This paper discusses and reflects on the process and opportunity of staging moedlaenz performance among the Zhuang people in southwest Guangxi in the context of practicing policies regarding intangible cultural heritage (ICH). I suggest that in the early 21st century both the wider social context of these performances and their inner cultural origin direct Zhuang people to stage moedlaenz songs by mimicking ritual specialists. In the context of the widespread and enthusiastic practicing of ICH policies in China, moedlaenz singers are allowed to dress up in the clothes of "practitioners of superstition" and carry ritual instruments as stage props to perform their Zhuang culture. The staging of moedlaenz performance is a typical case of de-contextualization and re-contextualization. Between late Qing and early Republic era, local literati adopted Han Chinese stories to create moedlaenz songs and folk singers sang them while traveling from village to village. Since 1949, moedlaenz has been classified as a form of Zhuang folk art (quyi) under the People's Republic of China (PRC), and cultural troupe performers have sung moedlaenz songs praising the Chinese Communist Party's policies on stage as a form of propaganda. In the 1980's, Chinese academic circles researching folk arts and culture conducted large-scale surveys to record moedlaenz songs. In 2010, the moedlaenz was formally identified as an item on Guangxi's provincial ICH list. The head of Ande township culture station in Jingxi wrote a moed laenz song entitled "Baomu'en" (Sending Thanks to Mother) and trained local women to sing this song in 2011. A local composer who had retired from the You River Song and Dance Troupe, inspired by ritual specialist's costume and instruments, designed specific stage costumes and props to accompany the performance of this song. Since 2012, a group of local female performers, dressed in stage costumes and carrying props, have been performing the song "Baomu'en" in invented festivals in both towns and cities across southwest Guangxi. Although performances of staged moedlaenz songs utilize the costumes, instruments and settings of ritual specialist, whether or not practitioners of ICH policies treasure ritual specialist's oral ritual knowledge and their impromptu spirit is not clear. I expect that the spirit of ritual song will continue to enrich moedlaenz song performance and that local song experts, policy makers, practitioners and researchers will need to cooperate toward the goal of protection and inheritance of moedlaenz as a whole.