Abstract
This article explores the intersection of gendered concepts of tradition and nation in the musical and spiritual lives of the Shona people. Women performers of the mbira dzavadzimu, an instrument closely associated with traditional religious practices of spirit possession, negotiate gendered barriers to participation specific to the instrument. The article foregrounds the experiences of five women musicians whose careers span the colonial and post-colonial eras, as performance contexts have extended from traditional to commercial settings and onto the international stage.
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