The Berbers, who are the original inhabitants of Morocco, do not identify themselves
with the Muslims of Morocco. However, both Arab Berbers and Muslims believe in Jnum
(spirits). What makes these dances worthy of study is that attaining a trance-like state seems to be
a common goal in most Berber dances, even when not specifically a trance dance. The Gnawa
musicians of Marrakesh are descended from slaves imported into the region from Timbucktoo
around the end of the sixteenth century, and were very black in skin color. Their music bore no
relation to the other music in Morocco. The Gnawa are actually a Muslim brotherhood which
uses music and dancing to induce a trance state in the participants. Their music is entirely
religious and should never be used for belly dance. The same goes for Quawali music, which is
Islamic and religious by definition.

The dance most pertinent to this discussion is the Guedra. Like other Moroccan dances,
the use of repetition and the constant crescendo of both music and movements create a hypnotic
effect on the dancer and spectator. An actual light-headedness or ecstatic feeling results, and
eventually leads to total exhaustion. The abrupt collapse seen in the Guedra at the end is also
characteristic in most of these ancient Moroccan dances. They believe if there is not a feeling of
complete release at the end of the dance, ill health and bad luck will beset the dancer. The theory
that the Guedra represents an expression of life from birth to death is a very general analogy
frequently used to explain the concepts behind the dance. The following is a description and
translation of this dance as performed in Tunisia compiled by Dr. Bettina Knapp:

"Danced bare chested until the end of the protectorate in 1956, the Guedra begins as the participants, men and women wearing blue indigo and black costumes, stand in a circle, chanting and clapping hands. The woman performer, in the center of the circle, begins by sitting on her heels or at times, by standing, as she slowly gets down on her knees, the lower part of her body never participating in her performance. As she moves about, she slowly and progressively emerges from the one or two veils which cover her face and body. In so doing, she extends or half-flexes her arms, held breast high, alternating them from left to right."

"All of this, however, is peripheral: what is of utmost significance and what makes this dance unique is the extraordinary nature of the hand work and most specifically the finger work. Each joint of each fingermoves in accordance with a cadenced pattern, in keeping always with the rhythms and harmonies of the song of the moment. The syncopated movements of her shoulder and breast areas follow the rhythmic beats of the percussion instrument while her head sways laterally, and her hair, adorned with all sorts of shells and beads, enhances the beauty of the composite picture. As the rhythm intensifies, the dancer grows increasingly breathless, her facial contours seem tense and contorted, her eyes close, as her entire being suddenly seems to be under some kind of spell. Exhausted by the physical and emotional effort of the dance, she leaves the magic circle and another takes her place."

The Guedra is performed by Moroccan Berber tribespeople as a dance of blessing and
good-will. It is completely different in intent from a zar. The dancer prays to be in contact with
a spirit, but it is a benevolent one. The Shikhat also perform a version of the Guedra. (the name
given to singers, dancers, prostitutes and professional musicians). These are usually lower-class
and country women, widows or divorcees obliged to bring up one or more children. They learn
to sing erotic and traditional love poetry, and often join official dance troupes. The Shikhat
perform at festive occasions such as marriage and circumcision ceremonies.