É o Rap RJ: A cultura da música e as práticas comunicacionais da cena de rap do Rio de Janeiro

• Autor(a) principal: Mendes, Gabriel Gutierrez
• Data de Publicação: 2021
• Outros Autores: [e-mail]
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/17546
• topic: Music Scenes; Hip Hop; Rap; Cenas musicais; Rio de Janeiro; CIENCIAS SOCIAIS APLICADAS::COMUNICACAO

The agency that was made of the genre by various social actors over time in the city. The approach is delimited between the release of the first collection of rap from Rio de Janeiro in 1993 until the emergence of cultural circles in Rio in the late 2000s. was made by miami bass, the rap from Florida. From this mediation, carioca funk was born, at a time when rap and funk were practically the same thing. Gradually, however, carioca rap took on its own look, differentiating itself from city funk, especially from a greater inclination towards New York and Los Angeles rap. In this sense, the thesis reveals how the origins of this identity are closely related to the Hip Hop culture, especially with break dancing and community associations linked to that movement. In a second moment, it is discussed how the neighborhood of Lapa, in the center of Rio, acquired an outstanding capacity to operate as a force of convergence within the carioca scene, bringing many musical practices linked to the genre into its territory. Due to this ability to attract, a carioca sociability anchored in rap begins to be gestated there, in a more consistent way. From the vitality of this sociability, a new phase of rap appropriation in the city is born, even more dissociated from funk and with greater media receptivity. Its artists outline a specific aesthetic identity for carioca rap. Something that occurs especially from the encounter of rap with a lyrical and poetic practice crossed by debauchery. Finally, a third phase of carioca rap is debated, which began in the 2010s, whose central characteristic is the decisive relationship with the emergence of rhyme battles and its vocation to become an efficient communication platform within the genre. Due to the success of this communicational modality, a series of processes were unleashed to profoundly change Rap RJ. Among these processes, the blood battle fristaile and the cultural circles associated with it stand out as catalysts for a new set of practices on the part of actors in the Rio de Janeiro scene. Practices that helped the genre to take root in the most diverse territories of the city, expanded its reach of audience and contributed to the emergence of an unprecedented number of artists interested in professionalizing themselves within an emerging market focused on rap in Rio de Janeiro.