Dancer, choreographer, oriental dance teacher
CID Member (International Dance Council) - UNESCO

How the story begins...
Lolie was introduced to Oriental Dance in 1996. Since then, she has never stopped to deepen her work and serve her art.
After several years learning contemporary dance with Nicole Piazzon as a child, Lolie put dance aside for a while to dedicate herself to violin at the Conservatoire.
In 1996, she fell in love with Arabian classical music and almost naturally, this decisive encounter led her to her first Oriental dance steps in Nadia Messaï’s classes. More than a mere vocation, this is the birth of an unwavering passion for this art.

Her way

Lolie has been teaching Oriental dance in Paris since 2000, while relentlessly carrying on her training with very different teachers in terms of styles and approaches: Leïla Haddad, Mayodi, Myriam Douïou, Lamia Safieddine, Beata and Horacio Cifuentes, Raqia Hassan, Diana Tarkhan, Yousry Sharif, and many more.
At the same time, she keeps enhancing and going in depth into her work through modern jazz and contemporary dance classes.
Lolie gives her teaching a special dimension. Indeed, she sees her lessons as a genuine research laboratory, and although giving her pupils the fundamental keys of Egyptian culture matters to her (essential to study and to properly understand this dance), she also tries to break down Oriental dance and free it from the chains it is usually bound in. She refuses to submit to stereotypes. To her eyes, this art sets itself apart mainly through an infinite wealth and deepness.

On stage
While taking part in the Leïla Haddad troupe (2003- 2004), Lolie learned to love being on stage and became fully aware of what performing takes. She was awarded three international prizes between 2007 and 2009 by influential personalities of Oriental dance (Nagwa Fouad, Farida Fahmy) and has been praised for the creativity of her choreography along with her rich technical skills and the refinement of her interpretations.
Lolie has been taking more time organizing her own shows since 2010. She’s maintaining openmindedness and a rare personality in working with artists coming from totally different universes: bharata natyam, hip hop and electro dancers, classical pianist… Every creation shakes cultural and spatiotemporal marks while protecting the authenticity, values and messages conveyed by oriental dance:«Kobri» (specially created for «Festival 360°»), «Ils dansent… Hourriya», «Zehab», «Rendez-Vous» and «Notes d’Amour».

Musical events
Always motivated by her passion for Egyptian music, she asked Mohamed Ali, famous composer and nay (flute) player, and then Hossam Shaker, composer and wellknown kanoun player, to give life
to two albums entirely dedicated to Oriental dance: «Orientally, the Dance Collection», volumes 1 and 2.

On screen

a French TV shows:
"Touche Pas À Mon Poste" (D8) - “On a tout essayé”
- “Vivement Dimanche” (France 2)
-"Toute la nuit, ensemble" (France 5) - “Fan De" en compagnie de la chanteuse Nâdiya - "Hit Machine" (M6)

a Performance in the video clip "This Is The Song For Jane" by Geoffrey Loyaux - click here


a Dancer & actress in "Troyennes", written and directed by Jean-Louis Bachelet

Special Events sssssssssssssssssssssssss   

a On stage with Alpha Blondy in concert at the "Zénith de Paris" - click here


a On Radio Orient le 28/05/2012 - click here

a With "Raqs Sharqi-The Joy of Danse" 12/10/2010

1. Why did you start Raqs Sharqi?
I began to learn dancing when I was 5 years old, and I joined in an oriental dancing class when I was 17 years old after I came back from North Africa. It was first time for me to listen to oriental music when I was in Tunisia. I could listen to Fairuz or Abdel Halim Hafez when I walked through the shop street. I really fell in love with Fairuz. Arabic music attracts me everytime, and it was a trigger that I was interested in oriental culture and Raqs Sharqi.

2. What is the most important thing to do when we dance in public?
There are two important things. Where do you perform? Do you perform at a restaurant, in a cabaret, or on a stage? A professional dancer should not perform on a stage as if you were the center of the attraction. You have to care about the relationship between you and the audience when you dance in public. Of course, you can communicate with the audience because you are supposed to give them the emotion, dreams, and other feelings. Moreover, I consider about the settings. When you are on stage in a theater, you need to think about staging, the spaces, lights, entries, and exits.

3. Could you tell about your Raqs Sharqi style?
My style is synonymous with elegance and creativity. The Arabic music is generally very rich. Therefore, I try to master impeccable techniques to show the rhythm and story of the music with Raqs Sharqi.

4. Could you tell about the relationship between Raqs Sharqi and your background?
I studied rhythmic dance at first, when I was a child. Then I had been studying playing the violin in conservatory for 8 years. This background brought a certain rigor in my works and the research of musicality in my dancing. Later, I studied in graduate school of arts. Therefore, I can show a pictorial approach in Raqs Sharqi. When I create choreography, I need to visualize it as a canvas.

5. Could you give some advices or comments for Raqs Sharqi dancers?
Work out! Work out! Work out! Stay humble! Humility is a quality and it is necessary for many dancers who dream more shine on stage rather than produce an artistic work.

6. Who is your ideal dancer? Why do you like the dancer?
I admire many different artists, as they are sincere and devoted to dance. I have a deep admiration for Yousry Sharif as a choreographer because I have never had the opportunity to see him on stage. Yousry Sharif manages to combine modernity and a real Egyptian soul in his creative work.

7. What is your future plan with Raqs Sharqi?
I want to be an artist who transmits the pure essence of Raqs Sharqi as a teacher and as a dancer. I think Raqs Sharqi must be seen as an ART in itself. I do not practice my profession in Egypt today as if many dancers start to learn Raqs Sharqi in your own country. Therefore, my goal is to put the Raqs Sharqi on stage through performances, and show the value of ART. I have already created a show that is titled “Hourriya”, which is evolving over the performances that take place in Paris when I lived in. In this regard, the next performance of “Hourriya” is going to be on show in April 2, 2011 in Paris. Another project is producing new CD. The first one, “Orientally, the Dance Collection, Vol.1″ has been composed by the great Mohamed Ali and contains 12 exclusive music with very high quality. This project is very important for me because any beautiful dances could not exist without music that has a high value.

8. What is the most important thing to create choreography?
The recipe for a good choreography is: “Do not go to easiness, seek to surprising the audience, not with something spectacular, but with subtlety and musicality, take the space, let the dance breathe, because it is not necessary for the audience to remark too much of technique: the technique should serve the dance, not the contrary.” We all share the same love and the same passion for Raqs Sharqi. Let’s do our best for the ART of Raqs Sharqi to keep on growing up without losing the soul.            Mobile 00 33 (0)6 63 91 49 28