At the end of the 1960s and the beginning
of the 1970s, funk, a musical style created
by black North Americans, surged in popularity
in Brazil. The first to identify with funk were
the youth who lived in the favelas. Funk’s main
fan base was mostly young people who wanted
to express themselves in a unique way. Later
funk became a “national fever”, appreciated by
all social classes. It has more recently become
reworked and re-popularized with a distinctive
Brazilian flavor that is growing in popularity
around the world.
The first “Bailes Funk” (funk dance parties) of
Rio de Janeiro was fostered in 1968 by Dom Filo
in the North Zone the “Clube Renascenca”, and
by the legendary DJ Big Boy in the South Zone,
at the Canecão (Traditional Music Hall in Rio).
The Funk was introduced to Rio de Janeiro as
a vehicle for racial consciousness, encouraging
Afro-Brazilians to embrace their heritage in the
face of a society dominated by drug trafficking,
unemployment, and lack of healthcare.
The dances in the Northern suburbs of Rio
were dominated by Black rhythms (funk and
soul), while in the richer South Zone rock continued
as the most popular genre. It was from
this cultural broth that “Black Rio” was created,
as one of the first cultural movements of
black Brazilian youth. It was during this time
that the “Banda Black Rio” (whose funk swing
was discovered by Gilberto Gil on his album
Refavela, in 1974) became popular, as well as
other important Brazilian soul and funk musicians,
such as Cassiano, Hyldon, and Gerson
King Combo. The “Bailes Black” (black dance
parties) were also the starting point for many
musicians that are today considered legends of
Brazilian Popular Music, such as Tim Maia and
Jorge Ben Jor.
The first great “Funk Team” was without a
doubt the group Furacão 2000, who came into
being in 1983 and is still active today. From the
same cultural broth came other groups such
as “Pipoo’s”, “Espião Shock de Monstro”, and
“New Funk”. All of these groups came from
the favelas and suburbs of Rio de Janeiro. The
“Bailes Funk” became known as places that
highlighted unique local acts that revealed their
creativity in their beats, the social messages in
their lyrics, and the sensuality in the dance. It
was here that thousands of young people found
a unique outlet for fun and cultural expression.
The strength and resistance in Brazilian funk is
owed to its popularity in Brazil and the rest of
the world. In Brazil, its popularity can be measured
by the increasing number of funk dances
in and outside of favelas. A space has been
opened for social mixing and every weekend
thousands of youths from different social classes
dance, enjoying the beat and sensual rhythm
of a music that originated in the favelas.
Social development projects in favelas are also
receiving more attention through ONG’s (nongovernmental
organizations) such as “Agencia
Olhares” – whose project “Olhares do Morro”
shows the importance of funk in favelas. Art mediums
such as the work of photographer Vincent
Roosebalt also aid in bringing attention to the
social problems that exist within the favelas.
In the international sphere, Brazilian funk
began to be exported beginning in the 1990s,
when it was featured in European commercials
and “Bailes de Pancadão”. Currently, Brazilian
funk is a frequent feature in London nightclubs.
The great international representative of funk
abroad is Maya Arlpragasm, known as M.I.A.,
who mixes Brazilian funk and reggae, among
other international beats in her music.
Even with all of this popularity, like any cultural
manifestation created by underprivileged youth
that is able to break socio-geographic barriers,
the first general reactions are rejection, and
misunderstanding. Funk would be condemned
for, among other things, being a part of popular
culture.
Nevertheless, the “Baile Funk” of the favelas
represents the absolute freedom of expression
of a people who are economically oppressed.
It represents a resistance to the domination of
commercialism, and against the standard way
of thinking. By acting as a product of resistance
against the dominance of the music industry,
funk carioca has become an example that others
can look to for inspiration. Globalization influences,
but is unable to dominate the culture
of a people. The reality is that today in Rio, Sao
Paulo, London, and in other cities around the
world, everyone is able to listen to and enjoy the
contagious beat of Carioca Funk…or even better
say, Brazilian Funk.
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