本文從一趟以「天山老母」女乩為主的進香會靈儀式現象，探討：1. 面對 不同空間、不同聖界時，個別通靈者如何透過肢體象徵與神聖力量之間互動， 展現出不同於日常慣性的情感與身分，例如痛哭、調靈訓體、陽剛男乩成為陰 柔觀音、婦女變成戲耍仙童等。2. 在進香會靈過程中，不同乩身之間的合作與 競爭，特別是女乩，如何在儀式展演中一方面暫時跳脫父權消費社會的意識型 態，另一方面依舊受到現實社會的壓抑。3. 儀式展演以切身性、實用性與功能 性為主，凸顯弱勢階層宗教人的危機意識。

This article explores the ritual performance of pilgrimage of meeting ling of Tianshan laomu female spirit-mediums in the following ways: first, it explores how female spirit-mediums express the symbolic systems of the body languages which differ from daily life when they encounter the supernatural powers during the pilgrimage, such as crying, modulation of ling and exercise of body, male spirit-medium becoming feminine bodhisattva, female spirit-medium becoming child god, etc.; second, it explores the cooperation and competition among these spirit-mediums, especially how female spirit-mediums struggle with patriarchal ideology for self-affirmation; and third, it explores the immediate, practical and utilitarian-based aesthetics of ritual performance, highlighting how the disadvantaged social stratums use supernatural powers to resolve or escape the crisis of real life.