315 results where found for «Oración para que no me olvides»

Prayer So You Don't Forget Me (Oración para que no me olvides)

Music piece by:
Óscar Castro (words) and Ariel Arancibia González (music)
Testimony by:
Rosalía Martínez
Experience in:
Campamento de Prisioneros Cuatro Álamos, November - December 1974
Tags:
« 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. »
[...]
« Prayer So You Don't Forget Me (Oración para que no me olvides) »
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A Cocky Fellow (El puntúo)

Music piece by:
Víctor Canto and Luis Cifuentes (lyrics), Roberto Parra (music)
Testimony by:
Luis Cifuentes Seves
Experience in:
Campamento de Prisioneros Chacabuco, November 1973 - February 1974
Tags:
« 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. »
[...]
«  Group of prisoners who worked alongside the military in food preparation. Ranch members were supposed to have the privilege of greater access to food than the average prisoners. »
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Words for Julia (Palabras para Julia)

Music piece by:
José Agustín Goytisolo (lyrics) and Paco Ibáñez (music)
Testimony by:
Amelia Negrón
Experience in:
Campamento de Prisioneros, Tres Álamos, 1975 and 1976, until the closure of Tres Álamos
Tags:
« There were so many of us women prisoners. Despite the circumstances, we had managed to invent our own world, one with our rules, according to what we thought and wanted for ourselves, our families and all the Chilean people. »
[...]
« Introduction by Ana María Jiménez: 'We are going to sing a song that for us, former prisoners, has great significance. This is 'Palabras para Julia,' a song with lyrics by José Agustín Goytisolo and music by Paco Ibáñez. It speaks of strength, love, resistance, and it became the anthem of the women of Tres Álamos. With it, we greeted those who arrived and said goodbye to those who were freed. With it, we remember and want to share it with you today.' »
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Zamba so as Not to Die (Zamba para no morir)

Music piece by:
Hamlet Lima Quintana
Testimony by:
Ana María Jiménez
Experience in:
Villa Grimaldi, April 1975
Tags:
« I want to recall a night at Villa Grimaldi. »
[...]
« And when the guard returned, without a word, I began singing “Zamba para no morir” (Zamba so as not to die), the song performed by Mercedes Sosa. »
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Dreams of my Imprisonment (Sueños de mi encierro)

Music piece by:
Mario Patricio Cordero Cedraschi
Testimony by:
Mario Patricio Cordero Cedraschi
Experience in:
Cárcel de Valparaíso, Winter of 1975
Tags:
« 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. »
[...]
« For a while, a musician from Valparaíso shared my cell and taught me my first chords. When he went into exile, he left me his guitar, which was my companion for another long year in captivity. »
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Ode to Joy (Himno a la alegría)

Music piece by:
original by Friedrich von Schiller (lyrics) and Ludwig van Beethoven (music). Free version in Spanish by Amado Regueiro Rodríguez, aka Orbe (lyrics) y Waldo de los Ríos (music), popularised in Chile by Miguel Ríos.
Testimony by:
Luis Madariaga
Experience in:
Cárcel de Valparaíso, 1974 - 1976
Tags:
« In prison, we would sing the 'Ode to Joy' when a comrade was released or sent to exile. »
[...]
« During my time at Valparaíso Prison, I had the chance to see the singer Julio Iglesias come to the facility. He said something stupid: 'I am a prisoner too, I live on an aeroplane'. »
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Candombe for José (Candombe para José)

Music piece by:
Roberto Ternán
Testimony by:
Sara De Witt
Experience in:
Campamento de Prisioneros, Tres Álamos, September 1976
Tags:
« We were in Tres Álamos barracks in September 1976. I don’t recall how many of us women were imprisoned there. I believe there were close to a hundred of us. »
[...]
« I still remember those intense moments when we sang so many songs. Gazing up at the sky, we sang 'Candombe para José', which we called 'El Negro José'. I understood that song as something new and different from the songs we usually sang. It seemed more contemporary to me and it made me feel in touch with my people outside the camp. The line 'en un pueblo olvidado no sé por qué' ('in a God-forsaken town, I don't know why') seemed connected with how I was feeling at that time. »
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Ode to Joy (Himno a la alegría)

Music piece by:
original by Friedrich von Schiller (lyrics) and Ludwig van Beethoven (music). Free version in Spanish by Amado Regueiro Rodríguez, aka Orbe (lyrics) y Waldo de los Ríos (music), popularised in Chile by Miguel Ríos.
Testimony by:
Amelia Negrón
Experience in:
Campamento de Prisioneros, Tres Álamos, 31 December 1975
Tags:
« Preparations for that Wednesday night became more intense. It would be a different night. We women prisoners had secretly organised ourselves, but more importantly, we had also coordinated with the male prisoners. »
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Errant Wind (Viento errante)

Music piece by:
Patricio Hermosilla Vives
Testimony by:
Patricio Hermosilla Vives
Experience in:
Campamento de Prisioneros Chacabuco, January 1974
Tags:
« Finally, in the Chacabuco Concentration Camp, after three days aboard the Policarpo Toro (a war ship which had an uncertain destination since sailing from Valparaíso in December 1973; the question was not when and where we would dock, but how we would fall overboard), I felt that death had decided to take a step back and watch from me from a little further away. »
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Casida of the Dark Pigeons (Casida de las palomas oscuras)

Music piece by:
Federico García Lorca (words), Paco Ibáñez (music)
Testimony by:
Luis Alfredo Muñoz González
Experience in:
Campamento de Prisioneros Cuatro Álamos, February - March 1975
Tags:
« According to scientists, memory and music processing are situated in a deep, ancestral part of the brain, where it is zealously guarded. »
[...]
« “Who are you?” I asked. “They’ve taken everyone away. They told me they were going to kill those that are still here,” she said. “Who are you?”. “They call me La Jovencita (The Young Girl). I am from Argentina and they caught me in Valparaíso. Do you think they will kill me?” »
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