It is difficult to discuss dancing separate from drumming since the two function interdependently. As Harper (1969) succinctly states, “the fundamental formal element in all forms of dance in Nigeria is based on the close relationship between the rhythmic movement patterns of the dancer and the percussive rhythms of the accompanying music or song” (p. 290). In Nigerian traditional dance, the drummer leads the dancer in their movements and tempos, controlling the speed and style in which they dance. The dancer follows the beats of the drummer, but is not fully constrained by the drummer.  The drummer may alter her or his beats to compliment the movements of the dancer. Both performers feed off the energy of their counterpart to produce the most emotional and dynamic presentation. However, scholars point out disparity between the two performances. "The essential difference is that while dance discourse is a process of metaphoric display of body and costume in space-time dimensions, drum-speaking relies on the phonic articulation of the phonemes of the spoken language in tone-time dimensions" (Nzewi, Anyahuru, & Ohiaraumunna, 2001, pp. 100-101). Each performance satisfies a separate element of the performance, but, like actors in a Western play, they rely on one another for the most effective presentation.

In Yoruba traditional societies, dance is central to religious rituals. Harper (1969) explains the functions of traditional dance in Nigeria. “In Nigerian traditional societies dance is the vortex of religious ritual and ceremony: a priest or priestess is the leading dancer, using dance and symbolic gestures to lead initiates in dances designed to appease the supernatural powers, solicit divine protection, or give thanks to the guardian spirits of the community” (Harper, 1969, p. 280). These dancing and drumming celebrations are known as tambors.

As this paper discusses, these religious practices are no longer as common in contemporary times. However, neo-traditional and contemporary Yoruba dancing continues to exhibit the traditional function and style of dancing. Dance is appreciated for its artistic manner, including the use of dance space, the tempo of movements, and the muscular energy of the movements. The form of the dance is important because it is directly related to its function in the ceremony (i.e. to demonstrate natural occurrences such as thunder, to beckon a deity, to praise another person through imitation, etc…).

Different professional communities of Nigeria perform distinct dances to celebrate seasons and to reenact their respective work duties. For example, the farmers of the Arokogo sometimes dance during the day and imitating their work duties to pass the time. The Arokogo dance and music spurs farmers to work with more vigor. Dance also serves an important educational purpose, especially in regards to sex roles and proper behavior between sexes. The form of dance by the elder women of the tribe entertains the younger generations while simultaneously functioning to edify community values. At a Nigerian funeral, the men perform a dance called the Igogo. During the Igogo the men jump and stomp on the deceased’s grave to pack in the dirt. Its practical function does not take away from its symbolic meaning or intense emotional affect on those in attendance. During times of war, festivals and ceremonies use dancing to promote patriotism (by developing a sense of community and cultural pride) and discipline (by emphasizing dance movements reminiscent of earlier war maneuvers)  (Harper, 1969, p. 281). 

These performances vary from region to region and between the sexes. The environments in which the people live heavily influence the different styles of dance. For example, the posture of dancers typically reflects the posture assumed during labor. People, who frequently squat to pick vegetables and other harvests, sit on low stool to build crafts, or frequently bend at the waist adopt a different posture than those who work primarily standing up. The posture of the dancer also reflects the people’s connection to the earth. Typically, dancers keep their feet grounded and their posture titled towards the earth. The dancer directs their body weight towards the ground. Men and women dance differently. Men's dance styles tend to show more mobility in the shoulders and arms and they stomp the ground with more energy. Women typically demonstrate more mobility in the lower body, quickly shifting their weight to create a “quivering” movement in the hips and buttocks (Harper, 1969).

            Dance and drumming function together to show collective creativity. Rather than emphasizing individual talent, the dancer and drummer express communal desires and values. The drumming represent an underlying linguistic text that guides the dancing performance, however, the majority of meaning comes from the nonverbal cues and metalanguage of the performers. The spontaneity of these performances creates the impression of an extemporaneous speech, which increases the feelings of empathy between the audience and performer. However, this characteristic should not be confused with improvisation, which emphasizes the individual and bolsters her or his ego. In contrast, the drummer's primary duty is to preserve the community. S/he mediates the audience and the performer interaction. 

At an Abuja dance exhibition, a dancer demonstrates traditional Yoruba dance.

Members of this small town in Benin watch as women perform a dance to honor the Orisha Obatala.

The dancer and drummer in this performance watch each other for tempo and rhythm changes.