新加坡大埔客視覺化認同表述：一個比較分析的視野

Abstract

自上世紀末，新加坡地緣組織對史料價值改觀，轉向物質及視覺文化，既重視保存文物，更用物件圖像鋪陳敘事，拓寬溝通空間，視覺化回應政府重委傳承本族傳統之重任。本文細讀新加坡茶陽（大埔）會館文物館展示，分析其如何藉物質展陳形構表意系統，表述社群多元認同。其視覺論述表達的當地大埔客乃至客家社群認知原鄉、認同本土的立場，相較於中國客家博物館旨在召喚全球客家共同體，和大埔縣博物館之展演地方，有其個別和共同性。三者表述主從有別的認同：國族─族群認同；世界客家共同體認同；地方─中央認同；分別建構「新加坡客家」、「世界客家」、「大埔地方」主體性，唯皆展示「發展」「進步」的歷史，並以線性結構其視覺語言實踐主軸。

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.