| This paper investigates the performance, mode of operation and social functions of the Dragon—God Worship Ritual and Oral Tradition in the Tao-Min multi-cultural space areas .Pointed out that: In the Tao-Min multi-cultural space areas ,the Dragon—God Worship through the Temple Fair, Worship Rituals and Oral Traditions achieves its own stage for performances; around the Dragon—God Worship, the Hans, the Tibetans, the Huis and the Tus ethnic grous achieve the concept of faith, ritual practice, and production cooperation between different levels of recognition and reciprocity. Between the Hans,the Tibetans and the Tus, Dragon—God Worship leds to a comprehensive inter-ethnic communication and cooperation by common belief . But between the Hans and Huis , they can only reach limitated cooperation of production level for their different faith. Muslims can not participate in the Qingmiaohui and the ceremony. The study provides a new perspective and experience of local people for anthropology and folklore oral traditions in the multi-cultural space. Except for the introduction and conclusion, the paper's main part could divided into five sections:The first chapter describes emphatically the bad ecological environment, the diversification survival way and multi-folk beliefs. Bad ecological environment and different ethnic's diversity of survival way in the Tao-Min areas form the basic of material and common belief among ethnics.The second chapter basically investigates 18 Dragon—Gods Worship's formation process from the historical perspective in the Tao-Min areas. During the Ming and Qing dynasties, China's government strengthened the military, political, economic and ideological control in the Tao-Min areas , 18 Dragon—Gods Worship's formation is the result of national and local society's common constructing.The third chapter inspects Dragon—Gods Worship Rituals and Ideas from temple fair and plays in the Tao-Min areas . Temple fair not only is a narrative of their activities and immigration history, but also the reality's appearing of the diversity ethnic cultural coexist and exchange. The Tao-Min areas's plays are closely link with acrificial rites of Dragon—Gods, always show a strong color of the ceremony.The fourth chapter analysis the Dragon—God'cult organization, ritual specialists and ritual practice. Ritual specialists, Majiao and Shuitou are omniscient, they are the cores of Qinmiaohui. Qingmiaohui is the Dragon—God'cult organization, consists of fair leaders, Majiao and Footman, get the ritual and production function. Revolving around their Dragon—God,Qinmiaohui holds a series of rites, that is an active survival techniques ,that people want to affect the nature by culture and ritual means,reflecting the complex relation between man and nature, person and person.In chapter five, penman systematically combes all kinds of oral traditions about the Dragon—God for the first time. Pointed that the narrative of tales, story and fantastic rumour provides basis and powerful security for people worship ideas'continuation."God hua'er", Sacred Word and Oration themselves on the Cult Ritual Oration are the important component parts of the Cult Ritual, as depurative languages,they ensure the sanctity of ritual performative.In short, this paper descriptes and analysises of Dragon—God Worship Ritual and Oral Traditions in the Tao-Min areas, points that: The Dragon—God Worship Ritual and Oral Traditions has broken the frontiers of families, chans, villages and ethnic grous, It has achieved different levels cultural exchange and identity in the coexist space-time of the Hans,the Tibetans,the Tus and the Huis ethnic grous and so on.
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