本研究主要討論藝術家的養成與其家庭所座落的社會階層與所擁有的經濟、文化資源的關係。根據布迪厄（Pierre Bourdieu）的「文化再製」（culture reproduction）理論，藝術家與其審美眼光的養成是透過各種教育機制潛移默化而形成，其中家庭所處的社會階層對藝術文化的接受與鑑賞之影響是關鍵。從小養成的文化習性與品味能產生類似磁吸效應，在往後的學習旅程上使藝術家容易親近與展現所熟悉的文化知識，形成比他人更優秀的文化成就。本文根據布迪厄的觀點，從臺灣近代舞蹈先驅的口述歷史分析她們生長的家庭背景、文化與經濟資源以及父母對從事舞蹈活動與留日學舞的認同，並探討這些舞蹈家之所以能夠成就其舞蹈藝術之路的機緣。藉此，本文希望除魅化藝術家的天才是天賦異稟的迷思，強調即便是被認為天才型的藝術家，如抽絲剝繭的去考察成就其藝術的背後因素，皆能發現社會與文化所給予的特殊機緣與條件的支持，日治時期出生的第一代舞蹈藝術家也是如此。

The aim of this research is to find out how the first generation of Taiwanese dancers made artistic achievements through analyzing their social stratification and economical and cultural capitals. According to the theory of cultural reproduction proposed by Pierre Bourdieu, family backgrounds such as social stratification, economical and cultural capitals cultivate the children and affect their habitus and dispositions, which will create magnetic effects on their learning processes afterward. Children who come from higher social stratifications with more cultural capitals may do better than those who have little cultural capitals, hence they are easier to be successful at schools. According to the theory, this paper analyses the social stratifications of the first generation of Taiwanese dancers in order to know what made them successful as dancers. In this way, this paper emphasizes the point that artists we used to think who are talented or gifted may have received more cultural capitals than others have been.