Constantly meeting the growing spiritual and cultural needs of the people is the driving force and value of the inheritance and development of folk art. On the new journey, folk artists should uphold the feelings of home and country, use artistic practice and innovation, take advantage of scientific and technological development breakthroughs, review themselves while reforming the old and renovating the new, and strive to make contributions to the prosperity and development of cultural undertakings. I often "swipe" the video of Ye Yingsheng, an old fisherman in Yiwu, Zhejiang Province, on my mobile phone. "The party's grace is endless, the life is changing day by day, the sound of fishing drums is loud, and the music is bad for the new farmers!" This form of rap is catchy and emotional, and brings joy to the people in a way that is popular. Like Ye Lao, it is the historical responsibility and mission of every opera artist in the process of realizing the great rejuvenation of the Chinese nation to vividly spread and carry forward the core socialist values and enrich the people's spiritual and cultural life. In the new era, people's needs for spiritual and cultural life are increasingly characterized by personalization, diversification and quality. In the face of new demands and new expectations, the majority of opera artists adhere to the people-centered creative orientation, constantly explore new forms and broaden new content, and launched a large number of folk songs, such as "Look at the Present", "The First Son Drum Book", "The Song of Youth", "The Song of Youth", "Watch the Red Platform", "Commentary on the History of the Party", "Suzhou Commentary on the War and No Smoke", to observe people's lives and express people's aspirations The excellent Quyi works that enhance the people's spiritual strength show the simple people's feelings, unique aesthetic connotation and profound cultural connotation. In recent years, the Quyi stage has extended from traditional theaters to major network platforms and We-media. The way people enjoy Quyi performances has also expanded from sitting in the audience to watching mobile phone screens anytime and anywhere. The vast number of folk artists have taken advantage of the situation, joined hands with the network, and constantly "broken the circle" and "out of the circle" to meet the audience's new viewing needs. For example, some minority local tunes, such as Northern Shaanxi storytelling and Northern Jiangsu drum, used to be performed in the fields and small theatres, but now have gained unexpected recognition and popularity through various network platforms. Technological innovation has brought new ways of artistic expression and rendering. Quyi artists know that where the audience is, the performance should go. Faced with the phenomenon of "quantity but quality, 'plateau' and 'peak'", the problem of "plagiarism and imitation", the question of "mechanized production and fast-food consumption", and the concern of "replacing entertainment with sensory stimulation", folk artists should not forget to look at themselves, and constantly use positive energy works to show life, eulogize life, and delight the people, Strive to improve the quality of their art works. People need art, and art needs people more. Only by taking root in the fertile land of the people can we produce more fruits of Quyi. Chinese folk artists have the confidence and responsibility to combine meeting the people's cultural needs and enhancing the people's spiritual strength, and constantly promote folk art works that the people like to see, to feed the people back and inspire the people. (Outlook New Era)