For a long time, I wondered how men perceive and represent themselves in a world where everything is ever-changing. However, as someone who sees himself as an invisible human, the questions about how my fellow countrymen navigate the intersection of deep-rooted cultural traditions and pervasive tides of global influence? How do they deal with complex ancient ideals of strength and identity and meet the modern notions of aesthetic with significant societal, economic, and interpersonal pressures shaping our contemporary understanding of masculinity?
In the South Sudanese community and around the globe, physical appearance and grooming hold a significant position in the set of standards. Traits such as height, a muscular body, and a darker skin tone are favourable. From a traditional perception, men’s physique has been linked to their ability to perform their cultural roles, such as cattle herding, symbolising bravery and providing for their families. In contrast, the influx of western media such as Hollywood and Netflix is undeniably shifting and influencing the standards to smooth skin, fashionable clothing, and gym-fit bodies creating a dynamic tension with traditional aesthetics.
Then, what happened to traditional scars – scars that were made during the initiation process as a sign for bravery and strength in many tribes in South Sudan? They have become less attractive and are overseen by a desire for bulk muscle and six-pack. Yet, a blend is also emerging with young men finding ways to fuse cultural pride in their heritage with contemporary style. On the other hand, societal expectations have been placing considerable pressure on men to embody strength and masculinity, while, in men’s subconsciousness and in my opinion, they believe that they have to look/behave in a certain way to look attractive. For some, this pressure to confirm is “A great deal” aiming to gain social status or respect.
Within Africa, masculinity is often equated with responsibility, capability, and contribution to the community. However, through our lens as South Sudanese, the physical abilities are linked to protections and fulfil their duties as husbands, fathers, or community leaders. Therefore, a neat appearance becomes a visual indicator of discipline, self-respect, and readiness to carry on these vital social roles, ultimately granting the individuals higher social status and greater admiration within their community.
Economic factors further complicate this picture. However, accessing grooming products, stylish clothing, or gym facilities is often dictated by financial resources, creating a clear divide where appearance can reflect economic status. When I was in Sudan in 2019, I used to hear people saying “there are no ugly people, but there are broken people.” That is to insinuate money and wealth have an impact how beautiful or ugly we appear, even our skin.
In fact, the economic situation has created a discrepancy between ambition and available resources. For many African men, especially those in South Sudan, pursuing certain standards of beauty, whether traditional (requiring resources to live and maintain a fit physique) or modern (requiring money to buy clothes or join gyms), is a luxury. There saying, “There is no ugly person, there is a bankrupt person,”explains the impact of the economy on individuals’ attempts to keep up with society’s aesthetic standards. In South Sudan’s unstable and deteriorating economy, men prioritise family needs over personal care. While society expects men to appear sharp, excessive focus on appearance may appear social as a form of irresponsibility and neglect of family and social needs. and is sometimes linked to homosexuality, as many people see the lack of importance of personal care for men and that it is a feminine matter. In addition, a well groomed man may be seen as feminine or even homosexual, as personal care is socially seen as a practice only for women.
Men’s views on attractiveness are largely shaped by women, friends, and family – friends influence through admiration and comparison, while women encourage men to care about how they look. To help young men meet societal expectations and prepare for marriage, families, especially older members, encourage traditional behaviours and masculine ideals.
In South Sudan, African and international influences impact men’s beauty standards. While global media promotes Western ideals like light skin, a fit body, and specific hairstyles, traditions emphasise community and natural traits. Yet, there is a growing movement that opposes the unification of aesthetic standards and celebrates the authenticity of African beauty. As a result of this movement, the “handsome man” in South Sudan has become somewhat flexible, especially between the Gen Z and Alpha generations, with the comprehensiveness of culture and the constant development of the concepts of beauty and attractiveness.
These standards were generally formed and maintained by women, peers, and the family. Men often look to women’s preferences for guidance in their appearance. Friends use comparison and admiration to spur certain behaviours. Families, especially the elderly, adhere to traditional practices and male values to promote cultural and social values related to adulthood and married life.
Beauty standards and attraction are subjective. What one person likes may not be liked by others. We have been influenced by the weaponisation of culture to serve care products and fashion brands until our standards have become subject to how people dress, what product they use, and other matters related to physical and material things. While beauty is much simpler and is evident in everything and every person because “God loves beauty.”
Butros Nicola Bazia, born in Khartoum, Sudan in 2001, is a South Sudanese freelance writer, storyteller, and cultural commentator based in Juba, South Sudan. Nicola serves as columnist at 500 Words Magazine and contributed to multilingual regional and international platforms including The New Humanitarian, Mundo Negro, El Pais, Contemporary&, The Van-Magazine, and among others. His work explores the intersections of arts and socio-cultural dynamics, with a focus on South Sudanese narratives in the global conversations.
