e-ISSN 1984-7246
Adelcio
Camilo Machado[ii]
Federal University of
São Carlos
São Carlos, SP – Brasil
lattes.cnpq.br/4163948825825308
Raul Ayrton Franco[iii]
Federal University of
São Carlos
São Carlos, SP –
Brasil
lattes.cnpq.br/0960563330280717
About kids, hips, nightmares
and homework: african diaspora, black pride and racial oppression in Emicida
album
Abstract
This article examines the
album About kids, hips, nightmares and homework, released by Emicida in 2015.
Through analyses, we sought to point out the ways in which the so-called new
condition of rap (Santos, 2022) is formalized in the constituent elements of
the album as a whole, as well as within its tracks. We recognized that the
experience of the African diaspora constitutes the core of the album. More
specifically, we observed that the album brings a balance between compositions
that denounce the oppression suffered by the black population and, on the
opposite pole, tracks that approach blackness from a celebratory and uplifting
perspective. In turn, such themes correspond, on the one hand, to the use of
sounds that are more aggressive and, on the other, to greater delicacy and
lightness of sound, both in the singing and in the musical base. We also found
different ways of singing, some very close to orality itself and others with
greater musical formalization. In summary, we discussed that the diversity of
themes and sounds present on the album is compatible with the expansion of
rap’s audience, something constitutive of its contemporary condition, and that
this lies both its strength and the limit of its criticism.
Keywords: brazilian rap; Emicida; popular song;
African diaspora.
Sobre crianças, quadris,
pesadelos e lições de casa: diáspora africana, orgulho
negro e opressão racial em disco de Emicida
Resumo
O presente artigo examina o disco Sobre crianças, quadris, pesadelos e lições
de casa, lançado por Emicida em 2015. As análises procuraram apontar as
maneiras pelas quais a chamada nova condição do rap (Santos, 2022) se formaliza
nos elementos constitutivos do álbum como um todo, bem como no interior de suas
faixas. Foi possível reconhecer que a experiência da diáspora africana se
constitui como o cerne do disco. De modo mais específico, observou-se que o
álbum traz um equilíbrio entre composições que denunciam as opressões sofridas
pela população negra e, no polo oposto, por faixas que abordam a negritude a
partir de uma perspectiva celebrativa e enaltecedora. Por sua vez, tais temas
encontram correspondências entre, de um lado, o emprego de sonoridades mais
agressivas e, de outro, maior delicadeza e leveza sonora, tanto no canto quanto
na base musical. Foram constatadas ainda diferentes maneiras de cantar, algumas
muito próximas à própria oralidade e outras com maior formalização musical. Em
síntese, discutiu-se que a diversidade de temas e de sonoridades presentes no
disco mostra-se compatível com a ampliação do público do rap, algo constitutivo
de sua condição contemporânea, e que nisso reside tanto sua força quanto o
limite de sua crítica.
Palavras-chave: rap brasileiro;
Emicida; canção popular; diáspora africana.
1 From the opening track to the album
Acoustic piano timbre
with an Ab7M chord in the mid-acute region, with a regular rhythmic division
marking, above all, the pulse and thus defining a slow tempo, around 76 bpm, in
quaternary time signature. This chord persists for two measures, followed by a
Cm7, which serves as a harmonic resting point—thus assuming the function of the
Tonic—while maintaining a similar rhythmic division and also lasting for two
measures. The Ab7M chord returns for two more measures, now accompanied by an
electronic drum kit with some reverb. The kit features a dry-sounding kick drum
in the mid-low frequency range, a snare reminiscent of a woodblock with a high
pitch and quick decay, and a synthesized hi-hat sound. Concurrent with the drum
entrance, various background sound effects are subtly incorporated into the
mix, typically with extended durations. Subsequently, the piano transitions to
an Fm7 chord in a lower, more central register of the instrument, before moving
to a Cm7 chord in the following measure, maintaining the same tonal range. Thus
far, a delicate and airy atmosphere is achieved through the pacing and tonal
qualities. This is how the track "Mãe" begins, the opening song of
the album Sobre crianças, quadris,
pesadelos e lições de casa[1]
released in 2015 by rapper Emicida.
Following this eight-bar
instrumental introduction, Emicida's vocals commence. The fundamental musical
structure largely retains its previously established characteristics. However,
the electronic drum kit, while maintaining the same rhythmic pattern,
introduces a more pronounced bass drum with enhanced low-frequency presence and
a snare drum that more closely resembles acoustic drums in timbre and mid-range
frequencies. These sonic elements soften the initial delicacy while expanding
the mid and low-range frequencies of the sound spectrum.
Nevertheless, Emicida's
vocal delivery remains notably mellow, at times even taking on a breathy[2]
quality. Emicida stabilizes his rhythmic delivery through various pulse
subdivision techniques, continuing the intonation tradition of rap that shaped
his artistic development. Furthermore, from the very outset[3], the
artist showcases one of his signature techniques: a masterful manipulation of
sound. This is evident in the abundance of rhymes, both at line endings and
internally (such as "peito," "imperfeito," and
"estreito"; "imposto" and "encosto"), as well as
in alliterations (“sorriso no rosto”) and assonances(banzo,
tanto, pranto, canto and chorando) (Emicida – Mãe
[...], 2015).
However, regarding the
melodic dimension, Emicida's singing style diverges somewhat from rap
tradition. According to researcher Marcelo Segreto, rap typically does not
"stabilize frequency at pitches that coincide with musical notes,"
meaning that "pitch in rap [is] generally that of the speaking voice"
(Segreto, 2015, p. 28). This is because, at the beginning of the vocal section
of "Mãe," Emicida maintains his singing within more defined frequency
ranges, creating the impression of singing musical notes, even though it may be
difficult to identify them precisely.
However, this vocal style
is not sustained throughout the entire track. On the contrary, there are
moments when Emicida intensifies the vocal delivery by departing[4]
from more defined pitch ranges, allowing the melodic contours to closely mirror
his vocal inflections. In essence, this describes Emicida adopting a more
mainstream rap vocal style. This is particularly evident in the song's second
verse, “Não esqueci da senhora limpando o chão desses boy cuzão” (Emicida – Mãe
[...], 2015). Finally, there are instances when the rapper softens their
intonation, thereby accentuating the musical aspect of their delivery. This
allows for a more complete stabilization of pitch into distinct musical notes,
enabling listeners to discern each individual note being intoned. Tal maneira
de cantar pode ser ouvida principalmente nos refrãos (“Nossas mãos ainda
encaixam certo” [...]) (Emicida – Mãe [...], 2015), que contam não apenas com o
canto de Emicida, mas também da cantora Anna Tréa. Finally, at the end of the
recording, after 4 min. 3-second mark, the emotional intensity peaks, not
through Emicida's voice, but through Dona Jacira's - the rapper's mother - as
she recites the closing lines. In this instance, there is no rhythmic
stabilization, resulting in both pitch and rhythm mirroring those of spoken
speech.
