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.
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?
A symbol of the climate of fear and militarisation of everyday life during the Cold War, the air defence shelter left a lasting imprint on Chinese urban landscapes eliciting diverse local social, political and cultural responses. As a means of urban defence, shelters illustrate changing perceptions of foreign threat and its impact on everyday life during the Mao period and the Reform Era, from the rise and fall of the Sino-Soviet alliance to the Sino-American rapprochement. This bio uses the example of a specific type of shelter --the air defence tunnel-- to illustrate how perceptions of foreign threats shaped shelter construction, design and materiality.