Marielle, afrofuturism, global market for Latin America on the second day of SIM 2019

Photo: Hannah Carvalho


The second day of daily activities of SIM São Paulo's seventh edition moved, once again, the Centro Cultural São Paulo. 

On December 6th, the singer and activist Preta Ferreira, the visual artist and activist Dona Jacira and State Deputy Isa Penna's Parliamentary advisories, Pamela Machado e Annelize Tozetto, took part on the panel mediated by cultural producer Karen Cunha. On the centre of the debate, that opened the day at Sala Jardel Filho at 11:00am, Marielle Franco's legacy: education, culture, health, security and home for the outskirts' population. Basic principles that Preta and Dona Jacira don't only apply  where they are community leaders (Ocupação 9 de Julho and Casa da Dona Jacira, respectively), as their actions reverberates beyond their surroundings. Rejecting the role of heroes or victims, they use determination to aware and transform the life of the underprivileged. The advisories told how it is to be a black street-activist woman inside a parliament, an environment essentially filled by white males. They highlight the need to occupy these spaces, keeping the stance and flags raised by Marielle Franco and making her ideas and of so many other woman killed by racism and misogyny, to remain alive.

Latin America was the focus of Sala Oi LabSonica with the panels “The challenges of latin-american music in the world", with participation of many market agents of the world, like Bruno Boulay (Midem/France), Flávio De Abreu (Scubidu/SP), Iggy Amazarray (Marshall Artists/UK), Joakim Morin (Festival de Jazz de Montreal/Canada), Juliano Zappia (Yellow Noises/Portugal), Paula Abreu (Summerstage Festival/USA), Petrit Pula (Brasil Summerfest/USA), Ricardo Rodrigues (Let’s Gig/SP), Sol Pereyra (artist, Argentina). 

Discussing the still incipient musical integration between brazilian artists and their Hispanic neighbours, the panel spoke about linguistic barrier, lack of support  and even the lack of endeavour from brazilian artists in looking for this integration and international markets.

“We are trying to build an intern circuit, since the latin-american governs don't promote culture. The artists are generating and making collaborations. We are looking at each other, recognizing and gathering to do something", affirmed Sol Pereyra. "Brazilian cultural identity is really strong. Thinking about brazilian soft power, if we explored this culture it would be way more efficient for national companies that do business in the exterior, for example. There are opportunities which are not leveraged because of this general vision and the government that doesn't see culture as essencial”, said Iggy Amazarray. 

Offering a historical and social perspective about the funk market in Brazil, the panel “30 years of Funk Brasil”, at Sala Jardel Filho, was mediated by the journalist Thiago Ney and had participation of Renata Prado (Frente Nacional de Mulheres no Funk), Rubia Mara (Evidência Paralela) and Bruno Ramos (Liga do Funk). 

“Is really important that we appreciate this culture. As much as it doesn't seem like it, funk is a political movement. The aesthetic is black, just like soul in the USA. The funk carioca has a lot of drum - because of its relation with samba, while the funk paulista is a lot more electronic - sounding more like hip-hop. So the musicality is totally black. And the soul movement was extremely important and political for the anti-racist war in the USA", explained Renata Prado. “We need to articulate, attack the racism sources", completed Bruno Ramos. “Today the fink movement is represented by over 20 million people. If language is power, we are all powerful.”

With representatives of the market like the artists Bibi and Papatinho, Peter Strauss (UBC) and Tony Gervino (Tidal) and mediated by Monyca Motta (MM Rights Management), at Sala Conecta Sympla, the panel "Credits in the digital music" discussed how to recover and organize informations about professionals involved in a recording in the digital era, and what's the importance of the credits, not only for the public, but for all the productie chain of a phonogram.

“In the music industry, having the opportunity to have our credit and create our portfolio, is our business card”, commented Bibi. “For the artist, is important to have a minimum technical knowledge, get out of the comfort zone and organize”. “Artist and producers need to understand how important is this first step of data and partner register of who took part in the recording, because once this data starts to be disseminated with a wrong or incomplete information, is really hard to correct”, Strauss explained. “If you’re doing a phonogram with partners, one of your friends… discuss the percentage of each one”, he recommended. “  12% of the Tidal members access credits every day, and that is something that’s growing”, affirmed Gervino. “The next step is for us to go deep into credits for studios, sound engineers, photographers, cameramans, etc.”, he revealed.

Offering a specially light occasion inside of SIM São Paulo’s program, the panel “Bud Moment: how big brands and companies use music as a tool to change the world into a better place”, was mediated by strategic consultant, and participation of Ricardo Dias (Ambev), Vitor D’Almeida (Oi Futuro) and Silvia Camargho (Calvin Klein).

“Music is a shortcut for people’s heart. We won’t change the world, but want to create content for an emotional connection, that’s why we are opening a Bud studio, based in two premises: what does an artist need? A demo and a studio to record it. That’s why we will provide a studio and time so that the artist has the recorded demo”, revealed Ricardo Dias, from Ambev. “The audience can and should provoke the brands a little more, asking for this change, so that brands keep learning and being inspired by people.” 

“Oi’s connection with music today is together with festivals”, explained Vitor D’Almeida, from Oi Futuro. “We are in a split society, people are really divided. Music glues our cities, our country, is an universal language. When we see this catarsis, the organized mess of everyone dancing, I think music can have a way”, affirmed the executive, who anticipated the launching of a LabSonica notice, to be announced on December 7th.

For Calvin Klein, “the focus of the brand through music is to pass messages through the artists’ endorsement, like Billie Eilish’s case, who in a campaign declared she uses large clothes, something important for girls who don’t fit in the beauty standard of social media. In a Calvin Klein’s chamber”, affirmed Sílvia Camargho, from Calvin Klein.

Highlight in the daytime showcases, Bia Ferreira made an emotional performance and brought participation of Preta Ferreira, singer and activist, and Doralyce, singer and songwriter. Reinforcing the lyrics of her songs, Bia made a strong speech against the institutional racism and symbolic violence, getting screams and applauses from a full Sala Adoniran Barbosa.

Mediated by Evandro Fióti (Lab Fantasma), the panel “Festivals and projects of black diaspora and afrofuturism” closed the program, at Sala Conecta Sympla. In the talk, that thrilled the present audience, portraits of the difficulties in the path of each event/festival, and the importance of collectiveness. 

“To get into a Batekoo, it amplifies your perception of what’s to be black. It amplifies the possibilities of blackness”, affirms Artur Santoro, from collective Batekoo. For Martinha Carvalho, the Feira Preta “occupied the spaces of financial representatives, of putting our products and history in a highlight. The differential of what we build here and bring this excellence, this royalty of our ancestrals.”

“The Festival Latinidades came up at the same time of a gap and an utopia”, told Jaqueline Fernandes, from Brasília. People like us, descendents of a people that got here in a slavery condition, we need to project the future and project freedom. And it is happening.  We need to keep being bold and challenging. We can’t detach from out utopies, we need to reaffirm them even more”. “We are a collective of black people, but let’s discuss class integration”, warned Bia Nogueira, from the collective Imune. “I want to share the riches, and we need to use the technologies in the favor of our fights. I want that my people, who I know have a lot of potential for change, to tell a lot of people. We have a weapon on our hands. And that weapon is the meeting, the art, the love. Is in the embrace that we recognize each other.”

  • contact