Abstract
Yuanshengtai, a term derived from Chinese idea of ecotourism to indicate the pristine condition of environment, has been connected to an imagined authentic indigenous culture in China. With the mark of Zhang Yimou—one of the most famous film director in China, the show Impression Lijiang has strived for exploiting the symbols and icons of ethnic minority culture in order to invent an imaginary space for tourists to experience a yuanshengtai borderland in southwest China. A UNESCO site, Lijiang is known for its geographic imagery of cultural and natural landscape and as the brightest prospect for expressing Chinese nationalism and cultivating modern Chinese tourists. As such, it has been gradually transformed into a stage for displaying and (dis)locating the spatial imagery of home for Chinese tourists in post-socialist China. This article illustrates how yuanshengtai performances are a cultural mechanism of the Chinese state to spark a yearning for home. We will proceed with a theoretical approach relating home and homemaking in China’s cultural politics. After noting the research methods, we contextualize the development of yuanshengtai performances in Southwest China.
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