Last week, as the planned, I sent the interview invitations to 3 KOLs I followed in Instagram/Red Book whose contents mainly focus on Hong Kong culture, and I have received one response so far. Below is the summary and analysis based on the interview.
The Interview with “hongkongmaper” was conducted via email. He provides valuable insights into how individuals are actively participating in the preservation and promotion of Hong Kong’s unique culture and subculture.
Who is HongKong Maper?
HongKongmaper is a 90s-born native of Hong Kong who is passionate about the city’s culture. As an individual, he started sharing content about Hong Kong’s unique culture and subculture on social media as a way to showcase and record the city’s transforming landscapes and evolving cultual identity with 43,000 followers now.
Why does he share content on Hong Kong Culture?
He believes that Hong Kong has a unique cultural mix and historical context that should be preserved and shared. His aim is to make more people aware of the city’s subculture and to document the changes that Hong Kong is going through.
*This grassroots level of cultural preservation can be incredibly effective in the digital age, where social media platform can reach a global auidence.
The Intersection of Hong Kong Subcultures and Hong Kong Cinema
Hong Kong Maper feels like subcultures are an integral part of any culture, acting as a mirror reflecting the state of society. He feels that Hong Kong films not only entertain but also serve as a chronicle of the city’s evolving culture. He also cited Hong Kong Director Wong Kar Wai’s films “Chungking Express” and “In the Mood for Love” as examples that depicting the urban romance and emotional complexities of Hong Kong.
Dynamic Nature of Culture
hongkongmaper’s optimism about the future of Hong Kong’s culture, despite its ongoing transformations, aligns with the idea that culture is not a static but a dynamic entity. This viewpoint is particularly vital in today’s globalized world, where cultures are constantly interacting and evolving. His perspective also resonates with Nicholas Mirzoeff’s theory ( advised by Zuleika during the tutorial) that culture is a living entity that evolves and builds upon itself.
Bamboo Scaffolding as a Subculture
I got a particular revelation of the concept of “bamboo scaffolding” as a representative of Hong Kong subculture, something that had never come up in my previous conversations with Hong Kong residents. ” Hong Kong is one of the last places in the world where bamboo is still widely used for scaffolding in construction. In Hong Kong, skilled armies of scaffolders can erect enough bamboo to engulf a building in a day-even hours-using techniqus that are thousands of years old, and have been passed down through generations.” (Duhalde, 2022) This labor-intensive, traditional technique of construction is a fascinating juxtaposition of tradition and modernity, encapsulating the ever-changing but deeply rooted cultural landscape of Hong Kong.
*This new knowledge emphasizes the importance of engaging in diverse conversations to get a fuller picture of my research subject.
Conclusion
The interview with “hongkongmaper” serves as a compelling case study on the role individuals can play in cultural preservation and education, especially in the age of social media. His insights inspire me in how I might frame my research questions and interventions around Hong Kong’s cinema and evolving culture and subcultures.
When diving deep into the heart of a culture, one must not only observe but also interact and engage. With the aim of better understanding Hong Kong’s unique subcultures and their evolution, I conducted a survey with Hong Kong residents to gather their insights about Hong Kong cultural identity.
Target Audience
Before initiating my survey, I was clear about my target audience: “Hong Kong Residents.” I chose this group because their firsthand experience in the city’s cultural milieu would invaluable insights for my research.
While all respondents could be classified as “Hong Kong Residents”, their backgrounds are diverse. From older generations born in the 1960s to younger folks from the 1990s, native Hongkongers to foreigners who’ve called Hong Kong home for years, this diversity enriched my study, capturing the multifaceted nature of Hong Kong culture.
Initially, I planned face-to-face (or online) interviews to deeply understand their views. However, practical challenges, especially their busy schedules and geographical differences, let me to opt for a more efficient survey method. I incorporated open-ended questions, aiming to capture genuine perspectives on Hong Kong cinema and subcultures.
Initial Dive into Survey Responses
The survey included 14 questions. And I sent out the survey to 15 Hong Kong residents whom I personally know. As of today, I’ve received responses from 12 of them.
