The culture of the country reflects its various diverse ethnic compositions. There are many religious festivals, some significant ones being (in random order) Divali (the Hindu festival of lights, in October), Christmas, Cavadee (a penitence festival of the south Indian tradition of Hinduism, in January), Eid ul Fitr (celebrating the end of the period of fasting in Islam. As the Islamic calendar does not match up with the Gregorian calendar, the date of its festival in the year generally tends to differ.

Sega is an indigenous musical form. As it happening among slaves of African origin, it is typically believed to be of African origin. However, according to some observers, there is no easily found correspondent in mainland Africa to the hip-swaying manner of Sega dancing, and to the musical instruments used (notably the ravane, a piece of goatskin tightly drawn over a wooden hoop). Sega could therefore be of mixed origin.

Sega comes in several forms, There are the commercial variety sung in hotels, generally of a blissful mood, the more politically concerned Sega engage, with strong leftist overtones, and the rough-hewn Sega typique, a traditional form of Sega, which starts as a slow piece of music and gradually gathers speed. Modern creole music also shows the influence of ragamuffin, rap and mainstream pop styles.

In the countryside, where the population is predominantly of Indian origin, bhojpuri songs (from a rural dialect of Bihar province in India) are still well-liked and have been recast in present forms.

Mauritian literature, like in most countries with a majestic past, was traditionally considered to be a conservative cast, with much emphasis on the proper use of the dominant language (in this case French). From the 1930’s onwards however, Mauritian writing became more progressive in both its form and content (eg "L’étoile et la Clef" by Loïs Masson). The 1970’s saw the birth of modern creole literature (which claims antecedents, however, in a 19th century compilation of creole folktales by Charles Baissac, which is the first chief work in Mauritian creole).

Literature in hindi and other Indian languages also evolved concurrently with the rise of the Indian community all through the 20th century. An outstanding writer in hindi is Abhimanyu Unnuth, whose work (notably "Lal pasina" - the red sweat - is a commanding narration of the travails of Indian workers in the 19th century) has been well recognized in literary circles in India.

Mauritian literature in French in the 1960’s and 70’s had a penchant for poetry of a symbolical and esoteric character may be deriving from the strong attention of Mauritian civilization for spirituality. Raymond Chasle, Jean Fanchette, Jean Claude d’Avoine, Malcom de Chazal are the representatives of this school. The 1980’s and the 1990’s have seen the return of prose, maybe because of a need felt to describe the rapid changes in a society undergoing industrialization.

The success in the early 80’s of "Le chercheur d’or" ("the gold seeker") by French writer Jean Marie Le Clezio could also have influenced this re-awakening of interest in prose. The parents of Mr Le Clezio, who is a leading figure of modern writing in France, were Mauritians - "the gold seeker" is based on the adventures of his grandfather, who spent many years seeking a pirates’ treasure in Rodrigues. He has given significant help to the growth of Mauritian writing and had a consistent interest in Mauritian culture.

Some noted contemporary Mauritian writers are: Carl de Souza ("La Maison qui marchait vers le large"- "the house which walked towards the horizon”), Ananda Devi Nursimloo ("Soupir" - "Sigh"), Sedley Richard Assone ("De l’amour et autres poèmes" - "Of love and other poems").

Oddly enough, there is not so much Mauritian literature in English despite Mauritius being a British colony for 158 years. Two notable exceptions however, are Lindsey Collen, a social activist and writer whose novels ("Mutiny") have received encouraging reviews abroad, and R. Bucktowar ("A temple on the Island").

Beneath the natural beauties of Mauritius's scenery, lies another, but sometime forgotten, gem: the Mauritian Culture, better yet, cultures. Going to its innovation can be a trip into some of the most enthralling and sophisticated thousands year old ancestral traditions. It would be too effortless to classify Mauritius as having one culture as so many matchless and distinctive different parts forms this whole. It is made up of the dissimilar customs and traditions of those who, during the last 400 years, have settled on these shores. Here Europe meets India, China, and Africa and so on. Who would visualize that such unique and diversified customs thrives on such a small place?

In every portion of the Mauritian life, this rich diversity is being found. Churches can be found next to a mosque, Indian temples next to Chinese pagodas. Various Indian believes, Buddhist, Christian and Muslim festivals are celebrated with much fervor and devotion all year round by the dissimilar communities. Some of these celebrations can be quite spectacular like the fire-walking ritual that is performed on the Cavadee day. Another proof of this rich diversity is in the different stuff of Mauritian (cuisine). There are traditional western dishes coming from the colonial past of the island; alongside someone can discover delicate new taste and aromas of the more exotic, oriental dishes brought by the Indian and Chinese migrants. Some are unique to Mauritius, as a choice of delicacies have also been adapted to suit the Mauritian taste, which combines the ultimate flavors of the East and optimum of the West.

Mauritian folklore is an added living tribute to the variety and depth of the islanders' culture. This is illustrated by the many dissimilar sound and rhythm. See and hear the stunning sophisticated Indian dances or the Chinese spectacular lion and dragon ones. Or dance to the, most classic folkloric dance of Mauritius.