In post-Handover Hong Kong, one sees an influx of cultural products from mainland China, from increased radio and television programming in Mandarin to the adoption of simplified Chinese characters in some publication venues. These are symbols of the resinicization of Hong Kong. Meanwhile, Beijingers proudly assert that the Chinese capital is the cultural centre of China, and they look with a combination of curiosity and disdain on the popular culture of Hong Kong. With this steady influx into Hong Kong of culture emanating from the Chinese capital, and with the imperialistic attitude of Beijing elites, one might conclude that Cantonese popular culture is in serious decline. However, this is not the case. Through a descriptive study of Cantonese popular music or Cantopop, as it is known in the West this article argues that Cantonese culture is a unique and irrepressible cultural force in Greater China. Further, this article argues and this is the main point that Cantopop has served the role of a strategic cultural form to delineate a local Hong Kong identity, vis-à-vis the old British colonial and mainland Chinese identities. The article includes a brief history of Cantopop.
2022. Re-thinking Popular Culture. In Hong Kong History [Hong Kong Studies Reader Series, ], ► pp. 181 ff.
Abe, Marié
2021. Sonic Imaginaries of Okinawa. In Sound Alignments, ► pp. 171 ff.
Bourdaghs, Michael K., Paola Iovene & Kaley Mason
2021. Introduction. In Sound Alignments, ► pp. 1 ff.
Charrieras, Damien & François Mouillot
2021. Introduction: Nomadism, Fragmentation, and Marginality - The Hong Kong Music Underground in the East Asian Context. In Fractured Scenes, ► pp. 1 ff.
Kommattam, Nisha
2021. Vehicles of Progress. In Sound Alignments, ► pp. 69 ff.
Lindsay, Jennifer
2021. Musical Travels of the Coconut Isles and the Socialist Popular. In Sound Alignments, ► pp. 41 ff.
Ng, Chi Wui
2021. Cantonese‐English code‐switching in Cantopop television drama theme songs. World Englishes 40:3 ► pp. 354 ff.
Schultz, Anna
2021. Cosmaharaja. In Sound Alignments, ► pp. 201 ff.
Shin, Hyunjoon
2021. Searching for Youth, the People (Minjung), and “Another” West While Living Through Anti-Communist Cold War Politics. In Sound Alignments, ► pp. 129 ff.
Wee, C. J. W.-L.
2021. East Asian Pop Music and an Incomplete Regional Contemporary. In Sound Alignments, ► pp. 93 ff.
Yang, Hon-Lun
2021. Cosmopolitanism, Vernacular Cosmopolitanism, and Sound Alignments. In Sound Alignments, ► pp. 153 ff.
Yano, Christine R.
2021. Asia’s Soundings of the Cold War. In Sound Alignments, ► pp. 249 ff.
Zhang, Qian
2021. Yellow Music Criticism During China’s Anti-Rightist Campaign. In Sound Alignments, ► pp. 231 ff.
Wang, Klavier J.
2020. Making Cantopop. In Hong Kong Popular Culture [Hong Kong Studies Reader Series, ], ► pp. 341 ff.
Cheung, Carlos K.F.
2017. Trans-border televisual musicscape: Regionalizing reality TVI am a Singerin China and Hong Kong. Global Media and China 2:1 ► pp. 90 ff.
Ho, Vicky Wing-Ki
2013. Thirty Years of Contemporary Christian Music in Hong Kong. Journal of Creative Communications 8:1 ► pp. 65 ff.
Leung, Chi Cheung
2013. Music Composition Education in Hong Kong. In Creative Arts in Education and Culture [Landscapes: the Arts, Aesthetics, and Education, 13], ► pp. 97 ff.
Yau, Hoi-yan
2012. Cover Versions in Hong Kong and Japan: Reflections on Music Authenticity. The Journal of Comparative Asian Development 11:2 ► pp. 320 ff.
Lin, Angel
2011. The Bilingual Verbal Art of Fama: Linguistic Hybridity and Creativity of a Hong Kong Hip-Hop Group. In Creativity in Language and Literature, ► pp. 55 ff.
Lin, Angel
2014. Hip-Hop Heteroglossia as Practice, Pleasure, and Public Pedagogy: Translanguaging in the lyrical poetics of “24 Herbs” in Hong Kong. In Heteroglossia as Practice and Pedagogy [Educational Linguistics, 20], ► pp. 119 ff.
CHIK, ALICE
2010. Creative multilingualism in Hong Kong popular music. World Englishes 29:4 ► pp. 508 ff.
CHAN, BRIAN HOK‐SHING
2009. English in Hong Kong Cantopop: language choice, code‐switching and genre. World Englishes 28:1 ► pp. 107 ff.
Chew, Matthew M.
2009. The Subversive Sociocultural Meanings of Cantopop Electronic Dance Music. Chinese Sociology & Anthropology 42:2 ► pp. 76 ff.
Chow, Yiu Fai
2009. Me and the dragon: a lyrical engagement with the politics of Chineseness. Inter-Asia Cultural Studies 10:4 ► pp. 544 ff.
Ho, Wai-chung
2004. A Cross-cultural Study of Preferences for Popular Music Among Hong Kong and Thailand Youths. Journal of Intercultural Communication 4:1 ► pp. 1 ff.
[no author supplied]
2021. Contributors. In Sound Alignments, ► pp. 285 ff.
[no author supplied]
2021. Bibliography. In Sound Alignments, ► pp. 263 ff.
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