{"id":2391,"date":"2019-05-09T16:41:54","date_gmt":"2019-05-09T15:41:54","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=2391"},"modified":"2023-08-21T14:51:51","modified_gmt":"2023-08-21T13:51:51","slug":"nagwa-fouad","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/nagwa-fouad\/","title":{"rendered":"Nagwa Fouad and Raqs Sharqi in Egyptian Cinema and TV (the 1970s and Early 1980s) (5.5)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter is-resized\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-egyptian-cinema.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-egyptian-cinema.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-egyptian-cinema-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-egyptian-cinema-533x800.jpg 533w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-egyptian-cinema-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-egyptian-cinema-267x400.jpg 267w\" decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Raqs shariq in Egyptian cinema and on tv in the 1970s and 1980s.\" class=\"wp-image-2398 lazyload\" style=\"width:300px;height:450px\" width=\"300\" height=\"450\"  sizes=\"(max-width: 300px) 100vw, 300px\" \/><noscript><img decoding=\"async\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-egyptian-cinema.jpg\" alt=\"Raqs shariq in Egyptian cinema and on tv in the 1970s and 1980s.\" class=\"wp-image-2398\" style=\"width:300px;height:450px\" width=\"300\" height=\"450\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-egyptian-cinema.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-egyptian-cinema-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-egyptian-cinema-533x800.jpg 533w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-egyptian-cinema-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-egyptian-cinema-267x400.jpg 267w\" sizes=\"(max-width: 300px) 100vw, 300px\"><\/noscript><\/figure>\n\n\n\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_88 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6ab5bc099f325\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6ab5bc099f325\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/worlddanceheritage.org\/nagwa-fouad\/#Raqs_Sharqi_on_Egyptian_TV_and_in_Movies\" >Raqs Sharqi on Egyptian TV and in Movies<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/worlddanceheritage.org\/nagwa-fouad\/#Nagwa_Fouad\" >Nagwa Fouad<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/worlddanceheritage.org\/nagwa-fouad\/#Feelings_DancerAudience_Interaction_and_Kinaesthetic_Empathy\" >Feelings, Dancer\/Audience Interaction and Kinaesthetic Empathy<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/worlddanceheritage.org\/nagwa-fouad\/#Nagwa_Fouads_Background\" >Nagwa Fouad&#8217;s Background<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/worlddanceheritage.org\/nagwa-fouad\/#Nagwa_Fouad_in_the_Movies\" >Nagwa Fouad in the Movies<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/worlddanceheritage.org\/nagwa-fouad\/#Nagwas_Dance_Creations\" >Nagwa\u2019s Dance Creations<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/worlddanceheritage.org\/nagwa-fouad\/#Nagwa_Fouads_Movement_Style\" >Nagwa Fouad\u2019s Movement Style<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Raqs_Sharqi_on_Egyptian_TV_and_in_Movies\"><\/span>Raqs Sharqi on Egyptian TV and in Movies<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">During this timeframe in Egypt, there are more videos of raqs sharqi from TV shows, rather than just movies. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, there seems to be a growing interest in trying to legitimize dance as an art form.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The two most famous raqs sharqi dancers of the time, Soheir Zaki and Nagwa Fouad, both started their dancing career earlier in the 1950s and 60s.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, I have chosen to analyze their dance in this timeframe as this is when they reached their apex. Below I will analyze the main figures of this age.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Nagwa_Fouad\"><\/span>Nagwa Fouad<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Nagwa-Fouad.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Nagwa-Fouad.jpg 375w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Nagwa-Fouad-300x266.jpg 300w\" decoding=\"async\" width=\"375\" height=\"333\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-2402 lazyload\"  sizes=\"(max-width: 375px) 100vw, 375px\" \/><noscript><img decoding=\"async\" width=\"375\" height=\"333\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Nagwa-Fouad.jpg\" alt=\"\" class=\"wp-image-2402\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Nagwa-Fouad.jpg 375w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Nagwa-Fouad-300x266.jpg 300w\" sizes=\"(max-width: 375px) 100vw, 375px\"><\/noscript><figcaption class=\"wp-element-caption\"> <strong>Figure 23<\/strong> &#8211; Nagwa Fouad, video still from the 1976 movie You who were my beloved (ArabClassicFilms 2011b) Nagwa Fouad \u2013 Innovation in Dance Productions <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Nagwa Fouad (\u0641\u0624\u0627\u062f \u0646\u062c\u0648\u0649) appeared in Egyptian movies from at least as early as 1957, in the movie <em>Touha<\/em> (ArabClassicFilms, 2011a). However, she reached the peak of her very long dance career in the 1970s and 80s, when she did most of her TV show&#8217;s dance productions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">My research participants mentioned her often in the interviews, with Francesca saying about Nagwa that \u2018She was amazing because she was really an entertainer. . . . And she was innovative\u2019. Helen is also a huge fan:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Nagwa Fouad! [laughs] She is my ultimate favourite! I can\u2019t get enough of watching her . . . I think just her exuberance is fantastic. And she just has this utter joy when she dances that comes across and she can get away with quite saucy stuff. She does that big chest shimmy quite a lot . . . but she\u2019s got such an innocent joyous smile on her face, you can\u2019t possibly take it as salacious, it\u2019s just huge fun.