臺灣客家採茶舞，根源于普通民眾日常勞作，其中銘刻的不僅是臺灣客家人採茶勞作的風土民情，更蘊含了台灣客家人辛苦開拓的歷史淵源。它的起源、創作與流傳都根植於臺灣這塊獨特的土壤之中，在臺灣客家文化發展史中，已創造了屬於自己的舞蹈語言。 但是當前諸多主流的舞蹈界學者前輩，仍將中國大陸客家採茶舞和臺灣客家採茶舞混為一談，甚至對於臺灣客家採茶舞的萌生、發展與存在視而不見。 本文中將以周惠丹女士為研究物件，以其創作的台灣客家採茶舞為研究內容，以拉邦動作分析為研究手段。從創作背景、起源動機、形式內容、動作擷取、服裝用具等方面詳細闡釋臺灣客家採茶舞，明確臺灣客家採茶舞與中國大陸採茶舞實為涇渭分明的兩種舞蹈體系。 在漫漫舞蹈史長河之中，存在著億萬種舞蹈體系，在此之中臺灣客家採茶舞年紀尚輕、依然青澀，但它的存在是昭明而見，不可抹煞的。只有在民間力量、藝術家及政府的共同協力、積極促進之下，臺灣客家採茶舞才會有一個茁壯成長的機會，才能在全國甚至世界舞臺上展示真正的臺灣客家文化，起到記錄文化、傳承精神的實質作用！ Taiwan Hakka’s tea-picking dance was from people’s daily work. That is not only Taiwan Hakka’s custom, but also contains Taiwan Hakka’s history. Its origin, creativity and legend deeply connect within the unique land in Taiwan. In the culture development history of Taiwan Hakka has already created its own dancing language. Many seniors of mainstream dancing field are confusing between Chinese Mainland Hakka’s tea-picking and Taiwanese Hakka’s tea-picking. They even ignore initiation, development and existence of Taiwanese Hakka’s tea-picking dance. The thesis will focus on Mrs. Zhou Huidan and do the research of her creativity of Taiwanese Hakka’s tea-picking dance and analyse Laban Movement as research method. It will also express Taiwanese Hakka’s tea-picking dance according to background of creativity, motivation, formation, movement, and costume, and clarify the very different dance systems between Taiwanese Hakka’s tea-picking and Chinese Mainland e tea-picking dance. It still exists variety of dance system in the long history of dance. Herewith, the age of Taiwanese Hakka’s tea-picking dance remains young, and its existence not only can be seen but also can not be erased. Nongovernmental, artists and government need to cooperate so that Taiwanese Hakka’s tea-picking dance will have an opportunity to grow up and perform in everywhere in Taiwan and even perform in the world’s stage to show truly Taiwan Hakka culture which can be recorded and inherited.
