摘要：

    This study analyzes the distinct dance styles performed by gay male dancers in Taiwan which facilitate their role in queer world- and identity-making. Previous studies have addressed historical and musical influences on the formation of the local gay community; however, the proliferation in recent years of go-go performers and dancer-influencers in gay online spaces prompt an investigation into the choreographic vocabulary through which they acquire social capital. I discuss popular categories of club music such as ‘Asia Pop’ and house, and their role in community formation, as well as dancers’ training in historically queer or ‘feminized’ styles such as voguing and waacking in the context of gender performativity. The importance of hegemonic masculinity in gay social capital has led to the dominance of gym-sculpted, ‘masc’ bodies in gay circles; as such, the confluence of different queer dance genres as performed by these muscle-bound dancers blurs bi-nary notions of gender presentation and divulges the postmodern nature of gay socialites’ bodily expressions.

    Additionally, I seek to explore the transnational nuances of this trend through case studies of queer dancers from Thailand, Singapore, and Korea, who perform in high-profile music videos or accrue large followings doing dance covers. Through these studies, I seek to further the understanding of the kinaesthetic experiences of modern queer Asian bodies, and tease out the postcolonial power differentials of implementing various styles and choreographies into the regime of the body.

關鍵字：LGBT dance history, public sphere, transnational dance trends, gender performativity