125 results where found for «Musicalized Dialogue between Two Old Prisoners»


Musicalized Dialogue between Two Old Prisoners (Diálogo musicalizado entre dos ancianos presos)

Author:
Sergio Vesely
Testimony by:
Sergio Vesely
« At Puchuncaví Detention Camp (Melinka) I shared a cell with an elderly man from Lota, where he had spent his entire life working in the coal mines. I was struck by the way he spoke. It was very different from the “Chilean” way of a twenty-something year-old from the capital like me. When he talked to our fellow prisoners, I could barely understand a word he said. I composed this song in the cell by transcribing some of our conversations. »
[...]
« Musicalized Dialogue between Two Old Prisoners (Diálogo musicalizado entre dos ancianos presos) »
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Candombe for José (Candombe para José)

Author:
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! »
[...]
« But the most important thing: from a corner of the court, also, you could see, sideways, the windows of Cuatro Álamos and our imprisoned comrades hanging their hands and feet out as far as they could between the window bars. Those in this pavilion would either become prisoners or become part of the long lines of comrades who are detained-disappeared to this day. »
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The Black King (El rey negro)

Author:
Sergio Vesely
Testimony by:
Sergio Vesely
« One cold winter night of 1975, the small clinic of Melinka, in the Puchuncaví Detention Camp, became the setting for a touching story. »
[...]
« A woman from the neighbouring village of Rungue, who was not a prisoner, gave birth to a daughter in that unusual place. Two political prisoners, both of them medical students, assisted the mother in labour while the other 208 prisoners slept in their respective cells, oblivious to what was happening. »
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Dreams of my Imprisonment (Sueños de mi encierro)

Author:
Mario Patricio Cordero Cedraschi
Testimony by:
Mario Patricio Cordero Cedraschi
Place & date:
Cárcel de Valparaíso, Winter of 1975
« I’d spent two years in prison and there was no end in sight for my time in jail. I observed during visiting hours that many prisoners had children, a wife, family; in my case, however, having been arrested so young and just turned 19, I felt a growing concern that I’d die without bearing children, and never experience this wonderful human feeling. »
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The Letter (La carta)

Author:
Violeta Parra
Testimony by:
Paicavi Painemal
Place & date:
« We set up a band with a group of fellow prisoners. They were young, university students. One of them had a guitar. From what I remember, he was a music teacher and they allowed him to keep the instrument. In the band we also played the bombo and the charango. I accompanied by singing. »
[...]
« The band had twenty-two members, all trustworthy people, left-wing. Apart from local prisoners, there were also people from Santiago, Puerto Varas, Talcahuano and Valdivia. »
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The Little Fence (La rejita)

Author:
lyrics: collective creation; music: “Jálame la pitita” by Luis Abanto Morales (Peruvian polka)
Testimony by:
Lucía Chirinos
Place & date:
« Let’s get going, would say “the lizards”, as we called the policemen because they dress all in green. I looked and looked so I wouldn’t forget anything, because I didn’t know how many years I would be locked up for. I was emotional too: one gets frightened. Against the traffic, they turn the wheel. »
[...]
« The political prisoners would sing “La Golondrina” in two voices. Valentina Gálvez would sing the solo and we would produce a kind of murmur. We entertained ourselves with this. For Christmas the nuns sent us an omelette and we sent a brick in return. You had to make a speech and sing. I sang “Alfonsina y el mar”. Just then, the representative of the International Red Cross arrived. He was blond, blue-eyed and well tanned. I had seen on him on the television when he visited Pisagua. In Buen Pastor there was a place we called “the pigsty” because the prisoners were all dirty, in their nighties or petticoats. They were all crying inconsolably. »
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With the Sprouts I Sowed (Y con brotes de mi siembra)

Author:
Andrés Rivanera (lyrics) and Eugenio Moglia (music). Popularized by Los Moros and Jorge Yáñez.
Testimony by:
Guillermo Orrego Valdebenito
« In Chacabuco there were two theatres: one that was very beautiful and was linked to the old saltpetre works, where it is claimed (wrongly as it happens) that Caruso once performed; and another theatre that was inside the concentration camp. At the latter venue, every Sunday night at about 8 o’clock, a show was performed with the sole participation of the political prisoners and in the presence of the camp’s guards, and at the express invitation of the Council of Elders, a body that represented the comrades in captivity. »
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Prayer So You Don't Forget Me

Author:
Óscar Castro (words) and Ariel Arancibia González (music)
Testimony by:
Rosalía Martínez
Place & date:
« When Katia Chornik contacted me a few years ago asking me to provide my testimony about my musical experience in prison, I thought I didn’t have much to say. I had spent most of my detention held by the DINA secret police, at the house on José Domingo Cañas Street, called the Ollagüe Barracks. Then, I was held in solitary confinement at Cuatro Álamos, and spent just a month in the Tres Álamos concentration camp. »
[...]
« In November 1974 - I do not know the exact date - Cecilia and Flavio were taken from Cuatro Álamos and to this day, the two of them, along with the unborn baby, are still missing. The memory of this song, which I do not want to forget but can never bring myself to sing, will forever remain with the surviving prisoners of cell 3. Remembering this song today is a way of keeping that family alive, and that’s why I think this project is so important. »
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Love Song (Canción de amor)

Author:
Ángel Parra
Testimony by:
Luis Cifuentes Seves
Place & date:
Campamento de Prisioneros Chacabuco, November – December 1973
« Ángel Parra organised and directed the band Los de Chacabuco until his release from prison. Angel only conducted the group, and never sang or played an instrument. The exception was his farewell concert, which was the only time he sang at Chacabuco. One of the songs he performed on that occasion was this one, dedicated to his wife. When Angel was released, Ernesto Parra became the group’s conductor. »
[...]
« what between two people has been sowed »
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Luchín

Author:
Víctor Jara
Testimony by:
anónimo
Place & date:
« They said that once you got to the prison of Teja Island, you were safe. However, once when we were in our cells, they shot several young people who were between 18 and 21 years old. When I saw their pictures I asked myself why I hadn’t been among them. »
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