Abstract:
This study embraces a perspective at the intersection between Gender performative theory and social media to understand the self-portrayal of women on TikTok deeply. The application was launched outside of China in 2017 and has since become the most popular application of 2019. TikTok users, mainly youth and women, use the application essentially to create, share, and view content based on lip-syncing, dancing, comedy skits, and other physical activities. TikTok initially penetrated the African market in 2018 with a presence in Nigeria, South Africa, and Kenya. This study explores the use of TikTok as a space for self-portrayals of Kenya women during the COVID-19 period between March and July 2020. It aims to interrogate how women use the application for entertainment and self-expression; as a form of escapism from the loneliness, isolation, and boredom occasioned by the restrictive COVID-19 public safety measures such as quarantine, curfews, and lockdowns. Premised on Judith Butler’s Gender performative perspective, the study seeks to explore how Kenyan women used TikTok as a Gender performance by posting micro videos that depict their perspectives. The study employed qualitative methods as it sought to inform women content creators and digital media regulations in Kenya. The findings revealed that performative acts included the use of additional elements such as hair, cosmetics and clothes to improve individual self-presentation, however, not all instances the intention was on creating sexualized content. Women constructed different identities for their online representation that appeared more confident and controlled unlike the boundaries set by their traditional Gender roles. The functionality of TikTok played a major role in constructing new socially acceptable norms. This was driven by the need of women to have a more enjoyable motive for self-presentation on social media. Findings of this study confirm the Gender Performativity Theory and assert various studies by researchers that Gender is constructed through an individual’s own repetitive performance of Gender.
