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題名 鋼管舞、女性特質與身體展演
Recreational Pole Dancing Femininities and Bodily Performance: A Taiwanese Case Study作者 米奧莉
Mikhailova, Olga貢獻者 關秉寅
Kuan, Ping-Yin
米奧莉
Olga Mikhailova關鍵詞 鋼管舞
身體美感
體現
賦權
脫衣舞文化
花車秀
Pole Dancing
Bodily Performance
Embodiment
Empowerment
Striptease Culture
Flower Truck Shows日期 2021 上傳時間 10-Feb-2022 13:18:31 (UTC+8) 摘要 本研究探討了休閒鋼管舞作為女性娛樂活動的一種新形式。鋼管舞總是被描述為西方文化背景下的產物，然而，隨著鋼管舞在世界各地越來越流行，探討舞者們在其他文化背景下練習這項活動的經驗亦變得非常重要。通過理論實證及採訪，本研究揭示了台灣女性作為一種休閒活動練習鋼管舞的經驗。文中探討了台灣環境的一些獨特因素如何影響當地舞者的經驗，並將研究結果與在西方進行相關研究中的觀察進行了比較。增加身體美感、藝術舞蹈欣賞的體驗、自信心的增加、結交新朋友及提供良好緩解創傷壓力的管道是本研究對象們對鋼管舞的主要積極體驗。而負面經驗包括受傷、高額的課程費用和須承受一定程度的社會偏見。研究結果表明，與鋼管舞有關的積極和消極經驗在不同的文化背景中均曾出現。然而，同時也證明當地文化背景的一些特定因素可以為鋼管舞文化的討論帶來新的視角，並激發未來研究的多元方向。
This study explores recreational pole dancing as a new form of recreational activity for women. Pole dancing is always described as a product of the Western cultural context, however, with pole dancing becoming increasingly popular around the world, it becomes important to describe the experiences of dancers practicing this activity in other cultural contexts.Through empirical research, this study uncovers the experiences of Taiwanese women practicing pole dancing as a form of leisure. The author explores how some unique elements of the context of Taiwan influence the experiences of the local dancers and compares the findings to the observations made in related studies conducted in the West.The sense of embodiment, the experience of body appreciation, the increase of self-confidence, the chance to make new friends, and the ability to deal with trauma and stress were the major positive aspects of pole dancing mentioned by the subjects of this study. The negative experiences included injuries, high fees for classes, and a certain degree of social prejudice.The results of the study showed that similar positive and negative experiences related to pole dancing appear cross-culturally. Nevertheless, it also proved that some specific elements of local cultural contexts can bring new perspectives on the discussion about pole dancing as well as change the direction for future research.參考文獻 Attwood, F. (2006). Sexed Up: Theorizing the Sexualization of Culture. Sexualities, 9(1), 77-94.Associated Press (2010). Pole dancing Holds World Championships. http://www.espn.com/espn/wire/_/section/oly/id/5905272Bacchi, C. (2005). Discourse, Discourse Everywhere: Subject “Agency” in Feminist Discourse Methodology. Nordic Journal of Women’s Studies, 13(3), 198-209.Banes, S. (1998). Dancing Women: Female Bodies Onstage. Routledge.Berson, J. (2016). The Naked Result: How Exotic Dance Became Big Business. Oxford University Press.Britannica. (2021). Maypole dance. Encyclopedia Britannica https://www.britannica.com/art/jotaChen, C. (2011). Spectacle and Vulgarity: Stripper Dance at Temple Festivals in Contemporary Taiwan. The Drama Review, 55:1 (209), 104-119.Chen, K. (2021). Short-sleeved Skilled Dancers: From Electric Flower Cars to Arts Troupe Processions [Unpublished thesis]. National Chengchi University.Chuang, H. (2019). The Decent Festivity: The Transformation of Stage-Trucks and Its Place Making Unpublished thesis]. National Taiwan University.Coakley, J. (2007). Sports in Society: Issues and Controversies, Ninth Edition. McGraw-Hill.Cromby, J. (2014). Embodiment. Encyclopedia of Critical Psychology. Springer. https://link.springer.com/referenceworkentry/10.1007%2F978-1-4614-5583-7_89Davis, J.M. (2002). The Circus Age: Culture and Society under the American Big Top. University of North Carolina Press.Davies, B. (1991). The Concept of Agency: A Feminist Poststructuralist Analysis. The International Journal of Anthropology, 30, 42-53.Dines, G. (2011). Pornland: How Porn Hijacked Our Sexuality. Beacon Press.Dimler, A. J., McFadden, K., McHugh, T. (2017). “I Kinda Feel Like Wonder Woman”: An Interpretative Phenomenological Analysis of Pole, Fitness and Positive Body Image. Journal of Sport and Exercise Psychology, 39, 339–51.Dolan, J. (2010). Theatre and Sexuality. Red Globe Press.Emirbayer, M., Mische, A. (1998). What is Agency? American Journal of Sociology, 103:4, 962-1023.ETtoday (2017). Tiaogangguanwushijiedajiang! Taidagaocaisheng “ludaji” yanwuquanchangjianjiao (跳鋼管奪世界大獎！