The song's lyrics are
constructed around a lyrical persona addressing their mother. Consequently,
numerous passages evoke tender imagery that emphasize the mother-child bond,
such as (“Nossas mãos ainda encaixam certo”, “Em tudo eu via a voz de minha mãe
/ Em tudo eu via nóis”, “Até meu jeito é o dela”, “Esses dias achei, na minha
caligrafia, / A tua letra e as lágrima molha a caneta”) (Emicida – Mãe [...],
2015). This perspective is complemented by the final excerpt in which, in the
first person, the mother herself gives an equally affectionate account of the
birth of her third child[5] (“Buscava o amor nas
coisas desejadas / Então pensei que amaria muito mais / Alguém que saiu de
dentro de mim e mais nada / Me sentia como a terra, sagrada”) (Emicida – Mãe
[...], 2015). At the same time, there are other passages that, in the opposite
direction, point to the various difficulties that crossed that mother's life
[“Profundo ver o peso do mundo nas costas de uma mulher”; “[...] moça, de onde
‘cê tirava força?”] (Emicida – Mãe [...], 2015), which further valorize the
celebrated character.
It's worth noting that
the lyrics of the song themselves contain some markers of blackness, which can
be found in the passage “Quando disser que vi Deus / Ele era uma mulher preta”
(Emicida – Mãe [...], 2015) and in the mention of the slave quarters in the
passage “Luta diária, fio da navalha, marcas? Várias / Senzalas, cesárias,
cicatrizes” (Emicida – Mãe [...], 2015). Thus, the song's internal structure
clearly indicates that the mother depicted in the lyrics is a Black woman, and
furthermore, that the historical context serving as a reference point for its
composition is rooted in the experiences of Black women within the African
diaspora.
The choice to begin an
examination of the album Sobre crianças
with the song “Mãe” is justified not only because it is the opening track, but
because it condenses characteristics that mark the album as a whole. The
African diaspora experience (Hall, 2003) permeates all tracks, manifesting
through diverse perspectives in both lyrics and soundscapes[6]. Furthermore, the song
"Mãe" and the album can be analyzed through the intersection of four
primary themes. The first aspect involves the aforementioned spectrum between
the dominance of musical form on one end and the prevalence of intonational
force in voices on the other.
In this regard, it is
evident that in two tracks – "Amoras" and "Trabalhadores do
Brasil" – there is a more intense use of intonational force, to the extent
that the voices do not stabilize rhythmically or in musical notes, but rather
manifest through orality, similar to what occurred at the end of
"Mãe," as previously discussed. At the opposite end of the spectrum,
there are at least three tracks that feature vocals consistently anchored to
specific musical notes throughout. These include "Baiana,"
"Passarinho," and "Sodade," which are sequentially placed
in the central portion of the album, occupying the sixth through eighth
positions. The remaining examples fall between these extremes, exhibiting
varying degrees of musical structure and intonational force. Typically, they
consist of one section where the vocals are rhythmically organized but follow
speech inflections, and another section where the vocals adhere to musical
notes.
The second axis involves a
fluctuation between, on one hand, greater sonic delicacy and lightness and, on
the other, the use of more aggressive sounds, both in the vocals and the
musical foundation. Thus, tracks such as como “Mãe”, “Amoras”, “Mufete”,
“Baiana”, “Passarinhos” and “Madagascar” employ lighter sonorities, generally
based on acoustic instruments or digital instruments with cleaner timbres and
gentle attacks; moreover, these songs feature equally smooth vocal deliveries,
without indicating tension. In contrast, the tracks "8" and "Boa
esperança" are primarily built on digital instruments with greater
intensity and more abrupt attacks, accompanied by more tense vocal deliveries.
The remaining tracks oscillate between these two poles, which will be discussed
further.
A third axis is characterized,
at one end, by songs that denounce the oppression experienced by the Black
population and, at the opposite pole, by compositions that approach Blackness
from a celebratory and exalting perspective. In this context, songs such as
"Boa Esperança," "Mandume," and "8" articulate
dissatisfaction and resistance against various forms of violence that permeate
the experiences of the Black population. "Mufete" and "Salve
Black (freestyle)" showcase lyrics and sounds that celebrate various
aspects of Black identity and culture.
Finally, the fourth axis
alternates between album tracks focused on more individualized situations and
those developed from a more collective perspective. The first group includes
the songs “Mãe”, “Amoras”, “Baiana” and “Chapa”; the second group includes the
tracks “Mufete”, “Boa esperança”, “Trabalhadores do Brasil” and “Salve Black
(”free style“)”. As in other instances, this distinction does not preclude
certain tracks from evolving from an individual focus to address more
collective themes, and vice versa.
It
is worth noting that these themes shape the album as a whole, and the same
occurs within each individual track. Throughout these processes, there are
observable periods of intensification towards certain polarities of the
previously described axes, and consequently, attenuation of others. To gain a
deeper understanding of this dimension, it is essential to examine each of these
categories individually. However, before delving into these considerations,
it's crucial to contextualize the album within Emicida's career, which will aid
in understanding its significance both in the artist's specific trajectory and
in the broader landscape of Brazilian rap.
2 Emicida and the album Sobre
crianças
According to Emicida's
official website, [7],
Sobre crianças, released in 2015, is
listed as the rapper's seventh album[8],
with his first album having been released in 2009. Before his first album, the
rapper had already produced his first song, "Contraditório
vagabundo", in 2005, and the single "Triunfo", in 2009. Another
pivotal experience in Emicida's rise and establishment within the rap scene was
his participation in freestyle battles, notably the Santa Cruz Battle held at
the Santa Cruz metro station in São Paulo, where he claimed his first victory
in 2006[9].
It is worth noting that
Emicida's influence in the public sphere extended beyond his work as a rapper,
encompassing various other dimensions. One of his most notable endeavors is his
entrepreneurial activity, which gained significant traction in 2009 when the
artist and his brother, Evandro Fióti, established the production company
Laboratório Fantasma. It was through this company that Emicida initially
produced and released his own records, but later expanded to work with other
artists and even diversify into other market segments, such as clothing and
accessories.
