Funk, Latin America and cultural identity mark the first day of SIM 2019

Photo: Hannah Carvalho


The seventh edition of São Paulo's International Music Week started its daily activities on Thursday, December 5th, at Centro Cultural São Paulo. 

The starting point was the opening keynote at Sala Jardel Filho, with the presence of Alexandre Youssef, municipal culture secretary of São Paulo, in a talk with the journalist Camilo Rocha and Samantha Almeida, from Ogilvy/SP. Reinforcing the importance of culture as a central point of economic and social development of a govern, Youssef commented the recent cases involving bailes funk. The secretary also announced the festival "Funk da Hora", on December 14th and 15th, at Heliópolos, highlighting the significance of public policies that recognizes the music genre, support local artists and respect the citizens of the areas where the so-called "pancadões" take place. 

One of the most expected momentos of the convention, the Q&A where Claudia Assef interviewd Konrad Dantas (Kondzilla) started off with the producer telling a little bit of his trajectory and his aesthetic references, which are mainly from hip-hop music videos. Konrad also highlighted the repression over funk since the beginning, mentioning the police raid at the DZ7's baile, in Paraisópolis, last Sunday, that ended up with the death of 9 young people and 12 injured. In a positive note, the creator of the biggest funk YouTube channel, told that the feminine presence in the genre has been exponentially growing and that women are "dominating the funk".

At the panel "Latin Combustion, a changing continent", that happend at Sala Oi Labsonica, the discussion covered the riots that's been moving the south-american continent and how that's been affecting the music market in each country. With representatives from countries like Argentina, Colômbia, Chile, Peru and Brasil, the panel discussed how the riots in Chile have been causing the cancellation of events like festival Fluvial and making the market of paid concerts on the country impossible, but at the same time opened the possibility for artists to perform on the street and in small cities, for free, reaching new audiences. Despite the conclicts triggered  in the region, it was consensual in the panel that Latin America has an interest in the brazilian music market and has been searching for ways to understand how it works.

Women in the music market
The first day of SIM São Paulo was the stage for the first presentation of the research “Mulheres na Indústria da Música no Brasil: Obstáculos, Oportunidades, Perspectivas” (Women in The Music Industry in Brazil: Obstacles, Opportunities and Perspectives), with Dani Ribas (Data SIM), Renata Gomes  (Data SIM), Cris Falcão (WIM Brasil) and Ciça Pereira (Zeferina Produções), besides the singer Fernanda Abreu, at Sala Jardel Filho. 

Still to be fully published in January of 2020, the research points out that most women in the music market is white, cis-gender, between 31 and 35 years old, and faces a scenery of a high-level informality. "Despite not being the reality of brazilian population, the research shows the invisibility of the black woman in Brazil”, commented Ciça Pereira. “It's a translation of what Brazil is. It shows the black invisibility in the society", reafirmed Fernanda Abreu. “The goal of the research is to viabilize things that happen in the market, but can't be demonstrated to who doesn't live this situation”, explains Dani Ribas. 

The culture question in ethnic origins was the main theme on the panel “Musical Heritage: Migratory movements and artistic fusions", that had participation of the artists Kunta Kinte (Conexão Diáspora/Senegal), Bia Ferreira (SE/RJ), ELSZ (Australia) and Sebástian Piracés-Ugarte (Francisco, El Hombre/México). Really emotional, it took place at Sala Oi LabSonica, and talked about roots, representativeness and love, with institutionalised racism, population displacements and the lack of regional opportunities for culture as their background. “Until when? What's missing so we can enable art locally, without having to do a migratory process?”, Bia questioned. 

Another highlight of the day was on the panel “Innovation Through New Technologies and Emerging Practices - ASA (Arte Sônica Amplificada)”, also at Sala Oi LabSonica. The panel debated the development of British Council's inniciative with Oi Futuro, in partnership with british institutions Lighthouse and, that aims to boost the sound art made by women and increase the feminine operation in all the creative chain of music.

With Andreea Magdalina (SheSaid.So/UK), Emily Kyriakides (Lighthouse/UK) and also the british artist Natalie Sharp/Lone Taxidermist, and british futurist Amelia Kallmann, the participants talked about women collaboration, feminine power, how the artistic production has been developing new technologies and the impacts in cultural production and consuming market in the next year. 

At Sala de Ensaio II, with Marcos Túlio Aguiar, Brisa Flow, Diego Perez and Patricktor4, the panel “Contemporary Indigenous Music in Brazil and Latin America" discussed the indigenous cultural production, that goes beyong singings and traditional ritual prayers. “While the indigenous music keeps segmented as a different genre, it will remain invisible to the public", Brisa Flow afirmed, who is a singer, musician, songwriter, poet, performer, music produces, ativist and one of the main expoents of indigenous futurism in Brazil. "We need to decolonise. We need to take back our space, this take back is a fight. The art is the best way to hack" she completed. 

SIM SÃO PAULO 2019 counts with sponsorship from Mastercard, Budweiser and Oi, support from Oi Futuro and Calvin Klein and promises to move São Paulo during the five days of event with a program of over 400 shows in over 50 locals of the city, with artists from all over Brazil and the world. All that despite the intense conference program at Centro Cultural São Paulo and many other paralel activities.

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