The commodification of Intangible Cultural Heritage ICH in the tourism industry has been practised for an extended period in Zimbabwe. This practice has had both positive and negative implications for indigenous communities and their dance heritage. The performance of indigenous dances at Great Zimbabwe is promoting cultural entrepreneurship by transforming the dances into economic goods for consumption by tourists and to some extent sustaining the livelihoods of the cultural custodians. Three main assumptions shared in the academic literature on cultural tourism regarding “staged authenticity”, “commoditization”, and the “exploitation of the cultural workers” by tourists have been re-explicated and reconfirmed. The main objective of this article is to examine the opportunities and challenges of exchanging indigenous dances for money at Great Zimbabwe Shona Village. The paper also seeks to provide perceptions on how the Karanga cultural custodians re-enact and reclaim their perceived authentic cultural legacy of “Karanga- ness” through cultural performances that attempt to contest European cultural imperialism and the long history of mythologizing Zimbabweans in general and Karanga people in particular.