This engagement in diverse
domains beyond music production was interpreted by sociologist Daniela Vieira
dos Santos as indicative of "rap's evolution into a multifaceted cultural
phenomenon transcending its origins as a musical genre" (Santos, 2022, p.
14). The author recognizes a path in which rap appears initially linked to
hip-hop culture, then comes to be thought of as a “musical genre” more closely
linked to the mechanisms of record production and culminates, more recently, in
being “thought of not only as music, but also as a concept - a lifestyle and
consumption that goes beyond its ‘origins’” (Santos, 2022, p. 14).
Santos argues that this
transcendence of rap beyond its status as a musical genre exemplifies what he
terms the "new condition of rap," with Emicida serving as a prime
exemplar of this phenomenon (Santos, 2022, p. 5). The sociologist
conceptualizes this category to articulate the evolving sociocultural
positioning of rap, encompassing:
1) the impact of digital technologies - which restructure the
production, circulation and reception of musical practice; 2) a change in the
management of artistic careers; 3) an increase in the cultural legitimacy of
rap; 4) a change in the status of artists; 5) the internationalization of
Brazilian rap; 6) a broadening of the concept of rap/Hip Hop beyond a musical
genre; 7) female and LGBTQI+ protagonism; 8) diversification of the public
(Santos, 2022, p. 5).
Based on these reflections,
the album Sobre crianças can be
viewed as another of Emicida's works that fits within this new era of rap.
Therefore, this article aims to explore the manifestations of this condition
within the album[10].
Therefore, this study draws theoretical inspiration and support from the
insights of literary critic Antonio Candido (2011) regarding the examination of
the relationships between a literary work and its socio-historical context. The
author argues that the work's integrity necessitates an analysis that
"dialectically integrates text and context" (Candido, 2011, p. 13).
More specifically, Candido invites us to see how the external element “plays a
certain role in the constitution of the structure, thus becoming internal” (2011, p. 14). This study aims
to explore how Santos' concept of rap's new condition is not merely an external
factor surrounding Emicida's album, but rather an integral element that shapes
its internal structure and content.
As previously noted, Sobre crianças was released in 2015,
marking the artist's 10th anniversary in the music industry[11]. To
celebrate this milestone, Emicida embarked on a journey to Angola and Cape
Verde, African nations that, like Brazil, share a history of Portuguese
colonialism and retain Portuguese as their official language, among other
lasting impacts of this historical process. In addition to these factors, the
selection of these destinations was influenced by their concurrent celebration
of 40 years of independence that same year (Sobre [...], [20--]). According to
the rapper, the album came about with the aim of expressing how Brazil and the
African continent as a whole were intrinsically linked, despite the
geographical distance (Sobre [...], 2015). To achieve this, the songs incorporated
sounds and themes associated with African and Afro-Brazilian cultures, and
featured significant contributions from Angolan and Cape Verdean musicians and
artist groups during the recording process.
The album comprises 14
tracks with a total runtime of 52 minutes. Of these, Emicida does not sign the
authorship and does not take part in the performance of two:
"Sodade," attributed to Nenzalina Correia and Semedo Garcia,
performed by Neusa Semedo, leader of the Terreiro dos Órgãos batucadeiras group
from Cape Verde; and "Trabalhadores do Brasil," composed and
performed by Marcelino Freire. Of the remaining 12 tracks, six (“Amoras”,
“Mufete”, “Passarinhos”, “Chapa”, “Madagascar” and “Salve Black”) are credited
to Emicida and Xuxa Levy, who also signs two other compositions (“8” and
“Casa”) with other co-writers, and was also the record's producer, along with
Emicida and Evandro Fióti.
When examining the album's track sequence, it can be divided into four
distinct sections. The initial segment encompasses the opening section,
previously discussed, along with the subsequent two sections. The second
segment showcases a lighter tone, both musically and lyrically, encompassing
the subsequent four tracks. Subsequently, five tracks form the third section,
where the album reaches its peak in terms of social critique and retaliation.
Finally, the last two tracks form a fourth section, where the celebration of
Black identity resurfaces. The following sections will discuss these ranges
within the context of these blocks.
3 From the exaltation of motherhood to “solo não dócil”
As previously noted, the
track "Mãe" opens the album. Through it, an atmosphere of tenderness
and lightness emerges, characterized by a strong lyrical element[12]. As previously noted,
this atmosphere is occasionally punctuated by heightened tension in Emicida's
vocal delivery, typically corresponding to lyrics that allude to the various
challenges faced by the song's protagonist. Nevertheless, the album opens with
a light and gentle tone, hinting at a celebratory nature—specifically of Black
women—though expressed with serenity rather than euphoria. In addition,
following Mostranges' arguments (2023, p. 65), the strip manages to capture
“the relevance of motherhood in matriarchal societies and also in those whose
ancestry is part of the social organization”.
The next track on the
album, titled "8", creates a stark contrast with the opening song.
For approximately the first 25 seconds, the piece lacks a defined tempo and
rhythmic pattern, consisting solely of sonic elements that evoke both
synthesized timbres and naturalistic sounds reminiscent of birdsong. However,
after these initial seconds, Emicida's voice can be heard singing with
considerable strength and intensity, in a rhythmically stable chant, but
without fixing the pitches to specific musical notes. Simultaneously, an
electronic drum beat emerges, setting the tempo at approximately 85
bpm—slightly faster than "Mãe"—in 4/4 time. The bass drum and snare
exhibit a tight, punchy sound characterized by sharp attack, quick decay, and
prominent mid-low frequencies.
The lyrics of “8” present
various formulations linked to the sufferings and difficulties of the black
population, as can be seen in the passages “O fardo é foda, não é conto de
fada”, “A tristeza deforma os faces daqui” and “Nóis nunca entendeu essa
história manca / Sangue índio, suor preto e as igreja branca” (Emicida - 8
[...], 2015). The song features a chorus with a musical foundation highlighting
elongated vocalizations of the vowel [ô] in a slightly higher register,
complemented by electronic sounds, particularly scratch effects. This base is
overlaid with collaged fragments from other songs. At the end, there is a
guitar solo over which Emicida declaims a message aimed at the “quebrada”,
inviting people to seek information (“‘Vamo’ buscar se informar, mano”) and
unite (“Unido a gente fica em pé”) (Emicida - 8 [...], 2015).
