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This book is about Senegalese Pop star Youssou Ndour, also known as
the king of mbalax music. The word mbalax was the name given to a
specific drumming beat. Today, it is used to name a musical genre
played by Wolof and Serer percussionists to entertain people at
almost every family event such as naming and wedding ceremonies,
storytelling, dances, and others, generally held by Senegalese
women. Almost all social and family events are, or can be,
musicalized in Senegal: there is music for every social gathering
and mbalax is the music genre that most often accompanies such
events. Mbalax music groups mix sabar instruments, which include
the cool, lamb, ndend, mben-mben, ndeer, tunune, and tama, also
known as "talking drum," with modern elements such as electric and
bass guitars, trumpets and keyboards. Ndour has substantially
contributed to the popularity of mbalax music throughout the world.
The book retraces the artist's early career and life-changing
events and encounters, song repertoire themes and hits, conquest of
the international scene and years of glory and international
recognition, interests in media and television businesses, activism
and political engagement of one among the one hundred most
influential personalities of the world, according to Time magazine
in 2007. The author analyzes Ndour's philosophical stance,
religious beliefs, and wisdom through analysis of his rich song
repertoire.
Sufi oral discourse in Senegal is overwhelmingly dominated by
stories about past and current shaykhs. An important corpus of oral
narratives about Sufi clerics is not only (re)told by Sufi speakers
throughout Senegal but also in the Senegalese diasporas in the
Americas, Asia, and Europe. These accounts are interwoven by
multiple speakers among followers of Senegalese Sufi brotherhoods
and passed down from generation to generation in Senegal and its
diasporas. The weaving together and spreading of such texts
themselves are part of the Sufi praxis. These oral texts, deeply
rooted in their context of production, which dictates their form
and functions, are still generally unknown to scholars of Islam in
Senegal and West Africa. By filling this gap, this book contributes
to the discourse of religions in general and Sufi Islam in
particular.
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