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There is an emerging feverish subculture in Northeast Brazil’s favelas. In a city where people can feel resistance just by being visible, Bregafunk is a pulsating new sound with its own dance phenomenon.
Hundreds of young people have gathered in the city’s central point, Marco Zero, in Recife, a major city in Brazil’s northeast. On the open plaza, surrounded by neoclassical buildings, clusters of girls and boys in matching outfits move synchronized steps. Their flip-flops kick up dust, their legs form shapes, and their bodies gyrate as sweat gathers on their arms and foreheads.
Hundreds of young, poor, and mostly black people are showcasing their art in front of an imposing sculpture by Francisco Brennand. Local slang, beats, and bass lines are amplified by portable speakers. Bregafunk is a fast-growing genre originating in the city and designed for dancing. It has been influenced by far-flung influences (everything from reggaeton to trap) from the romantic Brega music of the 1980s before finding its own pulse: offbeat rhythms, clunky cowbells, and kick drums that shake car windows even as the beat switches patterns.
This spike in popularity has not only reached a broader audience, but has also spawned a dance craze: Passinho. According to Elloco, one half of the popular Bregafunk duo MC Shevchenko and Elloco: “This Passinho is new, and was born in a favela.”
Dancers have become integral to Bregafunk’s aesthetic, alongside MCs and singers. In Instagram, you can find young dançarinos performing together – often against unplastered red-brick walls common to favelas or on tin roofs overlooking the city, high in the hills.
Recife’s youths gather on streets, in parks, and at school playgrounds to practice on afternoons and weekends. Using Instagram and YouTube, people share ideas and learn new moves democratically. Listening to the same song repeatedly helps them perfect their steps. In every new anthem, different groups engage in dance clashes (duels) that recall the breakdancing battles of 1980s New York, shaped by the song’s rhythm.
Pernambuco state’s Recife region has a rich history of cultural performance, particularly in dance. Frevo is one of the most celebrated styles, which originated during Carnaval in the early 1900s. In this style, sticks and knives were often used in violent clashes between groups influenced by acrobatic movements from Capoeira. In today’s dance, weapons have been replaced with colorful umbrellas and the performance is more vibrant and inclusive.
Marco Zero is located in Recife’s oldest district, right around the corner from the Museum of Frevo. Historically, this area was associated with crime and sex work, but today it is a destination for tourists and middle-class residents.
During recent months, young people from favelas have begun riding long bus routes just for encontros (‘encounters’). Some Bregafunk MCs are often rumored to be in the crowd recruiting dancers for their own performances and videos. Nonetheless, finding someone willing to discuss what’s unfolding here – within the context of an insular culture – is a challenge.
One of the organizers of the event is Jacqueline Castro, a 22-year-old student from the Salgadinho community in Olinda. Wearing denim shorts and a thick, black top, she wears a gold necklace and a gold watch – the classic attire of Recife women. With her relaxed short hair and large, thin-rimmed glasses, she wears a relaxed appearance. Her speech is punctuated with Recife slang words, and she comes across as confident and not arrogant. She seems unfazed by machismo that is all too common in her country.
This Sunday afternoon, over 200 young people from all over the city attended, most of them from favelas. There are many people dressed in bright vests from ’24 Por 48′, a clothing brand founded by Shevchenko e Elloco. For Jacks, Marco Zero is a great place to meet up. In addition to being in the heart of the city, she says, it’s also far from the favelas – so there’s no violence.”
There are few public spaces in Recife, and that makes it unusual for an event like this to take place here. The popularity of the scene is helping to challenge preconceptions of the favela as a group of middle-class cyclists ask to video a group of dancers. “I think this is the first time the rich have accepted our music,” she says. Passinho is now known throughout Brazil as a result of this fever that has swept across Recife.
The music and culture of the favela would be heartening to see penetrate the electric fences and security guards of luxury homes in a city so deeply divided by wealth. It has already become increasingly popular with upper- and middle-class apartment block residents at pool-side parties in the salo de festas (‘party rooms’).
Prejudice, however, persists. Obviously, people have preconceptions about black culture since it comes from the communities. There is a lot of racial tension in Brazil, where the majority of the population is non-white and the elite is predominantly white. It comes as no surprise that Military Police closed public Passinho encontros with pepper spray and violence at a time when the future of Brazilian society looks increasingly precarious under the controversial leadership of President Jair Bolsonaro – a figure widely criticized for being homophobic, racist, and destructive. Police fired rubber bullets into a crowd during one of these events in the Torres neighbourhood of West Recife in late January.
