The purpose of this paper is to examine the ritual structure and function of Dragon Boat Festival in Zigui County, China, using the theories of Van gennep and Victor Turner. The major event, the Dragon Boat Competition, can be divided into the liminality of reproduction and the liminality of order according to the nature of time and space. The liminality of reproduction refers to a situation in which the period of Quyuan is realized through clothes, music, and actors of the Chu Dynasty. The liminality of order refers to the time and space that restores tradition, starting with the intention of solidifying the old order and system. And depending on the relationship of the in the event, the Dragon Boat Competition can be divided into ceremonial, competitive, and memorial communitas. Communitas of the ritual is formed in the youjiangzhaohun, which sings a song calling for the soul, recites lisao, and throws a zongzi. The communication of competition is formed in the dragon boat race that aims to win a competition against an outsider. Communitas of remembrance refers to a pattern in which participants and viewers become one by imprinting a sense of worship for Quyuan through singing passionately and a memorial ceremony for tears.