公共空間應該是什麼？公共空間裡的衝突該如何解決？本研究藉由中正紀念堂與街舞之經驗，歸納公共空間理論上爭論不休的問題。如何讓活動在公共空間中自由的發生？作為公共空間的中正紀念堂，代表特殊之文化意涵，與街頭舞蹈的表現的另類價值，因為硬體因素與交通區位而聚集在一起。但更重要的是街舞者如何利用生活，建構真實空間壓抑下的對立基地—第三空間，實踐公共空間真正的公共性，最終達成好的城市與好的公共空間之願景。 最後結果可以歸納為三點：第一、弱勢者在公共空間中其實一直被視而不見，因此公共空間裡需要的是真正屬於弱勢者的第三空間，否則沒有市民實踐的公共空間，沒有意義；第二、解決公共空間中的矛盾，必須回歸社會文化研究，發覺第三空間中，人、活動與次文化關係中隱含的契機—非正式體制；第三、規劃者必須有非正式體制的認知，在第三空間的社會文化與體制網絡內貢獻專業。 / What is public space? How to solve conflicts in public space? This paper has been summarized all issues of public space theory by the experience of C.K.S.'s memorial hall and street dance. How to let activities happen naturally? Public space which like C.K.S.’s memorial hall presents special cultural meaning, and combines with alternative value of street dance by material equipment and location. But more important is that how B. Boys “live” their “thirdspace” to counter pressure of real space, realize true publicity of public space, reach the goal of good city public space eventually. We can get three points in the end of this paper: first, there has be some thirdspace in public space because disadvantaged people have not been seen for so long, or public space is meaningless without people realized. Second, incase to solve conflicts in public space, we must return to social-cultural research to discover informal system, relationships between people, activities, and subculture in thirdspace. Third, planners have to realize the informal systems so to contribute their profession abilities within social-culture and network systems in thirdspace.

街舞圈中，有一群特別的男舞者，他們擅長各種在台灣偏女性意象的風格。妖、騷、婊，是大家最常用來形容他們舞蹈肢體的詞彙。這群Girl’s Style男舞者帶給觀眾對於性別的不安全感，是這份研究的出發點，並且提出兩個研究問題，第一，他們性別越界特質的舞蹈實踐為何，反映了什麼性╱別意涵；第二，他們如何從舞蹈實踐中形塑自我。 為了解舞者的舞蹈實踐，本研究採取了參與觀察與深度訪談兩種資料收集方法，在校內熱舞社與校外街舞教室兩個田野點，集結近六個月的參與觀察筆記、近一年的相處經驗，以及四位受訪者的訪談內容，組成了可供分析的資料。研究者以舞蹈實踐、跨性別與舞蹈取向的自我，作為資料分析的三大概念，讓可見的舞蹈與舞者成為資料分析的對象。並且將舞者的自我等同於舞者的身體，其支持了舞者的吸收與抵抗，是舞者能動的基礎。 研究發現，這群特別的男舞者在街舞圈中，透過服裝、話語、性別腳本等多重文本的實踐，構成Bitch-Style這個新的意義系統，並且在實踐中翻轉了妖、騷、婊等污名話語，亦形塑跨性別的自我。舞者亦會在不同的情境中會自動調校性化的位置，以自我保護、展演符合社會期待的性別角色。未來期望更舞蹈與性/別的相關研究，能和本文的婊子們彼此激盪、對話。 / There’s a group of male street dancers call themselves “bitches”. Started with the uncertain feeling toward their sex/gender dancing image, the study tried to figure out what are their transgender dance practices, what kinds of meaning it contains with sex/gender, and how they fashion themselves by dancing. To understand their dance practices, the researcher took " Participant Observation" and "In-Depth Interview" as the two ways of data-collecting. After gathering with them for one year, I take dance practice, transgender performances and dance orientation of self as three approaches to analyze data. Self in this study is treated as dancers’ dancing body. In conclusion, the researcher argue that Girl’s Style male street dancers should be named as Bitch-Style male dancers. They form themselves by multi-textual practices such as discourses, dressing and gender script. Those insulting phrases like 妖、騷、婊 are transformed into positive words to them by dance practicing. Also, researcher found that they change sexed position quickly and well whenever they change scenarios. In the future,I hope there could be more researches about dance and sexuality which can support and dialogize with Bitches in my study.