In Spring 2018, a professional Russian belly dancer known in Egypt as Gohara was arrested, charged with “inciting debauchery,” and nearly deported when a video of her Cairo disco performance went viral. After her release, Gohara catapulted to stardom in Egypt and is now by far the most popular professional belly dancer on Instagram, where her account regularly features sexy and glamorous photos and videos of her. Gohara’s story encapsulates the entanglement of mobilities and embodiment with changing cultural politics and economies in Egypt that my research investigates. Gohara is one of many foreign dancers working in Egypt today and one of many female performers charged with inciting debauchery due to viral videos. Based on 19 years of participation in Egyptian dance and the global belly dance community, ongoing participant observation in Cairo and social media relationships with dancers, as well as 50+ interviews with people in and around the dance industry, this article will argue that dance in Egypt has always traded primarily in attention, but social and political shifts are changing attention and corporeal economies in Egypt and Egyptian dance. Recent events, including COVID-19, have pushed dancers online and to change the nature of their performances in person in order to succeed in new types of attention economies. By attention economies, I mean the activities in which people engage to capture or deflect others’ attention to get or generate other necessary resources and forms of capital . These new dance business strategies sometimes make them targets for political attempts at directing the attention economy. For dancers in Egypt, the attention economies are inextricably intertwined with corporeal economies – the accumulation and circulation of bodily labor and value (Wacquant 2004), since the service/product that they offer is inseparable from their bodies (Wacquant 1995, Tuchman-Rosta 2020). This article will theorize the interweaving of attention economies and corporeal economies in the digital and physical lives of dancers in Egypt, arguing that foreign dancers have an advantage overall due to ongoing global inequality.