This paper presents some dynamics and impact of the seven-day heritage dance, Barrahlla that was introduced into the North West Region of Cameroon by Fulani youths in the late 1970s. Barrahlla was a simple animation dance spiced by beating drums, singing, and dancing in a concentric circle as part of a cherished culture. It neither discriminated between the sexes nor imposed initiation rites. It was staged only on eventful days. In some settlements, one could hear the drums of the traditional barrahlla dance, singing and dancing echoing periodically and especially during eventful days of the Ramadan and the Tabaski. Fulani youths reformed the norms of the traditional barrahlla, introduced new organization and dancing skills, imposed seven days for the dance, and short-listed host towns and localities in the region. The paper argues that although the seven days imposed for the dance were no part of Fulani history, it left a profound impact on the region. The dance was introduced against the background of the demographic explosion that occurred after the Fulani took up settlement in the Bamenda Region (C.1916) and the spirit of competition that characterized them between the 1920s and 1950s [i]. The youthful seven-day public display only ran for one and a half decades -1978 to 1993 and was banned because of some of its intolerable concerns. This paper seeks to showcase some of the impacts of the seven-day public youthful display, and for this to be achieved, we tried to answer the question “What constituted the impact of the seven-day public barrahlla dance on the North West region of Cameroon.”? The study blended qualitative and oral sources and proceeded with surveys involving some dancers and eyewitnesses. Our study revealed that the seven-day barrahlla dance served as a factor of unity and social cohesion in the entire region not only among the Fulani but also between Fulani and the indigenous populations. It also contributed to economic development and ..........