The three pillars of DJing authenticity: a sociological investigation of amateur DJing practices in Hong Kong 2019-2022

Abstract

Acknowledging that sociological discourses surrounding club culture and DJing primarily look at its culture via a subcultural perspective, this dissertation dedicates its focus on live DJ sets, which are considered the process and product of musical production of DJing, and the socio-musical nature of authenticity in DJs’ delivery of the sets. It explores the notion of authenticity in the world of amateur DJing in Hong Kong, focusing on three interrelated pillars: presentational, conventional, and personal/political authenticity. Presentational authenticity refers to the DJ’s ability to cultivate an atmosphere of spontaneity and immersion by presenting themselves as improvisers who connect with their audiences. Conventional authenticity involves demonstrating competence and credibility within the shared conventions of the DJing world, including technical proficiency and adherence to stylistic expectations. Personal/political authenticity captures the DJ’s individual artistic voice and integrity, which is shaped by their lived experiences in the broader socio-political context. Drawing on interviews with 36 DJs and observations of live and online performances, the study shows how these forms of authenticity intersect in delivering live DJ sets. Primarily adopting an interactionist lens with respect to Becker’s (2008[1982]) art world perspective and Goffman’s (2021[1959]) dramaturgical approach, presentational authenticity and conventional authenticity are scrutinised based on the interactions within the world of amateur DJing. Lahire’s (2011) concept of the plurality of dispositions is also addressed to examine how DJs negotiate competing socio-musical expectations to curate performances that reflect their dispositions across multiple social fields, thereby displaying personal/political authenticity. By situating the study period in 2019-2022, when Hong Kong went through an extensive period of socio-political turmoil created by the 2019 Anti-ELAB movement and the COVID-19 pandemic, this study argues that the sense of DJing authenticity displayed should be positioned as dynamic, situational, and deeply embedded in the city’s evolving socio-political landscape. DJs emerge as cultural curators who not only mix music but also articulate identity, memory, and resistance through their performances, making authenticity a reflection of both personal trajectory and collective experience