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題名 有靈魂的山寨：以台灣K-pop Cover Dance舞團舞者為例
Imitation Performance with Soul: Taking Dancers from K-pop Cover Dance Groups in Taiwan as an Example作者 陳虹伶
Chen, Hung-Ling貢獻者 林玲遠
陳虹伶
Chen, Hung-Ling關鍵詞 韓國流行音樂
Cover dance
身體實踐
跳舞文化
自我認同
主體
Korean popular music（K-pop）
Cover dance
Bodily practice
Dancing culture
Self-identity
Subjectivity日期 2018 上傳時間 1-十月-2018 12:03:46 (UTC+8) 摘要 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？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?This 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.參考文獻 一、中文部分王郁惠（2010年11月7日）。〈新韓流侵日，櫻花妹瘋仿效〉，《聯合報》，C4版。朱華瑄譯（2009）。《探究迷文化》。台北：韋伯。（原書：Matt Hills. (2002). Fan Cultures. New York: Routledge.）何定照譯（2007）。《像女孩那樣丟球：論女性的身體經驗》。台北市：商周。（原書 Young, Iris Marion [2005]. On Female Body Experience: “Throwing Like a Girl” and Other Essays. Oxford: Oxford University Press Inc.）李明璁（2015）。《韓國流行音樂的視覺性、身體化與性別展演： 以「少女時代」的 MV 產製和消費挪用為例》，《新聞學研究》，104: 37-78。吳莉君譯（2010）。《觀看的方式》。台北：麥田。（原書：John Berger. (1972). Ways of Seeing. London: British Broadcasting Corporation.）周汝育（2014）。《音樂展演空間的迴游魚：以西門町日本音樂與迷行動為例》。東吳大學社會所碩士論文。泡菜鄉民（2015.11.08）。〈繼山寨 EXO 後，泰國模仿團又找到了新目標…〉。《WISHNOTE》。上網日期：2017年12月10日。取自 http://www.wishnote.tw/#!/menu=landing&content_id=9976。林文婷（2012）。《追星族的新人：少女時代男性迷群的消費與認同》。國立臺灣師範大學大眾傳播研究所碩士論文。林青儀（2014）。《Bitch-Style 男街舞舞者的妖、騷、婊－其舞蹈實踐、跨性別展演與自我》。國立政治大學新聞研究所碩士論文。張可婷譯（1988）。《質性研究分析方法》。台北：桂冠。（原書：Hatch, E. (1973). Theories of Man and Culture. New York: Columbia University Press.）陳佩鈺（2013）。《台灣韓流偶像迷群對應援文化的實踐與認同》。國立師範大學大眾傳播研究所碩士論文。陳德容（2002）。《健身房中年輕女性身體概念的建構》。國立台灣大學建築與城鄉研究所碩士論文。黃玉琳（2011）。《誰是我身體的主人？從 MV 舞蹈中看習舞者身體展演的主體性》。國立東華大學課程設計與潛能開發學研究所碩士論文。黃瀞琦（2013）。《與 K-pop 共舞：Cover Dance 與台灣年輕女性的身體實踐〉。國立臺灣師範大學大眾傳播研究所碩士論文。劉憶勳（2006）。《體現•風格─初探青年街舞者的身體實踐》。國立東華大學族群關係與文化研究所。蕭瑞麟（2016.06.07）。〈韓流造星計畫：如何量產偶像明星？〉。中時電子報。取自 http://www.chinatimes.com/realtimenews/20160607003630-260401。盧開朗（2010）。《翻唱曲的政治經濟學─改自韓國曲的國語歌曲研究》。國立臺灣師範大學大眾傳播研究所。HeiPis（2017.03.08）。〈大家所熟悉 KPOP 到底是什麼？〉。《街頭文化》。上網日期：2017年12月10日。取自 https://www.wznav.com/article/28283354/。Koala（2014.06.13）。〈泰國驚現山寨版 EXO 簡直是完全複製！〉。《KSD 韓星網》。上網日期：2018年1 月8日。取自 https://www.koreastardaily.com/tc/photo/43148。二、英文部分Allkpop (2018.3.30). Girl Crush Concept Explained. Retrieved July 16, 2018, from allkpop. https://www.allkpop.com/forum/threads/girl-crush-concept-explained.159126/.Appadurai, Arjun. (1996). Modernity at Large: Cultural Dimensions of Globalization. 