11 results where found for «Alejandro Olate»


Candombe for José (Candombe para José)

Song by:
Roberto Ternán
Testimony by:
Alejandro Olate
« The youngest among us, aged 17 or even 16 years, did the heaviest work on Dawson Island. We had to fell trees, cut them, split them in two, cut them into wedges, and walk the several hundred meters back to the barracks carrying the logs on our shoulders. Our older comrades sawed them and cut them into small logs to fill the woodsheds that fed three large heaters in the barracks. »
[...]
« Alejandro Olate »
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The Black King (El rey negro)

Song by:
Sergio Vesely
Testimony by:
Sergio Vesely
« One cold winter night of 1975, the small clinic of Melinka, in the Puchuncaví Detention Camp, became the setting for a touching story. »
[...]
« and his beard of chocolate, »
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Reflections (Reflexiones)

Song by:
Sergio Vesely
Testimony by:
Sergio Vesely
« Prison forced me to think quite a lot about my political past and my total commitment to an ideological cause, and its consequences. In this song (composed in the Puchuncaví Detention Camp and only sung for my friends and cellmates) I reflect on my role as a prisoner songwriter. »
[...]
« nobody violates your silence, »
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Valparaíso

Song by:
Sergio Vesely
Testimony by:
Sergio Vesely
Experience in:
« This song was written and sung in cell number 198 of Valparaíso’s former prison, that is to say, on the top floor of the main building, which was higher than the walls that surrounded it. This had several advantages for the prisoner, for if they perched on a stool to peer through the skylight, they could enjoy the company of a good part of the city during their hours of confinement. »
[...]
« by a heart that was desolate, »
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Song of the Disappeared (Canción del desaparecido)

Song by:
Sergio Vesely
Testimony by:
Sergio Vesely
Experience in:
« Several of my friends and comrades disappeared after being arrested. The dictatorship denied knowledge of their whereabouts but I knew they were lying. Many of these people had been in prison with me in the dungeons of Villa Grimaldi. This song was sung in a cell of Valparaíso Jail with one comrade keeping watch next to the door in case a prison guard approached. »
[...]
« of his violated silence »
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Futuristic Anthem (Himno futurista)

Song by:
unknown
Testimony by:
Patricio Polanco
Experience in:
« In 1973 and 1974, Pisagua was characterised by the harsh and cruel treatment of political prisoners. Singing was mandatory for prisoners, who were guarded by Army platoons, and it was also a means to avoid beatings and collective mistreatment. »
[...]
« Chocolate will flow in the rivers »
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Why does the afternoon cry (Por qué llora la tarde)

Song by:
Antônio Marcos. Popularised in Chile by Claudio Reyes
Testimony by:
Carolina Videla
Experience in:
« My prison term happened during the last year of the dictatorship after the No vote won. I was set free because of “lack of evidence”, after a year and a half in prison. »
[...]
« and this rain wets my desolate soul. »
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Candombe for José (Candombe para José)

Song by:
Roberto Ternán
Testimony by:
Sara De Witt
Experience in:
« We were in Tres Álamos barracks in September 1976. I don’t recall how many of us women were imprisoned there. I believe there were close to a hundred of us. »
[...]
« Some of us got up on the tables, looking up at the sky – bound by the rectangular shape of the barracks’ roof – as if to reach with our voices the stars, our loved ones, the men held at Tres Álamos, and our comrades, such as Gladys, who were isolated in what was known as the White House. »
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Ode to Joy (Himno a la alegría)

Song by:
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:
Amelia Negrón
Experience in:
« Preparations for that Wednesday night became more intense. It would be a different night. We women prisoners had secretly organised ourselves, but more importantly, we had also coordinated with the male prisoners. I’m not sure whether it was our idea or whether the men had proposed it. That detail is irrelevant now. »
[...]
« We made salads of all kinds, with tomatoes and lettuce; for dessert, we had all the delicious treats family members had brought us: so much fruit from our bountiful Chile, fruitcake, biscuits, some chocolates, etc., in addition to whatever main course the prison kitchen served that night. »
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Captive Quena (Quena cautiva)

Song by:
Claudio Enrique Durán Pardo (aka Quique Cruz)
Testimony by:
Claudio Enrique Durán Pardo
Experience in:
Campamento de Prisioneros, Tres Álamos, September - December 1975
« I first laid my hands on a quena (Andean flute) when I was nine years old. It was resplendently fragile and lyrical. My passion for this instrument was immediate, or rather, the quena chose me. Five years later, aged 14, I had already become the quena player of a quartet in ​​San Antonio. »
[...]
« I had been kidnapped and imprisoned for at least eight months when the following occurred. Bored and desolate, I’d go out onto the narrow courtyard in the afternoon and play the quena, always improvising melodies: long notes, silences. . . staccato notes and then longer notes. . . perhaps a huayno (Quechuan dance), more typical of the quena. »
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