This text explores urban public life through the microcosm of the Chengdu teahouse. Like most public spaces, the teahouse was and still is an enduring symbol of Chinese popular culture, stemming back centuries and prevailing through political transformations, modernization, and globalization. The time period covered begins basically with the establishment of the People's Republic in 1949-50, goes through the end of the Cultural Revolution and into the post-Mao reform era.

To understand a city fully, writes Di Wang, we must observe its most basic units of social life. In The Teahouse under Socialism, Wang does just that, arguing that the teahouses of Chengdu, the capital of Sichuan Province, are some of the most important public spaces?perfect sites for examining the social and economic activities of everyday Chinese. Wang looks at the transformation of these teahouses from private businesses to collective ownership and how state policy and the proprietors? response to it changed the overall economic and social structure of the city. He uses this transformation to illuminate broader trends in China?s urban public life from 1950 through the end of the Cultural Revolution and into the post-Mao reform era. In doing so, The Teahouse under Socialism charts the fluctuations in fortune of this ancient cultural institution and analyzes how it survived, and even thrived, under bleak conditions. Throughout, Wang asks such questions as: Why and how did state power intervene in the operation of small businesses? How was "socialist entertainment" established in a local society? How did the well-known waves of political contestation and struggle in China change Chengdu?s teahouses and public life? In the end, Wang argues, the answers to such questions enhance our understanding of public life and political culture in the Communist state.

To understand a city fully, writes Di Wang, we must observe its most basic units of social life. In The Teahouse under Socialism, Wang does just that, arguing that the teahouses of Chengdu, the capital of Sichuan Province, are some of the most important public spaces—perfect sites for examining the social and economic activities of everyday Chinese. Wang looks at the transformation of these teahouses from private businesses to collective ownership and how state policy and the proprietors’ response to it changed the overall economic and social structure of the city. He uses this transformation to illuminate broader trends in China’s urban public life from 1950 through the end of the Cultural Revolution and into the post-Mao reform era. In doing so, The Teahouse under Socialism charts the fluctuations in fortune of this ancient cultural institution and analyzes how it survived, and even thrived, under bleak conditions. Throughout, Wang asks such questions as: Why and how did state power intervene in the operation of small businesses? How was "socialist entertainment" established in a local society? How did the well-known waves of political contestation and struggle in China change Chengdu’s teahouses and public life? In the end, Wang argues, the answers to such questions enhance our understanding of public life and political culture in the Communist state.

This study examines economic, social, political, and cultural changes as funneled through the teahouses of Chengdu during the first half of the twentieth century.

Dancing for Their Lives explores the vibrant world of retired Chinese women known as "dancing grannies” who seek fulfillment and companionship amidst societal upheaval. These women, part of China’s “lost generation,” gather in parks and public squares to reclaim their lives through dance in the wake of Chinese economic and cultural transformations. The book challenges prevailing narratives of aging societies, portraying old age as a site of social innovation rather than decline. Based on ethnographic research conducted in Chengdu, China, Dancing for Their Lives reveals how retirees learn to navigate shifting social norms and values while actively creating new models for growing older. The book’s insights resonate beyond Chinese society, offering lessons on resilience and the pursuit of meaning in any aging population. Dancing for Their Lives underscores the human capacity to craft purposeful lives amid uncertainty, transcending geographical boundaries to illuminate the universal quest for fulfillment in later years.

Igor Chabrowski analyses the history of the development of opera in Sichuan, arguing that opera serves as a microcosm of the profoundtransformation of modern Chinese culture between the 18th century and 1950s.

In 1939, residents of a rural village near Chengdu watched as Lei Mingyuan, a member of a violent secret society known as the Gowned Brothers, executed his teenage daughter. Six years later, Shen Baoyuan, a sociology student at Yenching University, arrived in the town to conduct fieldwork on the society that once held sway over local matters. She got to know Lei Mingyuan and his family, recording many rare insights about the murder and the Gowned Brothers' inner workings. Using the filicide as a starting point to examine the history, culture, and organization of the Gowned Brothers, Di Wang offers nuanced insights into the structures of local power in 1940s rural Sichuan. Moreover, he examines the influence of Western sociology and anthropology on the way intellectuals in the Republic of China perceived rural communities. By studying the complex relationship between the Gowned Brothers and the Chinese Communist Party, he offers a unique perspective on China's transition to socialism. In so doing, Wang persuasively connects a family in a rural community, with little overt influence on national destiny, to the movements and ideologies that helped shape contemporary China.

This condensed anthology reproduces close to a dozen plays from Xiaomei Chen's well-received original collection, The Columbia Anthology of Modern Chinese Drama, along with her critical introduction to the historical, cultural, and aesthetic evolution of twentieth-century Chinese spoken drama. Comprising representative works from the Republican era to postsocialist China, the book encapsulates the revolutionary rethinking of Chinese theater and performance that began in the late Qing dynasty and vividly portrays the uncertainty and anxiety brought on by modernism, socialism, political conflict, and war. Chosen works from 1919 to 1990 also highlight the formation of national and gender identities during a period of tremendous social, cultural, and political change in China and the genesis of contemporary attitudes toward the West. PRC theater tracks the rise of communism, juxtaposing ideals of Chinese socialism against the sacrifices made for a new society. Post-Mao drama addresses the nation's socialist legacy, its attempt to reexamine its cultural roots, and postsocialist reflections on critical issues such as nation, class, gender, and collective memories. An essential, portable guide for easy reference and classroom use, this abridgment provides a concise yet well-rounded survey of China's theatricality and representation of political life. The original work not only established a canon of modern Chinese drama in the West but also made it available for the first time in English in a single volume.

A study of the lively street culture in Chengdu from 1870 to 1930, this book explores the relationship between urban commoners and public space, the role of community and neighborhood in public life, and how the reform movement and Republican revolution transformed everyday life in this inland city.