This essay seeks to reflect on the initial phase of the band Fantasmão, and on the discursive innovations produced within the genre known as pagode baiano. Dislocating the negro body as an erotic object through its performance from the stage without choreography (CHAGAS, ANDRADE, LOPES et al., 2009), the group problematizes the social hierarchies based on race. in abdicating erotic discourse and, which characterize this musical genre, Fantasmão crosses marginal categories deriving from black culture and poverty, localizing in the ghetto a dimension of community that seems still further strengthened when it dialogue with other musical genres from "black culture" such as rap and reggae.