王红川

突尼斯是地中海南岸非洲大陆最北端一个美丽的阿拉伯小国。它在非洲素有“和平绿洲”的美誉。然而，2010年由一名商贩自焚事件引爆的民众对一系列社会问题的不满，导致民众纷纷走上街头，以“民主”“民生”为口号，爆发了一场以国花为名的“茉莉花革命”。声势浩大的“革命”浪潮来势凶猛，一个月之内执政长达23年的总统被迫逃亡、政权被推翻，国家发生巨变。事件迅速波及西亚北非各国，随后引起中东社会发生剧烈动荡，由此演变为轰动一时的“阿拉伯之春”革命浪潮。

时隔8年之后，世界局势风云变幻。人们对这场“革命”的性质、背景和后果有了比较清醒的认识。突尼斯缘何发生如此大规模的社会动荡？为什么它在阿拉伯世界引起如此大的反响？本文的主旨并非对这些复杂的政治和社会问题加以分析和评判，而是注意到一个明显现象：即无论突尼斯社会对“革命”的评论如何众说纷纭，文化艺术界人士众口一词始终对其持肯定态度。他们认为，“革命”促进了思想的解放，使艺术家获得了表达的自由，促进了艺术的繁荣。甚至有人认为这是“革命”的最大成果。而在所有艺术领域之中，突尼斯当代舞蹈异军突起，以蓬勃之势从社会的边缘走上社会的前沿。它犹如“革命”浪潮中喷涌而出的浪花，呈现出前所未有的繁荣景象。

从世界范围内来说，当代舞产生于20世纪七八十年代的欧美，如今已经遍地开花，成为舞蹈艺术的主流。但对于舞蹈一直处于被漠视，甚至被鄙视地位的阿拉伯国家来说，突尼斯当代舞蹈在21世纪初这场巨大的社会浪潮中蓬勃兴起的现象，引人注目，发人深省。若要了解它在“革命”进程中的表现，以及它与“革命”之间的内在联系，就要从突尼斯的历史文化特性说起。

一、文化的多元、开放性和世俗化是突尼斯当代舞发展的土壤

突尼斯虽然是一个信奉伊斯兰教的国家，但是，由于它历史悠久及得天独厚的地缘因素，其文化呈现出开放性特征。

1.多元文化的历史形成

突尼斯被认为是悠久文明和多元文化的融和之地。由于它位于非洲大陆最北端，北部和东部面临地中海，比邻欧洲，地理位置十分重要，历来是兵家必争之地。公元前9世纪初，腓尼基人在今突尼斯湾沿岸地区建立迦太基城，后发展为奴隶制强国。公元前146年成为罗马帝国阿非利加省的一部分。公元5—6世纪先后被汪达尔人和拜占庭人占领。703年，被来自阿拉伯半岛的穆斯林征服。13世纪，哈夫斯王朝建立了强大的突尼斯国家。1574年沦为土耳其奥斯曼帝国的一个省。1881年成为法国保护领地，1956年获得独立。

由此可见，在长达三千多年的历史中，突尼斯先后遭罗马、土耳其、阿拉伯、西班牙、意大利和法国等多国入侵，使突尼斯从历史上就形成了多元文化相互融合、兼收并蓄的特点。

2.文化的世俗化倾向

703年突尼斯被穆斯林征服后，遂开始阿拉伯化。所谓阿拉伯文化的核心就是伊斯兰教精神。伊斯兰宗教是阿拉伯文化的灵魂。阿拉伯—伊斯兰文化在上古时代（8—12世纪）形成了灿烂的文明，为人类文明的延续和交流做出了很大贡献。它擅长的领域是数学、哲学、书法和建筑等，但以身体表现情感的舞蹈形式在浩瀚的古籍中没有任何文字记载。女性以及舞蹈在阿拉伯世界中讳莫如深，处于社会的边缘。

1956年3月20日，突尼斯获得独立。开国总统哈比卜·布尔吉巴奉行文化开放政策，对于宗教势力参与政治活动采取了一定的压制措施，从而使突尼斯文化的世俗化程度在阿拉伯国家中相对较高。尤其在文化和教育领域的改革可圈可点：

