232 results where found for «Neither Fish nor Fowl (Ni chicha ni limoná)»


Neither Fish nor Fowl (Ni chicha ni limoná)

Song by:
Víctor Jara
Testimony by:
Joaquín Vallejos
Experience in:
« I was arrested at home together with a childhood friend who they’d gone to pick up first. My family thought he’d stitched me up, which was not true. My friend had nothing to do with politics; he just wanted peace and freedom. He was a hippie and very committed to helping those in need. The two of us were held in the Silva Palma barracks, but the interrogations and torture sessions were at the Naval War Academy in Valparaíso. »
[...]
« Neither Fish nor Fowl (Ni chicha ni limoná) »
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Let’s Break the Morning (Rompamos la mañana)

Song by:
René “Popeye” Cárdenas Eugenin
Testimony by:
María Soledad Ruiz Ovando
Experience in:
« Music was very important for us (my mother Sylvia Ovando, my sister Alejandra Ruiz and myself) while my dad, Daniel Ruiz Oyarzo, 'el Negro Ruiz', was imprisoned during the dictatorship, when Alejandra was seven and I was four. »
[...]
« Many, many years passed by, but this song always remained in our memory. Now adults, and in an event that honoured and recognised Daniel for his contribution to radio and his performances of Pablo Neruda’s poetry, I sat down with my sister to ponder what present we could give him. We thought ... thought … and thought, and suddenly it came to us. Neither Ale nor I could sing, but we thought it would be a lovely gift to sing 'Let's Break the Morning' for him. That’s how we decided that we’d teach the song to my son, who at the time was twelve or thirteen years old, and also a family friend (Ximenota). So it was on that night, as a surprise, that the four of us climbed onto the stage and sang the song. »
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Partisan Anthem (Himno guerrillero)

Song by:
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
Experience in:
« 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. »
[...]
« Neither pain nor sadness »
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South-Eastern Storm (La Sudestada)

Song by:
unknown
Testimony by:
Luis Alfredo Muñoz González
Experience in:
« While I was in solitary confinement in Cuatro Álamos, one day I noticed there was a large room at the end of the corridor, which, overnight, the "dinos" (members of the DINA secret police) had filled with prisoners. At the end of the day, these comrades organised quite a "jamboree": talking, sharing information, asking questions and singing. It was a frenetic activity of solidarity, support, courage and warmth. »
[...]
« Neither old lovers nor beer »
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Futuristic Anthem (Himno futurista)

Song by:
unknown
Testimony by:
Patricio Polanco
Experience in:
« In 1973 and 1974, Pisagua was characterised by the harsh and cruel treatment of political prisoners. Singing was mandatory for prisoners, who were guarded by Army platoons, and it was also a means to avoid beatings and collective mistreatment. »
[...]
« neither will there be guards nor assassins »
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King Ñaca Ñaca (El rey Ñaca Ñaca)

Song by:
Sergio Vesely
Testimony by:
Sergio Vesely
« “Ñaca-ñaca” was an interjection we used at Camp Melinka whenever we wanted to signal and poke fun at any dark thought that might crossed our minds. That may be why it seemed the ideal name to give to the papier maché puppet that played the role of the mean king in the puppet stories we performed to entertain the children who came to visit their captive fathers. But Ñaca-Ñaca’s important role was more than that. The paper model was borrowed to perform the 'star role' in one of the cultural events we customarily staged every Friday. Events which, it should be pointed out, were attended only by captives and armed guards. It was a “Prisoners’ Show”, full of fantasy. »
[...]
« nor one as cruel, sinister, ugly and vain »
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We Shall Overcome

Song by:
Attributed to Charles Albert Tindley
Testimony by:
Alfonso Padilla Silva
Experience in:
« When the concentration camp that operated for nearly five months at the Regional Stadium of Concepción was closed in early February 1974, hundreds of political prisoners were transferred to the Concepción Prison, a wing of which was turned into a concentration camp. On 19 February of that year, a trial process began before a military tribunal and seven or eight comrades including myself were transferred to the prison. »
[...]
« On that occasion, our newly formed band (without a name) performed the following programme: "Soy del pueblo" (I am of the People) by Carlos Puebla; "El aparecido" (The Appeared) by Víctor Jara; "Los pueblos americanos" (The American Peoples) by Violeta Parra; "Vamos a Serchil" (Let's go to Serchil) by the Guatemalan Leopoldo Ramírez; "Del Norte vengo, Maruca" (I Come from the North, Maruca) by Ángel Parra (although some people say it was written by his mother); "Villancico nortino" (Northern Christmas Carol), a traditional song; and finally 'We Shall Overcome', written between 1950 and 1960 in the United States within the context of the Afro-American civil rights movement. In the prison we were acquainted with Joan Baez's version. We sang it in English and, of course, we explained its content and meaning. »
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Captive Quena (Quena cautiva)

Song by:
Claudio Enrique Durán Pardo (aka Quique Cruz)
Testimony by:
Claudio Enrique Durán Pardo
Experience in:
Campamento de Prisioneros, Tres Álamos, September - December 1975
« I first laid my hands on a quena (Andean flute) 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. Five years later, aged 14, I had already become the quena player of a quartet in ​​San Antonio. »
[...]
« When I was 16 years old, the Chilean Armed Forces, violating the Constitution, took possession of the country, and with it, the music and instruments – particularly that which had been symbolic of the Salvador Allende presidency. Panpipes, charangos and quenas went from being from the "sonorous trinity" into the void of oblivion, prohibited for being subversive. »
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Las mañanitas

Song by:
Manuel M. Ponce
Testimony by:
Beatriz Bataszew Contreras
Experience in:
Campamento de Prisioneros, Tres Álamos, December 1974 - May 1976
« 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. »
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The Wall (La muralla)

Song by:
Nicolás Guillén (lyrics) and Quilapayún (music)
Testimony by:
Domingo Lizama
« In prison, there was a guy who played the guitar. He cheered up the afternoons in the cell. We all sang with him. »
[...]
« For Christmas, we got permission for our wives and children to come visit us. We sang “Noche de Paz”, “Señora Doña María” and “Arrorró mi niño”. When our visitors brought food, we would share it with the gendarmes. They were starving. They were conscripted youngsters. »
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