異族舞蹈如何經過參與者的轉譯，於異文化脈絡中展現其在地意涵與身體樣貌？本文將從夏威夷Hula在日本蓬勃發展的現象，以觀察、半結構式訪談、文獻蒐集等方式，探討舞蹈經由全球化浪潮，以及大眾媒體的傳播，在異文化社會中盛行的狀況。Hula原為夏威夷原住民傳統的儀式與樂舞，藉由吟唱與肢體，頌讚神明與傳承文化。它在十九世紀中期曾遭到西方傳教士的禁止，直到1880年代因卡拉卡瓦國王（Kalakaua）的提倡，而以傳統樂舞的面貌，予以保存發揚。到了二十世紀初，Hula的跨文化傳播因交通工具與媒體科技的發展而日益昌盛，目前尤以日本的Hula學習者最眾。這是因為早期移民與文化交流之故，夏威夷音樂在終戰後盛行於日本，而讓人看見「微笑的舞蹈」－Hula，也創造出人們對熱帶國家的殷切嚮往。這種大眾娛樂隨著商業的發展，及推廣成人教育的文化中心相繼成立後，夏威夷Hula在日本乃廣為人知。然而，在異文化情境下，教學方式與夏威夷當地似乎有所不同。隨著時空變遷、內在動力與外在力量的穿梭纏繞，Hula在日本，透過身體實踐，形塑出的認同不斷地轉換，也豐富Hula論述與發展的其他可能。

This essay aims to explore dance under cultural importation, and how it may be interpreted in an exotic background. I shall focus on Japan as a case study. Hula was developed in the Hawaiian Islands and dramatizes or portrays the words of the oli or mele in a visual dance form. Although Hula had been banned for a period of time, it had resurgence during the reign of King David Kalakaua (1874-1891), who encouraged the Hawaiian traditional arts. In the early 20th century, Hula was featured in tourist spectacles. However, there has been a renewed interest in Hula, both the traditional and modern style Hula, known as the ＂Hawaiian Renaissance＂ since the early 1970s. Hula in Japan is not only a source of immeasurable pleasure but also a flourishing business, due to both globalization and localization. How could the Hawaiian Hula be promoted and marketed to Japanese practitioners as an idealized image of paradise? What is the nature of the inner transformation derived from learning Hula in Japan? This study is meant to explore the above issues.