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  2. The Appearing Demos: Hong Kong During and After the Umbrella Movement

The Appearing Demos: Hong Kong During and After the Umbrella Movement

Pang Laikwan 2020
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As the waves of Occupy movements gradually recede, we soon forget the political hope and passions these events have offered. Instead, we are increasingly entrenched in the simplified dichotomies of Left and Right, us and them, hating others and victimizing oneself. Studying Hong Kong's Umbrella Movement, which might be the largest Occupy movement in recent years, The Appearing Demos urges us to re-commit to democracy at a time when democracy is failing on many fronts and in different parts of the world.

 

The 79-day-long Hong Kong Umbrella Movement occupied major streets in the busiest parts of the city, creating tremendous inconvenience to this city famous for capitalist order and efficiency. It was also a peaceful collective effort of appearance, and it was as much a political event as a cultural one. The urge for expressing an independent cultural identity underlined both the Occupy movement and the remarkably rich cultural expressions it generated. While understanding the specificity of Hong Kong's situations, The Appearing Demos also comments on some global predicaments we are facing in the midst of neoliberalism and populism. It directs our attention from state-based sovereignty to city-based democracy, and emphasizes the importance of participation and cohabitation. The book also examines how the ideas of Hannah Arendt are useful to those happenings much beyond the political circumstances that gave rise to her theorization. The book pays particular attention to the actual intersubjective experiences during the protest. These experiences are local, fragile, and sometimes inarticulable, therefore resisting rationality and debates, but they define the fullness of any individual, and they also make politics possible. Using the Umbrella Movement as an example, this book examines the "freed" political agents who constantly take others into consideration in order to guarantee the political realm as a place without coercion and discrimination. In doing so, Pang Laikwan demonstrates how politics means neither to rule nor to be ruled, and these movements should be defined by hope, not by goals.
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ISBN(s)
  • 978-0-472-03768-1 (paper)
  • 978-0-472-12650-7 (ebook)
  • 978-0-472-13178-5 (hardcover)
Subject
  • Political Science
  • Cultural Studies
  • Asian Studies:China
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  • Table of Contents

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  • Cover
  • Title Page
  • Copyright Page
  • Contents
  • Acknowledgments
  • Introduction
  • Chapter 1. Intersubjectivity and Occupy
  • Chapter 2. The Umbrella Movement and Its Participants
  • Chapter 3. Social Media and the Social
  • Chapter 4. Occupy, Arts, and Place
  • Chapter 5. Documentary and History Writing
  • Chapter 6. Right to the City
  • Chapter 7. Liberty and Its Limits
  • Chapter 8. Rule of Law
  • Chapter 9. Conclusion
  • Notes
  • References
  • Index

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This photograph shows a laminated sign with the address Number 3, Harcourt Road, Umbrella Villa in Chinese attached to a tent

“No. 3, Harcourt Road, Umbrella Villa”

From Chapter 1

Fig. 2. “No. 3, Harcourt Road, Umbrella Villa”—New address devised by the tent occupants in Admiralty. (Photo by Carol Chow, provided by Carol Chow.)

A young woman climbs an outdoor staircase that is completely covered with Post-It notes bearing messages from activists. A banner hung from the ceiling reads, “Lennon Wall Hong Kong” while a sign over the staircase says, “We are not alone

The Hong Kong Lennon Wall just before its dismantling, December 14, 2014

From Chapter 4

Fig. 12. The Hong Kong Lennon Wall just before its dismantling, December 14, 2014. (Photo by Ray Lai, provided by Ray Lai.)

This photo shows a staircase with four steps that makes it possible to walk over a concrete barrier in the street. Tents are visible on the opposite side of the barrier

One of the first stairways in Admiralty, October 2014

From Chapter 4

Fig. 13. One of the first stairways in Admiralty, October 2014. (Photo by Brother Four, provided by Brother Four.)

The top half of the photo is a close-up of the spiky skin of the durian fruit. The bottom half shows the artist, Luke Ching, sitting on a bus. He wears an air pollution mask and holds a durian fruit in his white-gloved hands

Luke Ching Chin-wai, “Bringing a Durian onto a Hong Kong Bus,” 2018

From Chapter 8

Fig. 21. Luke Ching Chin-wai, “Bringing a Durian onto a Hong Kong Bus,” Cross Border Convictions: HK/Korea, 2018. (Photo provided by Ching Chin-wai.)

The top half of the photo shows the artist Luke Ching sitting on the floor of a subway station playing a recorder and includes a close-up of the sign he has written in Chinese. In the bottom half, a woman with a shopping bag stoops to put money in his cup

Luke Ching Chin-wai, “Playing a Recorder in a Subway Station in Gwangju,” 2018

From Chapter 8

Fig. 22. Luke Ching Chin-wai, “Playing a Recorder in a Subway Station in Gwangju,” Cross Border Convictions: HK/Korea, 2018. (Photo provided by Ching Chin-wai.)

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