136 results where found for «Jorge Peña Hen»


Ode to Joy (Himno a la alegría)

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:
« 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. »
[...]
« She lived in the neighbourhood nearby, on the other side of that long wall, now painted white. She had been with us a few months and when the day of her release came, she cried and cried and cried. At last, she was getting out, but she was taking the sadness of leaving us behind with her. »
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Captive Quena (Quena cautiva)

Music piece by:
Claudio Durán Pardo
Testimony by:
Claudio Durán Pardo
Experience in:
Campamento de Prisioneros, Tres Álamos, September - December 1975
« I first laid my hands on a quena when I was nine years old. It was resplendently fragile and lyrical. My passion for this instrument was immediate, or rather, the quena chose me. »
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Errant Wind (Viento errante)

Music piece by:
Patricio Hermosilla Vives
Testimony by:
Patricio Hermosilla Vives
Experience in:
« Finally, in the Chacabuco Concentration Camp, after three days aboard the Policarpo Toro (a war ship which had an uncertain destination since sailing from Valparaíso in December 1973; the question was not when and where we would dock, but how we would fall overboard), I felt that death had decided to take a step back and watch from me from a little further away. »
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After the War (Después de la guerra)

Music piece by:
Sandro
Testimony by:
Nelly Andrade Alcaino
« 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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Sufferings (Dolencias)

Music piece by:
Víctor Valencia Nieto
Testimony by:
Domingo Chávez Navarro
Experience in:
Campamento de Prisioneros Chacabuco, November 1973 - April 1974
« 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)

Music piece by:
Federico García Lorca (words), Paco Ibáñez (music)
Testimony by:
Luis Alfredo Muñoz González
Experience in:
« 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)

Music piece by:
Julio Numhauser, popularised by the band Amerindios
Testimony by:
Carlos Muñoz
Experience in:
« 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)

Music piece by:
Nydia Caro and Riccardo Ceratto
Testimony by:
Beatriz Bataszew Contreras
Experience in:
« 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. »
[...]
« 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)

Music piece by:
José Luis Armenteros and Pablo Herrero, popularised by Nino Bravo.
Testimony by:
anonymous
Experience in:
« 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)

Music piece by:
Violeta Parra
Testimony by:
Paicavi Painemal
Experience in:
« 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 ('Luchín'), Patricio Manns ('Arriba en la cordillera'), Inti-Illimani, Illapu, and Schwenke y Nilo. I still have the cassettes. When I listen to them the good memories come back to me. »
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