Teoria sobre a fruição funkeira: uma análise denegrida do funk carioca

Abstract

"Theory on funkeira enjoyment: a denigrated analysis of funk carioca" is a research into the foundations of the black Atlantic between Africa and the United States, with the central focus on Brazil, within carioca funk music as an Afro-Brazilian culture (NASCIMENTO, 2016 ; MOURA, 2019). During the different processes of Globalization (SANTOS, 2006; SANTOS, 2006), in an interdisciplinary method with history, anthropology, sociology and ethnomusicology (ARAÚJO, 2013; WISNIK, 2017; BECKER, 2008), funkeira enjoyment is invoked in the analysis of experiences of spiraling time (MARTINS, 2021), the effects of continuous resistance linked in the diaspora (GILROY, 2012). Mediations and searches arising from the Black Rio Movement (PEIXOTO & SEBADELHE, 2016), funkeira enjoyment is presented in the continuous black, electronic, peripheral and young and musical identity, capable of provoking Black Power (TURE, 2017; TURE & HAMILTON, 2021) by the quilombo (NASCIMENTO, 2019; NASCIMENTO, 2018) from the favela (CAMPOS, 2011) as pretuguês (GONZÁLEZ, 2018), as is the case with its aesthetic composition coming from rap (ROSE, 2021). Field of sounds contextualized by preserved moralistic and police persecutions, everyday life in the racist (FANON, 2008, 2022) and genocidal dimension of Brazil (VIANNA, 1997; BATISTA, 2013; LOPES, 2010; FACINA, 2013), we have carioca funk as anti-racist, when we position funkeira enjoyment from the perspective of the Black Educator Movement (GOMES, 2017). In the end, through narrations about Rio funk, we interviewed individual funk fans, whether they were artists or not, from Rio de Janeiro or not, where they all addressed a certain education in Afro-Brazilian civilizing values (TRINDADE, 2005).