在這篇文章中，我透過地理學非再現理論的視角，以音樂民族誌方法，分析 台北同志夜店G*Star 的熱門音樂節目Asia Pop，探討夜店客展演音樂所衍生之身 分建構與性／別政治，藉此與當前研究台灣男同志性／別氣質展演的相關文獻對 話。Asia Pop 是主要由中、韓文流行歌組成的音樂節目，通常取自女星的作品。 由於Asia Pop 的女性符碼，該節目在男同志圈中被視為展演「C ／娘」的音樂文 化。對男同志來說，「C ／娘」展演具有貶抑與給力等意義甚至相反的意涵，且 總是涉及身分的（再）定義。Asia Pop 如何作為男同志的音樂文化？而夜店客在 參與Asia Pop 的過程中展演「C ／娘」，又如何重塑其自身之同志身分？本文主 要分析中文歌，指出：1. 以陽剛相對於陰柔的概念來理解男同志的「C ／娘」展 演是不夠的，因為「C ／娘」展演具有操演圈內歷史及文化的意涵； . Asia Pop 作為圈內的音樂文化，乃是參與其中的夜店客徵引男同志文化的實踐過程，因 而「C ／娘」展演本身為男同志認同的一部分； . 夜店客展演「C ／娘」的意義 並非全然貼合文化象徵系統，而必須放在夜店客彼此、及其與共同置身之空間的 互動中方能理解； . 對於男同志的「C ／娘」展演，應探問那究竟是何種女性形 象，以進一步探討其中可能隱含之權力關係。

Drawing on geographical non-presentational theory and music ethnography, this article analyzes Asia Pop music shows at Taipei G*Star, a popular gay bar, and focuses on the construction of identities and the politics of sexuality in the process of music performance. Asia Pop is a popular music/dance genre using Chinese and Korean pop songs, especially those by female stars. Because of its coded female qualities, Asia Pop is regarded as a sissy, or as it is stylized in Chinese, “C/Niang,” gay music culture in the gay community. For gay men, performing “C/Niang” registers various implications ranging from demeaning to empowering gay subjects, depending on different pre-conditions, and it always involves the process of identity construction. How is Asia Pop transformed into gay music culture? How are clubbers’ gay identities reshaped through performing “C/Niang” in Asia Pop? Based on case analysis, I point out: 1) A dualistic masculinity-femininity understanding of C/Niang performance is insufficient, as one should perceive both the historical and performative aspects; ) For gay men, performing Asia Pop is a practice of (re) citing gay culture, which means that “C/Niang” performance is intertwined with the identity development of young gay men; ) Performing “C/Niang,” more than representing a cultural signifying system, should be understood in terms of the environmental space of the club which clubbers inhabit and where they interact; ) It is advisable for researchers to make cautious inquiries into what female images are performed, so as to study gender power relations in the performance of “C/Niang.”