In Tafukt, Mriziga combines traditional Amazigh dance with contemporary choreography to create a powerful tool of resistance. He reclaims the figure of Athena, who is usually portrayed as a white, European goddess, as an Imazighen goddess, restoring her place in the region’s history and giving her a voice. By re-appropriating her, Mriziga is able to make a statement about the marginalisation of the Imazighen and the importance of including their stories in the official narrative. Through his work, Mriziga is able to imagine a more inclusive future, one in which the Imazighen are no longer sidelined but proudly take their place in the region’s history and culture.