In a region where earth’s terrain intersects and natural diversity complements the multiple components of identity, a collective dance with integrated elements emerges, associated with joy and celebration, and carrying within its details keys to a deeper understanding of the region's social and cultural life: the Ahwash art form.

Ahwash refers to a form of music and collective binary dance practiced in Berber villages in the High Atlas and Anti-Atlas mountains. For the locals, this dialogued song is the most appreciated and the most difficult part to master. It is also the most surprising for uninitiated spectators due to its originality.

Ahwash is one of the most prominent manifestations of the Amazigh cultural heritage, a traditional folkloric painting and a comprehensive creative scene that combines poetry, music, dance, and costume in a vibrant collective ritual.

The dance reflects the interaction of the Amazigh people with their natural and social surroundings through diverse elements, including group singing, poetic chants, harmonious movements, and fashions that carry connotations of identity and belonging.

Ahwash Dance is a community language

The Ahwash dance is performed during communal celebrations, especially weddings and special occasions. It brings together men and women in a circular scene or opposing rows, swaying to the rhythm of the tambourine, in a performance that weaves a continuous interaction between the participants and the audience.

The dance begins with an opening section called "Tahwasht," often invoking the Basmala (in the name of God) and asking for help from God. This is the first stage in which the rhythm is set and the cohesion of the rows is tested.

During this stage, attendees are welcomed, and the group is invited to immerse themselves in the depths of the dances presented throughout the night. The movement then gradually escalates and the rhythms accelerate.

The rows begin with a slow tapping of the tambourine in a collective sway, with the women moving in the opposite direction from the men in a mutual chant and dance performance that continues throughout the Ahwash.

Ahwash participants and the mastery of the performance

The number of participants in the dance typically ranges between 35 and 40, with at least 15 men and 20 women. However, the number of participants depends on two main factors. First being the size of the dance space, known as "assays." The larger the dance hall, the greater the turnout and the greater the number of participants. Secondly, the nature of the event, including its climatic and social conditions.

The large number of participants contributes to the richness of the spectacle and the mastery of the performance. Ahwash performances are characterized by mutual lyrical interaction between the women and men, where Amazigh verses are exchanged in a dialogue interspersed with body movements that demonstrate collective practice and accumulated experience.

The bodies of men and women sway in harmonious rows, exchanging chants, bringing to life a profound artistic heritage that opens doors to understanding the spirit, emotions, and symbols of Amazigh society. The poetic texts are dominated by themes of love, community, nature, and agricultural seasons, using a symbolic pictorial style that relies on comparisons and conjures up profound mental images.

The dance is often performed in an open space known locally by various names, such as "Assays," "Asrak," or "Asrir." This space is associated with the architecture of traditional palaces in the southeast, which have long served as a gathering place for occasions, celebrations, and collective decisions.

Traditional costume expresses identity and artistic representation

The artistic expression in "Ahwash" is complemented by the aesthetics of traditional dress, which reflect the symbolic dimension of the dance. Men wear the "Tashmir," the "Tikhlaline," and the "Belgha," while women adorn themselves with the "Tatarft," the "Tikhlaline," and the "Belgha."

The importance of preserving the troupe's traditional dress is important. Authenticity is evident in the costume, so it cannot be changed for the sake of modernization. Rather, it must be unified and express the region's identity and artistic representation.

The commitment to this dress is part of preserving authenticity, rejecting any change that falls within the framework of modernization. Women enjoy a respected position within the troupe and are given the opportunity to shine on an equal footing with men.

The dance leader is called "Aalam"

The troupe is headed by a central figure called "Aalam," who is the dance leader and instructor of the movements and the most experienced and respected member. This leader is responsible for controlling the rhythm and harmony of the ranks. He or she must possess a good command of rhythms, melodies, and time measurements, as well as the ability to distinguish between rhythms. He or she must also possess musical culture, artistic taste, and practical experience.

He or she must also be an expert in both traditional and modern movements and techniques, with a strong ability to control body balance and agility. Without this element, the Ahwash dance cannot be complete, as local traditions dictate.

The dance is complete when a set of essential elements are present: the poet, the dancers, the audience, and the presenter. The poet must memorize the poems and possess quick wit, while the dancers must be disciplined in their performance, adhere to harmonious movements, and be familiar with rhythms and melodies. Rhythmic control is entrusted to skilled musicians on instruments such as the talunt and the oud.