Far more than a spectacle, Tbourida is a codified art where every movement, command, and formation draws from a deeply rooted military past. Saddle up as we explore Tbourida, from its battlefield origins to the codes, tactics, and schools that define it today. DR ‹ › Before becoming a spectacular equestrian art that brings local festivals to life with the sound of galloping horses and gunpowder, Tbourida was, above all, a military practice. Every move, every chant, every rifle hold was part of a detailed, carefully studied tactical plan. Officially inscribed on UNESCO's Intangible Cultural Heritage list since 2021, this equestrian art is deeply rooted in Morocco's history, evolving from a tool of conquest to a form of resistance against colonization, and eventually into a show that echoes the country's vivid military past. Born from war At its core, Tbourida traces its origins to a unique relationship between humans and horses, a bond that Moroccans carried through conflict and wartime. From the early use of swords and arrows in mounted combat, Tbourida later took its name from baroud, or gunpowder, marking a significant turning point in its evolution. In the 16th century, «Morocco was at the height of its development in the gunpowder industry, to the point that the Saadian dynasty exported rifles and cannons to England», explains Mohamed Gmih, a Tbourida rider, horse breeder, and researcher in Tbourida heritage. This shift led riders to adopt rifles and gunpowder, «but this did not change the traditional nature of the art itself», he adds. Even today, Tbourida riders, though equipped with gunpowder rifles, still carry a sword on their back. «We call that in Tbourida jargon 'Skina.'» Historically, «Tbourida was part of jihad and Islamic conquests but when Morocco was colonized, Tbourida evolved into a form of resistance against the French and Spanish», Gmih explains. It was precisely in this context of resistance that Tbourida split into three main schools: the Nassiriya, the Cherkaouia, and the Khiyatia. «Each of these schools developed one, two, or in some cases three luʿbat, ways of handling rifles», Gmih notes. These schools were often founded and led by zawias, religious institutions rooted in Sufi Islam, where the zawia imam or cheikh serves both as a religious leader and a military commander, drawing from Islamic traditions, where Prophet Muhammad, who was both imam and a military commander, he adds. From plains to mountains and into the Sahara, each school adapted to its environment and to the tactics of its enemies. Khiyatia school Spreading across the Rabat-Casablanca region and reaching as far as Larache, the Khiyatia school is believed to have been founded by Sidi Ahmed El Khiyati of the Zawia El Khiyatia, who was both a cheikh and a military commander, Gmih explains. Its specificities are closely tied to the plateau and hilly landscapes of the region. «The French colonizers used to take refuge on hilltops to protect themselves from resistance fighters. That is why riders from the Khiyatia school shoot upward to target enemies positioned above them», he notes. Nassiriya school The Nassiriya school, founded by Sidi Ahmed Ben Nasser of the Zawia Naciriya, spread among the Chemaia tribes and extended to Abda and Doukkala. It adapted to the flat geography of these regions. «In this environment, riders were in direct confrontation with the enemy, which is why this school relies on shooting forward», Gmih explains. The Nassiriya school later spread to Morocco's Saharan provinces, where it evolved into the Sahrawi luʿba, a distinct style within the same school, further adapting to desert conditions and to a different enemy, the Spanish. «The Sahara is known for its high temperatures and vast open plains, making it easy to spot and be spotted by the enemy», Gmih says. To protect themselves from Moroccan fighters and the scorching sun, Spanish forces dug underground trenches. In response, Saharan riders developed a clever counter-strategy: locating these trenches at night before launching attacks. «To do so, scouting teams rode at night on female horses, chosen for their calmness, discretion, and speed», he explains. Once the enemy's position was identified, riders would attack the next day and shoot toward the ground to target those hidden underground. «And that is why Sahrawi riders in Tbourida shoot toward the ground», he adds, highlighting a unique feature not found in other schools. Cherkaouia school The Cherkaouia school, founded by Moulay Mohamed Cherki, cousin of Moulay Bouabid Cherki and founder of the Zawia Cherkaouia, spread across Khouribga, Beni Mellal, Kasbat Tadla, and up to Oujda. This school is distinguished primarily by its attire. «Sidi