The Vajra Exorcism Dance at Yonghegong Lamasery in Beijing: A Semiotic Analysis

The Vajra Exorcism Dance at Yonghegong Lamasery in Beijing is not merely an aesthetic performance but a structured embodiment of Vajrayana Buddhist doctrine. The dance's choreography, iconography, music, and costumes systematically manifest soteriological and cosmological aims, primarily the destruction of mental defilements and the establishment of a purified sacred realm. The ritual has transformed from an imperial ceremony under Qing patronage into a public urban spectacle, reflecting an ongoing negotiation between esoteric efficacy and popular accessibility that sustains its continued survival.

Study at a glance

Abstract

This study examines the Vajra Exorcism Dance—commonly known as “Beating the Devils” (tiao buzha)—as performed at Yonghegong Lamasery in Beijing, positioning it as a quintessential example of monastic Nuoxi in which ritual form serves as the active embodiment of doctrinal content. By situating the performance within its historical, religious, and socio-political contexts, this paper argues that the dance’s choreography, iconography, music, and costumes are not merely aesthetic expressions but systematically structured manifestations of Vajrayana Buddhist soteriology and cosmology. Through a semiotic and performative analysis of ethnographic, historical, and visual sources, the study demonstrates how each formal element is meticulously designed to fulfill the ritual’s core objectives: the destruction of mental defilements and the establishment of a purified sacred realm. Furthermore, the paper investigates how the ritual’s transformation—from an imperial ceremony under Qing patronage to a public urban spectacle—reflects an ongoing negotiation between esoteric efficacy and popular accessibility, with its continued survival dependent upon this dynamic symbiosis.