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Research on Mouride visual culture, which began in 1994, is ongoing. We are indebted to a host of Senegalese friends and the inspiration of Amadou Bamba. Warm thanks to Ali Behdad, Cheikh Anta Babou, Pierre Centlivres, Micheline Centlivres-Demont, Michael Cooperson, Andrew Lane, Mara Leichtman, Prita Meier, David Prochaska, John Renard, Eric Ross and the journal's anonymous reviewers for assistance with the present paper. This remains a work in progress. Far broader discussion and bibliography are available in Roberts and Roberts and at
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