動當中經常出現一種配置上、運作上與電子花車有所相似的改裝車隊，這類改裝車隊一方面繼承了往昔電子花車的諸多特質(例如暴露的女性、大型的播音設備、移動式展演舞台等等)，另一方面卻又添加了數位科技(如大量使用網路資源進行傳播媒合)、流行音樂(電音舞曲或現時的流行歌舞)、外來文化(主要為韓國流行舞蹈)等新穎元素於整體配置當中，漸漸形成一種傳統、現代、流行、科技相互交融的陣頭車隊。而為與往昔電子花車進行區分，且實際上當今臺灣的社會亦無對此種展演車隊有一個具體的統稱，於本研究當中筆者將這類改裝車隊定名為「藝陣車隊」。透過對此現象的觀察，本研究主要對以下幾項議題進行處理：首先，是敘明藝陣車隊與電子花車的異同之處，強調藝陣車隊係由電子花車變形而來，而其中2000-2010年代是一個關鍵時期；於2000年代前後出現於臺灣社會的鋼管舞展演以及女性團隊影響了電子花車的女性們甚鉅，從身份、展演、經濟結構乃至自我認同均有相當決定性的影響。其次，則是解構電子花車的展演歷史，說明在宗教空間底下的女性展演與身體陳列其實蘊含著「陰神系統」的宗教脈絡所在。第三，是經由討論電子花車、藝陣車隊之現象，反映其背後的時代品味，而這種時代品味往往會與狂歡的本質有所關聯。最後，是透過對個案訪談以及現象考察，陳述女性在宗教空間底下派生的性別、金錢、權力種種關係，進而解釋女性展演的時代定位。本研究共計分為四個章節進行書寫。第一章為緒論，此章節將對藝陣車隊現象進行說明，並對過去有關電子花車的研究進行爬梳，比較各研究對電子花車的理解維度並說明貢獻及不足的地方。第二章，筆者會比較電子花車及藝陣車隊的差異性及共通點，針對電子花車以及藝陣車隊的人員配置、設施類別、運營網絡分別臚列，處理電子花車的轉型景況並替後續章節進行鋪陳。第三章，是筆者的田野實踐與調查成果。於此章節，筆者經由對活躍於不同年代的電子花車、藝陣車隊的執業者進行面訪，並聆聽報導人的意志、感知以及價值觀且詳實記錄，並將各報導人故事、經歷以敘述的方式進行呈現，從而解釋筆者於研究中產生的疑問以及檢驗研究假設。於最後章節，筆者將對本研究的進行總結，這將含括本研究的核心論述、研究成果、研究貢獻以及個人的反思。
From 1980 to 2000, performance troupes known as electric flower cars were highly prevalent in Taiwan, appearing in events such as marriages, funerals, deity processions, etc. However, due to the fact that such performances often contradicted moral norms and sexual taboos, they were severely prosecuted by the authorities. In addition, beginning in 2000 social tastes began to shift, all of which contributed to the gradual fading of electric flower cars from the scene. Beginning around 2010, activities for offering thanks to the gods featured the appearance of modified processions similar to electric flower cars in terms of configuration and operations. On the one hand, these new performance troupes inherited numerous characteristics of electric flower cars (women wearing revealing clothes, large-scale broadcast equipment, movable performance stages, etc.). At the same time, however, many new elements were added, including digital technology (such as the use of quantitative internet outsources for media matches), popular music (electronic dance music or popular songs), and elements of foreign culture (primarily Korean-pop dance). All this resulted in the formation of a new kind of performance troupe interwoven with tradition, modernity, popularity, and technology. In order to distinguish such performance troupes from traditional electric flower cars, and based on the fact that these troupes lack a single concrete name in today’s Taiwanese society, this MA thesis has chosen to refer to them as “arts troupe processions.” Based on detailed observations of arts troupe processions today, this study thesis attempts to illustrate the following issues: First, it describes the similarities and differences between electric flower cars and arts troupe processions, while also showing how the latter evolved out of the former during the key period from 2000 to 2010, which witnessed the growth of pole dancing and female bands that exerted influence on new genres, particularly in terms of gender, performance techniques, economic structures, and a sense of self-identity. Second, this study deconstructs the history of electric flower cars, most notably women’s performances and body displays in religious spaces, particularly those occurring in the context of “yin-deity systems”. Third, by exploring the phenomena of electric flower cars and arts troupe processions, this study sheds new light on changing tastes in modern Taiwan, while also showing their links to carnival qualities. Finally, by drawing on informant interviews done during case studies of specific troupes, this study traces diverse relationships in religious contexts involving gender, money, power, etc., while also clarifying the roles of female performances in Taiwan today. This study explores these issues in four chapters. The first chapter, the Introduction, explains the history and current forms of arts troupe processions, while also reviewing previous research so that the contributions and insufficiencies of various scholarly studies can be compared and assessed. Chapter 2 compares the similarities and differences between electric flower cars and arts troupe processions, especially in terms of personnel allocation, equipment classification, and networks of operations. This chapter also deals with the ways in which electric flower cars transformed, in order to set the stage for data in subsequent chapters. Chapter 3 presents the results of fieldwork and surveys, especially interviews with individuals who have performed in electric flower cars and arts troupe processions during different time periods, with the data presented carefully reporting their intentions, perceptions, and values. This chapter also presents narrative accounts of informants, while probing doubts that arose in the course of doing fieldwork and examining research hypotheses. The final chapter, the Conclusion, summarizes this study’s main results and contributions to the field, while also reflecting on issues that might be addressed in future research projects. |
| Reference: | 引用書目
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Moskowitz, Marc L. Dancing for the Dead: Funeral Strippers in Taiwan. Columbia: Daunting Hat Productions, 2011. |
| Description: | 碩士
國立政治大學
宗教研究所
106156009 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0106156009 |
| Data Type: | thesis |
| DOI: | 10.6814/NCCU202100387 |
| Appears in Collections: | [宗教研究所] 學位論文
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| 600901.pdf | | 4988Kb | Adobe PDF2 | 505 | View/Open |
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