Cultural Pride or Body Policing?

A sudden and swift ban on wigs, hair extensions, and skin-lightening products at Senegal’s iconic Grand Théâtre de Dakar has sparked a nationwide debate on identity, gender politics, and cultural nationalism. The internal memo, issued by the national culture ministry and signed by director Serigne Fall Guèye, aimed to “promote Pan-African values” and protect the institution’s cultural image. However, critics accused Guèye of policing women’s bodies under the guise of cultural pride, and the ban was reversed the following day.

The controversy began on Monday, when Guèye issued the memo, citing a desire to restore African dignity and identity in the arts sector. According to Guèye, the move was necessary to counter the influence of Eurocentric beauty standards in the industry. However, feminist groups and civil society leaders saw the move as a broader concern about gender inequality in Senegal, particularly given the low number of women in President Bassirou Diomaye Faye’s administration. Only four out of 25 ministers are women, and the removal of the Ministry of Women has further exacerbated the issue. Many social media users criticized the ban as sexist, invasive, and paternalistic.

The debate was further complicated by Guèye’s own political background. As a prominent figure in Pastef, the ruling party known for its anti-colonial, pan-Africanist rhetoric, Guèye’s personal ideology is now being questioned. Critics fear that he is using his position to impose a particular version of identity, while silencing or sidelining those who don’t conform. Guèye’s appointment to the Grand Théâtre in early 2024 was seen as a move to consolidate power and promote his ideology.

“This isn’t about wigs or skin,” said Fatoumata Ba, a political analyst. “It’s about a broader power play – using state institutions to impose a particular version of identity, while silencing or sidelining anyone who doesn’t conform.”

The controversy has exposed growing discontent with Pastef founder and Prime Minister Ousmane Sonko among the urban youth and progressive civil society, who supported him in the 2024 elections but now feel betrayed by his government’s perceived conservatism and centralisation of power. Many young people are questioning the government’s commitment to social justice and human rights.

The debate is far from superficial, touching on post-colonial identity, gender inequality, economic necessity, and personal freedom. In a country where skin-lightening products remain popular despite known health risks, and where women’s appearance is often subject to moral scrutiny, the issue is complex and multifaceted. Many women use skin-lightening products as a means of economic empowerment, as they believe it is more lucrative to have lighter skin in the fashion and beauty industries.

For now, the ban is gone, but the broader debates it sparked remain very much alive. As sociologist Mame Diarra Thiam said, “If you truly want to affirm African identity, start with language, education, economic justice – not banning weaves and skin cream.” Thiam argues that the government should focus on addressing the root causes of inequality, rather than imposing arbitrary bans on certain practices.

The reversal of the ban has not alleviated tensions, however. Many critics see the move as a public relations exercise, aimed at placating the public rather than addressing the underlying issues. The controversy has highlighted the need for greater transparency and accountability in the government’s decision-making process, as well as a more nuanced understanding of the complexities of identity and culture in Senegal.