A new France was consecrated Friday evening during the opening ceremony of the Olympic Games. When Aya Nakamura, a French Malian singer, came sashaying in a short fringed golden dress out of the august Académie Française, she redefined Frenchness.

Adieu the stern edicts of the Académie, whose role has been to protect the French language from what one of its members once called “brainless Globish.” Bonjour to a France whose language is increasingly infused with expressions from its former African colonies that form the lyrical texture of Ms. Nakamura’s many blockbuster hits.

France’s most popular singer at home and abroad gyrated as she strode forth over the Pont des Arts in her laced golden gladiator sandals. A Republican Guard band accompanied her slang-spiced lyrics. Her confidence bordered on insolence, as if to say, “This, too, is France.”

Marine Le Pen, the far-right leader, had said that Ms. Nakamura sings in “who knows what” language. But her denunciation of the performance on the grounds that it would “humiliate” the French people failed to stop it.

The backdrop to the ceremony was a political and cultural crisis in France broadly pitting tradition against modernity and an open view of society against a closed one. The country is politically deadlocked and culturally fractured, unable to form a new government or agree on what precisely Frenchness should be.

In this context, the thrust of the ceremony, as conceived by its artistic director, Thomas Jolly, was to push the boundaries of what it means to be French in an attempt to bolster a more inclusive France and a less divided world. It was a political act wrapped in a pulsating show.