台大高材生「露大肌」豔舞全場尖叫). ettoday.net/news/20171115/1052483.htmExotic Dance Academy (2021). How to Choose your first Pair of Pole Dancing Shoes? https://exoticacademy.com/poledancingshoes/Fennell, D. (2018). Pole Studios as Spaces between the Adult Entertainment, Art, Fitness and Sporting Fields. Sport and Society, 21, 1957–73.Focus Taiwan (2017). Taiwanese Pole Dancer Wins Pacific Pole Championship in Los Angeles. https://focustaiwan.tw/culture/201704090016Fredrickson, B. L, Roberts T. (1997). Toward Understanding Women’s Lived Experiences and Mental Health Risks. Psychology of Women Quarterly, 21, 173-206.Gaston, A. and Gaston, T. (2014). ‘Dance as the Way of Being Religious’, The Oxford Handbook of Religion and Arts. Oxford University Press. https://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780195176674.001.0001/oxfordhb-9780195176674-e-010Giddens, A. (1993). The Transformation of Intimacy. Polity Press.Gill, R. (2003). From Sexual Objectification to Sexual Subjectification: The Resexualization of Women’s Bodies in the Media. Feminist Media Studies, 3(1), 100-6.Grace@Gracitude (2018). Chinese Pole and Pole Dance. Similarities and Differences. http://gracitude.com/2018/02/13/chinese-pole-vs-pole-dance/Griffiths, K. (2016). Femininity, Feminism and Recreational Pole Dancing. Routledge.Hanna, J. L. (2012). The Naked Truth: Strip Clubs, Democracy and a Christian Right. University of Texas Press.Hanna, J. L. (2017). Dancing to Resist, Reduce, and Escape Stress. The Oxford Handbook of Dance and Wellbeing. Oxford University Press. https://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199949298.001.0001/oxfordhb-9780199949298-e-5Harvey, L. (2011). Spicing it Up: Sexual Entrepreneurs and the Sex Inspectors. In R. Gill & C. Scharff (Eds.), New Femininities. Postfeminism, Neoliberalism and Subjectivity. Palgrave Macmillan.Ho, J. (2000). Self-empowerment and ‘Professionalism’: Conversations with Taiwanese Sex Workers. Inter-Asia Cultural Studies, 1:2, 283-299.Ho, J. (2001). Sex, Power and the Erotic Dance Pubs of Taiwan: A field Observation. A Radical Quarterly in Social Studies, 44, 167-199.Holic G. (2015). RenqibuluokeGinadainilaitiyanliyumeijiehedegangguanwukecheng (人氣部落客Gina帶你來體驗力與美結合的鋼管舞課程！). Marrie Claire. https://www.marieclaire.com.tw/lifestyle/news/18145?atcr=13e30bHolland, S. (2010). Pole Dancing, Empowerment and Embodiment. Springer.Huang, C. (2011). Research of the Visual Style of Taike Culture [Master’s thesis]. National Taichung Institute of Technology. http://dx.doi.org/10.6826/NUTC.2011.00015International Pole Sports Federation (2018). IPSF Code of Points. http://www.polesports.org/about-us/document-policies/Jiangzi (2020). Yigengangguanyanghuayijiawukou! Dianzihuachequanjinjiaomiaohuinushengcengtu0gangguanwuzhi lianchudapianyuqing! (一根鋼管養活一家五口 ! 電子花車千金教廟會女神曾甜鋼管舞技 練出大片瘀青!) [Video]. https://www.youtube.com/watch?v=EdUolZFiK4c&t=1648sKaschak, E. (1992). Engendered Lives: A New Psychology of Women’s Experience. Basic Books, Inc. Publishers.Kim, Y., Kwon, S. (2019). “I’m a Poler, and Proud of It”: South Korean Women’s Managed Experiences in a Stigmatized Serious Leisure Activity. Social Sciences, 8, 199.Keft-Kennedy, V. (2010), “How Does She Do That?” Belly Dancing and the Horror of a Flexible Woman, Women’s Studies, 32: 3-3, 279-300.Keft-Kennedy, V. 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國立政治大學
亞太研究英語碩士學位學程(IMAS)