While the album's opening
tracks lean towards a celebratory tone, the latter half takes on a more
critical stance, addressing societal oppression. This characteristic is carried
over into the next song, titled "Casa". Emicida's verses maintain a
consistent vocal tension, with a steady rhythm and frequencies matching speech
inflections. With this way of singing, the rapper sings several verses that
point to the difficulties and dangers of being in the world[13], as can be seen in “ Lá
fora é selva, a só entre luz e trevas / Nós, presos nessas fases de guerra,
medo e monstros”, “Nunca foi fácil, solo não dócil; esperança, fóssil” and
“Jacaré que dorme vira bolsa” (Emicida - Casa [...], 2015). In contrast, the
song's choruses are sung by children's voices in a high register, with soft
delivery and well-defined melodic contours in terms of musical notes, and their
verses express a relationship of conjunction between the song's narrator and
the world: “O céu é meu pai / A terra, mamãe / E o mundo inteiro é tipo a minha
casa” (Emicida – Casa [...], 2015).
The interplay between
tense and softened vocal deliveries in "Casa" is mirrored in its
musical foundation. As Emicida performs, deep and intense bass sounds punctuate
the rhythm, marking each beat of the measure. At times, however, the children's
voices themselves break into vocalise, lending a lighter touch to the track.
Additionally, the distinctive sound of the berimbau, enhanced by electronic
processing, intensifies the rhythmic activity and evokes the Afro-Brazilian
practice of capoeira, where this instrument plays a central role.
4 “Riso contente”
Following two tracks
focused on denouncing forms of oppression against the Black population, with
their correspondingly more aggressive sounds, the album continues with a set of
four tracks that bring a lighter tone and, for the most part, a celebratory
character. The fourth track, "Amoras", is notably short at only 56
seconds in length. Its accompaniment is primarily built around the kalimba, an
instrument featuring small metal tines that, when plucked, produce high-pitched
sounds in various tunings depending on the size of each tine. Emicida delivers
spoken word poetry over the musical backdrop, using a soft, breathy vocal style
in a high register. Thus, there is a delicate interplay between the musical
foundation and the vocals. The text of “Amoras” features a song-writer who
recounts a situation in which he told his daughter that the darkest
blackberries (“as pretinhas”) were the sweetest and his favorite, and that, in
response, the child expressed her pride in being black: “Papai, que bom, porque
eu sou pretinha também”. The lyrics also highlight the names of Martin Luther
King, Zumbi and Malcom X, important protagonists in the struggles of the
Afro-descendant population, indicating that they would also be (“cairia em
pranto”, “diria que nada foi em vão” and “would tell someone”) (Emicida -
Amoras [...], 2015) by the fact that “a doçura das frutinhas sabor acalanto”
would have awakened this awareness in a child.
Black pride resurfaces in
the next track, the album's fifth, "Mufete" (Emicida – Mufete [...],
2015). Its chorus exalts various peripheral regions of the city of Luanda,
Angola's capital (“Rangel, Viana, Golfo, Cazenga pois / Marçal, Sambizanga,
Calemba Dois”) (Emicida - Mufete [...], 2015). In addition, the lyrics are full
of exaltations of the black population (“ Nobreza mora em nóis, não num trono /
Logo somos reis e rainhas, somos”) (Emicida - Mufete [... ], 2015) and their
cultural production cultural (“Djavan me disse uma vez / Que a terra cantaria
ao tocar meus pés / Tanta alegria faz brilhar minha tês” and “Aí, 'cá na cintura
das minas de Cabo Verde / E nos olhares do povo em Luanda / Nem em sonho eu ia
saber que / Cada lugar que eu pisasse daria um samba”) (Emicida - Mufete [...],
2015). Furthermore, according to Angolan drummer Joel Inga, who recorded the
song, the rhythmic pattern employed closely resembles kizomba, a danceable
musical genre originating from Angola, which enhances the festive atmosphere
conveyed in its lyrics (Emicida – Documentary [...], 2017).
A particular verse stands
out: “Ligue a pele preta a um riso contente” (Emicida – Mufete [...], 2015),
which points to the need to create new imaginaries surrounding the Black
population, moving away from the perspective of suffering and recognizing that
there are also joys in the experiences resulting from the African diaspora. The
verse is therefore close to the reflections of the thinker, theorist and
activist bell hooks (2019), who considers that
[...] a critical task for Black intellectuals has been to challenge
hegemonic paradigms of perception, thought, and existence that hinder our
ability to envision ourselves from alternative perspectives, to imagine,
describe, and reinvent ourselves in emancipatory ways (hooks, 2019, p. 32-33).
The next track,
"Baiana" (Emicida – Baiana [...], 2015), continues the album's theme
of celebrating Black identity. However, in this context, the meaning appears
more individualized and less collective compared to "Mufete" upon
initial assessment. In this song, the songwriter expresses his fascination with
a black woman (“cor nagô”) born in the state of Bahia, who would have
fascinated him by kissing him “no canto da boca” (Emicida – Baiana [...],
2015). However, even though the statement is directed at a specific woman, no
first name is mentioned, but she is referred to only as baiana (“Baiana, 'cê me bagunçou”) (Emicida - Baiana [...], 2015).
Through this lens, the song becomes a tribute to all Black women of Bahia and a
homage to the Brazilian popular music tradition that celebrates Bahian women
and the state of Bahia[14]. It's worth noting that
the song features a collaboration with fellow Bahian artist Caetano Veloso, one
of Brazil's most acclaimed popular musicians, who joins Emicida in singing the
choruses. This participation signifies the growing cultural legitimacy of rap,
reflecting its evolving status, as noted by Santos (2022).
The song
"Passarinhos" (Emicida – Passarinhos [...], 2015) concludes this set
of lighter tracks on the album. Its musical accompaniment features a rhythmic
pattern reminiscent of reggae, a genre associated with the African diaspora,
particularly in Jamaica[15], which encourages
listeners to move their bodies to the beat. The instruments chosen to integrate
this musical base also contribute to the smoothness of this track: the rhythmic
conduction is initially carried out by the ukulele, a chordophone with less
sound power and a medium-high frequency, and is complemented by acoustic drums,
played with less intense attacks, as well as electric guitar and double bass,
also with light sounds and contributing to the rhythmic subdivision. The song
features a well-defined melodic line with stable musical notes. Vanessa da Mata
contributes vocals, at times harmonizing with Emicida's lead and at other
points providing countermelodies.