一是为了摆脱国民落后愚昧的状况，国民受教育程度得到提高。他在任期间，将40%的国民生产总值用于教育，培养出了一代高素质的国民；二是设立宪法使突尼斯女性于20世纪60年代就享有选举权。这是阿拉伯世界，乃至在非洲都绝无仅有的先例。直至今日，突尼斯妇女享有相当高的社会地位，妇女运动在突尼斯是有历史传统的。由此可见突尼斯社会历史上曾经有过的开放进步的程度。

正因为突尼斯有历史悠久、文化多元、社会世俗化、文明和开放程度高的特点，其文化艺术呈现出多彩多姿的面貌，这一切为突尼斯舞蹈发展奠定了基础。

二、“茉莉花革命”前后当代舞状况

1.“茉莉花革命”前突尼斯当代舞的雏形

由于上述原因，突尼斯的总体文化环境相对于其他阿拉伯国家来说比较开放和宽松。因此，早在20世纪80年代初，政府就有扶持当代舞蹈创作的意识。1982年，国际戏剧协会舞蹈委员会创建了“国际舞蹈日”活动。首次活动主题是纪念17世纪法国舞蹈之父乔治·诺维尔。此后，每次活动都由一位舞蹈家以自己的方式讲述舞蹈。2013年，组委会邀请了中国台湾地区舞蹈剧场艺术总监林怀民担任主讲嘉宾，其主讲题目为“舞蹈是一种强烈的表达方式”。

1980年，突尼斯文化部委任从瑞士学成回国的娜瓦尔·斯岗塔尼女士组建了一个拥有11名成员的当代舞团。这在突尼斯已经是国际规模的舞蹈团了，其余舞团大部分不过是4—5人的民间组合，其中只有个别享有政府资助。娜瓦尔·斯岗塔尼女士创作的作品曾受邀参加突尼斯最大的迦太基国际艺术节，这可以说是突尼斯当代舞的最高成就。该团后来因资金问题难以为继，项目搁浅。

“茉莉花革命”前的旧制度下，政府对文艺界施行严格的监管制度。来自宗教极端势力的政治压力，使艺术家没有创作的自由，仿佛生活在“白色恐怖”之中。一位舞蹈编导说，由于他创作的舞蹈剧情需要在舞台中间放置一个十字架，而当他把十字架竖在舞台的时候，在场的人全都大惊失色。因为如果被宗教极端分子看到，演出肯定凶多吉少。另有报纸记载，几个中学生仅仅因为在校园中跳了一会儿霹雳舞，就被告发到文化部，最终遭到校方开除处分。由此可见当时突尼斯艺术家创作和生存状况的严峻。

总之，突尼斯当代舞蹈的艺术创作，在革命之前仅仅是雏形，是被社会边缘化的小众艺术。宗教极端分子的干扰、社会的不认同、资金的匮乏、场地的欠缺等一系列问题，使当代舞蹈在突尼斯的发展步履维艰。

2.“茉莉花革命”后精神的解放与当代舞的勃兴

然而2010年的“茉莉花革命”改变了这一切。艺术家获得了思想解放和精神自由，打破了艺术家对威权统治的恐惧，激发了他们的创作灵感。尽管“茉莉花革命”爆发后，临时政府缺乏经验，各种矛盾依然没有得到解决，国家经历了曲折而艰难的过渡期，但人们仍然对“革命”的积极意义报以肯定的态度。

舞蹈领域更是出现了前所未有的蓬勃局面。人的身心是一致的，作为以身体为创作工具的舞者来说，思想和精神的自由对人体的表现至关重要。人们看到，一个年轻的舞蹈群体已经形成。他们怀着责任感和使命感深入社会的各个层面，把舞蹈作为工具，勇敢地以艺术作品表达自己对社会的观点和感受，向社会展现自己的存在和价值。各种舞蹈创作、交流、宣传活动异常活跃，当代舞从未如此吸引社会的眼球。在2013年著名的哈马麦特国际艺术节上，开场演出破天荒上演了一台当代舞蹈专场。人们开始对舞蹈刮目相看！

在这关乎国家前途命运的政治风云中，原本处于边缘状态的舞蹈突然走入公众的视野，一群年轻的当代舞者，没有蜷缩在自己的象牙塔里自我欣赏，而是以战斗的姿态成为时代浪潮中最有活力的一支力量。

三、茉莉花当代舞的弄潮儿及其作品特点

1.谁是茉莉花当代舞的弄潮儿

虽然突尼斯历史悠久，但是在它的浩繁的历史古籍中有关舞蹈的记载却语焉不详。国人所知的阿拉伯肚皮舞一般局限于旅游行业范围内，不是传统意义上的舞台艺术形式。舞蹈在突尼斯本土仅靠口头代代相传，根本没有建立系统的教育知识体系。

