Nafoura Magazine Connecting the Middle Eastern Dance Community

 

Nafoura Magazine was an e-magazine that connects the Middle Eastern Dance community world-wide through articles, show reviews, the latest fashions, and so much more. It was  *FREE* with amazing photography and world class dancers.  Although the site domain expired and was recently bought, the new owners wants to recreate the essence of the site with archived content and outside sources. This site's should remain visible on the web as a nostalgic reminder and historical reference of Nafoura Magazine. 

 

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April Issue 2009

Editor’s Note

Of all the dance styles in the world, belly dancing is by far the most mysterious. Having sought the opinion of many people, mainly the audiences at NAFOURA Belly Dancing Shows, the most common words used to describe belly dancing were mysterious and enchanting.

Belly dancing is practiced all over the world. It connects all types of people from different cultures and languages. I find this quite unique and exciting. Belly dancing has no barriers, other than language but even still each dancer shares the same passion, irrespective of where they come from.

Belly dancing is not just a dance it’s also an art. Belly dancers invest a lot of time and effort in creating and learning choreographies, technique and choosing a costume and props to enhance their performance. Belly dancers are very serious about all of this, as their aim is to take the audience away on a journey into an enchanting and mysterious world.

In this issue of NAFOURA Magazine, we take you on a journey into the belly dance style called Tribal. Kimberly Mackoy, a Professional Belly Dancer and Teacher from the USA, explains American Tribal Style or ATS and Tribal Fusion. Her concise yet insightful article explains how Tribal has become what it is today

Professional Belly Dancers and Teachers share many of the same challenges when it comes to building their businesses and expanding. Leila Molaei, founder off El Layali Orientale Belly Dancing Company in London, explains the ‘importance of networking’ not only to meet new people but to also build connections with other Belly Dancers. Leila’s article is very informative and I am confident that you will take something away from it.

Earlier in the month I had a discussion with Eva Green, a very well-known Belly Dancer and Teacher based in London, about whether she would be willing to contribute an article to this month’s issue of the magazine. Eva kindly agreed and she has produced an article that explains the art of belly dance. She gives advice to new dancers and teachers, which is worth noting. NAFOURA has chosen Eva for the cover of this month’s magazine.

The last highlight article, written by Barbara Derecktor Donahue, a Professional Belly Dancer and Teacher based in the USA, discusses the controversial topic of ‘Belly Dance Certification’. Barbara and I have had many discussions over the last year, regarding a variety of topics related to Belly Dance, so I was very pleased when she had agreed to write a contribution for this issue. I can’t begin to explain or describe how many forums I have seen and discussions I have had regarding whether it is feasible or even possible to unify and create a belly-dancing curriculum that can be taught in dance schools, alongside other dance styles such as Ballet and Tap. Barbara and I are very interested to know your views on this topic. I will create a section in the next issue of NAFOURA magazine, where your comments on this topic will be posted.

I have enjoyed reading and editing all of the articles in this month’s issue. I am very proud of everyone who has agreed to take part in producing this issue, either by submitting their photos and / or writing an article. I hope that you will also enjoy reading this issue. 

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I became enthralled with belly dancing after college when I moved to Leeds UK for my post doctorate. During a break from studying the two of us decided to go on one of the dance camp trips that Nawarra, a dancer, dance teacher, event organiszer and choreographer from Fes in Morocco. Nawarra has an MBA in arts and drama from the University of Casablanca and is a certified tourist guide in Morocco. We had been taking belly dancing classes and both just loved to dance. There were about six hours of dance workshops almost every day, except for Wednesday when we would spend sightseeing. The year we went the teachers were Nawarra of course, Amel Tafsout who is an internationally recognized authority in traditional Algerian dances and two guest teachers. Moroccan shaabi, Moroccan trance dances (Gnaoua, Issaoua and Guedra), Tunisian dance, Algerian rai, Andalousian court scarf dance from Algeria, double veils, Egyptian Gawazee, Turkish Romani dance, Nayli dance of Ouled Nayl, Amazigh (Berber) dance, Persian classical and Iraqui Quawaly were all dances we tried. The Funoon Dance Camp was not only about dance, but also about the rich, exotic culture of Morocco. Itis a great country to discover with beautiful ancient architecture and wonderful food. When I returned to the US I entertained my friends with dance moves and stories. One evening while wearing my most fav Batman sweatshirt ever which had just arrived in the mail, I demonstrated the fundamentals of North African music and dance. It was wildly crazy wearing this Batman design from a DC Batman comic book with a blue caped and masked Batman rushing off to save someone with the graphic words whoom!, whak, kahboom, and boom swirling around his cape and dancing to some Moroccan music. The music and I guess, my enthusiasm, encouraged others to join me and soon we were thoroughly mesmerized doing our own variations of belly dancing. Of course our dancing was nothing like one would experience watching professionals like Eva Green, Nawarra, or Amel Tafsout, but Batman, my friends and I certainly had a ball. 

