130 results where found for «Jorge Peña Hen»

After the War (Después de la guerra)

Song by:
Sandro
Testimony by:
Nelly Andrade Alcaino
Experience in:
Regimiento de Ingenieros de Tejas Verdes / Campamento de Prisioneros Nº 2 de la Escuela Militar de Ingenieros, February 1974
Tags:
« The military officials in charge of the Tejas Verdes camp made us sing. They gave us just one day to select the songs and rehearse. »
[...]
« Then we thought of the song "Libre" ("Free", popularised by Nino Bravo), which the group also vetoed: we were locked in the room day and night, allowed out only a couple of times a day to go to the bathroom. »
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South-Eastern Storm (La Sudestada)

Song by:
unknown
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(1) had filled with prisoners. »
[...]
« When I became a recognised prisoner and was allowed to talk to other prisoners, I tried to find the comrade behind the song, but no one knew of his whereabouts. Some time afterwards someone told me that his name was Horacio Carabantes, and he was from Valparaíso. »
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Sufferings (Dolencias)

Song by:
Víctor Valencia Nieto
Testimony by:
Domingo Chávez Navarro
Experience in:
Campamento de Prisioneros, Estadio Nacional, November 1973 - April 1974
Tags:
« Marcelo Concha Bascuñán sang this song, which many of us liked. I personally knew Marcelo and we were both released from prison at the same time. I left the country, whereas Marcelo stayed in Chile. The DINA picked him up and since then he is one of so many disappeared people. »
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Casida of the Dark Pigeons (Casida de las palomas oscuras)

Song by:
Federico García Lorca (words), Paco Ibáñez (music)
Testimony by:
Luis Alfredo Muñoz González
Experience in:
Campamento de Prisioneros Cuatro Álamos, February - March 1975
Tags:
« According to scientists, memory and music processing are situated in a deep, ancestral part of the brain, where it is zealously guarded. »
[...]
« Perhaps this explains why even after our bodies have been destroyed down to the bone marrow, when nothing is left of us but the murky eyes of death, music and song appear. »
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The Paper Boat (El barco de papel)

Song 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. »
[...]
« If freedom was decreed when the prisoner was at another camp, the prisoner would be transferred to this detention centre. In the version sung in the camps, the verse that goes, 'se va, se va, se va y regresará' ('going away, going away, going away and will come back') was replaced by 'se va, se va, se va y no volverá' ('going away, going away, going away, never to come back'). »
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Today I Sing for the Sake of Singing (Hoy canto por cantar)

Song by:
Nydia Caro and Riccardo Ceratto
Testimony by:
Beatriz Bataszew Contreras
Experience in:
Calle Irán Nº 3037 / Venda Sexy / La Discotheque, 12 - 18 December 1974
Tags:
« I have never been a great music listener. Nevertheless, before the coup I used to listen to Nueva Canción(1), especially Quilapayún(2) and Rolando Alarcón(3). I also liked cumbias(4), to fool around. We would dance and have fun. »
[...]
« 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)

Song by:
Nino Bravo
Testimony by:
anónimo
Experience in:
Campamento de Prisioneros, Estadio Nacional, September - November 1973
Tags:
« 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)

Song by:
Violeta Parra
Testimony by:
Paicavi Painemal
Experience in:
Cárcel de Temuco, 1985
Tags:
« We set up a band with a group of fellow prisoners. They were young, university students. One of them had a guitar. »
[...]
« We also sang songs by Victor Jara(4) ('Luchín'), Patricio Manns(5) ('Arriba en la cordillera'), Inti-Illimani(6), Illapu(7), and Schwenke and Nilo(8). 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)

Song by:
Claudio Iturra (lyrics) and Sergio Ortega (music)
Testimony by:
Lucía Chirinos
Experience in:
Cárcel de Mujeres Buen Pastor, La Serena, October 1973 - April 1974
Tags:
« 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. »
[...]
« 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. »
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Free (Libre)

Song by:
Nino Bravo
Testimony by:
Guillermo Orrego Valdebenito
Experience in:
Campamento de Prisioneros, Estadio Nacional, 1973
Tags:
« 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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