Entertainment
Entertainment Journalist Albert Mensah Blankson (BETOS) Writes: LONG FOR THE RICH, SHORT FOR THE POOR
Read with an open mind.
In Ghana, the rich can keep it long, while the poor must keep it short. This, in summary, is what I deduced from the recent public debate about haircuts in Senior High Schools. Not many have taken the time to learn about the origins of the age-old directive on haircuts in second-cycle institutions in Ghana.
Before the trans-Atlantic slave trade, hair grooming and styling were deeply rooted in African life and were a great source of pride, especially for women. As the Holy Book of Christians states, “a woman’s hair is her crown and glory”, forming part of her self-esteem and beauty.
1 Corinthians 11:15 (KJV) says:
“But if a woman has long hair, it is a glory to her: for her hair is given her for a covering.”
This verse is part of Apostle Paul’s teaching on head coverings and the symbolic significance of hair in worship and cultural expression. It emphasises that a woman’s hair is a natural adornment, a mark of beauty and honour.
The Europeans observed how Africans expressed identity through hairstyling and introduced haircuts as a means to diminish that identity, subjecting them to cruelty by shaving their hair. That’s how it all began.
As a colonial control mechanism, it was designed to make Black people feel less confident in their identity and sense of pride. I will explain this further.
In the early days of education in Ghana, students completed school with their natural hair, neatly kept in cornrows and beautiful braids. It neither hindered behaviour nor affected academic performance.
The rule of compulsory haircuts was historically used as a tool to subdue and punish rebellious slaves. Beneath that, however, lay a scheme to suppress what Europeans described as the “wild” appearance of people of African descent, those who wore braids, twists, or locs.
To “tame” this so-called wildness, Black people were forced to adopt colonial hairstyles that left their scalps bare for easier identification.
Fast forward to 2025, and we are still confronted with the remnants of that colonial system. The tools of segregation against African cultural identity and freedom remain deeply embedded within our regulations, behavioural codes, and educational standards.
Did you know that this politics of hair is not limited to education in Ghana? It is also a global issue, one that Black people continue to battle in the diaspora. Many have faced discrimination in various professional fields because of the colour or texture of their hair. They were not denied opportunities for appearing unkempt, but simply because they appeared “wild”, a European label for the confidence and authenticity of Blackness.
Some employers have even established arbitrary regulations prohibiting braids, twists, locs, and dyed hair. These bans clearly restrict freedom and autonomy in ways that uniquely affect Black women, rendering them invisible. Yet, Black women have not been silenced. Their battles in the workplace have sometimes led to legal action. Although not always successful, these cases demonstrate how Black women’s hair, its style or colour, has been both a symbol of their marginalisation and their liberation.
My research uncovered several such cases documented in The Journal of Pan African Studies, Vol. 12. One of the earliest, in 1981, involved Renee Rogers, who sued American Airlines over a policy banning all-braided hairstyles. This was followed by several others, including Mitchell vs. Marriott Hotel and Santee v. Windsor Court Hotel.
Mitchell was threatened with termination unless she changed her cornrows and was forced to take a one-month leave to “fix” her hair or purchase a wig. Santee, who applied for a housekeeping job at Windsor Court Hotel, was denied employment after refusing to change her blonde hair colour.
In 2008, Patricia Pitts sued her employer, Wild Adventures, after being chastised for her hairstyle. When she switched from braids to two-strand twists to please her supervisor, she was again told that her twists looked too much like locs.
In Burchette vs. Abercrombie & Fitch, an employee in the Fifth Avenue store was told to remove her blonde highlights or face termination. Even UPS and FedEx faced lawsuits over their bans on braided or loced hairstyles.
More recently, in 2016, Chastity Jones filed a claim with the U.S. Equal Employment Opportunity Commission (EEOC) against Catastrophe Management Solutions after her job offer was rescinded because of her locs. The Circuit Court of Appeals ruled that banning locs during hiring was legal. When Jones and the NAACP appealed to the U.S. Supreme Court, the Court refused to review the case (May 2018).
These rulings opened the door for more school and workplace policies prohibiting hairstyles and colours associated with specific racial and ethnic identities, in essence, legalising misogynoir.
Back in Ghana, the case of Tyrone Marhguy vs. Achimota School exemplifies the depth of this battle over hair politics. Sadly, such discriminatory practices persist within institutions that preach rules, ethics, and discipline. Ironically, these same rules, flimsy in justification, often spare foreign students, mostly white or Caucasian.
Private and so-called “international” schools impose no such laws forcing girls to cut their hair. Parents with deep pockets do not demand that their daughters shave their heads to become better-behaved. There is no evidence that long hair hinders learning or discipline.
