163 results where found for «I Can Trust the Lord»


The Soldier (El soldado)

Author:
Rafael Alberti (lyrics), Ángel Parra (music)
Testimony by:
Alfonso Padilla Silva
Place & date:
« During Christmas 1973, approximately 660 men and 100 women were held as prisoners in the Concepción Regional Stadium. Concentration camp officials allowed us to celebrate Christmas on the pitch. We were in a corner of the pitch and we used the pole vault pit as a stage. Two professional radio broadcasters were excellent masters of ceremony, combining veiled messages with other more candid ones, all with a hefty dose of humour and good taste. They also recited poems. »
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I’m Not from Here - To my Comrade, my Love (No soy de aquí - A mi compañera)

Author:
Facundo Cabral, with lyrics modified by a political prisoner
Testimony by:
Alfonso Padilla Silva
Place & date:
« 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. »
[...]
« The experience of prisoners held in numerous concentration camps and prisons throughout the country showed that participation in some form of cultural and artistic activity, be it the rehearsal and subsequent performance of a play, writing poems and stories (as well as essays), handicrafts or playing music, made a significant contribution towards strengthening individual and collective moral, an attitude of resistance and a sense of unified body among the political prisoners. »
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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. »
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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. »
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To Sing by Improvising (Pa’ cantar de un improviso)

Author:
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. »
[...]
« I had wanted a Venezuelan cuatro ever since Violeta Parra had taught us that Latin American music has no boundaries; she played the cuatro in her songs in a masterly way, which I wanted to imitate. Her children, Ángel Parra and Isabel Parra, had recorded a song in 1970, very charming and catchy, and we wanted to do it: "Pa’ cantar de un improviso" (To sing by improvising). To do so without a cuatro would not be the same. »
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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. »
[...]
« It was a strong experience for the thirteen of us who remained in the barracks, which now seemed so much larger and hushed. We began to tidy up the rooms and the yard, which looked as if a hurricane had swept through the place. The women who had gone left many things in their rooms. »
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Story of the Chair (Historia de la silla)

Author:
Silvio Rodríguez
Testimony by:
Eduardo Andrés Arancibia Ortiz
Place & date:
Cárcel de Santiago, 1980 - 1991
« 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. I had the chance to thank him on behalf of Víctor Zúñiga Arellano, a political prisoner who died in an escape attempt in 1987 in the Santiago Penitentiary, as this songwriter had been a treasured companion during Víctor’s life in hiding. »
[...]
« 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, containing stories of resistance in the face of the oft-repeated ban of our subversive songs. »
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After the War (Después de la guerra)

Author:
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. »
[...]
« Then I remembered Sandro’s song "Después de la guerra" and made the following argument: “All of us are prisoners of war, so everyone can relate to this song”. I recited the words and everyone agreed to sing it, so we rehearsed it all day long. »
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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. »
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We Shall Prevail (Venceremos)

Author:
Claudio Iturra (lyrics) and Sergio Ortega (music)
Testimony by:
Lucía Chirinos
Place & date:
« The parish priest at Buen Pastor played the accordion. He played so beautifully. Because I played the piano, I asked him if I could borrow it. “I’ll lend it to you” he said. Discreetly I began to learn “Venceremos”, “La Internacional”, the National Anthem and the Anthem of the Police. They made us all learn the Anthem of the Police and I knew it from my dad, who was an officer. »
[...]
« Learning all these songs on the accordion turned out to be a rather tiring task, all the more so since I could only do it in the afternoons, when the girlies went to watch their beloved soap operas. Marisa Cruces (title character of the Mexican soap opera La cruz de Marisa Cruces) sure had a hold on the heterogeneous audience made up of serious criminals, petty criminals, guards, traitors to the Fatherland and nuns. They would all cry about the vicissitudes the protagonist endured. »
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