26 results where found for «Manuel José Castilla»


Balderrama

Author:
Manuel José Castilla (lyrics) and Gustavo Leguizamón (music). Popularised by Mercedes Sosa
Testimony by:
Eduardo Ojeda
« We arrived at Camp Compingin on Dawson Island on the afternoon of 11 September. We knew that we had been arrested that morning, and we knew nothing else yet. The next day, another group of prisoners arrived.They told us that Salvador Allende had died. We paid tribute to him around a bonfire. It was deeply meaningful. »
[...]
« Manuel José Castilla (lyrics) and Gustavo Leguizamón (music). Popularised by Mercedes Sosa »
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Partisan's Anthem (Himno guerrillero)

Author:
Unknown. Russian melody. During the Russian Revolution, several lyrics with different ideological content circulated. This version is based on "Makhnovtchina", attributed to Nestor Makhno, Ukrainian anarchist revolutionary.
Testimony by:
Julio Laks Feller
Place & date:
« In late September 1974, the Soviet partisan’s song was intoned softly but with an awe-inspiring force in the José Domingo Cañas torture centre. Our comrade and beloved friend Sergio Pérez Molina, leader of the MIR who had fallen into the hands of the DINA a few days earlier, was being tortured again. We had already seen him disfigured by the blows; they had even applied electricity to a bullet wound when they shot him at the time of his arrest. Moren Brito boasted that he had run a pick-up truck over Sergio’s body. »
[...]
« Villalobos, Manuel »
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Blue Eyes (Ojos azules)

Author:
Manuel Casazola Huancco
Testimony by:
Luis Cifuentes Seves
Place & date:
Campamento de Prisioneros Chacabuco, January – February 1974
« This is the last track on the cassette recorded by the band Los de Chacabuco in the concentration camp; it was digitised in 2015. They played at the prisoners' weekly show. The song was very popular in Chile in the 1960s and many bands included it in their repertoire. The quena is played by Ricardo Yocelewski and the charango is played by Luis Cifuentes. »
[...]
« Manuel Casazola Huancco »
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Lucía

Author:
Joan Manuel Serrat
Testimony by:
Beatriz Bataszew Contreras
Place & date:
« Tres Álamos was a more “normal” camp, even though we never had a trial. There was a lot of music, it was sort of ritualistic. There were days when we put more enthusiasm into it, on Saturdays or Sundays after the visits, although I’m not all that sure. »
[...]
« Joan Manuel Serrat »
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The Prisoner of Til Til (El cautivo de Til Til)

Author:
Patricio Manns
Testimony by:
Renato Alvarado
« I arrived at Tres Álamos on the eve of the departure for Mexico of a large group of prisoners. The group included Dr. Ipinza, who before leaving entrusted me with the job of physician, the medicines donated by the Red Cross, and his position in the Council of Elders. This title, at my 28 years of age, I found odd but also understandable, in light of the social esteem with which all tribes regard their healers. This tale has its origins there, as does a famous doctors’ strike, but that is another story. »
[...]
« They say his name is Manuel »
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Las mañanitas

Author:
Manuel M. Ponce
Testimony by:
Beatriz Bataszew Contreras
Place & date:
« Normally we would sing when they locked us up in the barracks, from seven or eight at night until eight or nine in the morning. Sometimes the guards would come in but didn’t stay. It was our act. »
[...]
« Manuel M. Ponce »
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Lucky Devil (El suertúo)

Author:
Víctor Canto and Luis Cifuentes (lyrics), Roberto Parra (music)
Testimony by:
Luis Cifuentes Seves
Place & date:
Campamento de Prisioneros Chacabuco, November 1973- February 1974
« This cueca* was composed at Chacabuco some time between November 1973 and February 1974, and was sung by Los de Chacabuco, of which Víctor Canto and I were members. »
[...]
« The group Los de Chacabuco was created and directed by Ángel Parra. Its members (in alphabetical order) were: Víctor Canto, Manuel Castro, Ángel Cereceda Parra (Ángel Parra), Luis Cifuentes, Marcelo Concha, Luis Corvalán Márquez, Antonio González, Manuel Ipinza, Ernesto Parra, Julio Vega and Ricardo Yocelewski. »
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A Cocky Fellow (El puntúo)

Author:
Víctor Canto and Luis Cifuentes (lyrics), Roberto Parra (music)
Testimony by:
Luis Cifuentes Seves
Place & date:
Campamento de Prisioneros Chacabuco, November 1973 - February 1974
« This cueca* was composed in Chacabuco between November 1973 and February 1974, and was sung by the band Los de Chacabuco, to which Víctor Canto and I belonged. »
[...]
« "Los de Chacabuco" was founded and directed by Ángel Parra. Its members were: Víctor Canto, Ángel Cereceda Parra (Ángel Parra), Luis Cifuentes, Marcelo Concha, Luis Corvalán Márquez, Antonio González, Manuel Ipinza, Ernesto Parra, Julio Vega and Ricardo Yocelewski. »
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Story of the Chair (Historia de la silla)

Author:
Silvio Rodríguez
Testimony by:
Eduardo Andrés Arancibia Ortiz
Place & date:
Cárcel de Santiago, from 1980 to 1991
« This was one of the songs Silvio Rodríguez sang to us the day he visited the political prisoners in Santiago’s Public Jail in 1990. I had the chance to thank him on behalf of Víctor Zúñiga Arellano, a political prisoner who died in an escape attempt in 1987 in the Santiago Penitentiary, as this songwriter had been a treasured companion in Víctor’s life in hiding. »
[...]
« No less important are the memories of visits by Joan Manuel Serrat and the concert given to us by Illapu, deploying a full technical array. During my long stretch in prison I also became acquainted with a cantata by the political prisoners, containing stories of resistance in the face of the oft-repeated ban of our subversive songs. »
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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 by the wind over the cabins of the Ritoque Prison Camp. 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 our number did have to go back to the DINA's torture centres. »
[...]
« That month in the summer of 1975, not so far off, the Viña del Mar Song Festival was taking place. Our prison camp, resembling a coastal village, decided to follow suit. That was how the prisoners organised the Ritoque Song Festival. My family had sent me a guitar. Improvising, I came across a few chords that sounded good to me, and I used them to create a melody. It was starting material. Armando, a medical student who was a good guitarist, contributed arpeggios and musical phrases with a nod to jazz. Manuel on his recorder chipped in with an arrangement that sounded interesting. Pedro, who was very experienced in percussion on his bongo, provided the rhythm. Jaime wrote the lyrics of the song. At length, he and I produced the vocals. »
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