It is redefining itself at the heart of the El Jadida Horse Salon: Tbourida, the emblematic art of Moroccan equestrian identity

History Tbourida, also known as fantasia, is much more than a simple equestrian spectacle. It embodies an art of courage, coordination, and tribal pride, where riders and horses form a harmonious whole. Each synchronised gunpowder shot, each war cry launched into the air, each gesture of the rider wrapped in his burnous symbolises a living history of Morocco, its tribes, and its identity. In this 17th edition of the Salon, Tbourida takes on a new face: that of a tradition proud, certainly, of its martial heritage, but which chooses to place the horse at the centre of the action not as a simple instrument, but as a full partner. Tbourida embodies an art of courage, coordination, and tribal pride, where riders and horses form a harmonious whole. Each synchronised gunpowder shot, each war cry launched into the air, each gesture of the rider wrapped in his burnous symbolises a living history of Morocco, its tribes, and its identity. On the large sandy track of the Mohammed VI Exhibition Park, the spectacle is fascinating: fifteen riders in a line with rifles raised, eyes straight ahead, horses tense, charging at full gallop. And in perfect synchronisation, the detonations crack, rise, and resonate. This is the culmination of a millennial tradition: Tbourida, this Moroccan equestrian art inscribed on the Intangible Cultural Heritage of Humanity, and which, today more than ever, is redefining itself at the heart of the El Jadida Horse Salon. Thus, for centuries, Moroccan riders have celebrated glory, bravery, and cohesion through this demonstration of controlled force. Tbourida is found in all regions of the Kingdom, from the Gharb plain to the high plateaus of the Souss, passing through the Doukkala, the Tadla, and the Abda. Each tribe brings its own touch: in the rider's posture, the horse's decoration, or the embroidery of the costume. Because, at heart, it is no longer just a demonstration of force or bravery. In this 17th edition of the Salon, placed under the theme "The Horse at the service of humanity", Tbourida takes on a new face: that of a tradition that remains proud of its martial heritage, but which chooses to place the horse at the centre of the action not as a simple instrument, but as a full partner. With the Salon, it has become the benchmark competition for the Kingdom's sorbas. Since its creation in 2008, the Horse Salon has dedicated a prime space to Tbourida. And for good reason, this art is not only spectacular, it is emblematic of Moroccan equestrian identity. The Grand Prix of His Majesty King Mohammed VI of Tbourida, organised throughout the week of the Salon, has become the benchmark competition for the Kingdom's sorbas. Each day sees the best troupes in the country, coming from the twelve regions of Morocco, compete for a place on the podium. But the Salon is not limited to offering a competition ground. It acts in depth: it structures and improves the conditions of practice, ensures the safety of the riders, oversees the health of the horses, and rethinks reception and care protocols. Tbourida horses, often from traditional lineages, benefit here from optimal conditions, well-distributed water points for drinking and showering, and fine management of rest and effort times. Each troupe is followed by a technical and veterinary team, ensuring that the intensity of the spectacle is never at the expense of the animal's health and well-being. There is a link between Tbourida and equine well-being that may seem unnatural at first glance. How can one reconcile brutal accelerations, sharp stops, and coordinated volleys with the gentleness expected today in the relationship with the horse? This is the whole challenge and beauty of this transition. Over the years, a growing number of Moqaddem (heads of sorba or literally Mqaddmine) have modified their approaches. Fewer forced repetitions, more preparation sessions on foot. Fewer rigid bits, more adapted tack. Less intensity in the first sessions, more work on breath and endurance. These evolutions are not imposed: they come from the field, from dialogue with veterinarians, from feedback, and from competition regulations. And they are visible. The Tbourida horse of today is more supple, more expressive, more confident. It no longer suffers the volley: it executes it in a form of agreement, almost choreographic. This turn towards a more respectful Tbourida is largely made possible by the environment created by the Salon. By offering optimal reception conditions, by opening spaces for dialogue between regions, and by making the exemplary nature of certain troupes visible, the Salon acts as a lever. It values the most virtuous practices. It encourages pride in excellence, not in suffering. It creates an emulation effect between sorbas. Educational demonstrations are offered during the week: preparation of the horse before the volley, debriefing with the riders, and sharing of dressage tips. These moments, open to the public, also allow young enthusiasts to better understand the complexity of Tbourida. Because it is not a simple folkloric spectacle, it is a complete equestrian art, which requires precision, cohesion, intelligence of the horse, and fidelity to the gesture. The emergence of female sorbas refines the choreography One of the striking phenomena of recent years is the arrival of women. Long confined to a peripheral role, women are today fully