A Bluesman's Beards: A Sign of Black Resistance in Bahian Rap

Camilla Ramos Dos Santos,Marlúcia Mendes Da Rocha,Isaias Francisco De Carvalho

doi:10.1590/2176-457349817

Camilla Ramos Dos Santos, Marlúcia Mendes Da Rocha + Show 1 more

Open Access

https://doi.org/10.1590/2176-457349817

Copy DOI

Abstract

ABSTRACT Beards are an indication that man has reached maturity. It is with this idea in mind that the songs from the second album by artist Baco Exu do Blues, Bluesman, are analyzed. At the early age of 22, in his act of creation, Baco criticized the conditions of socioeconomic inequality and racism imposed on people of African descent, acting as an ideological sign in the construction of a Black Consciousness. As a symbol of insurgency, Baco also used mythical language to compose an identity and format his rap, creating a hero. Hip hop criticizes racial capitalism, established in Brazil with the colonization and the arrival of enslaved Africans. The compositions are analyzed as cries of resistance to necropolitics – a call to perform acts that relate ethical values and poetry when doing politcs.

Highlights

Born in the city of Salvador, in 1996, and a phenomenon at the age of 20, producer, rapper and composer Diogo Álvaro Ferreira Moncorvo, known as Baco Exu do Blues, produces in his music an aesthetic language that streamlines the negotiation of marginal agencies, becoming a political actor
At the early age of 22, in his act of creation, Baco criticized the conditions of socioeconomic inequality and racism imposed on people of African descent, acting as an ideological sign in the construction of a Black Consciousness
Coming from hip hop, a postmodern and urban cultural movement that aims to dissolve oppressive systems, mainly the capitalist and racist one, rap configures the musical language chosen by Baco Exu do Blues that we highlight as an act of aesthetic creation by cultural resistance and identity affirmation, based on a reality that exposes him to the very ailments that inspire his writing

Summary

Introduction

Born in the city of Salvador, in 1996, and a phenomenon at the age of 20, producer, rapper and composer Diogo Álvaro Ferreira Moncorvo, known as Baco Exu do Blues, produces in his music an aesthetic language that streamlines the negotiation of marginal agencies, becoming a political actor. Coming from hip hop, a postmodern and urban cultural movement that aims to dissolve oppressive systems, mainly the capitalist and racist one, rap configures the musical language chosen by Baco Exu do Blues that we highlight as an act of aesthetic creation by cultural resistance and identity affirmation, based on a reality that exposes him to the very ailments that inspire his writing. A self-taught composer, Baco Exu do Blues is a demonstration of cultural resistance and Black identity affirmation in Bahian music, which has solidified this narrative throughout a long process, since in 1974, with the debut of the afro block Ilê Ayê, in the city of Salvador. A dialogue is articulated between several studies related to the dynamics between culture, language and the ideological sign, seeking to produce knowledge by means of a notion about the interface between politics, rhythm and Black poetry by Baco Exu do Blues. Baco's work inscribes an ideology of emancipation and appreciation of the potential of Afro-descendants looking at the construction of an inclusive and anti-racist counterculture and seeking to interfere in the arrangement of the necropolitics so evident in our society

The Context of the Aesthetic Repertoire and Politics in Art

Findings

In Yoruba