Performing Gender Fluidity In Mediated Popular Culture In Ghana

Abstract

This study examined the performative of gender fluidity in Ghanaian music videos. The study draws on Judith Butler’s theory of performativity as well as the feminist perspective as theoretical foundations. Furthermore, through purposive sampling of five music videos, Fairclough’s model of Critical Discourse Analysis (CDA) was employed as an analytical framework. The findings suggest that gender fluidity is performed through androgyny and drag performance in Ghanaian music videos. Gender fluidity in Ghanaian music videos follows global trends with the shattering of gender binaries and blurring of what it means to be male and female. However, gender fluidity in Ghanaian music videos is nuanced as it manifests only in the fashion and movements of characters. While performers of gender fluidity in Ghanaian music videos have shown a predilection for going against societal understanding of gender binaries, they do not reflect it in their lyrics. Also, certain expressions of gender fluidity are a means to an end; simply to create a comic effect and drive home a message. As a result, these expressions do not necessarily present an authentic portrayal of gender fluidity. This study also found that the performance of gender fluidity in Ghanaian music videos poses a challenge to the conservative gender binaries in the Ghanaian society through depictions of drag queens and androgynous women. Keywords: Gender identity, performativity, gender fluid expression, drag, androgyny