Human Rights in a Prehuman World: Performative Restructurings of Human Rights in the Brokpa's Songs and Dances

我们如何通过考虑人权戒律的某些行为表达，来思考人权法的逻辑和实践中的概念转变，这是我希望通过我的博士学位来探索的问题。该项目旨在与印度拉达克的Brokpa社区一起进行人种学田野调查。在过去的十年里，由于某些社会学原因，他们的民间歌舞纳入了具体的人权戒律。我认为，这是一种具体化的权利概念，在形式和实质上类似于司法和法律上的迭代。人权词汇采用自我参照索引的形式，供社区通过具有道德权威的登记册投射其社会经济困境并与之相关。他们表演性的权利主张方式创造了一种异国情调的奇观，在公民社会和国家看来，他们是前现代资本主义的幸存者。然后，人权工作者和官僚们自己将这些主张转化为法律模板，将发展项目和全球资金引导到Borkpa村庄，从而形成了本来可以在法律上获得的权利和义务的实质性配置。这种不以公民政治或人的尊严的个人主义为基础的权利的文化生产，为人权法提供了不同的基础和模式，作为一种有条件的、或有的普遍现象，但仍是在当地产生的。

How we can think of a conceptual shift in both the logic and praxis of human rights law by considering certainperformative expressions of human rights precepts, is the question I wish to explore via my PhD. This project intends toconduct ethnographic fieldwork with the Brokpa community in Ladakh, India. Over the last ten years, their folk songs anddances have incorporated concrete human rights precepts due to certain sociological reasons. This, I argue, is anembodied conception of rights that is similar to juridical and legal iterations in form and substance. The vocabulary ofhuman rights takes the form of a self-referential index for the community to project and relate to their socio-economicwoes through a morally authoritative register. Their way of claiming rights performatively creates a spectacle ofotherness and exoticisation that distinguishes them to the civil society and the state as pre-modern survivors ofcapitalism. Human rights workers and bureaucrats then themselves translate these claims into a legal template tochannelise developmental projects and global funds into Borkpa villages, resulting in a substantive configuration of rightsand obligations that might otherwise be available in law. This cultural production of rights, not grounded in civic politics orthe individualism of human dignity, offers a different foundation and modality of human rights law as a situated,contingent universal that is nonetheless produced locally.