Abstract

In this article, I draw on theories of gender performativity and on postcolonial African feminisms to develop an account of femininities in the rural context of northern Ghana. In doing this, I reflect on Judith Butler’s theory of gender as performative, that is, as constituted by the reiterative power of discourse to create and also constrain that which it names. Through an analysis of the findings from my participant observation fieldwork amongst the Dagaaba community in Serekpere in north-western Ghana, I demonstrate that there exists a profound resonance between the theories of performativity of gender and Dagaaba constructions of gender identities and power relations. The key assumptions of performativity theories are instructive in helping to make sense of the subtleties of gendered performance and power relations in this Dagaaba community. This article diverges from Butlerian theories of gender performativity by focusing on heteronormative marriage practices and the role they play in forming gendered identities. In this regard, it participates in acts of cultural translation – between European and North American settings and a West African milieu. Based on my analysis of the performative practices that constitute gender relations amongst the Dagaaba, I argue that femininity can be understood as forming a continuum, namely: ‘ideal woman’, ‘woman’ and ‘beyond woman’.