ABSTRACT
Music associations form around a group of people based upon locality, gender, membership in a shrine or church, attending the same school or working in the same occupation. Looking at each type of ensemble and the gendered foundations of musical territories will provide a clearer depiction of the musical environment of female musicians in Eweland. In many African music cultures scholars have noted that musical roles are often gendered as male or female, and carry asymmetrical levels of local recognition. Within the music community, individuals and groups are distinguished by their creative combination of original and borrowed artistic motifs during community music events. Apart from gendered spaces of musical activity, music associations in Dzodze articulate a specific musical space creating a correspondingly definite boundary between the performers and spectators. Agbadza dances are comparatively informal, and the dance space is normally crowded with people, who freely come and go, variously watching, dancing, singing and encouraging others.
