AfroReggae: music that fights the lack of perspective
The group from Vigário Geral releases the CD Nova Cara eight years after the massacre that stimulated the emergence of important social and cultural projects inside the formerly violent community
Silvia D
15/02/2001
The band AfroReggae, from Vigário Geral (RJ), was founded in 1995, two years after the killing of locals promoted by the police, inscribing the community into the map of the most violent places in Brazil. Supported by artists like Caetano Veloso, MV Bill and actress Regina Casé, the group released their first album, Nova Cara (Universal Music, read the review ) this week. AfroReggae's combination of music, political and social attitude stands for a specific goal: to offer a solid option to the youngsters from the community who are systematically dragged to work for the drug traffic - and die too soon.
In the beginning, their musical trend bore strong resemblance to Olodum's samba-reggae. Little by little, they magnified the range of musical influences, incorporating the funk carioca (made in Rio), the rap from São Paulo and the fusions of foreign and Brazilian music presented by bands like O Rappa and Planet Hemp. They took in vocalists, electric instruments and dancers. Between 1995 and 1998, AfroReggae members elaborated the show Nova Cara, including effective theatrical elements and perfecting it along presentations in countries like England, Dutchland, France, Italy and Canada.
Right after the 1993 massacre, volunteers from other communities joined efforts so as to offer alternatives to the youth in the area. Through workshops on music, dance, capoeira and theater, it was possible to multiply the interest in art, although the band was still working with borrowed drums. Today, the members of AfroReggae are able to give workshops, even outside of Brazil. They make a point about visiting low-income communities in different countries and ignore language barriers, having touched a few souls in First World countries who decided to leave their criminal lives behind after meeting with the band.
AfroReggae, the project, reaches about 400 people, through the bands AfroReggae, AfroReggae II, AfroLata and AfroSamba. The members believe that it is more important to find solutions than to just point out the problems, and expect to promote some kind of social integration with the album/show Nova Cara. "We wish to connect the favela to the condos", says vocalist Anderson, one of the earliest members of the group.
Shut up and buy!
Anderson tells a tale typical of young favela inhabitants. "I wanted a pair of Nike sneakers, really bad, and my mom made a lot of sacrifices to get me one." The difference between his story and that of other boys in similar situations is that he soon realized the problem: "Food was missing from our table, and I got my feet back on the ground." Anderson analyzed the inevitable social-economic system that is based on appeal for consumption and decided to look for José Junior, mentor of the AfroReggae project.
LG, also a vocalist, gave up the drug traffic because of the band: "The drug dealer was the kids' hero, the lord of life and death, who wore the finest clothes, drove the fastest cars and had the prettiest women. Before joining [the traffic], I did not know that I wouldn't be able to sleep a fearless sleep, no more, or that I couldn't go down to the street with my girl... if it weren't for AfroReggae, I would be in jail, or crippled or dead, by now. But meanwhile, I do not make as much money with the band as I did with the drugs."
In fact, the cost of the CD does not fit the income levels of the community where the group comes from. In order to offer their album to the people in Vigário Geral, AfroReggae made a deal with the recording company, which will save a number of copies to be distributed within the area.
Hindu deity Shiva, ruler of death and transformation, was turned into an emblem of the deep changes that were implemented in Vigário Geral after the massacre and the birth of AfroReggae. After being the subjects of a sympathetic report on the newspaper The New York Times, the results can be summed up in the words of rapper MV Bill: "This band is an example of dignity and self-esteem for the Brazilian youth."
In the beginning, their musical trend bore strong resemblance to Olodum's samba-reggae. Little by little, they magnified the range of musical influences, incorporating the funk carioca (made in Rio), the rap from São Paulo and the fusions of foreign and Brazilian music presented by bands like O Rappa and Planet Hemp. They took in vocalists, electric instruments and dancers. Between 1995 and 1998, AfroReggae members elaborated the show Nova Cara, including effective theatrical elements and perfecting it along presentations in countries like England, Dutchland, France, Italy and Canada.
Right after the 1993 massacre, volunteers from other communities joined efforts so as to offer alternatives to the youth in the area. Through workshops on music, dance, capoeira and theater, it was possible to multiply the interest in art, although the band was still working with borrowed drums. Today, the members of AfroReggae are able to give workshops, even outside of Brazil. They make a point about visiting low-income communities in different countries and ignore language barriers, having touched a few souls in First World countries who decided to leave their criminal lives behind after meeting with the band.
AfroReggae, the project, reaches about 400 people, through the bands AfroReggae, AfroReggae II, AfroLata and AfroSamba. The members believe that it is more important to find solutions than to just point out the problems, and expect to promote some kind of social integration with the album/show Nova Cara. "We wish to connect the favela to the condos", says vocalist Anderson, one of the earliest members of the group.
Shut up and buy!
Anderson tells a tale typical of young favela inhabitants. "I wanted a pair of Nike sneakers, really bad, and my mom made a lot of sacrifices to get me one." The difference between his story and that of other boys in similar situations is that he soon realized the problem: "Food was missing from our table, and I got my feet back on the ground." Anderson analyzed the inevitable social-economic system that is based on appeal for consumption and decided to look for José Junior, mentor of the AfroReggae project.
LG, also a vocalist, gave up the drug traffic because of the band: "The drug dealer was the kids' hero, the lord of life and death, who wore the finest clothes, drove the fastest cars and had the prettiest women. Before joining [the traffic], I did not know that I wouldn't be able to sleep a fearless sleep, no more, or that I couldn't go down to the street with my girl... if it weren't for AfroReggae, I would be in jail, or crippled or dead, by now. But meanwhile, I do not make as much money with the band as I did with the drugs."
In fact, the cost of the CD does not fit the income levels of the community where the group comes from. In order to offer their album to the people in Vigário Geral, AfroReggae made a deal with the recording company, which will save a number of copies to be distributed within the area.
Hindu deity Shiva, ruler of death and transformation, was turned into an emblem of the deep changes that were implemented in Vigário Geral after the massacre and the birth of AfroReggae. After being the subjects of a sympathetic report on the newspaper The New York Times, the results can be summed up in the words of rapper MV Bill: "This band is an example of dignity and self-esteem for the Brazilian youth."