The role of cultural intermediaries in the spread of Japanese pop music to Hong Kong in 1980s

Abstract

The 1980s was a particular period of time where Japanese Music and Culture experienced immense growth in popularity and acceptance in Hong Kong. It is generally agreed that Japanese songs were successfully transformed and localized into Cantopop; by the fond of Japanese culture from the fans and the lack of music composers in the local entertainment scene. In this thesis, it is argued that the rise of Japanese adapted songs in the 80‘s can be attributed not only to the decline of Cantonese original songs; but also to the important role of related mediators. These mediators facilitated the important process of cross-cultural migration of music from Japan, and they are known as cultural intermediaries. However, the effects and influence of these mediators are not well known and there is a lack of research on their specific roles. Henceforth, this research aims to shed light and focus on the role of cultural intermediaries in the spread of Japanese pop music to Hong Kong with reference to the case studies of magazine publishers, music experts and performers to investigate their functions in such processes. This study is based on the findings of in-depth interviews, which were conducted with media talents from the 80s. They were mainly selected with consideration to their experience in selecting, transforming and modifying Japanese pop music for local use. To investigate such roles of intermediaries, qualitative researches were conducted on relevant music charts, Japanese adapted songs and in-depth face-to-face interviews. In addition, it aims to investigate the effectiveness of collaboration within the industry, the overall change in music trend and what separates Japanese music with other music during that period. The thesis also proposes that the role of cultural intermediaries could be categorized into four main functions. They have discovered Japanese music in the 80s and were personally interested in it. This discovery encouraged them to start Japanese music promotion with a clear direction on procedures in importations and decision making while selecting suitable cultural characteristics in Japanese music. Through this, an all-rounded diffusion of Japanese music was brought to Hong Kong in both printed and non-printed media from production to the front stage. This entire process could be summarized in the thesis as the 4Ds: Discovery, Decision making, Direction and Diffusion. By examining the developments in Japanese adapted songs throughout its history and the influence and functions of the cultural intermediaries, this essay strives to identify and map Japanese adapted songs and their ubiquitous influence among the Cantopop industry in the context of globalization. Although Japanese music no longer has the same impact on the local music industry in the 21st century when compared to its golden era, it will be beneficial to examine the processes and factors which allowed a specific foreign culture, in this case - Japanese pop music to successfully establish itself in Hong Kong.