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It was pure coincidence that I came to meet Ines. Like often it was someone who knew someone who knew someone...

A professional cosmetician, Ines also owns and runs a surprisingly beautiful dance studio in La Marsa, the posh suburb of Tunis.

Born in a rather well-off family, Ines grew up with Egyptian films and became fascinated by the dance presented in them, which she call "Oriental".

Her dance world was from then on divided into two parts. On the one side the exotic and graceful "Oriental", on the other side what she calls "Folk", ie the dance of Tunisia.

As she was exposed to Egyptian dance through films, she learnt the moves by copying what was shown in her TV. In the weddings, her mother would push her forward so she can show what she can.

Tunisian people, like most people in the orient, are very fond of Egyptian films and dance but however never see it as something indigenous. They have a feeling their way of dancing is very different (which it actually is, but probably not for the untrained European eye)

Now 35 years old, Ines masters Tunisian dance, but also teaches "Oriental" in her studio to adults and kids.

Unsurprisingly, her knowledge of Egyptian dance is actually very narrow. Where we, European dancers, are trained into differenciating the different folk styles of Egypt and beyond, use props like veils sword, candles or whatever falls in our hands, Ines' dancing has no other knowledge source than the films.

After having been teaching aerobic in clubs, Ines noticed that the women were showing a growing interest in Egyptian dance and shared this with her boss. As they was no teacher for that, she offered to try. A few years later she opened her own studio.

In her classes, Ines teaches "Oriental" as an art form, trying to prevent the young Tunisian generation from seeing it as a sexy dance (yes the clichés of bellydance are also valid in the Orient...)

Her average student is a 40-year old women, unveiled, with her hair died blond, willing to relax and learn some Egyptian dance moves (actually pretty much the same as in Europe!)

Her warm-up is modern and dynamic. After that she teaches a simple choreography, showing a lot, and trying to explain a little what she herself also only learnt through watching.

Her students, although all oriental and all able to dance something of the Tunisian folklore, struggle in the execution of the most basic bellydance moves. So much for the "we have bellydance in our blood because we're oriental"

Despite the fact that she is undeniably a good dancer, Ines rarely performs. And if she does so, it will be privately at a wedding party. If teaching bellydance is accepted by her father and husband, performing professionaly would offend them...

The first day we met in her studio and we were both very excited to see what each other could do.

She was dazzled by my technique and the mastery I have of my body. I was once more proved, while watching her, that you don't need all this technique to dance beautifully and from the heart.

We met several time and exchanged a lot of knowledge. I showed her as well as her students (I gave two classes in her studio) some basic veil work as well as upper body work, which they had never seen before.

She on her side taught me how to dance on Tunisian music.

She taught me the steps she learnt in the parties held in popular quarters around Tunis.

Tunisian dance, like all folk dances of the Maghreb, is earthy and repetitive, yet very energetic. The movements performed by the women derive from the harvest of the olive and especially the stomping on the fruits to make the precious oil.

Characterised by a heavy twisting of the hips and a up-on-your-toes position, with no arm or upper body work whatsoever, Tunisian dance is far away from the subtle expressivity of Egyptian dance. It much more extrovert and happy, and like I have said, earthy. Actually more fun :)

Ines' dance studio

Lunch together aat a small café in La Marsa after several hours of dancing

Ines dancing on a wedding