Abstract
The beats of bregafunk and the praises that announce an evangelical cult, on a street in a neighborhood on the outskirts of Recife, bring to the forefront a set of moral disputes (MISKOLCI, 2021) in peripheral pop songs (PEREIRA DE SÁ, 2021) that pass through frameworks that link bodies to performance conditions in their leisure dynamics. A methodology that articulates Performance Studies for the interpretation of musical phenomena anchored in the spatial cleavage and the formation of dramatic frames (SOARES, 2017) in the urban fabric maps performative erasures (TAYLOR, 2013), sound policies, body choreography and ground policies (LEPECKI, 2011) in which, in addition to discourse, sensitive spheres emerge that problematize moral frameworks.
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