With Jerzy Grotowski’s theory and practice of Theatre of Sources, this paper intends to reveal the essence of the Jingpo Manau festival. The Manau (which means dancing in the Jingpo language) was used as a“sourcing technique”to trace back to the Original place designated as“Majoishinrabum.”The Manau (also spelled as Manao or Manaw) festival was celebrated by the Chinese Jingpo (called“Kachin”in Burma) people living in the southwest Yunan Province as their most sacred and largest-scaled ritual, normally done with sacrifices of buffalo and other large animals. The Manau festival was prohibited in China during the Cultural Revolution years (1966-76). When it was resumed in 1980, the Manau was highly regarded by the Jingpo intellectuals and leaders as the most distinctive and influential symbol of the Jingpo culture. In the past 15 years with the acceleration of the Four Modernizations, the Chinese local authorities have successfully promoted the Manau as a secular Jingpo holiday instead of as a holy rite. Can the Manau ritual thrive without its spiritual essence? Yes, this paper argues: Only when we find the Manau sourcing technique and practice it properly can the essence resurrect.