Este texto se configura como um ensaio onde abordo elementos da música de protesto negra, especialmente, o gênero conhecido como funk carioca, procurando estabelecer relações com outras abordagens históricas da música de protesto negra no Brasil, principalmente, as produzidas durante os anos de chumbo da ditadura militar brasileira. A metodologia utilizada para a construção deste texto foi a revisão bibliográfica e a análise de diferentes músicas, consideradas enquanto música de protesto, em especial, Rap da Felicidade (CIDINHO; DOCA, 2007) e Rap do Silva (MC Marcinho, 2007), que se estruturaram como ponto de partida para os processos reflexivos.
This text is an essay where I approach elements of black protest music, especially the genre known as funk carioca, seeking to establish relationships with other historical approaches to black protest music in Brazil, mainly those produced during the lead years of the Brazilian military dictatorship. The methodology used for the construction of this text was the bibliographic review and the analysis of different songs, considered as protest music, in particular, Rap da Felicidade (CIDINHO; DOCA, 2007) and Rap do Silva (MC Marcinho, 2007), which structured themselves as a starting point for reflective processes. In addition to this approach, I used, as a methodological process, my personal memories, inserted within an autoetnographic narrative, as proposed by Santos (2017). As a result of a reflective process anchored by Ikeda (2018), Nascimento (2002), Nascimento (2017), Vianna (1988) and Brown (2018), it is possible to point out that black protest music, even today, is received with suspicion by society and, in general, the marketing and media mechanisms seek to decontextualize it, configuring the creation of a “non-black” figure to lead these styles, transforming them into forms that can be considered cultured and interesting, at the same time, where denigrating (Although denigrating literally means “turning black”) its original characteristics.
