This brings into focus the women's shifting and multilayered negotiations for personal space and belonging. Taking a novel approach in focusing on the body, senses, and landscape, Jonna Katto, through a study of the women ex-combatants' lived landscapes, shows how their life trajectories unfold as nonlinear spatial histories.

This book tells the history of the changing gendered landscapes of northern Mozambique from the perspective of women who fought in the armed struggle for national independence, diverting from the often-told narrative of women in nationalist wars that emphasizes a linear plot of liberation. The paper thus attempts to broach an interrogation of how (and indeed whether), in the course of Mozambique’s tumultuous recent history, theater and social drama have succeeded not only in proposing a compelling alternative to the “unproductive” postcolonial state, but in catalyzing, or at least symbolizing, economic and social justice as well as political participation in rural and peri-urban zones. But in the course of my investigation I was compelled to rethink my hypotheses. Ultimately, I wished to propose that Mozambican theatre opened up spaces for the negotiation and re-articulation of ethnic, class and gender identifications both against and alongside dominant nationalist discourses. I wanted to gauge the extent to which, for both spectators and theatre workers, drama constituted a powerful form of political participation.

Partially based on research I conducted in Maputo, Mozambique between February and December 2010, this paper’s initial aim was to understand how the sustained and diverse performance culture that has thrived in Mozambique since the early 1980s entails a novel and effective mode of exercising citizenship. And me? I’m the so-called inked god she dumped on.

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