本研究探索臺灣的大溪地舞舞者如何在跨文化的情境中透過身體感知並體現大溪地的彈性特質，進而理解與重新定位在自身社會文化中的位置。1956年大溪地舞從百餘年的基督教禁令下解禁復興後，相繼在美國、墨西哥、法國、日本等海外地區風行，各地的Heiva（大溪地舞比賽）活動也開始舉辦。大溪地舞在臺灣的發展已超過十年，目前在台灣有教大溪地舞蹈的舞團大致有六個，除了平時的教學表演外，Heiva i Taiwan（台灣大溪地舞蹈比賽）也在今年邁入第七年。每年的競賽不只聚集台灣各地的優秀舞者進行競賽，來自國外的鼓團與舞者也會前來擔任評審或上台表演，是進行跨文化交流與連結的盛會，也可以見證大溪地舞在台灣的盛況。
為了理解這群台灣的大溪地舞舞者為何想要持續學習大溪地舞這個來自遙遠太平洋島嶼的舞蹈，本研究以台灣第一個專門教授大溪地舞的舞團Te Natira‘a為研究對象，親身參與舞蹈課程、表演、比賽、以及舞團所舉辦的交流活動，並與其中以女性為主的老師與學員進行深度訪談，試圖理解其學舞經歷與生命故事，觀察與分析舞者如何重新模塑她們的身體、從身體體現出大溪地文化特質、並且在學習大溪地舞後產生生活上的轉變。本研究指出，台灣的大溪地舞舞者學舞的過程中，在身體技藝、南島連結、性別以及自我這幾個面向中，深刻感受到大溪地舞的彈性（flexible）特質。此彈性特質使她們在原本單一、僵化的身材、性別、族群身分認同、與他者的互動關係等框架能夠中取得平衡，並且看見不同的可能性。

This research explores how Taiwanese Tahitian dancers perceive and embody the flexibility of Tahitian dance in different cross-cultural situations, from which they are able to reposition themselves in their own socio-cultural settings. After the arrival of missionaries in Tahiti, Tahitian dance was abolished for more than 130 years. It wasn’t until 1956 that the dance was revived and began to spread out to the United States, Mexico, France, Japan, as well as other overseas places. Heiva (Tahitian dance competition) events were also being held regularly. In Taiwan, Tahitian dance was introduced more than ten years ago and currently there are six dance troupes operating. In addition to the routine courses and occasional performances, there is also a Heiva i Taiwan (Taiwan Tahiti Dance Competition) event entering its seventh year in 2021. This annual competition not only gathers outstanding dancers from all over Taiwan to compete, it also invites international drum groups and dancers to perform on stage or serve as judges. It is a grand event for cross-cultural exchanges and can attest to the popularity of Tahitian dance in Taiwan.
In order to understand why these Taiwanese Tahitian dancers want to continue learning a style of dance from a remote Pacific island, this project works with the teachers and students, primarily female, of the first Tahitian dance company in Taiwan, Te Natira'a. Participant observation was employed in dance courses, performances, competitions, and exchange activities to observe and experience how bodies were trained and molded. In-depth interviews were also conducted to understand their life stories, particularly how their lives have shifted after learning Tahitian dance. The results show that as Taiwanese Tahitian dancers learn to dance, they appreciate a kind of “flexibility” in their sense of phycality, Austronesian connection, gender, and self. This flexibility allows them to reposition themselves in otherwise rigid and singualr frameworks, and imagine new possibilities in these real-life situations.

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