The Ouled Naïl Women of Algeria: Dancers, Earners, and Keepers of a Powerful Tradition
- Johnny Bee
- Aug 2
- 5 min read
In the early 1900s, European travellers arriving in Algeria were captivated by a group of women whose confidence, beauty, and traditions challenged everything they thought they knew. Dressed in coins and silk, adorned with tattoos, and known for their mesmerising dances, the women of the Ouled Naïl tribe became icons of fascination. But behind the postcards and portraits was a story of autonomy, artistry, and survival that ran far deeper than any foreign gaze could see.
This is the story of the Nailiyat, professional dancers, hostesses, and financially independent women who lived life on their own terms, and whose legacy still sparks conversation more than a century later.
A Culture Rooted in Independence
The Ouled Naïl (pronounced willed nah-eel) are an Amazigh (Berber) tribe from the Atlas Mountains of Algeria who embraced Islam in the 7th century but maintained a distinct cultural identity well into the 20th century. Among the most visible and celebrated of their customs was the seasonal migration of young women, known as Nailiyat, to cities and oasis towns, where they performed as dancers and entertainers.
What made these women unique wasn’t just their artistry, but their independence. Unlike many neighbouring tribes, the Nailiyat chose this path not out of necessity, but out of pride. It was a respected tradition, passed down from mothers and grandmothers, that allowed women to earn, live communally, and return home with wealth and experience.
Dance, Dress, and Display
The Ouled Naïl dancers developed a style that was deeply expressive yet precise. The performances began with a high-pitched ululation called a zaghareet, followed by slow, deliberate movements, swaying hips, rhythmic foot taps, shoulder shimmies, and gestures thought to symbolise a connection between heaven and earth.
Their appearance was striking: ornate jewellery made from real coins, silk garments layered for texture and colour, intricate braids, tribal tattoos, henna-dyed hands and feet, and heavy spiked bracelets believed to serve both decorative and protective purposes.
Their style wasn’t just for performance. It was a visual statement of identity, personal success, and family pride.
A Female-Centred Economy
While men from the tribe typically remained in the mountains, the women formed tight-knit communities in urban spaces. Mothers, aunts, and elders acted as chaperones and housekeepers while the younger women worked. These female-led spaces provided safety, mentorship, and emotional support.
Hospitality was a key part of the Nailiyat’s role. With family oversight and personal autonomy, women hosted male guests—whether for conversation, companionship, or patronage. There was no fixed fee or obligation; everything was built on mutual respect. Gifts were expected, but terms were theirs to set.
When children were born, they were welcomed into the household. Daughters in particular were celebrated, often being trained to continue the tradition. After several seasons, a Nailiya could return to her village with enough wealth to buy land, start a business, or marry on her own terms.
Marriage and Reputation
In the Ouled Naïl tradition, a former dancer was often considered a desirable wife. She was seen as worldly, capable, and—most importantly—financially self-sufficient. As one local man told author Lawrence Morgan in 1956:
“Our wives, knowing what love is, and having wealth of their own, will marry only the man they love. And… will remain faithful to death.”
For some women, the city life became permanent. Owning cafes and mentoring younger dancers, they remained part of the cultural fabric well into old age.
The Colonial Gaze
The arrival of French colonial rule in 1830 brought changes that would deeply impact the Ouled Naïl way of life. European fascination quickly turned to objectification. Dancers who had once been admired for their skill and agency were now misrepresented in colonial media as little more than entertainers for male pleasure.
Photographers such as Rudolf Lehnert and Ernst Heinrich Landrock began producing and selling thousands of staged postcards featuring Ouled Naïl women. While some of these images captured genuine moments, many were carefully composed to appeal to European ideas of exoticism.
In fact, anthropologist and dancer Amel Tafsout has pointed out that much of what we think we know about these women comes from highly stylised imagery—headpieces stacked too high, jewellery layered to excess, and poses that catered to the Western male gaze. Meanwhile, the voices of the women themselves were rarely heard.
Misunderstood and Mislabelled
The French authorities did not attempt to understand the complex social and economic structures of the Nailiyat. Instead, they classified them under laws intended to regulate prostitution. Their cafes were closed or heavily taxed, their rights restricted, and their community spaces dismantled.
This official misunderstanding had long-term consequences. The women’s work became stigmatised, and their tradition eroded under layers of bureaucracy and cultural misunderstanding.
A Disrupted Legacy
By the time Algeria gained independence in 1962, the Ouled Naïl way of life had already been dramatically altered by colonialism, regulations, and warfare. What had once been a proud, self-sustaining tradition of female autonomy was now a misunderstood footnote in Algerian history.
Yet their legacy still speaks volumes.
At a time when women around the world are reasserting their right to self-determination, the Nailiyat remind us that autonomy, economic power, and community-centred leadership are not new concepts, but are part of a long and rich tradition.
References & Further Reading
Morgan, Lawrence. Flute of Sand. Viking Press, 1956.
Tafsout, Amel. “The Ouled Naïl and the Colonial Gaze.” Lecture and writings on Algerian dance traditions and Orientalism.
Alloula, Malek. The Colonial Harem. University of Minnesota Press, 1986.
National Geographic Archive, “Here and There in Northern Africa,” by Frank Edward Johnson, January 1914.
Brett, Michael & Fentress, Elizabeth. The Berbers. Wiley-Blackwell, 1996.
Mernissi, Fatema. Beyond the Veil: Male-Female Dynamics in a Modern Muslim Society. Saqi Books, 2003.
Boum, Aomar & LeVine, Mark. The Holocaust and North Africa. Stanford University Press, 2019.
Hanley, Will. “Colonial Intimacies: Policing Morality in British Egypt.” Journal of Social History, Oxford Academic, 2008.
Lehnert & Landrock Photographic Archive, Library of Congress: www.loc.gov
Bleyer, Jennifer. “The Women of the Ouled Naïl: Gender, Autonomy, and the Colonial Archive.” Middle East Studies Review, 2021.
Words by Johnny Bee, Ink-Stained Riddlemonger
Contributor, UtterlyInteresting.com — exploring the strange and forgotten corners of history.
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