In 1817 a Cantonese scholar was mocked in Beijing as surprisingly learned for someone from the boondocks; in 1855 another Cantonese scholar boasted of the flourishing of literati culture in his home region. Not without reason, the second man pointed to the Xuehaitang (Sea of Learning Hall) as the main factor in the upsurge of learning in the Guangzhou area. Founded in the 1820s by the eminent scholar-official Ruan Yuan, the Xuehaitang was indeed one of the premier academies of the nineteenth century.

The celebratory discourse that portrayed the Xuehaitang as having radically altered literati culture in Guangzhou also legitimated the academy's place in Guangzhou and Guangzhou's place as a cultural center in the Qing empire. This study asks: Who constructed this discourse and why? And why did some Cantonese elites find this discourse compelling while others did not? To answer these questions, Steven Miles looks beyond intellectual history to local social and cultural history. Arguing that the academy did not exist in a scholarly vacuum, Miles contends that its location in the city of Guangzhou and the Pearl River Delta embedded it in social settings and networks that determined who utilized its resources and who celebrated its successes and values.

A fascinating look at how the popular musical culture of Guangzhou expresses the city’s unique cosmopolitanism.
 
Guangzhou is a large Chinese city like many others. With a booming economy and abundant job opportunities, it has become a magnet for rural citizens seeking better job prospects as well as global corporations hoping to gain a foothold in one of the world’s largest economies. This openness and energy have led to a thriving popular music scene that is every bit the equal of Beijing’s. But the musical culture of Guangzhou expresses the city’s unique cosmopolitanism. A port city that once played a key role in China’s maritime Silk Road, Guangzhou has long been an international hub. Now, new migrants to the city are incorporating diverse Chinese folk traditions into the musical tapestry.
 
In Sonic Mobilities, ethnomusicologist Adam Kielman takes a deep dive into Guangzhou's music scene through two bands, Wanju Chuanzhang (Toy Captain) and Mabang (Caravan), that express ties to their rural homelands and small-town roots while forging new cosmopolitan musical connections. These bands make music that captures the intersection of the global and local that has come to define Guangzhou, for example by writing songs with a popular Jamaican reggae beat and lyrics in their distinct regional dialects mostly incomprehensible to their audiences. These bands create a sound both instantly recognizable and totally foreign, international and hyper-local. This juxtaposition, Kielman argues, is an apt expression of the demographic, geographic, and political shifts underway in Guangzhou and across the country. Bridging ethnomusicology, popular music studies, cultural geography, and media studies, Kielman examines the cultural dimensions of shifts in conceptualizations of self, space, publics, and state in a rapidly transforming the People’s Republic of China.