Mohamed Cherki was a strict leader who required his riders to wear the haik, a white cloth measuring about six meters in length and two meters in width», Gmih explains. In Tbourida, the haik serves three purposes: it provides warmth at night, is suitable for prayer, and serves as a burial cloth. «A rider who dies in battle is considered a martyr and is buried without being washed, wrapped in the haik he is wearing. This symbolizes readiness for death and serves as a source of motivation for the fighters», he adds. Despite their differences, «these three schools adapt to their users and geography, but they share common elements: the same horse, the same saddle, and the same rifle», Gmih emphasizes. Commands and coordination Beyond riding techniques, each school developed its own tactical calls, known as Nedha, uttered by the mqedem, the commander of the sorba (troop). According to Gmih, these are «codes, signals given by the commander to synchronize the troop and each school has its own signals based on inherited war strategies». In the Khiyatia school, the sequence begins with urging the enemy to «show themselves» (Abanou), followed by invoking divine protection (Lhafid Allah). Then comes preparation: «Lkhayl» (horses) signals acceleration, as horses initially move slowly in what is called tchwira or tdrija. «Lmkahel» (rifles) signals readiness to shoot, followed by «Hob» which commands a synchronized shot. In the Cherkaouia school, the mqedem starts with «Abaliw» as riders move slowly, followed by «Lhafid Rebbi», then «Lmkahel», «Khayl», and finally «Hob». The Nassiriya school follows similar patterns. Within the Nassiriya school, the Sahrawi luʿba has its own distinct Nedha. «They begin with 'Bismi Allah,' then 'Hafid Allah' (drawn out), 'Hez' (lift rifles), 'Rgueb' (lean toward the ground), then 'Ahafiid,' followed by 'Hob,' shooting toward the ground to target hidden enemies», Gmih explains. Structure and hierarchy Just as it is structured in its tactics, Tbourida is also defined by a strict hierarchy. Within the sorba, the mqedem serves as the military commander, the tactical mind of the group, responsible for leading, teaching, and advising. But what happens if the mqedem falls in battle? According to tradition, the mqedem stands at the center, with deputies positioned to his right and left. The rider on the right takes over if he is incapacitated, followed by the one on the left if necessary. «These positions are given to the most skilled riders, the closer you are to the mqedem, the more skilled you are», Gmih notes. The mqedem is also distinguished by his position at the center of the sorba and by a specific attire that sets him apart from the rest of the riders. Traditionally, each tribe would elect or appoint the most honorable and capable among them to become mqedem. «The mqedem has many roles: he must be a skilled rider, capable not only of leading but also of teaching. He must have strong moral values and be a respected figure within the community», Gmih says. Tbourida rider Mohamed Gmih. / Ph. DR For this reason, he is carefully chosen by tribal elders. In some cases, the selection process is even more rigorous. «He is evaluated, interviewed, and tested by a Tbourida cheikh», Gmih explains. This includes technical tests in riding and weapon handling, as well as assessments of character and personality. «When the cheikh determines that the candidate meets all the requirements, he symbolically transmits the role to him, by writing with his finger in his hand», he adds, marking a verbal and symbolic agreement. A living heritage Today, as Tbourida has evolved into a performance, a reflection of Morocco's military heritage, its practitioners remain committed to preserving both its form and essence. «We have preserved both the form, attire and equipment, and the content, the language and commands», Gmih explains. Rather than war or armed resistance, Tbourida is now closely associated with moussems, agricultural festivals held across rural Morocco at the end of each farming season to celebrate the harvest. During these events, Tbourida riders find an opportunity to shine. «They prepare thoroughly, bringing their best horses, wearing their finest attire, and delivering their best performances», Gmih proudly says. And with pride comes transmission. «Tbourida has become a source of pride, a spectacle for which every family prepares. This enthusiasm is passed on, both directly and indirectly, to future generations», he insists. As the grandson of a mqedem and the son of a Tbourida rider, Gmih has himself passed this passion on to his three sons. «This is what we call la relève. Even if you don't intend it, this transmission happens naturally», he concludes.
