O negro e a canção, a canção e o negro: um estudo do rap gay de Rico Dalasam

Abstract

This research is dedicated to analyzing the songs of rapper Rico Dalasam, as well as other tensions that the rapper brings forth and produces in the contemporary rap scene in relation to heterosexual rappers. Through a historiographic journey of Brazilian rap, we foster reflections on the relationships between him, Brazilian culture, masculinities, and the other voices that inhabit it in contemporary times. As a member of the hip-hop movement, the genre emerged with racial and social markings (TEPERMAN, 2015) and gained prominence in Brazil in the 1990s as part of black counterculture with remarkable cultural impacts (OLIVEIRA, 2015; 2020). Furthermore, there are criticisms of the rhythm coming from those who are marginalized within it (LI, 2019; SANTOS, 2016). Thus, we investigate Rico Dalasam, a gay rapper who is recognized as an LGBTQIAPN+ exponent of the genre in question, and we dedicate ourselves to observing the other tensions he brings to the contemporary rap scene, and consequently to the hip-hop movement, as we understand that LGBTQIAPN+ community members have brought different gestures to the critical management of battle arenas that are so common in black sociability, such as rap (AZEVEDO; SILVA, 1999; SOUZA, 2011). We map, in Dalasam's poetry, four major gestures that we understand to be part of what he has produced thus far: alliances, in which we articulate his relationship with other people mentioned in his songs or musical collaborations; the body, in which we investigate his performances; the wakabake, in which his flow is analyzed as a constituent of an aesthetic that goes beyond the meaning of words; and love, in which we observe the ways in which the rapper addresses the theme throughout his productions.