Coming out has historically been an important yet often very challenging process for LGBTQI + individuals to no longer conceal their sexual and/or gender identity. For those who identify as bisexual, the process of coming out has proven especially complicated. In the general knowledge field of sexual identity, bisexuality continues to be a misunderstood, under-researched sexual identity, and from that negative stigmas and discrimination (even within LGBTQI + spaces) have contributed to bisexuals not coming out even within the LGBTQI + community. However, the significance and necessity of coming out itself has come to be questioned, particularly by younger LGBTQI + people. From a PhD study conducted in Johannesburg with 23 self-identifying bisexual women, this paper critically considers the different perspectives on coming out of bisexual women. Using a narrative life-history approach through interviews with a sample of eight participants from the study, this paper looks at how bisexual women understand the significance of coming out and how this process has different meanings for different age groups. Findings show that there are vastly divergent perspectives, with some participants believing it remains essential, while others argue that the fluidity of their identities no longer requires the same sort of disclosure.

Stories about “Ben10” relationships between older women and their younger male lovers appear regularly in the Daily Sun, South Africa’s most popular tabloid newspaper. Daily Sun readers, who are typically township residents, engage vociferously over the rights and wrongs of such relationships on the tabloid’s Facebook page, and alternatively berate or support the older, working class women who feature in them. These women could be understood as “postfeminist” insofar as they are financially independent and sexually autonomous. Their actions echo those of the independent township women in the mid 20th century who, resisting patriarchal apartheid social engineering, brewed beer and rented rooms in order to assert their financial and sexual independence. In both cases, these women’s bold actions confront local hetero-patriarchal norms and call into question an ideal local patriarchal gender order. However, the meanings that are made by the readers of such women in Ben10 relationships today also reflect a social context characterised by a contestation over the meaning of rights, high rates of unemployment, gender-based violence and HIV, factors that curtail a premature diagnosis of postfeminist identity. Drawing on a textual analysis of several articles and their Facebook comments, we argue that any assessment of postfeminism in southern spaces must account for how historical and contextual factors such as these constrain the reach of global postfeminism.

Stemming from a broader PhD project, this article argues that neoliberal post-feminist cultural sensibilities–entrenched in contemporary popular culture–about empowered, agentic and self-determining women, are regressive for the feminist advancement of gender-relational equality in the African context. To arrive at this conclusion, the central aim was to elucidate whether the gender-performative representations prioritised in the multimodal discourses of Afrobeats music videos are implicated in post-feminist sensibilities and if so, in what ways and to what effect? Given the continent’s richly diverse, yet largely heteropatriarchal, sociocultural formations, I argue that ideas about empowered, agentic and self-determining (black) African women are–based on the limited purview offered through the multimodal discourses of a small corpus of Afrobeats music videos–no more than sociocultural façades as opposed to gender-relational realities in our context. The article relied on a multimodal critical discourse analysis of a total of nine music videos drawn from the PhD project’s larger corpus of 25 Afrobeats music videos, their accompanying song lyrics, as well as a selection of YouTube viewer comments extracted from the analysed music videos. In critically exploring the gender-relational depictions prioritised in the analysed music videos, I argue for the consideration of what I am coining “misogyrom”; a gender-relational cultural sensibility which, in tandem with a post-feminist sensibility partly undergirding the multimodal discourses of these music videos, effectively veil this popular musical genre’s evidently sexist and misogynistic undertones that subvert potentialities of empowered, agentic and self-determining black African women.