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规则的某些行为表达来思考人权法的逻辑和实践的概念转变，这是我希望在我的博士学位中探索的问题。近十年来，由于一定的社会学原因，他们的民歌和舞蹈融入了具体的人权戒律。我认为，这是一种具体的权利概念，在形式和实质上类似于司法和法律的反复。人权词汇以自我参考指数的形式出现，社区可以通过道德权威的登记册来预测和联系他们的社会经济困境。他们主张权利的方式创造了一种另类和异国情调的奇观，将他们与公民社会和国家区分开来，成为资本主义的前现代幸存者。然后，人权工作者和官员们自己将这些要求转化为法律模板，以便将发展项目和全球资金引入博尔kpa村庄，从而形成法律上可能存在的权利和义务的实质性配置。这种不以公民政治或人类尊严的个人主义为基础的权利文化生产，为人权法提供了一种不同的基础和形态，作为一种定位的、偶然的、但在当地产生的普遍人权。

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.