If someone were to ask me what fatherhood has given me, I would answer daughters who have not let me grow old isolated from the generations that followed mine, who have forced me to have an attentive and generous gaze, who have left open the possibility of seeing with the eyes of others. 
I say this because they sent me this documentary that made me reflect a lot about a country I did not see. After all, I was anchored in the nostalgia of my youth. 

With the idea of keeping my wall open to creative expression, I add my exploration through this documentary about the music created in the early 2000s by young people in the neighborhoods of Caracas’ valleys. 
Venezuela was then immersed in an intense political struggle, an extremely polarized society that monopolized the creative oxygen where there seemed to be no room for anything else but that “telluric” confrontation. However, this current of techno music was a mass movement created by high school kids and those who were just going to college or were out of their campuses. 
It was baptized by themselves, Tuki movement. Immediately from both sides of “The history and dialectics of extreme confrontation,” they were rejected as marginal and vulgar. The discriminatory jargon was born: monkey (monos) music, an expression of the spiritual decadence of a people, Chupis music, that has nothing to do with the country that created the Orchestra System or any other clear pejorative expression with marked racism and classism. It was music that was made despite the power outages and the political volatility of Venezuela. Music of the alienated, those who were left out of the equation of the two pieces of the “intelligent” country. The Tuki was on the margins, outside the country comforted, moving unstoppable energy, mobilizing thousands of boys from the slums of Venezuela, invisibly wrapping the political actors, and that has always been there since before the birth of the nation. It comes with desire before the Venezuelanness, the cimarrón force, the discriminated current, a mestizo subversion unwanted by the historical actors. 
In this documentary, there is an unbiased approach, where the authors of the music speak, the creators of the Tuki, a generation that put itself and was put aside, to live its creative expression and that does not hesitate to affirm that they make ghetto music. Who can deny that Caracas and Venezuela have not lived fractured in hundreds of thousands of ghettos? I believe that this documentary has subtitles. I invite you to give a look and a different reading of Tuki music.

Open the documentary on You Tube