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

Why does the afternoon cry (Por qué llora la tarde)

Author:
Antônio Marcos. Popularised in Chile by Claudio Reyes
Testimony by:
Carolina Videla
Place & date:
Cárcel Pública de Arica, January 1989
Tags:
« My prison term happened during the last year of the dictatorship after the No vote won. I was set free because of “lack of evidence”, after a year and a half in prison. »
[...]
« Why does the afternoon cry (Por qué llora la tarde) »
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Candombe for José (Candombe para José)

Author:
Roberto Ternán
Testimony by:
Sara De Witt
Place & date:
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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May the Omelette Turn Over (Que la tortilla se vuelva)

Author:
Chicho Sánchez Ferlosio. Ppopularized by Quilapayún
Testimony by:
Claudio Melgarejo
Place & date:
Comisaría de Concepción, November 1973
Tags:
« I spent a week in captivity, in November 1973. I didn’t hear many songs, but the most popular ones sung by my comrades were "Venceremos" (We shall be victorious) and “Que la tortilla se vuelva” (May the omelette turn over), also known as "The song of the tomato", which portrays the bosses' exploitation of the workers. At that time, the young in Latin American were steeped in revolutionary change and we empathised with the situation around Che Guevara and Cuba. »
[...]
« May the Omelette Turn Over (Que la tortilla se vuelva) »
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They Say the Homeland Is - Soldiers' Song (Dicen que la patria es - Canción del soldado)

Author:
Chicho Sánchez Ferlosio
Testimony by:
Sergio Reyes Soto
Place & date:
Campamento de Prisioneros Isla Dawson, 1973-1974
Tags:
« This song, like so many others, was not at all “captive”. The revolutionary songs we sang behind bars imbued us with a sense of freedom. Rolando Alarcón, and later Quilapayún, introduced “Dicen que la patria es” (or “Canción de soldados”) to Chile. »
[...]
« They Say the Homeland Is - Soldiers' Song (Dicen que la patria es - Canción del soldado) »
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Gigi the Ladies’ Man (Gigi l’amoroso)

Author:
Jacqueline Misrahi, Lana Sebastian and Paul Sebastian. Popularised by Dalida.
Testimony by:
Eduardo René Cuevas
Place & date:
Regimiento de Infantería Reforzada Nº 3, Los Ángeles (actual Regimiento de Infantería Nº 17), October-November 1973
Tags:
« (nowadays Regimiento de Infantería Reforzada N. 17) »
[...]
« Jacqueline Misrahi, Lana Sebastian and Paul Sebastian. Popularised by Dalida. »
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Filistoque's Cueca (Cueca del Filistoque)

Author:
Víctor Canto Fuenzalida (lyrics), Efraín Navarro (music)
Testimony by:
Víctor Canto Fuenzalida
Place & date:
Campamento de Prisioneros Chacabuco, June 1974
Tags:
« Filistoque is a real-life person in all his considerable height (1.90 metres tall). I remember him always laughing. In Chacabuco, we shared a house for nearly ten months. Around him you were never allowed to become depressed or get into a stew over our situation. »
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I’m Not from Here - To my Comrade, my Love (No soy de aquí - A mi compañera)

Author:
Facundo Cabral, with lyrics modified by a political prisoner
Testimony by:
Alfonso Padilla Silva
Place & date:
Campamento Prisioneros Estadio Regional, Concepción, 25 December 1974
Tags:
« The choir of male prisoners sang a piece called “A mi compañera” (To my comrade, my love) to the music of “No soy de aquí, ni soy de allá” (I'm not from here, or from there) by Facundo Cabral. I don’t remember who wrote the lyrics. But that’s how I recorded it in one of the ten notebooks I used to copy down songs during my imprisonment. »
[...]
« The experience of prisoners held in numerous concentration camps and prisons throughout the country showed that participation in some form of cultural and artistic activity, be it the rehearsal and subsequent performance of a play, writing poems and stories (as well as essays), handicrafts or playing music, made a significant contribution towards strengthening individual and collective moral, an attitude of resistance and a sense of esprit de corps among the political prisoners. »
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Partisan's Anthem (Himno guerrillero)

Author:
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
Place & date:
Recinto DINA, José Domingo Cañas Nº 1367, September 1974
Tags:
« 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. »
[...]
« Few of us from that group survived. But the voices of Lumi Videla, María Cristina López-Stewart, Aldo and Carlos Pérez Vargas, the brothers Jorge Andrónicos Antequera  and Juan Carlos Andrónicos Antequera, Antonio Llidó, Ariel Salinas, Cecilia Bojanic and her husband Flavio Oyarzún, Francisco Aedo, Mario Calderón, Alfredo Rojas Castañeda, José Jara, Manuel Villalobos, and  David Silberman continue to echo in our memory. »
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Captive Quena (Quena cautiva)

Author:
Claudio Enrique Durán Pardo (aka Quique Cruz)
Testimony by:
Claudio Enrique Durán Pardo
Place & date:
Campamento de Prisioneros, Tres Álamos, between September and December 1975
Tags:
« I first laid my hands on a quena (typical Andean flute) when I was nine years old. It was resplendently fragile and full of song. My passion for this instrument was immediate, or rather, it was the quena that chose me to play it. Five years later, aged 14, I had already become the quena player of a quartet in ​​San Antonio. »
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Return, Return, Return (Volver, volver, volver)

Author:
Vicente Fernández
Testimony by:
Jorge Montealegre Iturra
Place & date:
Campamento de Prisioneros Chacabuco, 1974
Tags:
« At the Chacabucan artistic performances, Hugo Peñaloza sang tangos, including “Volver” (Return) by Gardel and Le Pera. This caused a lot of self-ironic laughter when he sang  “que veinte años no es nada” (twenty years is nothing) given our situation of uncertainty in which no one knew how long we’d be imprisoned. He also sang it during a farewell party for a group of comrades who were going to be released. To think of returning was tragicomic. And yet, four decades later, we returned. Of our own free will. »
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