Remain rich, and you have a choice: your daughters will never suffer haircut trauma. In some cases, boys with locs or twists go unquestioned. There is no empirical evidence showing that students with long hair are less disciplined.
On the contrary, most new entrants, children from low-income families, have no choice but to obey the haircut rule.
Where, then, is the equality? Doesn’t forced conformity through deprivation of one’s natural identity defeat the very idea of equality? How does natural hair determine the quality of tuition or learning?
Until we come to a deeper understanding of our identity as a people, it will remain “long hair for the rich, short hair for the poor.”
It shocks me how some Ghanaian women, who have yet to rediscover their African identity, resist embracing their natural crown. It is uncomfortable to note that many of these women, who have found consolation in wigs, lack curiosity about the deeper meaning of Blackness.
The young girls who are forced to lose their crowns of beauty will later chase Brazilian and Chinese hair after high school. Where, then, lies the sense of pride, self-worth, and identity? Are we empowering children to understand themselves through education, or are we producing batches of conformists whose self-esteem depends on societal dictates?
How did schools in old Ghana handle discipline without haircuts? How do neighbouring countries, where long hair is allowed, fare in behavioural rankings, and does Ghana outperform them?
As I walk through the cities and towns, I worry about the moral character of Ghanaians, the product of this long-held haircut policy.
After decades of compulsory short hair, we remain a nation that lacks seriousness about basic civic duties. A person who neglects discipline in all aspects of life is reckless in nearly everything. A country that cannot fix roads, provide clean water, or maintain infrastructure seeks to solve discipline through forceful haircuts.
A country drowning in filth believes it can purify minds with scissors.
Conformity is not a cure for behaviour. It only breeds pretenders, people who look disciplined but are hollow inside. It subtly trains citizens to value appearances over integrity, a culture of hypocrisy.
Is it any wonder, then, that we are among the most corrupt? The answer is simple: we have focused too much on appearances and succeeded in destroying honesty from within.
The so-called “right” people, those with clean haircuts, pious looks, and quiet demeanours, are often the same who loot the state and pollute the environment while pretending to fix it.
We have mastered the art of pretence, not the truth of self.
Unless we wake up from this self-destruction, even in the next hundred years, it will still be: Long hair for the rich, short hair for the poor.
By Albert Mensah Blankson
#BetosIsHere
Entertainment
Alcohol Brand Ban Threatens Livelihoods of Ghanaian Musicians, Says FOCAP President
The President of the Foundation of Concerned Arts Professionals (FOCAP), Kojo Preko Dankwa, has criticised the ban on partnerships between musicians and alcoholic beverage brands, describing it as a major threat to the survival of artistes in the country.
Speaking on Onua Showbiz with Nana Kwame Gyan last Saturday, Mr Dankwa argued that many musicians rely heavily on ambassadorial deals, live performances, and music streams as their primary sources of income. According to him, the restriction on alcohol-related endorsements, which often come with significant financial rewards, has removed a critical source of livelihood for creatives who do not earn fixed monthly salaries.
He noted that unlike workers in formal employment, musicians depend solely on their creative output to make a living, stressing that the ban fails to take into account the economic realities of those within the creative industry.
Mr Dankwa also questioned the justification for the ban, which is aimed at protecting minors from exposure to alcoholic products. He described the argument as weak, stating that children continue to encounter alcohol and tobacco products through various channels despite the restrictions on celebrity endorsements.
He cited everyday practices where minors are sent to purchase cigarettes or are involved in the sale of alcohol, questioning the effectiveness of enforcement by regulatory bodies such as the Food and Drugs Authority (FDA). He argued that placing the blame on musicians for children’s exposure to alcohol through advertisements is misplaced.
As an alternative approach, Mr Dankwa proposed stricter enforcement measures targeted at event organisers and vendors. He suggested that organisers of events where alcohol is sold should be mandated to restrict access to adults only, with the FDA empowered to sanction those who fail to comply.
According to him, such practical measures would better address the issue of minors’ exposure to alcohol without undermining the livelihoods of musicians.
Culture
“We Entertain Stupidity in This Country” — GHOne’s Lilly Mohammed Slams Foreign Affairs Minister Ablakwa Over IShowSpeed Passport Saga

Broadcast journalist Lilly Mohammed has descended on Ghana’s Minister for Foreign Affairs, Samuel Okudzeto Ablakwa, over the decision to issue a Ghanaian passport to American streamer IShowSpeed.
Speaking on GH Today, GHOne TV’s morning show, the host expressed strong dissatisfaction with the minister’s action, questioning the justification for granting Ghanaian citizenship to the internet personality after a brief visit to the country.
