英文摘要 |
In the context of the Orientalism in the late 19th century to the early 20th century, belly dance has been perceived as a dance that satisfies male sexual pleasure. Through the women's liberation movement of the 1970s in the United States, belly dance has been reinterpreted as a dance that can promote sexual liberation of women. Meanwhile, belly dance has also been adopted into the fitness industry. In the 1980s, belly dance has been introduced into Japanese society. In contemporary Japanese society, belly dance is not only danced at the ethnic restaurants for expressing an exotic mood, but also danced as a kind of female accomplishment, and even performed on the stage of theater. Although the position of belly dance is changing, the image of belly dance is still characterized as a sexual dance. Therefore, with the consideration of such a situation, the author focuses on the discourses of belly dance expressed in print media in contemporary Japan and relates ''sexualization'' with concepts of Pierre Bourdieu's ''habitus'' and ''distinction'' to examine the sexualized body in belly dance. In conclusion, the author argues that the dancer's body is sexualized not only as an object to satisfy the sexual desire of men, but also as an expression of 'sexual empowerment' in an active subjectivity. However, since the dancer's sexualized body also plays a normative role, belly dance might be used to restrict women's behavior. In other words, there are various meanings of sexualization intersecting in belly dance. |