The article main aim is to discuss the relation between funk and religion, through the Mr. Catra's narratives, singer and performer of this musical rhythm. His singularity resides in adding religion to a universe traditionally apprehended as erotic or violent. The artist allows us to articulate his own creation both to his worldview as to the point of view of the youngsters from the favelas slums, main producers and consumers of funk music. The discourse around the divine, present at the artist's performances, is deepen in his daily life, consisting of a medium for expressing his own political position in the world. Although the religious discourse is privileged by Mr. Catra in his will to show his way of understanding the world, the funk strength resides in another aspect, that go by party and daily life. It is the irony itself, so artfully played by the artist, that allows us to realize how the funk is ingenious at, through the laugh, destabilizing the power by a subversive manipulation of cultural symbols dear to the oppressive authority.
funk; art; violence; cosmology; irony