本研究聚焦臺灣舞蹈先驅李天民的著作，分析這位「當代臺灣舞蹈復興往事的見證人」的舞蹈 史論述。研究者參考德希達（Jacques Derrida, 1978，1997)「解構」（deconstruction)的策略， 分析李天民五篇重要臺灣舞蹈史論述之「延異」idiff6rance')，發現其中「差異」（difference) 與「延宕」（deferral)的跡證。研究者發現李天民由早期書寫臺灣與遠古中國歷史之連結；轉而論 證「中國舞蹈復興」引發「臺灣傳統舞蹈文化復興」；最後改採「漢族舞蹈的移植和創新」並增添 「原住民的歌舞風情」，說明傳統臺灣舞蹈之特色。李天民臺灣舞蹈史論述之書寫、出版、宣傳與 運用，顯然是希望以「見證者」的地位以及舞蹈先驅之威信，競爭賦予社會實踐意義的權力，希望 爭取公眾的同意、改變社會定見。

This research focuses on writings of Taiwanese dance pioneer Ten-Ming Lee. It is intended to analyze the dance historical discourses written by this ‘witness of dance renaissance of contemporary Taiwanese history，. Reflecting on Jacques Derrida’s (1978, 1997) strategy of deconstruction, the researcher examine five of Lee's important Taiwanese dance historical discourses and discover traces of difference and deferral, leading to differance. The researcher discovers that Lee’s early writings tend to linked Taiwan with ancient Chinese history. He then moved on to demonstrate that the revitalization of Chinese dance in Taiwan paved the way to the renaissance of Taiwanese traditional dance. Lee concluded his description on the characteristics of traditional Taiwanese dance with the transfer and innovation of Han Chinese dance, in addition to the phenomenon of Taiwanese aboriginal song-and-dance. It is believed that the writing, publication, promotion and application of Ten-Ming Lee’s Taiwanese dance historical discourses derived from competing the power to define the meaning of social practice. Lee intended to utilize his reputation, both as a dance pioneer and a witness of Taiwanese dance history, in order to win over the consent of the masses and to change the public’s opinion.