待識別族群的呈現、複製與自我規訓——影像與文化檔案中的「莽人」

Presentation, Reproduction and Self-discipline of an Ethnic Group to be Identified: Mangs in Images and Cultural

藝術家程新皓的作品《陌生地形》呈現了中越邊境地帶這一被他稱為「具有間性的場域」，並借助影像呈現了一個待識別的族群「莽人」。在藝術家看來，莽族人的生活形態是流動的，一定意義上符合詹姆斯·斯科特（James C. Scott）對東南亞贊米亞（Zomia）地區高地族群的描述。莽人居住在斯科特意義上的「碎裂帶」，有意識地去消弭本族文字可能帶來的外部危機，以一種無文字、非國家的管道維繫著族群的自我認同。但由於中國的扶貧和少數民族政策，莽族人最終被識別並納入到布朗族中。本文試圖借助安德森（Benedict Anderson）在《複製品、光暈和晚近的民族主義想像》（Replica, Aura, and Late Nationalist Imaginings）一文對複製和民族主義想像的討論，以及斯科特《逃避統治的藝術》（The Art of Not Being Governed）對流動性族群的分析，指出程新皓《陌生地形》作為一種藝術手段介入莽人這一待識別族群的生活狀態，並以他者的鏡頭，在作為外部視域的藝術展覽中，對莽人無文字、非國家的族群認同進行呈現和複製，並在事實上將其塑造為族群的自我規訓。在受到強勢文明和國家機器的介入之前，藝術影像的呈現和複製能為莽人及類似的族群記錄暫時性的反規訓敘事，但在強勢文明的主導下，莽人的反規訓敘事也會內化為自我規訓的一種。這種內化的自我規訓，會呈現為某種的文化檔案，「莽人」群體的自我規訓將變成強勢文明的參照物，以審美的、趣味的甚至獵奇的面貌被記錄在名之為藝術的資料庫之中。

The work Strange Terrains by artist Cheng Xinhao presents what he calls ‘‘an intersexual field’‘ along the Sino-Vietnamese border, and presents an ethnic group, ‘‘Mang’‘, to be identified by means of images. From the artist's point of view, the life style of the Mang people is mobile, which in a certain sense conforms to James Scott's description of highland ethnic groups in Southeast Asia's Zomia region. The Mangs live in Scott's ‘‘fragmentation zone’‘, consciously eliminating the external crisis brought about by their own writing and maintaining the self-identity of the ethnic group through a non-written and non-state path. However, due to China's poverty alleviation and minority policy, the Mangs were finally identified and included into the Bulang people. This paper attempts to draw on the discussion of replication and nationalist imagination in Replica, Halo and Late Nationalist Imaginings by Benedict Anderson, as well as Scott's The Art of Not Being Ruled analysis of mobile ethnic groups, which points out that Cheng Xinhao's Strange Terrains is an artistic method to intervene in the life state of this ethnic group to be identified, and uses the lens of the other to present and copy the ethnic identity of the Mangs without words and non-state in the art exhibition as an external perspective, and in fact shapes it into the self-discipline of the ethnic group. The presentation and reproduction of artistic images can record temporary anti-discipline narration for the Mangs and similar ethnic groups before being intervened by a stronger civilization and its state machine. However, under the guidance of a more powerful civilization, the anti-discipline narration of the Mangs will be internalized into a kind of self-discipline. This internalized self-discipline will be presented as cultural archives, and the self-discipline of the Mangs group will become a reference for the stronger civilization, which could be recorded in a database called Art, with aesthetic, interesting and even curious features.