Funk & Culture
O Mundo Funk Carioca Starting the posts on the Funk Carioca and Culture, could not fail to mention the author of the book The World Funk Carioca, VIANNA HERMAN, it was written in 1988, is still contemporary. We found the following synopsis of the book.
"This book is dense and enjoyable product to a query on a little explored area of research. Cariocas the suburbs today are an issue of major importance, having already earned attention from social scientists have produced exciting work. Hermano Vianna offers a further contribution to this set, but following a path very original: he will get in funks dance, relatively new phenomenon, the way to deal with the livelihood of the layers of low income who inhabit the suburbs or the slums of Rio de Janeiro "In a report to Roots Magazine, we find a rich text to explain and reduce the bias that still exists in relation to the Funk.
"DELIVERIES TO THE GOLD BAND. Police, politicians, journalists ELITE AND ARE RESPONSIBLE FOR CARIOCA FUNK associated TRAFFICKING IN favelas of Rio de Janeiro. By Herman VIANNAIn 2002, participated in a series of debates sponsored by Unesco. My panel was titled "The slums and asphalt: culture, power and social movement." In my speech I made a brief summary of the history of funk carioca. There was nothing more exciting for me in the new culture of the favelas of Rio de Janeiro, decisively interfering in their relationship with such "asphalt."The funk had not yet gained the popularity that won today in clubs or between musicians Paulistanos "antenna" from outside. Even so was surprised to hear, after my words, the reaction of the audience, composed of people who participate actively in movements against social injustice in Brazil. A director of community radio was categorical: this music is prohibited in my programming. A public school teacher said that educates its students not to listen to funk. And so on.What happened there was, in my opinion, very clear: the funk was being excluded from the groups that sought to combat exclusion. The funk was excluded from the excluded.I should not have been so surprised by this type of reaction. She was in a total sense of old-line anti-funk, fighting the last groups of all ideological hues, the extreme right to extreme left, which says that even popular, pro-or popular culture (which we know is not exactly the one that people like, but that the people should like, see the manuals of the CPC).The attack continued the isolated funk increasingly into the slums, for the support - who else could give support, as all the other "forces" were against? - The armed movements of traffickers.It was literally that: the public authorities, the media and popular culture have understood everything possible to deliver the gold (the gold produced in cultural slums) to the bandit. When I did my field research in the funk balls, which resulted in my master's dissertation and the book The World funk carioca (Jorge Zahar Editor, 1988), the festivities were held in clubs like the Pillars of CCIP, the Casino Bangu or The music corner of Rio, when it began to be produced in the city, was totally independent of "commands".Could have continued as if the public power (also with armed police, sometimes shooting the equipment) had not closed the dances of the clubs, where music critics and record labels have not cursed the style (strengthening piracy), if the asphalt by pure prejudice against "sound of black and poor", had not tried to destroy the culture that the slum dwellers were creating for themselves.Now everyone is surprised with the existence of proibidões (*)? What hypocrisy! It is the harvest of what was planted. Responsibility: Police, politicians, journalists (how much matter lying on the dancing!), Campaigns afloat against the elite says it is "low." But even though the funk is stronger than everything. The proibidão is only "a banda podre" a strong culture and could be completely well and the party. A banda rotten must be combated. But saying that the funk is all rotten - trying to exterminate it - is a weakness without size.The funk often requested relief. Nobody heard the words of DJ Marlboro, even in meetings within the Department of Public Safety (I was with him, most of those occasions), asking only that the funk was not considered culture and police problem. If the authorities had heard his words, the funk carioca today could be the song of peace in the city. Would have the strength to do this: after all, the dances that the music played 100% imported in 1988 now not play 100% of national music? Nobody realized the power that music had, and has more?(*) Proibidão is a style of funk marketed in whose songs are illegal trafficking and incitement to violence against the police (note to editors). You create more proibidões, or the area conducive to the creation of more proibidões. If everyone supported the cool side of the funk - with simple measures such as providing security for the dances (the police, instead of closing them, and that could protect them) - that music can still help make the river of dark times we are living, becoming a major source of pride Rio, the man of joy throughout the town.
While the public awaits the coming shows and releases, the MC's Pencil and Eraser welcome the warmth of the public and open this space for more information. CONTACTS
Talk to Mauro
55 (21) 7104 0402
Tel: (21) 2403-5496
O Mundo Funk Carioca Starting the posts on the Funk Carioca and Culture, could not fail to mention the author of the book The World Funk Carioca, VIANNA HERMAN, it was written in 1988, is still contemporary. We found the following synopsis of the book.
