The article provides an empirical example and a study rooted in the concept of cultural construction of feminism in relation to traditional music making of Avatime people of Ghana. Data was collected through participant observation of Totoeme. The author addresses the participation of women in traditional music performance and its associated rituals based on gender asymmetric assumptions. It also highlights removal of certain barriers among women in totoeme musical performance as pertains to installation of a new queen mother. The paper concludes that women can be credited for sustaining most African dances including totoeme in this contemporary world. It is therefore important that they are supported possibly by traditional authorities in this regard to ensure cultural preservation.
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