Abstract This paper explores the creative production of Egypt’s Choir project, a collaborative musical and theatrical group that has provided a context for youth creative, social and political expression since 2010. Drawing upon Richard Bauman’s (1984) multifaceted framework for thinking about emerging art forms, I detail the history and socio-political context of the Choir project’s activities during the period from 2011 until 2018, and engage in close literary analysis of some of its lyrical productions. Since the Choir has emerged and developed in a charged political environment, I take into account the important ways in which it has provided a context for political expression. However, I argue that detailed literary and social analysis of its creative process and production suggests that while the Project can be considered a mode of social and political expression or even resistance, it is also a profoundly creative phenomenon that produces lyrical and dramatic creations, which must be considered in their own right and which also must be understood as powerful modes of personal and even existential expression. I suggest that paying close attention to aesthetic experimentation and style adds an important dimension to our understanding of emerging art forms and the complex set of ideas that they express. Close analysis of the nature of innovative creativity also may help to explain why these forms have been so popular among audiences and the general public, even in the midst of political chaos and uncertainty about the future.

中文翻译：

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唱新未来：埃及合唱团计划

摘要本文探讨了埃及合唱团项目的创意制作，该项目是音乐和戏剧合作团体，自2010年以来一直为青年的创作，社会和政治表达提供背景。借鉴理查德·鲍曼（Richard Bauman，1984）的多方面框架来思考新兴艺术形式，我详细介绍了2011年至2018年期间合唱团项目活动的历史和社会政治背景，并对其一些抒情作品进行了详尽的文学分析。自从合唱团在一个充满压力的政治环境中出现和发展以来，我考虑了它为政治表达提供背景的重要方式。然而，我认为，对其创作过程和创作进行的详尽的文学和社会分析表明，尽管该计划可以被视为一种社会和政治表达甚至抵制的模式，但它也是一种深刻的创造现象，可以产生抒情和戏剧性的创作，必须被认为是他们自己的权利，也必须被理解为强有力的个人甚至生存表达方式。我建议，密切关注美学实验和风格会增加我们对新兴艺术形式及其表达的复杂观念的理解的重要范围。仔细分析创新创造力的性质，也可能有助于解释为什么即使在政治混乱和对未来充满不确定性的情况下，这些形式仍然如此受观众和公众欢迎。