The aim of this paper is clarify on shamanism as a cultural representation by analyzing recent films and literature of Okinawa. As a result, I found that Yuta -shamans in Okinawa- or shamanism become to be selected as an essence of Okinawa, and such tendency is found that Noro-priestesses in villages-were often drawn in 1980's, but from 1990's Yuta as a shaman began to be paid much attention as a representation of Okinawan culture. One of the reasons why this change has occurred is recently the power of Noro are little by little perishing because of the change of life living and perish of village communities. In many villages traditional festivals or rituals leaded by Noro has little importance for villagers now. On the other hand, Yuta who pray not for a community but consult for individuals like a counselor still has importance in Okinawan society. For the reason that the character of Yuta is translocal (not local-oriented like Noro), shamanism culture still remains in Okinawa. The another reason of the tendency that shaman is selected for showing ethnic identity has some relationship with the trait of shamanism which has a function of "anti-power/institution mechanism". From historical point of view, shamanism has been oppressed by rulers in any times for they say and behave freely and sometimes not keep rules that rulers made. So they often become opponent for rulers not intentionally. I also pointed out that the function of "anti-power/institution mechanism" has deep relationship with "revival of shamanism" or "revival of religion" all over the world including Okinawa.

特集文化人類学の現代的課題
論文