Abstract
I depart from the relationship the funk Carioca singer Mr. Catra establishes with Judaism to explore the notion of margin, approaching it as space-time conducive for the emergence of specific processes of subjectification, particularly the artistic ones. I state that Mr. Catra's conversion to Judaism is the culmination of a life constituted by a will to dwell in the margins, also seen in his transit between his residence and the favela and in his artistic affiliation. I also state that the non-erudite artist is especially able to set fort the transformative powers of art, while claiming that becoming a Jew allows Mr. Catra to reconfigure the way in which he elaborates, through art, the relations between whites and blacks.
Keywords:
Artistic subjectivation; Art; Creativity; Judaism; Race relations