So also in literature and thus in novels that became films in the 80-s and 90s. The works for example of 冯骥才 Feng Jicai, whose memoirs-like stories of his native SE Shanxi gave rise to the film “Red Firecracker Green Firecracker” from which I have extracted the for-tourist reenactment of the still scary “Head Lantern” dance mounted by locals in monastic dress. (http://www.hxqw.com/wxxsgl/xdwx/200904/50042.html). This is no longer “roots” nostalgia of repatriated intellectuals tossed into the outskirts of civilized China in the 1970s. It is rediscovery of why “China” is China. Or of how. The CCTV series of “Impressions of…” (shenme shenme yinxiang) both reflected by also augmented a backlash interest in these the the not-yet-totally homogenized fantasy lands of the Periphery: it was for example from this sort of “Impressions”-triggered traveloguery about the the Naxi pony caravansiers of the Tibet-Yunnan border region that “Impressions of Lijiang” show was triggered and of course financed. But look closely at the audience (a later post): they are adults, either frightened or moved to tears. They are not there to gawk. Surely there is some degree of at least sensual interest in “the sacred” behind this giant happening.