However, the lyrics
present a stark contrast to the musical simplicity. This is because he works by
establishing parallels between human life and the flights of birds (“E, no meio
disso tudo / ‘Tamo tipo passarinhos / Soltos a voar dispostos”) (Emicida –
Passarinhos [...], 2015), and ends up highlighting problems and difficulties,
as can be seen in the passages “Despencados de voos cansativos / Complicados e
pensativos / Machucados após tantos crivos” (Emicida – Passarinhos [...],
2015), “Vê só o que sobrou de nós e o que já era” (Emicida – Passarinhos [...],
2015), “Em colapso, o planeta gira / Tanta mentira aumenta a ira de quem sofre
mudo / A página vira, o são delira, então a gente pira” (Emicida – Passarinhos
[...], 2015) and “Cidades são aldeias mortas” (Emicida – Passarinhos [...],
2015). On the other hand, the chorus of the song softens this diagnosis by
pointing to the hope of finding a safe place (“achar um ninho”), even if it's
in emotional relationships (“Nem que seja no peito um do outro”) (Emicida -
Passarinhos [...], 2015). Thus, despite the lyrics largely alluding to
adversity, an atmosphere of optimism ultimately prevails, both through the
repetition of the chorus and the musical characteristics. In any case, the
content of its lyrics appears to serve as a transition to the subsequent themes
presented in the album.
5 Melancholy and revenge
Next, beginning the third
thematic section, another shorter track plays - "Sodade"[16], the album's eighth song,
lasting 1 minute and 10 seconds. It's noteworthy that Emicida is absent from
this track, both as a writer and performer. The song is performed by Neusa
Semedo, who leads a group of batucadeiras in Cape Verde. This is the only track
that is not sung in Portuguese, being sung, according to Luis Gustavo Coutinho,
a member of the Música Pavê portal team, in Cape Verdean Creole (Pavezeiros,
2015). Its accompaniment features a simple electronic pulse at approximately 70
bpm, reminiscent of a caxixi or similar shaker instrument. Building upon this
foundation, Neusa Semedo crafts her vocal style, employing a ternary
subdivision of the rhythm while incorporating numerous sustained notes,
particularly at the beginnings and ends of phrases. The melodic line exhibits a
somewhat angular character, beginning in a higher register and concluding in
the lower range. These features - minimal rhythmic movement, sustained notes,
and a melody leaning towards lower registers - imbue the song with a
melancholic quality[17], as hinted at by its
title[18].
The subsequent track,
"Chapa," the ninth on the album, maintains the somber tone
established in "Sodade." The song opens with a woman speaking in a
northeastern Brazilian accent, stating she's searching for her two sons in São
Paulo, setting the stage for the central theme that unfolds as the singing
begins. The accent in this voice reflects the migration of people from the
Northeast to the Southeast, who often struggle to secure formal employment and
thus resort to informal means of subsistence[19]. This aspect is linked to
the term "chapa," which titles the song and is used by the speaker to
address their interlocutor, typically referring to informal workers such as
coffee pickers and truck loaders/unloaders.
At the beginning of the
sung part, the I-song talks to a neighbor who was missing, but whom he had just
found (“Chapa, pode pá, tô feliz de te trombar”) (Emicida – Chapa [...], 2015).
In this dialogue, the enunciator emphasizes all the sadness resulting from the
disappearance of his interlocutor, especially on the part of his mother mãe
(“Sua mãe chora / Não dá pra esquecer / Que a dor vem sem boi, sentiu”, “Ela tá
presa na de que ainda vai te ver”) (Emicida – Chapa [...], 2015) and his
partner (“Chapa, sua mina sorriu, mas era sonho / E quando viu, acordou deprê”)
(Emicida – Chapa [...], 2015). The lyrics also contain hints suggesting that
the disappearance of the "buddy" was due to a depressive state (“Se
encana ao crer / Que ninguém lá te ame”) (Emicida – Chapa [...], 2015). The
sonic elements reinforce the melancholic atmosphere through a low-register
melodic line, sparse rhythmic accompaniment, and the use of a minor key. The
I-song also makes a request for the neighbor to return retorne (“Jura pra mim
que foi / E que agora tudo vai se resolver”, “Até breve, eu quero ver sua
família feliz no rolê”) (Emicida – Chapa [...], 2015).
Examining this request,
the song's chorus disrupts the melancholic atmosphere and projects the
character's anticipation of return: “Mal posso esperar o dia de ver / Você
voltando pra gente / Sua voz avisar, o portão bater / Acende um riso contente /
Vai ser tão bom” (Emicida – Chapa [...], 2015). In line with the shift in
lyrical tone, the musical elements also accentuate this sense of hope: the
rhythmic pattern of the accompaniment transitions to a samba groove, while the
vocals ascend to a higher register and adopt a more syncopated style.
Nevertheless, the minor key persists, suggesting that despite expectations, the
reality remains unchanged, as the character has not yet returned (and may not
have overcome their depressive state).
With the track "Boa
esperança", the album reaches its peak of aggression, both sonically and
in its denouncing nature. Her lyrics powerfully convey the enduring impacts of
slavery on Black communities today. The lyrics draw parallels between modern
police vehicles and historical slave ships, as well as between favelas and
slave quarters, highlighting continuities in systemic oppression (“E os
camburão, o que são? / Negreiros a retraficar / Favela ainda é senzala, Jão”)
(Emicida – Boa [...], 2015). Simultaneously, several parts of the song indicate
a retaliatory stance. This already appears in the final verse of the chorus,
when he says that the favela is a “Bomba relógio prestes a estourar”, and is
developed in the stanzas, in verses such as “Violência se adapta, um dia ela
volta p’ocêis”, “Nóis quer ser dono do circo / Cansamos da vida de palhaço” e
“‘Cês diz que nosso pau é grande / Espera até ver nosso ódio” (Emicida – Boa
[...], 2015). This final verse can be interpreted as a rebuttal to the
hypersexualization of Black bodies.
The bitterness evident in
the lyrics is equally reflected in the song's sonic landscape. The electronic
drum returns to dry tones with sharp attacks and quick decay, similar to those
heard in tracks "8" and "Casa," creating a beat that marks
all four beats of the measure. Furthermore, the timekeeping, typically
performed by the hi-hat, features a more metallic and strident timbre in this
instance. The accompaniment features an electronic bass timbre, rich in low
harmonics, typically accentuating the downbeat. The vocals are shared between
Emicida, who performs the verses, and rapper J. Ghetto, who delivers the
choruses. These have a more defined melodic line, with stabilized singing on
musical notes, but J. Ghetto's delivery carries a certain tension that aligns
with the lyrics. Emicida employs a highly intense vocal delivery, maintaining
rhythmic stability while matching spoken speech patterns, resulting in a
particularly aggressive sound.
