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Senegalese wrestling

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Senegalese wrestling (Njom in Serer, Lutte sénégalaise or simply Lutte avec frappe in French, Làmb in Wolof, Siɲɛta in Bambara) is a type of folk wrestling traditionally performed by several African tribes, from the Wolofs of West Africa to the Nuer and Dinka of South Sudan. and now a national sport in Senegal and parts of The Gambia,[1] and is part of a larger West African form of traditional wrestling (fr. Lutte Traditionnelle).[2] The Senegalese form traditionally allows blows with the hands (frappe), the only one of the West African traditions to do so. As a larger confederation and championship around Lutte Traditionnelle has developed since the 1990s, Senegalese fighters now practice both forms, called officially Lutte Traditionnelle sans frappe (for the international version) and Lutte Traditionnelle avec frappe for the striking version.[3]

Senegalese wrestling
Mame Balla vs. Pape Mor Lô, Paris-Bercy, 2013
FocusWrestling
Olympic sportNo
Senegalese wrestling match at the stade Demba Diop in Dakar

History

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It takes its root from the wrestling tradition of the Wolof – formally a preparatory exercise for war among the warrior classes depending on the technique.[4][5] In Wolof tradition, wrestling is divided into different techniques with mbapate being one of them. It was also an initiation rite among the Wolof. The Word Làmb derives from the Wolof drum called Làmb.This particular type of drum, once reserved for grand occasions, was used to enliven wrestling sessions—the famous làmb—where skilled percussion brought rhythm and energy to the matches.[6][7] The Jom principle covers a huge range of values and beliefs including economic, ecological, personal and social values. Wrestling stems from the branch of personal values of the Jom principle.[6] One of the oldest known and recorded wrestlers in present-day Senegal[8] was the Wolof Abdou Rahmane Ndiaye Fallang. There was also Boukar Djilak Faye (a Serer) who lived in the 14th century in the Kingdom of Sine. He was the ancestor of the Faye Paternal Dynasty of Sine and Saloum (both Kingdoms in present-day Senegal).[9] The njom wrestling spectacle was usually accompanied by the kim njom – the chants made by young Serer women in order to reveal their gift of "poetry" (ciid in Serer[10]). In Wolof, Bëre refers to traditional wrestling (combat), while Làmb denotes an organized event that brings together multiple wrestling matches (Bëre). In Sereer, Maafir refers to traditional wrestling (combat), and Njom represents an event where multiple Maafir matches are grouped. Làmb was observed and documented in Wolof territory, particularly in Kajoor, between 1785 and 1788 by the French explorer Villeneuve. Some terminologies associated with Senegalese traditional wrestling are from Wolof culture and language and include such concepts as Bàkk, Bàkku, Tuus, Léewtoo, Roofoo (derived from roof), Botti (from its opposite Boot), Nooju, Sukkarbi (from sukk), Seŋoor, Gal gal, Pàdd um biir, Pàdd um biti, Song, and Mbapat (derived from mbap, which in Wolof means “a way of falling”). The Sereer people have their own wrestling terminologies. there are Sereer cantatrices (female praise singers) like Mbayang Loum, and older Wolof cantatrices, such as Xaar Mbaye Madiaga. The cultural aspects of Senegalese traditional wrestling, including popular songs and Bàkk (praise chants), are deeply rooted in Wolof traditions and have origins lost to time. Notable examples include: “Ma-Làmbaay ma ca Làmbaay, Biram Ndumbe ma ca Mbul,” “Doomi Mbër jàngil bëre,” and “Li ma yàppu ciy bëy, reere ko ciy njànja,” among others. [11] The lamb was part of the music accompaniment of wrestling in pre-colonial times as well as after Senegal's independence. It was also part of the Mbàngóoji, a Wolof traditional music reserved for the Wolof monarchs, especially of Kajoor. [12][13][14]).

Transcending ethnic groups, the sport enjoys the status of national sport.[15] Traditionally, young men also used to fight as a distraction, to court wives, prove their manliness, and bring honor to their villages. Usually each wrestler (called mbër) performed a bàkk before the start of the combat.

In general, bàkk (which could also be spelled as baku, bakku, bakkous) is an oral art performance that is used to boast about oneself in order to instill a sense of fear or reverence in the audience or rivals.[16] Bàkk is not only used in the context of wrestling but can also be used in political speeches or other encounters in which someone feels the need to brag about his accomplishments to receive admiration.[16] Not only is bàkk used to brag about oneself, but it can also be used to offer respect to one's elders. The performance of bàkk can be in narratives, praise songs, or poems. Bàkk is used to complement the wrestler's physical presence by adding artistic elegance and verbal cleverness. Wolof wrestlers use the bàakk to present themselves as exceptional and impressive.[16]

The oral art of the bàkk, used by the Senegalese wrestlers, has its history in griots. Historically, Wolof griots and griottes were singers tasked with relaying the eulogies of heroes and heroines who overcame hardships.[16] Griots were used to sing praises to kings, wrestlers, and nobles in general. Griots usually came from lower castes and their task of singing praise was unique. They would accompany wrestlers, who usually came from upper castes to the arenas. In more contemporary times, Wolof wrestlers will now sing their own praises, which challenges the societal norm of praises only being sung by griots.[16]