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In Race and Ethnicity in Fandom, edited by Robin Anne Reid and Sarah Gatson, special issue, Transformative Works and Cultures, no. 8.Kang, D. B. (2014). Idols of Development: Transnational Transgender Performance in Thai K-Pop Cover Dance. TSQ: Transgender Studies Quarterly, Vol.1(4), p.559-571.Kim, Jungwon (2017). K-Popping: Korean Women, K-Pop, and Fandom. ProQuest Dissertations and Theses.Lie, John. (2012). What Is the K in K-pop? South Korean Popular Music, the Culture Industry, and National Identity. Korea Observer, Vol. 43, No.3, p.339-363.Oh, Ingyu. (2013). The Globalization of K-pop: Korea’ s Place in the Global Music Industry. Korea Observer, Vol.44(3), p.389-409.Oh, Ingyu & Park, Gil Sung. (2012). From B2C to B2B: Selling Korean Pop Music in the Age of New Social Media. Korean Observer, Vol. 43, No. 3, p.365-397.Romano, Aja (2018.2.26). How K-pop became a global phenomenon. Retrieved July 15, 2018, from Vox. https://www.hellokpop.com/editorial/kpop-magnetism-what-pulls-in-the-fans-and-why-the-choreography/.Shim, Doobo (2006). Hybridity and the rise of Korean popular culture in Asia. Media Culture & Society, 28(1), 25-44.Shim, Doobo (2011). Waxing the Korean Wave. Asia Research Institute, Working Paper Series, No. 158.Siriyuvasak, Ubonrat (2008). Consuming and Producing (Post) modernity: Youth Popular Culture in Thailand. In Youna Kim (Eds.) Media Consumption and Everyday Life in Asia. New York: Routledge.Siriyuvasak, Ubonrat and Shin, Hyunjoon (2007). Asianizing K-pop: Production, Consumption and Identification Patterns among Thai Youth. Inter-Asia Cultural Studies, 8(1): 109–36.Thornton, Sarah (1995). Club Culture: Music, Media and Subcultural Capital. London: Polity.三、韓文部分김종카이 (판) （2014.06.09）。〈밀레니엄 보이를 아십니까? 〉[Do you know Millenium Boy?]。《NATE》。上網日期：2018年1月8日。取自 http://pann.nate.com/talk/322941736?listType=c&page=2#replyArea。문예빈（2011.06.09）。〈Paris K-pop concerts will be posted online (파리 K-pop 콘서트， 유튜브로 공개)。《The Korea Herald》。上網日期：2018年1月8日。取自 http://www.koreaherald.com/view.php?ud=20110609000131。 描述 碩士
國立政治大學
廣播電視學系
101453015資料來源 http://thesis.lib.nccu.edu.tw/record/#G0101453015 資料類型 thesis dc.contributor.advisor 林玲遠 zh_TW dc.contributor.author (作者) 陳虹伶 zh_TW dc.contributor.author (作者) Chen, Hung-Ling en_US dc.creator (作者) 陳虹伶 zh_TW dc.creator (作者) Chen, Hung-Ling en_US dc.date (日期) 2018 en_US dc.date.accessioned 1-十月-2018 12:03:46 (UTC+8) - dc.date.available 1-十月-2018 12:03:46 (UTC+8) - dc.date.issued (上傳時間) 1-十月-2018 12:03:46 (UTC+8) - dc.identifier (其他 識別碼) G0101453015 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/120218 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 廣播電視學系 zh_TW dc.description (描述) 101453015 zh_TW dc.description.abstract (摘要) 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？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。 