SOAS Research Online

Abstract

This thesis explores the identity of ‘Hongkonger’ through the lens of Cantonese popular music (Cantopop). ‘Hongkonger’ is a term that has been frequently invoked in pro-democracy contexts in Hong Kong, particularly during the democratic movements. Grounded in twelve months of ethnographic fieldwork conducted in Hong Kong during the Anti-Extradition Law Amendment Bill protests from 2019 to 2020, this thesis unpacks the complexity of the ‘Hongkonger’ identity by examining its representation and politics in Cantopop. In this thesis, I regard ‘Hongkonger’ as an autonomous cultural and political identity in Hong Kong that is distinct from a ‘Chinese national identity’. On this basis, this thesis draws connections between the identification of ‘Hongkonger’, the politicisation of Cantopop, and the democratisation of Hong Kong, examining how musical practices, social movements, and the city in the popular imagination interact at this complex socio-political juncture. On 31 March, 2019, two weeks after my arrival in Hong Kong for fieldwork, approximately 12,000 pro-democracy Hong Kong citizens took to the streets for the first time to protest the Extradition Law Amendment Bill proposed by the Hong Kong government. This bill would allow Hong Kong suspects to be extradited to Mainland China for trial, which was seen as a threat to Hong Kong’s judicial autonomy. Over the next ten months, this movement grew into the largest and most influential democratic protests in Hong Kong’s history, with millions of Hong Kong citizens, primarily young people, participating in various forms to fight for their own democracy. Musical engagement played a prominent and significant role in the 2019 protests. ‘Glory to Hong Kong’ (願榮光歸⾹港), a marching song dedicated to this movement, became the anthem of the protests and was heard everywhere in shopping malls, squares, and streets. Additionally, many Hong Kong musicians actively participated in the protests through their songs and performances. Music was widely used to express personal sentiments, connect with others, and call for solidarity, becoming a crucial medium to construct, reinforce, and negotiate Hong Kong local identity during this turbulent time. This thesis reveals the internal tensions of the collective ‘Hongkonger’ identity by exploring the spectrum of views expressed within the pro-democracy Cantopop musicians. Specifically, this thesis scrutinises the reasons why Hong Kong musicians incorporate political opinions into their songs, their performances, and their public expressions of political views. By examining therefore, the different positions of Hong Kong musicians in support of the Anti-ELAB protests, this research demonstrates that ‘Hongkonger’ is a dynamic, fluid identity that sets out various political aspirations under the common ground of pro-democracy. This thesis also investigates the social mobilisation and audience reactions to these politicised music outputs. In doing so, it delineates how the identity of ‘Hongkonger’ is shaped musically, paying particular attention to the emotional connections and the sense of belonging created in communities formed through mutual musical practices. This thesis views the musical engagement of Cantopop musicians and audiences with politics in Hong Kong’s pro-democracy movements as a means of negotiating and representing their ‘Hongkonger’ identity. Cantopop in this case is not merely a cultural and artistic creation but also a social phenomenon that carries the imprint of a specific historical, social, and political moment in Hong Kong. This research employs music as a fluid lens to understand and decipher the messy realities and vulnerable situation of a society at a time when local identification has become more pertinent and intense. Thereby, this thesis makes an original contribution to the studies of Hong Kong identity and popular culture in the context of the protracted democratic protests. It investigates the multifarious and complex connections Cantopop music enjoins with ‘Hongkonger’ identity to enhance our understanding of the identity politics and the socio-political transformation that Hong Kong is currently undergoing. Against the background of an uncertain future for Hong Kong following the enactment of the National Security Law in June 2020, this thesis demonstrates how the intersection of anthropological studies of Hong Kong, ethnomusicology and popular music studies bring about new approaches to our understanding of contemporary debates on the prospects of Hong Kong identity and politics.