Wolofal- Seydina Mouhamed Par S. Khadim Gueye Apr 2026

S. Khadim Gueye’s poetry is intensely eschatological. Living in a post-colonial context where the Mouride brotherhood faced French repression, Gueye consistently redirects anxiety away from worldly power toward divine mercy.

One recurring image in Gueye’s Qasa’id (odes) is the Prophet as the celestial boat. In a famous couplet, he writes: “Yaa Seydina, yaa Rasuul, la barcët bi tollu naa:” “Jàngal naa jëfandikoo góor bi féete ci mbàllaan gé.” (O our Master, O Messenger, the boat is ready: Teach me to handle the man who drowns in the ocean.) This is a brilliant theological transposition. The classical Arabic trope of the Ark of Salvation (Noah) is recast into the maritime culture of coastal Senegal. The Prophet, for Gueye, is the pilot who navigates the believer through the storms of ghafla (heedlessness).

This paper focuses specifically on Gueye’s poetic invocations of (Our Master Muhammad). For Gueye, the Prophet is not merely a historical figure but the haqiqa Muhammadiyya (Muhammadan Reality), the primordial light through which the universe was created. By praising the Prophet in Wolofal, Gueye performs a double act: he fulfills the Islamic duty of salat ‘ala al-nabi (blessings upon the Prophet) and simultaneously elevates Wolof to the status of a sacred language. Wolofal- Seydina Mouhamed par S. Khadim Gueye

In an era of globalization where local languages are dying, Gueye’s work stands as a monument to linguistic jihad —the struggle to make the sacred accessible. The Prophet Muhammad, in Gueye’s Wolofal, speaks Wolof. And in speaking Wolof, he becomes not a foreign prophet, but Seydina —Our Master—the neighbor, the father, and the intercessor for the people of Senegal.

Unlike the dry legalism of some Middle Eastern texts, Gueye’s Wolofal emphasizes ndigël (love) over xare (fear). He often contrasts the scholars ( toubab ak serigne ) who debate the minutiae of fiqh with the simple soul who simply recites Allahuma salli ‘ala Muhammad . For Gueye, the Wolof-speaking peasant who whispers the name of Seydina Mouhamed in Wolofal is spiritually superior to the Arabist who has no humility. One recurring image in Gueye’s Qasa’id (odes) is

Translation: “O Prophet, peace be upon you, O Messenger of God. Wolof is the language in the domain of Touba.”

This paper examines the use of Wolofal (the writing of Wolof using the Arabic script) in the panegyric poetry dedicated to Seydina Mouhamed (Prophet Muhammad) by the Senegalese Mouride scholar S. Khadim Gueye. Moving beyond the notion of Wolofal as mere transcription, this study argues that Gueye’s work represents a sophisticated act of spiritual resistance and epistemic decolonization . By encoding classical Islamic tropes of Madih (praise) into the vernacular Wolof, Gueye democratizes access to prophetic spirituality while preserving the baraka (spiritual grace) of the Ajami tradition. The paper analyzes the linguistic mechanics, theological themes, and socio-cultural functions of Gueye’s poetry, positioning it as a cornerstone of Senegalese Islamic literature. The Prophet, for Gueye, is the pilot who

[Your Name/Institution] Date: October 26, 2023

S. Khadim Gueye’s Wolofal poetry dedicated to Seydina Mouhamed is far more than devotional literature. It is a complete theological system that asserts the universality of Islam against the hegemony of Arab linguistic supremacy. By marrying the Prophet’s sunnah to the rhythm of the Senegalese soil, Gueye creates a spiritual vernacular that is both profoundly orthodox and radically local.

In the landscape of Senegalese Sufism, the Mouride brotherhood (founded by Cheikh Amadou Bamba) has produced a unique literary corpus that blends deep orthodoxy with local genius. Central to this corpus is the tradition of Wolofal —a trans-linguistic practice where the phonetics and syntax of Wolof are rendered through the geometric precision of the Arabic alphabet. Among the contemporary masters of this art, (often referred to as Serigne Khadim Gueye ) occupies a pivotal role. While much Western scholarship has focused on the French-language output of Senegalese intellectuals, Gueye’s work in Wolofal remains a largely unexamined treasury.