871 results where found for «De los álamos vengo, madre»


From the Poplars I have Come, Mother (De los álamos vengo, madre)

Author:
Juan Vásquez
Testimony by:
Luis Cifuentes Seves
Place & date:
Campamento de Prisioneros Chacabuco, November 1973 - February 1974
« Los de Chacabuco, a band created and conducted by Ángel Parra, performed this traditional Spanish song at the Chacabuco concentration camp. »
[...]
« From the Poplars I have Come, Mother (De los álamos vengo, madre) »
[Read full testimony]

Recinto: Comisaría de Carabineros, Los Álamos
There are no testimonies in this detention centre.
If you had a musical experience in this detention centre, please share it here!

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 19 February 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 Appeared) by Víctor Jara; "Los pueblos americanos" (The American Peoples) by Violeta Parra; "Vamos a Serchil" (Let's go to Serchil) by the 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', written 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 content and meaning. »
[Read full testimony]

Candombe for José (Candombe para José)

Author:
Roberto Ternán
Testimony by:
Sara De Witt
Place & date:
« 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. »
[...]
« Campamento de Prisioneros, Tres Álamos »
[Read full testimony]

Ode to Joy (Himno a la alegría)

Author:
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
Place & date:
« 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. »
[...]
« Campamento de Prisioneros, Tres Álamos »
[Read full testimony]

Captive Quena (Quena cautiva)

Author:
Claudio Enrique Durán Pardo (aka Quique Cruz)
Testimony by:
Claudio Enrique Durán Pardo
Place & date:
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. »
[...]
« Campamento de Prisioneros, Tres Álamos »
[Read full testimony]

South-Eastern Storm (La Sudestada)

Author:
unknown
Testimony by:
Luis Alfredo Muñoz González
Place & date:
« While I was in solitary confinement in Cuatro Álamos, one day I noticed there was a large room at the end of the corridor, which, overnight, the "dinos" (members of the DINA secret police) had filled with prisoners. At the end of the day, these comrades organised quite a "jamboree": talking, sharing information, asking questions and singing. It was a frenetic activity of solidarity, support, courage and warmth. »
[...]
« Campamento de Prisioneros Cuatro Álamos »
[Read full testimony]

Casida of the Dark Pigeons (Casida de las palomas oscuras)

Author:
Federico García Lorca (words), Paco Ibáñez (music)
Testimony by:
Luis Alfredo Muñoz González
Place & date:
« According to scientists, memory and music processing are situated in a deep, ancestral part of the brain, where it is zealously guarded. Perhaps this explains why even after our bodies have been destroyed down to the bone marrow, when nothing is left of us but the murky eyes of death, music and song appear. »
[...]
« Campamento de Prisioneros Cuatro Álamos »
[Read full testimony]

The Paper Boat (El barco de papel)

Author:
Julio Numhauser, popularised by the band Amerindios.
Testimony by:
Carlos Muñoz
Place & date:
« One of the most important songs in 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 into 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. »
[Read full testimony]

Words for Julia (Palabras para Julia)

Author:
José Agustín Goytisolo (lyrics) and Paco Ibáñez (music)
Testimony by:
Amelia Negrón
Place & date:
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. »
[...]
« Campamento de Prisioneros, Tres Álamos »
[Read full testimony]