<\/p>\n<cite>Research participant on Dr Valeria Lo Iacono&#8217;s PhD 2019.<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Feelings_DancerAudience_Interaction_and_Kinaesthetic_Empathy\"><\/span>Feelings, Dancer\/Audience Interaction and Kinaesthetic Empathy <span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">In these quotations, the importance of feelings, dancer\/audience interaction, and kinaesthetic empathy in the Egyptian Raqs sharqi discourse is evident.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Therefore, the phenomenological aspect of dance heritage comes forward. At the same time, the expressivity of the dancers is also relevant from the socio-cultural point of view.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Her joyous expressions constitute a resource that allows her to overcome certain rules in society.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">That is, it is supposedly not good for a woman performer to be salacious but her likeability, the way in which she expresses her sensuality makes it acceptable (at least in the eyes of a British, middle class and middle-aged woman living in the 21st century but it may be different for someone from a different socio-cultural background).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Nagwa_Fouads_Background\"><\/span>Nagwa Fouad&#8217;s Background<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">El Safy (2001) reports that Nagwa Fouad was born in Alexandria, Egypt, to an Egyptian father and a Palestinian mother and the family moved to Jaffa, soon after Nagwa\u2019s birth.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 1948, the family had to flee their home because of Jaffa\u2019s occupation by Israel. Nagwa\u2019s father fled to Alexandria and Nagwa moved to Cairo, where her dancing career started, when she was working as a receptionist at the Orabi Agency (an agency for the stars of the Egyptian cinema).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A crucial moment in her career was meeting the composer, conductor, and producer, Ahmed Fouad Hassan, who suggested that Nagwa performs in his 1960s musical <em>Adwaa Al Madina<\/em> (<em>City Lights<\/em>).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ahmed encouraged Nagwa to learn theatrical techniques and showmanship. Nagwa said: \u2018He trained me at the Nelly Mazloum Dance School and I joined the National Dance Troupe to study folklore with Russian teachers\u2019 (El Safy, 2001, para. 8).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Nagwa_Fouad_in_the_Movies\"><\/span>Nagwa Fouad in the Movies<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Nagwa Fouad acted and danced in several movies, performed for famous people from all over the world when they went to Egypt, produced and starred in about one hundred television musicals, and was considered one of the most famous Raqs sharqi dancers in the Arab world in the 1970s.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The TV musicals, which Nagwa directed and starred in, were her biggest innovation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Up until then, in the 1970s, Raqs sharqi had been performed at events and celebrations, in nightclubs, and on cinema sets. With Nagwa Fouad\u2019s musicals, Raqs sharqi took a completely new dimension, which has not been replicated since.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For the first time, Raqs sharqi and the music that went with it, were the main event, rather than only part of another event such as a wedding or a movie.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These musicals were part of a trend, which had started in the 1950s with Mahmoud Reda, for the legitimization of dance in Egypt and the discovery and revival of folkloric dance.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Nagwas_Dance_Creations\"><\/span>Nagwa\u2019s Dance Creations<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">According to El Safy (2001), Nagwa\u2019s dance creations were the result of her collaboration, from 1975 to 1992, with the choreographer Mohammed Khalil who had extensive experience of theatre dance and great knowledge of Egyptian local dances.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">El Safy (2001, para. 16), in her article, quotes parts of a conversation she had with Mohammed Khalil: \u2018Oriental dance, he felt, needed a framework; it needed the context of a storyline with \u201cgood music, good orchestra, choreography, and costume changes\u201d\u2019. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nagwa Fouad\u2019s musicals were indeed big productions, involving several costume changes (with rich and colorful outfits), large groups of folklorically and classically trained backup dancers, solo vocalists, and several musicians (orchestras of around 50 musicians).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">El Safy (2001) states that Nagwa invested heavily in these productions and commissioned musical pieces from famous Egyptian composers who, for the first time, wrote music specifically for a dancer:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">1976 marked the beginning of a new era for Oriental dance when Nagwa Fouad revolutionized the industry by commissioning Egypt\u2019s beloved composer, Mohammed Abdel Wahab, for his first and only piece for a dancer, \u201cQamar Arba\u2019tashar\u201d (Full Moon of the Fourteenth). Commercial successes followed with the creation of scores of now standard classics, frequently used in the dance world. <\/p>\n<cite>(El Safy, 2001, para. 21) <\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nagwa Fouad\u2019s shows included both Raqs sharqi and Egyptian folkloric pieces adapted for the stage. She was an innovator but drew inspiration from Raqs sharqi traditions, as she said \u2018I took the Oriental dancing of Tahiya Carioca and Samia Gamal . . . and Nayema [Akef\u2019s]\u2019s acrobatic style, and created a stage show\u2019 (El Safy, 2001, para. 23).