The survey began with the question ” What is your cultural background”, and most answers were “Cantonese” or “Hong Kong Culture”，while one figured out himself as “Art school graduate in moving image” which strayed from its intended focus. As I did not offer better guidance like “Hong Kong Culture” or “British Culture” or even “What is your native/original culture” in the question to suggest respondents.
And for the second question about familiarity with the concept of “Hong Kong subcultures”, I used a quantitative approach. However, 2 respondents suggested me figure out a 1-5 or 1-7 scoring standard with clear label, such as 1-not familiar at all, 5- extremely familiar.
I have gained some useful knowledges from the 3rd question is “Can you provide examples of subcultures that you believe are present in Hong Kong”. Based on the answers gathered from them, I did more research esp. in HK style restaurent, HK style stand-up comedy, Fujianese community (could related to Hong Kong diverse culture and gangster culture) as well as the cantonpop. ( Pls refer to the previous 2 blogs about HK subcultures in HK films)
And the question “how do you think the younger generation (Gen Z) perceives and engages with Hong Kong’s subcultures and creative industry” is a tad confusing and abroad. I will consider to seperate it into 2 questions, one will focus on the perceives of Gen Z while another will focus on how “Gen Z” involving in Hong Kong creative industry.
For the last question I put, to be honest, I thought it was an intervention. I invited the interviewees to propose Cantonese slangs, cantonpop, or taking photos, drawing graffitis etc. to describe their thoughts on the past and present of Hong Kong after they finishing the above survey and reflecting their personal touch to the evolution of Hong Kong subculures. But I think the question I raised was not explained clearly what I really want to know and collected from them. And for the people who are not deeply immersed in the Hong Kong culture (their original cultures are mainland China or European, it might be difficult for them to answer (From the responses, it could be found that they didnt provide the answers in this question). But I still got some good feedback from interviewees. Some meaningful Cantonese slangs, a pic, as well as a representative band in HK (大懒堂).
Cantonese slangs: past: 半斤八兩 present: (when being asked why one would do a hard work/difficult job) 係因爲窮呀
The pic provided by one of the interviewees, and he asked me if I know it’s sunrise or sunset.
Cantonpop: LMF also known as Lazy Mutha Fucka or Lazy Muthafucka, is a Cantonesehip-hop group in Hong Kong. The group, signed by Warner Music, was founded in 1993, disbanded in 2003 and regrouped in 2009.(wikipedia)
What is the next?
Followed by the survey, I have re-considered my “how can” research question. At the same time, I’m gearing up to connect with influential voices on platforms like Instagram, Red book and Tik tok, hoping to gather deeper insights into the heartbeats of Hong Kong’s cultural identity.
Second Intervention
What:
For the second intervention, I decided to post videos of myself singing Cantonese songs on my personal Instagram account. The songs were duets performed with an Instagram influencer who specializes in Cantonese culture.
Why:
To explore another dimension of cultural identity through the medium of music, given that the first intervention was mostly focused on visual elements and language.
To gauge how digital spaces like social media can serve as platforms for cultural identity and belonging, particularly among a specific community—in this case, Hongkongers.
How:
I collaborated with an Instagram influencer who specializes in Cantonese culture. We chose a couple of songs that are popular and resonate well with Hong Kong’s cultural backdrop. The videos were posted on my personal Instagram account to see the kind of engagement and feedback they would attract, especially from people who identify as Hongkongers.
Reflection:
Digital Resonance: The majority of the likes and engagement came from Hong Kong-based followers, affirming that digital platforms can indeed serve as a space for cultural expression and recognition.
Language and Music: The songs’ lyrics and melodies seemed to touch a chord, reinforcing the idea that language and music are potent cultural identifiers.
Contrast with Physical Space: This online intervention provided a contrasting perspective to the first physical event. It showcased that cultural identification can happen both in physical and digital landscapes.
“Dungduksiu” translates to “stand-up comedy” in English. This new form of performance art was introduced to the Chinese (Hong Kong) community by Hong Kong actor Dayo Wong in 1990, drawing from Western influences. At that time, there was no direct translation for “stand-up comedy” in Chinese. Eventually, Dayo Wong coined the term “Dongduksiu” for it.
