Vai No: Chгјo Doidona
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Disc Reviews by M. W. Phillips on August 29th, 2012
Overall
Film
Video
Audio
Extras
(out of 5)
"Vai no Chão Doidona" is a testament to the power of Brazilian urban music to create a unique vernacular and physical language. It encapsulates the spirit of funk: a relentless, bottom-up cultural force that demands to be heard and felt. Whether heard in a crowded club or a street party, the phrase remains a definitive call to action, urging participants to leave their worries behind and connect with the earth through the power of the beat.
In the context of the peripheries (favelas) of Rio de Janeiro and São Paulo, funk is a primary outlet for social and artistic expression. "Vai no Chão Doidona" captures the essence of these gatherings, where the heavy bass of the "tamborzão" beat dictates the pace. It reflects a space where traditional social hierarchies are momentarily suspended, allowing for a performance of identity that is bold and unapologetic. Empowerment vs. Objectification
While critics sometimes view such lyrics through the lens of objectification, many cultural scholars argue that phrases like this represent a form of "aesthetic of the excess." For the dancers, "going to the ground" can be an act of reclamation—taking control of their bodies and their pleasure in a society that often seeks to marginalize them. It is an invitation to lose oneself in the rhythm, turning "craziness" into a celebratory state of freedom. Conclusion
Mark Phillips
Vai No: Chгјo Doidona
"Vai no Chão Doidona" is a testament to the power of Brazilian urban music to create a unique vernacular and physical language. It encapsulates the spirit of funk: a relentless, bottom-up cultural force that demands to be heard and felt. Whether heard in a crowded club or a street party, the phrase remains a definitive call to action, urging participants to leave their worries behind and connect with the earth through the power of the beat.
In the context of the peripheries (favelas) of Rio de Janeiro and São Paulo, funk is a primary outlet for social and artistic expression. "Vai no Chão Doidona" captures the essence of these gatherings, where the heavy bass of the "tamborzão" beat dictates the pace. It reflects a space where traditional social hierarchies are momentarily suspended, allowing for a performance of identity that is bold and unapologetic. Empowerment vs. Objectification Vai no ChГЈo Doidona
While critics sometimes view such lyrics through the lens of objectification, many cultural scholars argue that phrases like this represent a form of "aesthetic of the excess." For the dancers, "going to the ground" can be an act of reclamation—taking control of their bodies and their pleasure in a society that often seeks to marginalize them. It is an invitation to lose oneself in the rhythm, turning "craziness" into a celebratory state of freedom. Conclusion "Vai no Chão Doidona" is a testament to
08/29/2012 @ 3:42 pm
I’m actually looking forward to checking this one out. Serbian Film would have been better if not for all the hype surrounding the film. Salo ranks up there with this other film Sweet Movie as beautiful repulsing films I’ll never watch again.
I’m equally repulsed and intrigued by the concept of this film though.