In order to understand why so many ordinary people supported communism in China, it is necessary to look at personal records like diaries. Increasing literacy through education greatly aided the Party’s efforts to conduct ‘thought work’, enact mass mobilisation campaigns across China, and generally bring about social change through its orthodox political ideology and practices. Although surveyed diary writing can be thought of as a form of cultural work, it was also a tool used by authors to learn about Chinese communism and their place in the new society.
Dance was an important part of revolutionary art and culture in China during the Mao period, both as everyday entertainment and to promote Maoist culture internationally. Like other aspects of cultural work, dance had specific ideological and political meanings. Through their use of dance movements, costumes, and props, dancers conveyed new ideas about Chinese society, including ideas about national identity and ethnic groups, views about women, and the nature of Sino-Soviet relations. This biography examines the material culture of Mao era dance through the lens of dance props—objects dancers manipulated in their performances to convey new ideas on stage.
Many propaganda images were produced by cultural workers to be experienced on public walls, either as murals or blackboard paintings. In villages and communes, mural and wall images were key visual forms for conveying ideology, popular knowledge, and political campaigns, but peasants also participated in making propaganda as mass art. During the Great Leap Forward, peasants were mobilized through the mass mural campaign in order to demonstrate the creative revolution in the countryside. In order to understand how these images became so pervasive in message and style, this entry describes the production, themes, and major concepts behind wall art.
Architecture often has a political meaning. Think of Buckingham Palace, the White House, the Kremlin, or the local government offices such as city hall or town councils. Public spaces in cities such as parks and squares also have political meanings. This biography examines the Great Hall of the People, one of the most important political buildings in China. It describes how the building was planned and constructed during the Great Leap Forward, discusses how the architectural style and the interior symbolized the power, ideology and policies of the Chinese Communist Party, and describes some of what goes on inside.
Architecture is not just an 'object', but also a 'space' inhabited by objects and people. Architecture itself as well as the related objects can reveal much about ideology, politics, knowledge, culture and people's life during the Mao period. Beijing International Club was a significant diplomatic building built in the Cultural Revolution after China improved its foreign relations with the West. This biography illustrates how the building was designed and used and how the artworks in it reflected the political struggles of the time.
Films are objects whose production requires resources, labor and technology, and whose distribution requires infrastructure. Films also present other objects on the screen. Documentary images, in particular, are supposed to tell truths about the physical and historical world we live in. This biography discusses the substantial resources committed to filmmaking by the young PRC: in one example, the People’s Liberation Army re-enacted four major battles in the Chinese Civil War for the camera. Why was there a perceived need for re-enactment, and what it might tell us about the society where the film was produced?