The Senegal Theater reverses the wig ban after withdrawal

Senegine’s capital, Dakar’s wide theater, hair extensions and leather products, Dakar’s wide range of theaters, a short and skin lighting products, put the naked deep tension around the West African people in the West African people, gender policy and cultural nationalism.

The domestic memorial was sealed by the Ministry of National Culture and was released by Serigne Fall Guèye, director of Grand Théâtre de Dakar on Monday.

He said the action was “to promote pan-African values” and to protect the cultural image of the organization.

However, critics have blamed Guèye’s bodies with women’s bodies under the right to cultural pride, and Guèye was reversed the next day.

Feminist groups and civil society leaders, Senegal, especially President Bassirou Diomaye Faye’s number of women management, 25 to 4 Women and Women’s Ministry of Women and Women said they plan to expand information about the elimination of the Ministry of Women and Women.

Many social media users criticized the ban as sexist, invasive and ancestors.

The controversy was more difficult with Serigne Fall Guèye’s political origin. Before scheduled for Grand Théâtre in early 2024, Guèye was a prominent figure in Pastef – an anti-Africanistic rhetoric.

At that time, he headed the party’s artistic and cultural commission, returns to what he called “Original African values.”

Critics, Guèye’s personal ideology is now a fear of bleeding despite a neutral government body.

“It’s not about these wigs or skin,” says political scientist Fatoumata BBC. “It’s about a wider game of power

Henriette Niang Kandé, one of the most shared answers, a feminist analyst and public intellect, the viral social media post came from a feminist Niang Kandé who questioned the logic and intention behind the viral social media:

“When (hair) comes to grafts and wigs, according to the principal, the aesthetic choices of them, sometimes economic, often practical?

Supporters of the liquidated ban, although in the minority, the director’s intention is not oppressed, but a cultural pride. Guèe himself defended as part of a wider mission to “restore African dignity and personality” in the art sector, especially in the arts sector, which he believes in Eurosentric beauty standards.

However, critics reduce the physical appearance of such policies in such policies – without ignoring the deeper systemic issues.

“If you really want to confirm African identity,” Sociologist Mame Diarra Thiam BBC, “Starting with language, education, economic justice – starting with textile and skin (lighting) cream.

Tuesday, Serigne Fall Guèye, who facing installation pressure, had to cancel the ban, to repeat the people’s commitment to the disagreement and the theater mission. But the damage was already done.

Among the city youth and progressive civil society, which supported him in the 2024 elections, Pasteff founder and Prime Minister Ousmane Sonko had grown with the growing dissatisfaction, but now he betrayed the government’s conservatism and power centralization.

On the basis, the wiggular and bleaching ban on the magnificent Théâtre was not just about aesthetics – it was about determining cultural originality and what it costs.

Despite well-known health risks, the appearance of the skin in a country and women in a country where lighting products are often subject to spiritual testing, the disputes are surfaces. This depends on colonial identity, gender inequality, economic necessity and personal freedom.

So far, the ban went – but more sparking controversy remains very alive.