186 results where found for «Alfonsina and the Sea»

Chacabuco Mass (Misa chacabucana)

Music piece by:
Ángel Parra and Ariel Ramírez
Testimony by:
Luis Cifuentes Seves
Experience in:
Campamento de Prisioneros Chacabuco, January - February 1974
Tags:
« This song is the second track on the cassette recorded in the Chacabuco prison camp by the band Los de Chacabuco, formed by Ángel Parra and led by him until his release. At the time that the cassette was recorded, Ángel had already been freed and Ernesto Parra had become the group's conductor. »
[...]
« These songs, as well as those from the Gospel of St Luke and the St John Passion, were performed by Los de Chacabuco in the masses celebrated by the chaplains for the benefit of the prisoners and the military. »
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Blue Eyes (Ojos azules)

Music piece by:
Manuel Casazola Huancco
Testimony by:
Luis Cifuentes Seves
Experience in:
Campamento de Prisioneros Chacabuco, January – February 1974
Tags:
« This is the last track on the cassette recorded by the band Los de Chacabuco in the concentration camp; it was digitised in 2015. »
[...]
« The quena was played by Ricardo Yocelewski and the charango by Luis Cifuentes. »
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The Little Fence (La rejita)

Music piece by:
lyrics: collective creation; music: 'Jálame la pitita' by Luis Abanto Morales (Peruvian polka)
Testimony by:
María Cecilia Marchant Rubilar
Experience in:
Cárcel de Mujeres Buen Pastor, La Serena, September 1973 - January 1974
Tags:
« We always sang this song when we were taken to Regimiento Arica. That was a torture centre. »
[...]
« 'It's because they were forced to' was the reason they gave us. It was very unpleasant when I went into the bathroom and the nuns stood there looking at me. It felt like torture. It’s terrible to be in prison. »
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What Will the Holy Father Say (Qué dirá el Santo Padre)

Music piece by:
Violeta Parra
Testimony by:
María Cecilia Marchant Rubilar
Experience in:
Cárcel de Mujeres Buen Pastor, La Serena, September 1973 - January 1974
Tags:
« We sang songs that were popular at the time. We’d sing 'What will the Holy Father say', especially the part that says 'What will the Holy Father who lives in Rome say ... they are slitting the throat of his dove...' quite often, for example when someone was taken off to Regimiento Arica, which was a torture centre. »
[...]
« The cueca chora is nice and has a different type of dance. A short while ago I went to an event at Villa Grimaldi and the group Las Pecadoras sang cuecas choras. Those were really good. »
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Dona Nobis Pacem

Music piece by:
Text from Agnus Dei (Roman Catholic Mass); music by Wolfgang Amadeus Mozart
Testimony by:
Lucía Chirinos
Experience in:
Cárcel de Mujeres Buen Pastor, La Serena, October 1973 - April 1974
Tags:
« Music was always present in my family. My dad played the violin and my mum the piano. When I was a child, my mum sent us to dance and piano lessons. »
[...]
«  Term referring to both the Spanish bolero of the 19th century and the Cuban bolero associated with the trova genre and tradition of itinerant musicians. »
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Little Doctors (Doctorcitos)

Music piece by:
unknown. Folk tune from the Andes highlands
Testimony by:
Guillermo Orrego Valdebenito
Experience in:
Campamento de Prisioneros Chacabuco, 1974
Tags:
« In 1974 - I don’t quite remember the month - the Chacabuco Olympics were held. The opening ceremony consisted of symbolically carrying the Olympic torch through the concentration camp. »
[...]
« There was a tremendous uproar, and the march left from the corner of our house at number 26, pavilion 5, next to our University, in the middle of the Civic District. The fervour grew as we were all running next to El Tigre and reached another pavilion after a few laps around the Olympic course. »
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How We Resemble Each Other (En qué nos parecemos)

Music piece by:
Unknown. Popularised by Quilapayún
Testimony by:
Scarlett Mathieu
Experience in:
Campamento de Prisioneros Cuatro Álamos, 1974
Tags:
« 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. »
[...]
« For me, ‘En qué nos parecemos’ is the symbol of the period of solitary confinement. In my case, it was not very long and then they sent me to a place where I wasn’t isolated anymore. »
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The Clock (El reloj)

Music piece by:
Roberto Cantoral
Testimony by:
Ana María Arenas
Experience in:
Calle Irán Nº 3037 / Venda Sexy / La Discotheque, December 1974
Tags:
« The day I was captured, after the first torture session, I asked for permission to sing a Christmas carol, the name of which I cannot remember. I did it to let one of my captive friends know that I was also at the Venda Sexy. »
[...]
«  Term referring to both the Spanish bolero of the 19th century and the Cuban bolero associated with the trova genre and tradition of itinerant musicians. »
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Cantata Santa María de Iquique

Music piece by:
Luis Advis
Testimony by:
Alfonso Padilla Silva
Experience in:
Campamento Prisioneros Estadio Regional, 1975
Tags:
« Between March 1974 and July 1975, I had the opportunity to arrange about 200 songs and direct the production of the Cantata de Santa María de Iquique. In truth, the prison was my conservatoire. That’s where I learnt the basics of the profession of musician. »
[...]
« That’s how we took records into the prison by Atahualpa Yupanqui, Mercedes Sosa, Chico Buarque, Carlos Puebla, Joan Manuel Serrat, Mikis Theodorakis, Joan Báez, Violeta Parra, Daniel Viglietti and the main figures of the Nueva Canción Chilena such as Victor Jara, Patricio Manns, Isabel and Ángel Parra, Rolando Alarcón, Quilapayún, Inti-illimani, Aparcoa and Illapu, among others. »
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The Dance of Those Left Behind (El baile de los que sobran)

Music piece by:
Los Prisioneros
Testimony by:
Eduardo Andrés Arancibia Ortiz
Experience in:
Cárcel de Santiago, 1986
Tags:
« I learnt about Los Prisioneros through the 'Hecho en Chile' programme on Radio Galaxia, presented by Sergio 'Pirincho' Cárcamo. Their music became our trench and musical poetry, like all other forms of struggles against dictatorship. »
[...]
« This is how I survived loneliness, first underground and then in prison, artistically cultivating my own politically revolutionary project. In prison, there was always a radio set to accompany my political ideas infused with poetry and hope. »
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