有靈魂的山寨：以台灣K-pop Cover Dance舞團舞者為例

Abstract

過往韓國流行音樂（Korean popular music，簡稱 K-pop）基於全球化行銷策略，於 YouTube 提供大量免費的視覺影像。伴隨著影音資訊平台和攝影配備的普及與成長，網路開始出現各式仿跳韓團舞蹈的自製影片。但在其中，卻有一批舞者的目標不僅是跳舞，他們組織成舞團進行長期展演，除了高度學習和展示出韓團的舞台表演細節外，也產製出嘗試模擬韓式美學的影像。於是這群致力投入韓團仿舞的在地舞者引起我的注意，他們為何選擇跨文化消費與挪用韓流音樂表演元素？在尋求「還原」韓團表演的舞蹈實踐中，舞者們想追求表現的自我意象為何？透過 cover dance 呈現出什麼樣的主體性意涵？\n\n本研究針對台灣五個 K-pop cover dance 舞團進行深度訪談與參與觀察。從第四章舞者們戀上 K-pop 的經驗談起，首先描繪 K-pop 提供 cover dance 舞者的偶像身體形象，進而影響她們欲透過觀看與舞蹈實踐複製出相似的身體影像；其次，將台灣舞者的實踐放置回在地的舞蹈環境內檢視，並探究 K-pop 編舞中藝人特質的展現，促使 cover dance 成為超出跳舞範疇的「表演」。接著第五章，從體現主體位置的角度做為分析主軸，首先呈現 cover dance 舞者如何有意識地藉由把玩自我身體、探尋身體界線，進而找出適合自己展演的方式；其次描述他們如何挑戰與突破 K-pop 框架下的迷群身份，運用身體拓展在地的公眾領土空間；最後，聚焦 cover dance 舞者的線上活動，窺探他們在想成為 YouTuber 的夢想論述下的真實欲望與自我再造過程。

In recent years, based on the global marketing strategy, Korean popular music (K-pop) provided a large amount of free visual videos on YouTube. Along with the popularity and growth of multimedia platforms and photography equipment, it began to appear various self-made videos that performed K-pop cover dance on Internet. However, there are a group of dancers whose goal is not only to dance, but also to organize themselves into dance groups for long-term performances. In addition to highly learning and showing the details of the Korean idol group’s stage performances, they also produce images that try to simulate Korean aesthetics. Therefore, these local dancers who try to devote themselves in the way of performinging K-pop cover dance caught my atrtention. Why did they do cross-cultural consumption by taking and using K-pop performance elements? In the dance practice of seeking to imitate or “copy” the performance of the Korean idol groups, what are the self-images that dancers want to pursue? What kind of subjective meaning is presented through K-pop cover dance dancers’ bodily practice?\n\nThis study conducted in-depth interviews and participation observations with five K-pop cover dance groups in Taiwan. The fourth chapter of this paper begins with the experience of cover dance dancers falling in love with K-pop. First, K-pop provides different kinds of idols’ iconic body images for dancers, which in turn affects dancers’ desire to replicate similar body images through their looking and dance practice. While putting the practice of Taiwanese cover dance dancers back into the dance environment of the local community, it also found out that the traits showed by the artists in K-pop choreography changed cover “dance” into “performance”, which is beyond the scope of dance practice. In the fifth chapter, from the perspective of subjectivity analysis, it portrays how cover dance dancers consciously “play” their physical body in order to explore the body boundary and search for the suitable way to present their performance. Cover dance dancers also challenge and break through the fascinating fan identity under the framework of K-pop industry, using their body to occupy or expand the public territory for their dance performance. Finally, this paper focuses on these dancers’ online activities, and realize that their real desires and self-reconstruction are caused by the dream of becoming a successful YouTuber star.