本文從我們共同享有的現代主義街頭隱喻開始，一路探詢街舞者身體實踐所顯露的社會、文化和個人之間的動態關係。研究者透過多重場域參與觀察、與街舞者同謀關係式的深度訪談及文本分析，描述街舞者知覺的生活經驗世界、身體實踐場域及其體現。街舞者在享有跳舞的過程中不斷調整自己跳舞的身體，改變或臣服於外在環境，此反覆往返相互影響的動態歷程即是身體habitus的形成過程。街舞「力」的延伸在所處社會文化形成種種相互滲透及象徵鬥爭的多重實踐場域，身為能動者的街舞者端賴其知覺到的社會位置、價值認定和環境處境而累積或轉換身體資本形式。風格是個人生存於大環境中試圖取得平衡產生的痕跡，銘刻在身體，使身體不再只是文化中的客體或分析題材，因其主動捕捉外在生活世界而成為文化中的主體，是自我與文化的存在基礎地，即是Csordas所謂的體現，捕捉風格的意向性即是累積或修正身體habitus的經驗基礎，而做中存有的風格亦即是表意實踐。青年街舞者的認同是多重與動態的以適應當代流動與不穩定的社交關係，但其身體歷史卻又讓此流動與不穩定比其他種類的部族形式（像是流行音樂）有更具體的認同實體，其經驗反思產生的認同敘事，在選擇與決定風格時活化出能動性，形成其身體實踐與生存之道。

Starting with the shared street metaphor of modernism, this paper explored the dynamic relations between the society, culture, and individuals revealed by street dancers' bodily practices. Using multi-sited participant observation, complicit in-depth interview and textual analysis, the researcher depicted street dancers' perception of their life, experienced world, the field of bodily practices and embodiment. When dancing, street dancers continuously adjust their body to either change or submit to the environment, resulting in a so-called dynamic process with back-and-forth interactive influence; that is, the formation process of body habitus.The power extended by street dance forms the ”multiple field of practice” with features of a variety of interpenetration and symbolic struggle in the social culture. As agents, street dancers rely on their perception of social location and value recognition to either cumulate or transform the format of body capital. Style, therefore, becomes the mark of individuals who attempt to strike a balance when surviving in the big environment. This imprinted mark implies that the body actively captures the external living world and makes body the subject, the existential ground of self and culture, rather than the object or topics for analysis in the culture. This is what Csordas called ”embodiment”, in which the intention to capture style becomes the experiential foundation of cumulating or correcting bodily habitus, while the style of the being that resides in doing actually implies signifying practice. The youth street dancers embrace dynamic and multiple identities to adjust to contemporary floating and unstable social relationships, yet their bodily history enable them to form more concrete identity than other tribes (for example pop music). The identity narratives generated by experiential reflection enacts agency during the process of choosing and determining style, and forms the way of survival and bodily practices.