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The drums have lost none of their revered significance over the centuries. An ancient network of drum sanctuaries still exists in Burundi, where the drums have been stored over the years until such time as they are brought out to be played. These sanctuaries are in places of importance such as royal residences ruled over by a queen, sacred groves or in forests, marking the tombs of kings or princes. Known as “ingoro y’ ingoma” (the Palace of the Drums), these sanctuaries were the specific domains of family lineages who alone had the privilege of making, beating and keeping the drums and had, as a sacred calling, the task of bringing a certain number of drums to each Soughum feast. In the sanctuaries, the main drum (the Inkiranya) is laid on a trestle of branches and surrounded, as though a king, by subsidiary drums (the Ingendanyi).

The Ngoma drums that the Drummers of Burundi play are hollowed out from the trunk of a particular tree called D’umuvugangoma (Corda africana) meaning “the tree that makes the drums speak”. At the beginning of the twentieth century these trees were already becoming rare and the men of the tribe had to travel far to find them. Each year they went in search of a tree from which four or five drums could be made. The chosen tree was marked and its felling was preceded by a ceremony in which the drummers circled the tree while beating drums borne on their heads. The chief then sprayed the tree with a compound of herbs in order to chase away the python which was said to live in its foliage. To the salute of the drums, the tree would be felled with an axe, then measured and cut up. The individual parts were hollowed out and the insides and outsides polished. The bottom of the drum was shaped with an implement called an imbazo and a band was marked with a hot iron around the base – usually the only ornamentation. The skin, made from dried and stretched cow-hide, was pegged around the open end of the cylinder and stretched to its maximum. In addition to the Inkiranya, there are Amashako drums, providing a continuous beat, and Ibishikiso drums, following the rhythm established by the dancer playing the Inkiranya drum.

In ancient Burundi, drums were much more than simple musical instruments. As sacred objects, reserved solely for ritualists, they were only played under exceptional circumstances and then always for ritual purposes: the major events of the country were heralded by their beating – coronations, sovereigns' funerals – and with the joy and fervor of all Burundians they kept rhythm with the regular cycle of the seasons, ensuring the prosperity of the herds and fields.

Nowadays, the drum remains an instrument that is both revered and popular, reserved for national celebrations and distinguished guests. The ancient lineages of drummers have kept their art alive and, in some cases, have had great success in popularizing it around the world.

One of the greatest percussion ensembles in the world, the Royal Drummers and Dancers of Burundi have performed in the same way for centuries, passing down traditions and techniques from father to son. Their performances were traditionally a part of particular ceremonies such as births, funerals and the enthronement of Kings. In Burundi, drums are sacred and represent, along with the king, the powers of fertility and regeneration. The origins of their performance being shrouded in ancient legend and mystery, the Royal Drummers and Dancers of Burundi channel the energy and creative spirit of a nation through these drums and the rituals surrounding them.

The large "Ingoma" drums that are played are made from hollowed tree trunks covered with skin. The "Amashako" drums provide a continuous beat and "Ibishikiso" drums follow the rhythm of the central "Inkiranya" drum. The thunderous sound of the drums with the graceful yet athletic dance that accompanies this masterful performance represents an important part of Burundi's musical heritage.

Since the 1960s the Royal Drummers and Dancers of Burundi have toured outside of their country, becoming a popular attraction at concert halls and festivals around the world. Their massive drum sound, or the "Burundi beat" as it became known, also caught the ear of Western musicians, leading to an appearance on Joni Mitchell's The Hissing of Summer Lawns album in 1975. Their distinctive sound also influenced British rock bands of the early 1980s, such as Adam and the Ants and Bow Wow Wow. It was seeing the drummers that inspired Thomas Brooman to organize the first World of Music, Arts and Dance festival (“WOMAD”) in 1982, an event that helped to spark the whole World Music boom.

The Royal Drummers and Dancers of Burundi were recorded at Real World Studios in 1993, and they released a live album on Peter Gabriel’s Real World label. Other recordings followed including The Master Drummers of Burundi in 1994 and The Drummers of Burundi in 1999. In 2006, the Company undertook a sold-out six-week, coast to coast tour of the United States of America and Canada and have returned to North America in 2012 for another coast to coast tour of the United States and Canada.

Their live performances are the ultimate African drum experience.