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Travel Information >> Morocco >> Culture Of Morocco >> Music and Dance in Morocco
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Music and Dance in Morocco


Morocco - Essaouira - Fez - Marrakech - Agadir
The most fascinating feature of the culture of Morocco is its music and dance. The music and dance of Morocco is marked by its diversity. The styles of numerous tribes and of different areas together constitute the culture scene of Morocco.

Moroccan music is a blend of Arab, Berber and classical styles. Some of the most important musical genres of Morocco are:

  -  ANDALUSIAN is the classical form of music in Moroccan with lyrics in Andalusian language or conventional Arabic

  -  BERBER MUSIC is characterized by the use of instruments like bagpipes and oboe and is mixed with typical African beats.

  -  CHAABI is the pop music in Morocco and is flanked by western styles along with Arabian styles.

  -  GHARNATI MUSIC has originated from Algeria and consists of instruments like kvîtra, mandolin, banjo, oud and kamenjah.

  -  THE GNAWA features more of religious is a powerful mixture of religious songs and is quite mystical.

  -  GRIHA is a well-liked type of music in Morocco because it is very informal unlike the other classical styles.

Other common forms of music in Morocco are MALHUN and RA'I

  -  Dancing in Morocco is a must during various ceremonies and festival like marriage, harvest festival, religious gatherings. Some of the common dance forms of Morocco are:

  -  AHOUASH is a dance form performed by women only during special occasions, while the men sit around the fire.

  -  AHAIDOUS is done by professional singers and dancers.

  -  GUEDRA is more popular in southern Morocco, where the dancer is covered in Black Veil during the performance.

TISSINT is prevalent in the South of Agadir by men and women covered completely in indigo-blue costumes and they use daggers.

Other dances of Morocco include GNAWA and TASKIOUINE Morocco dance and music is all about the lyrical blending of a myriad different strains, giving rise to an eclectic character.

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