During the late 19th and early 20th centuries, “Western learning” was the main axis of cultural exchange between China and the West, but the visit of Chinese Peking Opera performer Mei Lanfang to the United States in 1930 was a major success story of Chinese cultural transmission to the West. By taking the precedent of bringing Peking Opera to American society, it showcased a significant practice of inculturation, which required a high degree of self-awareness, the knowledge of the host country, a desire to preserve and improve a prized art, and the ability to gain the recognition of American theater professionals. Mei’s visit generated several aspects of cultural studies worthy of scholarly inquiries, including the ways in which Mei and his team rationally assessed the strengths and weaknesses of Peking Opera, the degree to which they comprehensively understood the American culture and audience preferences, the willingness with which they improved the form and content of Peking Opera, and the enthusiasm with which the American theater community evaluated Mei’s performances and explained his impact on American theater culture. The success of Mei Lanfang’s visit to the U.S. demonstrates that successful inculturation is often contingent upon a realistic evaluation of the achievable vs. the impractical, an ability to accomplish the former, and a willingness to forsake the latter. Revisiting Mei’s visit and analyzing its significance serves to awaken the consciousness and appreciation of not only a cultural renaissance and recollection but also the principle of equal propriety in conducting mutual relations, occasional setbacks notwithstanding. At a time when there are serious misunderstandings between China and the U.S., it is highly meaningful to study the peopletopeople interactions between the Chinese and American theater communities nearly a century ago in order to seek new ways of enhancing cultural exchanges and understanding between China and the United States in the present situation.