147 results where found for «After the War»


How We Resemble Each Other (En qué nos parecemos)

Author:
Unknown. Popularised by Quilapayún
Testimony by:
Scarlett Mathieu
« In Cuatro Álamos, I was profoundly marked by the singing of a current detained-disappeared named Juan Chacón. He sang ‘En qué nos parecemos’, a love song from the Spanish Civil War. It remained engraved in me because that comrade disappeared from Cuatro Álamos. »
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I Can Trust the Lord (Puedo confiar en el Señor)

Author:
Unknown
Testimony by:
Sigifredo Ramos Vásquez
Place & date:
Cárcel de Temuco, September - December 1973
« My experience during our captivity can be summed up in this personal observation. Protest songs were forbidden, so we had no other option than to sing religious songs. One religious song really struck a chord among my fellow prisoners, to such an extent that it took on the character of a true battle anthem. We sang it with such fervour that it became a genuine message of faith and hope for the much yearned-for freedom and justice. »
[...]
« I can trust the Lord »
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Blue Eyes (Ojos azules)

Author:
Manuel Casazola Huancco
Testimony by:
Luis Cifuentes Seves
Place & date:
Campamento de Prisioneros Chacabuco, January – February 1974
« This is the last track on the cassette recorded by the band Los de Chacabuco in the concentration camp; it was digitised in 2015. They played at the prisoners' weekly show. The song was very popular in Chile in the 1960s and many bands included it in their repertoire. The quena is played by Ricardo Yocelewski and the charango is played by Luis Cifuentes. »
[...]
« when there is nothing else to be done. »
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Ode to Joy (Himno a la alegría)

Author:
original by Friedrich von Schiller (lyrics) and Ludwig van Beethoven (music). Free version in Spanish by Amado Regueiro Rodríguez, aka Orbe (lyrics) y Waldo de los Ríos (music), popularised in Chile by Miguel Ríos.
Testimony by:
Luis Madariaga
Place & date:
« In prison we would sing this when a comrade was released or sent to exile. It was a powerful source of strength, solidarity and ironclad brotherhood, created during those long months in captivity, seeking an outlet for our hearts. I believe that that experience left a mark on all of us. »
[...]
« Listen brother »
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Today Was Visitors’ Day (Hoy fue día de visitas)

Author:
Sergio Vesely
Testimony by:
Sergio Vesely
Place & date:
« Visitors’ day was an exceptional day that broke the monotonous routine of all the other days of the week. I wrote this song in Valparaíso Jail, where I sang it countless times accompanied by my dearly remembered cellmate, the musician Antonio Suzarte from Valparaíso. »
[...]
« Today the teapot, the coffee and bread roll »
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How We Resemble Each Other (En qué nos parecemos)

Author:
Unknown. Popularised by Quilapayún
Testimony by:
Luis Cifuentes Seves
Place & date:
« During the 1960s the band Quilapayún popularised this old Spanish song in Chile. Víctor Canto and I performed it as a duet in Santiago’s National Stadium - which had been converted into a concentration, torture and extermination camp - from September to November 1973. Whenever the military allowed us to do so, we would sing it in the locker rooms where we slept, and in the grandstands where we spent much of the day. »
[...]
« and I in the way I melt. »
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How Can I Describe This to You? (Cómo hacer para darte una idea)

Author:
Sergio Vesely
Testimony by:
Sergio Vesely
Place & date:
« This is one of two songs I wrote in prison for my beloved Graciela Navarro. In the song I tried to draw her closer to me, describing my everyday world and my experience of life as a captive. »
[...]
« and the desert, the desert of love »
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King Ñaca Ñaca (El rey Ñaca Ñaca)

Author:
Sergio Vesely
Testimony by:
Sergio Vesely
« “Ñaca-ñaca” was an interjection we used at Camp Melinka whenever we wanted to signal and poke fun at any dark thought that might crossed our minds. That may be why it seemed the ideal name to give to the papier maché puppet that played the role of the mean king in the puppet stories we performed to entertain the children who came to visit their captive fathers. But Ñaca-Ñaca’s important role was more than that. The paper model was borrowed to perform the 'star role' in one of the cultural events we customarily staged every Friday. Events which, it should be pointed out, were attended only by captives and armed guards. It was a “Prisoners’ Show”, full of fantasy. »
[...]
« The monarch had a thousand enemies »
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Free (Libre)

Author:
Nino Bravo
Testimony by:
anónimo
Place & date:
« While waiting in the grandstands to be interrogated for the first, second or more times, we would sing "Free" to those who were being lined up to be released. "Free" was a catharsis, a mixture of joy for those who were going and hope for those of us left behind. Unfortunately, the dictatorship and its civil and military henchmen employed the song for their own propaganda. »
[...]
« but behind the cement is his home, »
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Free (Libre)

Author:
Nino Bravo
Testimony by:
Guillermo Orrego Valdebenito
« This song was performed in the Stadium grandstands by a worker from the Madeco factory: Peineta Vasquez, winner of a Song Festival that was organised at grassroots level, during the times when we were allowed to leave the spaces under the grandstands, inside the stadium,  to sunbathe, together with women from various countries, before they got sent off to the pool area. »
[...]
« but behind the cement is his home, »
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