中介著的視點：卑南溪流域布農族地區近代社會影像誌（1880-1950）及博物館再現

Abstract

本研究旨在於以「文化動態顯相化」（cultural dynamic embodiment process）的概念，探討當代後殖民情境下的原住民族文化事業的行動者，如何藉由「物」的索引性，連結原有的社會脈絡，進而開展出如James Clifford（2013）所論的「復返」路徑。筆者與地方青年夥伴們，進行了兩批關於卑南溪流域布農族地區的老相片詮釋研究，也參與了「臺東縣海端鄉布農族文化館」（以下簡稱：海端館）後續的策展工作，並進行了海端館與地方文化工作者網絡協力關係的研究。影像與檔案如同時空索引，在田野調查的過程裡，協助年輕的工作者走上逐漸隱沒的歷史記憶之中。 新發現的相片，來自於兩個中央山脈東南段的漢商/警察家族：何昧與鄭江水，流傳給後世的相冊集，影像內容都與早期布農族地區被納入國家治理的過程有關，是相當微觀的地方視角，也呈現了帝國凝視的企圖。因此，筆者在本論文的先行研究中，先進行了日本時代發行的「寫真帖」研究，回顧了原住民族身影在不同「理蕃」階段的視覺再現，作為兩批老相片研究的詮釋參照。進而當筆者透過檔案與歷史材料，探究1880-1950年代長達三代的家族史，更看見「中介者」在新的現代國家治理秩序建立過程，所展現出的能動性與韌性—他們曾左右了「國家可視化」（legibility）的推進，協助溝通兩個截然不同的世界，進而成為影響殖民治理的關鍵人士。以兩家族近百年流轉歷程、留下的相片見證與宏觀的歷史視野，所構築的社會影像誌（Social photography），讓我們得透過「中介著的視點」（intermediating gaze），動態的捕捉與詮釋影像內容與意義，讓原本作為帝國凝視的檔案紀錄，成為逆寫現代國家為原住民族地區族人帶來種種苦難的見證。 第二個主題則是「博物館人類學」，筆者以「海端館」作為田野場域探討「物」的「離散」與「再復返」。由日本時代里壠支廳「佐久間財團蕃族參考品」的蒐藏脈絡研究切入，呈現1920年代末原住民族文物藉警察網路離散進入博物館庫房的樣貌。海端館在2015年舉辦的佐久間財團文物返鄉展覽，是該館首度以「文物返鄉」為題與大型博物館的合作，無論策展過程、展示期間與展覽後的後續影響，都十足呈現了新博物館學「接觸地帶」的意義，在地族人透過「靈」所呈現的敘事，表達對於古老物件的認知情感，也藉此面對這些復返回來的物件，重新釐清社會秩序的方式。2020年，東區原住民族地方文化館聯合策展的背景下，海端館藉由跨域的支持網絡，將前述何昧家族的老相片研究規劃為一特展，策展人們以更細膩及富含多重觀點的展示語言，以歷史影像所具象化更深入的殖民歷程為見證，重塑了過去較為簡化單一的國族抗日論述。讓展覽成為事件當事人後裔、受殖民遺緒影響的當代族人、來自他處的遊客、歷史研究者、國家官僚與政治人物等交會的中介地帶。 本研究藉由上述內容，盼能補充中央山脈東南段原住民族近代史的研究視野，提出以老相片（家族相冊）作為「社會影像誌」的方法，讓影像為社會作傳。同時也描述了地方原住民族文化館及文化工作者們，是如何努力透過展覽及各種行動，將老人家的故事活在自己的生命經歷，讓「博物館」成為促成批判性思考，具有知識性、包容性與實踐性的場域。

The original intention of this study is to explore how indigenous activists connect with the original social context through the concept of ' Cultural Dynamic Embodiment Process ' under post-colonial social context, just like James Clifford's 'Return' theoretical concept. I had conducted two batches of local old photos research with local youth partners at the ' Bunun Cultural Museum of Haiduan Township, Taitung County'（BCMH）, as well as the extended curatorial work. These images and archives are like indexes, assisting young cultural activists to step into the disappearing historical memory in the process of field investigation. The two batches of old photos related to the early modern history of the Bunun people in this study are from merchants/police families in the southeastern highlands of the Taiwan Central Mountains: He Mei（何昧）and Zheng Jiangshui（鄭江水）, and the content of these photos are related to the process of Taiwan Indigenous Peoples being incorporated into the country’s colonial governance, which is a rather microscopic local perspective. Therefore, in research review of this dissertation, the author uses the 'photo album'（写真帖/Shashin jō）issued during the Japanese Ruled Period to connect the representation of Indigenous People in different policy stages, as a research reference. When I delved into the history of the two families from 1880's to 1950's, I saw the agency and resilience of these 'intermediaries' in the face of the new modern state governance order-they helped to communicate two very different worlds, and then became a key person influencing colonial management. Based on the nearly 100-year biographies of the two families, historical photographs and macroscopic historical research, this 'Social Photography' allows us to dynamically capture and interpret the content and meaning of images through the 'Intermediating Gaze'. So that originally those archival record under the gaze of the empire, could be the testimony to the misery brought by the modern state to Bunun peoples in the region. The second theme is 'Museum Anthropology'. The author conducts field research in 'BCMH' to explore the process of 'Diaspora' and 'Return' of objects/cultures. The first study was the 'Sakuma Foundation's Indigenous Cultural Objects Collection Operation' （佐久間財團蕃族參考品）during the Japanese Ruled period, showing the historical background of the Indigenous cultural objects entering the museum warehouse through the police in the late 1920s. In 2015, 'BCMH' and the 'National Taiwan Museum' jointly held a homecoming exhibition of ' Sakuma Foundation's Indigenous Culture Collections'. The curatorial process, exhibition period and subsequent influence all presented the significance of the 'contact zone' of new museology. The narratives presented by the Bunun through 'Hanitu' (spirits) express their emotions towards ancestral objects and the way they redefine the social order. During 2020, under the collaborative curating of the Taiwan Eastern District Indigenous Cultural Museum, 'BCMH' planned the old photos of 'He Mei'(何昧) as a special exhibition. The exhibition uses photos of visualize colonization process as the theme of the exhibition. Through multiple perspective curating framework to re-establishes the modern history discourses of Bunun people in the Beinan River Basin(卑南溪流域).Encouraging audiences to develop their own views, make the museum a truly democratic 'contact zone'. Based on the above content, this dissertation supplements research vision about the modern history of Bunun Peoples territory in Taiwan southeastern highlands, and proposes a method of using 'family albums' as 'Social Photography'. This study also describes how local indigenous cultural workers strive to bring the stories of the elderly into their own lives through exhibitions and various actions. Make museums place of knowledge, inclusiveness, practice and critical thinking.