鉴于一百多年法国殖民地的历史，时至今日，突尼斯与法国仍然具有千丝万缕的联系。在舞蹈方面，作为曾经的宗主国，法国无论在人力、物力和财力等方面都给予了突尼斯大力支持与帮助。所以，热爱舞蹈的年轻人大多都要跨越地中海去法国或其他欧洲国家接受系统的舞蹈教育和训练。他们在欧洲学到的不仅是现代舞技术和风格，同时还有现代的思想观念。可以说这些年轻的舞者从内到外全方位地接受了西方当代舞教育。若干年后当他们学成回国的时候，无论是舞蹈的技术技巧还是现代意识和思维方式，都打上了欧洲当代舞的烙印。

实际上，突尼斯当代舞之所以在“茉莉花革命”中应运而生，可以说在相当程度上是因为拥有这批留欧的青年舞者。他们寻求自由、具有社会民主意识，这一切都与突尼斯社会的政治诉求和民生诉求相契合。因此，当“茉莉花革命”来临之际，他们奋不顾身融入其中，为“革命”推波助澜，充当“茉莉花革命”的弄潮儿。他们以舞蹈作为行动的工具，使当代舞蹈染上了“茉莉花革命”的花香，从而使“茉莉花革命”时期的当代舞蹈从内容到形式都形成了“革命”时期（“后革命”时期）独特的风格。

2.茉莉花当代舞的特点—形式的欧化与内容的本土化

从国际角度来讲，现代舞一般指以玛莎·格莱姆为代表的20世纪50年代之前的美国现代舞。它以反抗僵化的欧洲古典芭蕾为起点，具有鲜明的个性化特征和技术方式。当代舞则是对欧洲现代舞的称谓，其特点与主流大众更为接近，体现出前卫、主流的特质。

本文所说的突尼斯茉莉花当代舞，是指2010年革命浪潮以来带有鲜明时代色彩的舞蹈。它们形式多样，风格各异。但其总体特征，在于创作者把自己视为社会的公民，将自己融于社会变革的大风大浪之中，用作品与“革命”的动荡时代和大众发生直接的对话，发挥舞蹈的社会功能。

突尼斯年轻的舞者们接受了西方当代舞的技术技法和思想观念，但他们作品的内容却是来自本土的现实生活和社会现实。

（1）以现实革命为主题。“革命”激发了年轻的舞者强烈的创作欲望，以“革命”为主题的作品很多，它们反映创作者对“革命”的激情和忧国忧民的情怀。比如，一个名叫“雪山的倒塌”的舞蹈作品，编导用雪山隐喻突尼斯的悠久历史。而雪山的崩塌寓意突尼斯民族特性被抹杀的状态，反映了“革命”后突尼斯民众在灾害面前无可奈何的心态。

（2）公民艺术家—他们有话要说。突尼斯虽然是一个人口不足千万的小国，但其国民素质较高，现代民主意识和公民意识较强。如前所述，由于历史和地理原因，突尼斯开放程度较高，尤其当代舞是一个国际化的平台，舞蹈编导国际游历广泛交往众多，文化素质高，他们往往把自己的理想、观念都融在自己的作品里。比如，有舞者用作品表现自己对物质消费与精神需求的关系问题的思考，有的则用作品表明“国家兴亡，匹夫有责”的社会责任感等。原突尼斯当代舞团团长、从瑞士学成回国的娜维尔·斯坎杰妮女士对水环境的重要性有深刻的认识。2015年她编排的一台舞剧叫做“救命水”。她说，作为公民艺术家，她想用自己的作品唤醒人们对我们生存其中的地球的保护意识。另外一位名叫萨伊达的女导演组织举办了一场舞蹈论坛，主题为“思想的解放与身体的解放”，深入探讨思想与舞蹈之间的关系。

总之，茉莉花当代舞编导以作品为工具，传达自己的思考和思想。正如法国当代舞大师莫里斯·贝雅所说：舞蹈已经不再讲故事了，而是要说话！

四、做舞蹈的启蒙者

尽管“茉莉花革命”后宽松的文化环境极大地激发了当代舞蹈编导的创作激情，但突尼斯毕竟是宗教氛围浓厚的国家，社会对舞蹈的偏见根深蒂固。舞蹈在这个社会中代表的是前卫、西化和现代化，这种情况不可能一下子被改变。因此，在舞蹈创作中往往舞者人数太少，满足不了编导的需求，常常发生舞蹈编导创作了作品却找不到演员来表演的现象。

