The phenomenon of "gender naming" in Yao drum music is a highly symbolic cultural practice, reflecting the unique way in which the Yao ethnic group projects gender structure, worldview, and body experience onto artifacts. This paper takes the clay drum of Aoyao and the bronze drum of the Mubingyao as the research objects. Through the integration of literature analysis and field materials, it explores the "male/female" distinction and its symbolic meaning of the two types of drums in terms of shape, timbre, usage, and ritual context. Based on Judith Butler's theory of "gender performativity", this paper points out that gender is not an a priori attribute, but a cultural role that ethnic groups constantly construct in rituals and practices. The study found that male and female drums are not only reflected in the differences in physical characteristics and sound functions but also constitute an important medium for connecting ancestors and building sacred order in sacrificial activities. This study fills the gap in the systematic study of gender naming of Yao drum music, reveals the cultural logic behind the gendering of artifacts, and expands the gender and material culture dimensions in the study of intangible cultural heritage.