Mixing anthropological and historical perspectives on music, this paper analyses some musical routes, actors, and objects that have led to the circulation of Gabonese Bwiti initiation rituals in transnational spaces and networks. It shows how this transnational circulation of local ritual musics relies on the ancient movements of musicians, and it shows that although this process intertwines with national heritage policies, it occurs mainly outside of nation-state initiatives. The paper highlights how musical practice, which is at the core of rituals in Gabonese bwiti temples, has also become central in ceremonies that take place outside of Gabon, in New-Age Bwiti rituals or among the Gabonese diaspora. Then, it describes how the sounds and representations of bwiti are spread through the performances of some hip-hop artists, who are involved in re-Africanisation and back to the roots initiatives. Finally, this article discusses the role of music in the circulation of fragments of a religion whose transnationalization remains hampered by several obstacles.‪