The warmth of a crackling record, its familiar hum reverberating through time — this is the essence of Looking Back, a centennial exhibition that brings the past to life in vibrant detail.
Curated by renowned jazz pianist and collector Luo Ning, the exhibition offers visitors an immersive exploration of China's musical history through a meticulously selected collection of over 160 vinyl records. Spanning nearly a century, from the late Qing Dynasty (1644-1911) to the 1980s, it sheds light on a time when music was both an art form and a cultural artifact.
"It's like opening sleeping time capsules," says Luo, adding that this exhibition is an invitation for people, especially the younger generations, to connect with the past and rediscover the sounds and stories that shaped a century of music.
Having amassed more than 10,000 vinyl records over two decades, Luo says that his collection is a labor of love, carefully sourced from around the world. His passion goes beyond the music itself. He notes that the album covers released after 1949 are considered an essential part of cultural expression.
"The more records I collected, the more I realized it's about the stories embedded in these grooves, many of which are irreplaceable pieces of our cultural heritage," he says.
One of the key pieces in the exhibition is a 1902 Cantonese Opera recording titled Dadong Jiebai, or Sworn Brotherhood Through A Hole, created by Chinese workers in the United States. Produced by the Victor Talking Machine Company, this early recording was produced for homesick overseas Chinese.
"Sound, just like food, stirs memories of home," says Luo. More than a century later, it stands as a vibrant piece of cultural history, providing insight into the lives of Chinese laborers abroad at the time.
Another notable piece is Mai Ma, or Selling Horse, performed by Tan Xinpei (1847-1917), one of the leading figures in Peking Opera. Released by Pathe Records in 1911, the record holds historical significance beyond its artistic value. Tan's Selling Horse was a favorite of Empress Dowager Cixi, who was an avid patron of Peking Opera. Her support played a crucial role in elevating Peking Opera to the cultural prominence it held during the late Qing Dynasty.
Another featured recording is Mao Mao Yu, or Drizzle, often regarded as one of the earliest Chinese pop songs. Released in 1927 and performed by singer Li Minghui, the song marks a critical moment in Chinese music history. It was one of the first to embrace a more Westernized, light, and popular style, moving away from traditional Chinese music. "It's a glimpse into China's evolving musical landscape," says Luo.
"What fascinates me most is how these records reflect the changing urban culture and musical evolution of China," he notes.