107926022資料來源 http://thesis.lib.nccu.edu.tw/record/#G0107926022 資料類型 thesis dc.contributor.advisor 關秉寅 zh_TW dc.contributor.advisor Kuan, Ping-Yin en_US dc.contributor.author (Authors) 米奧莉 zh_TW dc.contributor.author (Authors) Olga Mikhailova en_US dc.creator (作者) 米奧莉 zh_TW dc.creator (作者) Mikhailova, Olga en_US dc.date (日期) 2021 en_US dc.date.accessioned 10-Feb-2022 13:18:31 (UTC+8) - dc.date.available 10-Feb-2022 13:18:31 (UTC+8) - dc.date.issued (上傳時間) 10-Feb-2022 13:18:31 (UTC+8) - dc.identifier (Other Identifiers) G0107926022 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/138988 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 亞太研究英語碩士學位學程(IMAS) zh_TW dc.description (描述) 107926022 zh_TW dc.description.abstract (摘要) 本研究探討了休閒鋼管舞作為女性娛樂活動的一種新形式。鋼管舞總是被描述為西方文化背景下的產物，然而，隨著鋼管舞在世界各地越來越流行，探討舞者們在其他文化背景下練習這項活動的經驗亦變得非常重要。通過理論實證及採訪，本研究揭示了台灣女性作為一種休閒活動練習鋼管舞的經驗。文中探討了台灣環境的一些獨特因素如何影響當地舞者的經驗，並將研究結果與在西方進行相關研究中的觀察進行了比較。增加身體美感、藝術舞蹈欣賞的體驗、自信心的增加、結交新朋友及提供良好緩解創傷壓力的管道是本研究對象們對鋼管舞的主要積極體驗。而負面經驗包括受傷、高額的課程費用和須承受一定程度的社會偏見。研究結果表明，與鋼管舞有關的積極和消極經驗在不同的文化背景中均曾出現。然而，同時也證明當地文化背景的一些特定因素可以為鋼管舞文化的討論帶來新的視角，並激發未來研究的多元方向。 zh_TW dc.description.abstract (摘要) This study explores recreational pole dancing as a new form of recreational activity for women. Pole dancing is always described as a product of the Western cultural context, however, with pole dancing becoming increasingly popular around the world, it becomes important to describe the experiences of dancers practicing this activity in other cultural contexts.Through empirical research, this study uncovers the experiences of Taiwanese women practicing pole dancing as a form of leisure. The author explores how some unique elements of the context of Taiwan influence the experiences of the local dancers and compares the findings to the observations made in related studies conducted in the West.The sense of embodiment, the experience of body appreciation, the increase of self-confidence, the chance to make new friends, and the ability to deal with trauma and stress were the major positive aspects of pole dancing mentioned by the subjects of this study. The negative experiences included injuries, high fees for classes, and a certain degree of social prejudice.The results of the study showed that similar positive and negative experiences related to pole dancing appear cross-culturally. Nevertheless, it also proved that some specific elements of local cultural contexts can bring new perspectives on the discussion about pole dancing as well as change the direction for future research. en_US dc.description.tableofcontents Abstract 1Introduction 7Chapter One 11Modern Exotic Pole Dancing Vs. Recreational Pole dancing 11The Modern Exotic Dance: the Definition and Origins 11Adult Exotic Dance: an Uncomfortable form of Theater Arts 12Pole Dancing Vs. Adult Exotic Dance 14Defining Pole Dancing 14Pole Dancing as the Modern Recreational Activity 15The Distinction Between Recreational Pole Dancing and Adult Exotic Dance 18Venues 18Class 18Focus on Athleticism 19Summary of the Chapter 20Chapter Two 21Recreational Pole Dancing: Discussion 21The theories of Embodiment and Empowerment 21Positive Experiences with Pole Dancing 21Negative Experiences with Pole Dancing 23Feminist Critique 23Objectification and Self-Objectification Theories 24Sexualized Popular Culture 24Feminist Critique: Recreational Pole Dancing and Sexualized Popular Culture 25Feminist critique: Legitimacy of the Embodiment and Empowerment of Pole Dancing 26Feminist Critique: Pole Dancing as the only choice? 27The Summary of Chapter 28Chapter Three 30Striptease Culture in Taiwanese Context 30The Context of Taiwan 30Taike Culture 32Striptease Elements in Taike Culture 33Betel Nut Beauties 33Flower Trucks Shows 34Recreational Pole Dancing vs. Flower Truck Shows 36Dancing Vocabulary 36Audience 37Money 38Recreational pole dancing in Taiwan 39Representation in the Media 40Summary of Chapter 41Chapter Four 44Research Design and Findings 44Data and Methods 44Who are the Participants? 45Research Questions 46Findings 47What are the Positive Experiences Mentioned by Participants? 47The Sense of Embodiment 47Trauma Management and Stress Alleviation 50Self-Confidence 53The Sense of Community 56The Sense of Achievement: The Feeling of Empowerment? 58What are the Negative Experiences mentioned by the Participants? 