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


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. »
[...]
« Oración para que no me olvides »
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Zamba so as Not to Die (Zamba para no morir)

Author:
Hamlet Lima Quintana
Testimony by:
Ana María Jiménez
Place & date:
Villa Grimaldi, April 1975
« 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. I've never had a great voice. Just in tune. And God knows where I found the strength, but I started singing in a cracked voice: »
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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. »
[...]
« This concern became a nightmare and led to these verses that turned into a song and filled the last page of my prison songbook, where I’d written down a number of ballads sung by other prisoners. 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)

Author:
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
Place & date:
« In prison we would sing this when a comrade was released or sent to exile. It was a powerful source of strength, solidarity and ironclad brotherhood, created during those long months in captivity, seeking an outlet for our hearts. I believe that that experience left a mark on all of us. »
[...]
« 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 practically live on an aeroplane.” The reaction of the political prisoners watching from the third gallery of that hellish prison was total silence. The word had spread asking that no one should applaud whatever Iglesias had to say. This led Iglesias to later ask the man who had brought him to this place who those guys were up on the Prison’s third gallery, who never once applauded him and kept quiet. This had been quite noticeable because there were many of us up there surrounding the gallery's handrails. It was our way of expressing our disapproval for this man who was on good terms with Chile’s criminal dictatorship. Then Iglesias left. »
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Candombe for José (Candombe para José)

Author:
Roberto Ternán
Testimony by:
Sara De Witt
Place & date:
« 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)

Author:
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
Place & date:
« 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. I’m not sure whether it was our idea or whether the men had proposed it. That detail is irrelevant now. »
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Errant Wind (Viento errante)

Author:
Patricio Hermosilla Vives
Testimony by:
Patricio Hermosilla Vives
Place & date:
« 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)

Author:
Federico García Lorca (words), Paco Ibáñez (music)
Testimony by:
Luis Alfredo Muñoz González
Place & date:
« According to scientists, memory and music processing are situated in a deep, ancestral part of the brain, where it is zealously guarded. Perhaps this explains why even after our bodies have been destroyed down to the bone marrow, when nothing is left of us but the murky eyes of death, music and song appear. »
[...]
« “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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Today I Sing for the Sake of Singing (Hoy canto por cantar)

Author:
Nydia Caro and Riccardo Cerratto
Testimony by:
Beatriz Bataszew Contreras
Place & date:
« I have never been a great music listener. Nevertheless, before the coup I used to listen to Nueva Canción, especially Quilapayún and Rolando Alarcón. I also liked cumbias, to fool around. We would dance and have fun. On the other hand, and this is more due to my family, I have always liked classical music, particularly Tchaikovsky. It stirs important things in me. It moves me. »
[...]
« The music had the purpose of covering the screams and the hubbub. Anyone in the vicinity would have taken notice of this music playing all day. Because we also have to remember that the culture of the time was quite respectful of neighbours: no one would think of blasting out music. Nowadays this does happen. I think that it DINA's legacy to society and to its successors. It’s a paradox, because you would make a horrible noise during the day but perhaps you were giving signals of something different to what our culture was at the time in our country. »
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Tacit Song (Canción tácita)

Author:
All the women present at that moment in Chacabuco
Testimony by:
Mónica García Cuadra
Place & date:
« I am the daughter of a former political prisoner who spent a long time imprisoned at Chacabuco, among other places. I am Monica, a little 9-year-old girl who travelled with a heavy heart full of sadness to visit her father, Gerardo García Salas, held at the Chacabuco concentration camp. I am an only child and in my young life he is my sole reference point and, in essence, my image of masculinity. »
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« From the guard tower, the order was given for the comrades to come, and they appeared behind the bars that separated our lives, but never our purpose and meaning in life. With heartache and streaming tears, several prisoners began to appear, as well as the love and silent solidarity that vibrated and pulsatedthrough those moments waiting for, anticipating the embrace, the looking directly into his eyes, making contact with the loved one’s heart, the touch of skin against skin among equals. »
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