82 results where found for «I Come Back»


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. »
[...]
« I come back handsome, I come back kind »
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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. »
[...]
« Going away, going away, going away, never to come back »
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The Paper Boat (El barco de papel)

Author:
Julio Numhauser, popularised by the band Amerindios.
Testimony by:
José Selín Carrasco Vargas
« While we were imprisoned in Melinka, this song was sung every time that one of us was released. I remember a fellow prisoner nicknamed Bigote Molina (Moustache Molina) singing the song when we were going to Tres Álamos, from where we would be released a few days later. »
[...]
« Going away, going away, going away, never to come back »
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Sinner, come to sweet Jesus (Pecador, ven al dulce Jesús)

Author:
Unknown
Testimony by:
anónimo
Place & date:
« One time a group of male and female evangelicals came to Teja Island to preach. They were taken to the visitors’ yard. Because we prisoners had nothing else to do, we went to see them. »
[...]
« Come back to your benign Lord »
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Far Away (Tamo daleko)

Author:
Djordje Marinkovic. Chilean adaptation of traditional Serbian song, originally composed in 1916.
Testimony by:
Jorge Grez Leuquén
« Working as a documentary film-maker for some years, I recorded the stories of some of the prisoners during the dictatorship. It was during some of these sessions that the song 'Tamo Daleko' reappeared; it had been sung numerous times on Dawson Island. This is a humble contribution from the south of the south. »
[...]
« when I come back to your beaches »
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Far Away (Tamo daleko)

Author:
Djordje Marinkovic. Chilean adaptation of traditional Serbian song, originally composed in 1916.
Testimony by:
Eduardo Ojeda
« At Compingin Camp on the island, Mario started telling us about the Spanish lyrics of the Yugoslav song 'Tamo daleko'. The song was not Croatian: it was Serbian. It brought back many memories to the Yugoslav emigrants. This song was sung in the Río Chico camp on Dawson Island, which was an enormous, Nazi-style camp. »
[...]
« when I come back to your beaches »
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Gigi the Ladies’ Man (Gigi l’amoroso)

Author:
Jacqueline Misrahi, Lana Sebastian and Paul Sebastian. Popularised by Dalida.
Testimony by:
Eduardo René Cuevas
« This song was used while the Military Intelligence Service (SIM) subjected me to cruel torture at a clandestine torture centre in the southern Chilean city of Los Ángeles. »
[...]
« Corleone, Gigi has come back, Gigi’s come back from America’ »
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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. »
[...]
« I don't know when he'll come back. »
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Melody by Jorge Peña Hen

Author:
Jorge Peña Hen
Testimony by:
María Fedora Peña
Place & date:
Cárcel de la Serena, October 1973
« “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. Peering over the staircase banister, I saw him raise his right hand with something clenched inside. He was just back from a quick trip to La Serena, and I was spending my holidays in Chile. I had travelled home to show the family my beautiful baby girl, María Paz, my first child born in Caracas. »
[...]
« And now we come back to the starting point, to his smell, his deep voice, his commanding presence filling every space, his jokes, his tenacity, his fast and easy stride, indestructible optimism, his arcane humming, his rigour, his requirement of discipline, his inexhaustible talent, his generosity and nobility. Personally, I have cried for him, and I still cry for him as I did as a little girl, because I was a child when horror struck me yet I wasn’t allowed to cry. »
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The Letter (La carta)

Author:
Violeta Parra
Testimony by:
Paicavi Painemal
Place & date:
« We set up a band with a group of fellow prisoners. They were young, university students. One of them had a guitar. From what I remember, he was a music teacher and they allowed him to keep the instrument. In the band we also played the bombo and the charango. I accompanied by singing. »
[...]
« We also sang songs by Victor Jara (“Luchín”), Patricio Manns (“Arriba en la cordillera”), Inti-Illimani, Illapu, and Schwenke and Nilo. I still have the cassettes. When I listen to them the good memories come back to me. »
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