年轻的舞者们为了消除社会上对舞蹈的偏见，争取社会的承认和提升认知度，使舞蹈发挥更大的社会功能和作用，做出了很大努力。在“后革命”的几年中，当代舞者们组织了大量舞蹈研讨会，各种表演、社会动员等活动此起彼伏。比如2013年，突尼斯文化部艺术委员会成立了“舞蹈思考艺术方案”协会。顾名思义，该协会致力于规划和思考突尼斯舞蹈的发展，寻求解决舞蹈发展与社会的关系等问题。

在这些年轻人中间，令人印象最深的是一个名叫爱尔威·豪泼的年轻的舞蹈女编导。她一头齐耳短发，身着白衬衫，系领带，干练而潇洒，一派西方新女性的形象，成为“茉莉花舞蹈”形象的代言。她活跃于学校、剧场、闹市等各个公共场所，热心于向民众推广舞蹈。2012年，突尼斯国际舞蹈节期间，舞蹈协会组织了城市交通路口“红灯行动”，即在特定的时间让城市的多个交通十字路口亮红灯。舞蹈演员们有的在红灯的间歇打开停下来的小汽车的车门，邀请司机跳舞，有的则在人行道上邀请路人跳舞。为了减少小民众对舞蹈的偏见，唤醒民众的舞蹈意识，爱尔威·豪泼发明了很多脍炙人口又朗朗上口具有煽动性的口号。比如：“只需要抬抬脚！”“只需要抬脚的工夫！”而最振聋发聩的口号是：“我舞，故我在！”

好一个响亮的宣言！这如同“革命”浪涛中喷涌而出的舞者的呐喊！它无疑针对的是西方哲学史上一个回荡了几个世纪的哲学命题，即“我思，故我在”。其通俗的含义可以译为“我存在，因为我会思考”。不论它的对与错，这是法国哲学家笛卡儿深深影响了几代欧洲人的哲学思想。他否定人的感性经验，认为人只有理性思考才能获得存在的意义。而今， 这批年轻的舞者传出了一句与之截然相悖的自我认知方法：我舞，故我在！其叛逆、自我、果敢、生猛可见一斑！实际上，他们就是想以异乎寻常、振聋发聩的方式警醒民众：要行动起来，相互交流，解放身体，健康地、感知丰富地生活，以此来实现舞蹈启蒙，争取社会的支持。

由此可见，突尼斯的当代舞者怀着一种社会使命感和民主的舞蹈意识，将视角面向大众和社会，以舞蹈表现社会的现实生活和生存环境。他们思考最多的问题是：舞蹈的社会意义何在？他们认为：舞蹈是每位民众有权享有的文化权利，舞者有责任和义务与大众分享这种权利。他们以自己的实际行动表现出与这个动荡的时代形成一种对话的强烈渴望。

此时，这些年轻的当代舞者不把自己视为舞台上的艺术精英，而变成了传播舞蹈的社会工作者。2013年，他们的努力终于得到了官方的支持：突尼斯文化部首次给10部舞蹈作品投资。尽管这笔投资费用远远不能满足实际需要，但它预示着舞蹈从此在各种艺术门类中占有一席之地，跻身演出市场。被边缘化了如此之久的舞蹈艺术，毕竟向前迈出了一大步。

结 语

突尼斯当代舞蹈，伴随着一场风起云涌的“革命”浪潮勃然兴起，对于一个舞蹈艺术基础相对薄弱、身体文化讳莫如深的阿拉伯国家来说，具有特殊意义。它不仅给舞蹈带来了前所未有的生机和转变，更重要的是推动了社会的进步、民主和活力开放。我们从突尼斯当代舞的勃兴中看到，社会为海，舞蹈为舟，只有改变社会，舞蹈才能畅游于中。

Jasmine of Contemporary Dance Growing after the Fire of Revolution The Rise of Tunisian Contemporary Dance

Wang Hongchuan

[Abstract]

Tunisia is a small Arab country in northern Africa on the southern coast of the Mediterranean Sea, known as the “Peace Oasis” of Africa.However, in the late 2010, a populist movement triggered by an unemployed college student, a street vendor, who protested illegitimate enforcement attracted the attention of the entire world.The death of the vendor ignited people’s discontent with a series of social problems such as government corruption, the widening gap between the rich and the poor, and the high unemployment rate.As the resentment boiled, people went to the streets in anger, and a largescale protest broke out.About a month later, President Ben Ali, who had ruled the country for 23 years, was forced to flee to Saudi Arabia.The regime collapsed, and the country has undergone tremendous changes since then.This is the so-called “Jasmine (Tunisian National Flower) Revolution.”

