66 results where found for «Las ma������anitas»


St John Passion (Pasión según San Juan)

Music piece by:
Ángel Parra
Testimony by:
Luis Cifuentes Seves
Experience in:
Campamento de Prisioneros Chacabuco, January - February 1974
« This song is the third track on the cassette recorded in the Chacabuco concentration camp by the band Los de Chacabuco, formed by Ángel Parra and conducted by him until his release. »
[...]
« One lasting memory about this song is the emotion with which it was received by our fellow prisoner, congressman Vicente Sota. He was a deeply religious man. He would come and hug us repeatedly, saying 'how beautiful, brother', a phrase that I’ve never forgotten. »
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The Prisoner of Til Til (El cautivo de Til Til)

Music piece by:
Patricio Manns
Testimony by:
Renato Alvarado Vidal
« I arrived at Tres Álamos on the eve of the departure for Mexico with a large group of prisoners. The group included Dr. Ipinza, who before leaving entrusted me with the job of physician, the medicine donated by the Red Cross, and his position in the Council of Elders. »
[...]
«  Former water tank in Villa Grimaldi, where brutal torture was applied. Many detained-disappeared were last seen alive there. »
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What Will the Holy Father Say (Qué dirá el Santo Padre)

Music piece by:
Violeta Parra
Testimony by:
María Cecilia Marchant Rubilar
Experience in:
Cárcel de Mujeres Buen Pastor, La Serena, September 1973 - January 1974
« We sang songs that were popular at the time. We’d sing 'What will the Holy Father say', especially the part that says 'What will the Holy Father who lives in Rome say ... they are slitting the throat of his dove...' quite often, for example when someone was taken off to Regimiento Arica, which was a torture centre. »
[...]
« If I have to clean the house, I turn on the computer and search for something to listen to. It might occur to me to listen to Mercedes Sosa, or Quilapayún, or classical music, or something more cheerful. »
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We Shall Prevail (Venceremos)

Music piece by:
Claudio Iturra (lyrics) and Sergio Ortega (music)
Testimony by:
María Cecilia Marchant Rubilar
Experience in:
Cárcel de Mujeres Buen Pastor, La Serena, September 1973 - January 1974
« I was studying to be a chemistry teacher at the University of Chile in La Serena. I was 21 years old when I was arrested. I think I was picked up due to a specific fact. I was regularly sent copies of the El Rebelde newspaper by train, in order to distribute them in parts of Region IV. »
[...]
« That’s how we found out about the things that were going on. It was a radio shared by the whole prisoner community so we’d play music that we could all listen to. I wasn’t able to listen to the type of music I would have preferred at times, such as classical music. »
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Melody by Jorge Peña Hen

Music piece by:
Jorge Peña Hen
Testimony by:
Eliseo González
Experience in:
Cárcel de la Serena, October 1973
« Jorge Peña Hen was in solitary confinement that day. I don’t know how, but someone brought him matches. With his saliva, he made ink from the phosphorus tips, which he then used to write a score of music on a scrap of paper. »
[...]
« Keep in mind that the prisoners included farmworkers, miners and intellectuals. So if you put on classical music for an old guy from the hills, he would say 'What’s that?' Or, if you played corridos for the intellectuals or pseudo-intellectuals, they might not like it much. »
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Candombe for José (Candombe para José)

Music piece by:
Roberto Ternán
Testimony by:
Amelia Negrón
« We were in Pavilion 1. One of us came up with the idea, I can’t remember who. There were so many of us and we spent the day inventing and creating things! »
[...]
« Then began the difficult topic of the teams’ names. So the White Doves (‘Las Palomas Blancas’), the Innocent Doves (‘Las Inocentes Palomas’), the ‘Cucurrucucú Doves' (‘Las Cucurrucucú Paloma’), and some more similar ones. »
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Shadows (Sombras)

Music piece by:
Rosario Sansores and Carlos Brito Benavides. Popularised in Chile by Lucho Barrios
Testimony by:
Juan Carlos de Luján Peralta Aranguiz
« I arrived in this place as a war prisoner when I was 16 years old. »
[...]
« Cárcel de Menores Blas Cañas / Centro de Reinserción Abierto Manuel Rodríguez »
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Cantata Santa María de Iquique

Music piece by:
Luis Advis
Testimony by:
Alfonso Padilla Silva
« Between March 1974 and July 1975, I had the opportunity to arrange about 200 songs and direct the production of the Cantata de Santa María de Iquique. In truth, the prison was my conservatoire. That’s where I learnt the basics of the profession of musician. »
[...]
« The process of producing the Cantata Santa María de Iquique lasted little over two months, between the beginning of March and the second fortnight of May 1975. After writing down the lyrics from the record in a couple of days, I listened to the music for a month very carefully. Since I didn’t know how to read or write music, I annotated it with the note and chord names that accompanied the melody. »
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Lili Marlene

Music piece by:
Hans Leip
Testimony by:
Renato Alvarado Vidal
Experience in:
« During the daily flag-lowering ritual in the camp Melinka, the prisoners first had to get into formation in the courtyard and then walk in line to the location of the mast. »
[...]
« I was just giving the mother the last treatment instructions when I heard the column marching. »
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The Woman from Huillinco (La Huillincana)

Music piece by:
Liborio Bórquez Guzmán, popularised by Héctor Pavez
Testimony by:
Rubén Torres Ávila
« When I was in the last year of secondary school at the Liceo 8 in Santiago, I suggested to a teacher to do an interview with a prisoner of the youth detention centre Blas Cañas. After the interview, I offered the prison’s governor to take the school’s folk group to present a show to the inmates. »
[...]
« Cárcel de Menores Blas Cañas / Centro de Reinserción Abierto Manuel Rodríguez »
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