當期出版


專題論文:音樂的躁動  Disquisition: Music moves
page:29﹣48

酷兒的聲音:唱造香港異議空間
Queer Resistance in Popular Music: The Making of Dissident Voice in Hong Kong

作者
金曄路
Author
Y. L. Lucetta KAM
關鍵詞
香港流行音樂、黃耀明、何韻詩、創意抗爭、酷兒
Keywords
Hong Kong Popular Music, Anthony Wong, Denise Ho, Creative Protest, Queer
相關領域
   
摘要

香港在1997年主權移交之後,經歷了一浪接一浪的民間抗爭運動。2014年的雨傘運動,是香港民間抗爭的一次標誌性運動,無論在空間、時間,或抗爭形式方面,都突破陳規,顯示出新一代以年輕人為主體的抗爭文化的創造力和多元性。在形式方面,雨傘運動的視覺展現、街頭藝術創作、音樂創作,以及和流行文化如動漫、腐文化的結合,都是前所未見的。2019年的夏天,香港爆發了比雨傘運動更激烈的「反對修訂逃犯條例運動」。
  本文主要論述香港兩位公開同志身分的流行音樂歌手:黃耀明和何韻詩,通過她/他們在香港公民運動中的聲音和身影,(一)展現在香港敘事中經常缺席的同志/酷兒經驗,尤其同志/酷兒在民主運動中的參與經驗;(二)梳理和論述雨傘運動後至反修例運動期間,香港的同志/酷兒流行歌手如何通過音樂打開異議的空間。通過這些整理和討論,本文希望為香港社會運動研究提供長期被忽視和邊緣化的角度,從流行音樂和酷兒/性別的角度,拼貼2014年後香港社會發展的一小角;以及探索2019年後在新冠疫情和國安法的雙重影響下,流行文化在香港民間異議聲音空間拓展中的角色,尤其流行音樂如何成為一種民間行動,實現連結、行動和同在的功能。

Synopsis

Hong Kong after 1997 has been marked by waves of pro-democracy movements. Among them, the Umbrella Movement in 2014 is understood to be one of the most significant protests. It signifies a shift of paradigm in the form and content of social movement. Being a territory-wide occupy movement led mainly by the younger generations, it is internationally well-known of its spectacular visual demonstrations, street art displays, protest music and the involvement of popular culture such as ACG fan communities. In the summer of 2019, Hong Kong has experienced another major protest, the Anti-Extradition Law Amendment Bill Movement.
  In this article, I intend to narrate a (queer) story of Hong Kong during the period between these two major social movements through the creative participation of two openly gay and lesbian Canto-pop singers, Anthony Wong and Denise Ho. This article aims at (1) making visible the experiences of tongzhi/queer people in the pro-democracy protests; (2) exploring the various ways tongzhi/queer singers used to open up spaces of dissident voices. It is hoped that through the lens of queer people and queer artists’ participation in the civil society and pro-democracy movements, we can put gender and sexuality back to the study of Hong Kong social movements, and to understand the role of popular music in pro-democratic movements. In particular, how popular music has gradually transformed to be a tactic used by the people to connect, act up and develop a sense of community in the post-2019 Hong Kong.

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