《采茶舞曲》，浙江人耳熟能详，2005年《采茶舞曲》被温州泰顺县正式确定为“县歌”，1983年被联合国教科文组织评为“亚太地区风格的优秀教材”；同时，《采茶舞》一直是浙江歌舞团的经典保留节目，2016年在G20杭州峰会文艺晚会上，它又一次惊艳亮相。

　　那么《采茶舞》的编舞是谁呢？

　　认识沈蓓老师，是因朋友的介绍。朋友说，沈老师的父亲沈昌在抗战中很有故事，而沈蓓的家族也都有传奇般的故事，这些年她似乎一直都在讲述父辈的故事，而自己的经历却很少提及。当听说她60年前主创首排《采茶舞》的故事之后，我才用越洋电话再次采访了她，我说这一回不说你父亲和家庭，只说《采茶舞》，先从“溪水清清溪水长”说起吧。

　　一

　　1949年上海解放时，沈蓓正在著名的中西女中上初一，是个文艺积极分子。当时高年级的同学都踊跃去参军参干，这让沈蓓很是羡慕，但她才初一，怎么也轮不上她。但机会终于来了，当时有个青年文工团来招生，这个团要组织队伍赴朝鲜慰问演出。于是沈蓓把十八般武艺都用上了，她跳了一支舞，不久通知就来了，她被录取了。当时她连家都没回，直接把铺盖带到了文工团。

　　还好，母亲很是开明，她做过一件颇为轰动的事情，即把当年政府发给他们的抚恤金全部捐了出去，一个人捐了一架飞机以支援抗美援朝。母亲说本来是留着这些钱给3个孩子大上学的，“现在解放了，还愁没书读没饭吃吗？”

　　但是最终沈蓓没有去成朝鲜，因为后来有一条规定，必须年满15岁，而她当时才14岁多一点。后来这个文工团并给了新成立的上海歌剧院，她被分在舞蹈队，虽是个小不点，但却相当好学上进，而且更主要的是她赶上了一个好时代，遇到了一批好老师。

　　好老师中有国宝级的昆曲传字辈艺术家汪传钤、华传浩等，为他们教授国粹。像汪传钤老师，平时为人谦虚低调，但演起戏来，却潇洒利落，英气逼人，正所谓“站如松、坐如钟”，一招一式，都经过精雕细琢，无一丝瑕疵。特别是“行如风”，他身轻如燕，走起圆场来真如风一般，又快又“溜”，突然一个高飞接着稳然落地，悄无声息，宛如一座雕塑。

　　教芭蕾舞的葛蕾斯诺娃老师，她的教学课非常灵活，组合变化，层出不穷，而且特别强调舞蹈感，强调高贵大方的气质。

　　而当时学民间舞是直接下到农村去学，譬如学“花鼓灯”，就是在玩灯季节去安徽，拜著名的民间艺人为师。白天大家一起劳动，晚上一起下场，下雨天就在家聊天，这样，学的就不只是动作,而是全部的文化内涵，这样演起来就如身临其境，不会内外两层皮。

　　因为勤奋好学，再加上有艺术天赋，1956年，20岁的沈蓓被选进中国艺术团赴东欧访问演出，1956年下半年去，1957年上半年回来，那差不多有整整半年……命运又一次有了转机。

　　这时，家乡浙江向沈蓓递上了橄榄枝，原因是当时全国都已经有了歌舞团，但浙江却没有，浙江只有民歌队和民乐队，当时要成立省民间歌舞团，急需舞蹈人才，只好请上海支援。当时从部队转业来的谢逸南团长到上海歌剧院找人，团里说任你挑选啊。谢团长找来找去找到了沈蓓，一是他发现她练舞很用心，一眼看去就是脱颖而出的那种；二是整个人很积极上进，精神气质很好。然而歌剧团领导却说：“这个人你们敢要吗？”

　　谢团长在调看了沈蓓的档案之后连夜赶回杭州，因为他要向领导汇报。第二天他又赶到了上海，他说他要定了沈蓓，且理由也想好了，因为他看到沈蓓的原籍是浙江嘉兴，这就有办法了。于是沈蓓的档案关系先是迁到了嘉兴，然后又到了杭州，母亲也随之到了杭州。