Due to the use of Cantonese in Dungduksiu performances, there are many jokes that require a deep understanding of local culture, as well as numerous puns that rely on the intricacies of Cantonese pronunciaion. As a result, there is a certain exclusivity on a cultural level; even with subtitles, individuals from non-Caantonese-speaking regions may not grasp the underlying meanings of the jokes. Performers of dungduksiu often favor the creative technique of using homophonic wordplay to craft their jokes (for instance, Dayo Wong’s repertoire is filled with such pun-based humor). It’s important to note that Cantonese has 9 tones and a wealth of linguistic intricacies, making its pun-based humor incredibly diverse. Even if you manage to learn Cantonese everyday, without immersing yourself in Cantonese culture, you won’t truly understand their jokes. The roots of Dungduksiu are deeply tied to local culture, embodying the idea of speaking the language of the locals. To evoke resonance among locals, the premise of the performers’ humor lies within the cultural backdrop of this city. Without growing up in this city, how could one feel that resonance?
When we talk to the topic of Hong Kong films, if you’ve watched movies or TV shows starring Dayo Wong, you’ll notice that he has incorporated the essence of Cantonese slang from stand-up comedy into his film dialogues. This enhances the sensory immersion for local Hong Kong audiences and generates resonance.
The Unspoken Rules of Hong Kong-style Tea Restaurants (Hong Kong Cha Chann Teng Culture)
“Speaking English to order food”: Speaking English doesn’t mean translating your order into English. In Hong Kong, it means “using A, B, C, D to refer to the menu items”.
Missbehavior (2019)
2. Secret code for Ordering:
Hong Kong’s tea restaurant ordering receipts embody a significant level of industry-specific shorthand, while also serving as a microcosm of the city’s unique culture. In a fast-paced urban environment, where diners are often in a hurry and businesses prioritize efficiency, servers use various abbreviations when taking orders to minimize service time and enhance efficiency. Over time, this has led to the emergence of numerous “industry secret codes” on receipts that combine Cantonese and English pronunciations.
What constitutes a Hong Kong subculture? The following insights have been gathered and synthesized from interviews, surveys, and articles contributed by Hong Kong residents and cultural enthusiasts. While I cannot guarantee that they represent Hong Kong subcultures in their entirety, my rationale for choosing these particular subcultures from a plethora of definitions provided by Hong Kong residents is their frequent depiction in Hong Kong cinema and their ability to encapsulate a specific era in Hong Kong’s history.
Nonsensical / Absurdist Culture 无厘头文化
Nonsensical comedy is primarily represented by the comedies of Stephen Chow in the 1990s. This refers to a cultural phenomenon characterized by humor, absurdity, and surrealism. It often involves the use of illogical or nonsensical elements to create comedic or thought-provoking content. “Being Happy is the most important thing” is the core of Hong Kong-style culture.
Frome Beijing with Love (1994)
Since the turn of the millennium, many comedic romantic films have emerged in Hong Kong cinema. One of the most iconic and hilarious moments is the line “请问sir字点写” (“How do you write the word ‘sir’?”) from the movie “Love Undercover1”. The creative blend of English and Chinese in Hong Kong comedic films, exemplified by this scene, has become a longstanding classic. I’ve seen it over 50 times since I was a kid, and it still makes me laugh every time. What surprised me was that when I casually mentioned this joke to my Hong Kong friends, everyone understood the reference, indicating its iconic status.
This term refers to the subculture associated with criminal organizations or triads in Hong Kong. It includes elements such as codes of conduct, loyalty, and hierarchy, often portrayed in Hong Kong cinema and popular media.
Hong Kong’s “Traid” and the modern-day concept of organized crime are indeed products of the city’s historical legacy. During the 1990s, films revolving around gangsters and police-themed stories became mainstream themes that distinguished Hong Kong cinema within the Chinese-language film industry. A notable representative work during that era is “Infernal Affairs.” (2002-2003)
Infernal Affairs
Protest Culture 游行文化
Hong Kong protest culture reflects the city’s strong tradition of civic engagement and the active involvement of its residents in voicing their opinions and demands on various social and political issues.
