O quarto álbum de Rincon Sapiência, Um Corpo Preto, amadurece e aperfeiçoa o projeto artístico do rapper paulistano de 40 anos, iniciado com o radicalmente independente SP Gueto BR (2014) e perseguido nos álbuns Galanga Livre (2017) e Mundo Manicongo – Dramas, Danças e Afroreps (2019). Entre os principais elementos constituintes desse projeto, presentes de modo agudo no novo trabalho, destacam-se a elaboração de um subgênero dançante e ensolarado de música rap, o ativismo antirracista afirmativo, a conexão direta com a música e os saberes africanos e o apreço pela cultura e pela música brasileiras e, mais especificamente, afro-brasileiras.
Todos esses elementos se entrecruzam na potente faixa de abertura de Um Corpo Preto, poética e política desde o título: “Diáspora“. Dividida com o português de origem cabo-verdiana Dino d’Santiago (que no início deste ano participou do álbum Criolo, Amaro e Dino, em trio com os brasileiros Criolo e Amaro Freitas), “Diáspora” ilustra a travessia entre as duas costas do Oceano Atlântico, com olhos, ouvidos e quadris voltados para África. As batidas quebradas que emolduram esse “cântico que atravessou o Atlântico” partem do afrobeat moldado pelo nigeriano Fela Kuti e desaguam no drum’n’bass desenvolvido com repercussão mundial no início deste século pelo periférico paulistano DJ Marky.
“É mentira afirmar que nós não tem nada a perder”, ensaia a letra, esquentando o couro de tambores, pandeiros, picapes e tamborins para o discurso de afirmação racial que virá a seguir, como prosseguimento dos versos potentes de “Ponta de Lança” (2016), “Crime Bárbaro”, “Amor às Escuras” e “A Coisa Tá Preta“, “Galanga Livre” e “Ostentação à Pobreza” (todos de 2017).
Se Galanga Livre celebrava o ponta de lança africano “Umbabarauma” (1976) de Jorge Ben (Jor) e Mundo Manicongo se abria com a levada do “Jimi Renda-Se” (1970) de Tom Zé, Um Corpo Preto ilumina preferencialmente artistas brasileiros impactados por este século XXI. A organicidade dessa “linha evolutiva” é cimentada pela artimanha de que todas as faixas de Um Corpo Preto são admiravelmente coladas umas nas outras, um gesto simples, mas essencial para quem pretenda encontrar no trabalho de Rincon Sapiência um bafejo dos velhos álbuns conceituais.
O ponto de partida parece ser uma importante experiência anterior de injetar afro-brasilidade no hip-hop, empreendida no início do século pelo pioneiro grupo paulista de hip-hop Z’África Brasil. Ao afirmar em “Cuidar de Mim” que “meu coração é que nem batuque, samba de caboco”, Rincon evoca o ativismo afro-indígena e o rap-repente de Gaspar Z’África, líder do grupo, especialmente no extraordinário álbum solo Rapsicordélico (2014).
“O negro drama eu só vivi, eu nem li”, explica Rincon Sapiência em “Cuidar de Mim”, numa das duas citações explícitas aos Racionais MC’s de Mano Brown, o chico-caetano do rap nacional (a outra é “Avança +”, com a rapper underground paulistana Torya, com sample de “1 por Amor 2 por Dinheiro”, de 2002). “Se eu perder meu amor por mim eu antecipo meu apocalipse”, reflete “Cuidar de Mim”, cuja urgência se desacelera a cada repetição da frase “eu preciso de um tempo pra cuidar de mim”, em sintonia com o clamor por Equilibrivm solicitado em maio por Anitta (com participação de Rincon – e da rapper King Saints – na faixa “Nanã”, tributária dos cantos baianos de candomblé do trio Os Tincoãs).
Mais adiante, Funk Buia, outro egresso do Z’África Brasil, aparece em “Alarme“, que reforça a positivação afro-indígena de Gaspar Z’África enquanto denuncia que “todo maloqueiro vive no alarme”. “A direita não tá nem aí para os direito/ nem toda esquerda joga o jogo que nem Messi/ falta habilidade igual Djalma/ a comunidade não quer jaula”, segue “Alarme”, emparelhando política e futebol.
Instante de êxtase da afirmação de afro-brasilidade, “Homem Gol” volta a Ben Jor, desta vez em harmonia com outras duas gerações do black power nacional, uma representada pela rapper brasiliense de origem congolesa Marissol Mwaba e outra por um dos heróis do pagode dos anos 1990, Péricles. Entre rimas (sempre) vertiginosas e ambiência afro-samba-rap, Péricles se responsabiliza pelo refrão de arromba melódica e textualmente: “Enquanto não chegar o final/ joga bola jogador/ o sonho de mudar de rota/ mesmo na derrota ser um vencedor/ amar demais não é demais/ com tudo aquilo que passou/ deixar de ser um homem-bomba/ pra se tornar um homem-gol”.
