173 results where found for «Casida of the Dark Pigeons»


Filistoque's Cueca (Cueca del Filistoque)

Song by:
Víctor Canto Fuenzalida (lyrics), Efraín Navarro (music)
Testimony by:
Víctor Canto Fuenzalida
Experience in:
« Filistoque is a real-life person in all his mighty height (1.90 metres tall). I always remember him laughing. In Chacabuco, we shared a house for nearly ten months. Around him, you were never allowed to become depressed or get into a stew over our situation. »
[...]
« Some of the guards were more receptive and it was not rare to see Filistoque in lively conversation with them; they were swayed by his happy demeanour to such an extent that he persuaded them that he could teach the soldiers how to march. »
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The Little Cigarette (El cigarrito)

Song by:
Víctor Jara
Testimony by:
Alfonso Padilla Silva
Experience in:
« During Christmas 1973, I was one of some 600 men and 100 women prisoners in Concepción Regional Stadium. The concentration camp officials allowed us to celebrate Christmas in the sports arena. To be precise, we were in one corner of the playing field and we used the pole vault pit as a stage. »
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I’m Not from Here - To my Comrade, my Love (No soy de aquí - A mi compañera)

Song by:
Facundo Cabral, with lyrics modified by a political prisoner
Testimony by:
Alfonso Padilla Silva
Experience in:
« The choir of male prisoners sang a piece called “A mi compañera” (To my comrade, my love) to the music of “No soy de aquí, ni soy de allá” (I'm not from here, nor from there) by Facundo Cabral. I don’t remember who wrote the lyrics. But that’s how I wrote it down in one of the ten notebooks I used to copy songs during my imprisonment. »
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Zamba so as Not to Die (Zamba para no morir)

Song by:
Hamlet Lima Quintana
Testimony by:
Ana María Jiménez
Experience in:
Villa Grimaldi, April 1975
« I want to recall a night at Villa Grimaldi. »
[...]
« In spite of the terror I felt, I decided that my little act of rebellion would be not to sing, not to release my voice. Besides, I thought I really wasn’t able to. »
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Partisan Anthem (Himno guerrillero)

Song by:
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
Experience in:
« 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. »
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How We Resemble Each Other (En qué nos parecemos)

Song by:
Unknown. Popularised by Quilapayún
Testimony by:
Luis Cifuentes Seves
Experience in:
« During the 1960s the band Quilapayún popularised this old Spanish song in Chile. Víctor Canto and I performed it as a duet in Santiago’s National Stadium - which had been converted into a concentration, torture and extermination camp - from September to November 1973. Whenever the military allowed us to do so, we would sing it in the locker rooms where we slept, and in the grandstands where we spent much of the day. »
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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:
Luis Madariaga
Experience in:
« In prison we would sing this when a comrade was released or sent to exile. It was a powerful source of strength, solidarity and ironclad brotherhood, created during those long months in captivity, seeking an outlet for our hearts. I believe that that experience left a mark on all of us. »
[...]
« During my time at Valparaíso Prison, I had the chance to see the singer Julio Iglesias come to the facility. He said something stupid: “I am a prisoner too; I practically live on an aeroplane.” The reaction of the political prisoners watching from the third gallery of that hellish prison was total silence. The word had spread asking that no one should applaud whatever Iglesias had to say. This led Iglesias to later ask the man who had brought him to this place who those guys were up on the Prison’s third gallery, who never once applauded him and kept quiet. This had been quite noticeable because there were many of us up there surrounding the gallery's handrails. It was our way of expressing our disapproval for this man who was on good terms with Chile’s criminal dictatorship. Then Iglesias left. »
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To Sing by Improvising (Pa’ cantar de un improviso)

Song by:
Violeta Parra
Testimony by:
Claudio Enrique Durán Pardo (aka Quique Cruz)
« 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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Captive Quena (Quena cautiva)

Song by:
Claudio Enrique Durán Pardo (aka Quique Cruz)
Testimony by:
Claudio Enrique Durán Pardo
Experience in:
Campamento de Prisioneros, Tres Álamos, September - December 1975
« I first laid my hands on a quena (Andean flute) 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. Five years later, aged 14, I had already become the quena player of a quartet in ​​San Antonio. »
[...]
« When I was 16 years old, the Chilean Armed Forces, violating the Constitution, took possession of the country, and with it, the music and instruments – particularly that which had been symbolic of the Salvador Allende presidency. Panpipes, charangos and quenas went from being from the "sonorous trinity" into the void of oblivion, prohibited for being subversive. »
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After the War (Después de la guerra)

Song by:
Sandro
Testimony by:
Nelly Andrade Alcaino
« The military officials in charge of the Tejas Verdes camp made us sing, and they gave us just one day to select the songs and rehearse. »
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