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During my youth, the fact that I am of Karanga descent gave me exposure to mhande dance performances for clan rituals (mapira) that venerate the family or clan ancestral spirits. These ritual ceremonies were held regularly in my rural home community in Bikita district in Masvingo province, Zimbabwe. Mhande dance performance involves singing, drumming, and dancing. The hallmark of my lived experience of mhande was double-edged: fascination and bewilderment. On the one hand, the interlocking drum patterns produced by two drummers in each performance fascinated me most; on the other hand, the dance features left me wondering what they were meant to achieve because I did not enjoy watching them, yet they appeared to be the hub of each ceremony.
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