本文主要考察二戰後臺灣光復至兩岸分斷時期，舞蹈作為一種具自主性的精緻藝術，如何根植於當時對現代形式的舞蹈藝術非常陌生的臺灣社會之中。分析的視角運用布迪厄（Pierre Bourdieu）的藝術社會學，討論藝術家如何在藝術場域中成就其地位為導引，藉由舞蹈家蔡瑞月為例，考察她留日歸台時所承繼的舞蹈藝術理念與實踐，以及以此所獲致的人際網絡累積的過程，從而說明蔡瑞月在當時透過堅持藝術創作的自主性與不斷在藝術場域內累積的人際關係，這兩相互證互助的作用下，使其舞蹈在引進臺灣之初，能夠被認可為精緻藝術的背後原因和形成機制。最後指出蔡瑞月在樹立舞蹈藝術自主性的過程，所遭遇的抵抗是來自傳統父權社會道德觀的排斥。因此，第一代女性舞蹈家對臺灣社會的貢獻，不只在引入現代化的舞台表演藝術，還有對當時社會既有的審美態度與道德觀的挑戰與衝撞。 The aim of this paper is to explore how modern creative dance as an art form was accepted and developed when first introduced to Taiwan between the end of Second World War and Jiang’s government retreated from China to Taiwan （1946-1949）. This paper focuses on artist Tsai, Jui-yueh as an example, and employs the sociology of art of Pierre Bourdieu to explore how Tsai’s performances were accepted as high art in contrast to popular art when most people in Taiwan were not familiar with dance as an art form. Tsai’s discourses of dance will be analyzed and her social capitals will be explored to answer the question. This paper concludes that although Tsai’s dances were accepted by intellectuals and artists as high art, her performances did challenge the normative and aesthetic views of the society then that was still dominated by patriarchy.
