Indigenous dance music in Ghana serves peculiar roles in the lives of its practitioners from birth to death. This book explores the role of the Kete dance of the Asante people as an Afrocentric agency of meaning-making. As a dance-music form, Kete is one of the most popular dances in Ghana and a major cultural attraction in the diaspora. Apart from ethnomusicological explorations of its music, not much has been done about its movement element. I theorize Kete as an element of social construction that promotes and sustains cultural/indigenous knowledge through gestures. A performance of Kete in a specific context, such as a funeral, can serve as a lens through which indigenous gender disparities, sociocultural class structures, and embodied agencies for the propagation of indigenous knowledge are exposed. Utilizing a qualitative research methodology that encompasses first-person methods such as autoethnography, along with interviews and audiovisual analysis, I undertake an examination of my personal experience and understanding of Kete as a practitioner since childhood. Additionally, I explore the experiences of selected participants in both Ghana and the United States in providing context for future exploration. The book also serves an advocacy purpose by exclusively aligning with Afrocentricity, a unique feature not previously explored in Ghanaian dance literature. As a reflection of intelligent social structuring, where dancers communicate through gestures, I delve into the transition of Kete from the Manhyia Palace in Kumasi (Traditional Category) to the Ghana Dance Ensemble (Academic and then Professional Category) at the University of Ghana since 1963. Eric Awuah, “A Study of Amateur Groups’ Re-Interpretation of Traditional Dances in Ghana: Role on Continuity and Safeguarding” (NTNU, University of Clermont Ferrand, University of Szeged, University of Roehampton, 2014). I aim to explore the impact of neo-traditional structures on the continued proliferation of Kete today. Specifically, my focus is on investigating the agency of the Kete dancer centered within Kumasi and Accra, utilizing first-person methods to understand the structures influencing its proliferation and anticipated future developments. Asante Kete royal court dance music has its origins in the Asante/Akan ethnic group of Ghana, West Africa. The Akan people constitute the largest ethnic group in Ghana, primarily residing in the southern regions of the country.