The Economist: Brazilian funk prepares to conquer the world.

247 - Brazilian funk is ready to break through borders and conquer the world, says a report in an English magazine. The Economist, Published on the 6th. While the country celebrates its first Oscar win with the film "I'm Still Here," whose soundtrack evokes the classic image of Brazil associated with samba and bossa nova, the contemporary musical reality is quite different. Sertanejo music dominates national streaming platforms, but it is funk, originating in the favelas of Rio de Janeiro, that has the greatest export potential and could redefine Brazil's musical identity abroad, the article says. 

Over the past decade, sertanejo has been the most listened-to genre on radio and streaming services in Brazil, driven by the growth of the agricultural sector in the country. "Most music producers used to be in Rio, but with the rise of agriculture, rural states gained a voice," explains Leo Morel of Midia Research. However, despite its enormous national success, sertanejo has little international exposure. Artists in the genre show no interest in conquering the foreign market, unlike funk, which already attracts global attention.

Inspired by Miami bass and electro-funk, Rio funk emerged in the 1980s and developed its own identity, speeding up the rhythms and creating a dance culture in the favelas. The genre stands out for its fast rhythm, which can exceed 130 beats per minute, and for dances such as the acrobatic "passinho" for men, which involves elaborate footwork, and the "rebolada" for women, a rhythmic variant of "twerking". Despite its popularity, funk faces resistance from conservative sectors of society, the publication notes. 

Despite criticism, funk is consolidating its place in the mainstream. Taísa Machado, a dance teacher and curator of an exhibition about the genre in Rio, observes that many of her former funk dance students are now established professionals, such as dentists and therapists, many of them residents of upscale and upper-middle-class neighborhoods.

If Brazil was once represented internationally by artists like Gilberto Gil, today the standout figure is Anitta, the magazine states. Hailing from a suburb of Rio de Janeiro, the singer forged a path to the global market, learning English and Spanish, moving to Miami, and signing with Republic Records. In 2022, she became the first Brazilian to top Spotify's global charts with... Wrap, a reggaeton song sung in Spanish. His most recent album is trilingual and revisits his funk roots.

The difficulty Brazilian artists face in achieving international recognition is a historical challenge. "Exporting soccer players is easier than exporting music and culture," observes Michele Miranda, a music journalist. Unlike reggaeton, which is driven by Latino communities in the United States, Brazil has a smaller and less influential diaspora.

Even so, producers believe that funk is on the verge of global expansion. Recently, Beyoncé and Kanye West sampled beats from the genre on their albums. Papatinho, one of the leading Brazilian producers, reports that, until recently, American artists were unfamiliar with funk. Now, he receives calls from names like Timbaland, Snoop Dogg, and Kanye himself, all interested in his productions. "Before, I added funk in small doses, like a seasoning. Now, people want the whole sauce," he says.

The growing interest from major names in the music industry aligns with the growth of the Latin American and African markets, which stand out as the fastest-growing in the sector. Brazil already represents almost a quarter of Spotify's monthly active user base, according to Roberta Pate, from the platform's Brazilian branch. For her, the key to the success of genres like reggaeton was the artists' consistent investment in conquering an international audience. If Anitta is any indication, funk may be very close to achieving that goal.