61Injuries 62Price 62The Feeling of Anxiety: Uncomfortable Nudity 63Taiwan’s context: Temple Festivals and Flower Truck Shows 65Negative Judgements 66Positive Feedback 67Summary of Chapter 69Chapter Five 72Conclusions and Discussion 72Striptease Culture in Taiwan 74First-Hand Experiences 75Positive Experiences 76Negative Experiences 78Findings of Study 79Limitations of Study 82References: 84Appendix 91 zh_TW dc.format.extent 980342 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0107926022 en_US dc.subject (關鍵詞) 鋼管舞 zh_TW dc.subject (關鍵詞) 身體美感 zh_TW dc.subject (關鍵詞) 體現 zh_TW dc.subject (關鍵詞) 賦權 zh_TW dc.subject (關鍵詞) 脫衣舞文化 zh_TW dc.subject (關鍵詞) 花車秀 zh_TW dc.subject (關鍵詞) Pole Dancing en_US dc.subject (關鍵詞) Bodily Performance en_US dc.subject (關鍵詞) Embodiment en_US dc.subject (關鍵詞) Empowerment en_US dc.subject (關鍵詞) Striptease Culture en_US dc.subject (關鍵詞) Flower Truck Shows en_US dc.title (題名) 鋼管舞、女性特質與身體展演 zh_TW dc.title (題名) Recreational Pole Dancing Femininities and Bodily Performance: A Taiwanese Case Study en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) Attwood, F. (2006). Sexed Up: Theorizing the Sexualization of Culture. Sexualities, 9(1), 77-94.Associated Press (2010). Pole dancing Holds World Championships. http://www.espn.com/espn/wire/_/section/oly/id/5905272Bacchi, C. (2005). Discourse, Discourse Everywhere: Subject “Agency” in Feminist Discourse Methodology. Nordic Journal of Women’s Studies, 13(3), 198-209.Banes, S. (1998). Dancing Women: Female Bodies Onstage. Routledge.Berson, J. (2016). The Naked Result: How Exotic Dance Became Big Business. Oxford University Press.Britannica. (2021). Maypole dance. Encyclopedia Britannica https://www.britannica.com/art/jotaChen, C. (2011). Spectacle and Vulgarity: Stripper Dance at Temple Festivals in Contemporary Taiwan. The Drama Review, 55:1 (209), 104-119.Chen, K. (2021). Short-sleeved Skilled Dancers: From Electric Flower Cars to Arts Troupe Processions [Unpublished thesis]. National Chengchi University.Chuang, H. (2019). The Decent Festivity: The Transformation of Stage-Trucks and Its Place Making Unpublished thesis]. National Taiwan University.Coakley, J. (2007). Sports in Society: Issues and Controversies, Ninth Edition. McGraw-Hill.Cromby, J. (2014). Embodiment. Encyclopedia of Critical Psychology. Springer. https://link.springer.com/referenceworkentry/10.1007%2F978-1-4614-5583-7_89Davis, J.M. (2002). The Circus Age: Culture and Society under the American Big Top. University of North Carolina Press.Davies, B. (1991). The Concept of Agency: A Feminist Poststructuralist Analysis. The International Journal of Anthropology, 30, 42-53.Dines, G. (2011). Pornland: How Porn Hijacked Our Sexuality. Beacon Press.Dimler, A. J., McFadden, K., McHugh, T. (2017). “I Kinda Feel Like Wonder Woman”: An Interpretative Phenomenological Analysis of Pole, Fitness and Positive Body Image. Journal of Sport and Exercise Psychology, 39, 339–51.Dolan, J. (2010). Theatre and Sexuality. Red Globe Press.Emirbayer, M., Mische, A. (1998). What is Agency? American Journal of Sociology, 103:4, 962-1023.ETtoday (2017). Tiaogangguanwushijiedajiang! Taidagaocaisheng “ludaji” yanwuquanchangjianjiao (跳鋼管奪世界大獎！台大高材生「露大肌」豔舞全場尖叫). ettoday.net/news/20171115/1052483.htmExotic Dance Academy (2021). How to Choose your first Pair of Pole Dancing Shoes? https://exoticacademy.com/poledancingshoes/Fennell, D. (2018). Pole Studios as Spaces between the Adult Entertainment, Art, Fitness and Sporting Fields. Sport and Society, 21, 1957–73.Focus Taiwan (2017). Taiwanese Pole Dancer Wins Pacific Pole Championship in Los Angeles. https://focustaiwan.tw/culture/201704090016Fredrickson, B. L, Roberts T. (1997). Toward Understanding Women’s Lived Experiences and Mental Health Risks. Psychology of Women Quarterly, 21, 173-206.Gaston, A. and Gaston, T. (2014). ‘Dance as the Way of Being Religious’, The Oxford Handbook of Religion and Arts. 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