As the revolution went on, dance that had been marginalized in the society appeared frequently in newspaper headlines and became a public topic: a group of young contemporary dancers used dance as a tool to assert their existence and value to the world.They performed in theaters, bravely expressing their views and feelings about the society through dance; or performed on streets to popularize the art of dance.While the destiny of the country was under test, dance played its part rather than hiding in the corner.Instead of mere selfappreciation or complaint, dance delivered the positive message to the society: “I dance, therefore I am”.

In a country where the art of dance is relatively weak, and the human body is a taboo, the sudden rise of contemporary dance has a special significance in the national revolution.

l.Characteristics of the secular culture and preliminary growth of contemporary dance

1.Secularization of Tunisian culture

In the 9th century BC, the Phoenicians established the Carthage Empire, a historically famous slavery state.Due to its geographical importance, in its history of about 3 000 years, Tunisia was successively invaded by Rome, Turkey, Arabia, Spain, Italy and France.In 703 AD, it was conquered by the Moss from the Arabian Peninsula and gradually became an Arab state for which Islam is the soul of culture.Its history as a French colony from 1881 to 1956 fostered the inclusiveness of the Tunisian culture.After independence, the founding President Habib Bourguiba implemented the policy of cultural liberalization and repressed Islamist forces in political activities.Thus, the Tunisian culture was gradually secularized.Reforms in culture and education are particularly remarkable: First, during his office, the President invested 40% of the GDP in education, thereby cultivating a generation of high-quality nationals; and second, the Constitution gave women in Tunisia the right to vote in the 1960s.This is unique in the Arab world and Africa.At present, Tunisian women enjoy a high social status.It is precisely because Tunisia has pursued the liberalization policy since its independence.Its secularization is very high in the Islamic world.The concept of a modern country is deep in the minds of the people, so the Tunisian culture and art are open, secular and diversified.

2.Weak foundation for contemporary dance before the revolution

The Arab-Islamic culture excels in mathematics,philosophy, calligraphy and architecture, but it has no written history of dance that expresses emotions through the body.Dance was a taboo in the Arab world, to some extent.In a relatively open cultural context, in the early 1980s, the government began to support contemporary dance.In 1980, the Ministry of Culture appointed Ms.Nawel Skandrani, who had completed her studies in Switzerland, to form a contemporary dance company consisting of 11 members.The company was later invited to participate in the Carthage International Art Festival in Tunisia, which marked a breakthrough for contemporary dance in Tunisia.Later, due to financial shortage, the company disbanded.The creation of contemporary dance in Tunisia was only preliminary before the revolution;it was not even creation in the real sense.It was a marginal niche art.Its progress was deterred by many issues, including the lack of social recognition, financial resources and venue.In fact, Tunisia’s contemporary dance took off after the “Jasmine Revolution.”

ll.The rise of contemporary dance after the “Jasmine Revolution”

After the outbreak of the “Jasmine Revolution” in 2010, Tunisia experienced a difficult transition lasting several years, the “post-revolution” period.During this period, as the Interim Government lacked experience in country administration, insecurity, political crisis and economic downturn hit the country and the people, so the promises of the revolution were unfulfilled.However,the people kept a positive attitude towards the revolution.The cultural and art communities, for example, believed that the revolution has liberalized artists.Days are gone when political and religious white horror prevailed, and artists lived in fear.They were monitored and could be blacklisted any time facing the risk of being persecuted.The revolution broke the spell of the authoritarian rule,which has stimulated the artists’ creative power.Young dancers gradually became active, more and more often engaged in dance parties, promotional and exchange activities.Dance has never been so visible in the country.At the Hammamet International Arts Festival in 2013, the opening performance highlighted contemporary dance,which was unprecedented and amazing to the audience.

