From 2019 on, Ballantine’s which invited them to be part of the collective. For Afrobapho, being recognized by the general audiences and becoming a reference in what they do are major accomplishments.
Alan Costa remembers that the collective talks to independent artists and realizes how unfair the market is to them. “The industry needs to be rethought so that people can have a fair start. We need more diverse line ups, since festivals still privilege white, male, and cis people. This is still an issue. He believes that the treatment for these artists needs to improve and that the current advances are small in such an unbalanced scenario.
The founder of Afrobapho defends that brands have a great role in changing this market, which goes beyond hiring influencers, but also having black people in the front line of their highest positions, besides creating social projects for the professional development of this group of people.
The young people of Afrobapho say they drink from the fountains of the traditional afro carnival parade crews of Salvador, which were born, mostly, at the end of the 70’s and beginning of the 80’s. The Carnival parade crew Os Negões, for example, opened the doors to the collective and invited them to be on the trio elétrico. “We think not only about race, but also about gender and sexuality issues, besides developing social work and art projects,” he recalls.
When it came time to nominate a group for Ballantine’s True Music Fund, Afrobapho had no doubts in encouraging the work of a crew that had an inspiring story, with a connection to the collective, and reduced investments.