　　二

　　能够进浙江省歌舞团，沈蓓是怀着感恩之心的，总想做出一点成绩来回报领导的信任。

　　1959年开年不久，歌舞团接到通知，让他们6月份进京参加八省（区）的演出。浙江能演什么呢？命题作文来了：你们浙江不是越剧最有名吗，不是茶叶最有名吗，能不能由此创作一个以采茶为主题的舞蹈参加调演？有人说浙江没有什么舞蹈素材，舞蹈界的权威戴爱莲给指了一条路，你们不是有个越剧叫《雨前曲》，那里有一分钟的过场舞不是很有特色吗？

　　要求渐渐地具体而又明确起来：一定要有浙江特色，要在越剧《雨前曲》中过场插舞的基础上，排一个舞蹈节目，抽调越剧团的周大风来作曲，由歌舞团的沈蓓编舞，由祁滨来组织保障。

　　于是开始下生活了，去杭州翁家山与茶农同吃同住同劳动。沈蓓记得很清楚，清早背上茶篓，沿着小溪，迎着朝霞，曲曲弯弯，上山又下山；茶蓬前认准一叶一芽，手眼并用，指尖翻飞。不过也不全是这么诗情画意，晚上学炒茶可就来真格的了：不能戴手套，必须像老茶农那样硬生生把双手贴着锅底翻炒。那锅底下木材噼啪噼啪火烧得正旺，一双双细嫩的手得贴着铁锅揉按，哪怕滚烫也必须慢慢地把力用均匀，很快手上就爬满了水泡，但你还不能停，一停就前功尽弃。第二天照样继续把双手放铁锅里翻炒，于是水泡烤干成老茧，老茧旁边又生水泡，水泡再成老茧，就这样反反复复，到了最后，沈蓓她们的一双双嫩手烤得像老农一样，满是老茧，而通过手感炒出来的嫩芽，齐刷刷又挺又直，亮闪闪香喷喷。这种痛苦的成就感，让沈蓓跟翁家山的茶农们结下了深厚的情谊，逢年过节就跟走亲戚一样。

　　沈蓓说那时好在有一个优秀的创作团队，特别是作曲家周大风的音乐，那是真正属于浙江这块丰沃的音乐土壤的。他又借鉴了越剧的曲调，做到了既有民族性又有时代性，既朗朗上口又律动十足，让人过耳不忘。难怪中国千万只舞曲，唯独《采茶舞曲》的音乐被联合国教科文组织作为亚太地区优秀民族歌舞保存起来。

　　原先越剧《雨前曲》中的过场舞虽然不到一分钟，但沈蓓认为演员王媛创造的拇指和食指相捏这个动作极其美丽而典型，于是就将它作为《采茶舞》的基本元素，以不同节奏、不同方向加以变化组合，形成丰富的舞蹈语言。

　　而这也正是沈蓓的贡献所在。如何将一个点子、一支曲子、一个元素加以发展变化和筛选组织，编排成一个舞蹈节目，这是真正考验人的。而沈蓓是演员出身，有极好的舞台感，有丰富的动作语言积累，同时又有丰富的生活体验，于是舞蹈的结构、舞台的调度、具体动作的变化安排等，便很快地设计了出来。而最后的难点是如何将舞蹈推向高潮，这是让沈蓓颇费一番思量的。最后她想起了宁波马灯跑阵中的一个阵势，然后加以改造、借鉴，这就表现出了一层一层如浪潮般向前推的气势，取得了较好的效果。

　　《采茶舞》到北京一亮相，立即引起轰动。新华社的报道是这样评价的：“浙江的《采茶舞》，根据越剧曲调改编而成，带有江南风味，舞姿优美。”随后全国有三十几个单位来观摩学习；中央农业电影制片厂专门为此摄制了纪录片，浙江电影制片厂也拍摄过专题片。

　　从1959年到2019年，60年间，《采茶舞》一直是浙江歌舞团的经典保留节目。1983年被联合国教科文组织评为“亚太地区风格的优秀教材”。2005年，《采茶舞曲》被温州泰顺县正式确定为“县歌”，2016年在G20杭州峰会文艺晚会上，它又一次惊艳亮相。

　　改革开放之后，沈蓓又编导了《春江行》《小霓裳》《花灯》《鹧鸪飞》以及舞蹈诗剧《乾坤四令》《梅花三弄》等一些在省内外有影响的舞蹈作品，而且都带有浓郁的地方特色和民族特色。后来她又主持了浙江全省舞蹈编导班，那可真是桃李满天下。

