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A, investigated for alleged connection with the criminal faction Comando Vermelho (CV), brought to light something that goes beyond the figure of the carioca artist and raises questions about social, political and legal debates: when funk narrates the reality of trafficking, promotes crime or denunciation an daily marked by the absence of the state?
Heard by Leodias portalanthropologist Vinícius Rodrigues, professor at the São Paulo School of Sociology and Politics Foundation (FESP/SP), said this discussion is far from simple but urgent. According to him, the content of Poze’s songs can both reflect a romanticization of crime and open the conditions that lead thousands of young people to live daily with violence, poverty and drug trafficking. However, the focus should not be just the content of the letters. “The most important point is the choice of funk as an object of application of the Apology Apology Law, and other musical genres, such as ‘Agrosertanejo’, can also be framed in the same article. Several songs naturalize violence against women, for example. Funk has been criminalized not because of the content of their letters; this is just a pretext, but because of its black and poor origin,” the expert argued.
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In addition to the letter and the rhythm, the history of funk is at stake. Genre born and strengthened in the slums, he has been systematically targeted by censorship and repression, as stated by Vinicius: “We all know that we should not take the narratives created in funk as a document that corresponds to the truth, but as an art document. Unlike other musical genres, funk creates based on the experiences of the young people who produce it and live in a reality,” said a reality, ”he said,” Anthropologist noting that, unlike other art forms, funk starts from the direct experience of its creators, who often grow in territories where trafficking is as present as school or market.
Vinicius also argued that the “lyrical self” cannot be confused with the real individual. “It is possible to separate the artistic discourse from reality precisely because art is creation. If there were no criminal factions, the inefficient drug war that the state promotes, misery and poverty, surely funk artists would be singing on other things,” he said. For him, to blame the artist for the normalization of violence is to ignore that the state’s own structure to perpetual. “Who normalizes the violence of trafficking is the state itself that needs this same trafficking to keep the population controlled through fear. We know that for the trafficking of illicit substances existed, it is necessary that several sectors of the state, until public security institutions, are conniving.”
The reaction of the elites and the middle classes to the success of artists such as Poze also reveals deep tensions. While there is an apparent acceptance of funk as a cultural product, “tolerance” does not extend to the favela’s cultural and economic autonomy as a collective project, as the anthropologist explained: “In the isolated cases of funk MCs, as there are many MCs, but not all will become Mc Poze of the squeegee or Mc Ryan, it is an individual economic autonomy that reinforces individualistic discourse of neoliberalism. discourse of entrepreneurship or self-made-man of the middle and high classes ”, analyzed Vinícius.
The expert goes further: true romanticism around crime and poverty does not come from funkeiros that portray their daily lives, but from the high classes that fetish the periphery. “Middle and high classes, especially young people, tend to exalt every culture they consider exotic and in the case of peripheral cultures they empty their political power. So if there is someone who romanticizes precariousness and poverty are these wealthier classes and not young people, mostly black, who make and consume funk.”
In contrast, there are those who believe there is one. For this portion of society, although funk is a legitimate expression of peripheral culture, it is necessary to discern between the representation of reality and the exaltation of criminal activities. In addition, critics also say that the presence of letters mentioning criminal factions, weapons use, and ostentation of wealth acquired by illicit means can negatively influence vulnerable young people.
After your temporary arrest on May 29 ,. Judge Petersburg Barroso of the Rio de Janeiro Court of Justice granted Habeas Corpus to the singer on Monday (2/6), arguing that the arrest was unnecessary for the progress of investigations and that there was excessive detention, including the use of handcuffs and wide media exposure.
Investigations continue and the Civil Police investigates shows in faction -controlled areas, as well as the possible use of these events for illicit activities.
The artist’s defense and claims that the arrest was based on subjective interpretations, without concrete evidence.
