892 results where found for «Casida de las palomas oscuras»

Partisan Anthem (Himno guerrillero)

Music piece by:
Spanish version of 'Makhnovtchina', attributed to Ukranian anarchist Nestor Makhno, based on anonymous Russian melody.
Testimony by:
Julio Laks Feller
Experience in:
Recinto DINA, José Domingo Cañas Nº 1367, September 1974
Tags:
« 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. »
[...]
« The Amur partisans were transformed into the partisans of 'amor' (love), as rendered by the translations of that song that celebrates the courage of the guerrillas who fought on the shores of the river of the same name. »
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Dreams of my Imprisonment (Sueños de mi encierro)

Music piece by:
Mario Patricio Cordero Cedraschi
Testimony by:
Mario Patricio Cordero Cedraschi
Experience in:
Cárcel de Valparaíso, Winter of 1975
Tags:
« 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. »
[...]
« 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. »
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Ode to Joy (Himno a la alegría)

Music piece 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:
Campamento de Prisioneros, Tres Álamos, 31 December 1975
Tags:
« 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. »
[...]
« She lived in the neighbourhood nearby, on the other side of that long wall, now painted white. She had been with us a few months and when the day of her release came, she cried and cried and cried. At last, she was getting out, but she was taking the sadness of leaving us behind with her. »
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Errant Wind (Viento errante)

Music piece by:
Patricio Hermosilla Vives
Testimony by:
Patricio Hermosilla Vives
Experience in:
Campamento de Prisioneros Chacabuco, January 1974
Tags:
« Finally, in the Chacabuco Concentration Camp, after three days aboard the Policarpo Toro (a war ship which had an uncertain destination since sailing from Valparaíso in December 1973; the question was not when and where we would dock, but how we would fall overboard), I felt that death had decided to take a step back and watch from me from a little further away. »
[...]
« 'Viento Errante ('Errant wind') (composed towards the end of that year during the improvised 'literary workshop' in which Salas, Montealegre, another prisoner and myself, tried to divert the raw pain of those hours, exploring some possible forms of 'existential meaning'), a song more unconscious than conscious, which attempted from its inception to idealise freedom in the shape of a woman without a defined face or name although, on the other hand, she embodied all the roles of a woman: mother, daughter, sister, girlfriend. »
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Today I Sing for the Sake of Singing (Hoy canto por cantar)

Music piece by:
Nydia Caro and Ricardo Ceratto
Testimony by:
Beatriz Bataszew Contreras
Experience in:
Calle Irán Nº 3037 / Venda Sexy / La Discotheque, 12 - 18 December 1974
Tags:
« I have never been a great music listener. Nevertheless, before the coup I used to listen to Nueva Canción, especially Quilapayún and Rolando Alarcón. I also liked cumbias, to fool around. We would dance and have fun. »
[...]
« On the other hand, and this is more due to my family, I have always liked classical music, particularly Tchaikovsky. It stirs important things in me. It moves me. »
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Tacit Song (Canción tácita)

Music piece by:
All the women present at that moment in Chacabuco
Testimony by:
Mónica García Cuadra
Experience in:
Campamento de Prisioneros Chacabuco, Summer of 1974
Tags:
« 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. »
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We Shall Prevail (Venceremos)

Music piece by:
Claudio Iturra (lyrics) and Sergio Ortega (music)
Testimony by:
Lucía Chirinos
Experience in:
Cárcel de Mujeres Buen Pastor, La Serena, October 1973 - April 1974
Tags:
« The parish priest at Buen Pastor played the accordion. He played so beautifully. Because I played the piano, I asked him if I could borrow it. 'I'll lend it to you' he said. »
[...]
« They all turned around and their jaws dropped. Then they closed their fists, lifted their left arm and we sang at full blast, crying, raising our voices so they resonated in the corridor. It was glorious. »
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The Internationale

Music piece by:
Eugène Pottier (lyrics) and Pierre Degeyter (music). Popularised by Quilapayún in Chile in the 1970s.
Testimony by:
Ana María Jiménez
Experience in:
Villa Grimaldi, April 1975
Tags:
« In April 1975, the triumph of Vietnam was celebrated. We heard about it through a comrade who went to the bathroom and found a piece of the week’s newspaper. It was so beautiful for us to be there, having shouted so often for Vietnam at demonstrations. »
[...]
«  Former water tank in Villa Grimaldi, where brutal torture was applied. Many detained-disappeared were last seen alive there. »
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You Hear It Far Away (Se escucha muy lejos)

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. »
[...]
« Armando, a medical student who was a good guitarist, contributed arpeggios and musical phrases with a nod to jazz. Manuel chipped in on his recorder with an arrangement that sounded interesting. Pedro, who was very experienced in percussion on his bongo, provided the rhythm. Jaime wrote the lyrics of the song. Lastly, he and I produced the vocals. »
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Lucía

Music piece by:
Joan Manuel Serrat
Testimony by:
Beatriz Bataszew Contreras
Experience in:
Campamento de Prisioneros, Tres Álamos, December 1974 - May 1976
Tags:
« 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. »
[...]
« ‘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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