At the beginning of the 20th century, the New Culture Movement in China brought the long-lost folk songs back to the literary palace. At that time, Liu Fengnong, Shen, Zhou Zuoren and others in Peking University initiated the collection of ballads, set up a ballad research society and published Ballad Weekly. Many radical folklorists practice and collect folk songs, such as "Hakka Love Songs Collection" and "Wu Collection" by Gu Jiegang. Under its influence, people of insight in Chaozhou, such as Qiu Yulin, Jin and Lin Peilu, quickly compiled Chaozhou Ballads Collection. In order to carry forward Chaozhou culture and preserve Chaozhou folk customs in a specific period, Jin's book Chao Ge was recently reprinted by later generations, which is a rare reference material for in-depth study of Chaozhou folk culture and exploration of Chaozhou ballads. The preface of the new edition of Chao Ge says: "This is the first Chaozhou dialect collection officially published by the publishing house." As far as I know, in April of 1927, Zhou Zuoren wrote a preface for Lin Peilu's Collection of She Songs in Chaozhou, which was included in Zhou Tan Long Ji. It is not clear whether Chaozhou She Song was published at that time. Mr. Yang said in the book Chaozhou Ballads Collection: "1927, Qiu Yulin, who graduated from Peking University and later taught in Jinshan Middle School, edited, arranged and published the first Chaozhou Ballads Collection, which can be called a ragged work." Zhou Zuoren also prefaced Qiu Yulin's book, but the prefaces were not included in his anthology. Check the Chaoshan Bibliography published by Guangdong People's Publishing House. It is not clear where this book was published that year. As a Shaoxing native who moved to Chaozhou, it is a good thing that Jin can pay so much attention to the collection and recording of Chaozhou ballads. Moreover, the finishing and publishing time of Chao Ge is very close to Qiu Yulin's Chaozhou Dialect Collection, and many ballads do not repeat each other, so more original materials are kept in the collection. In fact, the collection of Chaoshan ballads published by Guangdong People's Publishing House 1958 was added or deleted by Qiu Yulin according to the above two collections. Later, the New Collection of Chaoshan Folk Songs edited by Chen Xiu and (1985), Notes on Chaoshan Folk Songs edited by Sun and Wang Yunchang (1987) and Selected Chaoshan Folk Songs edited by (1988) were all influenced by Qiu Yulin. Jin's tide songs are divided into proverbs, eulogies, she songs and appendices, which are children's books in the 1930s. The creators and disseminators of modern Chaozhou ballads are mostly women who are mothers. Ballads are often used to teach children life, and there are few love songs. For example, "bring it here, bring it here, and feed the rice to the chickens." Feed chickens to the countryside, dogs to the night, pigs to people to pay their debts, cows to the plows, pocket boys to the study, and walking boys to hire people to scold them. "Teach online children the characteristics of various animals in the process of grinding grain. Another example is "the first month is right, and the new son-in-law comes to the hall." "On February 2nd, my mother entered the temple. On March 3rd, peaches and plums were everywhere. On April 4, peaches and plums were full of arms. On May 5th, we grilled dragon boats and dug streams. On June 6th, Tsim Danzai was chiseling everywhere. On July 7th, the birds were upside down and the longan was folded. On August 8, I smoked beans and vines and picked pods. On September 9, the wind bird was disconnected for half a day. 1October 10, the new rice is full of eyes ... ""This is a ballad in the form of children's songs, the content of which is to spread life knowledge. It has a lively rhythm, simple sentence structure and is very easy to read. Just one hundred words can not only help children learn numbers, but also help them understand the seasons. " (Yang's "Chaozhou Ballads") Chaozhou ballads reflect the largest proportion of labor and women's lives, and some narrative, ironic and funny ballads are integrated into Chaozhou ballads, making the book more humanistic and folk-custom value. Chaozhou ballads are folk oral literature, and there are many artistic expressions, among which repeated sighs are the most commonly used, which are in the same strain as the oldest folk songs in China in The Book of Songs. Let's take a song from Chaoge as an example: "Green bamboo and green bamboo branches are planted in the river soil. Wuniang sat on the green bamboo roof and hung the thirsty Chen San on the roadside. On the east side of the river are green bamboo and green bamboo. Wuniang is sitting on the top of a green bamboo, and she is thirsty for Chen San. " Due to the limitation of the times, there are some feudal dross in Chao Ge, such as fate, son preference, satirizing the disabled, etc., which also reflects the folk customs in a specific period. Due to the changes in social life, fewer and fewer people sing Chaozhou ballads. Chaozhou ballads belong to an endangered culture and should be protected. Therefore, there are still plans to sort out and reprint folk works of an era like "Chaoge". . Com/News/dishi/ Chaozhou/LSXHMC/200303180557.htm (Southern Network Guangdong Metropolis Daily) 2003.3./KLOC-0.7 From this article published by Southern Network, we can easily see that Shantou was in charge of the whole territory during the old Chaozhou government. I intentionally or unintentionally vilified and changed the names of Chaozhou culture and ballads, with the aim of stopping the spread and inheritance of Chaozhou culture by going to Jiashan, Guizhou, and changing Chaozhou culture into "Chaoshan culture"! Minnan language culture originated in southern Fujian, and it was in the partition of Taiwan Province Province that it was passed down and carried forward. However, people in Taiwan Province Province have never turned Minnan culture into Taiwan Province culture because of this problem. It has also made great contributions to the rectification of Minnan songs in Nanyang. In contrast, before 1958, Shantou was called Chaoren, Chaozhou dialect, Chaozhou dialect, Kung Fu tea, etc., all of which were transformed into "things" by Shantou through some means! ! As well as the political policies in a specific period, Chaozhou culture was described as feudal dross, such as fate, son preference and ridicule of the disabled. In order to advocate the "pseudo" and "Chaoshan culture" dominated by regional names! The most hateful thing is to promote Chaozhou culture as the culture of Chaozhou City. It is reckless to say that Chaoshan culture is a regional culture and a culture that unites cities. Time will also clear Chaozhou culture.

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