Dance in Cameroon is witnessing a fast-moving mutation entrenched in power relationships. Based on qualitative data analysis, we conceptualise Clegg’s circuits-of-power framework to show how dance institutionalisation is a source and result of power. Hypothesising that power is central in dance practice, we argue that disciplinary machineries inherent in the power-circuit were practised during and after colonisation to institutionalise dance. Findings reveal that, during colonisation, dance institutionalisation was based on the annihilation and alteration of native dances through the development of Eurocentric cultural hegemonic traits. Nonetheless, dance played an important role in the cultural decolonizing process. Still, unfortunately, the dancing body remained subordinate to the (ex)-colonisers domination as professional dancers seek recognition from the West. After independence, the Cameroonian State used institutionalisation to control dance by creating the national ballet to meet national embodiment and unity needs. However, by introducing Western innovative body techniques amidst traditional dance practices, dance became a way to answer the demands of cultural globalization.