臺灣舞蹈藝術範式如何轉移？以一九七〇年代雲門舞集的實踐為例

How Did Aesthetic Paradigms in Taiwanese Dance Shift A Case Study Regarding the Cloud Gate Dance Theater in the 1970s

一九七〇年代是啟動戰後臺灣文化變遷之關鍵時期，也是臺灣舞蹈藝術範式(paradigm)轉變的重要時期。本文以雲門舞集為研究對象，希望理解此特定歷史脈絡下舞蹈藝術場域相對自主化所牽動的範式轉移，與冷戰美援文藝體制、臺灣外交困境之關係。文章以布赫迪厄(Pierre Bourdieu)的藝術社會學分析策略為啟發，特別關注雲門舞集吸收美式現代舞，以此區分既有舞蹈體制與風格，並建立新模式。研究提出舞蹈藝術場域在臺灣的相對自主化是一個弔詭。不同於布赫迪厄提出藝術的相對自主化是「為藝術而藝術」，雲門舞集成就舞蹈藝術的相對自主化卻是因為政治對外交困境的無能為力，而使藝術成為臺灣社會的寄託而促成。彼時臺灣外交重挫、民族自覺高漲，以能與歐美比拚、具有國族特色的精緻藝術作為民族文化素養與自信的象徵。因此，就國際權力場域而言，雲門舞集在國內強化舞蹈藝術場域的相對自主性，實際上與臺灣在國際政治場域的受限有關。

The 1970s was a pivotal era which saw significant cultural changes in post-war Taiwan, particularly in the realm of dance. This study focuses on Cloud Gate Dance Theatre to understand the paradigm shift in the dance field during this specific historical period. The study explores the relationships between this shift and American-sponsored cultural ideology during the Cold War, as well as Taiwan’s diplomatic challenges. Drawing inspiration from Pierre Bourdieu’s sociology of art, the research focuses on the integration of American modern dance in Cloud Gate Dance Theatre’s productions. This integration served to differentiate existing dance institutions and styles in Taiwan, and ultimately established a new artistic paradigm. Unlike Bourdieu’s notion that the relative autonomy of art must be“art for art’s sake,”Cloud Gate Dance Theatre achieved relative autonomy in dance due to Taiwan’s unique political situation and diplomatic challenges. This led to art becoming a source of pride and identity within Taiwanese society and facilitated its relative autonomy. In the 1970s, Taiwan experienced significant setbacks in diplomacy, yet there was an increasing sense of national consciousness. In this context, the pursuit of high art with national characteristics to rival Europe and the United States came to symbolize cultural literacy and self-confidence for Taiwanese people. Paradoxically, the relative autonomy of the dance field in Taiwan emerged as a result. However, within the broader international power structure, Cloud Gate Dance Theatre’s efforts to strengthen the relative autonomy of dance were closely tied to the limitations imposed by Taiwan’s international political situation.