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The Art Of Belly Dance

By: Eva Green

I have been dancing and teaching for quite a few years. Originally I was drawn to belly dance by its sensuality and the music, which is so different to any Western music. I found that I could express myself and my feelings through this dance far more than with any of the other dance styles I have learnt before. I have studied with both Western and Arabic teachers, but soon realized that I needed to create my own style in performance as well as in teaching. The reason for this was the fact that I didn't have really good and supportive teachers even though I was a very keen student. That was when I decided that I would try to be not just a good performer but a teacher who will teach responsibly, support students who want to become professional and will always try to improve herself.

As I progressed in the dance I was more drawn to the Egyptian music and style so nowadays I call myself an Egyptian style dancer although I use combinations from other styles as well. Nowadays I have turned my attention to fusions as well, as I want to challenge my knowledge of the dance and myself with learning new dances and involving belly dance in these dances.

I love teaching. My advanced students know how much and how deeply we can get involved in technique and execution of movements, understanding the music to which we dance. More and more I discover how different a movement can be through different executions of the same movement, using different muscles.

I want all my students to gain a good knowledge of the technique and understanding of the music. I always try to explain the movements and posture as well as showing it to them and correct their mistakes. This dance is more about the “how” rather than the“ what”, so making the movements nice takes time and this makes belly dance difficult to learn. I don’t like the attitude of “let’s do belly dance so we can be sexy” -as this should not be the major point of this dance. Sensuality and sexuality is there, but it should never be an open sexuality as we see in modern pop videos. As we use the veil in belly dance, it always should be there in our minds between the audience and ourselves as performers. It is so much more exciting!

The belly dance market is full nowadays. There are many young and talented dancers who want to make their break and live from the dance – however it is essential to establish yourself first as a performer and then as a teacher. As basically there is no control on this either by an officially accepted degree or by an official body who would bring the level higher in belly dance - anyone can perform and teach. This dance is developing all the time, westernized by the westerners, so in a way it is rich in ideas and new forms. However for the same reason - it is difficult to unify – so the level of the dance and teaching varies.

Future professionals should have the responsibility to make sure that their level of knowledge of technique, knowledge of the dance and their attitude towards, other dancers is correct and it never should involve your ego. I see dancers who come to stage with theirego but not much else; they think they are good andinteresting. Unfortunately it is usually the opposite,they are repetitive with sloppy technique, and the ego gets in the way of the artistic performance. Well, at least I hope that all dancers aim to be artistic and to give out their best. However, you always need to develop and there always will be a better dancer, and when you are on stage – the only thing that matters is your performance. Not you, but what you give out - and that has to be honest, otherwise it will feel artificial.

To get in touch with Eva, visit her website: www.bellydanceartist.co.uk

 

 

More Background on NafouraMagazine.com

 

NafouraMagazine.com represents a distinctive chapter in the digital history of Middle Eastern dance culture. More than a website, Nafoura Magazine functioned as a global meeting place for dancers, teachers, choreographers, students, and enthusiasts who shared a passion for belly dance and its many regional expressions. At its height, the magazine stood out for its thoughtful editorial tone, educational depth, and commitment to cultural authenticity at a time when online dance coverage was often shallow or overly commercialized.

Today, the site exists as a revived archive and historical reference point, preserving the voice and spirit of the original publication while offering new audiences insight into a formative era of global dance culture.

Origins and Founding Vision

Nafoura Magazine emerged in the early-to-mid 2000s, during a period when digital publishing was expanding rapidly but before social media had overtaken long-form cultural content. The magazine was conceived as a free online publication dedicated to Middle Eastern dance, with a strong emphasis on artistic credibility, education, and community connection.

The founders envisioned Nafoura as a bridge—linking dancers across countries, traditions, and professional levels. Unlike commercial dance publications focused on entertainment or advertising, Nafoura prioritized substance. Its editorial voice consistently treated belly dance as a legitimate art form rooted in history, musicality, and cultural nuance.

From the beginning, the magazine positioned itself as inclusive and international. Contributors and readers came from Europe, North America, the Middle East, and beyond. The magazine made a conscious effort to represent a range of styles and perspectives rather than promoting a single aesthetic or school of thought.

Editorial Philosophy and Goals

At the core of Nafoura Magazine was a strong belief that belly dance deserved serious attention and thoughtful documentation. The publication’s goals included:

  • Preserving the cultural heritage of Middle Eastern dance

  • Educating dancers on technique, history, and musical interpretation

  • Supporting professional development within the dance community

  • Encouraging ethical teaching and performance standards

  • Creating dialogue across borders and traditions

This philosophy was especially evident in the magazine’s editorials, which often addressed misconceptions about belly dance and challenged the notion that it was merely entertainment or spectacle.

