For many of us who’ve grown up in the so-called West, our understanding of what belly dancing is has been shaped by colonialism’s legacy. What we’ve learned about or encountered as belly-dancing is actually a white-washed mishmash of several cultures, designed to play into the West’s fascination with and manufactured fear of those designated Muslim. My guest today, Shrouk El-Attar, is an LGBTQ rights campaigner, electronics engineer and belly dancer from Egypt. She is currently working on a piece of interactive art – a belly-dancing robot – which troubles the line between technology and human, and between the east and west. Her desire is to return belly-dancing, or more accurately Egyptian dancing, to its roots – which, she reminds us, has little to do with the movement of the belly and was never a practice restricted to women. 
Today we explore her experience as an asylum seeker, her fascination with technology and the moment she learned the people in her television set were there through the magic of engineering. She shares what she’s learned about nations and borders and citizenship, the joy, refusal and revolution enabled through dance, and how she’s turned her life experience and passion into both art and activism.
About Shrouk El-Attar
Shrouk El-Attar is an LGBTQ rights campaigner, electronics engineer and belly dancer from Egypt. She was named one of BBC’s 100 Most Influential Women in the World 2018, UNHCR Young Woman of the Year 2018, and one of the Institution of Engineering and Technology’s Top 6 Young Women Engineers in the UK in both 2019 and 2020. She is one of two artists taking part in Watershed’s Winter Residences programme, which offers artists the opportunity to develop their ideas with the financial, critical, and technical support of Watershed.
Watershed is the leading film culture and creative technology centre in the South West of England and champions engagement, imagination and ingenuity, working locally, nationally and globally from Bristol.

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