165 results where found for «Love Song for a Disappeared Woman»

Poet of Destiny (Poeta del destino)

Music piece by:
Sergio Vesely
Testimony by:
Sergio Vesely
Experience in:
Anexo Cárcel Capuchinos, 1976
Tags:
« This song is a tribute to Miguel Enríquez, Secretary-General of the MIR, who was gunned down by a commando of the dictatorship’s secret police on 5 October 1974. »
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The Paper Boat (El barco de papel)

Music piece by:
Julio Numhauser, popularised by the band Amerindios
Testimony by:
José Selín Carrasco Vargas
Experience in:
Campamento de Prisioneros Melinka, Puchuncaví, 1976
Tags:
« 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. »
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Free (Libre)

Music piece by:
José Luis Armenteros and Pablo Herrero, popularised by Nino Bravo.
Testimony by:
Paicavi Painemal
Experience in:
Comisaría de Carabineros N° 2, Temuco, 22 April 1985
Tags:
« I’m from Chol Chol, part of the Coihue community. I was arrested along with 12 other people and they took us to the Second Police Station of Temuco. »
[...]
« They would play songs by Nino Bravo, especially 'Libre' ('Free'). They would put them on in the background and loudly, to drown out my screams. »
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May the Omelette Flip Over (Que la tortilla se vuelva)

Music piece by:
Chicho Sánchez Ferlosio. Popularized by Quilapayún
Testimony by:
Claudio Melgarejo
Experience in:
Comisaría de Concepción, November 1973
Tags:
« I spent a week in captivity, in November 1973. I didn’t hear many songs, but the most popular ones sung by my comrades were 'Venceremos' (We Shall be Victorious) and 'Que la tortilla se vuelva' (May the Omelette Flip Over), also known as 'The Tomato Song', which portrays the bosses' exploitation of the workers. »
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The Wall (La muralla)

Music piece by:
Nicolás Guillén (lyrics) and Quilapayún (music)
Testimony by:
Domingo Lizama
Experience in:
Cárcel de Valdivia / Cárcel de Isla Teja, 1973 - 1978
Tags:
« In prison, there was a guy who played the guitar. He cheered up the afternoons in the cell. We all sang with him. »
[...]
« We sang a lot of songs from the Spanish Civil War, for example, 'Dime dónde vas morena', the Mexican song 'Carabina 3030' and the Argentinian song 'Balderrama'. »
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Luchín

Music piece by:
Víctor Jara
Testimony by:
anonymous
Experience in:
Cárcel de Valdivia / Cárcel de Isla Teja, September 1973
Tags:
« They said that once you got to the prison of Teja Island, you were safe. »
[...]
« The owner of the guitar was an academic who knew songs by Víctor Jara, Quilapayún and Inti-Illimani. They were popular at that time and we identified with them. Their songs represented the people and the peasants. »
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They Say the Homeland Is (Dicen que la patria es)

Music piece by:
Chicho Sánchez Ferlosio
Testimony by:
Sergio Reyes Soto
Experience in:
Campamento de Prisioneros Isla Dawson, 1973 - 1974
Tags:
« This song, like so many others, was not at all “captive”. The revolutionary songs we sang behind bars imbued us with a sense of freedom. Rolando Alarcón, and later Quilapayún, introduced “Dicen que la patria es” (or “Canción de soldados”) to Chile. »
[...]
«  (1929-1973) Chilean singer-songwriter and poet of the Nueva Canción and Neofolklore movements. »
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Captain, our Destiny is a Wandering Island (Capitán, el rumbo es una isla errante)

Music piece by:
Sergio Vesely
Testimony by:
Sergio Vesely
Experience in:
Campamento de Prisioneros Melinka, Puchuncaví, 1975
Tags:
« This song was dedicated to Óscar Castro, whom I was lucky enough to meet in 1975, in Puchuncaví. With his experience in theatre – Óscar was already a fairly well-known actor before his arrest – he threw himself into the cultural work we had organised, in what was then called “Camp Melinka” where the prisoners presented a show every Friday. »
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Priests and Soldiers (Curas y milicos)

Music piece by:
Sergio Vesely
Testimony by:
Sergio Vesely
Experience in:
Campamento de Prisioneros Melinka, Puchuncaví, 1975
Tags:
« I don’t want to exaggerate but Camp Melinka became not only a factory that produced handicrafts and a performance hall but also a university. »
[...]
« I couldn’t stop thinking about him until someone finally lent me the camp’s only guitar and I wrote this song. Although his criticism addressed a system that existed a very long time ago, it still seemed absolutely valid to me. »
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The Man Who Transformed into an Animal (El hombre que se convirtió en animal)

Music piece by:
Sergio Vesely
Testimony by:
Sergio Vesely
Experience in:
Campamento de Prisioneros Melinka, Puchuncaví, 1975
Tags:
« I wrote this song shortly after reading Franz Kafka’s The Metamorphosis, one of the books that circulated in Camp Melinka from hand to hand and cabin to cabin. »
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