First Performance 舞 者 沈 蓓 （二）

The fact that I came into contact with dance from European folk dance and modern dance shows that there was no such thing as “Chinese dance” in China at that time. This word came out from the new Yangge dance movement in Yan’an. (Note) With the continuous victories of the People’s Liberation Army, the slogan “Twist Yangko all over China” resounded throughout the earth. Yangko and waist drum have almost become symbols of “victory” and “liberation”. After the liberation of Shanghai, the PLA marching into the city was the first battle of the Yangko waist drum. It was only then that I met it for the first time in my life. Probably few young students on the land of China in 1949 had not been baptized by the Yangko waist drum. It came together with the tide of national liberation, and it was unstoppable. As a member of this trend, I learned Yangko waist drums in school and danced on the streets. I remember the parade celebrating the founding of the People’s Republic of China on October 1. We went in line before three o’clock on that day. After the meeting, we twisted Yangko all the way back to school from People’s Square. We walked and jumped for a while. Everyone was in high spirits. Cheers loudly and applauded, still in the evening. …

This is the only surviving photo of the day in my hands. Although the face in the photo looked tired, but when he greeted him, he immediately became energetic and sang and danced. In my impression, I only remember that the road was extremely wide and extremely wide. Thinking about it now, the Nanjing Road and Jinling East Road were actually quite narrow at that time. Yes, I just feel that the wide-hearted have no edges, and the bright ones have no edges. This is that era. It was also my first dance performance practice in my life when I was 13 years old.

The First Stills
In 1950, when everyone was full of confidence and ready to build the country, news came that the Yankees gathered Western countries to invade North Korea. “The whole country is in the same hatred and hatred.” Driven by the high patriotic enthusiasm, in order to support the resistance U.S. aid to North Korea. When the school organized a charity performance to raise funds, my classmate Ma Dawang and I composed and performed the duet dance “Dance of Youth”. I was 14 years old.

Why do I think of choreographing this dance? I can’t help but mention another pioneer—Khambar Khan, the Uyghur dancer who was the first to promote folk dance.

[Note] In China, folk dance has always been underestimated, and folk artists are even equivalent to “beggars”. Khambar Khan was the first to process Uyghur dance into exquisite stage art and bring it to the stage of the big city. She is dignified and elegant, unrestrained and handsome, light and smooth, and the dignified dance style seen in her charm suddenly poured into and out of Tianshan Mountain. The Chinese talents were suddenly surprised, the lower Liba people boarded the Daya Hall, the folk dance began to enter people’s field of vision, and a strong “frontier wind” blew up for a while. This is the background of the birth of my first dance work “Dance of Youth” when I saw a tiger painting a cat. The photo taken by my classmate Chen Yaqian’s father not only left me with the historically significant first dance stills of this life, but also inadvertently recorded the concepts and practices in the field of Chinese art. Such a major breakthrough and transformation occurred on the previous year.

我接触舞蹈使自欧洲民间舞和现代舞这个事实，正好说明了那时的中国，根本无“中国舞”这一说。这个词是从延安的新秧歌舞运动才冒出来的。（注）随着解放大军的节节胜利，“把秧歌扭遍全中国”的口号响彻大地，秧歌、腰鼓几乎成了“胜利”、“解放”的象征。上海解放，解放军进城式就是秧歌腰鼓打的头阵。我也是这时才平生第一次认识了它。1949年中国大地上的青年学子，大概没有几个是没经过秧歌腰鼓洗礼的。它与全国解放的大潮一起裹挟而来，势不可挡。作为这个大潮中一份子的我，学校里学秧歌腰鼓，上街跳秧歌腰鼓。记得10月1日庆祝新中国成立大游行，那天我们三时不到就去排队，整整一天，开完大会后，从人民广场一路扭着秧歌回学校，走一段，跳一段，大家都兴高采烈，高声欢呼鼓掌，到晚上还兴犹未尽。……

这是我手中唯一幸存的那天的照片。虽然照片上的尊容一脸疲劳，但一声招呼，立马精神抖擞，又唱又跳，印象中只记得那马路极宽极宽，现在想想，那时的南京路和金陵东路其实蛮窄的，实在是只觉得那心宽的没边，亮的没边。这，就是那个时代。也是我此生第一次舞蹈表演实践，时年13岁。

