Editing Senegalese wrestling (section)

==History==
It takes its root from the wrestling tradition of the [[Wolof people|Wolof]] – formally a preparatory exercise for war among the warrior classes depending on the technique.<ref>[[Léopold Sédar Senghor|Senghor, Léopold Sédar]], [[Pierre Brunel|Brunel, Pierre]], ''Poésie complète'', CNRS éditions, 2007, p 425,  {{ISBN|2-271-06604-2}}</ref><ref>Tang, Patricia, ''Masters of the sabar: Wolof griot percussionists of Senegal'', p144. Temple University Press, 2007. {{ISBN|1-59213-420-3}}</ref> 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.<ref name="Serer 1" /><ref>Gravrand, Henry, ''La Civilisation Sereer, Pangool.'' Les Nouvelles Edition Africaines. 1990, p 40</ref> 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.<ref name="Serer 1">{{in lang|fr}} [[Henry Gravrand|Gravrand, Henry]] : [http://ethiopiques.refer.sn/spip.php?article895 ''"L’HERITAGE SPIRITUEL SEREER : VALEUR TRADITIONNELLE D’HIER, D’AUJOURD’HUI ET DE DEMAIN"''] {{Webarchive|url=https://web.archive.org/web/20110901205550/http://ethiopiques.refer.sn/spip.php?article895 |date=2011-09-01 }} [in] Ethiopiques, numéro 31, révue socialiste de culture négro-africaine, 3e trimestre 1982</ref> One of the oldest known and recorded wrestlers in present-day Senegal<ref>{{Citation|last=Prawer|first=Joshua|title=III. Bibliographie par chapitres du Tome&nbsp;II|url=http://dx.doi.org/10.4000/books.editionscnrs.619|work=Histoire du royaume latin de Jérusalem. Tome premier|pages=65–85|publisher=CNRS Éditions|doi=10.4000/books.editionscnrs.619 |access-date=2022-01-02}}</ref> was the Wolof Abdou Rahmane Ndiaye Fallang. There was also [[Boukar Djillakh Faye|Boukar Djilak Faye]] (a Serer) who lived in the 14th century in the [[Kingdom of Sine]]. He was the ancestor of the [[Faye family|Faye Paternal Dynasty]] of Sine and [[Saloum]] (both Kingdoms in present-day Senegal).<ref>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)</ref> 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<ref>''Ciid'' means poetry in Serer, it can also mean ''the [[reincarnation|reincarnated]] or the dead who seek to reincarnate'' in [[Serer religion]]. Two chapters are devoted to this by Faye see: 
*[[Louis Diène Faye|Faye, Louis Diène]], '' Mort et Naissance Le Monde Sereer,''Les Nouvelles Edition Africaines (1983), p 34,  {{ISBN|2-7236-0868-9}}</ref>). 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. <ref>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).</ref> The ''lamb'' was part of the music accompaniment of wrestling in [[History of Senegal#Kingdoms and empires|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. <ref>{{cite web|url=http://www.prospectmagazine.co.uk/tag/nelson-mandela/|title=Nelson Mandela: Latter day saint - Prospect Magazine|access-date=1 March 2015|archive-url=https://web.archive.org/web/20120131010615/http://www.prospectmagazine.co.uk/tag/nelson-mandela/|archive-date=31 January 2012|url-status=live}}</ref><ref>{{cite web|url=http://explore.theculturetrip.com/africa/africa-discussions/youssou-n-dour-an-unlikely-politician/|archive-url=https://archive.today/20120710161455/http://explore.theculturetrip.com/africa/africa-discussions/youssou-n-dour-an-unlikely-politician/|url-status=dead|archive-date=10 July 2012|title=Youssou N'Dour: An Unlikely Politician|access-date=1 March 2015}}</ref><ref>{{in lang|fr}} Agence de Presse Sénégalaise (APS) [https://fr.allafrica.com/stories/201002251041.html  ''"Rémi Diégane Dioh présente samedi son CD dédié à Senghor"''] {{Webarchive|url=https://web.archive.org/web/20120419013103/http://fr.allafrica.com/stories/201002251041.html |date=2012-04-19 }}</ref>).

Transcending ethnic groups, the sport enjoys the status of national sport.<ref>{{cite web|url=http://www.amadou.net/ho/wrest.html|title=The Official Home Page of the Republic of Sénégal|access-date=1 March 2015|archive-url=https://web.archive.org/web/20080723233422/http://www.amadou.net/ho/wrest.html|archive-date=23 July 2008|url-status=dead}}</ref> 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.<ref name="ReferenceA">{{Cite journal|journal=Storytelling, Self, Society|volume=9|issue=2|pages=188–216|language=en|doi=10.13110/storselfsoci.9.2.0188|jstor=10.13110/storselfsoci.9.2.0188|year=2013|author1=Babacar m'Baye|author1-link=Babacar M'Baye|title=Verbal and Acrobatic Strategies in Senegalese Wolof Wrestling}}</ref> 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.<ref name="ReferenceA"/> 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 bàkk to present themselves as exceptional and impressive.<ref name="ReferenceA"/>

The oral art of the bàkk, used by the Senegalese wrestlers, has its history in ''[[griot]]s''. Historically, Wolof griots and griottes were singers tasked with relaying the eulogies of heroes and heroines who overcame hardships.<ref name="ReferenceA"/> 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.<ref name="ReferenceA"/>

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.<ref name="ReferenceA"/> This famous bàkk was repeated often by children in Senegal and sang on the national radio on weekends during which combats took place.<ref name="ReferenceA"/>

Today bàkk is very popular in the country as an indication of male athletic strength and ability.<ref>{{cite web|url=http://web.mit.edu/newsoffice/2005/arts-rambax-0413.html|title=Rambax catches the rhythm of wrestling|date=13 April 2005|work=MIT News|access-date=1 March 2015|archive-url=https://web.archive.org/web/20121021165218/http://web.mit.edu/newsoffice/2005/arts-rambax-0413.html|archive-date=21 October 2012|url-status=live}}</ref> 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.<ref>{{Cite web |url=http://africanism.net/modern-wrestling-arena-to-revive-senegals-time-honored-sport/ |title=Modern wrestling arena to revive Senegal's time-honoured sport &#124; Africanism |date=March 2020 |access-date=2020-03-01 |archive-url=https://web.archive.org/web/20200301072743/http://africanism.net/modern-wrestling-arena-to-revive-senegals-time-honored-sport/ |archive-date=2020-03-01 |url-status=live }}</ref>

The popularity of Senegalese wrestling has grown so much, that the top, most popular, wrestlers have been able to have television acting opportunities.<ref name="Blaine Henry">{{cite web|url=https://fight-library.com/2021/05/12/big-pato-senegalese-wrestling-and-senegalese-youth/|title=Big Pato: Senegalese Wrestling and Senegalese Youth|publisher=Fight-Library.com|author=Blaine Henry|date=May 12, 2021}}</ref> But despite the growing popularity, Senegalese wrestling has come under threat of having their top stars lured away by the bigger money from [[mixed martial arts]] (MMA).<ref>{{cite web|url=https://boxscorenews.com/senegalese-wrestling-under-threat-from-mma-p156236-68.htm|title=Senegalese Wrestling Under Threat From MMA
|publisher=Boxscore World Sportswire|author=Meshack Keicha|date=April 15, 2023}}</ref>