JUP DO BAIRRO: A PODEROSA VOZ DA LUTADORA DAS ARTES MARGINAIS

Considered one of the most relevant voices in the new Brazilian music, Jup do Bairro performed the opening show of the eighth edition of SIM São Paulo, in addition to conducting a series of interviews for the event. Being celebrated by critics and the public, they bring certain responsibilities, which Jup sees very consciously: “I take great care, even because I need to return it to the public, I need to understand that we need to assume what we eat, the that we wear, we hear, and mainly, the imaginary that we are creating. I associate responsibility a lot with representativeness and these three edges that it can present itself to us. So representativeness can be the engine of creation and impulse where people feel contemplated and they can see, see and know that they are also capable of making these movements happen. And at the same time these places of representation that can leave people static, thinking: Jup is already there representing me so I can leave my perspectives and hold it responsible if it doesn't reach it. And there is also this perspective of representativeness as capital, that you need to be always well, you need to be always happy, loving your body unconditionally, you need to be everywhere, and always, when we realize when these actions are done, they are extremely harmful because you want a transvestite body, but how much will you pay for that transvestite body, for the presence of that transvestite body. How the presence of that black transvestite body will be there in one of ten to endorse this diversity that is being raised and proposed. So I have understood more and more that I, my body, is more and more tired of hacking new possibilities, new types of creation, of thinking. Because today I find myself in music and I realize that the music industry was not prepared for the entrance of my body, it was not prepared for what I have to say, the body I inhabit, the multiple cuts that accompany my trajectory, so this responsibility has to be very careful because I will not be the one who will save the country from all the problems that people like me go through and through, but it is important that we share this responsibility because then we start talking about possibilities ”.

A defender of the marginal arts, as she has already defined herself, Jup refers to the “restlessness” that accompanies her since her first jobs, since the educator, in passing through fashion and now in music, all in a self-taught way. “It is all a way of redemption, of understanding my space, of seeking and inventing that space; I believe that everyone wants to feel belonging to something and with me it was no different, but I understood that I needed to feel belonging at least to myself, and it is in these places that I have fought in a guerrilla way, to understand how to channel all my thoughts and everything that has gone through my life using art as an escape valve, and I could feel stronger, recognize when I felt fragile, just like it is in a ring. That we won't always win, we won't always lose. Everyone will win, everyone will lose, as Dilma Roussef would say, ”she adds.

Jup grew up in Capão Redondo, a neighborhood in the south of São Paulo, where the hip hop culture is very strong. The process that defined her as the artist she is today took several steps. She started in the evangelical church, like many other young people, having first contact with singing and theater. “The church has a fundamental role in the slums and peripheries offering art and its many possibilities as a first ticket, and it was no different for me,” she says.

The first compositions appeared in adolescence, a time when Jup started to flirt with music and poetry, but in an unpretentious way. “It was a kind of cheap therapy, really, to understand my body, my mind. With that I understood that mind was body, body was mind as well, and that place of creation appeared to me. And art was a place for me to create myself. I believe that we die and are born in many moments of our life. From the moment when we stop believing and thinking about what is already gone and start being present in our time within these urgencies of now, I believe that we stop being who we were. And I stopped being who I was and I owe a lot to art. Art saved me. She saved me because it was through her that I managed to start and even use as an excuse to paint my nails, wear a skirt and start performing who I was becoming with the excuse: Oh, no, it's because I'm an artist… And with this I started to understand myself ”.

Jup's family had a fundamental role in its formation, a very musical nucleus. His mother liked samba and Jovem Guarda. His father, who played the drums at the samba school Camisa Verde e Branca, as a teenager, liked the anarchist punk groups in São Paulo, which reflected Jup's love for some rock, punk rock and hardcore groups.

In 2019, Jup managed to synthesize his experiences and reflections on the powerful track Corpo sem Juízo, which has the voice of writer Conceição Evaristo and participation in memorian student Matheusa Passareli. “It was one of my first compositions, when I was understanding my body in the world. What is this body without judgment, without this Christian-Jewish judgment from the hegemonic perspective of what the black body should be, what the T body should be, what the peripheral body should be, so I believe it was these countless sources that I have been drinking and feeding what could be Jup do Bairro and what would become the Body without Judgment ”, he says.

It was ten years before Jup felt ready to release the EP. The work also featured names such as Rico Dalasan, Linn da Quebrada, Mulambo, Deise Tigrona, Pininga, Badsista, all over 600 people who believed in this work through collective funding. “Understanding that in addition to having already delivered countless previous works, this album would be based on me, my life, my experience, but I didn't want it to end with me. I wanted him to take other directions and with that I started thinking about a narrative that starts from the story of Jesus, with birth, life and death, not necessarily in that order, but the distribution of this body to understand these internal apocalypses that we pass along our lives. trajectories. A story that ends up being tragicomic in the way I tell it, but that is not in a vampiresque place of just throwing all this sadness and pain, but also in the delights and joys of overcoming and overcoming not only overcoming, but overcoming action, that I needed to move, believe, give up, and with that I started a new story that it is not new because it starts from scratch, on the contrary, it is looking back and thinking about moving forward. The future as an extension of the present ”.

The production was in charge of the São Paulo production company BadSista, with whom Jup has an almost telepathic understanding, transcends the verbal understands the intentions. “We are very similar musically, we have very close tastes, it is always very pleasant to work with her, she has a capture sensor that is very intimate with us. We also have a great capacity to question ourselves ”.

Once again, Jup's rich diversity of musical references was reflected in his work. “When I started to finish the compositions of Corpo sem Jzo, I was listening to a lot of heavy metal, a lot of Slipknot, Rage Against the Machine, Korn, and this in the middle of Carnival, in the intervals I had at the hotel or getting around. I was listening to a lot of rock and I wanted it on the record too, because it is part of what I consume and what I like and I have also been bordering on other places that I have already flirted with like Deise Tigrona, Tati Quebra-Barraco, MC Naninha, and rap, hip hop, my school since always with Sabotage for whom I am extremely passionate, Prisoners of Rap, RZO, many things ", says Jup, who also picked up other childhood memories:" And I also navigated the references that were put to me in childhood and that I started to enjoy. So there is not a day when I don’t hear Cartola, Elza Soares, Nelson Gonçalves, my head ends up being a blender in the history of Brazilian music. And also for my family, for the people around me to consume so many different things, I am osmosis capturing all these genres and musical references ”.

About the plans for the future, Jup sends his message: “I want to make music, I want to meet people, I want to try new things, I want to understand myself, understand what I am doing more and more, I want to cross, I want to be crossed, and I want to make an extension of what this body without judgment is by putting pieces together and transforming it into a megazord ”.

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