“Let’s get serious as a country. It’s like we’re not serious at all. Somebody comes to Ghana, he’s a streamer, he’s putting Ghana on the global map, he’s doing whatever. He comes for a day or two, and then you shove a Ghanaian passport into his hands. You’re not serious,” she said.
Lilly Mohammed stated that she could not see the importance of IShowSpeed’s visit that warranted the issuance of a Ghanaian passport.
“You’re not serious. Samuel Okudzeto Ablakwa, you were somebody we had high expectations of. You shoved a Ghanaian passport into the hands of somebody who came here streaming and embarking on his own personal thing. Coming to step on our jollof, jumping on the Black Stars Square, what has that done to our GDP? What has it added to our economy?” she questioned.
The media personality further compared the situation to Ghanaian YouTuber Wode Maya, who has consistently promoted Africa on the global stage, asking whether any country had rewarded him with citizenship for his efforts.
“Wode Maya has been putting Ghana on the map globally. Have you seen America give him an American passport? Even Nigeria, has Nigeria given him a Nigerian passport? You entertain stupidity so much. You’ve given him a Ghanaian passport for what achievement? What has he done for Ghana?” she asked.
She also criticised the public reaction surrounding the visit, particularly an incident where some Ghanaians reportedly ate jollof rice that IShowSpeed had stepped on during his visit.
“You give him a Ghanaian passport because he sat on our jollof, and the moment he steps away, Ghanaians rush to eat it. You are not serious. With the greatest respect, let’s put some value on our passport. Let’s put value on this country,” she stressed.
Lilly Mohammed further lamented the difficulties faced by Ghanaian citizens in acquiring passports, contrasting it with the ease with which the streamer was allegedly granted one.
“Meanwhile, Ghanaians are queuing for passports. Ghanaian citizens born in this country, who by the Constitution are entitled to citizenship, are struggling. You say you have opened the passport system to eliminate goro boys, yet people are still finding it difficult to get a basic passport,” she said.
While clarifying that she had no personal issue with the streamer, she maintained that the decision to issue him a Ghanaian passport was unjustified.
“I have no problem with him. I didn’t even know him until he came to Ghana. It’s a beautiful thing what he’s doing, and it’s risky. For a young man, he’s very bold and deserves a pat on the back. However, to give him a Ghanaian passport, what has he done to deserve it? Let’s get serious in this country, for real,” she concluded.
Background
On Tuesday, January 27, Ghana’s Minister for Foreign Affairs, Samuel Okudzeto Ablakwa, announced that the Ministry had approved the issuance of a Ghanaian passport to popular American streamer and internet personality IShowSpeed. According to the minister, the decision followed confirmation of what he described as the influencer’s “irrefutable ties” to Ghana.

IShowSpeed, an American streamer currently on an African tour highlighting the continent’s culture and lifestyle, arrived in Ghana on Sunday. He was officially welcomed on Monday, January 26, with a traditional Akan naming ceremony held in the Eastern Region.
Entertainment
Ghana Music Awards Europe Appoints Mona Gucci as Chief Operations Officer
Ghana Music Awards Europe has officially announced the appointment of Abigail Monalisa Semaha, widely known as Mona Gucci, as its new Chief Operations Officer.
The announcement, made in Accra and Europe, marks a significant milestone in the organization’s efforts to strengthen its operational leadership as it expands its footprint across Europe and the global Ghanaian music community.
According to the organizers, the appointment reflects Ghana Music Awards Europe’s commitment to excellence, innovation, and forward-thinking leadership. Mona Gucci brings with her extensive experience in media, branding, communications, and creative industry management. She is widely respected for her deep understanding of entertainment culture, audience engagement, and strategic leadership.
In her new role, Mona Gucci will oversee the day-to-day operations of Ghana Music Awards Europe, lead strategic planning, manage partnerships, and supervise the execution of key initiatives aimed at elevating the awards scheme’s brand. Her leadership is expected to improve organizational efficiency, strengthen industry relationships, and enhance the overall experience for artists, stakeholders, and audiences.
Speaking on the appointment, organizers of Ghana Music Awards Europe expressed strong confidence in her ability to drive growth and innovation within the organization. They noted that her professionalism, experience, and insight into the entertainment landscape make her a valuable addition to the executive team.
Mona Gucci also expressed her excitement about the new role, stating that she looks forward to contributing meaningfully to the celebration and global promotion of Ghanaian music and culture.
Ghana Music Awards Europe remains dedicated to recognizing and honoring Ghanaian musical excellence while creating platforms that connect artists to international audiences. The annual awards scheme was established to celebrate and promote Ghanaian music and creatives in Europe and beyond, fostering cultural exchange and global recognition for Ghana’s vibrant music industry.

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