178 results where found for «Candombe for José (Candombe para José)»


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. »
[...]
« Candombe for José (Candombe para José) »
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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. »
[...]
« Candombe for José (Candombe para José) »
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Candombe for José (Candombe para José)

Song by:
Roberto Ternán
Testimony by:
Amelia Negrón
« We were in Pavilion 1. One of us came up with the idea, I can’t remember who. There were so many of us and we spent the day inventing and creating things! »
[...]
« Candombe for José (Candombe para José) »
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Lucía

Song by:
Joan Manuel Serrat
Testimony by:
Beatriz Bataszew Contreras
Experience in:
Campamento de Prisioneros, Tres Álamos, December 1974 - May 1976
« Tres Álamos was a more “normal” camp, even though we never had a trial. There was a lot of music, it was sort of ritualistic. There were days when we put more enthusiasm into it, on Saturdays or Sundays after the visits, although I’m not all that sure. »
[...]
« ‘Candombe para José’ was very important. The line ‘ánimo Negro José’ (‘go for it, Negro José’) was a bit like saying ‘it will go away, there are always other possibilities’. I feel it was an encouraging song and also a way of showing each other affection. Although it’s completely different, ‘Palabras para Julia’ (Words for Julia) also says that there is a future, in spite of the current circumstances. ‘Ode to Joy’ was extremely important. It suggests that there are going to be changes, that our situation is not going to last forever. »
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Moments (Los momentos)

Song by:
Eduardo Gatti
Testimony by:
Scarlett Mathieu
« ‘Moments’ was a song sung by the female comrades whose partners were imprisoned on the other side of Tres Álamos, or were fugitives or disappeared. We all sang it, but it was like their anthem. »
[...]
« There was a very dear comrade who loved ‘Candombe para José’. She even requested that the song was sung for her funeral. »
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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 sang and sang: 'Ode to Joy', 'El negro José', 'Palabras para Julia', 'No volveré', and we kept singing and singing. We would start singing a song and the men, fellow prisoners on the other side, beyond the walls that separated us, would respond. That night we went to bed around one in the morning, exhausted and hoarse but so happy. We had broken the chains - it was still possible to think of freedom. »
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Words for Julia (Palabras para Julia)

Song by:
José Agustín Goytisolo (lyrics) and Paco Ibáñez (music)
Testimony by:
Amelia Negrón
Experience in:
Campamento de Prisioneros, Tres Álamos, 1975 and 1976 until Tres Álamos was closed on 28 November 1976
« There were so many of us women prisoners. Despite the circumstances we had managed to invent our own world, one with our rules, according to what we thought and wanted for ourselves, our families and all the Chilean people. One might think we were ambitious women, and yes, we certainly were. Most of us remain so, and surely will continue to be until the end. »
[...]
« Words for Julia (Palabras para Julia) »
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Dreams of my Imprisonment (Sueños de mi encierro)

Song by:
Mario Patricio Cordero Cedraschi
Testimony by:
Mario Patricio Cordero Cedraschi
Experience in:
Cárcel de Valparaíso, Winter of 1975
« I’d spent two years in prison and there was no end in sight for my time in jail. I observed during visiting hours that many prisoners had children, a wife, family; in my case, however, having been arrested so young and just turned 19, I felt a growing concern that I’d die without bearing children, and never experience this wonderful human feeling. »
[...]
« This concern became a nightmare and led to these verses that turned into a song and filled the last page of my prison songbook, where I’d written down a number of ballads sung by other prisoners. For a while, a musician from Valparaíso shared my cell and taught me my first chords. When he went into exile he left me his guitar, which was my companion for another long year in captivity. »
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Tacit Song (Canción tácita)

Song by:
All the women present at that moment in Chacabuco
Testimony by:
Mónica García Cuadra
Experience in:
« I am the daughter of a former political prisoner who spent a long time imprisoned at Chacabuco, among other places. I am Monica, a little 9-year-old girl who travelled with a heavy heart full of sadness to visit her father, Gerardo García Salas, held at the Chacabuco concentration camp. I am an only child and in my young life he is my sole reference point and, in essence, my image of masculinity. »
[...]
« From the guard tower, the order was given for the comrades to come, and they appeared behind the bars that separated our lives, but never our purpose and meaning in life. With heartache and streaming tears, several prisoners began to appear, as well as the love and silent solidarity that vibrated and pulsatedthrough those moments waiting for, anticipating the embrace, the looking directly into his eyes, making contact with the loved one’s heart, the touch of skin against skin among equals. »
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You Hear It Far Away (Se escucha muy lejos)

Song by:
Collective creation
Testimony by:
Ignacio Puelma
Experience in:
« The sound of the sea was carried over the cabins of the Ritoque Prison Camp by the wind. It was the daily music given to us as gift by the ocean. Gone were the torture centres, the cruellest torments seemed distant, and that perception helped us to reconstruct ourselves. Ritoque, Puchuncaví, Tres Álamos and other mass prisoner centres were seething places of activity. Despite the shortcomings and the actual fact of being in prison, movement was gushing from everywhere: courses, crafts, sports, debates, chess, theatre, literature, songs… life was throbbing after we’d lived through the worst nightmares. To go back to them was always a possibility, so much so that some of us did have to go back to the DINA's torture centres. »
[...]
« When the day arrived, before the audience, this music sounded innovative. When we finished our turn on stage, there was a massive applause and the jury decided that 'Se escucha muy lejos' should be the winner of the prize in the International Category. I can't quite remember - was it perhaps Luis Corvalán? At any rate, one of the miscreants, as we called the 'UP hierarchy' (Unidad Popular, that is, People's Unity), who were separated from us in the concentration camp but were allowed to take part in the cultural activities, was the person who presented us with the award: a medal made from a coin and displaying a seagull, Ritoque's Seagull. »
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