127 results where found for «Jorge Peña Hen»


Today I Sing for the Sake of Singing (Hoy canto por cantar)

Author:
Nydia Caro and Riccardo Cerratto
Testimony by:
Beatriz Bataszew Contreras
Place & date:
« I have never been a great music listener. Nevertheless, before the coup I used to listen to Nueva Canción, especially Quilapayún and Rolando Alarcón. I also liked cumbias, to fool around. We would dance and have fun. On the other hand, and this is more due to my family, I have always liked classical music, particularly Tchaikovsky. It stirs important things in me. It moves me. »
[...]
« When they detained me I was 20 years old and studying forest engineering. The first detention centre they took me to was Venda Sexy. Many of my comrades were there. »
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Free (Libre)

Author:
Nino Bravo
Testimony by:
anónimo
Place & date:
« While waiting in the grandstands to be interrogated for the first, second or more times, we would sing "Free" to those who were being lined up to be released. "Free" was a catharsis, a mixture of joy for those who were going and hope for those of us left behind. Unfortunately, the dictatorship and its civil and military henchmen employed the song for their own propaganda. »
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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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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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Free (Libre)

Author:
Nino Bravo
Testimony by:
Guillermo Orrego Valdebenito
« This song was performed in the Stadium grandstands by a worker from the Madeco factory: Peineta Vasquez, winner of a Song Festival that was organised at grassroots level, during the times when we were allowed to leave the spaces under the grandstands, inside the stadium,  to sunbathe, together with women from various countries, before they got sent off to the pool area. »
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The Internationale

Author:
Eugène Pottier (lyrics) and Pierre Degeyter (music). Popularised by Quilapayún in 1970s Chile.
Testimony by:
Ana María Jiménez
Place & date:
Villa Grimaldi, April 1975
« In April 1975, the triumph in Vietnam was celebrated. We heard about it through a comrade who went to the bathroom and found a piece of the week’s newspaper. It was so beautiful for us to be there, having shouted so often for Vietnam at demonstrations. »
[...]
« So a group of prisoners from the Tower (*) decided to sing a bit from The Internationale. And we sang all together. We would coordinate through secret mail: for example, messages would be exchanged when someone went to the bathroom. The guards arrived and started shouting “what is happening here?”, kicking about. We managed to sing two or three verses. This was another example of music in conditions of extreme oppression. »
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You Hear It Far Away (Se escucha muy lejos)

Author:
Collective creation
Testimony by:
Ignacio Puelma
Place & date:
« The sound of the sea was carried over the cabins of the Ritoque Prison Camp by the wind. It was the daily music given to us as gift by the ocean. Gone were the torture centres, the cruellest torments seemed distant, and that perception helped us to reconstruct ourselves. Ritoque, Puchuncaví, Tres Álamos and other mass prisoner centres were seething places of activity. Despite the shortcomings and the actual fact of being in prison, movement was gushing from everywhere: courses, crafts, sports, debates, chess, theatre, literature, songs… life was throbbing after we’d lived through the worst nightmares. To go back to them was always a possibility, so much so that some of us did have to go back to the DINA's torture centres. »
[...]
« When the day arrived, before the audience, this music sounded innovative. When we finished our turn on stage, there was a massive applause and the jury decided that 'Se escucha muy lejos' should be the winner of the prize in the International Category. I can't quite remember - was it perhaps Luis Corvalán? At any rate, one of the miscreants, as we called the 'UP hierarchy' (Unidad Popular, that is, People's Unity), who were separated from us in the concentration camp but were allowed to take part in the cultural activities, was the person who presented us with the award: a medal made from a coin and displaying a seagull, Ritoque's Seagull. »
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Little Doctors (Doctorcitos)

Author:
Unknown. Folk tune from the Andes highlands
Testimony by:
Luis Cifuentes Seves
Place & date:
Campamento de Prisioneros Chacabuco, January - February 1974
« Agreeing to a suggestion from Ricardo, Los de Chacabuco learned and arranged this tune. In the Andean high plateau, the tune is a satirical reference to lawyers and, by implication, to civil servants. It is performed at carnival time. »
[...]
« The most important thing for us when we were rehearsing and recording was the memory of our great and admired friend Marcelo Concha: we did it as a homage to him. It was a labour of friendship and respect. »
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Morning Has Broken

Author:
Cat Stevens, based on a traditional Gaelic hymn; lyrics by Eleanor Farjeon
Testimony by:
Luis Cifuentes Seves
Place & date:
« At the time of the coup in 1973, this song was world-famous and frequently played on the radio. As transistor radios were quite small, many people were arrested with one of these in their pockets, and a significant number were not searched and confiscated by the military. This explains why, when we were in the National Stadium, we were able to listen to them, keep track of the news and listen to music. »
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Anthem of Puchuncaví (Himno de Puchuncaví)

Author:
Sergio Vesely
Testimony by:
Sergio Vesely
« A few weeks before being transferred to Valparaíso Jail - where I would face a war council on account of alleged violations of the State Interior Security Law and other military regulations that existed during the state of siege - I wrote a song that I called anthem, because I wanted it to be sung as a group at the end of our cultural events on Fridays. The song was written so that every prisoner, regardless of political affiliation, could sing it. The only way to strengthen prisoners’ unity was to realise that all of us lived in the same conditions. »
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