Washbasins were an important utilitarian item in Mao era China. In the absence of indoor plumbing, homes and offices used enamel basins for washing up. Called “face-washing basin” in Chinese (xi lian pen 洗臉盆), washbasins can be thought of as all-purpose sinks. An essential item in every home, in the Mao era washbasins became a vehicle for social and political messaging.
Throughout the collective period, millions of rural Chinese continued to wear handloom cloth, and rural women continued to spend much of their working hours spinning, weaving, and making cloth and clothing. In theory, manual spinning and weaving should have ended after 1949, since every Chinese citizen had access to factory cloth through the rationing system. In actual fact, rural rations fell short of replacement needs, and women worked double shifts to clothe their families. Women’s unrecognized domestic work enabled the state to undersupply the countryside and direct scarce resources to the cities.
The history of Chinese typewriting is one of experiments, prototypes, failures, and successes in the century-long quest to solve a complex design puzzle: How to fit thousands of characters on a desktop device? The history of Chinese typewriting is also a unique lens through which to examine the broader histories of Chinese mass mobilisation, science and technology, literacy, women, industry, and cultural work.
In the early twentieth century, when the Communists gained territory, they set up revolutionary base areas (also known as soviets), and issued new coins and notes, using whatever expertise, supplies and technology were available. Like coins and banknotes all over the world, these played an important role in economic and financial life, and were also instrumental in conveying images of the new political authority. Since 1949, all regular banknotes in the People’s Republic of China have been issued by the People’s Bank of China, and the designs of the notes reflect the concerns of the Communist Party of China.
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.