This chapter is a comparative discussion of imagery, meaning and function in Shona traditional praises and modern songs by popular Shona bands, with particular reference to gender politics in the widest possible context of the extended family. Selected examples drawn from three sub-genres of love poetry and from Afropop recordings are used to show that, in many cases, traditional praises and modern lyrics are quite similar in terms of imagery and symbolism, as well as in terms of socialisation for complementary role-relationships. This, of course, has wider implications outside the family and in effect this situation tends to support the status quo in gender politics at the national level.

In a way, Afropop music has taken over from love poetry as one of the strongest conservative influences that psychologically condition the young in particular to conform to traditionally prescribed norms in order to be socially acceptable individuals. Part of the power and impact of both love poems and love songs derives from symbolism and beliefs that are related to sexuality, procreation and the spirit world. Many of the Afropop songs recorded in Shona are in fact love songs, because perhaps ‘Love-making, in one form or another, is one of the major interests in life’ (Hodza and Fortune 1979: 289).