童话镇
福安葡萄有点“潮”_我的网站
一 | AI摘要 福安获准率先推进葡萄优质化发展，通过产学研共育良种、推广智慧大棚、构建全链条数字溯源体系，实现产业提质增效与品牌保护，带动农户增收。
Bing Bing, a young acrobat born in the 2000s, told the Global Times that she first tested the "tossing and eating an apple" routine through short videos before taking it to the stage. After her first performance, she spent the holidays performing it, adjusting the movements and pacing based on how audiences responded.
"Performance is the hardest thing to master. Your facial expressions and body movements have to convey to the audience what you are doing and what you want to do," she said. "The goal is to make them know that you are performing, yet still find it entertaining."
According to Bing Bing, the training behind such performances is far less glamorous than the finished act suggests. "Training is very repetitive. You fail, repeat, fail again, succeed and then fail again," she said. "Practice is what turns quantity into quality, even facial expressions and body movements require deliberate practice."
For Bing Bing, however, mastering the routine is only one part of the job. Once performers step in front of an audience, the carefully rehearsed movements have to adapt to a live and unpredictable setting.
Beyond the theater
In recent years, acrobatic performances have increasingly moved into aquariums, theme parks and cultural tourism venues, where audiences themselves become part of the performance rather than simply watching from fixed seats.
Bing Bing previously performed alongside other clowns at an aquarium, inviting visitors to participate in the act. She said the difference is not merely a change of venue: performers have to constantly interact with the people in front of them.
"Traditional stages are farther away from the audience and are better suited to performances that people simply watch," she said. "Aquariums and theme parks, however, place greater emphasis on interaction and connection with the audience. Even with the same routine and interactions, you can often get unexpected results."
That interaction also changes how performers think about rhythm and presentation. A routine that works in a theater cannot necessarily be transferred unchanged to a tourist attraction, where audience reactions, distance and participation can all alter what happens on stage.
Sun Dawei, head of the Wuqiao Acrobatic School, told the Global Times that this shift is also changing the industry's approach to production.
"Acrobatics used to focus mainly on showcasing skills. Now there is greater emphasis on story-telling and emotional expression," he said. "Performances are no longer confined to theaters, but are increasingly staged as resident shows at cultural tourism venues."
According to Sun, a production usually begins with a theme, followed by the selection of appropriate skills. Performers then refine the routine repeatedly before adding music and stage design and going through multiple rehearsals.
"Traditional signature skills and core fundamentals must be preserved," he said. "Content that simply pursues danger or no longer fits contemporary aesthetics needs to be repackaged. Traditional skills should be given new forms of expression while retaining their roots and appealing to modern audiences."
For Bing Bing, this shift has also been made possible thanks to short-video platforms. Her apple routine gained its first wide exposure online before audiences encountered it in person.
"Short videos have helped more people learn about Chinese acrobatics and traditional culture, and encouraged more people to go to theaters and watch performances offline," she said.
The growing visibility of acrobatics online, however, has raised another question: once traditional skills enter new venues and digital platforms, how can performers avoid simply repeating familiar formulas?
Russian aerial acrobat Liza, who has lived and worked in China for more than seven years and now performs regularly at Shanghai Qianguqing, a large-scale cultural tourism attraction featuring live performances, noted that the answer lies in how a show is constructed as a whole.
"A performance should start with an overall concept, and then you choose the props and music around it. Music itself can guide the choice of movements, provided the performer already has a solid technical foundation," Liza told the Global Times. "The transitions between movements have to be natural and smooth, like telling a story step by step. Costumes are also important because they complete the character. Everything needs to work together."
For Liza, technical difficulty should serve the performance rather than become the performance itself.
"Real professionalism means making the audience unable to see how hard you are working. Everything should look effortless," she said. "I value beauty and precision in movement. You should not make things more complicated simply to show off your skills. You should improve steadily as you grow as a performer, rather than constantly chasing greater difficulty."
She said that this is particularly important as increasingly extreme acts, including hair- and tooth-hanging, attract attention online.
"Most performers are following established templates, and I rarely see people creating something that is truly their own," Liza said. "You can find your own style and way of expression without taking excessive risks."
From an apple-tossing routine that drew more than 6 million likes to performances in aquariums and cultural tourism venues, traditional acrobatics is finding new ways to reach audiences. But bringing an old art back into the spotlight is not simply about making tricks harder or more spectacular. As Bing Bing's apple routine shows, sometimes it takes a familiar skill presented in an unfamiliar way to make a new generation stop and watch again.
