Les mises en jeu du corps : analyse socio-anthropologique de la lutte sénégalaise

Wane, Cheikh Tidiane; Kane, A.

doi:10.3917/corp1.012.0187

Cited by 6 publications

(4 citation statements)

References 13 publications

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“…Géwël recognize the opportunities these events provide and make the most of the national platform to earn additional income. As Làmb evolved into a veritable national theater in Senegal's burgeoning urban spaces (Chevé et al, 2014; Havard, 2018; Kane & Wane, 2014b), taag became an essential part of the performative repertoire and of the social positioning of participants. Today, singers frequently insert praise poetry into their wrestling repertoire to gain favor with patrons, strengthen their public image, and earn some extra cash.…”

Section: Praise Songs—historical Continuity In the National Arenamentioning

confidence: 99%

“…This article approaches Làmb as the national sport of Senegal because of the role it has played in the country's past and its professional status at present (Deville-Danthu, 1997; Kane & Wane, 2014a). In 1959, only a few months before official independence from France, Làmb was named the "first national sport of Senegal" (Faye, 2002, 325) with the creation of the Senegalese Federation of Amateur Wrestlers (FSLADA).…”

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confidence: 99%

“…National stadiums were built first in Dakar and later in its suburbs (Loudcher, 2016). Wrestling was a natural choice, given its presence among virtually all ethnic groups in the country and Senegal's regional reputation for excelling in the sport (Kane & Wane, 2014a). The goal of the nascent government was to create a unitary sport that would include all ethnic groups in the country and in which everyone could find their place (Peano, 2007(Peano, -2008Wane, 2018).…”

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confidence: 99%

“…At the same time, Làmb has become a site for displaying the wrestlers' ethnic origins, a means of self‐identification and personal branding. In this way, it emphasizes ethnic and regional differences and brings them to the attention of national audiences (Kane & Wane, 2014a; Seck, 2015).…”

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confidence: 99%

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Sunu Coosan: Creating “our tradition” in Senegalese wrestling songs

Brody

2023

J Linguistic Anthropol

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This article explores the term “sunu coosan” as a Senegalese trope of self‐articulation and as a semiotic strategy in contemporary discourses surrounding nationhood. The term, meaning "our tradition" in Wolof, is used by professionals as well as lay people in their promotion of the national sport, Làmb wrestling. By examining this phrase within the broad repertoire of Senegalese wrestling songs, I show that the musical commentary performed in the sport of Làmb situates it within a narrative of traditional continuity, subsequently producing a modern tradition for the consumption of the Senegalese nation. I argue that this collection of songs is a performative embodiment of a modern state's struggle to form its national identity. In Senegal's national wrestling arenas, ongoing lyrical engagement with the themes of history, heritage, and morality in genre‐specific, stylized formats, makes these songs the site of both ‘traditional discourse’ and a ‘discourse about tradition’. In this article, I explore three central features of Làmb songs: the use of poetic personas; "out of time narration"; and the recitation of praise poetry. By implementing these stylistic techniques inside and outside of the arena, local musicians continually create a meta‐discourse about the meaning of tradition.

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Section: Praise Songs—historical Continuity In the National Arenamentioning

confidence: 99%

mentioning

confidence: 99%

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confidence: 99%

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confidence: 99%

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