In the 1980s Senegalese wrestler Mame Gorgui (called "The Darling Child of Dakar") performed a notable bàkk, which made him popular among the Senegalese people.[16] This famous bàkk was repeated often by children in Senegal and sang on the national radio on weekends during which combats took place.[16]

Today bàkk is very popular in the country as an indication of male athletic strength and ability.[17] Presently, wrestling is arranged by business-promoters who offer prizes for the winners. The 20,000-capacity Arene Nationale de Lutte in Dakar is the largest wrestling stadium by capacity in Senegal.[18]

The popularity of Senegalese wrestling has grown that the top, most popular, wrestlers have been able to have television acting opportunities.[19] But, despite the growing popularity the money from mixed martial arts (MMA), Senegalese wrestling has come under threat of having their top stars purged by the lure of bigger money.[20]

Goal

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Champion wrestler Yékini (Yakhya Diop)

One of the main objectives is to throw the opponent to the ground by lifting him up and over, usually outside a given area.

Training

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A "false lion" (simb) dancer who participates in the ceremony prior to matches

Senegalese wrestlers train extremely hard and may perform press ups and various difficult physical exercises throughout the day to build up their strength. However, while they believe strength is important, they also believe that there is an element of luck in the winner and may perform rituals before a match to increase their chances. Common to Senegalese wrestlers is rubbing a foot on a stone or rubbing themselves with lotions or oils to increase "good luck".

Senegalese wrestlers, youth in specific, struggle with dropping out of school to pursue wrestling as well, prompting notable names in the sport to speak out against the issue saying their education is more important.[19]

Media

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In April 2008 a BBC documentary entitled Last Man Standing covered the lives of a group of British and American hopefuls at a boot camp in Senegal who took on Senegalese opponents.[21] Laamb was featured in the 2005 film L'Appel des arènes (English title Wrestling Grounds). The documentary Laamb directed by Kristoffer Hegnsvad follows young wrestlers in Dakar during a major tournament, the film was narrated by Jørgen Leth and premiered at Copenhagen International Documentary Film Festival - CPH:DOX in 2013.[22]

Etymology

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The name Làmb originates from a musical instrument, specifically a type of Wolof drum, similar to the Xiin, Nder, Tunguné, and Thiol Wolof drums. Originally, the Làmb was a royal drum played by griots with the surname Thiam, whose chief (head drummer) held the title Fara Làmb in the organizational structure of the Wolof kingdom of Kajoor. The Làmb drum was often used to call people together for wrestling and to enliven and entertain the wrestlers with music and dance. Over time, this drum gave its name to Senegalese wrestling itself. [23][24]

Champions

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Since the 1950s, Senegalese Wrestling, like its counterparts in other areas of West Africa, has become a major spectator sport and cultural event[citation needed]. The champions of traditional wrestling events are celebrities in Senegal, with fighters such as Balla Gaye 2, Yékini (Yakhya Diop), Tyson (Mohamed Ndao), and Bombardier (Serigne Ousmane Dia) the best known.[25] Pathe Mbeurou Askanewi Boye, also known as Big Pato, is the first ever Senegalese wrestler who is also a police officer.[19]

Wrestling stadiums

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The National Wrestling Arena in Pikine is the largest wrestling stadium of Senegal. It has a capacity of 20,000. It took 28 months to build the stadium.[26]

