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Transnational Media Articulations of Ghanaian Women: Mapping Shifting Returnee

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Transnational Media Articulations of Ghanaian Women: Mapping Shifting Returnee Transnational Media Articulations of Ghanaian Women: Mapping Shifting Returnee Identities in an Online Web Series A dissertation presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Benedine Azanu April 2017 © 2017 Benedine Azanu. All Rights Reserved. This dissertation titled Transnational Media Articulations of Ghanaian Women: Mapping Shifting Returnee Identities in an Online Web Series by BENEDINE AZANU has been approved for the School of Media Arts & Studies and the Scripps College of Communication Steve Howard Professor of Media Arts and Studies Scott Titsworth Dean, Scripps College of Communication ii Abstract AZANU, BENEDINE, Ph.D., April 2017, Media Arts and Studies Transnational Media Articulations of Ghanaian Women: Mapping Shifting Returnee Identities in an Online Web Series Director of Dissertation: Steve Howard This study examines returnee African women’s identity articulations in the web series An African City. Specifically, the research focuses on the appropriation of a U.S. popular cultural text perceived as more powerful by a Ghanaian producer in the creation of counter-discourses, cultural spaces, and identities in alternative media. Using multi- theoretical lenses – a framework of in-betweeness - the study is grounded in the theory of articulation to examine how the web series An African City uses Sex And The City in response to Western monolithic representations of African women. A social constructivist framework that considers identities as shifting subjectivities are interrogated through the theoretical lenses of transnational postcolonial feminism, using a framework of in- betweeness informed by hybridity and conviviality as intempestivity. The study makes theoretical links to transnational postcolonial feminisms, invoked by specific intersections of returnee African women. Using articulation analyses, thematic links are made between the series and in-depth interview with the series producer and focus group interviews with African women in Ghana and American diaspora. The argument is made that a continuum of ‘outsidenes’ and ‘insideness’ informs any system of identity and belongingness where identities shift ever so often. It is further argued that while An African City web series represents one of many re-configured identity formations iii embedded within Eurocentric African women’s identities that conform to globalizing homogenization of capitalist cultural productions, the series creates and occupies a space of conviviality that engenders dissensus in the distribution of Ghanaian women’s representation in particular and Black women in general. Examining diasporan African women identity articulations is important particularly when African women use media technologies to represent themselves in alternative media spaces in a bid to enrich research on stereotypical portrayals of African women. Also, the tendency to focus on more “serious” non-fiction genres like news, to the detriment of those genres considered fictional and often taken for granted by their entertainment value, warrants such a research. iv Dedication Anastasia Abla Addo, I wonder what would have been. v Acknowledgments My journey through higher education has been possible because of the varied support systems I been blessed with. Indeed, this journey has not been mine alone, and I owe a debt of gratitude to all who contributed in every way. I would like to express my deepest appreciation to my academic advisor, Dr. Steve Howard for his support and guidance throughout my studies at Ohio University. His encouragement, guidance and cooperation throughout writing this dissertation extends beyond Ohio University. I would also like to acknowledge my committee: Dr. Jenny Nelson, Professor Emeritus Raymie McKerrow and Dr. Edna Wangui. Thank you for supporting my intellectual interests and growth. Dr. Andy Ofori-Birikorang, you were there from the beginning of this journey and I appreciate all the encouragement and continued support. I am grateful to Dr. Diane Ciekawy, Dr. Ghirmai Negash and Dr. Eric R. Williams, for shaping my academic journey and Dr. Greg Newton, Dr. Roger Cooper and Professor McDaniel for the opportunity to be part of the Media Arts program. I would again like to express my sincere appreciation to Mark Mortey and Samuel Ebo Baiden for your roles in making this journey possible. I am forever indebted to my father Emmanuel Komla Azanu. Thanks for providing the strong foundation. My womb-mate and sister, Benedicta Azanu, thanks for being there to remind me of how far I’ve come in moments of counting my faults. Dela Heh, I cannot thank you enough for coming into our lives at the time you did. Thanks for being our mother. To my siblings, Christian, Thomas, Henry, Frederick and Eli, thanks for being there for me. I couldn’t have come this far without your prayers and goodwill. vi To my friends especially, Bose Maposa, Antoinette Ablordey, Patricia Williams (nee Tetteh), Gregory Williams, Bernice Khemchand (nee Antwi), Kwabena Owusu Kwarteng, many appreciations for cheering me on. Araba Dawson-Andoh, thanks for all the support. I would also like to convey my gratitude to my co-researchers: Nicole Amarteifio for your time and valuable insights. Afia Drah, I’m thankful for the assistance in reaching Nicole Amartefio. I’ll always remain grateful. Kumba Gborie, Dennis Moot, Benedictus Amudzi, Dorcas Anima Donkoh, Vanessa Morgan, Efua Amstrong, Linda Konadu Tuah, Harry Morgan Insaidoo, Peter Wonders Kankam, Faith Afua Otchere, Pearl Anim-Nketia, Appiah Kubi Jones, Paul Achonga Kwode, Dennis Yao Akoetey, Nana Aba Kanga Forson and Johnson Anane, thanks for availing your time and enriching the data. I’m grateful to almighty God for the many blessings. vii TABLE OF CONTENTS Page Abstract .............................................................................................................................. iii Dedication ........................................................................................................................... v Acknowledgments.............................................................................................................. vi Chapter 1: General Introduction ......................................................................................... 1 Background ................................................................................................................... 5 Statement of the Problem .............................................................................................. 7 Purpose of Study ......................................................................................................... 12 Significance of Study .................................................................................................. 13 Research Questions ..................................................................................................... 15 Delimitation ................................................................................................................ 15 Organization of Study ................................................................................................. 16 Chapter 2: Literature Review ............................................................................................ 19 A Framework of In-betweeness: A Theoretical Positioning ....................................... 19 Global colonialism and constructing transnational subjectivities: A global ......... 19 cultural process. .................................................................................................... 19 Transnational complexities and diasporas. ..................................................... 20 African women as cultural remitters. .............................................................. 24 African diasporas and cultural transmittance. ................................................. 28 Diasporas, African women’s cultural work, and media. ................................. 29 Digital diasporas and African women’s work: A politics of aesthetics. ......... 32 African Women, Diasporas, and Gendered Issues ...................................................... 36 Identity, Cultural Brokers, and Cultural Reentry ........................................................ 38 Colonialism and Gender: Transnational Gender Constructions ................................. 43 Gender in African Societies ........................................................................................ 47 Religion. ................................................................................................................ 54 Social Constructivism ................................................................................................. 56 Finding Middle-ground, Crossing Boundaries ........................................................... 62 Distribution of the Sensible ........................................................................................ 63 Identity and In-betweeness ......................................................................................... 68 Aesthetics as Forms of Resistance and Identity Articulation ..................................... 70 viii Aesthetics of in-betweeness: Hybridity, conviviality, and intempestivity. .......... 74 African women’s politics of aesthetics as dissensus. ............................................ 79 Methods of protest. ..............................................................................................
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