根據目前的舞蹈史料，台灣第一代女性舞蹈家大多出生於1920年代且舞蹈的啟蒙幾乎都與當時的學校教育有關。本研究旨在探討日治時期舞蹈被引入女子學校教育的目的與日本殖民治理台灣的關係。在國家富強的目標下，日治時期台灣女子教育以培養賢妻良母為核心，舞蹈被視為體育教育的一環而引入，為了打造身體健康、精神活潑的個體生命與培養協同團結的群體性。此外，學校正課外展現學習成果的學藝會是提供較精緻化舞蹈表演的場合。透過地區里民的參加，學藝會的場合使得舞蹈表演也逐漸在台灣社會確立起正當性，成為二戰後舞蹈藝術發展的社會基礎之一。然而日治時期台灣從傳統禮教社會對女子諸多的限制過渡到能讓女子登台表演是一段艱辛的歷史，其中政治力與社會力在不同的社群間時而相互抵抗時而攜手並進。本文試圖透過日治時期女子學校教育分析舞蹈表演的正當性在台灣社會建立的機制，作為理解二戰後台灣舞蹈藝術萌發的基礎。

Not until the end of Second World War was dance started to bourgeon and practice as a kind of performing art in the society of Taiwan. While at the end of 19th century most of middle to upper class women still practicing binding feet and could not move or travel freely, dance was not only physically impossible to do but normally not allowed. During Japanese colonization, Taiwan underwent modernized transformations both culturally and materially, and this process also brought the legitimate of dance about.According to the dance history, the first generation of female Taiwanese dancers were born during Japanese colonization of 1920-1930, and their common experiences of dance that finally brought them to the artistic dance world started at elementary and secondary school. The aim of this study is to explore the purposes of dance placed in school systems in relation to the goals of educational policies of Japan. As a result, dance was introduced to school systems within physical education for girls and the aim of it was mainly to facilitate health and well-mannered bodies in preparing for the role of mother and wife. Besides, dance took place at school exhibitions that outstood girls with special talents, and this made the performance a display of symbolic capitals. By taking place at school systems, dances were gradually accepted by the society of Taiwan as legitimate activities to facilitate health and good-mannered female bodies, but not yet to be seen as an independent art form. Dance as an art form was the task the first generation of dancers in Taiwan had to strive for during the Cold War period.