Hostname: page-component-78c5997874-mlc7c Total loading time: 0 Render date: 2024-11-06T05:21:26.808Z Has data issue: false hasContentIssue false

Cantopop and Mandapop in pre-postcolonial Hong Kong: identity negotiation in the performances of Anita Mui Yim-Fong

Published online by Cambridge University Press:  17 November 2008

Extract

The following comments appeared on the front page of the Hong Kong newspaper South China Morning Post on 19 January 1989, in a story about a performance in the Chinese city of Guangzhou (Canton) by Hong Kong singer Anita Mui YimFong .

Type
Articles
Copyright
Copyright © Cambridge University Press 1999

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Brace, T. 1993. ‘Symbolic rhetoric and the struggle for meaning: a popular music performance in Beijing, China’, Journal of Popular Music Studies, 5, pp. 825CrossRefGoogle Scholar
Brace, T. and Friedlander, P. 1992. ‘Rock and roll on the new long march: popular music, cultural identity, and political opposition in the People's Republic of China’, in Rockin' the Boat: Music and Mass Movements, ed. Garofalo, R. (Boston), pp. 115–27Google Scholar
Brown, G. 1994. ‘Some like it outback’, Village Voice, 16 08Google Scholar
Chan, T. 1993. ‘Pop star Anita Mui invited to sing at Great Hall of the People’, The Hongkong Standard, 2 12Google Scholar
Chau, L. 1994. ‘Breaking the pop mould’, Eastern Express, 9 06Google Scholar
Chong, W.L. 1991. ‘Rock star Cui Jian, young China's voice of the 1980s’, CHIME, 4, pp. 422Google Scholar
Chow, R. 1992. Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies (Bloomington and Indianapolis)Google Scholar
Chung, W. 1996. ‘Manda-pop invasion reflects international tastes’, South China Morning Post International Edition, week of 8 06Google Scholar
Chung, W. 1997a. ‘Local artists heed warning note and seek regional audience’, South China Morning Post, 1 01Google Scholar
Chung, W. 1997b. ‘Canto-pop climbs the world ladder’, South China Morning Post, 8 06Google Scholar
Corliss, R. 1996. ‘Viva the divas’, Time, 14 10Google Scholar
Dannen, F. 1995. ‘Hong Kong babylon’, The New Yorker, 8 08Google Scholar
Fitzpatrick, E. 1989. ‘Mui trots out her naughtiest songs despite Chinese ban’, South China Morning Post, 29 01Google Scholar
DeGolyer, M.E. 1997. ‘Hong Kong: bridge to the future’, media briefing (06) from the The Hong Kong Transition Project, available as an electronic document at http://www.hkbu.edu.hk/~hktp/hktplat/lathktp.htmlGoogle Scholar
Hamm, C. 1995. Putting Popular Music in its Place (Cambridge)CrossRefGoogle Scholar
Huang, Zhihua 1990. Yueyu Liuxing Qu Sishi Nian [Forty years of Cantonese language popular song] (Hong Kong)Google Scholar
Jairazbhoy, N. and Catlin, A. 1990. Bake Restudy (Van Nuys, CA). Book and videotapeGoogle Scholar
Jones, A.F. 1992. Like A Knife: Ideology and Genre in Contemporary Chinese Popular Music (Ithaca, NY)Google Scholar
Jones, S. and Hallet, S. 1994. ‘Swan song: the precarious traditions of Chinese music’, in World Music: The Rough Guide, eds Broughton, S., Ellingham, M., Muddyman, D. and Trillo, R. (London), pp. 452–7Google Scholar
Lee, G.B. 1995. ‘The “East is red” goes pop: commodification, hybridity and nationalism in Chinese popular song in its televised performance’, Popular Music, 14/1, pp. 95110CrossRefGoogle Scholar
