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In this article I undertake a literary analysis of Petina Gappah’s short story entitled “The Mupandawana Dancing Champion” (2009) focusing on the author’s portrayal of the intersection between the dancing body and political power in post-2000 Zimbabwe’s crisis period. I draw from Michel Foucault’s notion of the docile body to discuss how the politically dominant appropriate and commodify the dancing body of the subordinate for political survival and financial benefit. I argue that Gappah ironically depicts the hypnotic place of  kongonya  dance among the populace, especially as performed by the pupils from Mupandawana growth point. I further contend that Gappah cynically depicts the transformation of M’dhara Vitalis’s dances from a social entertainment performance into a strictly business transaction. A reading of “The Mupandawana Dancing Champion” is, therefore, useful to appreciate how the ruling political elite appropriate enfeebled ordinary people’s dance and use its influence to maintain their grip on power and their monopoly on business opportunities.

Appropriated and Commodified Dance in the Post-2000 Zimbabwe Crisis Period as Represented in Petina Gappah’s “The Mupandawana Dancing Champion”