Paper short abstract:

This paper explores the developing of ‘The Spirit of Lion Rock’ from the song ‘Below the Lion Rock’, how its meaning and representation tangled and further evolved from 70s till recent time under the scope of Negus’s Mediation; and how the song became a representation of Hong Kong and Hong Konger.

Paper long abstract:

'Below the Lion Rock' was originally the theme song of RTHK's 70s TV production with the same title, yet the song transcended through time and was repeatedly reinterpreted especially in times of major social-political issues, for instance: Hong Kong's handover in 1997, SARS aftermath in 2003, and Umbrella Movement in 2014; it became an unofficial song representing Hong Kong and Hong Konger. This paper begins with the mediation and articulatory process (Negus: 1996) since the creation of the song. Mediation could also be seen in the further development of 'The Spirit of Lion Rock' derived from the song's lyrics - spirit of mutual support, enduringness, and persistence; a term often endorsed by Hong Kong government and local political elites to foster social cohesion. Yet such 'pacifying' agenda was often rejected by the pro-democratic oppositions. Since 2003's Hong Kong 1 July protests, pro-democratic protestors and political activists often use the song as a symbol to defy the establishment. During the 2014 Umbrella Movement, the song was sung by protestors right after a giant banner to call for universal suffrage was hung on top of the Lion Rock - a remarkable symbol of bringing 'The Spirit of Lion Rock' from 'Below' back to the top. This paper explores how 'Below the Lion Rock' has transcended beyond lyrical and melodic intensities into a social-political complex of mediated connections which produces new meanings to the sphere of such interactions.