新秧歌运动，是延安文艺座谈会以后，《讲话》精神在文艺上显示的最初成绩。文艺工作者改变了轻视民间艺术的态度，与群众一起，学习秧歌、研究秧歌、加工发展秧歌，掀起了中国现代革命文艺史上一次向民间艺术学习的热潮，不久便发展成为波及整个解放区的轰轰烈烈的新秧歌运动. 它发源于陕北的自娱性歌舞，经过艺术家的加工整理，从形式到内容都发生了巨大的变化，那强劲的节奏，雄健豪迈的步伐，自由潇洒的甩臂和昂首挺胸的舞姿，注入了新时代的精神，受到人民的喜爱。1943年春节秧歌闹得热火朝天，涌现了一批受群众欢迎的秧歌剧，如《兄妹开荒》、《白毛女》、《翻身秧歌》、《斗争秧歌》、《胜利腰鼓》、《打花鼓》、《龙灯》、《小车》、《旱船》、《挑花篮》、《张公背张婆》、《生产舞》、《运盐》等。解放战争时期，随着解放大军的节节胜利，秧歌、腰鼓跳遍了中国大陆城市和乡村，几乎成了“胜利”、“解放”的象征.1949年，从解放区带来的《大秧歌》、《腰鼓舞》作为中国人民获得翻身解放和欢庆人民胜利象征的民间舞蹈作品，参加了在匈牙利布达佩斯举行的第二届世界青年联欢节的演出，并荣获特等奖。

第一张剧照
1950年，正在大家充满信心，准备好好建设国家之际，传来美国佬纠集西方国家入侵朝鲜的消息。”举国上下，同仇敌忾。”在高涨的爱国热情推动下，为支援抗 美援朝。在学校组织义演募捐时，我和同班同学马大望自编自演了双人舞《青春舞曲》。时年14岁。

为什么会想起来编这个舞，这不能不提到另一位先驱——推广民族舞第一人维吾尔族舞蹈家康巴尔汗。

（注）以前在中国，民间舞一向被轻视，民间艺人甚至等同于“叫花子”。康巴尔汗第一个将维吾尔族舞加工成精美的舞台艺术，带到大城市的舞台上。她端庄高雅、潇洒俊逸、轻盈流畅，妩媚中见凝重的舞风顿时倾倒天山内外。国人才突然惊艳，下里巴人登上了大雅之堂，民族舞蹈开始进入人们的视野，一时刮起了一股强劲的“边疆风”。这就是我见虎画猫，舞蹈处女作《青春舞曲》诞生的背景。而同学陈亚倩父亲拍的这张照片，不但为我留下了具有历史意义的此生第一张舞蹈剧照，（舞服是自己用被单做的，）还无意中记录了中国艺术领域里观念和实践上发生的这样一个大突破大转变。

（注) 康巴尔汗出生在素有“歌舞海洋”之称的新疆，这里流传着“会说话就会唱歌，会走路就会跳舞”的民间谚语。在这种环境的熏陶下，她从小就显露出舞蹈才华。1927年因生活窘困，全家投亲到苏联卡孜勒宽孜城。考入乌兹别克斯坦芭蕾舞学校,因学习成绩优异,两年后被选为塔什干红旗歌舞团演员。1939 年考入莫斯科音乐舞蹈艺术学院，学习期间,曾在克里姆林宫与苏联著名舞蹈家Г.С. 乌兰诺娃同台演出。

康巴尔汗于1942年4月回到祖国，5月参加了在迪化(今乌鲁木齐)举行的14个民族的歌舞比赛。她和妹妹古丽列然木表演的《林帕黛》和《乌夏克》等舞蹈 ，荣获第1名。1947年9月，随新疆青年歌舞团赴南京、上海、杭州、台湾等地演出 ,得到了好评，被称为“新疆之花”。在上海期间，与梅兰芳和戴爱莲进行了艺术交流。自此以后，全中国刮起了一股边疆舞的狂潮。这就是先驱，凡能成为一个“先驱者”，必是开创一个时代，能引领数代人前进者。

1949年,康巴尔汗在欢迎中国人民解放军进驻新疆的文艺晚会上演出,她表演的《打鼓舞》、《盘子舞》、《林帕黛》等舞蹈被拍入影片《各民族大团结万岁》之中。 1956年，随中国舞蹈考察团赴苏联访问。历任西北艺术学院民族系主任，新疆学院艺术系主任，新疆艺术学校副校长，新疆舞蹈家协会主席，中国舞蹈家协会副主席，中国文联、新疆维吾尔自治区第四至六届政协副主席。是第四至六届全国政协委员。1992年10月，还成立了以康巴尔汗命名的艺术基金会，1994年3月，康巴尔汗不幸逝世。