actors in Tbourida. In El Jadida, some editions have seen exclusively female troupes parade, with an elegance, rigour, and power that have shaken up representations. The Salon gives them the same visibility, the same respect, and the same access to competition. And this equality does not just repair a historical absence. It transforms Tbourida itself. The relationship with the horse is evolving. The choreography is being refined. Transmission is opening up to new narratives, new bodies, new voices. This is again one of the effects of the Salon: to be a place of recognition, but also of projection. Today, spectators who attend the finals of the Grand Prix H.M. King Mohammed VI of Tbourida see much more than an alignment of riders shooting in rhythm. They find themselves facing a living heritage, an open future. They witness the staging of a memory, the perpetuation of an art, and the celebration of an ancestral way of life. But from now on, they also see fulfilled horses, attentive riders, adjusted practices, and a shared ethic. By choosing the theme "The Horse at the service of humanity" this year, the Salon does not signal a break. It confirms that in El Jadida, Tbourida, unlike moussems and other occasions of fervour, is transformed into a declaration of respect, a link between the beauty of fire and the serenity of breath, the strength of baroud married to the finesse of the bond. In short, Tbourida is an entire cultural and artisanal ecosystem: the making of saddles, the embroidery of clothes, the forging of gunpowder rifles, the music, the songs, and even the oral tales that perpetuate the memory of the great Moroccan riders. This is what makes it a complete practice, at once artistic, spiritual, and communal. It is not a simple parade… National cultural identity Tbourida is an equestrian performance that appeared in the 16th century. It has been on the Representative List of the Intangible Cultural Heritage of Humanity since 2021. It is a performance that simulates a succession of military parades, reconstructed according to ancestral Arab-Amazigh conventions and rituals. Each tbourida parade is performed by a troupe consisting of an odd number of riders and horses (from 15 to 25), aligned side by side, in the middle of which the head of the troupe is placed. Often, before the event, the riders give their performance a spiritual dimension, performing their ablutions and then praying collectively. Together, under the direction of the leader, riders and horses execute a parade composed of two main parts. The first is the hadda, or the troupe's salute, which enters the track at a trot and performs acrobatic weapon handling, then repositions itself at its starting point. The second is the talqa, where the troupes set off again at a gallop and perform a blank rifle shot before withdrawing, simulating a collective departure for war. The riders wear period costumes and accessories including a turban, draped clothing, babouches, a small booklet of the Quran, and an ancient Arab sword. The horses are harnessed with equipment sewn and decorated in a traditional manner. The riders come from the same tribe or region whose customs and costumes they represent. Transmission takes place from generation to generation within families, through oral tradition and observation of practitioners. Specific to the greater Maghreb region, tbourida is a traditional and popular equestrian art. Widely practised in rural areas to celebrate national and religious holidays, it is part of the national cultural identity. Also called the "game of Powder", this tradition, against a backdrop of short races, mainly features Barb horses, light and airy, wearing very colourful ceremonial harness. The goal of the event is to finish the race by firing a rifle shot into the air, at the same moment, so as to hear only one detonation. The shots are, depending on the region, fired either towards the sky or downwards. Riders dressed in blue djellabas from the Guelmim region – the gateway to the desert – are accustomed to shooting downwards. The regions of Morocco, represented by a "sorba" (troupe), participate in high-level exhibitions where the evaluation of the participating teams is based on precise criteria taking into consideration the riders' attire, the skilful handling of rifles, and the synchronisation of the shots. At first, it was the Moroccan Fantasia… Roots Tbourida draws its roots from the military and equestrian traditions of Morocco. Contemporary performances evoke the ancient collective cavalry charges and demonstrations during which riders had to show their ability to move and act as a perfectly coordinated group. The term is closely associated with "baroud", an Arabic word that designates gunpowder. The shot is indeed one of the most recognisable elements of this tradition. For a long time, the term "Fantasia" was also used to designate this type of performance in Western accounts and descriptions of the Maghreb. Today, the term Tbourida allows for a more precise identification of this practice in its Moroccan cultural context. Over time, its function has evolved. The old warlike references have given way to a cultural performance organised within the framework of celebrations, gatherings, and equestrian events. The recognition of Tbourida by UNESCO in December 2021 has strengthened its international visibility and the importance given to safeguarding the knowledge necessary for its transmission. Receive the latest news from Aujourd’hui Le Maroc directly on WhatsApp