Stadium Capacity City
National Wrestling Arena 20,000 Pikine

References

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  1. ^ "Senegal: Wrestling with Reality". Retrieved 2019-07-10 – via Aljazeera World.
  2. ^ For example, see the Nigerian variant: Jolijn Geels. Niger. Bradt London and Globe Pequot New York (2006). ISBN 1-84162-152-8 pp.77-8.
  3. ^ Government of Senegal: COMITE NATIONAL DE GESTION DE LA LUTTE Archived 2006-05-07 at the Wayback Machine.
  4. ^ Senghor, Léopold Sédar, Brunel, Pierre, Poésie complète, CNRS éditions, 2007, p 425, ISBN 2-271-06604-2
  5. ^ Tang, Patricia, Masters of the sabar: Wolof griot percussionists of Senegal, p144. Temple University Press, 2007. ISBN 1-59213-420-3
  6. ^ a b (in French) Gravrand, Henry : "L’HERITAGE SPIRITUEL SEREER : VALEUR TRADITIONNELLE D’HIER, D’AUJOURD’HUI ET DE DEMAIN" Archived 2011-09-01 at the Wayback Machine [in] Ethiopiques, numéro 31, révue socialiste de culture négro-africaine, 3e trimestre 1982
  7. ^ Gravrand, Henry, La Civilisation Sereer, Pangool. Les Nouvelles Edition Africaines. 1990, p 40
  8. ^ Prawer, Joshua, "III. Bibliographie par chapitres du Tome II", Histoire du royaume latin de Jérusalem. Tome premier, CNRS Éditions, pp. 65–85, doi:10.4000/books.editionscnrs.619, retrieved 2022-01-02
  9. ^ Diouf, Niokhobaye. "Chronique du royaume du Sine." Suivie de notes sur les traditions orales et les sources écrites concernant le royaume du Sine par Charles Becker et Victor Martin. (1972). Bulletin de l'Ifan, Tome 34, Série B, n° 4, p 4(p 706), (1972)
  10. ^ Ciid means poetry in Serer, it can also mean the reincarnated or the dead who seek to reincarnate in Serer religion. Two chapters are devoted to this by Faye see:
  11. ^ Faye, Louis Diène, Mort et Naissance Le Monde Sereer, Les Nouvelles Edition Africaines (1983), p 34, ISBN 2-7236-0868-9.
    • Not to be confused with the Paar - the chief Serer griot who used to beat the tam-tam (there are different kinds of tam-tams in Serer; each one has their purpose and the special occasions they should be used) when an important person dies (see page 22).
  12. ^ "Nelson Mandela: Latter day saint - Prospect Magazine". Archived from the original on 31 January 2012. Retrieved 1 March 2015.
  13. ^ "Youssou N'Dour: An Unlikely Politician". Archived from the original on 10 July 2012. Retrieved 1 March 2015.
  14. ^ (in French) Agence de Presse Sénégalaise (APS) "Rémi Diégane Dioh présente samedi son CD dédié à Senghor" Archived 2012-04-19 at the Wayback Machine
  15. ^ "The Official Home Page of the Republic of Sénégal". Archived from the original on 23 July 2008. Retrieved 1 March 2015.
  16. ^ a b c d e f g Babacar m'Baye (2013). "Verbal and Acrobatic Strategies in Senegalese Wolof Wrestling". Storytelling, Self, Society. 9 (2): 188–216. doi:10.13110/storselfsoci.9.2.0188. JSTOR 10.13110/storselfsoci.9.2.0188.
  17. ^ "Rambax catches the rhythm of wrestling". MIT News. 13 April 2005. Archived from the original on 21 October 2012. Retrieved 1 March 2015.
  18. ^ "Modern wrestling arena to revive Senegal's time-honoured sport | Africanism". March 2020. Archived from the original on 2020-03-01. Retrieved 2020-03-01.
  19. ^ a b c Blaine Henry (May 12, 2021). "Big Pato: Senegalese Wrestling and Senegalese Youth". Fight-Library.com.
  20. ^ Meshack Keicha (April 15, 2023). "Senegalese Wrestling Under Threat From MMA". Boxscore World Sportswire.
  21. ^ "www.bbc.co.uk". Archived from the original on 2008-04-29. Retrieved 2018-02-11.
  22. ^ "Laamb". www.dfi.dk. Retrieved 2022-08-26.
  23. ^ Gravrand, Henry : "L’HERITAGE SPIRITUEL SEREER : VALEUR TRADITIONNELLE D’HIER, D’AUJOURD’HUI ET DE DEMAIN" [in] Ethiopiques, numéro 31, révue socialiste de culture négro-africaine, 3e trimestre 1982
  24. ^ "Glbal timoto (video) and snippits". 29 September 2005. Archived from the original on 2011-08-29. Retrieved 2012-03-06.
  25. ^ For example, see this article on the private life of Yekini, LUTTE TRADITIONNELLE - 15e ANNIVERSAIRE DE YEKINI : Mbagnick, digne fils de Mohamed Ndiaye Robert Diouf, Le Soleil, 3 March 2008.
  26. ^ "Africanews | National wrestling arena opens in Dakar". 9 December 2019.

Bibliography

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  • Senghor, Léopold Sédar, Brunel, Pierre, "Poésie complète," CNRS éditions, 2007, ISBN 2-271-06604-2
  • Tang, Patricia, Masters of the sabar: Wolof griot percussionists of Senegal, p144. Temple University Press, 2007. ISBN 1-59213-420-3
  • Gravrand, Henry: "L’HERITAGE SPIRITUEL SEREER : VALEUR TRADITIONNELLE D’HIER, D’AUJOURD’HUI ET DE DEMAIN" [in] Ethiopiques, numéro 31, révue socialiste de culture négro-africaine, 3e trimestre 1982
  • Gravrand, Henry, "La Civilisation Sereer, Pangool." Les Nouvelles Edition Africaines. 1990.
  • Diouf, Niokhobaye. "Chronique du royaume du Sine." Suivie de notes sur les traditions orales et les sources écrites concernant le royaume du Sine par Charles Becker et Victor Martin. (1972). Bulletin de l'Ifan, Tome 34, Série B, n° 4, (1972)
  • Faye, Louis Diène, "Mort et Naissance Le Monde Sereer," Les Nouvelles Edition Africaines (1983), ISBN 2-7236-0868-9
  • Geels, Jolijn. Niger. Bradt London and Globe Pequot New York (2006). ISBN 1-84162-152-8
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