目瑙縱歌是中國景頗族（緬甸稱「克欽族」）先祖們戰戰兢兢地流傳下來的一個溯向民族精神源頭的溯源儀式。溯源乃景頗族維持民族血脈的國之大事，非同小可，可是，在後資本主義的發展邏輯之下，目前很成功的「目瑙縱歌狂歡節」似乎無暇顧及這個神聖的本質。同時之間，許多打著科學知識旗號的學術研究，相當倨傲地無視於神靈的存在。針對這兩種時弊，本論文將以波蘭劇場大師葛羅托斯基的「溯源劇場」理念和探索方法，來批判性地探討目瑙縱歌這個成功的「文化創意產業」個案，在大眾娛樂、文化傳承和民族精神這三個層次方面有何得失？不足之處可有改進之道？本論文認為：潛藏於目瑙祭祀文化之中的歌舞祭儀，依然閃爍著景頗族先祖們傳承下來的「溯源工具」（或稱之為「身體行動方法」）。只要我們能夠以適當的方式來唱跳目瑙縱歌，景頗文化精英所關注的「民族精神復興」將不只是個政治口號而已。

With Jerzy Grotowski’s theory and practice of Theatre of Sources, this paper intends to reveal the essence of the Jingpo Manau festival. The Manau (which means dancing in the Jingpo language) was used as a“sourcing technique”to trace back to the Original place designated as“Majoishinrabum.”The Manau (also spelled as Manao or Manaw) festival was celebrated by the Chinese Jingpo (called“Kachin”in Burma) people living in the southwest Yunan Province as their most sacred and largest-scaled ritual, normally done with sacri?ces of buffalo and other large animals. The Manau festival was prohibited in China during the Cultural Revolution years (1966-76). When it was resumed in 1980, the Manau was highly regarded by the Jingpo intellectuals and leaders as the most distinctive and in?uential symbol of the Jingpo culture. In the past 15 years with the acceleration of the Four Modernizations, the Chinese local authorities have successfully promoted the Manau as a secular Jingpo holiday instead of as a holy rite. Can the Manau ritual thrive without its spiritual essence? Yes, this paper argues: Only when we ?nd the Manau sourcing technique and practice it properly can the essence resurrect.