The album continues with
another brief track. "Trabalhadores do Brasil" is the eleventh track
on the album, with a runtime of 1 minute and 22 seconds. Similar to
"Sodade," this track does not feature Emicida. Instead, it consists
of a poem by Marcelino Freire[20], recited by the poet
himself without any instrumental accompaniment. Initially, Freire's intonation
exhibits pronounced inflections, alternating between higher and lower
registers, which lends a somewhat caricatured quality to his delivery and
suggests a touch of humor. The text lists various low-wage occupations
typically associated with economically disadvantaged individuals, including
sugarcane cutting, continuous meat vending, security work, and septic tank
cleaning.
However, what stands out
is that in the poem, the subjects performing these actions are Orishas, such as
Oloroquê, Obatalá, Olorum, and Ossonhê, as well as iconic Black figures like
Zumbi and "Queen Quelé" Clementina de Jesus. Thus, it symbolizes the
ancestral heritage and, in a sense, the divine essence inherent in every Black
woman and man. Additionally, the text periodically employs the rhetorical
question "Are you listening?" to engage the audience, delivered with
notable emphasis. As the track concludes, this phrase is reiterated with
escalating intensity and frequency, ultimately challenging the white listener:
“Seu branco safado: / Ninguém aqui é escravo de ninguém” (Emicida –
Trabalhadores [...], 2015). The provocative tone established early in the track
is maintained throughout, ultimately reinforcing rather than contradicting the
rebuttal heard in "Boa esperança".
This block concludes with
"Mandume," the twelfth track on the album, which was produced
collaboratively, featuring contributions from Drik Barbosa, Amiri, Rico
Dalasam, Muzzike, and Raphão Alaafin. The song structure features a chorus
primarily performed by Emicida, with verses contributed by guest artists and
Emicida himself, concluding with a final chorus sung by all participants. This
makes it the longest song on the album at 8 minutes and 15 seconds. Its refrain
points to another legacy of the slavery period, which is the mechanisms for
maintaining social differences through, above all, docility and forgetting the
various forms of oppression opressão (“Eles querem que alguém que vem de onde
nós vem / Seja mais humilde, baixe a cabeça / Nunca revide, finja que esqueceu
a coisa toda”) (Emicida – Mandume [...], 2015),and these themes are explored in
different ways in the stanzas. It's worth noting the inclusion of a female
artist (Drik Barbosa) and an openly gay male performer (Rico Dalasam). This
track in the album highlights female empowerment and LGBTQIAPN+ representation,
reflecting a new dimension in rap music.
6 Returning to the celebration
The album concludes with
two songs celebrating Black identity, following five tracks of tension and
confrontation. The first of these is "Madagascar," a lyrical love
song set against the backdrop of Madagascar's nights. Thus, the lyrics
alternate between praising the beloved and celebrating the local landscape, as
evident in the chorus:
Quantas estrelas
vi, ali, em seu olhar
Coisas com as
quais posso me acostumar facin’
Posso me
acostumar facin’
Céu azul, vejo em
mar
Pássaros,
pássaros, pássaros a cantar
São coisas com as
quais posso me acostumar facin’
Posso me
acostumar facin’ (Emicida – Madagascar [...], 2015)
Musically, the chorus is
accompanied by a Fender Rhodes piano and acoustic guitar, creating a loose,
unstructured rhythmic foundation. In the chorus, Jonas Paulo and Fattú Djakité
deliver a delicate vocal performance, their soft, breathy voices intertwining
in a harmonious arrangement with layered vocal textures. Subsequently, the
verses feature a more defined rhythmic pattern driven by electronic drums.
Emicida delivers the vocals, alternating between melodic singing and a more
spoken-word style of delivery. The electronic drum presence enhances the chorus
repetition, adding dynamism without compromising its lyricism.
The album concludes with
the track "Salve Black (freestyle)" (Emicida – Salve [...], 2015) The
track has a very pronounced percussive character, with a clave similar to that
of the rumba, which brings it closer to Afrolatin rhythms. The lyrics of its
chorus begin with a possible reference to the African diaspora itself (“A vida
levou cada um de nós pr’um canto, tormento”) (Emicida – Salve [...], 2015),
which would have promoted a disarticulation of communities and the isolation of
black people (“Espalha como estrelas sós, folhas ao vento”) (Emicida – Salve
[...], 2015), but concludes by emphasizing the importance of collectivity:
“Minha família, meu povo / Parceria cem por cento” (Emicida – Salve [...],
2015). This characteristic is amplified through the performance itself, as the
chorus is sung in unison by Emicida, Djose, Alejandra Luciani, Ênio Cesar,
Manno G, Lakers, and Pá, musically symbolizing the power of collective action.
Some of the verses
reiterate the importance of unity (“Segura, negão / Cumprimenta o seu irmão,
que tá do seu lado / ‘Cês tão tudo aliado”) (Emicida – Salve [...], 2015),
celebrate black culture (“O rap nacional nos fortalece”) and highlight some
black personalities such as Ella Fitzgerald. Additionally, in his verse,
Emicida expresses gratitude to Cape Verde and Angola, where the album was
produced, as well as to long-standing members of his team (“Vinícius, Djose,
Zala, Fióti / Comigo desde o início”) (Emicida – Salve [...], 2015). Mirroring
the finale of a live performance, the closing verses bid a celebratory farewell
to the listener. “Aê negrão, aqui é periferia / Muito abraço a todos / Axé!”
(Emicida – Salve [...], 2015).
7 Final considerations
Upon analyzing each track
of Sobre crianças, it becomes
apparent, as previously suggested, that the album articulates a diverse range
of experiences connected to the African diaspora. This character is in line
with the album’s title, as it addresses children,
especially in “Amoras” (Emicida – Amoras [...], 2015); hips, as in the verse “Aí, cá na Cintura das Minas de Cabo Verde”
from “Mufete” (Emicida – Mufete [...], 2015), in addition to the entire dance
aspect present in many tracks); nightmares,
expressed in the various forms of oppression and violence reported in the
songs; and homework, possibly related
to processes of awareness as heard in “Vamo’ buscar se informar, mano” in the
song “8” (Emicida – 8 [...], 2015) and in “Gente só é feliz / Quem realmente
sabe que a África não é um país / Esquece o que o livro diz, ele mente” in the
track “Mufete” (Emicida – Mufete [...], 2015).
In this context, it is
pertinent to connect the observations made thus far with Santos' analysis of
the 2016 São Paulo Fashion Week (SPFW) show by Laboratório Fantasma, a company
founded by Emicida and his brother Evandro Fióti. This event, one of the
world's premier fashion showcases, has historically been associated with
economic and cultural elites. The sociologist characterized this event as a
"groundbreaking political intervention, as the São Paulo Fashion Week
runway had never before showcased such a diverse array of Black models and
individuals who challenge Eurocentric beauty standards" (Santos, 2022, p.