According to “Which city has the most protests” (2017, The Guardian), Hong Kong was the city with the highest number of protests globally. In 2016, there were 11,854 public gatherings and 1,304 protest events held in the city.
Street Neon Signage Culture 街头霓虹招牌文化
One significant aspect of Hong Kong’s culture is the neon signage that graces its streets. These vibrant signs showcase aesthetics, calligraphy, graphics, and local history, contributing to the city’s unique cultural identity. For both local residents and tourists visiting Hong Kong, these neon signs often hold sentimental value and evoke emotions.
However, in the past year, the Hong Kong government introduced a street beautification plan, which includes measures to remove or repair at least 1,700 signs. Under the new regulations, most existing signs are deemed illegal structures, and they are rapidly disappearing from the city’s streets. While there is a chance for some signs to survive through a sign inspection scheme, the criteria for evaluation do not encompass the historical, cultural, and aesthetic value of these neon signs. As a result, many iconic signs are at risk of being lost forever, impacting the city’s visual landscape and erasing part of its cultural heritage.
Hong Kong’s Mong Kok (often referred to as MK) is a vibrant and bustling neighborhood known for its unique urban culture and atmosphere. Mong Kok is situated in the Kowloon Peninsula and is one of the most densely populated areas in the world. The term “MK culture” is used to describe the distinctive lifestyle, trends, and characteristics associated with this area.
“MK culture,” known as Mong Kok culture, is a term native to Hong Kong, commonly used from the early 2000s to the early 2010s to describe its unique community culture. Due to Mong Kok being a hub for selling trendy items and hosting various entertainment venues aimed at young people, such as karaoke, cha chaan tengs (local diners), and cinemas, it gradually became a popular spot for trend-seeking youth to socialize and hang out. The Mong Kok East Centre and the Trendy Zone are considered to be the birthplaces of MK culture.
“Mong Kok people,” referred to as “MK individuals,” are the youth who frequent the Mong Kok area. However, it doesn’t necessarily mean they reside in Mong Kok. Generally, young males are colloquially called “MK guys,” while young females are referred to as “MK girls.”
As Tears Go By (Wong Kar Wai, 1988） As Tears Go By (Wong Kar Wai, 1988）Made in Hong Kong (Directed by Fruit Chan, 1997)
Starting from 2007, a new term emerged: “trendy kids” (潮童), referring to some MK individuals who particularly favor branded items or enjoy wearing distinctive clothing.
Complaining Culture 投诉文化
Complant culture refers to a prevalent cultural practice in Hong Kong where people are inclined to voice their grievances, dissatisfaction, or concerns publicly and often to authorities, companies, or public figures. This culture highlights a strong sense of civic engagement and expectation of accountability.
The Change I want to see?
As someone who has been influenced by Hong Kong films, developed an interest in Hong Kong culture, and worked in Hong Kong institutions for ten years, I believe that the aforementioned “subcultures” are evident in Hong Kong’s film and television industry, stemming from the city’s history. However, with the passage of time, changes in Hong Kong’s societal environment, and the influence of current laws and social media, some of Hong Kong’s distinctive “subcultures” have gradually disappeared or already vanished. From a positive perspective, the emergence of new social norms, such as the decline of organized crime, and a stronger emphasis on lawfulness, signify societal progress and stability. However, the accompanying negative consequences are that the city has lost some of its original distinctiveness, leading to homogenization with other major cities in mainland China and a lack of competitiveness. As a result, this also poses challenges for artistic creation, particularly within Hong Kong’s once renowned film and television industry.
Through my research, I hope to delve deeper into the “subcultures” portrayed in Hong Kong films, using their foundation to create an immersive interactive installation (or game). This project aims to allow people with an interest in Hong Kong culture to genuinely experience its subcultures, thereby contributing to the preservation of positive aspects within these subcultures. In doing so, I plan to consider the following approaches:
In-Depth Research on Subcultures: Conduct a thorough examination of the subcultural elements depicted in Hong Kong films, including nonsensical comedies and gangster culture, analyzing their historical development and impact.
