
12 results where found for «Captive Quena»
- Music piece by:Claudio Durán Pardo
- Testimony by:Claudio Enrique Durán Pardo
- Experience in:Campamento de Prisioneros, Tres Álamos, September - December 1975
- Tags:
- « I first laid my hands on a quena 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. »
- [...]
- « Captive Quena (Quena cautiva) »
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- Music piece by:Violeta Parra
- Testimony by:Claudio Enrique Durán Pardo (Kila Chico)
- Experience in:
- Tags:
- « We made a Venezuelan cuatro from a large plank of wood attached to one of the walls of the "ranch" where we ate. »
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- « After much work, help and dedication we built a cuatro from that plank of wood, with the assistance of another prisoner who had some experience as a luthier. So we finally had a brand new, captivating and captive cuatro, to sing to the three hundred souls of Puchuncaví. »
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- Music piece by:Fernando Z. Maldonado. Popularised by Vicente Fernández
- Testimony by:Jorge Montealegre Iturra
- Experience in:
- Tags:
- « At the Chacabucan artistic shows, Hugo sang tangos, including 'Volver' (Return) by Gardel and Le Pera. »
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- « At that point in the song, the entire captive audience would laugh at a verse that was not just funny but also bold: the word 'torture' was accusatory and symbolised our story prior to being taken to Chacabuco. »
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- Music piece by:Collective creation
- Testimony by:Ignacio Puelma
- Experience in:Campamento de Prisoneros Ritoque, February 1975
- Tags:
- « 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 a gift by the ocean. »
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- « 'Comrade Puelma, with that music you can’t put up resistance'. I felt then that our song may be captive, but the fact that it aroused suspicion revealed it was also captivating. »
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How Can I Describe This to You? (Cómo hacer para darte una idea)
- Music piece by:Sergio Vesely
- Testimony by:Sergio Vesely
- Experience in:Cárcel de Valparaíso, 1976
- Tags:
- « This is one of two songs I wrote in prison for my beloved Graciela. In the song I tried to draw her closer to me, describing my everyday world and my experience of life as a captive. »
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- Music piece by:Chicho Sánchez Ferlosio
- Testimony by:Sergio Reyes Soto
- Experience in:Campamento de Prisioneros Isla Dawson, 1973 - 1974
- Tags:
- « This song, like so many others, was not at all “captive”. The revolutionary songs we sang behind bars imbued us with a sense of freedom.
Rolando Alarcón , and laterQuilapayún , introduced “Dicen que la patria es” (or “Canción de soldados”) to Chile. »- [Read full testimony]
- Music piece by:Sergio Vesely
- Testimony by:Sergio Vesely
- Experience in:
- Tags:
- « 'Ñaca-ñaca' was an interjection we used at Camp Melinka whenever we wanted to signal and poke fun at any dark thought that might cross our minds. That may be why it seemed the ideal name to give to the paper 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. »
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- 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. »
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- Music piece by:unknown. Folk tune from the Andes highlands
- Testimony by:Luis Cifuentes Seves
- Experience in:Campamento de Prisioneros Chacabuco, January - February 1974
- Tags:
- « Agreeing to a suggestion from Ricardo, Los de Chacabuco learned and arranged this tune. In the
Andean high plateau , the tune is a satirical reference to lawyers and, by implication, to civil servants. It is performed at carnival time. »- [...]
- « We arranged it as an instrumental tune, with no lyrics. Ricardo played impressive solos on the quena and the melody was accompanied by the rhythmic movements of the band members, something that was an innovation in our performances. Other instruments in use were guitar and charango. »
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- Music piece by:attributed to Gilberto Rojas Enríquez (Bolivia), Manuel Casazola Huancco (Perú), and the Andean oral tradition. Popularised in Chile by Violeta Parra and her children Isabel and Ángel Parra.
- Testimony by:Luis Cifuentes Seves
- Experience in:Campamento de Prisioneros Chacabuco, January – February 1974
- « Agreeing to a suggestion from Ricardo, Los de Chacabuco learned and arranged this tune. In the
- « This song, like so many others, was not at all “captive”. The revolutionary songs we sang behind bars imbued us with a sense of freedom.