臺灣東南亞移工的藝術主體與展演空間之形塑

The creating of artistic subjects and performance spaces of Southeast Asian migrant workers in Taiwan

潘仲雯(Pan Chung-Wen)

指導教授 ： 邱炫元 ； 洪儀真

國立政治大學/社會科學學院/社會學系/碩士(2019年)

https://doi.org/10.6814/NCCU201900239

摘要

本研究以「東南亞移工藝術實踐」作為基本命題，使用「主體建構」的社會學觀點，綜觀性的從「制度結構」、「行動者」與「勞動／藝術場域」三個層次進行分析，藉以闡釋「東南亞移工如何在參與全球跨國勞動遷移的進程下，逐漸由一名底層勞動者，成為獨當一面的移工藝術家」。首先，回顧台灣東南亞藝文自1990年代末至2018年的發展軌跡，共經歷了「工運時期」、「移民平權時期」與「文化交流時期」三個階段的轉折，移工藝術實踐慣以被臺灣政府、社運人士與地方非營利組織看作是共同推動社會發展的良藥。除此之外，移工作為履行「勞動責任」和「藝術理想」的行動者，勞動處境與社會待遇成為了他們能否打造出多元主體的先決條件，他們會主動將自身暴露於台灣的公共場合中，策略性地轉換勞動者與藝術家的身分類別以求達成某些特殊目的。最後，無論在哪一種類型的展演活動，東南亞移工的藝術場域並不是一個獨立運作的美學實踐空間，它是經常依附在層層權力關係之下，講求利益互惠的生產邏輯，並且融合移工勞動與藝術實踐的社會場域。本研究主張，東南亞移工之所以可以自由行走在臺灣的公共領域，運用「移工藝術家」的頭銜建立起自我主體性，事實上是經由臺灣社會共同建構與醞釀而成的結果。

關鍵字

東南亞移工 ； 藝術實踐 ； 跨國勞動 ； 主體建構 ； 展演空間

並列摘要

Bearing in mind the perspective of “the construction of subjectivity”, this research focuses on the artistic practices of Southeast Asian migrant workers in Taiwan. The analytical framework includes three aspects: institutional structure, social actors, and the field of labor/art, aiming to address the problematic: how have underclass proletariat Southeast Asian laborers succeeded in turning themselves into what is referred to as “migrant artists” in Taiwan? The following dimensions are to be examined: firstly, the historical development of Southeast Asian migrant art in Taiwan, which has experienced three important stages since the late 1990s to 2008, including “the labor rights period”, “the immigrant equality period”, and “the multicultural period”. The Taiwanese government, advocators, and non-profit organizations tended to claim that the artistic practices of these migrant laborers can effectively improve social development as well as resolve certain social problems in our multicultural era. Secondly, the opportunities of foreign laborers to create multiple subjectivities depend primarily on their working conditions and favorable social reception. Moreover, they expose themselves in public willfully, strategically switching between their roles of laborer and artist as occasion demands. Finally, the function of exhibition spaces where the Southeast Asian laborer-artists display their artwork are not just aesthetic; these public spaces also integrate the power relations between transnational laborers and other social actors, and the reciprocity of interests is particularly emphasized in such artistic productions. This research suggests that due to the social construction of a collectivity, Southeast Asian workers in Taiwan are able to become independent migrant artists in public and successfully re-construct their subjectivity in the age of transnational mobility.

並列關鍵字

Southeast Asian migrant workers ； Artistic practices ； Transnational labor ； Construction of subjectivity ； Performance spaces

參考文獻

英文參考書目

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