381 results where found for «Por qué llora la tarde»


The Little Cigarette (El cigarrito)

Music piece by:
Víctor Jara
Testimony by:
Alfonso Padilla Silva
Experience in:
« During Christmas 1973, I was one of some 600 men and 100 women prisoners in Concepción Regional Stadium. »
[...]
« The concentration camp officials allowed us to celebrate Christmas in the sports arena. To be precise, we were in one corner of the playing field and we used the pole vault pit as a stage. »
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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:
« 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. »
[...]
« Another important thing is that we had been able to get the word to Lola, as we shall call her here. She was barely more than a child. She was short, had black hair, a tinkling-bell laugh, and sparkling eyes. »
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Story of the Chair (Historia de la silla)

Music piece by:
Silvio Rodríguez
Testimony by:
Eduardo Andrés Arancibia Ortiz
Experience in:
« 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. »
[...]
« 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, an anecdote of resistance in the face of the oft-repeated ban of our subversive songs. »
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Saint Gregory’s Tonada (Tonada San Gregorio)

Music piece by:
Pedro Humire Loredo
Testimony by:
Pedro Humire Loredo
« This tonada recalls the horrible situation I was subjected to in the cells of the police station in the San Gregorio district in southern Santiago. »
[...]
«  Derogatory term for supporters of the Popular Unity (UP). »
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The Paper Boat (El barco de papel)

Music piece by:
Julio Numhauser, popularised by the band Amerindios
Testimony by:
Carlos Muñoz
Experience in:
« One of the most important songs in the detention centres. Impossible to count how many times we sang it. Every time someone was released from a detention camp or there was credible information that a person would be sent into exile, a gigantic chorus would sing this song, in a powerful unison. No one could possibly forget it. Especially significant at Tres Álamos, as this was the “exit” camp. »
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Lucía

Music piece by:
Joan Manuel Serrat
Testimony by:
Beatriz Bataszew Contreras
Experience in:
Campamento de Prisioneros, Tres Álamos, December 1974 - May 1976
« 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. »
[...]
« ‘Ode to Joy’ was extremely important. It suggests that there are going to be changes, that our situation is not going to last forever. »
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Little Doctors (Doctorcitos)

Music piece by:
unknown. Folk tune from the Andes highlands
Testimony by:
Luis Cifuentes Seves
Experience in:
Campamento de Prisioneros Chacabuco, January - February 1974
« Agreeing to a suggestion from Ricardo, Los de Chacabuco learned and arranged this tune. In the Andean high plateau, the tune is a satirical reference to lawyers and, by implication, to civil servants. It is performed at carnival time. »
[...]
« The most important thing for us when we were rehearsing and recording was the memory of our great and admired friend Marcelo Concha: we did it as a homage to him. It was a labour of friendship and respect. »
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With the Sprouts I Sowed (Y con brotes de mi siembra)

Music piece by:
Andrés Rivanera (lyrics) and Eugenio Moglia (music). Popularised 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. »
[...]
« More laughter and jokes occurred towards the end of the song when Venancio offered his own ‘crop’: '... and here I am! Without a job and my throat parched....'. Curiously, what had previously been an important part of our tragedy, that is to say, the torture, was with this finale transformed into widespread laughter. Our jailers, who were also our invited authorities, joined in. »
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Beloved Friend (Amado amigo)

Music piece by:
Sergio Vesely
Testimony by:
Sergio Vesely
« This song, written in my cell at the Puchuncaví Prison Camp, speaks to a friend and fellow prisoner; it could be any one of the thousands behind bars. »
[...]
« Breadcrumbs (migas de pan): These were the raw material we used in the interrogation centres for sculpting little figurines. This activity was important to keep the prisoners' minds occupied. In situations of extreme solitary confinement, when all contact with the outside world had been cut off, prisoners used these figurines to build a tiny bridge of communication with their fellow prisoners. A person in solitary confinement would place the figurine where others could see it, leaving leave a sign life. »
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Let’s Break the Morning (Rompamos la mañana)

Music piece by:
René “Popeye” Cárdenas Eugenin
Testimony by:
María Soledad Ruiz Ovando
Experience in:
« Music was very important for us (my mother Sylvia, my sister Alejandra and myself) while my dad, Daniel Ruiz Oyarzo, 'el Negro Ruiz', was imprisoned during the dictatorship, when Alejandra was seven and I was four. »
[...]
« The situation was very strange and unpredictable; for the innocent minds of young children, as we were at the time, it was also a moment of great joy because finally we could be with our father in 'freedom' once again, and pamper ourselves in the house of a supportive family, where we stayed until we could find another place. »
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