zh_TW dc.description.abstract (摘要) 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?This 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. en_US dc.description.tableofcontents 第一章 緒論 1第一節 研究背景：韓國流行音樂的全球化傳播 1一、韓國流行產業音樂的轉變 1二、韓國偶像的表演與韓國身體性 4第二節 何謂 K-pop Cover Dance 5第三節 問題意識與研究問題 8第二章 研究方法與研究對象 12第一節 深度訪談 12第二節 參與觀察 16第三節 研究者的位置與反思 17第三章 當我們成為山寨：不只是舞者，更是表演者 20第一節 「戀」／「練」上K-pop Dance 21一、想耍「帥」：從 K-pop 尋找另類身體圖象 21二、為了還原：處在「看」與「被看」之間 24第二節 「像」藝人：比舞蹈更極致的 Cover 演出 28第四章 Cover 舞者的靈魂所在：找到適合自己的位置 33第一節 與角色進行協商 33第二節 佔領街頭：從舞蹈應援到 K-pop in Public 35第三節 YouTuber 的夢想論述 41第五章 結論與討論 45第一節 Cover Dance 的形象轉變 45第二節 網路影片與舞者身份位移 47第三節 結論：有靈魂的 K-pop Cover Dance 文化 49第四節 研究限制與建議 51附錄 A. 參與研究舞團 Dance Cover 影片曲目列表 53附錄 B. 深度訪談大綱 58參考書目 60表目錄表 2-1：參與本研究之韓流舞團資料 13表 2-2：參與本研究之韓流舞團受訪者資料 14表 2-3：本研究參與觀察之相關資料 17圖目錄圖 1-1：泰國團體Millenium Boy 超出舞蹈模仿的展演 10圖 2-1：參與本研究之韓流舞團形象照 15圖 3-1：Cover dance 舞者參考的網路影像素材 26圖 3-2：Re Name 和 Camera 舞團拍攝舞蹈練習影片 27圖 3-3：KEYME 舞團將 cover dance 與韓團表演做對照 28圖 4-1：於公共空間錄製的「K-pop in Public」cover dance 37圖 4-2：Dazzling 舞團於西門町廣場錄製〈Lady〉cover 現場 39圖 4-3：Cover dance 舞團在地下街的練舞空間 40 zh_TW dc.format.extent 2265932 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0101453015 en_US dc.subject (關鍵詞) 韓國流行音樂 zh_TW dc.subject (關鍵詞) Cover dance zh_TW dc.subject (關鍵詞) 身體實踐 zh_TW dc.subject (關鍵詞) 跳舞文化 zh_TW dc.subject (關鍵詞) 自我認同 zh_TW dc.subject (關鍵詞) 主體 zh_TW dc.subject (關鍵詞) Korean popular music（K-pop） en_US dc.subject (關鍵詞) Cover dance en_US dc.subject (關鍵詞) Bodily practice en_US dc.subject (關鍵詞) Dancing culture en_US dc.subject (關鍵詞) Self-identity en_US dc.subject (關鍵詞) Subjectivity en_US dc.title (題名) 有靈魂的山寨：以台灣K-pop Cover Dance舞團舞者為例 zh_TW dc.title (題名) Imitation Performance with Soul: Taking Dancers from K-pop Cover Dance Groups in Taiwan as an Example en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 一、中文部分王郁惠（2010年11月7日）。〈新韓流侵日，櫻花妹瘋仿效〉，《聯合報》，C4版。朱華瑄譯（2009）。《探究迷文化》。台北：韋伯。（原書：Matt Hills. (2002). Fan Cultures. New York: Routledge.）何定照譯（2007）。《像女孩那樣丟球：論女性的身體經驗》。台北市：商周。（原書 Young, Iris Marion [2005]. On Female Body Experience: “Throwing Like a Girl” and Other Essays. Oxford: Oxford University Press Inc.）李明璁（2015）。《韓國流行音樂的視覺性、身體化與性別展演： 以「少女時代」的 MV 產製和消費挪用為例》，《新聞學研究》，104: 37-78。吳莉君譯（2010）。《觀看的方式》。台北：麥田。（原書：John Berger. (1972). Ways of Seeing. London: British Broadcasting Corporation.）周汝育（2014）。《音樂展演空間的迴游魚：以西門町日本音樂與迷行動為例》。東吳大學社會所碩士論文。泡菜鄉民（2015.11.08）。〈繼山寨 EXO 後，泰國模仿團又找到了新目標…〉。《WISHNOTE》。上網日期：2017年12月10日。取自 http://www.wishnote.tw/#!/menu=landing&content_id=9976。林文婷（2012）。《追星族的新人：少女時代男性迷群的消費與認同》。國立臺灣師範大學大眾傳播研究所碩士論文。林青儀（2014）。《Bitch-Style 男街舞舞者的妖、騷、婊－其舞蹈實踐、跨性別展演與自我》。國立政治大學新聞研究所碩士論文。張可婷譯（1988）。《質性研究分析方法》。台北：桂冠。（原書：Hatch, E. (1973). Theories of Man and Culture. 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