744 results where found for «El breve espacio en que no estás»


The Brief Space Where You Are Absent (El breve espacio en que no estás)

Author:
Pablo Milanés
Testimony by:
Vilma Rojas Toledo
Place & date:
Cárcel de Coronel, 1986 - 1988
« I recall that during my time as a political prisoner Pablo Milanés was one of our greatest companions. His songs filled us with life, helped us to keep breathing and living behind the bars imposed by Pinochet’s military dictatorship. Personally, I remember the song “El breve espacio en que no estás” (“The brief space where you are absent”) because it sparked such heated debate among my comrades that you would think we were trying to resolve a vital political issue. »
[...]
« The Brief Space Where You Are Absent (El breve espacio en que no estás) »
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The Brief Space Where You Are Absent (El breve espacio en que no estás)

Author:
Pablo Milanés
Testimony by:
Pedro Mella Contreras
« In the Penitentiary, we listened to the song “The Brief Space Where You Are Absent” on the radio stations Aurora and Nuevo Mundo. »
[...]
« The Brief Space Where You Are Absent (El breve espacio en que no estás) »
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I Come Back (Vuelvo)

Author:
Patricio Manns (lyrics) and Horacio Salinas (music)
Testimony by:
Fernando Aravena
Place & date:
« During our mate-drinking gatherings in the Prison of Santiago, we always talked about the song ‘Vuelvo’. It gave you the hope of returning to the fight. The prison was only something temporary. »
[...]
« Amongst the visitors we had in the prison was Silvio Rodríguez. He sang ‘El breve espacio en que no estás’, a very well-known song by Pablo Milanés. The guards asked him for autographs and they took photos. It was an unprecedented incident. »
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They Say the Homeland Is - Soldier's Song

Author:
Chicho Sánchez Ferlosio
Testimony by:
Sergio Reyes Soto
Place & date:
« 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 later Quilapayún, introduced “Dicen que la patria es” (or “Canción de soldados”) to Chile. »
[...]
« They Say the Homeland Is - Soldier's Song (Dicen que la patria es - Canción del soldado) »
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How We Resemble Each Other (En qué nos parecemos)

Author:
Unknown. Popularised by Quilapayún
Testimony by:
Luis Cifuentes Seves
Place & date:
« 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. »
[...]
« How We Resemble Each Other (En qué nos parecemos) »
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How We Resemble Each Other (En qué nos parecemos)

Author:
Unknown. Popularised by Quilapayún
Testimony by:
Scarlett Mathieu
« In Cuatro Álamos, I was profoundly marked by the singing of a current detained-disappeared named Juan Chacón. He sang ‘En qué nos parecemos’, a love song from the Spanish Civil War. It remained engraved in me because that comrade disappeared from Cuatro Álamos. »
[...]
« How We Resemble Each Other (En qué nos parecemos) »
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To Be Seventeen Again (Volver a los diecisiete)

Author:
Violeta Parra
Testimony by:
David Quintana García
Place & date:
« I spent 45 days in the torture centre of Intendencia de Rancagua. Previously, I was detained with my brothers in the headquarters of the Cuartel de Investigaciones de Rancagua. »
[...]
« I remember that another prisoner used to sing ‘En qué nos parecemos’, popularised by Quilapayún. »
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Partisan 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. »
[...]
« 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. »
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Run Run Went up North (Run Run se fue pa'l norte)

Author:
Violeta Parra
Testimony by:
Ernesto Parra Navarrete
Place & date:
« Run Run ... On the big pitch, mild summer weather was in the air. But for us, aching from the torture, hungry, haggard, stinking, tattered, tired of our uncertain future, all we longed for was a breath of energy that would allow us to feel that we were still alive and that the feelings of our absent loving partners were present. »
[...]
« We would listen attentively for our names to be called out, in order to go and receive some personal item sent by our families, something to accompany us on our new journey into the unknown. As always, and in true military style, we had to march in a column. Carrying "all our stuff", at around 4 in the afternoon, a group was formed that consisted of all of us who had made the pilgrimage together from other detention and torture centres. »
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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 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. »
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