本研究企圖窺探臺灣傳統舞蹈之建構、遷移與創作之情形，並探討此意圖在本土的田野、都會、舞臺中所產生的轉化與折衝。以台北民族舞團對鄉土的追尋以及2004 年的《香火》為主軸，本文將從歷史背景出發，討論蔡麗華對於臺灣舞蹈之推行與創作，如何呼應在地與全球舞蹈社群之期待，並探討其如何從廟會活動中的民俗藝陣表演，轉化再創為舞臺上的臺灣民俗舞蹈。接著，分析《香火》與白沙屯媽祖遶境之連結，並討論排練中所牽涉到的來自田野、專家、舞者的各式資訊與資源。最後，分析並討論《香火》製作中，專業舞團與在地民俗藝陣表演團體之互動關係，深入探討新生代在地民俗藝陣的轉型與專業舞團的身體訓練，如何形成一個交互影響而非單向模仿的過程。本文認為，藉由追溯台北民族舞團之舞作在不同時空之軌跡，顯現了傳統表演並無法停滯被固定於過去，而是當代不斷轉化交融與動態進行的創作。

In this paper, I focus on the process of revival, creation, and recreation of the genre of traditional dances in Taiwan and investigate the transformation and adoption among the field, the urban space and the theater. This paper opens up its discussions on Taipei Folk Dance Theater (TFDT) and on its dance productions Pilgrimage(2004). Detailing its background and history, this paper illustrates how its artistic director, Li-Hua Tsai, responded to the expectation of the local and the global dance communities and reenacted Taiwanese dances by transforming folk performances from religious events into artistic productions on stage. I, then, analyze the dance production Pilgrimage(2004) to disclose the connection between Baishatu Ma-Zu Pilgrimage and the choreography and to discuss its inspiration and resources from the field, the experts and the dancers. Finally, I explore the inter-relationship between this professional dance company and the folk performing troupe. The process shows a mutual direction of influences instead of a simple imitation. By tracking the routes that TFDT takes on, I argue that these “traditional” performances cannot be fixed in the past and, thus, contemporary transforming and dynamic dance creations.