“Before one can learn how to play tingoma, One Must Dance Them first”.Most African indigenous musical arts are known to feature tingoma (drums in English) whose emphasis, in turn, is on rhythm. Also, these musical arts take place in rural areas and by people considered “illiterate”, who only use oral transmission to pass on knowledge. Furthersmore, African indigenous knowledge is widely known to be non-systematized. These generalisations were my departure points to understand the process of knowledge transmission in musical arts of Mozambique, aiming at designing a teaching model for music education in Mozambique as part of my PhD research. I conducted an ethnographic study in Zavala, Inhambane Province in the south region of Mozambique, where I interacted with some indigenous musical arts genres such as chopweand sibhembe. In this paper, I am exploring the main strategies used to pass on and assess knowledge transmission in these two. While chopwe is composed of drum set and chant, sibhembe is composed of calabashes and chant. However, music of both is based in rhythm and the chant comes as a top-up with specific lyrics that have different characters in terms of significance. To approach this ethnographic study, I applied I call Participatory-Collaborative Action Research for it allows ‘deep’ blending of participatory observation and collaborative action research, thus, reducing to the minimum (or eliminating) the gaps between the researcher and the study subjects by allowing windows for each of the involved in the study to immerse in one another’s world. One of the data collection technics in this approach is the Community Conversational Groups which takes form of like focus group but defers by putting together people of different backgrounds and interests in the discussion of the non-predefined themes, times, opportunities and spaces. Community Conversational Groups can happen whenever direct and indirect research participants meet, and an issue arises eighter from the researcher or any other participant. Within this realm, the recurrent and common ‘take’ from the culture bearers when it comes to teaching children-novice to the practices-is that for one to play the instrument must start by dancing until he/she can embody the rhythm. This proposition from the culture bearers challenges the ‘prejudice’ of non-systematisation in the indigenous knowledge systems, for otherwise, different ‘illiterate’people of with different practices would not be able to establish clear methods and strategies to pass on their knowledge.Keywords: Indigenous knowledge transmission, embodiment, learning strategies, chopwe,