11 results where found for «Carl Sigman»


Answer Me

Author:
Gerhard Winkler and Fred Rauch. English lyrics by Carl Sigman. Recorded by Frankie Laine.
Testimony by:
Luis Cifuentes Seves
Place & date:
« I sang this song alone in the National Stadium dressing rooms where I was held from September to November of 1973. This happened when the soldiers allowed artistic performances to take place in the converted dressing rooms while we waited our turn to be interrogated or after returning from interrogations. These were often torture sessions. »
[...]
« Gerhard Winkler and Fred Rauch. English lyrics by Carl Sigman. Recorded by Frankie Laine. »
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Partisan's Anthem (Himno guerrillero)

Author:
Unknown. Russian melody. During the Russian Revolution, several lyrics with different ideological content circulated. This version is based on "Makhnovtchina", attributed to Nestor Makhno, Ukrainian anarchist revolutionary.
Testimony by:
Julio Laks Feller
Place & date:
« In late September 1974, the Soviet partisan’s song was intoned softly but with an awe-inspiring force in the José Domingo Cañas torture centre. Our comrade and beloved friend Sergio Pérez Molina, leader of the MIR who had fallen into the hands of the DINA a few days earlier, was being tortured again. We had already seen him disfigured by the blows; they had even applied electricity to a bullet wound when they shot him at the time of his arrest. Moren Brito boasted that he had run a pick-up truck over Sergio’s body. »
[...]
« Pérez, Carlos »
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We Shall Overcome

Author:
Attributed to Charles Albert Tindley
Testimony by:
Alfonso Padilla Silva
« When the concentration camp that operated for nearly five months at the Regional Stadium of Concepción was closed in early February 1974, hundreds of political prisoners were transferred to the Concepción Prison, a wing of which was turned into a concentration camp. On February 19 of that year, a trial process began before a military tribunal and seven or eight comrades including myself were transferred to the prison. »
[...]
« On that occasion, our newly formed band (without a name) performed the following programme: 'Soy del pueblo' (I am of the People) by Carlos Puebla; 'El aparecido' (The Apparition) by Víctor Jara; 'Los pueblos americanos' (The American Peoples) by Violeta Parra; 'Vamos a Serchil' (Let's go to Serchil) by Guatemalan Leopoldo Ramírez; 'Del Norte vengo, Maruca' (I Come from the North, Maruca) by Ángel Parra (although some people say it was written by his mother); 'Villancico nortino' (Northern Christmas Carol) a traditional song; and finally 'We Shall Overcome', created between 1950 and 1960 in the United States within the context of the Afro-American civil rights movement. In the prison we were acquainted with Joan Baez's version. We sang it in English and, of course, we explained its contents and meaning. »
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Zamba so as Not to Die (Zamba para no morir)

Author:
Hamlet Lima Quintana
Testimony by:
Ana María Jiménez
Place & date:
Villa Grimaldi, April 1975
« I want to recall a night at Villa Grimaldi. »
[...]
« At that point the guard stopped me and told me to stop buggering around with political ditties. That I should sing a cumbia or something by Roberto Carlos. I went dumb. Then they took us back to our cells, but before going in the guard said to me: “You’re stayin’ out ‘ere, for bein’ stubborn.” I spent a good while in the yard. I was afraid, cold, but I felt I had made a minimum act of resistance and that helped me. »
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The Paper Boat (El barco de papel)

Author:
Julio Numhauser, popularised by Amerindios.
Testimony by:
Carlos Muñoz
« One of the most important songs of the detention centres. Impossible to count how many times we sang it. Every time someone was released from a detention camp or there was credible information that a person would be sent to exile, a gigantic chorus would sing this song, in a powerful unison. No one could possibly forget it.Especially significant at Tres Álamos, as this was the “exit” camp. »
[...]
« Carlos Muñoz »
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Far Away (Tamo daleko)

Author:
Djordje Marinkovic. Chilean adaptation of traditional Serbian song, originally composed in 1916.
Testimony by:
Miguel Lawner
Place & date:
« Baldovino invites Daniel to lead the choir in a song. ‘El Negro Ruiz’ (*) as he is amicably known, has been his whole life a radio man, and now he never lets go of a small tape recorder he keeps in his left hand. »
[...]
« Carlos remembers this song from our time together in the FECH (University of Chile Students Union) in the 1950s. It was often sung by students of Yugoslav origin. The federation of Balkan nationalities had closed down, having previously been in existence up until the fall of the Berlin wall. »
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Couplets from El Yopo (Coplas de El Yopo)

Author:
Unknown. Traditional Venezuelan song. Popularised in Chile by Isabel and Ángel Parra
Testimony by:
Carlos Muñoz
« A comrade whose last name was Saavedra (if I recall correctly) passionately sung this song. Typical of popular cultural traditions, this song earned him the nickname of ‘El Yopo’ (also ‘chopo’). The song was familiar in Chile, as sung by Ángel and Isabel Parra, who called it 'Décimas del folklore venezolano' or 'Coplas Venezolanas'. It was one of the most popular songs in prison and was performed at many of our musical events. It was also sung at Ritoque and Puchuncaví. »
[...]
« Carlos Muñoz »
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To Be Seventeen Again (Volver a los diecisiete)

Author:
Violeta Parra
Testimony by:
Gabriela Durand
« I was 18, and already I had been tortured on the rack several times. One day I was with some other comrade prisoners, and as sometimes happened, the guards put some music on. They used to put the radio on, playing sundry popular tunes of the time. For us young people, the songs were a bit corny, but still we enjoyed them; they were a relief. We always kept absolute silence. »
[...]
« I didn’t want to sing, I was embarrassed. I’d always been told that I couldn’t sing, that I was out of tune. I was standing up, feeling a mix of fear and shame, but totally intimidated. I peered under my blindfold and I recognised Carlos, a comrade who had just been brought to the camp. All I could see were his feet, his hands and the end of his jacket's sleeve. That’s when I started to sing. It was as if I just surrendered to the music, feeling, at the same time, rage that they were making me do that. It was humiliating but it was also comforting. That was my take on that situation, and I sang. »
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Recinto: Cárcel de San Carlos
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Recinto: Cuartel de Investigaciones, San Carlos
There are no testimonies in this detention centre.
If you had a musical experience in this detention centre, please share it here!