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">El Safy (2001, para. 33) also highlights that Nagwa was \u2018the first dancer to make a dance\/music video for Egyptian TV\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Goodyear (2011, para. 2) gives an insightful account of what it was like to see one of Nagwa\u2019s shows live:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">One evening in a Cairo hotel, I think I remember counting (or maybe I stopped counting when I reached 58) the number of musicians on stage for Nagwa\u2019s show. . . . She featured male and female group numbers, preceding and encircling Nagwa who constantly left to change: costumes, wigs (long hair, short hair, braided hair), stage personality, and dance style. . . . She ran off to change\u2013only to reappear in something more grandiose or outrageous than the preceding costumes.<\/p>\n<cite>Goodyear (2011, para. 2) <\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Marlyz (2010, paras 6, 8), who also saw Nagwa perform live, tells a similar story of going to an expensive nightclub in Cairo and seeing a show in which Nagwa changed costume several times (about 10 per performance) and was accompanied by a chorus of dancers and a personal orchestra of 35 musicians.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 5.5.4, I will analyze Nagwa Fouad\u2019s choices in terms of style and innovation, using the sociological theories from my conceptual framework and I will compare her to the other main dancers of the same timeframe.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Nagwa_Fouads_Movement_Style\"><\/span>Nagwa Fouad\u2019s Movement Style  <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nagwa-fouad-movement-style.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nagwa-fouad-movement-style.jpg 493w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nagwa-fouad-movement-style-300x215.jpg 300w\" decoding=\"async\" width=\"493\" height=\"353\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Table 22 \u2013 Nagwa Fouad\u2019s movement style \" class=\"wp-image-2408 lazyload\"  sizes=\"(max-width: 493px) 100vw, 493px\" \/><noscript><img decoding=\"async\" width=\"493\" height=\"353\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nagwa-fouad-movement-style.jpg\" alt=\"Table 22 \u2013 Nagwa Fouad\u2019s movement style \" class=\"wp-image-2408\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nagwa-fouad-movement-style.jpg 493w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nagwa-fouad-movement-style-300x215.jpg 300w\" sizes=\"(max-width: 493px) 100vw, 493px\"><\/noscript><figcaption class=\"wp-element-caption\"> <strong>Table 22<\/strong> \u2013 Nagwa Fouad\u2019s movement style  <br> (from the PhD of Dr Valeria Lo Iacono, 2019)<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Table 22 summarises Nagwua Fouad\u2019s movement style. The following videos show how her style changed over time. In the 1950s\/60s it was a \u2018golden age\u2019 style, which can be seen in the movie <em>Tohua<\/em> from 1957 (ArabClassicFilms, 2011b).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the film <em>You who were my beloved<\/em> from 1976 (ArabClassicFilms, 2011b), a more energetic style appears, in line with the trend spotted in the previous timeframe.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From the late 1970s and the 1980s, we can see examples of her famous musicals, influenced by her research in folkloric dances.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These musicals were staged and theatrical, and the dancers wore flamboyant costumes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Two examples are: <em>The Magic Lamp<\/em>, also called <em>Al Maryaat<\/em> (<em>Mirrors<\/em>), from 1977, \u2018a series of tableaus joined together by a bit of dialogue\u2019 (TheCaroVan, 2014h) and Set al Hosn, one of her musicals from the 1980s, of which TheCarovan says that \u2018the music is &#8216;Set al Hosn&#8217; which was composed especially for her by Mohamed Sultan\u2019 (TheCaroVan, 2014g).<\/p>\n\n\n\n<p class=\"has-vivid-red-color has-white-background-color has-text-color has-background wp-block-paragraph\"><strong>Next Page &gt;&gt; <span style=\"text-decoration: underline;\"><a href=\"https:\/\/worlddanceheritage.org\/soheir-zaki\/\">Continuing this section on Raqs Sharqi in Egyptian Cinema and TV (1970s1980s) we look at Soheir Zaki \u2013 The \u2018Truly Oriental\u2019 Performer  &gt;&gt;<\/a><\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Raqs Sharqi on Egyptian TV and in Movies During this timeframe in Egypt, there are more videos of raqs sharqi from TV shows, rather than just movies. Also, there seems to be a growing interest in trying to legitimize dance as an art form. The two most famous raqs sharqi dancers of the time, Soheir [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2400,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[20],"tags":[],"class_list":["post-2391","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-raqs-sharqi"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Nagwa Fouad &amp; Raqs Sharqi in Egyptian Cinema and TV 1970s to 1980s<\/title>\n<meta name=\"description\" content=\"Nagwa Fouad as a belly dancer and Raqs Sharqi on Egyptian TV and in movies. 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