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| Title | 他者的力量—流行舞蹈中的敢曝風格 The Power of the Other: An Inquiry into Camp Style of Pop Dance |
| Creator | 徐翠敏;呂潔如 Hsu, Tsui-Min;Lu, Chieh-Ju |
| Contributor | 政大體育研究 |
| Key Words | 扮裝; 陰柔; 甩手舞; 時尚舞風 Levinas; crossdresser; feminine; Waacking; Voguing |
| Date | 2022-12 |
| Date Issued | 4-Oct-2024 16:45:59 (UTC+8) |
| Summary | 本研究目的為探討流行舞蹈中的敢曝風格，以Waacking與Voguing兩舞種為對象，其舞蹈風格最初起源於同志酒吧文化，男性以扮裝(cross-dressing)、姿態或動作展現出冶豔、性感的陰柔的特質，爾後形成其特有的舞蹈風格，發展至今其舞蹈技巧符碼化為陰柔的力量，早期，同志展現的那種「裝腔作勢、矯揉造作」的敢曝(camp)風格，仍舊保留在舞廳或舞蹈比賽中的battle形式，或者是藝人表演及MV舞蹈的舞台形式，舞者已然跨越性別，舞蹈風格也更為大眾化。面對這股舞蹈敢曝所展示的他者力量，文末藉由列維納斯提出的他者倫理學作為回應。 Waacking and Voguing that emphasize a feminine and pretentious gesture have definitely started a new fashion in pop dance. As sexual stereotype, men would be considered mentally ill if they are shown delicate, sexy, or feminine. We usually depreciate the performance that has too many feminine acts. We would consider those feminine acts as “the Other”. However, the dancing styles of Waacking and Voguing especially highlight the feminine gestures to make the “camp” way. No matter the gender, the dance with feminine acts can be appreciated. This would make “the Other” have new identification and value. This article will discuss the impact on the “camp” style for dancing by the theories of Levinas’ “the Other”. First, we will discuss the origin and features of Waacking and Voguing dance. Then, we will discuss the impact of “the Other”. Finally, we will understand how to face the existence of “the Other” by the bold way of the “camping” dancing style. |
| Relation | 政大體育研究, 29, 1-12 |
| Type | article |
| DOI | https://doi.org/10.30411/CTTYYC.202212_(29).0001 |
| dc.contributor | 政大體育研究 | - |
| dc.creator (作者) | 徐翠敏;呂潔如 | - |
| dc.creator (作者) | Hsu, Tsui-Min;Lu, Chieh-Ju | - |
| dc.date (日期) | 2022-12 | - |
| dc.date.accessioned | 4-Oct-2024 16:45:59 (UTC+8) | - |
| dc.date.available | 4-Oct-2024 16:45:59 (UTC+8) | - |
| dc.date.issued (上傳時間) | 4-Oct-2024 16:45:59 (UTC+8) | - |
| dc.identifier.uri (URI) | https://nccur.lib.nccu.edu.tw/handle/140.119/153950 | - |
| dc.description.abstract (摘要) | 本研究目的為探討流行舞蹈中的敢曝風格，以Waacking與Voguing兩舞種為對象，其舞蹈風格最初起源於同志酒吧文化，男性以扮裝(cross-dressing)、姿態或動作展現出冶豔、性感的陰柔的特質，爾後形成其特有的舞蹈風格，發展至今其舞蹈技巧符碼化為陰柔的力量，早期，同志展現的那種「裝腔作勢、矯揉造作」的敢曝(camp)風格，仍舊保留在舞廳或舞蹈比賽中的battle形式，或者是藝人表演及MV舞蹈的舞台形式，舞者已然跨越性別，舞蹈風格也更為大眾化。面對這股舞蹈敢曝所展示的他者力量，文末藉由列維納斯提出的他者倫理學作為回應。 | - |
| dc.description.abstract (摘要) | Waacking and Voguing that emphasize a feminine and pretentious gesture have definitely started a new fashion in pop dance. As sexual stereotype, men would be considered mentally ill if they are shown delicate, sexy, or feminine. We usually depreciate the performance that has too many feminine acts. We would consider those feminine acts as “the Other”. However, the dancing styles of Waacking and Voguing especially highlight the feminine gestures to make the “camp” way. No matter the gender, the dance with feminine acts can be appreciated. This would make “the Other” have new identification and value. This article will discuss the impact on the “camp” style for dancing by the theories of Levinas’ “the Other”. First, we will discuss the origin and features of Waacking and Voguing dance. Then, we will discuss the impact of “the Other”. Finally, we will understand how to face the existence of “the Other” by the bold way of the “camping” dancing style. | - |
| dc.format.extent | 880463 bytes | - |
| dc.format.mimetype | application/pdf | - |
| dc.relation (關聯) | 政大體育研究, 29, 1-12 | - |
| dc.subject (關鍵詞) | 扮裝; 陰柔; 甩手舞; 時尚舞風 | - |
| dc.subject (關鍵詞) | Levinas; crossdresser; feminine; Waacking; Voguing | - |
| dc.title (題名) | 他者的力量—流行舞蹈中的敢曝風格 | - |
| dc.title (題名) | The Power of the Other: An Inquiry into Camp Style of Pop Dance | - |
| dc.type (資料類型) | article | - |
| dc.identifier.doi (DOI) | 10.30411/CTTYYC.202212_(29).0001 | - |
| dc.doi.uri (DOI) | https://doi.org/10.30411/CTTYYC.202212_(29).0001 | - |