全球現代性、國家主義與“新舞踊”：以1945年以前日本現代舞的發展為例之分析

This paper is intended to present the development of Japanese modern dance as a differentiated mode from other Western modern societies. The differentiation is due to the philosophical, political and cultural adaptation and resistance, embraced under the framework of 'nationalism,' that Japan had undergone during contacts with European countries, mainly German, under the trend of globalization before the middle 20 (superscript th) century. The author adopts Manning's (2006[1993]) and Burt's (1998) viewpoints and analytic approaches to explore the unique Japanese modernity and its essential imprint on modern dance in Japan and Taiwan, as the relationship between the colonizer and the colonized. Through the diachronic exploration of the process of Japanese modernization and the resistance/modification to it, the author argues that, unlike the European history, the Japanese modernity was intrigued by a strong nationalistic rationale, which often caused the conflict between the right of individual and the right of the nation. Although the struggle could be negotiated by the epistemology of human existence, such as the Japanese notion of ningen, it blurred rather than clarifying the essence of modern dance in the nationalistic Japan pre- 1945. As a whole, the newly formulated performances such as shinbuyō ,'new dance,' modern dance, as well as the comforting dance undertaken during the reign of military-nationalism, reflected this complicated mixture of Japanese modernity in dance, which allowed liberation and power both choreographed in the same dancing body.