15). However, at the same time, the author pondered:
The social significance
of the parade was primarily structured around reclaiming African resistance
history and affirming the culture and struggle of Black individuals, whose
narrative has been characterized by well-documented oppression and resultant
lack of opportunities. However, the artist's approach emphasizes the potential
for narrating and constructing a history that empowers Black individuals,
rather than focusing on their pain and subjugation (Santos, 2022, p. 15).
Similar to Santos'
observation, the album Sobre crianças
also focuses on reclaiming African resistance history. However, in the subject
matter under discussion, it is more challenging to determine whether there was
an emphasis on the suffering and subjugation of Black individuals. These themes
are certainly present, particularly in what was referred to here as the album's
third section, comprising tracks like "Sodade," "Chapa,"
"Boa esperança," "Trabalhadores do Brasil," and
"Mandume," as well as tracks "8" and "Casa" from
the first section. Collectively, these tracks span nearly 26 minutes, accounting
for half of the album's total runtime—a substantial portion. What meaning can
be derived from an album that balances social critique with celebratory songs?
A more comprehensive
analysis of the record may shed light on this issue. Upon reexamining the
tracks through the lens of their central themes, the album reveals:
- the piece opens with a celebratory yet understated
tone in "Mãe";
- takes on a tone of denunciation of oppression in
"8" and "Casa";
- returns to celebration and lightness in tracks like
"Amoras," "Mufete," "Baiana," and
"Passarinhos"
- It reaches the peak of lament, denunciation and
revenge in “Sodade”, “Chapa”, “Boa esperança”, “Trabalhadores do Brasil” and
“Mandume”;
- the album concludes with a return to celebration in
"Madagascar" and "Salve Black (Freestyle)".
The disc thus presents a
narrative arc that begins and ends with a celebratory and festive perspective.
The final track highlights the album's production process through Emicida's
acknowledgments to the production team and countries visited, as well as a
farewell message in the closing verses. Thus, the album itself reveals its
nature as a commercial product, which may be crucial for understanding its
meanings: the diversity of perspectives presented in Sobre crianças, its balance between exaltation and criticism, as
well as its celebratory opening and closing, point to a product aiming to
establish itself within rap's new status, which, as Santos (2022, p. 16) noted,
"has been appealing to a university-educated and middle-class
audience." It is therefore unsurprising that some studies, such as that of
sociologist Vanessa Vilas Boas Gatti (2015), recognize a connection between
Emicida's work and the so-called "New Brazilian Popular Music"
movement. Similarly, the balance between celebratory and combative perspectives
found in the album Sobre crianças is
often present in records associated with samba and various genres of Brazilian
popular music (MPB).
Sobre crianças also relates to another ongoing debate within
rap music concerning its social role[21]. Santos revisits this
topic, drawing primarily on the insights of sociologist Márcio Macedo and
historian Guilherme Machado Botelho. The lead author identifies the evolution
of hip-hop in Brazil, transitioning from a "street culture" prevalent
from 1983 to 1989, to a "black culture" between 1990 and 1996, before
aligning with the concept of a "peripheral culture" in the latter
half of the 1990s. These observations highlight the diverse societal roles hip
hop has come to embody. Botelho, however, distinguishes between rap as a
"musical culture" and as a "musical genre". In the first
instance, rap would be associated with groups sharing ethnic characteristics,
social class, and common interests (Botelho, 2018, apud Santos, 2022, p. 4); whereas the second would be conceived
purely as a musical genre within a commercial framework (Santos, 2022, p. 4).
However, as Santos (2022)
argues, Emicida's case suggests that rap transcends its status as a musical
genre, evolving into a broader concept or lifestyle. Let's follow the author's
words:
Rap originally linked to
hip-hop culture and then as a “musical genre” - given its entry into
phonography detached from its social organization within hip-hop culture
(Botelho, 2018), can now also be thought of not only as music, but as a concept
- a lifestyle and consumption that goes beyond its “origins” (Santos, 2022, p.
14).
This aspect is manifested
in the album Sobre crianças,
particularly through its diverse sonic influences. In addition, Santos examines
an interview with Emicida and sees how, there, he demarcated “his place as an
artist”, defending rap as “free music” and that, therefore, it should not be
“just a narrative of social problems”, but that it could “speak of love, ‘of
life’” (Santos, 2022, p. 6). This rap transcends the conventional poetic and
musical traditions of the genre. Is it still considered rap, though? This
undoubtedly remains a contentious issue, yet it highlights the evolving roles
that rap is adopting.
In short, borrowing some
of the verses heard on the album, when the time bomb was about to explode (“Boa
esperança”), the album moves on to themes that the listening public, from
different walks of life, can easily get used to (“Madagascar”). Perhaps therein
lies both the strength and limitation of Sobre
crianças: on one hand, the album has the capacity to reach a vastly
expanded and diverse audience; on the other, the comfort of continually
returning to celebration may diminish a potential act of retaliation, leading
to a certain stagnation.
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2015. Disponível em: https://www.teses.usp.br/teses/disponiveis/8/8139/tde-16062015-131826/pt-br.php. Acesso em: 07 nov. 2020.
SOBRE
crianças, quadris, pesadelos e lições de casa... - Entrevista com Emicida. [S. l.: s. n.]. 2015. 1 vídeo (10 min). Publicado pelo canal Naboca Dopovo.
Disponível em: https://youtu.be/XTrjSrZ1Zx8.
Acesso em: 05 dez. 2022.
SOBRE
CRIANÇAS, quadris, pesadelos e lições de casa. Lab Fantasma, [s. l.],
[20--]. Disponível em: http://www.labfantasma.com/sobre-criancas-quadris-pesadelos-e-licoes-de-casa/.
Acesso em: 02 fev. 2024.
TATIT,
Luiz. Estimar canções: estimativas
íntimas na formação do sentido. Cotia: Ateliê Editorial, 2016.
TEPERMAN,
Ricardo. Se liga no som: as
transformações do rap no Brasil. São Paulo: Claro Enigma, 2015.
VALENCIANO,
Flávia Merighi. O olhar ao revés de Marcelino Freire. Revista Crioula, São Paulo, n. 2, nov. 2007. Disponível em: https://www.revistas.usp.br/crioula/article/download/53593/57561/67302.
Acesso em: 02 fev. 2024.
[1] From now on, the album will be referred to in abbreviated form as Sobre crianças.
[2]The analysis of vocal interpretations in the songs discussed here is
based on the phonation modes described in Matheus Corusse's thesis (2021, pp.
39-41).