Pausa para amor & sexo
Mais um rapper de outra geração, em atividade desde o Planet Hemp, o niteroiense Black Alien ressoa nas faixas mais soul-jazz-rap, mais mornas, mais sexy-sensuais, a partir do rap malemolente “Negona“, todo bordado em ressonâncias afrobrasileiras, “ziriguidum”, “borogodó”, “paranauê”, “popô”, “Popó“, “bobó”, “dendê”, “salseiro”, “pagodear”, “batucar o pandeiro”, “gasolina”, “isqueiro”, “bombeiro”, “ziquitum”, “bumbum”, cheio de molejo e de traquejo feito Black Alien. O groove paulistano-niteroiense desagua na explicitamente sexual “Mel na Sua Cara”, em dueto lânguido com a jovem rapper paulistana Mylena Drague, de rimas em “eta” (“treta”, “roleta”, “boqueta”…).
O arco sexy-quase-romântico atinge o clímax na lírica “Porque Eu Te Amo“, de acachapante melodia afetuosa e ecos rítmicos africanos tipo o casal maliano Amadou & Mariam, “deixa eu te amar porque eu te amo/ abre a cortina e deixa o sol entrar”, “o desamor não é meu plano/ mas corre o risco de se machucar/ esse medo não pode me alcançar/ um bom lugar onde eu possa baixar minha guarda/ onde eu tenha sua companhia/ onde eu possa sair da guerra/ com um toque de fantasia”.
Outro artista brasileiro de geração anterior que aparece integrado a Um Corpo Preto é o soul-funk-rapper paulistano Lino Krizz, responsável em 2012 pelo sucesso nacional “Vem Dançar com Tudo”, versão para o hit “Danza Kuduro”, do porto-riquenho Don Omar, aproveitado como tema de abertura da novela global Avenida Brasil – o célebre “oi oi oi” contrabandeado de afro-americanos a partir do kuduro angolano. Lino Krizz canta o refrão de “Cassino”, que pode funcionar como uma crítica tênue à praga das chamadas bets (“jogo de azar que nem cassino/ na roleta é perder ou ganhar”).
Superficialmente ostentatório (“olha pra nós/ com mais dinheiro que os boys”, atiça), Rincon, como sempre, prefere ir mais fundo em “Cassino”: “O rock é preto/ mas eu lamento/ os preto morrendo igual rockstar”. Nas frestas, o rap de sorte e azar de Rincon faz referências à black music brasileira (“tô tipo Tony, o Tornado“), ao “Aprendendo a Jogar” (1980) de Elis Regina e Guilherme Arantes e ao “Pecado Capital” (1975) de Paulinho da Viola: “Dinheiro na mão é fatal/ pode ser vendaval/ mas cuidado pra não ser arrasado”.
Colada a “Cassino”, a feroz “Tropa do Manicongo” esconde nos interstícios os tambores do candomblé afro-brasileiro, que Rincon Sapiência reafirma ao demarcar que “eu tô falando de axé”. Mais uma vez fala Paulinho da Viola, “o dinheiro na mão é vendaval/ se o preço da carne só subir/ o tambor vai girar sem carnaval/ ô, sai da frente, ô, meu truta/ vai pra luta, eu recomendo”. “Quando a rapa tá com fome é quando a bala tá comendo”, filosofa Rincon na frase-refrão-síntese.
Sem pausa para respiro e sobre um fundo de tamborzão funk (e candomblé), “Eu Vim de Baixo” sucede “Tropa do Manicongo” explicitando o conflito de classe sempre caro ao artista: “O aluguel ninguém quer pra sempre, mas é melhor que dormir na cela/ mas o pior é trampar pesado e saber que a grana não volta mais”. A política de classe se casa, pura inspiração, à política do corpo: “Quem trampa muito fim de semana quer ir pro baile anestesiar/ só pra variar bota a mão pro ar/ não é baile, não, é o policial que não guenta ver nós andar de bando/ nós é treinado em tomar geral”.
Rincon Sapiência se conecta com as novíssimas gerações do rap, não só na faixa com Mylena Drague, mas também nos duetos/parcerias consecutivos com os trappers F7rança (em Ke$h”) e Bren9ve (“Faz a Vibe”), ambos egressos da zona leste paulistana, como o próprio Rincon.
