Cantos Cautivos
81 results where found for «Hoy canto por cantar»
- 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. »
- [...]
- « They began dragging him, and as they passed our room, Rosalía began to quietly sing 'Por llanuras y montañas...' ('Through valleys and over hills'). It was a way to speak to him and to try to give him strength; to tell him we were there and that we were accompanying him. In a sense, it was really his song. We had sung it together many times. »
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- Music piece by:Jorge Peña Hen
- Testimony by:María Fedora Peña
- Experience in:Cárcel de la Serena, October 1973
- Tags:
- « 'Look here, Maria Fedora. I’ve brought you a treasure', it was the voice of my brother Juan Cristián as he crossed the doorway of our mother’s house one morning in January 1983. »
- [...]
- « We have learned to coexist with these sorrows, but sometimes they are unleashed with the kind of outburst I was feeling at that moment, exploding through my pores, spilling out irrepressibly, because those sorrows by their nature represent him, in their essence. »
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- Music piece by:Roberto Ternán
- Testimony by:Sara De Witt
- Experience in:Campamento de Prisioneros, Tres Álamos, September 1976
- Tags:
- « 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. »
- [...]
- « I still remember those intense moments when we sang so many songs. Gazing up at the sky, we sang
'Candombe para José' , which we called 'El Negro José'. I understood that song as something new and different from the songs we usually sang. It seemed more contemporary to me and it made me feel in touch with my people outside the camp. The line 'en un pueblo olvidado no sé por qué' ('in a God-forsaken town, I don't know why') seemed connected with how I was feeling at that time. »- [Read full testimony]
- 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. »
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- Music piece by:Silvio Rodríguez
- Testimony by:Eduardo Andrés Arancibia Ortiz
- Experience in:Cárcel de Santiago, 1990
- Tags:
- « This was one of the songs
Silvio Rodríguez sang to us the day he visited the political prisoners in Santiago’s Public Jail in 1990. »- [...]
- « No less important are the memories of visits by Joan Manuel Serrat and the concert given to us by Illapu, deploying a full technical array. During my long stretch in prison, I also became acquainted with a cantata by the political prisoners, an anecdote of resistance in the face of the oft-repeated ban of our subversive songs. »
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- Music piece by:Pedro Humire Loredo
- Testimony by:Pedro Humire Loredo
- Experience in:Tenencia de Carabineros Nueva España, Población San Gregorio, September 1973
- Tags:
- « This
tonada recalls the horrible situation I was subjected to in the cells of the police station in the San Gregorio district in southern Santiago. »- [...]
- « Derogatory term for supporters of the Popular Unity (UP). »
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- Music piece by:Poni Micharvegas
- Testimony by:Luis Alfredo Muñoz González
- Experience in:Campamento de Prisioneros Cuatro Álamos, late February 1975
- Tags:
- « 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 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. »
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- Music piece by:Julio Numhauser, popularised by the band Amerindios
- Testimony by:Carlos Muñoz
- Experience in:Campamento de Prisioneros, Tres Álamos, 1975 - 1976
- Tags:
- « 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. »
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- Music piece by:lyrics: collective creation; music: 'Jálame la pitita' by Luis Abanto Morales (Peruvian polka)
- Testimony by:Lucía Chirinos
- Experience in:Cárcel de Mujeres Buen Pastor, La Serena, October 1973 - April 1974
- Tags:
- « Let’s get going, would say “the lizards”, as we called the policemen, because they dress all in green. »
- [...]
- « (1768-1851) Important figure in the Chilean struggle for independence from Spain. »
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- Music piece by:José Agustín Goytisolo (lyrics) and Paco Ibáñez (music)
- Testimony by:Amelia Negrón
- Experience in:Campamento de Prisioneros, Tres Álamos, 1975 and 1976, until the closure of Tres Álamos
- Tags:
- « 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. »
- [...]
- « And in low voices, we remembered our beloved comrades who, on the outside, were still struggling in the shadows against the dictatorship, watching their steps, their words, their gestures, and supported by other brave people, like those who had helped us before. »
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- « This
- « This was one of the songs