African societies have been viewed as patriarchal, with most of the activities done by men, thereby pronouncing women’s place in the home, specifically the kitchen. Art in Zimbabwe, as it emerged, continued to be infiltrated largely by males at the expense of their female counterparts, hence the continued exclusion of women in the industry. This chapter, however, seeks to demystify the stereotype associated with the decline in the potential of women in the performing arts industry in Zimbabwe. This research is guided by Africana Womanist perspectives of self-naming and self-defining, family-centered, male compatibility, mothering and nurturing, strong, genuine in sisterhood, and wholeness to emphasize equal participation of gender in the field of performing arts. The study uses random sampling to elicit data from various artists and purposive sampling on selected women artists regarding their performance in the arts industry in Zimbabwe. The research established that an Africana womanist agenda allows women to be equal players with men. It was further discovered that the patriarchal society was a colonial agenda by colonialists to destroy the family unity, which has been in existence since time immemorial. Women were equal players with their male counterparts in every sphere of life, performing arts included.