Immersive Installation Design: Design an immersive installation or game centered around the subcultures portrayed in Hong Kong films, enabling participants to interact and experience the unique aspects of Hong Kong culture.
Perpetuating Positive Values: Integrate the subcultural elements within the installation or game with positive values, such as inclusivity, creativity, and social cohesion, allowing participants to deeply experience the captivating aspects of Hong Kong culture.
Leveraging Social Media and Promotion: Utilize social media platforms and other channels to promote and publicize the immersive installation or game, attracting a broader audience to participate and gain insights into Hong Kong’s subcultures.
Through this research and creation, I aim to spread awareness of Hong Kong’s distinctive subcultures to a wider audience, preserving their positive aspects, and making a valuable contribution to the conservation and development of Hong Kong’s cultural heritage.
Last week, I had an incredible opportunity to witness the mesmerizing performance of “Moaka na ndima or the aka pygmy in the forest” in Paris, presented by the Ndima Group from the Republic of Congo. The concert is one of the events of the Rhizomes Festival which offers people appointments from July 1 to 23, 2023 to celebrate the “All-World”, its rhythms, sounds and wonders from the five continents, through an anthology of cross-cultural encounters, free concerts and magical walks between old oaks, young shoots and other wild grasses.
“Moaka na ndima” was an amazing and emotional journey into the equatorial forest, where we explored the history of the aka man and his musical heritage which is currently threatened with extinction. The musicians of the Ndima Group showcased their unique vocal techniques as well as the expression of the bewitching melodies with chordophones.
“Moaka na ndima” truly showed us the lively Aka Pygmy musical tradition. With their diverse songs, the Ndima Group took us on a journey to the forest, making us value this endangered cultural heritage.
At the same time, after watching the performance of the Ndima Group, my friend and I were deeply moved and also felt that music knows no borders. They excel at using natural “gifts” as instruments, which is similar to many artistic performances in China. My research topic aims to explore how mainland China and Hong Kong’s high-quality art and culture can have the opportunity to receive international support, perform on a global stage, and gain recognition worldwide, just like the Ndima Group.
PS: Rhizomes 2023 also supported by Institutional and financial partners (including The Ministry of Culture, France) and cultural and media partners.
Last weekend, I had the pleasure of visiting London’s Prince Charles cinema, which is “the last of the independents still operating in London’s cine-famous ‘West End’” as the cinema’s introduction shown in the website.
In this cinema, I watched a Taiwanese film “Yiyi: A One and a Two” directed by the renowned filmmaker, Mr. Edward Yang. Although Yiyi (2000) is often regarded as one of the greatest Taiwanese films ever made, it was not officially released to the public in Taiwan until 2017. “Yiyi: A One and a Two” itself was a cinematic masterpiece, a reflection of Mr. Edward Yang’s directorial genius. The film delves deep into the complexities of human relationships, navigating the intricacies of family dynamics, personal struggles, and the passage of time. With its meticulously crafted storytelling, nuanced performances, and thought-provoking themes, “A One and a Two” resonated with audiences, eliciting a range of emotions and fostering a sense of empathy.
With a runtime of 173 minutes, the film aligns itself with the hallmarks of Taiwanese literary films. It adopts a deliberate and unhurried pace to tell the oridinary individuals’ stories. Even though, every line and fragment in the movie carries a deep significance that resonates with me, evoking a sense of familiarity and emotional connection. Through this, I grasp the essence of the line in the film that states, “You may not see it on your own, so I will reveal it to you.”
The film maintains its authenticity by utilizing the original soundtrack, featuring a blend of Mandarin and the local Taiwanese dialect. English subtitles were thoughtfully provided, allowing viewers to fully immerse themselves in the language and cultural nuances of the film. And what struck me was the remarkable diversity among the audience, with a significant number of non-Asian viewers in attendance. As the film reached its conclusion, the audience erupted in applause—a sight distinct from my experiences in China.
