The influence of the new media on dance as an aspect of ensemble studies in higher institutions in Nigeria has afforded the creative discipline astounding and encouraging opportunities for its boundless expressions and interaction. The invention of high definition materials, like I pod, I Phone and I pad, among others, provides an enormous downloading capacity for storage and sharing of genres across the globe. This interaction has redefined music and dance studies at the Delta State University, Abraka, Nigeria, where the researcher works. The new media in particular facilitates discussions on dance at ensemble classes. Ideas on the reconstruction of traditional dances take place during and after the lectures, where students share their ideas on the subject via the media. Personal ideas on specific ways on how to make good selections across drum music genres have extended teaching beyond the classroom settings even to the private rooms of students who serve as participants through WhatsApp communication. Music and dance property are bound by social and sacred functions. Musical typologies have peculiar dance movements associated with them. Traditional dances are group based and the membership of the group is limited to the music circles it projects. Core dances like Bàtá, ìjálá, and èsà, among others, are limited to worshippers of Sango, Ogun and Ancestors respectively. Major participation is therefore restricted to devotees/cult members, a restriction that constitutes a threat to continuity especially when the dancers are advanced in age and the music is gradually fading away, owing to very little interest on the part of youth. Every dance has a cultural parameter for its measurement and acceptability. Some are termed closed, while others are open, depending on the kind of genre, whether sacred or secular. Euba,Vidal, Adegbite, Omojola and Bakare have written extensively on Yoruba music and dance, but the focus of this study lacks adequate scholarly attention. Ethnographic method was adopted in the study using interviews, discussions and non-participatory observation as tools. The findings reveal that modern technology through YouTube, Instagram, Twitter, and Video Conferencing has transformed access to quality education on indigenous music and dance, their importation, integration, and reconstruction. The study concludes that information and communication devices, the most notable development of the 21 st century, have enhanced the sustainability of the arts beyond imagination.