This paper is based on research on weddings in South and Southern Africa, and offers an account of how to think about women’s experience through and with the wedding ritual. The wedding ritual, I offers as a process around which forms of difference are constituted, and more generally around what it means to think about sexual difference. To speak of sexual difference locates this work against an approach that might opt for a word like gender, to describe certain enactments, performances and constitutions. I do this to claim genealogical connections with various strands of feminist thinking that begin with the body. I also do this to think about how the making, or naming of the bride or their positions (whatever their gender is) places them in a set of relations that through the performance of the marriage ritual enact singular and oppositional, nationalized and territorialized claims about who we are. I develop the assemblage “woman and cattle.” Black women and the marriage ritual, or black women as the marriage ritual, I offer through this temporal and spatial assemblage of relations, objects, actors, orientations, attachments, wishes, failures and disappointments. I think about the ways categories of woman and difference are made through the marriage ritual. I think about the loopholes of time and space that people use to narrativise the various placements that they enter and proceed through in the process of getting married. Bakare-Yusuf offers the helpful notion that as embodied subjects we are “sexuated,” that is, that we exist in relation to place, even when that relation is one of being on the outside, the fringes or exclusions of a place. In this rendering, to be sexuated signals the ways we experience our embodiments in entangled processes where our bodies also give the space they occupy its meaning. Through Adrienne Riche’s notion of a “politics of location”, and Donna Haraway’s “situated knowledges,” Bakare-Yusuf contends that every speaking subject is a situated subject which holds socio-symbolic and material consequences. To “speak back”, here points to one of the key tensions that this book rests upon. I read the figure of the bride, through a sexuated assemblage like “women and cattle” as one that is political in enacting acts of speech that carry political implications precisely due to the ways that to be located as bride, is a position where one “articulates a prepolitical opposition to politics, representing kinship as the sphere that conditions the possibility of politics without entering into it.”