Wunpini Fatimata Mohammed, “Why we need intersectionality in Ghanaian feminist politics and discourses.” Feminist Media Studies, doi: 10.1080/14680777.2022.2098798
Abstract: Although there is some scholarship on intersectionality focusing on African feminist movements, more work needs to be done to examine the importance of employing an intersectional framework to understanding feminisms in Africa. I critically analyze the advocacy work of four feminist groups on social media and digital media platforms. I examine discourses in contemporary feminist movements that are especially visible on digital media and proffer recommendations on how their work can embody an intersectional praxis. I argue that to truly embody a radical praxis in African feminist politics, it is imperative that we employ an intersectional lens to ensure that feminist topics that have historically been pushed to the periphery are centered in our theory and praxis. While digital media provides a platform for voices that would ordinarily be excluded in discussions on feminist activism, it is imperative to pay attention to how these platforms are utilized by activists to (in)advertently exclude the most marginalized from their feminist work. By applying an intersectionality framework to understanding African feminist discourses, we open ourselves up to driving feminist theory and praxis toward emancipatory interventions. This study draws attention to the importance of centering historically marginalized groups in mainstream Ghanaian feminist discourses.
Wunpini Fatimata Mohammed, “Feminist accountability: deconstructing feminist praxes, solidarities and LGBTQI+ activisms in Ghana.” Communication, Culture & Critique, doi: 10.1093/ccc/tcac031
Abstract: This article examines how mainstream Ghanaian feminist organizations worked to support LGBTQI+ communities when they were subjected to state and institutionalized violence in February 2021. Through a feminist critical discourse analysis of the solidarity statements issued by feminist and gender organizations, I highlight the way that mainstream feminist groups relate to LGBTQI+ communities. I argue that although there is increasing visibility in the activism and organizing around issues affecting queer and trans Ghanaians, mainstream feminist and gender advocacy groups which have dominated the organizing space in the country are actively working to undermine the work radical activists are doing to create a better society for LGBTQI+ people. I contextualize the study within recent theory and praxis around queer and trans issues in Ghana while drawing attention to the ways that feminist groups are falling short when it comes to LGBTQI+ organizing in the country and what they could do better.
Abstract: This study examines the intricacies of the expanding music industry in Northern Ghana, centering the perspectives of artistes. We examine how artistes create and produce music, how they market and promote the music and their images, and also the nature and art of their performances and the scope of their export beyond Tamale. The contemporary popular musicians of Tamale, one of Ghana’s biggest cities, have for some time now been making efforts to gain national attention. We assert that, for a long time, as long as an artiste was based in Northern Ghana, they would most likely never become a national music icon in Ghana: until they migrated to Accra. We ground the study and situate it in conversations on the traditional and neo-traditional music of Dagbaŋ. Through interviews, we draw on the perspectives of musicians to discuss the history and present of contemporary music politics in Northern Ghana. Guiding the study with symbolic interactionism, we argue that the contemporary Northern Ghanaian music industry was born and grew out of contextual factors such as using music for social change, the desire for cultural affirmation and the potential music presented to construct and (re)negotiate Northern ethnic identities. Tamale is the center for these contemporary popular artistes and their music, but most of them until 2008/2009, only recorded their music in Accra and Kumasi. Many artistes and their music appear not to have travelled much beyond their home region especially into southern Ghana. Other problems identified include limited formal education among artistes, and the lack of capital investment. This study sets the tone for critical discussions of the music industry in Tamale based on history, facts and verifiable information. We also uncover and critically discuss some of the challenges of the industry. The study sheds light on the challenges faced by many young people in the Tamale area, who have the gift of music, which they wish to use as a medium to enhance their socio-economic livelihood. Our study builds the foundation for understanding Northern Ghana’s contemporary music industry today.
