An excavation of the sociocultural, economic, and political history of everyday commoditiesThe growth of markets and consumerism in China’s post-Mao era of political and economic reform is a story familiar to many. By contrast, the Mao period (1949–1976)—rightly framed as a time of scarcity—initially appears to have had little material culture to speak of. Yet people attributed great meaning to materials and objects often precisely because they were rare and difficult to obtain. This first volume devoted to the material history of the period explores the paradox of material culture under Chinese Communist Party rule and illustrates how central materiality was to individual and collective desire, social and economic construction of the country, and projections of an imminent socialist utopia within reach of every man and woman, if only they worked hard enough.Bringing together scholars of Chinese art, cinema, culture, performance, and more, this volume shares groundbreaking research on the objects and practices of everyday life in Mao’s China, from bamboo and bricks to dance and film. With engaging narratives and probing analysis, the contributors make a place for China’s experience in the history of global material culture and the study of socialist modernity.

An excavation of the sociocultural, economic, and political history of everyday commoditiesThe growth of markets and consumerism in China’s post-Mao era of political and economic reform is a story familiar to many. By contrast, the Mao period (1949–1976)—rightly framed as a time of scarcity—initially appears to have had little material culture to speak of. Yet people attributed great meaning to materials and objects often precisely because they were rare and difficult to obtain. This first volume devoted to the material history of the period explores the paradox of material culture under Chinese Communist Party rule and illustrates how central materiality was to individual and collective desire, social and economic construction of the country, and projections of an imminent socialist utopia within reach of every man and woman, if only they worked hard enough.Bringing together scholars of Chinese art, cinema, culture, performance, and more, this volume shares groundbreaking research on the objects and practices of everyday life in Mao’s China, from bamboo and bricks to dance and film. With engaging narratives and probing analysis, the contributors make a place for China’s experience in the history of global material culture and the study of socialist modernity.

How did China''s Communist revolution transform the nation''s political culture? In this rich and vivid history of the Mao period (1949–1976), Denise Y. Ho examines the relationship between its exhibitions and its political movements. Case studies from Shanghai show how revolution was curated: museum workers collected cultural and revolutionary relics; neighborhoods, schools, and work units mounted and narrated local displays; and exhibits provided ritual space for ideological lessons and political campaigns. Using archival sources, ephemera, interviews, and other materials, Ho traces the process by which exhibitions were developed, presented, and received. Examples under analysis range from the First Party Congress Site and the Shanghai Museum to the ''class education'' and Red Guard exhibits that accompanied the Socialist Education Movement and the Cultural Revolution. Operating in two modes - that of a state in power and that of a state in revolution - Mao era exhibitionary culture remains part of China''s revolutionary legacy.

How did China''s Communist revolution transform the nation''s political culture? In this rich and vivid history of the Mao period (1949–1976), Denise Y. Ho examines the relationship between its exhibitions and its political movements. Case studies from Shanghai show how revolution was curated: museum workers collected cultural and revolutionary relics; neighborhoods, schools, and work units mounted and narrated local displays; and exhibits provided ritual space for ideological lessons and political campaigns. Using archival sources, ephemera, interviews, and other materials, Ho traces the process by which exhibitions were developed, presented, and received. Examples under analysis range from the First Party Congress Site and the Shanghai Museum to the ''class education'' and Red Guard exhibits that accompanied the Socialist Education Movement and the Cultural Revolution. Operating in two modes - that of a state in power and that of a state in revolution - Mao era exhibitionary culture remains part of China''s revolutionary legacy.

How did China's Communist revolution transform the nation's political culture? In this rich and vivid history of the Mao period (1949-1976), Denise Y. Ho examines the relationship between its exhibitions and its political movements. Case studies from Shanghai show how revolution was curated: museum workers collected cultural and revolutionary relics; neighborhoods, schools, and work units mounted and narrated local displays; and exhibits provided ritual space for ideological lessons and political campaigns. Using archival sources, ephemera, interviews, and other materials, Ho traces the process by which exhibitions were developed, presented, and received. Examples under analysis range from the First Party Congress Site and the Shanghai Museum to the 'class education' and Red Guard exhibits that accompanied the Socialist Education Movement and the Cultural Revolution. Operating in two modes - that of a state in power and that of a state in revolution - Mao era exhibitionary culture remains part of China's revolutionary legacy.

