{"id":18142,"date":"2014-10-29T10:55:48","date_gmt":"2014-10-29T13:55:48","guid":{"rendered":"http:\/\/www.rioonwatch.org\/?p=18142"},"modified":"2014-10-29T11:12:49","modified_gmt":"2014-10-29T14:12:49","slug":"ostentacao-a-game-of-power-for-politicians-and-funk-artists","status":"publish","type":"post","link":"https:\/\/rioonwatch.org\/?p=18142","title":{"rendered":"Ostenta\u00e7\u00e3o: A Game of Power for Politicians and Funk Artists"},"content":{"rendered":"

Ostentation: Pretentious and vulgar display, especially of wealth and luxury, intended to impress or attract notice<\/span>.<\/em><\/p><\/blockquote>\n

Art, it is said, is the mirror of society. Throughout history, music has reflected, illustrated and influenced social practices. What can the music of funk<\/em> ostenta\u00e7\u00e3o<\/em><\/a>, or “ostentatious funk,” tell us about today’s Brazilian society? At the other end of the spectrum of social activity, politicians too display a similar tendency of ostentation. Discourses and projects take on\u00a0a more symbolic rather than rational function in\u00a0such a context.<\/p>\n

In the opening ceremony of the 2014 World Cup<\/a>\u00a0Brazil’s President Dilma Rousseff said:<\/p>\n

“Now we have modern and comfortable stadiums, from North to South of the country, to match our soccer and our soccer fans. Besides their function for soccer, they will be multi-use stadiums: they will work as commercial centers, business centers and leisure centers as well and will host musical performances and popular parties.”<\/p><\/blockquote>\n

After having insisted to FIFA that Brazil would host the Cup in 12 stadiums, rather than the recommended 8, this\u00a0speech and the massive US$16-20 billion ultimately spent on the Cup (more than<\/a> the previous four World Cups combined), demonstrates a necessity to present Brazil as having achieved\u00a0a certain level\u00a0of socio-economic development, and to show this off to the world. MC Guime, one of the biggest names in funk ostenta\u00e7\u00e3o<\/em> today, expresses the same sentiment in his song “<\/em>Plaques de 100<\/a>“<\/em>:<\/p>\n

“Counting mounds of $100 notes inside a Citroen
\nThen we invite the girls, because we know they’ll come
\nFor transport, we are doing fine, riding a Hornet or a 1100
\nWe have Kawasaky and Bandit, RR as well.”<\/p><\/blockquote>\n

Ostentation in music, life and politics<\/h3>\n

The strategy of conveying power through ostentation<\/a> is not\u00a0new or exclusive of\u00a0Brazilian culture. It has historically\u00a0represented a way of life by the elite, particularly in a country marked, until just over a decade ago, by the world’s most severe inequality. A country that until the 1880s practiced slavery, having imported the largest number of slaves of any nation in history. Today ostentation also represents a way of doing politics. In the era of excessive media coverage, high profile projects are one of the keys to political success.<\/p>\n

Rio de Janeiro suffers from a significant deficit in infrastructure in the sectors of transportation<\/a>, housing<\/a>, education<\/a>, health care<\/a> and basic sanitation<\/a>. Yet over the past five years large-scale investments\u00a0have taken place instead in order to meet promises made to the IOC in order to\u00a0host the 2016 Olympic Games<\/a>.<\/p>\n

The\u00a0funkeiro<\/em>\u00a0tribe (people who produce, listen to and enjoy Brazilian funk<\/a>) has built a lifestyle based around the Carioca funk<\/em> musical genre–a unique blend of rap, tamborz\u00e3o <\/em>(big drums), and bass. The genre originated in Rio\u2013as its name indicates\u2013and has reached all regions\u00a0of Brazil with its beats and lyrics ranging from the politically conscious to sexual to violent. As it was appropriated by S\u00e3o Paulo\u2019s favelas, a subgenre emerged: funk<\/em> ostenta\u00e7\u00e3o,<\/em>\u00a0known for its ostentatious lyrics and videoclips with explicit references to money, women, cars and material goods that signify financial and social\u00a0success.<\/p>\n

Ostentation is used as a pathway to success by political leaders\u00a0and favela residents alike: people at opposing ends of Brazil’s social and economic spectrum. So what is\u00a0the link between them?<\/p>\n

