本文旨在探討以「飆舞」為名的街舞賽會，及現代性在臺灣所驅動的翻轉流變。「飆舞」一詞是在1995年後，成為臺灣流行的口頭禪，它與臺灣社會的開放及嘻哈的落地生根相關，嘻哈街舞因此被視為一種尋找社群連帶感的跨國文化行動。研究問題包括：透過飆舞現象，現代性在臺灣所彰顯的特殊性是什麼？在全球化驅動下，臺灣街舞團體如何立足於嘻哈文化的在地脈絡中？而這個跨國文化行動又如何被在地議題所挪用及轉譯？在晚期資本主義商業機制下，賽會又如何操演街舞的流行？研究顯示，臺灣社會對主體性與認同的追求，亟需一個圖像作為其信念的基礎。嘻哈「做自己」的青少年跨文化圭臬及「世界顛倒看」的反權威意象，遂被挪用為政治對抗氛圍的代言。流動現代性在臺灣的特殊情境中，於是結合了文化面與政治面，共構了特有的嗆聲文化。而在全球化連動下，飆舞凝聚了一個13-25歲的次文化準市民社會，透過「認知地圖」的嬉遊方式立足於在地脈絡中。這個以街舞展演現代性自我的階層，是以「身體玩音樂」學習成為男子漢，並以「世界顛倒看」的舞蹈方式，構成一種綜攝性慾、潛能、力量的公共奇觀。賽會乃利用「當下」所撩撥的”WOW”能量，構連奇觀的群眾魅力，透過異業結盟而操作「迷文化」的全球流行。

This essay explores Hip-Hop dance practice in Taiwan as a quasi-civil society of subculture as well as an act of community consciousness from the bottom up. Practiced mostly by high school and college youth, this type of dance is commonly labeled as ”biao-wu,” an untranslatable term that combines velocity, violence, and dancing pleasure originated from Taipei City government-held block parties in 1995. Since then, biao-wu, linking street dance, rap music, and graffiti with advertisements, has served multiple purposes, including health education, party politics, dance battles and commercial marketing. Given that Pop culture's edge is often shifting, what makes Hip-Hop dance sui generis in Taiwan is that dance competitions often regulate ”biao-wu” hip-hoppers' nomadic life-style in which a cognitive map is formulated to trace the progression of dancing techniques, and a social text is constructed through their carpe diem engagements in search of a physical culture that appears as community solidarity. Ultimately, Breaking's inverted bodily spectacles have been appropriated by polities to represent an antagonistic political atmosphere, while the young hip-hoppers simply want to be themselves in terms that I battle, therefore I am. As such, a unique confronting culture emerges from ”liquid modernity” along with consumer cultures and politics in Taiwan.