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.