Traditionally, music was the most widely practiced art in the Luo community.
At any time of day or night, music would be made.
Music was not played for its own sake.
Music was functional, being used for ceremonial, religious, political, or incidental purposes.
Music was performed during funerals (Tero buru), to praise the departed, to console the bereaved, to keep people awake at night, and to express pain and agony.
It was also used during cleansing and chasing away of spirits.
Music was also played during ceremonies like beer parties (Dudu, ohangla dance), welcoming back the warriors from a war, during a wrestling match (Olengo), during courtship, etc.
Work songs also existed.
These were performed both during communal work like building, weeding, etc.
and individual work like pounding of cereals, or winnowing.
Music was also used for ritual purposes like chasing away evil spirits (nyawawa), who visit the village at night, in rain making, and during divination and healing.

The Luo music was shaped by the total way of life, lifestyles, and life patterns of individuals of this community.
Because of that, the music had characteristics which distinguished it from that of other communities.
This can be seen, heard, and felt in their melodies, rhythms, mode of presentation and dancing styles, movements, and formations.

The melodies in Luo music were lyrical, with a lot of vocal ornamentations.
These ornaments came out clearly, especially when the music carried an important message.
Their rhythms were characterized by a lot of syncopation and acrusic beginning.
These songs were usually presented in solo-response style, although some were solo performances.
The most common forms of solo performances were chants.
These chants were recitatives with irregular rhythms and phrases, which carried serious messages.
Most of the Luo dances were introduced by these chants.
One example is the dudu dance.

Another unique characteristic in the Luo music is the introduction of yet another chant at the middle of a musical performance.
The singing stops, the pitch of the musical instruments go down and the dance becomes less vigorous as an individual takes up the performance is self-praise.
This is referred to as Pakruok.
There was also a unique kind of ululation, Sigalagala, that marked the climax of the musical performance.
Sigalagala was mainly done by women.

The dance styles in the Luo folk music were elegant and graceful.
They involved either the movement of one leg in the opposite direction with the waist in step with the syncopated beats of the music or the shaking of the shoulders vigorously, usually to the tune of the nyatiti, an eight-stringed instrument.

Adamson (1967) commented that Luos clad in their traditional costumes and ornaments deserve their reputation as the most picturesque people in Kenya.
During most of their performances, the Luo wore costumes and decorated themselves not only to appear beautiful, but also to enhance their movements.
These costumes included sisal skirts (owalo), beads (Ombulu / tigo) worn around the neck and waist, and red or white clay worn by the ladies.
The men's costumes included kuodi or chieno, a skin worn from the shoulders or from the waist respectively to cover their nakedness, Ligisa, the headgear, shield and spear, reed hats, and clubs, among others.
All these costumes and ornaments were made from locally available materials.

The Luo were also rich in musical instruments which ranged from percussion (drums, clappers, metal rings, ongeng'o or gara, shakers), strings (e.g., nyatiti, a type of lyre; orutu, a type of fiddle), wind (tung (instrument)|tung' a horn,Asili, a flute, A bu-!,
to a specific type of trumpet).

Currently the Luo are associated with the benga style of music.
It is a lively style in which songs in Dholuo, Swahili, or English are sung to a lively guitar riff.
It originated in the 1950s with Luo musicians like George Ramogi and Ochieng' Kabaselle trying to adapt their traditional dance rhythms to western instruments.
The guitar (acoustic, later electric) replaced the nyatiti as
Traditionally, music was the most widely practiced art in the Luo community. At any time of day or night, music would be made. Music was not played for its own sake. Music was functional, being used for ceremonial, religious, political, or incidental purposes. Music was performed during funerals (Tero buru), to praise the departed, to console the bereaved, to keep people awake at night, and to express pain and agony. It was also used during cleansing and chasing away of spirits. Music was also played during ceremonies like beer parties (Dudu, ohangla dance), welcoming back the warriors from a war, during a wrestling match (Olengo), during courtship, etc. Work songs also existed. These were performed both during communal work like building, weeding, etc. and individual work like pounding of cereals, or winnowing. Music was also used for ritual purposes like chasing away evil spirits (nyawawa), who visit the village at night, in rain making, and during divination and healing.
The Luo music was shaped by the total way of life, lifestyles, and life patterns of individuals of this community. Because of that, the music had characteristics which distinguished it from that of other communities. This can be seen, heard, and felt in their melodies, rhythms, mode of presentation and dancing styles, movements, and formations.
The melodies in Luo music were lyrical, with a lot of vocal ornamentations. These ornaments came out clearly, especially when the music carried an important message. Their rhythms were characterized by a lot of syncopation and acrusic beginning. These songs were usually presented in solo-response style, although some were solo performances. The most common forms of solo performances were chants. These chants were recitatives with irregular rhythms and phrases, which carried serious messages. Most of the Luo dances were introduced by these chants. One example is the dudu dance.
Another unique characteristic in the Luo music is the introduction of yet another chant at the middle of a musical performance. The singing stops, the pitch of the musical instruments go down and the dance becomes less vigorous as an individual takes up the performance is self-praise. This is referred to as Pakruok. There was also a unique kind of ululation, Sigalagala, that marked the climax of the musical performance. Sigalagala was mainly done by women.
The dance styles in the Luo folk music were elegant and graceful. They involved either the movement of one leg in the opposite direction with the waist in step with the syncopated beats of the music or the shaking of the shoulders vigorously, usually to the tune of the nyatiti, an eight-stringed instrument.
Adamson (1967) commented that Luos clad in their traditional costumes and ornaments deserve their reputation as the most picturesque people in Kenya. During most of their performances, the Luo wore costumes and decorated themselves not only to appear beautiful, but also to enhance their movements. These costumes included sisal skirts (owalo), beads (Ombulu / tigo) worn around the neck and waist, and red or white clay worn by the ladies. The men's costumes included kuodi or chieno, a skin worn from the shoulders or from the waist respectively to cover their nakedness, Ligisa, the headgear, shield and spear, reed hats, and clubs, among others. All these costumes and ornaments were made from locally available materials.
The Luo were also rich in musical instruments which ranged from percussion (drums, clappers, metal rings, ongeng'o or gara, shakers), strings (e.g., nyatiti, a type of lyre; orutu, a type of fiddle), wind (tung (instrument)|tung' a horn,Asili, a flute, A bu-!, to a specific type of trumpet).
Currently the Luo are associated with the benga style of music. It is a lively style in which songs in Dholuo, Swahili, or English are sung to a lively guitar riff. It originated in the 1950s with Luo musicians like George Ramogi and Ochieng' Kabaselle trying to adapt their traditional dance rhythms to western instruments. The guitar (acoustic, later electric) replaced the nyatiti as
Luo people