。 吴锦清在用手机进行田间管理。 日前，农业农村部农产品质量安全监督司、农业农村部种植业管理司联合发函同意我省围绕葡萄相关品种，以福安市为代表性地区率先推进水果优质化发展。 作为“南国葡萄之乡”，福安葡萄种植面积8万余亩，全产业链产值突破42亿元。
二 | 近年来，福安强化数智赋能，依托产学研攻关和全域数字监管平台，持续推动葡萄种植从“经验驱动”向“数据驱动”转变，带动产业提质增效。 携高校共育“良种芯” 这段时间，来自南京农业大学园艺专业的研一学生刘晓琳，每天扎根在溪柄镇的福安葡萄科技小院试验田进行葡萄栽培科研试验。 “在福安的这些日子，我重点开展巨峰葡萄专项栽培试验，反复测试不同浓度赤霉素对葡萄转色的调控效果，定期采集果穗样本寄回学校实验室，开展生理指标与生长机理深度分析。”刘晓琳说。 田间试验紧锣密鼓，实验室内的品质检测也在同步推进。在科技小院的检测室，科研人员在对去年新引进的葡萄品种“无核翠宝”开展系统性的品质检测。他们从试验植株的上、中、下不同方位分层采样，逐一测定单穗粒数、粒重、果粒横纵径、可溶性固形物含量等核心指标，通过多维度数据核验该试验品种是否达到引种预期标准。 “今年是‘无核翠宝’在本地挂果的第一年，目前果粒偏小，外观卖相还不够理想。
三 | 但品种适生性不能仅凭一年表现就下结论，我们会持续种植观测几年，综合抗病性、甜度、产量、转色表现等作最终判断。”福安市葡萄协会会长陈荣华说。 2024年3月，位于溪柄镇的宁德市农业科学研究所正式成立福安葡萄科技小院，依托福安市葡萄协会，与南京农业大学教授团队建立长效合作机制。
四 | 2025年7月，南京农业大学福安葡萄产业科技研究院在溪柄镇揭牌成立，产业科研平台的能级进一步跃升。
五 | 目前研究院已引入高校责任专家3名、常驻研究生6名，配套10余亩试验示范基地，构建起“专家团队驻点指导+研究生长期驻扎+农户全程参与+科技项目融合”的协同服务模式。 这套模式在破解品种培育难题方面成效显著。截至目前，科技小院已引进“黄金蜜”“金陵指”“园红玫”等23个葡萄新优品种，多个品种已成功挂果。
六 | 为大棚装上“智慧脑” “以往50亩果园开展喷药作业，2名工人需耗时3天才能完成，如今依托自动化迷雾系统，一人半天即可完工；高温天气大棚自动开窗可降温5℃，冬季闭合棚体起到保温作用；搭配专用套袋还能精准调控果期……”谈及智能化种植带来的改变，溪柄镇上佳好种植专业合作社智慧葡萄园负责人吴锦清赞不绝口。 传统葡萄种植受天气条件影响较大，为改变“靠天吃饭”的局面，近年来，福安在赛岐镇、溪柄镇、松罗乡等地的标准化葡萄种植示范基地推广高标准智慧大棚。
七 | 这些大棚可抵御8级大风冲击，配套的自动天窗、迷雾喷淋、智能水肥一体化设备全部接入数字平台物联网终端，既能在极端天气下牢牢护住棚内作物，也能在日常生产中实现精细化管控。 “如今只需通过手机即可远程一键管控通风、灌溉、喷雾设备，AI大模型依托土壤、气象、虫情监测数据，自动推送施肥方案与病虫害绿色防治建议，带动果园农药使用量下降15%、节水30%、节肥20%、产量提升10%，预计今年收入可达230万元。”吴锦清说。 “为打消农户升级改造的顾虑，我们给升级智慧大棚的种植大户每亩4万元补助，2025年设施农业温室大棚补助资金已拨付357.08万元；同步指导农户购买特色农业（设施葡萄）保险，最高保额1.75万元/亩，财政补贴60%保费，农户仅需自缴40%。得益于设施升级，葡萄种植亩均收益已从8000元提升至1.5万至2万元。”福安市农业农村局局长倪惠萍说，真金白银的政策支持，就是要给果农吃下“定心丸”，进一步撬动产业设施升级，以稳产提质带动农户持续稳定增收。
八 | 给葡萄佩戴“身份证” 生产端的智能化升级为产业提质筑牢了硬件基础，而全链条数字化监管体系的搭建，则为福安葡萄的品质管控与品牌保护装上了“数字引擎”。 2025年，福安市建成县域数字农业一体化平台，依托“有福农云”移动端小程序，串联种植监管、质量溯源、品牌维权、产销对接等环节，实现从田间到舌尖的全流程数字化管控。 今年2月《农产品质量安全承诺达标合格证管理办法》正式实施，福安推出多码合一的电子承诺达标合格证。
九 | 该合格证整合了经营主体信息、企业商标、农残检测报告、全周期种植记录等内容，一改过去包装多重贴码的烦琐，有效减轻企业包装成本。 同时，合格证数据同步接入省农业农村厅“一品一码”系统，并与市场监管部门数据互通共享，一旦出现消费投诉，农业农村、市场监管部门可联合开展追溯核查，精准区分产地种植与流通环节责任，形成“来源可查、去向可追、责任可究”的全链条闭环。 为推动溯源体系全域覆盖，福安市农业农村局组织农技人员、网格员下沉田间地头，手把手指导农户完成生产信息录入，目前平台已归集全市3200余条种植主体档案信息。 数字化溯源体系的建立，成为保护区域公用品牌的利器。 “7月份葡萄刚上市时，我们就发现广州市场出现假冒‘福安葡萄’的侵权行为，其无法出具合规的电子合格证与溯源数据，我们迅速联动市场监管部门开展维权行动。”倪惠萍说，溯源码的唯一性从源头阻断了仿冒产品冒用品牌的空间，有力维护了“福安葡萄”的品牌口碑。（本报记者 庄严 通讯员 雷津慧 李广 文/图）。
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