英文摘要 |
Some clan associations in Singapore have been aware of the power of visuality since the end of the last century and started to represent themselves through visual practices. This article analyzes the display of Charyong Heritage Hall of Singapore Charyong (Dabu) Association, trying to uncover the meanings produced via those selected and organized objects and images. In order to further understand the uniqueness and commonality of such a visual representation, this article also comparatively examines the displays of Hakka Museum of China and Dabu Museum in China. It claims that the Charyong Heritage Hall visually identifis its community as Singaporean Hakka whose nationality precedes ethnicity, while Hakka Museum of China attempts to construct a worldwide Hakka community and Dabu Museum endeavors to portray itself as a dependent territory of the regime. They all articulate a history that is developmental and progressive. A linear narration universally structures their visual representations. |