"This book is dense and enjoyable product to a query on a little explored area of research. Cariocas the suburbs today are an issue of major importance, having already earned attention from social scientists have produced exciting work. Hermano Vianna offers a further contribution to this set, but following a path very original: he will get in funks dance, relatively new phenomenon, the way to deal with the livelihood of the layers of low income who inhabit the suburbs or the slums of Rio de Janeiro "In a report to Roots Magazine, we find a rich text to explain and reduce the bias that still exists in relation to the Funk.
"DELIVERIES TO THE GOLD BAND. Police, politicians, journalists ELITE AND ARE RESPONSIBLE FOR CARIOCA FUNK associated TRAFFICKING IN favelas of Rio de Janeiro. By Herman VIANNAIn 2002, participated in a series of debates sponsored by Unesco. My panel was titled "The slums and asphalt: culture, power and social movement." In my speech I made a brief summary of the history of funk carioca. There was nothing more exciting for me in the new culture of the favelas of Rio de Janeiro, decisively interfering in their relationship with such "asphalt."The funk had not yet gained the popularity that won today in clubs or between musicians Paulistanos "antenna" from outside. Even so was surprised to hear, after my words, the reaction of the audience, composed of people who participate actively in movements against social injustice in Brazil. A director of community radio was categorical: this music is prohibited in my programming. A public school teacher said that educates its students not to listen to funk. And so on.What happened there was, in my opinion, very clear: the funk was being excluded from the groups that sought to combat exclusion. The funk was excluded from the excluded.I should not have been so surprised by this type of reaction. She was in a total sense of old-line anti-funk, fighting the last groups of all ideological hues, the extreme right to extreme left, which says that even popular, pro-or popular culture (which we know is not exactly the one that people like, but that the people should like, see the manuals of the CPC).The attack continued the isolated funk increasingly into the slums, for the support - who else could give support, as all the other "forces" were against? - The armed movements of traffickers.It was literally that: the public authorities, the media and popular culture have understood everything possible to deliver the gold (the gold produced in cultural slums) to the bandit. When I did my field research in the funk balls, which resulted in my master's dissertation and the book The World funk carioca (Jorge Zahar Editor, 1988), the festivities were held in clubs like the Pillars of CCIP, the Casino Bangu or The music corner of Rio, when it began to be produced in the city, was totally independent of "commands".Could have continued as if the public power (also with armed police, sometimes shooting the equipment) had not closed the dances of the clubs, where music critics and record labels have not cursed the style (strengthening piracy), if the asphalt by pure prejudice against "sound of black and poor", had not tried to destroy the culture that the slum dwellers were creating for themselves.Now everyone is surprised with the existence of proibidões (*)? What hypocrisy! It is the harvest of what was planted. Responsibility: Police, politicians, journalists (how much matter lying on the dancing!), Campaigns afloat against the elite says it is "low." But even though the funk is stronger than everything. The proibidão is only "a banda podre" a strong culture and could be completely well and the party. A banda rotten must be combated. But saying that the funk is all rotten - trying to exterminate it - is a weakness without size.The funk often requested relief. Nobody heard the words of DJ Marlboro, even in meetings within the Department of Public Safety (I was with him, most of those occasions), asking only that the funk was not considered culture and police problem. If the authorities had heard his words, the funk carioca today could be the song of peace in the city. Would have the strength to do this: after all, the dances that the music played 100% imported in 1988 now not play 100% of national music? Nobody realized the power that music had, and has more?(*) Proibidão is a style of funk marketed in whose songs are illegal trafficking and incitement to violence against the police (note to editors). You create more proibidões, or the area conducive to the creation of more proibidões. If everyone supported the cool side of the funk - with simple measures such as providing security for the dances (the police, instead of closing them, and that could protect them) - that music can still help make the river of dark times we are living, becoming a major source of pride Rio, the man of joy throughout the town.
While the public awaits the coming shows and releases, the MC's Pencil and Eraser welcome the warmth of the public and open this space for more information. CONTACTS
Talk to Mauro
55 (21) 7104 0402
Tel: (21) 2403-5496
e-mail: mcmarcinhonepomuceno@oi.com.br
