Rereading Hong Kong coloniality through the cultural-spatial turn of social movements

Abstract

Scholars of critical theory and cultural studies speak of a ‘crisis’ of theory. Its ‘aura’ as ‘contemporary and “cutting edge”’ is in retreat (Gibson 2004: 1). Its ‘ability’ ‘to retain its sense of political engagement’ ‘outside the academy’ is in question (Hall & Birchall 2006:1-3). Despite emphasizing the need to engage society, most works remain second or third-hand theoretical analyzes about the world ‘out there.’ Hong Kong cultural studies in the humanities for example, has for the past decades focused mainly on textual studies about the representations of colonial/postcolonial cultural identity through the lens of writers, film directors and artists, with the cultural and political conditions of Hong Kong acting as a broad referential context or a mystery to be illuminated. Such representational politics remained the concern of a small circle of cultural workers, without trickling down to mainstream society and everyday life. On the other hand, it is relatively easy for Hong Kong intellectuals to play a role in the public domain, whether as intellectuals organic to the powers that be, or intellectuals organic to the ordinary citizenry. Thus, a Hong Kong site specific methodology of intellectual and political praxis as an integral part of everyday life is not unthinkable. It can potentially become a methodology that integrates theoretical, ethnographic and textual studies which in turn produces knowledge and thinking tools that can directly intervene into actual theatres of struggle in social movements and community building. Such integration of advocacy research and research informed practices is a productive methodology that reclaims and redefines space, history, discourse and materiality out of which new subjectivities can emerge. In the past decade, what used to be understood as rights movements have taken a decidedly cultural-spatial turn in discourse and methodology. They now physically reclaim and occupy public space and heritage sites (Queen’s Pier), and directly intervene through democratic participatory process not only to demand universal suffrage (Umbrella Movement), but also to preserve urban communities threatened by neoliberal redevelopment and rural communities demolished by regional infrastructure plans to reintegrate Hong Kong to Southern China (Choi Yuen Village). These space and material culture based movements are now articulated in terms of cultural identity politics, like decolonization, urban/rural cultural heritage preservation, and the rewriting of Hong Kong stories, values, policies. Conversely, what used to be understood as cultural movements, like debates on postcolonial Hong Kong identity politics, artists fighting for the freedom of expression, literature fighting for entitlement in cultural policy, have taken decidedly spatial-material turns. Experimental, participatory, bottom-up movements to fight for, design, plan and build cultural spaces are becoming city-wide movements (The Hong Kong Literary Museum Initiative, Blue House Living Preservation). Moreover, these cultural-spatial movements have also galvanized mainstream attention and participation from old communities to younger generations. The way people conceive, fight for, represent and use these spaces will prove to be integral to the decolonization of Hong Kong culture and subjectivities.