The city of Inezgane is preparing to host, on October 11 and 12, the 3rd edition of the Bilmawen Bodmawen carnival under the banner "Memory and identity at the service of development". It is a procession rich in colours, spectacles, symbols, sounds and smells which, refusing to die, perpetuates an ancestral rite, that of an event traditionally linked to Eid Al Adha. Bilmawen Bodmawen (literally the man with skins and multiple faces, in allusion to the masks) is the name of a carnival that has become, over its three editions, the trademark of the Inezgane Aït Melloul prefecture and the surrounding localities where this popular ceremony, made of disguises and finery, is celebrated in joy and merriment. A carnival practice par excellence, this event with well-anchored symbolic, cultural and historical evocations, presents itself, in many respects, as the mnemonic summary of beliefs, customs and traditions of a time that was. Called according to the different regions of Morocco sometimes "Boujloud", sometimes "Boulabtayne", "Bouhidour", "Harma", "Bashikh" or "Souna" in north-eastern Morocco, this practice is not foreign to other regions of North Africa, notably to the Amazighs of Algeria where it is found in certain regions under the name of "Baba Al Haj" or "Bouâafif" and as far as the Canary Islands. This is to say the extent of a ritual with multiple denominations certainly, but which continues to inexorably echo origins and beliefs that date back to the dawn of time. But what does this whole ritual consist of in Inezgane and the regions? The process is simple. The day after Eid Al Adha, if not the very evening, in every alley and neighbourhood, young people redouble their efforts to help each other meticulously craft ceremonial costumes which, sometimes, require up to five skins per individual depending on the size and morphology of each one. Each group prepares its disguises and equipment and proceeds to decorate and embellish its outfit with shimmering, bright and unique colours, thus demonstrating great ingenuity and creativity where the burlesque competes for the spotlight with the real and where modernity and tradition coexist without ever hurting each other. From memory, it is said that the festivities took place to the sounds of cries of joy and wonder from children and women who try to touch the hooves of the hanging legs used by the members of the troupe. Every evening, and for several days, the participants in the parade, masked and disguised, gathered at "Assays", the large square, where they offered folkloric presentations made of songs and dances to the rhythm of traditional and popular music until late at night.