Mega-events: showing off to the world<\/h3>\n

The act of hosting a\u00a0mega-event<\/a>\u00a0is in itself an act of ostentation, due to the enormous investments and elaborate\u00a0structures erected in association with such events. The hope is that through successfully carrying out such an event,\u00a0the nation be seen by the world as\u00a0a safe, modern, confident and wealthy country, while simultaneously convincing\u00a0its own citizens that the country is entering a\u00a0small circle of developed, influential nations. The 2008 Beijing Olympics consecrated China’s position as an international superpower. It is hoped by political leaders that the success of major events in Brazil will finally establish\u00a0the South American giant as a globally influential country.<\/p>\n

The international media<\/a> has played into\u00a0the game of ostentation politics. Initially\u00a0doubting the government’s ability to host a successful 2014 World Cup<\/a>, the international press celebrated the eventual delivery of the event. In the meantime, police repression<\/a> and comparatively low media coverage meant those who would rather improved public health and education than expensive mega-events were not heard<\/a>.<\/p>\n

\"\"<\/a><\/p>\n

The current, ostentatious transformation of Rio de Janeiro has had extreme negative impacts on the lives of many favela residents and on its history<\/a> and popular culture. Policies include mass forced evictions<\/a>, military occupation<\/a>\u00a0of favelas, psychological and physical intimidation\u00a0of residents who do not want to move from their homes or who speak to the press, and\u00a0the creation of high profile transportation systems that raise many questions<\/a> as to their usefulness for residents. The cable car in Complexo do Alem\u00e3o<\/a>, for example, was supposedly built to make residents’ lives easier. However, since its opening in 2010, it has not yet reached full capacity<\/a> (it runs at around 50%), its pricing is considered prohibitive, and closures are frequent due to maintenance, weather conditions and\u00a0shootings. Residents are suing the government<\/a> because they had voted on sanitation improvements, not a cable car, and participatory decision-making\u00a0was not respected.<\/p>\n

In politics and in the favelas<\/h3>\n

MC Koringa is one of the leading figures of funk since his 2005 hit \u201cPedala Robinho<\/a>\u201d went viral. He is also the first funk artist to be played in a telenovela<\/a>. He perceives a causality link between ostentation in politics and in the favelas:<\/p>\n

\u201cThere is a cable car, but waste collection is deficient. The schools are not always open, so you produce ignorance. Transportation systems are political make-up. From slaveships to the metro today, it is the same thing. The important thing is getting there. Instead of putting up a cable car\u00a0on a\u00a0hill, you need to solve the problems down on the ground. What good is a cable car if you don\u2019t have the security to use it?<\/p>\n

“Ostentation [in the favelas]<\/span> is the mirror of these failures of the government (\u2026) A kid in the favela wants to be bourgeois with his golden chain. Inside the community he may be someone because of it, but outside, he is still no one. This blurs the focus of this young person, he ends up tricking himself.”<\/p><\/blockquote>\n

\"\"<\/a><\/p>\n

Ostentation is\u00a0part of the dream because even the emphasis of public policies is on the superficial, rather than real\u00a0welfare improvements. MC Koringa feels funkeiros<\/em> have a part to play in this: \u201cWhen the character Koringa plays in Globo<\/em>\u2019s novelas, he wants to stir that kid that is surrounded by criminals, that is surrounded by drugs. He does not need to live through this cycle…The artist\u2019s responsibility is huge, and I have a lot of respect for that.\u201d<\/p>\n

Ostentation as displaying social progress<\/h3>\n

In a self-produced documentary<\/a>, funkeiros<\/em> from S\u00e3o Paulo explained what they think\u00a0ostenta\u00e7\u00e3o<\/em> is all about. MC Boy do Charmes<\/a> told of\u00a0his vision: \u201cOstentation is the funk that talks about a dream that a worker, a father has to get his son in whichever car, on whichever motorcycle, ensure the best condition for his family, the best house, the best flat, in order to give his son a better condition than his.\u201d<\/p>\n

In this context, ostenta\u00e7\u00e3o<\/em>\u00a0is about showing that you can provide. It is about demonstrating that you can climb the social ladder, be someone who matters and be accepted in more economically privileged circles.<\/p>\n

Brazil’s obsession with ostentation is not divided by class. Professor Clovis Gruner, lecturer in arts, memory and narrative, describes Brazilian shopping malls as the new place in which to express social progression through consumption by the middle class. The rolezinhos<\/a>—<\/em>a trend of low-income youngsters organizing\u00a0group strolls through\u00a0shopping malls–were repressed by mall security staff and police, and sparked a major debate on accessibility and discrimination in those venues<\/a>.<\/p>\n

