From the heart of the Atlas Mountains, specifically Oulmes - Aqchmir, a young woman emerged to break barriers and redefine Amazigh heritage through the dance of «Ahidous», a tradition long associated with men. Neither her age nor societal expectations stood in the way of her passion; instead, they became her strongest motivation to push forward. This is the story of Morocco's first female leader of an Ahidous troupe. On a summer night in Oulmes, amidst the rhythms of Amazigh wedding rituals, no one expected that the little girl who confidently stepped into the Ahidous circle would, years later, become the first female leader of this ancient art in Morocco. Sanae was eleven years old then, and as she jokingly recalls, «They discovered that I was possessed by the madness of Ahidous». She didn't just enter the circle to watch—she performed, imitated, and harmonized with the steps and rhythms. That moment marked the first collective recognition of her talent, and everyone applauded, unaware that it was the start of an extraordinary journey. From that night on, her uncle—the troupe's leader—noticed his niece's hidden gift and decided to include her in the troupe not merely as a dancer but as a Tamsurt, or leader. This was a bold step in a society that rarely accepts the idea of a young girl leading a group of men. But her uncle believed in her and proposed the idea to her parents. Her father agreed without hesitation, while her mother hesitated, torn between hoping her daughter would continue her education and fearing she might face early marriage and motherhood like many girls in their village. Yet, having never had the chance to attend school herself, her mother chose not to deny Sanae a different life opportunity and gave her blessing. In the Eyes of Bullies... and in the Heart of a Loving Audience That same year, Sanae participated for the first time in the Ain Louh Festival, Morocco's national celebration of Ahidous art, becoming the youngest troupe leader in its history. It wasn't easy. In every region she visited, reactions ranged from admiration to rejection. «Some people had no problem with me being a leader and even encouraged me», she says, «while others couldn't accept the idea of a woman leading an Ahidous troupe—not because of the art itself, but because of my gender». Despite facing constant bullying from peers and adults alike, her family's support was her refuge—especially her father's advice: «Continue your studies, don't abandon your passion, just keep a balance». Sanae maintained that balance, practicing only during holidays so her art wouldn't interfere with school. She graduated high school in 2022 and enrolled in Rabat's Faculty of Law but stayed only one year before switching to her true passion: theater. The artist Latifa Ahrar met Sanae during a 2018 film shoot and encouraged her to apply to the Higher Institute of Dramatic Arts and Cultural Animation. Though she failed the entrance exam twice, she didn't give up. On her third try, she was admitted and is now a first-year student. But the journey was not without hardship. The year 2021 was the toughest. Psychological pressure and humiliating comments on social media made her consider quitting. Yet, her stubborn spirit prevailed. «I thought of the marginalized women in my area», she told Yabiladi. «I feared my withdrawal would send a message of defeat». Instead, she turned her pain into a message of hope and became an inspiration. Today, Morocco counts «four female troupe leaders in the Ahidous art», she proudly notes. «Tifsa»... The Fruit of Sanae's Experience and Love for Heritage Sanae didn't stop at leading her uncle's troupe. This year, at age 20, she founded her own troupe: Tifsa, named after the season of rebirth between winter and spring. «We are a sprout from my uncle's troupe, rooted in the soil of Ahidous», she explains. Her troupe is youthful, mixed-gender, and brings new energy to this traditional art while respecting its roots. When Sanae steps on stage, the cheerful, sensitive girl fades away and Tamsurt emerges. «I feel a great responsibility; there is no room for error», she says. «I want us to present the best image, and that's what I learned from my uncle». She leads with unique movements, honoring classic styles while adding personal touches—in themes, attire, and performance philosophy. Her costume colors carry meaning: green symbolizes women and fertility, yellow stands for vitality, energy, and the earth, and red represents «the noble man we carry on our heads». Today, Sanae dreams of becoming a director and taking her troupe to international festivals, planting Tifsa in other cultures. But her greatest ambition is to showcase the intangible Amazigh heritage in all its beauty. At every performance, when the applause rises and the feet beat the ground, she remembers that night: a relative's wedding, the Ahidous circle, and a little girl stepping boldly inside to tell the world, «I am here, and this is my place».