One recurring theme was the idea that belly dance is “about the how, not just the what”—a sentiment echoed in multiple articles that focused on technique, posture, musicality, and emotional expression rather than flashy choreography alone.

Content Structure and Editorial Sections

Feature Articles

Nafoura Magazine was best known for its long-form feature articles. These pieces often explored:

  • The evolution of dance styles such as Egyptian, Tribal, Tribal Fusion, and folkloric forms

  • The personal journeys of professional dancers

  • The cultural context behind movements and music

  • Challenges faced by dancers working internationally

These were not superficial profiles. Many articles read like essays, combining personal experience with historical and technical insight.

Educational and Technique Writing

A major strength of the magazine was its instructional depth. Articles frequently addressed:

  • Proper body mechanics

  • Musical interpretation

  • Differences between regional styles

  • Costume and prop usage

  • Teaching methodology

The tone was respectful and practical, aimed at dancers who wanted to improve thoughtfully rather than chase trends.

Interviews and Artist Profiles

Nafoura regularly featured interviews with respected dancers and instructors from Europe, the United States, and the Middle East. These profiles gave readers insight into:

  • Career development

  • Artistic philosophy

  • Training challenges

  • Teaching ethics

  • Cultural responsibility

The magazine often highlighted voices that were underrepresented in mainstream dance media, giving space to teachers and performers who valued depth over celebrity.

Cultural Commentary

Another hallmark of Nafoura was its willingness to address controversial or complex topics. Articles discussed:

  • Whether belly dance should have standardized certification

  • The risks of cultural dilution

  • The impact of commercialization

  • Western interpretations versus traditional forms

Rather than taking rigid positions, the magazine encouraged discussion and reflection, often inviting readers to contribute opinions in future issues.

The April 2009 Issue: A Defining Moment

One of the most illustrative examples of Nafoura’s editorial voice comes from its April 2009 issue, which remains one of the most frequently referenced editions.

The editor’s note described belly dance as mysterious, enchanting, and deeply expressive—an art form that transcends language and culture.

Key features in that issue included:

  • A detailed discussion of Tribal and Tribal Fusion styles

  • An article on professional networking within the dance community

  • A reflection on the responsibilities of dance teachers

  • A thoughtful examination of belly dance certification

Contributors included respected dancers and educators based in the UK and the US, reinforcing Nafoura’s international reach and credibility.

Audience and Community

Nafoura Magazine served a diverse readership, including:

  • Professional belly dancers

  • Dance instructors and studio owners

  • Students and hobbyists

  • Cultural researchers

  • Festival organizers

  • Costume designers

What united this audience was a shared interest in authenticity and learning. The magazine attracted readers who wanted more than performance videos or promotional content.

The publication also fostered a sense of community, anticipating the participatory nature of modern dance forums and social platforms.

Geographic Identity and Cultural Positioning

Although Nafoura’s reach was global, its editorial roots were strongly tied to the United Kingdom, particularly London. This location placed the magazine at the crossroads of Europe’s Middle Eastern dance scene.

London’s multicultural environment allowed Nafoura to connect dancers across continents while remaining grounded in lived practice.

Popularity and Reputation

During its active years, Nafoura Magazine became known for:

  • High editorial standards

  • Thoughtful, well-written content

  • Respect for cultural origins

  • Professional presentation

  • High-quality photography

Its influence grew through word-of-mouth rather than marketing, reflecting trust within the dance community.

Decline, Hiatus, and Domain Revival

Like many early digital publications, Nafoura eventually ceased regular updates due to shifting online habits and economic realities.

The domain was later revived with the intention of preserving the original content rather than replacing it.

Today, the site exists as a historical archive and tribute, maintaining access to its articles and ideas.

Cultural and Social Significance

Nafoura Magazine’s lasting importance lies in its documentation of a transformative period in global dance culture.

  • Preserving voices that might otherwise be lost

  • Documenting debates about authenticity and fusion

  • Supporting professional standards in dance education

  • Elevating belly dance as a serious art form

  • Encouraging cross-cultural respect

For researchers and dancers alike, the magazine remains an invaluable historical record.

What Nafoura Is Known For Today

Today, NafouraMagazine.com is best known for:

  • Being a preserved archive of an influential dance publication

  • Representing a thoughtful, educational approach to belly dance

  • Documenting early 2000s dance culture

  • Serving as a nostalgic reference for dancers

  • Demonstrating how niche publications shaped global communities

While no longer active, its influence continues through scholarship, teaching, and shared memory.

Final Thoughts

NafouraMagazine.com stands as a reminder of what independent digital publishing once offered at its best: depth, integrity, community, and passion.

Its preservation ensures that future dancers and researchers can still access a thoughtful record of a vibrant and important artistic community.

For anyone interested in the history of belly dance, digital arts publishing, or global dance culture, Nafoura Magazine remains a meaningful and enduring resource.

 

 

NafouraMagazine.com