Beyond the disparities in culture, language, and individual traits, cinema possesses a remarkable ability to bridge cultural gaps, evoke profound emotions, and ignite insightful dialogues. It stands as a testament to the timeless influence of storytelling, transcending barriers and uniting diverse audiences, regardless of their backgrounds.
“War of the Genders” (男亲女爱） is a Hong Kong television sitcome produced by TVB. It orginally aired on TVB Jade from 21 Feb to 7 July 2000, totalling 100 episodes. It revolves around the office workers employed at C.K. Law Firm, a fictional law firm located in Central, Hong Kong.
The poster of “War of the Genders”
“War of the Genders” is a TV series set in Hong Kong and primarily focuses on exploring gender dynamics and relationships. While the series may not explicitly delve into broader Hong Kong characteristics, it can still provide some insights into the city’s cultural context and social dynamics. Here are a few characteristics that I glean from “War of the Genders”:
Urban lifestyle: The show presents glimpses of the fast-paced urban lifestyle that is characteristic of Hong Kong. It may portray the hustle and bustle of city life, the crowded streets, and the vibrant energy of a cosmopolitan metropolis.
Multilingualism: “War of the Genders” may reflect the linguistic diversity of Hong Kong. The characters may speak a mix of Cantonese, English, Mandarin, and potentially other languages, showcasing the multicultural and multilingual nature of the city.
Social dynamics: The series may touch upon social dynamics and interpersonal relationships within Hong Kong society. It might explore themes of gender roles, societal expectations, and cultural norms that influence the interactions between men and women in the city.
Hong Kong slang and humor: “War of the Genders” may incorporate local Hong Kong slang and humor, giving viewers a taste of the unique linguistic expressions and comedic styles prevalent in the city.
Cultural references: The show might make references to local customs, traditions, or festivals that are specific to Hong Kong, providing insights into the cultural backdrop against which the story unfolds.
Even “War of the Genders” can offer glimpses into certain Hong Kong characteristics, it is a fictional portrayal and may not capture the full breadth and depth of the city’s cultural and social aspects.
Hong Kong West Side Stories (2019)
Netflix, a prominent online streaming platform, is actively expanding its collaboration with various countries and regions to co-develop drama series. Leveraging its robust resources and stringent quality control, Netflix has consistently delivered blockbuster productions. I happened watch “Hong Kong West Side Stories” in Netflix. It is a dark comedy reflecting what the socitey really alike in Hong Kong in recent years. It shows the confusion and anxiety of the life of the young generation in Hong Kong. The most attractive factor for me is that each episode of the show has an independent story, and behind every story, all come from real social news events.
In recent years, there has been a noticeable rise in unit dramas adapted from online novels in Hong Kong. While these dramas haven’t gained much popularity in mainland China, they have garnered significant attention within Hong Kong. This could be attributed to several factors. Firstly, the inclusion of local Cantonese expressions and colloquialisms, as well as Cantonese-specific swear words, may resonate more with native Cantonese speakers. Additionally, the storytelling approach, characterized by dark humor, may only be fully appreciated by those who are familiar with the local context and can understand the underlying meaning behind it.
CHANGE
As the tides of time shift, cities like Hong Kong, where the harmonious fusion of Eastern and Western cultures thrives, continue to evolve. The people of Hong Kong, immersed in this dynamic environment, must bravely confront and adapt to these ongoing changes.
From the 2000s hit series War of Genders,” which amusingly depicted the daily lives of white-collar professionals in Central, to current Hong Kong TV dramas like “Hong Kong West Side Stories,” adapted from online novels with a darkly humorous twist that reflects social issues, the landscape of TV productions is constantly evolving. These film and television works capture the essence of the times, employing local language and portraying the lifestyle and environment of Hong Kong residents, even for audiences who have never set foot in the city. Simultaneously, they shed light on prominent societal concerns. Hong Kong’s culture shares similarities with both the West and mainland China, yet it possesses distinct characteristics of its own. Going forward, the question of whether TV dramas should cater to the preferences of the public or even the mainland audience’s tastes is a topic I hope to explore and discuss further within the project.
