I have a new piece up at the Middle East Research and Information Project about cultural production and cultural activism in Egypt. There is so much different kinds of cultural activity going on these days that it's hard to categorize, and there are many more artists and projects I could have referenced. I've tried to make some general observations:
It is not easy to combine aesthetic and political ambitions in order to creatively address the revolutionary moment. For one thing, many artists and writers have continued to be active in the protest movement itself -- they have little detachment from the events of the last year, and their energies are depleted by their participation in protests, organizing meetings and advocacy campaigns. In their political work, they can face significant personal risk, like their fellow citizen-activists. In late December, at a press conference convened to deny army responsibility for the horrific violence visited by soldiers upon protesters near the cabinet, a blustering member of the Supreme Council of the Armed Forces suddenly denounced Muhammad Hashim -- head of the independent and widely esteemed publishing house Merit -- as one of several conspirators being investigated for instigating attacks upon the army. (His crime, it appears, consisted of supplying protesters with blankets and helmets.)
For another, it is too early for artists or anyone else to map the contours of the current juncture with any clarity. In late January 2011, there was a rupture in the reality Egyptians had known for so long. Many artists and novelists, returning home elated if exhausted from weeks of protesting, simply scrapped whatever work they were doing. Since then, the rapid pace of events -- or, many would say, of reversals -- has rendered it nearly impossible to fix a vantage point from which to consider developments. The Egyptian revolution is not yet a subject of art; it is an ongoing experience.
And I only just saw the trailer for this cool-looking documentary, "The Noise of Cairo," -- on artists and their relationship to the revolution.