Mais rico que os já ricos antecessores SP Gueto BR, Galanga Livre e Mundo Manicongo, o novo álbum de Rincon Sapiência se revela mais e mais a cada nova audição. Uma escola de samba abre “De Onde Cê Vem Parte 2”, que acaba por remeter ao Olodum e ao Pelourinho baiano fazendo citação afro-estadunidense a Michael Jackson, “lembro daquela do Michael/ eles não ligam pra gente”. A fraternidade/sororidade negra se espalha pelo álbum, em flashes afrocentrados como “eu quero estar com mais negonas da minha laia” (versos de Torya em “Avança +”), “preto retinto e grana preta na mala” (Rincon, na mesma faixa), “eu sou pretão” e “com a negona vou querer prazer” (no eletro-afrorep “Ke$h”), “uma linda mulher preta pra chamar de dama” (“Corpo Preto Parte 2”)…
Construído com princípio, meio e fim, Um Corpo Preto arremata uma galeria de grooves, graves, batidas e recados em um trio de derradeiras faixas políticas (de classe e de corpo): “Todo Nego”, “Dum Dum” e “Corpo Preto Parte 2”. Um tom semi-violento da faixa do meio, entre armas e África, é atenuado pelo arranjo humorado tipo James Bond. “Quem faz lucro com a miséria merece tomar preju”, fala Rincon, ocultando a rima óbvia que faria par com a saraivada de “jejum”, “problema nenhum”, “bumbum”, “comum”, “bala dundum”, “blue”, “Erykah Badu“, “Kung-Fu”, “comida dos urubu”… “Quem financiar a guerra/ não vai negociar minha paz”, conclui, inserindo mais uma rima não pronunciada, com… Trump (e toda sua tropa ariana).
Um corpo preto
Sagazmente inspiradas, as batidas secas de “Todo Nego” articulam tambor de candomblé, bateria de escola de samba e tamborzão de funk carioca sob africanidades muitas (“patuá”, “orixá”, “ori” e… “ponto G”), e constituem uma espécie de declaração universal dos direitos negros: “Todo nego precisa de um berro/ ler um livro pra não ficar burro/ fazer levantamento de ferro pra ficar mais forte na troca de murro”, “todo nego precisa de privacidade e de lazer”, “todo nego tem que ter ambição/ todo nego quer ter condição/ armadilha quando dizem que nós é bom sem cifrão”.
Após uma intervenção de sirenes, tiros e pólvora, o discurso de “Todo Nego” se descortina mais político que nunca, do micro ao macro: “Burguesia falando de mérito/ todo dia eu escuto essa pérola/ tudo bem, vamo falar de pólvora/ a razão da porta magnética/ tô falando de conflito de classe de forma poética”. Onisciente no hip-hop, a denúncia social se transmuta em afirmativa com Rincon Sapiência, e essa é uma de suas fortes contribuições para a música popular brasileira dos 2020.
Finalmente, a última faixa vem explicar o título do disco, de volta ao começo, lá em “A Coisa Tá Preta” e “Ponta de Lança”. “Correndo atrás do meu pataco eu sou um corpo preto/ eles esperam que eu fique só pelos boteco/ querem me ver pela sarjeta, eu tô dando o troco”, “eu tô de lupa, mas a luta continuo vendo/ portando traje elegante fico confiante”, “é sobre estética, cabelo, sobre maquiagem”, “o corpo preto sobrevive quando corre/ nossa rotina se parece maratona/ exatamente quem convive com a fome/ mercado manda saraivada de azeitona”.
Como de praxe, o do-in afrocentrado pressiona particularmente forte em determinados versos, mirando em abusos branco-religiosos, entre outros abusos brancos: “Não tem amor pelo tambor e demoniza/ mas pega o nosso tambor e monetiza”, “cama king size, não vou dormir na gaveta”, “na pele preta roupa branca coloquei no traje/ porque eu também canto pro samba tipo Sabotage/ logo depois da alforria nos negaram terra/ roda de samba, capoeira não é vadiagem”.
Rincon Sapiência jamais verbaliza, mas o corpo preto que ele desnuda, defende e eleva é, além de preto, masculino. Homem negro que faz poesia, dança, puxa ferro, se maquia, trepa, ama e politiza cada recanto de sua arte e vida, o protagonista de seus álbuns corporifica a tão falada nova masculinidade, em versão garbosamente afro-brasileira, encenando a quebra do estigma que rondou seus ancestrais e há séculos continua rondando seus iguais. Em Um Corpo Preto, esse protagonista (da própria história) está em estado de graça.
Somos o único veículo crítico e progressista dedicado exclusivamente ao jornalismo cultural, nas suas mais variadas frentes: livros, filmes, música, artes, teatro etc. Se você chegou até aqui é porque está do nosso lado. Ajude FAROFAFÁ a fortalecer o debate e a cultura brasileira.
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