Sow also points out that the very structure of the song recalls a category of Wolof song known as "bak" or "xass." In either case, the form is employed in the context of confrontation and contest, which he explains in more detail later in this essay.
It is significant that both of these songs have a hostile theme, and both follow the meter of the "xass" genre.
The word for "nose" is another excellent example of phenomenal root variation within Arabic (see above), yielding xasim and xass
in Libya, e.g., with nyangdratu (< *minqartu, "his beak," demonstrating its pejorative etymon) in Ki-Nubi, and Arabic creole of East Africa (pp.