Spotlight On: Amany Farouk

We caught up with celebrated and longtime performer Amany Farouk of Cairo to discuss some of the most common questions asked of Egyptian instructors.

A renowned master teacher of both Oriental (Raqs Sharqi) and Folkloric dance, Amany Farouk’s career spans decades of artistry, education, and stage excellence. She has performed with Egypt’s most prestigious ensembles — including the legendary Reda Troupe and the Qawmiyya Folkloric Troupe — and remains one of the foremost authorities on Egyptian dance technique and heritage. What first drew you to dance, and how has your connection to it evolved over the years?

I started dancing when I was 16. I loved dancing and was as interested in it as I was in studying, which is why I continue to do it until now.

Which regional dance traditions are most meaningful to you personally, and why?

- The folkloric dance that I like most is the Ghawazi dance, although I like all folk dances.

How do you balance honoring traditional movement with bringing your own artistic interpretation to the stage?

- When I watch folk dance movements, if I like them, I take them, develop them, and make them more beautiful to become a theatrical aesthetic.

What advice would you give to non-Egyptian dancers who want to study and perform Egyptian folkloric styles respectfully?

I advise non-Egyptian dancers to study Egyptian folk dance from trusted teachers to learn this art in the correct way.

How do you see dance as a form of cultural preservation in modern Egypt?

Because folk dance is the soft power and the diplomatic representative that speaks the body language of all people of the world.

What are the biggest misconceptions you encounter about Egyptian dance outside of Egypt?

Most foreign dancers do not know the correct concept of folk dance, which leads to confusion with other folk dances.

In your opinion, what is the difference between Raqs Sharqi and Egyptian folklore in terms of technique and spirit?

If there was no folk dance, oriental dance would not exist, because oriental dance is built on the kinetic beauty that emanates from folk dance.

Looking back on your long and influential career, what legacy do you hope to leave behind for the next generation of Egyptian dancers and cultural artists?

I hope to establish a specialized dance school where I can teach my style of dancing and share my experiences with future generations.