Cultura e mercado no Rap Tucuju : uma análise da Máfia Nortista e Nóis pur Nóis Rec

Abstract

This dissertation focuses on the rap collective “Máfia Nortista”, considered one of the pioneers and most relevant representatives of hip-hop culture in the state of Amapá and the Northern region of Brazil. Active in the music scene since 2005, the collective has forged several aspects within the rap social world, such as being the first to produce an album, music videos, their own label, and record company, “Nóis pur Nóis rec”, carrying as the principle of their political interventions and cultural productions the concept of “Macapá Quebrada”, a term used by the group to refer to communities in low-lying areas, housing projects, and peripheral areas. Based on this context, the main objective of this research is to investigate the trajectory of “Máfia Nortista” in order to comprehend the dynamics of rap music in the city of Macapá. The specific objectives consist of outlining a socio-historical panorama of hip-hop in the capital of Amapá, analyzing the discursive and political practices of “Nóis pur Nóis rec”, and finally, examining the technological interventions of rap and its relation to Afro-Amapá cultural traditions. The theoretical and methodological framework employed includes the category “new condition of rap”, proposed by the sociologist Daniela Vieira, as well as contributions from the field of Sociology of Art. To achieve these objectives, a qualitative approach was used, with the method of Life Stories, using semi-structured interviews and documentary research through the collection of primary data from websites, social networks, and music-related platforms. It was found that regional and peripheral self-affirmation, social critique, entertainment, black culture, and insurgency are principles materialized in the musical productions and political actions of the collective, which, faced with the rearrangement of forces resulting from changes in the production, distribution, and consumption of independent music, claim their place and recognition as an authentic musical genre from Amapá, while revising local black cultural precedents through the use of rap technology, such as Marabaixo.