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Entertainment Journalist Albert Mensah Blankson (BETOS) Writes: LONG FOR THE RICH, SHORT FOR THE POOR

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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

 

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Entertainment

[VIDEO] Wendy Shay Exposes Sabotage Plot Behind Her First “Shay Concert”

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Ghanaian music sensation Wendy Shay has opened up about a troubling incident she faced early in her career, alleging that the former management of the late dancehall icon Ebony Reigns deliberately sabotaged her first-ever Shay Concert.

Speaking in a recent interview on Adom TV’s SHOWTYME, the artiste who recently parted ways with RuffTown Records disclosed that individuals linked to Ebony’s team were displeased with the rapid rise of her brand and took covert steps to derail the event at a critical stage of her development. Wendy Shay revealed that key logistical arrangements unexpectedly fell apart, and funds meant for production were mishandled, creating chaos and casting uncertainty over the entire concert.

She said the experience not only shook her confidence at the time but also exposed her to the harsh realities and politics within the Ghanaian music industry.

According to her, one of the major setbacks came from Ogee the MC, widely known for his association with the late Ebony. She revealed that Ogee, who had been entrusted with part of the event’s production and logistics funds, allegedly absconded with the money, leaving the team stranded just days before the concert.

We had made payments for several important things, and he was the one handling most of the logistics. Before we knew it, he had disappeared… phone off, nowhere to be found. It was a big shock and a major blow to the whole production,” she recounted.

The singer noted that this incident forced her team to reorganise at the last minute, stretching their budget, causing delays in essential preparations. Despite the sabotage, Wendy Shay said she was determined not to disappoint her fans and went ahead with the concert, which still recorded a massive turnout.

Wendy Shay further emphasised that the event taught her valuable lessons about trust, industry politics, and the need for a more professional work environment within Ghana’s creative space.

She maintained that sharing this experience is not to stir controversy but to highlight the challenges female artists face behind the scenes.

Wendy Shay remains one of Ghana’s most consistent hitmakers, and her revelations have sparked fresh conversations about transparency, loyalty, and accountability within the music industry.

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Entertainment

Lil Win Wins Best African Actor Ghana/Nigeria at Sotigui Awards with Captain Ibrahim Traore (The last African Hero)

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Renowned Ghanaian actor Kwadwo Nkansah, popularly known as Lil Win, has made history by becoming the Best African Actor Ghana/Nigeria at the prestigious 10th edition of the Sotigui Awards, held in Ouagadougou, Burkina Faso.

 

Lil Win’s outstanding performance in the movie “Captain Ibrahim Traore” directed by Jackson K. Bentum has earned him this prestigious award. The movie, which tells the story of a legendary Burkinabe military leader, has been making waves in the film industry and has been widely praised for its historical accuracy and cinematic excellence.

 

The Sotigui Awards, which are an annual event that recognises and celebrates outstanding achievements in the African film industry, brought together top actors, directors, and producers from across the continent to honour the best in the industry. The ceremony, which was held at the prestigious Hotel du Roi in Ouagadougou, was attended by top dignitaries and celebrities from across Africa.

 

Lil Win, who has become a household name in Ghana and Nigeria, was overwhelmed with joy and gratitude as he received the award. In his acceptance speech, he thanked the organisers of the Sotigui Awards, his director Jackson K. Bentum, and the entire cast and crew of “Captain Ibrahim Traore” for their hard work and dedication.

“I am humbled and honoured to receive this award,” Lil Win said. “I want to thank the organisers of the Sotigui Awards for recognising my work. I also want to thank my director, Jackson K. Bentum, and the entire cast and crew of ‘Captain Ibrahim Traore’ for their hard work and dedication. Without them, I wouldn’t be standing here today.”

 

The Sotigui Awards are an annual event that recognises and celebrates outstanding achievements in the African film industry. The awards ceremony is attended by top dignitaries and celebrities from across the continent and is considered one of the most prestigious events in the African film industry.

In related news, the movie “Captain Ibrahim Traore” has been selected to compete in several international film festivals, including the upcoming Pan African Film and Television Festival of Ouagadougou (FESPACO) in Burkina Faso. The movie is expected to make a big impact at the festival, and it is expected to be a major contender for several awards.

 

Story By : Zolla Nie (CEO, Livenewsgh)

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Government commits GH¢20 million to new Creative Arts Fund to boost Ghana’s cultural economy

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The government has taken a concrete step toward strengthening Ghana’s cultural and creative industries by introducing a Creative Arts Fund in the 2026 budget.

 

Finance Minister Dr Cassiel Ato Forson told Parliament that the fund will receive GH¢20 million as initial capital. It is meant to support music, fashion, visual art, culinary arts and the many value chains that keep these sectors running.

“We will also establish the Creative Arts Fund for the arts, music, fashion, food and other creative sectors,” he said.

 

The fund is expected to address long standing challenges. Many creatives, including musicians, designers, chefs and visual artists, struggle with inconsistent funding and limited market structures. With public capital available, the fund can back small production grants, training programmes, technical support, market access projects and efforts to help creative businesses operate more professionally.

 

Dr Ato Forson presented the initiative as part of a broader strategy to turn culture into real economic growth and sustainable jobs, rather than a side activity.

 

Seed money from the fund could support early stage ideas that private investors often avoid. If it is channelled into production, distribution, export promotion and incubation hubs, it could help creatives build stronger business partnerships and open new tourism opportunities.

 

The success of the fund, however, will rely heavily on clear guidelines and solid governance. Previous promises to support the creative sector have sometimes slowed down due to weak oversight, short lived programmes or unclear evaluation systems.

 

Industry stakeholders are already expected to push for transparent criteria for disbursement, an independent board with creative sector expertise and monitoring tools that can track job creation and revenue generated by supported projects.

 

Other parts of the budget hint at a broader vision. The Ministry of Tourism, Culture and Creative Arts has been asked to upgrade cultural infrastructure and strengthen incentives for creatives. Connecting the fund to skills training, copyright protection and marketing support could increase its effectiveness.

 

A well balanced approach that includes grants, low interest loans and matched funding could also attract private investment and help creative businesses grow stronger.

 

For now, many creatives will watch closely. They will be looking for timely release of the seed money, a clear timeline for selecting projects and measures that ensure support reaches creators across all regions, not just a few major cities.

 

If the fund is managed well, it could open up new income streams, create professional jobs and help Ghana export more of its cultural products. If not, it risks becoming another budget promise that fails to reach the people it was meant to help.

 

The details will matter. The release of guidelines, appointment of the board and selection of the first group of beneficiaries will show whether this initiative becomes a real driver of Ghana’s creative economy or just another plan on paper.

 

For many creatives who have long waited for structured and predictable support, the 2026 Budget marks an important first step. The true impact will show when this commitment translates into actual studios, fashion lines, records, exhibitions and food ventures that reward the people behind them.

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