207 results where found for «Song of the Disappeared (Canción del desaparecido)»

To Sing by Improvising (Pa’ cantar de un improviso)

Music piece by:
Violeta Parra
Testimony by:
Claudio Durán Pardo
Experience in:
Campamento de Prisioneros Melinka, Puchuncaví, June 1975
Tags:
« We made a Venezuelan cuatro from a large plank of wood attached to one of the walls of the "ranch" where we ate. »
[...]
« I had wanted a Venezuelan cuatro ever since Violeta Parra had taught us that Latin American music has no boundaries; she played the cuatro in her songs in a masterly way, which I wanted to imitate. Her children, Ángel Parra and Isabel Parra, had recorded a song in 1970, very charming and catchy, and we wanted to do it: "Pa’ cantar de un improviso" (To sing by improvising). To do so without a cuatro would not be the same. »
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From the Poplars I have Come, Mother (De los álamos vengo, madre)

Music piece by:
Juan Vásquez
Testimony by:
Luis Cifuentes Seves
Experience in:
Campamento de Prisioneros Chacabuco, November 1973 - February 1974
Tags:
« Los de Chacabuco, a band created and conducted by Ángel Parra, performed this traditional Spanish song at the Chacabuco concentration camp. »
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Futuristic Anthem (Himno futurista)

Music piece by:
unknown
Testimony by:
Patricio Polanco
Experience in:
Campamento de Prisioneros de Pisagua, November 1973
Tags:
« 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. »
[...]
« The repertory consisted of approximately 35 military anthems from all branches of the Armed Forces. To these military songs, we added a few songs or anthems that became a form of resistance and asserting our dignity, albeit not explicitly. The lyrics shown below sometimes varied a bit, but this became the anthem most sung by prisoners at the Pisagua concentration camp. »
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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:
Cárcel de Santiago, 1990
Tags:
« 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. »
[...]
«  (1946-) Cuban singer-songwriter and leader of the Nueva Trova movement. »
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Saint Gregory’s Tonada (Tonada San Gregorio)

Music piece by:
Pedro Humire Loredo
Testimony by:
Pedro Humire Loredo
Experience in:
Tenencia de Carabineros Nueva España, Población San Gregorio, September 1973
Tags:
« 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. »
[...]
«  Genre of Chilean folk song with roots in the Iberian Peninsula. Typically with guitar or harp accompaniment. »
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Captive Quena (Quena cautiva)

Music piece by:
Claudio Durán Pardo
Testimony by:
Claudio Durán Pardo
Experience in:
Campamento de Prisioneros, Tres Álamos, September - December 1975
Tags:
« I first laid my hands on a quena 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. »
[...]
«  Traditional song and dance genre developed in the Andean regions of Peru and commonly associated with Quechua communities. »
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Return, Return (Volver, volver)

Music piece by:
Fernando Z. Maldonado. Popularised by Vicente Fernández
Testimony by:
Jorge Montealegre Iturra
Experience in:
Campamento de Prisioneros Chacabuco, 1974
Tags:
« At the Chacabucan artistic shows, Hugo sang tangos, including 'Volver' (Return) by Gardel and Le Pera. »
[...]
« At that point in the song, the entire captive audience would laugh at a verse that was not just funny but also bold: the word 'torture' was accusatory and symbolised our story prior to being taken to Chacabuco. »
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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. »
[...]
« 'Viento Errante ('Errant wind') (composed towards the end of that year during the improvised 'literary workshop' in which Salas, Montealegre, another prisoner and myself, tried to divert the raw pain of those hours, exploring some possible forms of 'existential meaning'), a song more unconscious than conscious, which attempted from its inception to idealise freedom in the shape of a woman without a defined face or name although, on the other hand, she embodied all the roles of a woman: mother, daughter, sister, girlfriend. »
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After the War (Después de la guerra)

Music piece by:
Sandro
Testimony by:
Nelly Andrade Alcaino
Experience in:
Regimiento de Ingenieros de Tejas Verdes / Campamento de Prisioneros Nº 2 de la Escuela Militar de Ingenieros, February 1974
Tags:
« The military officials in charge of the Tejas Verdes camp made us sing. They gave us just one day to select the songs and rehearse. »
[...]
« There were 15 women in our room. We began proposing songs. One person tried to invent a song that included a line that went something like: “my little bright-eyed lieutenant”, which the rest of the group vetoed. »
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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. »
[...]
« “No, they won’t kill you”, I told her. “That will be me, not you”. I told her this almost without thinking. After a long silence, La Jovencita said: “I feel very sad and very lonely. Would you sing to me … that song you sang the other night, the one about the doves?”. She was referring to 'Casida de las Palomas Oscuras', a poem by García Lorca with music by Paco Ibañez. »
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