[3] The verses of this first stanza are: “Um sorriso no
rosto, um aperto no peito / Imposto, imperfeito, tipo encosto, estreito /
Banzo, vi tanto por aí / Pranto, de canto chorando, fazendo os outro rir”.
[4] The considerations set out here and below are based
on the notions of intonative force and
musical form as developed by musician and linguist Luiz Tatit (2016).
According to the author, the first is linked to “oral language and its
expressive modulations known as intonations” (Tatit, 2016, p. 45) and the
second is related to “a more ‘artistic’ instance” in which the voice “can
operate on an equal footing with other instruments” (Tatit, 2016, p. 46). The
author views both as polar extremes in songwriting discourse, which, if pushed
to their limits, could potentially negate each other and destabilize the very
essence of songcraft. According to the author, "the exclusive focus on
either musical form or intonational force foreshadows a certain paralysis in
the regular functioning of song language, prompting composers to intuitively
mitigate either the 'excess of music' or the 'excess of speech' in hopes of
restoring the persuasive efficacy of their works" (Tatit, 2016, p. 47).
This analysis explores how vocal intonation and musical structure manifest in
the diverse singing styles featured in the track "Mãe".
[5] Based on the information presented, particularly the use of
first-person narration and the performance by Emicida and his mother Dona
Jacira, it is clear that the song "Mãe" is deeply rooted in the
rapper's personal journey and experiences. To clarify, Dona Jacira's recitation
concludes by revealing that this "third child" was named Leandro, which is Emicida's given name.
However, this somewhat autobiographical aspect will not be explored in the
commentary surrounding this song, as its significance extends beyond the
individual sphere.
[6] Recently, historian Mariana Mostranges' monograph (2023) examined
potential connections between Brazil and Africa as portrayed in the album Sobre crianças. In her study, the author
analyzed critical reviews of the album, examined each track, and supported her
analysis with insights from interviews with Emicida. In light of this, it was
concluded that the album represented "a complex object of inestimable
value for (re)enchanting and thus redefining [Black] knowledge, values,
experiences, and cultures that official history has long attempted to
erase" (Mostranges, 2023, p. 99). While the analyses presented here share
some similarities with those of Mostranges, they do not aim to interpret the
album through the lens of Brazil-Africa connections. Instead, they explore how
the album expresses the African diaspora experience.
[7] Available at: https://emicida.com.br/escute?lang=ptbr. Accessed at: 06 Jan. 2024.
[8] Emicida's previous albums, according to this discography, are: Pra quem já mordeu um cachorro por comida,
até que eu cheguei longe... (2009), Sua
mina ouve meu rep tamém (2010), Emicídio
(2010), Doozicabraba e a Revolução
Silenciosa (2011), Criolo &
Emicida ao vivo (2013) and O glorioso
retorno de quem nunca esteve aqui (2013). Among these, the album Sua mina [...] is classified as an EP on
Spotify, likely due to its short length of six tracks and total runtime of 16
minutes and 26 seconds.
[9] For more information on freestyle battles and, in particular, the Santa
Cruz Battles, see Teperman (2015).
[10] By taking the album as the unit of analysis, the article comes close to
other studies that have also focused on this same subject, such as those by
José Adriano Fenerick and Carlos Eduardo Marchioni on the albums Sgt. Peppers (Fenerick; Marchioni, 2008)
and Álbum branco (Fenerick;
Marchioni, 2015), by the Beatles, and Walter Garcia (2016) on the album Encarnado by Juçara Marçal.
[11] Emicida's
artistic career likely began with the release of the aforementioned
"Contraditório vagabundo" in 2005.
[12] The lyrical nature of the song "Mãe" is supported by Anatol
Rosenfeld's characterization of the lyric genre. According to the author, in
this genre, “a central voice articulates an emotional state and conveys it
through prayer-like expressions. It is essentially the expression of emotions
and psychic dispositions, often also of conceptions, reflections and visions as
they are intensely lived and experienced" (Rosenfeld, 2000, p. 22). In the
case of the song discussed here, its lyricism primarily stems from expressing
the previously mentioned harmony between the song's narrator and their mother.
[13] Although the central theme of "Casa" revolves around life's
challenges, it's noteworthy that its lyrics incorporate numerous natural
elements and imagery (jungle, soil, alligator, sky, earth). In this context,
while these terms typically serve a metaphorical function symbolizing life's
dangers, the song may evoke interpretations linking it to ecological concerns.
[14] To illustrate, among the many songs that exalt Bahia and the baianas
are “O que é que a baiana tem?” (Dorival Caymmi), “Você já foi à Bahia?”
(Dorival Caymmi), “Na baixa do sapateiro” (Ary Barroso), “No tabuleiro da
baiana” (Ary Barroso), “Falsa baiana” (Geraldo Pereira) and “Bahia com H”
(Denis Brean).
[15] For further insights and reflections on reggae from an African diaspora
perspective, see Hinkel and Maheirie (2022).
[16] EMICIDA – SODADE
(Pseudo Vídeo). [S. l.]: Laboratório
Fantasma, 2015. 1 vídeo (2 min.). Published by the Emicida channel. Available
at: https://youtu.be/xqlJlKEoCBI?si=aNYoIme0PZ2IxzK1. Accessed at:
July 25, 2024.
[17] This characteristic was also noted by Mostranges (2023, p. 18), who
highlighted "the melancholy in the melody and vocals" at one point,
and later observed "the wistfulness in the singer's voice and the
surrounding sounds" (Mostranges, 2023, p. 65).
[18] It's worth noting that "Sodade" is also the title of a song
by Cape Verdean singer Cesária Évora, which shares a melancholic quality,
albeit with distinct musical characteristics compared to Neusa Semedo's version
recorded on Emicida's album.
[19] According to the study by Oliveira and Jannuzzi (2005, p. 142), “the
difficulty of finding work in the previous place of residence, whether due to
the high competitiveness of the formal market or the instability of the
informal sector of the labor market” has been an impacting factor for return
migrations to the Northeast.
[20] The poem was published in the book Contos
negreiros, released by Record in 2005. A review of the book can be found in
Valenciano (2007).
[21] This theme is also explored in historian Roberto Camargos' article
"The Formation of a Value System and Its Dissemination and Defense - The
Case of Brazilian Rap (1988-2015)," which is part of the special issue
"Popular Music, Music Industry, and Politics in 21st Century Brazil"
published in this edition of PerCursos journal.
[ii] Author contributions: conceptualization; formal analysis; investigation; project administration; supervision; visualization; writing - original draft; writing - analysis and editing.
[iii] Author contributions: conceptualization; formal analysis; investigation; visualization; writing - original draft.