In my diverse encounters with the Boujloud concept, each instance has unfolded uniquely. This figure adorned in skins doesn’t merely reside in our collective memory; he manifests in various forms during Boujloud ceremonies across Moroccan cities. Let’s embark on this exploration, beginning with my first encounter in the countryside, where Boujloud paid an unsettling visit when I was less than two years old. The vivid memory lingered, leaving me to wonder how such an incident could be etched into such early recollection.

Subsequently, my perception of Boujloud transformed into a mere component of post-Eid El Adha carnivals, where people revel in the festivities using the inedible parts of sheep. The shift in perspective occurred when, in my role as an art agent, I learned about the myth’s darker origins. Art performer Kenza Berrada drew a parallel between Boujloud’s half sheep, half man form and societal monsters, sparking introspection about the character’s roots as a punishment for a heinous act in a sacred sanctuary.

The realization struck: Boujloud celebrations, deeply rooted in Moroccan history, extend beyond mere post-Eid revelry. The narrative took an unexpected turn in 2023 when a colleague from Agadir shared an aggressive version of the event involving young boys in disguise playfully chasing and hitting people on the streets. This was echoed in unprecedented Boujloud videos on social media, particularly highlighting the grandiose carnival in Agadir with aesthetically diverse disguises, from cosplays to transgender-inspired attire.

Online discussions revealed a spectrum of opinions, ranging from outrage to pride to detached appreciation. Amidst this diversity, I found it challenging to take a definitive stance. Delving deeper, I reflected on the core of Eid El Adha in Islam—a religious act of devotion and sacrifice, juxtaposed with Boujloud’s founding myth, which portrayed the metamorphosis as a punishment for an obscene act rather than a reward for faith.

The narrative pivoted to the intriguing fact that rituals, although seemingly similar in form, undergo diverse reinterpretations as societies evolve. The performative Avatar-like Boujloud, distinct from the founding myth, showcased varied aesthetics, representing a humanoid bride and a less feminized anime-inspired character. The dichotomy between these versions and a non-ceremonial, more aggressive iteration illustrated the multifaceted nature of this tradition.

Different interpretations and intentions converged at the Boujloud crossroad, sparking varied reactions. As I formed my opinion, rooted in the principles of Islamic moderation, I advocated for a clear distinction between Eid El Adha and Boujloud. Recognizing the festival as a convergence of diverse activities, I acknowledged the right to critique certain aspects while respecting different expressions of identity.

However, a critical line was drawn against mocking regional identities, intertwining Eid and Boujloud to fuel hostilities. Boujloud, I concluded, is a crossroad of diverse activities and intentions, defying singular definition and challenging preconceptions.

This journey through Boujloud’s various facets serves as a testament to the richness of tradition, the evolving nature of rituals, and the importance of embracing diversity while fostering understanding.