“BH É QUEM?”: Performative Sonic Paths of the Entangled Funk from Minas Gerais. Grande Área: Ciências Sociais Aplicadas
Funk from BH; Territoriality; Connected Listening; Performance; Audiovisual in Network.
The funk genre in Brazil has the first steps of its construction marked in Rio de Janeiro, but is currently reconfigured globally. In Belo Horizonte, expressions of this genre, which began in the 1980s, have developed particular electronic aesthetics and sounds since the mid-2010s, claiming a local uniqueness, which finds symbolism in the catchphrase: “BH é quem? BH é nóis” (BH is who? BH is us). I use this catchphrase, widely disseminated by funk production but also drained by various communication expressions in different contexts of the city, as a trigger to go through performative layers that emerge through sound and speak of the articulation between music-territory- body. Along with the notions of performance/oralitura (MARTINS, 2021), connected listening (JANOTTI JR, 2023) and networked audiovisual (GUTMANN, 2021), I analyze sonic singularities of Belo Horizonte’ funk, among the rearrangements of the musical genre in contexts outside the Rio-São Paulo axis, and walk through its media statements, understanding the dynamics of hegemony and counter-hegemony that are staged in different spirals in musical categorizations. I bring elaborations about electronic musical practices such as “montagens” as phonographies (JAMES, 2019) and afrodiasporic sound knowledges that enable the emergence of other worldviews, which take embodied knowledge as an inescapable constituent of musical production and listening. I seek, therefore, also to point to other collectivities in the musical imaginary of the capital of Minas Gerais, which are crossed by intersectional markers.