　　三

　　1993年，沈蓓退休，她和当歌唱演员的丈夫来到美国长岛探望儿子，那时她已经有第三代了。本想帮着带一阵子小孩就回国，可能是名声在外吧，有一天她接到了明尼苏达州中美舞蹈社的电话，请她去辅导10天。每次辅导，窗外都是人头攒动。舞蹈社的社长强烈请求她留下来担任艺术总监。

　　已经退休了，本该陪老伴享享清福了，然而沈蓓却发现，当地能代表亚洲艺术的几乎只有日本，人家老外根本就不知道中国艺术特别是舞蹈艺术。在得到家人的支持后，她决定留在美国教授舞蹈。当时她给自己约法三章：一是以团结为己任，团结一切中外朋友；二是忘掉自己曾经的荣誉，忘记自己是编导，一切从普及教育出发；三是必须学会英语和开车。

　　从零开始，从头开始，她让美国人和海外华人看到了不一样的舞蹈。仅3个月时间，她的舞蹈社就排出了《鄂尔多斯》《春江花月夜》《金钗闹春》这种一听名称就知道很中国的节目，既当作教材，又是上台的表演节目。结果首战告捷，观众起立欢呼。许多美国观众说：“你们的节目，既有历史，又有文化内涵。”华人高兴得热泪盈眶，对她说：“您谢幕时的气质那么好，为华人争了气，我们脸上都有光。”

　　第二年，沈蓓又荟萃了荣获国际金奖的剧目进行教学，既藉此迅速提高队伍素质，同时也是推介当今中国优秀的舞蹈艺术。她教舞又育人，常对学员说：“这些都是获金奖的节目，你们无论到哪里演出，都代表中国。”她依节令、节庆创作和选排节目，既介绍中国舞蹈，又展示民俗风貌。每次教舞，她教动作、教表情，还教文化背景、历史地理知识，如《踏青》《婚嫁》《虎头帽》《花灯》等。舞蹈能表现历史吗？她说能。中华五千年，文化一脉传。她按各朝文化特点，创作了一系列舞蹈节目。

　　2000年迈入新世纪时，正值中国农历龙年，沈蓓决定创作大型舞剧《龙的传人》，以深刻显示中华民族厚德载物、自强不息的内在精神。

　　在她要排《彩云追月》时，美国学生问：彩云为什么要追月？月亮只不过是块石头呀？这使沈蓓感觉中西文化的差异，于是她给美国青年讲中国的诗意和形象，讲沟通与和谐。

　　沈蓓说舞蹈只不过是一个载体，她每年排一台大舞，十年写一部中国文化的大书。她创作了系列“中国舞蹈”，计有《中国新年》《中国童话》《中国寓言》《中国神话》《十二生肖》等，从此，舞蹈社的演出成为该明尼苏达州每年庆祝中国新年的一项固定活动。

　　“让美国孩子记得中国有孙悟空就功德无量了。”沈蓓酝酿数年，呕心沥血创作大型歌舞魔幻剧《美猴王》，由美国一流的儿童艺术剧院用全英语演出。她在传统精华中适当插入西方观众能理解的有趣细节，以表现这个大智大勇者的成长，一下子拉近了东西方的距离。美国著名剧评家罗汉·普列斯敦评价说：“《美猴王》的成功意义深远，它既表现了历史上中西文化的交流，又在当今现实中实践了中西文化交流。”此剧连演70场，越演越热，甚至出现“满城争说美猴王”的盛况。

　　2015年，沈蓓以79岁高龄，义无反顾地应邀担任明州抗战胜利日纪念活动的艺术总监，她访问二战中赴中国参加抗日战争的美国老兵，又创作《魂系中华》《烛光》《松花江上》《驼峰情》《中国妈妈》等，受到各种好评。作为抗日将领的后人，2015年，沈蓓受邀回国参加纪念中国人民抗日战争暨世界反法西斯战争胜利70周年阅兵式观礼。并代表父亲沈昌将军，获授抗日英烈纪念奖章。

　　如今，虽已年至耄耋，但沈蓓前行的脚步并没有停止，谈起她在美国用舞蹈为中外文化交流所做的工作，她说：“我希望能成为一座桥梁，架在东西方之间。”

83-year-old Shen Bei is a brilliant choreographer now living in the United States since her retirement in 1995.

