In Guangxi, people are actively maintaining rich and dynamic musical practices, particularly in its Western region, where ethnic minorities regularly hold temple fairs. While these calendrical ceremonies have been studied from the perspectives of ethnicity, economy, and modernisation, less attention has been paid to local historical agents, notably the influence of the native chieftaincy (Tusi) on musical engagement. This presentation examines how the soundscape of the King Cen Temple Fair, including rituals, local opera, and antiphonal singing, reflects the interplay of belief and political authority relating to a renowned local Cen Tusi family. It asks how the local people blur, or even break down, the boundaries between performance and ritual practices through these expressive cultures. The research explores how the performers and organisers in King Cen Temple Fair mediate power relations between local and central authorities, and between minority and majority ethnic groups, even though the Tusi system was formally abolished centuries ago. The study draws on ethnographic fieldwork in Western Guangxi, mainly interviews with local officials, performers, officiants, and audiences, together with a scheduled visit to Daleng township, Baise prefecture-level city.  Coordinated by local authorities and residents, these sonic practices evoke historical dynamics while shaping contemporary cultural expression. The research seeks to advance existing debates on the enduring legacies of Tusi music, arguing that the structural foundations of musical culture in Western Guangxi, as in many places among minority groups in China, were underpinned by Tusi music through the integration of belief, history, political authority, and ethnicity in public performance.