Creative multilingualism in Hong Kong popular music

Datos Bibliográficos

ID2269040
AutoresAlice Chik (0000-0002-5873-4731, City University of Hong Kong, autor de correspondencia)
Año2010
Volumen29
Número4
Páginas508-522
Fecha de publicación2010-12-01
Peer ReviewedSí
Open AccessSí
TipoARTICLE
RevistaWorld Englishes (JOURNAL)
Identificadores de la revistaISSN: 0883-2919 • E-ISSN: 1467-971X
EditorialWiley (PUBLISHER • GB)
DOI10.1111/j.1467-971x.2010.01678.x
OpenAlexW2101836904
IdiomaEN
Citas recibidas14
Referencias citadas12

In the post-war years, Hong Kong popular music has been characterized by several different configurations of languages. In the 1950s, Mandarin Chinese popular songs, inherited from pre-communist Shanghai, and Cantonese opera were the two main mass-mediated styles. In the 1960s and early 1970s, Mandarin came second to English pop, with Cantonese playing a minor role, while the mid-1970s saw the rise of mass-market Cantonese popular music, known as Cantopop and the demise of English and Mandarin as many established stars switched to Cantonese. Recent scholarship has tended to identify Hong Kong popular music with Cantonese, and to understate the historical roles of English and Mandarin. This paper explores alternative ways of representing the history of Hong Kong popular music that are grounded in the notion of multilingualism, asking whether locally-produced English music can also be "local" through its embedding in the matrix of Hong Kong languages and the hybridity of languages in contact

Art · Linguistics · Literature · Mandarin Chinese · Multilingualism · Popular music · Sociology · Asian Culture and Media Studies · History · Hong Kong and Taiwan Politics · Music History and Culture