lll.Characteristics of Tunisian contemporary dance

1.Europeanization of technique and concept

Although Tunisia has a long history, it has no traditional dance.In fact, there is no written record of dance in the Islamic culture.Arabic belly dance is a tourist entertainment; it is not an art at all.Therefore,many dance fans travel to Europe where they can receive systematic and advanced dance education and training.A few years later, they would become Europeanized dancers and choreographers, as they’ve learned the European way of dance both in terms of technique and concept.As Tunisia was once a French colony, France has a close relationship with Tunisia and has given a great support for the growth of contemporary dance in Tunisia.Therefore,from the concept of dance to style or technique, Tunisia’s contemporary dance has taken very much from Europe,so it is a branch of European contemporary dance.As a result, contemporary dance represents modernity in Tunisia, an Arab country.Although the scale of contemporary dance in Tunisia is very small, with merely dozens of members, it has extensive connections with Europe and the rest of Africa, as part of Tunisia’s inclusive and open culture.This open, avant-garde,inspired and ambitious young community emerged soon after the Jamine Revolution that overthrew the autocratic rule, with a close connection with the ideological and cultural trends of the society in which they live.

2.Localization of ideology and close connection with society

While Tunisia’s young dancers embrace the techniques and concepts of Western contemporary dance, they are 100% native in ideology.In the post-revolutionary period,the native ideology is reflected in the following aspects:

(1) The revolution as a recurrent motif.This historic political revolution has fueled the creative urge.The revolution has become the motif of many works,which reflects the influence of the revolution and the artists’ concern with the fate of the country and the people.For example, in a dance entitled “Collapse of the Snow Mountain”, the snow mountain is the metaphor of the long history of Tunisia, and the collapse of the snow mountain symbolizes the fall of Tunisia’s national identity, reflecting the helplessness of the Tunisian people in the wake of the revolution.

(2) Citizen artists.An obvious feature of Tunisia’s contemporary dance is that the artists see themselves as citizens and engage in direct dialogues with the community during the turbulent period through their works.Morris Beja once said, “Dance is no longer telling stories: it speaks！” Tunisia’s choreographers often embed their personal ideas and aspirations into their works.For example, some examine the relationships between material and spiritual needs, and some argue that ordinary citizens should assume their social responsibility.Ms.Nawel Skandrani draws attention to the importance of water and the environment in her ballet “Water for Life.” Choreographer Saida once organized a dance seminar entitled “Emancipation of Mind and Emancipation of the Body” to explore the relationships between ideology and dance.

(3) Social enlightenment and communication.Although the Jasmine Revolution inspired contemporary dance in Tunisia, contemporary dance is far from being accepted by the traditional Islamic society where prejudice against dance is deeply rooted.Very often,choreographers have created good works but cannot find actors.To remove the social prejudices against dance, young dancers have worked hard to improve social recognition and understanding, trying to make dance play a bigger social role.For example, in 2013, the Dance Thinking & Art Program Association was established.In another example, during the Tunisian International Dance Festival 2012, the National Dance Association launched the “Red Light Action” to raise the awareness of traffic safety.They have the red light on at multiple traffic intersections at the same time, and then dancers would open the door of cars stopped by the red light and invite the drivers to dance at the interval of the red light, and some would also invite passers-by to dance on the sidewalk.Their slogan is: Just stand up！ In this way,enlightenment is done through dance, and dance may in turn win community support.In short, contemporary dancers in Tunisia are concerned with the community and public wellbeing.They have a strong sense of social mission.They may ask from time to time: What is the social significance of dance? They believe that dance is a cultural right of the public.Dancers have the obligation to share this right with the public.In this sense, young contemporary dancers do not regard themselves as artistic elites on the stage but play the role of social workers and dance promoters.Their efforts finally earned the official support: in 2013 the Tunisian Ministry of Culture granted fiscal support for 10 dance projects, which was the first governmental investment in dance.It indicates that dance has earned a position along with various other art categories in Tunisia.

Conclusion

Humans in different regions of the world are at different levels or stages of development.While the artists of some developed and advanced countries enjoy art for art’s sake, contemporary dance in the Arab world, like the people there, is fighting for survival.Contemporary dance has a long way to go in this country.But the strong resilience of contemporary dance in Tunisia that rose after the revolution will eventually break down religious restrictions and cultural barriers, and therefore overcome funding shortage.

[Keywords]

Tunisia, Jasmine Revolution, contemporary dance