Gruner explains: \u201cThe middle class has trouble accepting that two of its most central signs of social distinction\u2013consumption and ostentation\u2013are not exclusive privileges, now enjoyed by young people from the periphery who recognize themselves [in that environment], to the point that they made it the soundtrack of their lives: funk ostenta\u00e7\u00e3o<\/em>.\u201d<\/p>\n

\"\"<\/a><\/p>\n

Funkeiro<\/em> MC Bio G3 says it\u00a0all has to do with the growth of the middle class: \u201cWith such economic ascent, and S\u00e3o Paulo being the luxury metropolis, I think the marginal peripheries wanted to show they could [be successful]. Now I can have R$1000 (US$420) sneakers; now I can have a big, stylish watch; now I can have a R$300 (US$126) shirt, even if it is an effort to own things. But this isn\u2019t limited to funk, everyone got into this general climate. I think funk was able to catch the wave that was passing by.\u201d<\/p>\n

Anthropologist Roberto DaMatta wrote in his 1979 book Carnivals, Rogues and Heroes: An Interpretation of the Brazilian Dilemma<\/em><\/a> that\u00a0social determinism is very present in the Brazilian ethos, but it is counterbalanced by an inclusive mythology (such as the malandro <\/em>rogue or the masks of carnival). His analysis shines light on \u201ca social structure where the social classes communicate by means of interwoven relations that end up partially inhibiting the conflicts and the system of social and political differentiation based on its economic dimension.\u201d<\/p>\n

Ostenta\u00e7\u00e3o<\/em>\u00a0stems from a self-feeding celebration of the new possibilities offered by economic prosperity in Brazil. The urban peripheries, the growing middle-class and the political class have all enjoyed a period of economic progress.\u00a0Over the past decade\u00a0individuals felt\u00a0the tangible effects of a steadily growing economy.<\/p>\n

Today, however, economic growth has stalled<\/a>. The prolonged wait for basic health and education infrastructure illicits\u00a0the general feeling that appearances matter\u00a0more than effective progress for the less privileged. Following the election of new leaders on both the federal and state levels this month, the question over whether ostentation is a desirable route to long term prosperity or an expensive fa\u00e7ade remains.<\/p>\n","protected":false},"excerpt":{"rendered":"

Ostentation: Pretentious and vulgar display, especially of wealth and luxury, intended to impress or attract notice. Art, it is said, is the mirror of society. Throughout history, music has reflected, illustrated and influenced social practices. […]<\/a><\/p>\n<\/div>","protected":false},"author":23,"featured_media":18496,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[1736,1288,1268,1282,328,1329],"tags":[1390,150,504,221,11,501,1259,1370,344,5,374,671,124,406,167],"writer":[1380],"translator":[],"illustrator":[],"photographer":[],"class_list":{"0":"post-18142","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-1736","8":"category-highlight","9":"category-favelaculture","10":"category-research-analysis","11":"category-understanding-rio","12":"category-by-international-observers","13":"tag-ostentatious-governance","14":"tag-cable-car","15":"tag-culture","16":"tag-favela-culture","17":"tag-forced-evictions","18":"tag-funk","19":"tag-mega-events","20":"tag-music","21":"tag-new-urbanism","22":"tag-olympics","23":"tag-politics","24":"tag-president-dilma-rousseff","25":"tag-race","26":"tag-sao-paulo","27":"tag-world-cup","28":"writer-nathan-bonnisseau"},"_links":{"self":[{"href":"https:\/\/rioonwatch.org\/index.php?rest_route=\/wp\/v2\/posts\/18142","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rioonwatch.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rioonwatch.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=\/wp\/v2\/users\/23"}],"replies":[{"embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=18142"}],"version-history":[{"count":0,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=\/wp\/v2\/posts\/18142\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=\/wp\/v2\/media\/18496"}],"wp:attachment":[{"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=18142"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=18142"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=18142"},{"taxonomy":"writer","embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Fwriter&post=18142"},{"taxonomy":"translator","embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftranslator&post=18142"},{"taxonomy":"illustrator","embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Fillustrator&post=18142"},{"taxonomy":"photographer","embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Fphotographer&post=18142"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}