A blend of indigenous life in the rural countryside and metropolitan culture in urban centers, Senegal has been a small, yet prominent country on Africa's western coast. In this comprehensive study of contemporary Senegalese life, readers will learn how daily lifestyles are celebrated through both religious and secular customs. Students can investigate how Senegal's oral storytelling, Islamic roots, and French colonialism have shaped literature and media in today's society. From the street to the studio, the topic of art in Senegalese life is also covered. Ross also delves into architectural styles and modern housing in urban environments, while also covering typical cuisine and traditional fashion. Readers will learn about the typical Senegalese family as a social and economic unit, and will see how music, dance, and sports play an integral role in their lives. Ideal for high school students and general readers, this volume in the Culture and Customs of Africa series is a perfect addition to any library's reference collection.

This collection critically examines "tolerance," "secularism," and respect for religious "diversity" within a social and political system dominated by Sufi brotherhoods. Through a detailed analysis of Senegal's political economy, essays trace the genealogy and dynamic exchange among these concepts while investigating public spaces and political processes and their reciprocal engagement with the state, Sunni reformist and radical groups, and non-religious organizations. The anthology provides a rich and nuanced historical ethnography of the formation of Senegalese democracy, illuminating the complex trajectory of the Senegalese state and reflecting on similar postcolonial societies. Offering rare perspectives on the country's "successes" since liberation, the volume identifies the role of religion, gender, culture, ethnicity, globalization, politics, and migration in the reconfiguration of the state and society, and it makes an important contribution to democratization theory, Islamic studies, and African studies.

Senegalese Stagecraft explores the theatrical stage in Senegal as a site of poetic expression, political activism, and community engagement. In their responses to the country’s colonial heritage, as well as through their innovations on the craft of theater‐making, Senegalese performers have created an array of decolonizing stage spaces that have shaped the country’s theater history. Their work has also addressed a global audience, experimenting with international performance practices while proposing new visions of the role of culture and stagecraft in society. Through a study of the innovative work of Senegalese theater-makers from the 1930s onward, Senegalese Stagecraft explores a wide range of historical contexts and themes, including French colonial education, cultural Pan‐Africanism, West African Sufism, uses of television and mass media, and popular theater and activism. Using a multidisciplinary approach that includes field, archival, and literary methods, Valente‐Quinn offers a fresh look at performance cultures of West Africa and the Global South in a book that will interest students and scholars in African, Francophone, and performance studies.

Drawing from the diverse fields of postcolonial studies, literary studies, history, anthropology, sociology, political science, environmental studies, and development studies, among others, Gender and Sexuality in Senegalese Societies demonstrates the urgency and necessity of new research in gender and queer studies in and on Senegalese societies. By focusing on subjects that have thus far been largely neglected in national and scholarly debates, the chapters are subversive, complex, and inclusive, centering within Senegalese studies themes and elements of alternative, nonbinary, variant, and nonheteronormative gender identities, sexualities, and voices. Contributors demonstrate that nationalist and anticolonial discourses propelled by deep and lingering socioeconomic inequalities have led, in postcolonial Senegal, to vitriolic scapegoating of individuals and communities with variant sexual and gender identities. The chapters in this volume look inward to the voices and experiences of the Senegalese people to challenge nationalist representations of advocacy for the liberation of gender and sexual minorities in Senegal as a function of a Western neocolonialist agenda.

Ethnicity and the Colonial State compares the choices of community leaders in three different West African groups (Wolof, Temne, and Ewe), with regard to “selling” their identifications to the colonial rulers. The book thereby addresses ethnicity as a factor in global history.

Senegal Abroad explores the fascinating role of language in national, transnational, postcolonial, racial, and migrant identities. Capturing the experiences of Senegalese in Paris, Rome, and New York, it depicts how they make sense of who they are—and how they fit into their communities, countries, and the larger global Senegalese diaspora. Drawing on extensive interviews with a wide range of emigrants as well as people of Senegalese heritage, Maya Angela Smith contends that they shape their identity as they purposefully switch between languages and structure their discourse. The Senegalese are notable, Smith suggests, both in their capacity for movement and in their multifaceted approach to language. She finds that, although the emigrants she interviews express complicated relationships to the multiple languages they speak and the places they inhabit, they also convey pleasure in both travel and language. Offering a mix of poignant, funny, reflexive, introspective, and witty stories, they blur the lines between the utility and pleasure of language, allowing a more nuanced understanding of why and how Senegalese move.