59 results where found for «Far Away»

Chacabuco’s Soul (Alma de Chacabuco)

Music piece by:
Ángel Parra
Testimony by:
Luis Cifuentes Seves
Experience in:
Campamento de Prisioneros Chacabuco, November - December 1973
Tags:
« This is the original version of a composition by Ángel Parra at Chacabuco, as secretly recorded at the prison camp during his farewell concert. The composer’s voice can be heard. »
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An Old Love Tune (Tonada del viejo amor)

Music piece by:
Eduardo Falú and Jaime Dávalos
Testimony by:
Luis Cifuentes Seves
Experience in:
Campamento de Prisioneros Chacabuco, November 1973 - February 1974
Tags:
« The Los de Chacabuco band, created and conducted by Ángel Parra, performed this zamba by Eduardo Falú and Jaime Davalos at the camp’s weekly shows. »
[...]
« This song can be found on the secret recording made of the farewell show organised for Ángel by Alberto Corvalan. It is called 'Zamba argentina' on the vinyl record released in Italy and on the CD released in Chile. »
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Caliche

Music piece by:
Calatambo Albarracín
Testimony by:
Luis Cifuentes Seves
Experience in:
Campamento de Prisioneros Chacabuco, December 1973 - February 1974
Tags:
« Los de Chacabuco, a band founded and conducted by Ángel Parra, arranged this song called "Caliche". It was sung several times during the Saturday shows at the Chacabuco concentration camp. At the farewell concert for Angel, Alberto Corvalán recorded it on cassette, and a subsequent LP was produced from that cassette. »
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Beloved Friend (Amado amigo)

Music piece by:
Sergio Vesely
Testimony by:
Sergio Vesely
Experience in:
Campamento de Prisioneros Melinka, Puchuncaví, 1975
Tags:
« This song, written in my cell at the Puchuncaví Prison Camp, speaks to a friend and fellow prisoner; it could be any one of the thousands behind bars. »
[...]
« Paper boat (barco de papel): We had a habit of wishing farewell to our comrades who were released or about to be transferred to other prisons. People who were not fortunate enough to be included in the group would gather around those who were about to leave, a ritual that sometimes included singing Julio Numhausser’s beautiful song 'El barco de papel'. The first verse goes like this: 'Se va el barco de papel por el mar de la esperanza, llevando un montón de sueños y los niños no lo alcanzan. Se va, se va y no volverá. Se va, se va a la libertad.' (The paper boat sails to a sea of hope, carrying dreams and children can’t reach it. There it goes, there it goes, and it will never return. There it goes, there it goes to freedom.). »
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Future (Futuro)

Music piece by:
Sergio Vesely
Testimony by:
Sergio Vesely
Experience in:
Cárcel de Valparaíso, 1976
Tags:
« The dream of the political prisoner was to regain freedom. All of us would feel joy when one of us was about to be released from prison, although it far from easy to see a comrade depart. Even less so for those who suspected they would never enjoy that privilege. »
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A Finger-Picked Cueca from a Solidary Companion (Cueca punteada de un solidario)

Music piece by:
Sergio Vesely
Testimony by:
Sergio Vesely
Experience in:
Campamento de Prisioneros Melinka, Puchuncaví, 1975
Tags:
« It is true that the hard experience of torture and prison unified us and at times even generated strong ties of friendship among the prisoners. »
[...]
« I wrote this song while at Camp Melinka, thinking openly about our flaws. Thinking about the double standards that ruled our daily behaviour: talking about love on one hand and feeding hatred on the other. Thinking about how far we were from living what we preached every day: to live together in equality, in peace, in brotherhood and in solidarity with everyone. »
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Melody by Jorge Peña Hen

Music piece by:
Jorge Peña Hen
Testimony by:
Eliseo González
Experience in:
Cárcel de la Serena, October 1973
Tags:
« Jorge Peña Hen was in solitary confinement that day. I don’t know how, but someone brought him matches. With his saliva, he made ink from the phosphorus tips, which he then used to write a score of music on a scrap of paper. »
[...]
« Keep in mind that the prisoners included farmworkers, miners and intellectuals. So if you put on classical music for an old guy from the hills, he would say 'What’s that?' Or, if you played corridos for the intellectuals or pseudo-intellectuals, they might not like it much. »
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Candombe for José (Candombe para José)

Music piece by:
Roberto Ternán
Testimony by:
Amelia Negrón
Experience in:
Campamento de Prisioneros, Tres Álamos, June 1976
Tags:
« We were in Pavilion 1. One of us came up with the idea, I can’t remember who. There were so many of us and we spent the day inventing and creating things! »
[...]
« But the most important thing: from a corner of the court, also, you could see, sideways, the windows of Cuatro Álamos and our imprisoned comrades hanging their hands and feet out as far as they could between the window bars. Those in this pavilion would either become prisoners or become part of the long lines of comrades who are detained-disappeared to this day. »
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King Ñaca Ñaca (El rey Ñaca Ñaca)

Music piece by:
Sergio Vesely
Testimony by:
Renato Alvarado Vidal
Experience in:
Campamento de Prisioneros Melinka, Puchuncaví, May - October 1975
Tags:
« During the last third of the 20th century, the concentration camps of the Chilean dictatorship were characterised by a high grade of organisation among prisoners, as well as the overflowing creativity they applied to all areas of human ingenuity. »
[...]
« The majority of inventions happened in arts and crafts. There were sculptures made from any imaginable materials. There were also drawings, paintings, songs and theatre works. This is hardly surprising with the number of artists and intellectuals in there who encouraged the participation of workers and farmers. »
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