An excavation of the sociocultural, economic, and political history of everyday commoditiesThe growth of markets and consumerism in China’s post-Mao era of political and economic reform is a story familiar to many. By contrast, the Mao period (1949–1976)—rightly framed as a time of scarcity—initially appears to have had little material culture to speak of. Yet people attributed great meaning to materials and objects often precisely because they were rare and difficult to obtain. This first volume devoted to the material history of the period explores the paradox of material culture under Chinese Communist Party rule and illustrates how central materiality was to individual and collective desire, social and economic construction of the country, and projections of an imminent socialist utopia within reach of every man and woman, if only they worked hard enough.Bringing together scholars of Chinese art, cinema, culture, performance, and more, this volume shares groundbreaking research on the objects and practices of everyday life in Mao’s China, from bamboo and bricks to dance and film. With engaging narratives and probing analysis, the contributors make a place for China’s experience in the history of global material culture and the study of socialist modernity.

An excavation of the sociocultural, economic, and political history of everyday commoditiesThe growth of markets and consumerism in China’s post-Mao era of political and economic reform is a story familiar to many. By contrast, the Mao period (1949–1976)—rightly framed as a time of scarcity—initially appears to have had little material culture to speak of. Yet people attributed great meaning to materials and objects often precisely because they were rare and difficult to obtain. This first volume devoted to the material history of the period explores the paradox of material culture under Chinese Communist Party rule and illustrates how central materiality was to individual and collective desire, social and economic construction of the country, and projections of an imminent socialist utopia within reach of every man and woman, if only they worked hard enough.Bringing together scholars of Chinese art, cinema, culture, performance, and more, this volume shares groundbreaking research on the objects and practices of everyday life in Mao’s China, from bamboo and bricks to dance and film. With engaging narratives and probing analysis, the contributors make a place for China’s experience in the history of global material culture and the study of socialist modernity.

How did China''s Communist revolution transform the nation''s political culture? In this rich and vivid history of the Mao period (1949–1976), Denise Y. Ho examines the relationship between its exhibitions and its political movements. Case studies from Shanghai show how revolution was curated: museum workers collected cultural and revolutionary relics; neighborhoods, schools, and work units mounted and narrated local displays; and exhibits provided ritual space for ideological lessons and political campaigns. Using archival sources, ephemera, interviews, and other materials, Ho traces the process by which exhibitions were developed, presented, and received. Examples under analysis range from the First Party Congress Site and the Shanghai Museum to the ''class education'' and Red Guard exhibits that accompanied the Socialist Education Movement and the Cultural Revolution. Operating in two modes - that of a state in power and that of a state in revolution - Mao era exhibitionary culture remains part of China''s revolutionary legacy.

How did China''s Communist revolution transform the nation''s political culture? In this rich and vivid history of the Mao period (1949–1976), Denise Y. Ho examines the relationship between its exhibitions and its political movements. Case studies from Shanghai show how revolution was curated: museum workers collected cultural and revolutionary relics; neighborhoods, schools, and work units mounted and narrated local displays; and exhibits provided ritual space for ideological lessons and political campaigns. Using archival sources, ephemera, interviews, and other materials, Ho traces the process by which exhibitions were developed, presented, and received. Examples under analysis range from the First Party Congress Site and the Shanghai Museum to the ''class education'' and Red Guard exhibits that accompanied the Socialist Education Movement and the Cultural Revolution. Operating in two modes - that of a state in power and that of a state in revolution - Mao era exhibitionary culture remains part of China''s revolutionary legacy.

How did China's Communist revolution transform the nation's political culture? In this rich and vivid history of the Mao period (1949-1976), Denise Y. Ho examines the relationship between its exhibitions and its political movements. Case studies from Shanghai show how revolution was curated: museum workers collected cultural and revolutionary relics; neighborhoods, schools, and work units mounted and narrated local displays; and exhibits provided ritual space for ideological lessons and political campaigns. Using archival sources, ephemera, interviews, and other materials, Ho traces the process by which exhibitions were developed, presented, and received. Examples under analysis range from the First Party Congress Site and the Shanghai Museum to the 'class education' and Red Guard exhibits that accompanied the Socialist Education Movement and the Cultural Revolution. Operating in two modes - that of a state in power and that of a state in revolution - Mao era exhibitionary culture remains part of China's revolutionary legacy.