Lee, G.B. 1996. Troubadours, Trumpeters, Troubled Makers: Lyricism, Nationalism, and Hybridity in China and Its Others (Durham, NC)Google Scholar
Lee, J.C. 1992a. ‘All for freedom: the rise of patriotic/pro-democratic popular music in Hong Kong in response to the Chinese student movement’, in Rockin' the Boat: Music and Mass Movements, ed. Garofalo, R. (Boston), pp. 129–47Google Scholar
Lee, J.C. 1992b. ‘Cantopop songs on emigration from Hong Kong’, Yearbook for Traditional Music, 24, pp. 1423CrossRefGoogle Scholar
Lin, Er. 1995. ‘Mei Yanfang Tianhe yanchang diu zhong bang zadan’ [Mui Yim-Fong's Tianhe concert creates an explosion], Ming Bao Zhoukan (Ming Pao Weekly), 2 04, pp. 43–6Google Scholar
Lum, C.M K. 1996a. In Search of a Voice: Karaoke and the Construction of Identity in Chinese America (Mahwah, NJ)Google Scholar
Lum, C.M K. 1996b. ‘The intercultural hybridizations of music: the case of karaoke as a transnational media form’, paper presented at the 41st Annual Conference of the Society for Ethnomusicology,TorontoGoogle Scholar
McClary, S. 1991. Feminine Endings: Music, Gender, and Sexuality (Minnesota and Oxford)Google Scholar
Manuel, P. 1988. Popular Musics of the Non-Western World: An Introductory Survey (New York and Oxford)Google Scholar
Manuel, P. 1992/1993. ‘Popular music and media culture in South Asia: prefatory considerations’, Asian Music, 24/1, pp. 91100Google Scholar
Manuel, P. 1995. ‘Music as symbol, music as simulacrum: postmodern, pre-modern, and modern aesthetics in subcultural popular musics’, Popular Music, 14/2, pp. 227–39CrossRefGoogle Scholar
Micic, P. 1995. ‘“A bit of this and that”: pop/rock genres in the eighties in China’, CHIME, 8, pp. 7695Google Scholar
Rea, D. 1995. ‘Cui Jian makes his U.S. debut in Seattle’, CHIME, 8, pp. 96–8Google Scholar
Regev, M. 1997. ‘Rock aesthetics and musics of the world’, Theory, Culture & Society, 14/3, pp. 125–42CrossRefGoogle Scholar
Spaeth, A. 1996. ‘She did it her way: Canto-pop princess Faye Wong broadens her appeal with a quirkier sound’, Time, 14 10Google Scholar
Taylor, T. 1997. Global Pop: World Music, World Markets (New York and London)Google Scholar
Wong, C.P. 1996. ‘Cui Jian: rock musician and reluctant hero’, ACMR Reports, 9/1, pp. 2132Google Scholar
Wong, J. (Wang Jian ). 1995. ‘Liuxing qu yu Xianggang wenhua’ [Popular song and Hong Kong culture], in Culture and Society in Hong Kong, ed. Sinn, E. (Hong Kong), pp. 160–8Google Scholar
Wong, J. 1997. ‘Popular music and Hong Kong culture’, in Asian Music with special reference to China and India – Music Symposia of 34th ICANAS, ed. Ching-Chih, Liu (Hong Kong), pp. 95110. Translation of J. Wong 1995Google Scholar
Yang, J., Gan, D., Hong, T. and the staff of A. Magazine. 1997. Eastern Standard Time: A Guide to Asian Influence on American Culture (Boston and New York)Google Scholar
Yang, Xiaolü and Zhentao, Zhang (eds). 1990. Zhongwai Tongsu Gequ Jianshang Cidian [Dictionary for the appreciation of Chinese and foreign popular songs] (Beijing)Google Scholar
Yano, C.R. 1997. ‘Fanning desires: the place of foreign female singers in Japanese popular music’, paper presented at the Annual Meeting of the Association for Asian Studies,Chicago, IL,16 MarchGoogle Scholar
Zheng, S. 1997. ‘Female heroes and moonish lovers: women's paradoxical identities in modern Chinese songs’, Journal of Women's History, 8/4, pp. 91125CrossRefGoogle Scholar