「現代舞」是西方表演藝術脈絡下的一支，強調的是編舞者的研創，一種個人主義發展的極致。臺灣原住民本擁有豐富的樂舞傳統，並與其原生聚落之社會、文化緊密關連，但百年來，在外族勢力的強力影響與侵襲下，傳統樂舞已漸消逝，而多轉為其表演性的行為。其中，近十年來，出現了一種不同於以往的臺灣原住民樂舞類型－臺灣原住民編創的現代舞。本研究以臺灣原住民現代舞編舞者布拉瑞揚．帕格勒法與魏光慶為例，透過田野調查與文本分析，嘗試瞭解與探索兩位編舞者，如何在「藝術表現」與「文化認同」問取得平衡和成功，研究目的有二：一、分析當代臺灣原住民「現代舞」的文化認同與表達。二、當代臺灣原住民「現代舞」的整理與詮釋。從兩位編舞者的現代舞創作中，筆者發現兩位編舞者不僅熱切地在現代舞創作天地中探尋自我與完美，亦積極地在作品中表現原住民圖像、宣示原住民身份的認同。布拉瑞揚．帕格勒法以「舞蹈劇場」型式，抒發對原住民議題的情與思；魏光慶則嘗試在現代舞肢體風格中，融入臺灣原住民動作特質。在原住民人口與文化面臨困境的今日，原住民現代舞編舞者們努力的過程與結果，或許是原住民族自我認同、建構未來的參考座標和成功典範。

Modern dance is a branch of Western performance art that emphasizes the creativity of the choreographer, and as such is a supreme example of individualism. Taiwan's indigenous peoples originally possessed a rich tradition of music-accompanied dance that was intimately tied to the society and culture of their villages. In the past hundred years, however, under the strong influence of encroachment by alien peoples, this tradition of music-accompanied dance has gradually died away, such that now it is mainly an object of performance by specialists rather than a part of everyday life for the entire tribe.During the past decade, a new category of music-accompanied dance has emerged in Taiwan: modern dance choreographed by Taiwanese indigenous. The present study takes Taiwanese aboriginal choreographers Puljaljuyan Pakeleva and Wei Guangqing as examples of this contemporary phenomenon. Through field research and textual analysis, the author attempts to understand and explore the work of these two choreographers and how they have balanced ”artistic expression” and ”cultural identification” to achieve success. The present study's two major research goals are (1) to analyze the cultural identity and expression of contemporary modern dance by Taiwanese indigenous choreographers, and (2) to preserve, explain and bring to public attention the works of these choreographers.From the modern dance creations of these two choreographers, the author discovered that these choreographers not only earnestly pursued selfhood and perfection through the medium of modern dance, but also actively sought to show aboriginal images and declare their self-identification as aborigines in their creative works. Puljaljuyan Pakeleava used ”Dance Theatre” to give voice to the thoughts and feelings of Taiwanese indigenous, while Wei Guangqing attempted to integrate elements of traditional aboriginal dance into the body language of his work. Today, with Taiwanese indigenous people and culture in crisis, the successful efforts of indigenous modern dance choreographers may contribute to the self-identity of aboriginal groups, while also providing them an example to refer to as they strive for success in the future.