I first got to know Shen Bei through a friend because I was hugely interested in her father Sun Chang, a hero who fought Japanese aggressors during World War Two, and her other family members who are also legendary. Over years, what she talked with me over phone was largely about her father. But the other day I phoned her in the United States and asked to talk about herself after learning that she choreographed  60 years ago.

I wanted her to talk about the dance essentially because I was curious about the dance and wanted to find out more about its birth. After all, the 60-yeasr-old dance and the music have remained as cultural signifiers of Zhejiang. A grand reproduction of the dance was performed on the West Lake for the guests of G20 Hangzhou Summit in 2016. I called her to find out more about her, about how the dance got to be a resounding success when it debuted in Beijing in 1956.

Shen Bei agreed to talk about herself and about the dance she choreographed. When Shanghai was librated in 1949, she was a first year student in a junior high school in Shanghai. She was a passionate dancer. Among her teachers were Kunqu opera artists who taught her how to walk and dance on the stage. A Russian teacher taught her how to dance gracefully. In 1956, she was chosen to join the China Art Troupe and take part in a road show across some Eastern European countries. The road show lasted from the second half of 1956 to the first half of 1957. When she came back to Shanghai, she had a new opportunity. It turned out that Zhejiang wanted to set up a troupe of singers and dancers. The province had some folk singers and some musicians who played traditional Chinese musical instruments, but it didn’t have any qualified dancers. Zhejiang turned to Shanghai for help and Shanghai agreed to let Zhejiang pick any talent.

Shen Bei was spotted and offered a job. She joined the newly founded Zhejiang Song and Dance Ensemble and came to Hangzhou. She started a new life with her mother in the city.

In early 1959, the dancers of the ensemble were given a challenge. They were going to perform a dance that included elements of the music of Yueju Opera and green tea, for which Zhejiang is famous. Shen Bei was appointed to be the choreographer and Zhou Dafeng, a composer with Zhejiang Yueju Opera Troupe, was picked to be the composer.

In order to learn how tea farmers worked, Shen did a field study in Wengjiashan, a village near the West Lake with tea plantations in mountains. She learned how to pick tealeaves and how to scramble tealeaves in a heated wok with bare fingers.

While Zhou Dafeng created a composition patterned after some Yueju Opera arias, Shen Bei also had a model dance to study. It was called . It was a short piece of dance between two acts of a Yueju Opera play. It lasted no more than a minute. Shen choreographed it in many ways and added a lot of regional characteristics into the new dance.

It was a phenomenal success in Beijing. The Xinhua News Agency lauded the music and the dance. Choreographers from more than 30 troupes across the country visited Hangzhou to learn more about the dance. The dance has been in the repertoire of the ensemble since 1959. In 2005, the song was adopted as the County Song of Taishun, a county in southeastern Zhejiang, where Zhou Dafeng composed the song. In the years after China opened its door to the outside world and started the modernization drive, she choreographed some brilliant dances that go down in history and she taught a master class for choreographers from all over the province.

A key turning point of her life came in 1993 when she retired and went to America with her husband. They went there to take care of their grandchildren for a while. A phone call changed her retirement plan. Her reputation as a brilliant choreographer followed her to the United States. The call came from a dance association in Minnesota. She was asked to work for ten days at the club and to advice dancers there how to improve their performance.

Her work there attracted a lot of attention. The association president offered her a job there: to work as art director of the association. She hesitated. She wanted to have more time with her husband, but she knew she could change a situation there. In Minnesota, the only Asian art the local people knew about was from Japan. Chinese art in general and dancing in particular was little known there. She agreed to teach local people how to dance. She made three decisions: she would fairly treat all dancers no matter whether they were Chinese or not; she would leave her past track record behind and she would be a teacher of dance; she would learn English and learn to drive.

She has accomplished a lot. She trains her dancers and directs them to perform dances she choreographed in her younger years. And she has created new dances for her dancers. And the dancers of the association have appeared in many important local events. The best work she has choreographed is , a dance based on Chinese legends.  was so popular that it was performed 70 times in a row in Minnesota. Nowadays, a special day during the celebrations of the Chinese New Year in Minnesota is assigned for her dancers to stage their show.