耽美批判：台灣當代肚皮舞現象的陰性情境

Towards A Florid Critique: An Interpretation of the Contemporary Belly-dance Phenomenon in Taiwan

台灣表演藝術界的肚皮舞風潮，自千禧年迄今不墜，不僅持續發展多元在地風格，更從性別與文化角度，深度影響參與者的認同形構。本文援引陰性情慾、後殖民理論與身體美學論述，並結合相關表演單位之田野分析，將台灣當代肚皮舞現象視作一種操演性劇場實踐，從中提出「耽美批判」概念：表演主體藉由追求超溢性美感，以生產酷兒抵抗能動，擾亂社會建構與正典銘刻。第一部分自吳若羚現象討論起，耙梳陰性情慾的研究系譜，闡述肚皮舞劇場中早已僭越父權認識論之批判能動；第二部分結合「編舞術」與「自我東方主義」概念，詳析伊薩部落與呼吸之間等實驗團體所發展出來的異質混種戰術。本文最後提出肚皮舞劇場相關表演文化研究之力有未逮處，並提示未來可能的探問方向。 Since its inception in 2000, belly-dance fever in Taiwan has never died out. Instead, it has continued to influence diverse local aesthetics and stimulate cultural industry, while also deeply shaping the identity of its participants. Seeing contemporary belly-dance activity as a performative theater practice, this paper employs gender, postcolonial, and corporeal theories together with analysis of specific examples to propose the framework of ＂florid critique＂, in which a performing subject fashions queer resistance through transgressive theatricality. The term florid appropriated in this paper refers to a scenario of hyper-performativity enacted with critical purpose. The first section starts with the phenomenon of Wu Ruo-Ling, articulating a genealogy of feminine sexuality in order to reveal an agency that troubles the patriarchic epistemology. The second section combines the theory of choreography with the concept of self- Orientalism, investigating the heterogeneous, hybrid tactics launched by Essa Dance Troup and Nefes Dance Workshop. The paper finally points toward four necessary, yet unstudied, issues that present possibilities for future research.

Since its inception in 2000, belly-dance fever in Taiwan has never died out. Instead, it has continued to influence diverse local aesthetics and stimulate cultural industry, while also deeply shaping the identity of its participants. Seeing contemporary belly-dance activity as a performative theater practice, this paper employs gender, postcolonial, and corporeal theories together with analysis of specific examples to propose the framework of ＂florid critique＂, in which a performing subject fashions queer resistance through transgressive theatricality. The term florid appropriated in this paper refers to a scenario of hyper-performativity enacted with critical purpose. The first section starts with the phenomenon of Wu Ruo-Ling, articulating a genealogy of feminine sexuality in order to reveal an agency that troubles the patriarchic epistemology. The second section combines the theory of choreography with the concept of self- Orientalism, investigating the heterogeneous, hybrid tactics launched by Essa Dance Troup and Nefes Dance Workshop. The paper finally points toward four necessary, yet unstudied, issues that present possibilities for future research.