Cantos Cautivos
199 results where found for «Song of a Middling Man»
- Music piece by:Luis Advis
- Testimony by:Alfonso Padilla
- Experience in:
- Tags:
- « Between March 1974 and July 1975, I had the opportunity to arrange about 200 songs and direct the production of the Cantata de Santa María de Iquique. In truth, the prison was my conservatoire. That’s where I learnt the basics of the profession of musician. »
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- « Two comrades would spend a day taking down the lyrics of the songs, and I would spend two days listening attentively to transcribe the harmonic and rhythmic accompaniment, which I would write down in the usual manner that popular music operates. On the fourth day, the record would leave the prison. »
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- Music piece by:Julio Iglesias
- Testimony by:Carmen Espinoza Alegría
- Experience in:Colonia Dignidad, April 1975
- Tags:
- « I’m from Talca. I met César, my comrade, my love, in 1971 or 1972, approximately. We were young idealists, we were members of Juventudes Comunistas, and were student leaders in our secondary schools. »
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- « That is how I could ascertain that César was also in Colonia Dignidad. I felt protected. It was a relief to hear this song, I felt that César was sending me a message that he was alive. Because in between so many voices and laments, I could not distinguish whether it was him who was being tortured. »
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- Music piece by:Julio Iglesias
- Testimony by:César Montiel
- Experience in:Colonia Dignidad, April 1975
- Tags:
- « At the beginning of the 1970s, I met Carmen, my comrade, my love, at the Juventudes Comunistas of Talca. We had the life of young idealists, sharing our everyday, living this revolutionary process so beautifully. »
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- « At that time, we listened to typical songs of bands such as
Quilapayún and Inti-Illimani . But there was a special song that defined us as a couple. It was popular at the time, it came from Spain and was sung byJulio Iglesias . We heard it for the first time on the radio and we played it at friends’ homes and parties. »- [Read full testimony]
- Music piece by:poem by Francisco Pezoa Astudillo set to music by Quilapayún
- Testimony by:Renato Alvarado
- Experience in:Campamento de Prisioneros Cuatro Álamos, February 1975
- Tags:
- « The first song that we managed to sing was Quilapayún's setting of the poem Canto a la Pampa (Song to the Pampa), by the anarchist poet Francisco Pezoa Astudillo, which recounts one of the bloodiest episodes of the class struggle in Chile: the massacre of the Santa María school in Iquique in December 1907. The prisoners of the large Room 13 of Cuatro Álamos camp sang it complete and as a chorus around February 1975. »
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Cantata Our Great Mother (Cantata Nuestra Madre Grande) - Towards the Light (Hacia la luz)
- Music piece by:Manuel Luis Rodríguez Uribe (lyrics), Fernando Lanfranco Leverton (music), Marco Antonio Barticevic Sapunar (notation)
- Testimony by:Fernando Lanfranco Leverton
- Experience in:Campamento de Prisioneros Isla Dawson, December 1973; Cárcel de Punta Arenas, September 1975
- Tags:
- « Most of us, political prisoners from the Magallanes region, were transferred to the detention and torture camp on Dawson Island on 21 December 1973. We came from the more than twenty detention, torture and interrogation centres of the civil-military dictatorship in the Magallanes region. »
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- « I began to compose, using Latin American rhythms and harmonies and very much influenced by the Chilean New Song movement, the songs of Víctor Jara, Violeta Parra, Patricio Manns, Rolando Alarcón and many others. I finished composing the work in the Cárcel Pública of Punta Arenas with the support of Marco Antonio, with whom I wrote the musical notation on the stave. »
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- Music piece by:Julio Numhauser, popularised by the band Amerindios
- Testimony by:Carlos Muñoz
- Experience in:Campamento de Prisioneros, Tres Álamos, 1975 - 1976
- Tags:
- « 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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- Music piece by:Alfredo Zitarrosa
- Testimony by:Luis Cifuentes Seves
- Experience in:Campamento de Prisioneros Chacabuco, November – April 1974
- Tags:
- « Marcelo Concha Bascuñán, a member of the Los de Chacabuco band, was a young man of great charisma and personal skills. He had been a swimming champion and was an outstanding guitarist and singer. »
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- « In the Chacabuco concentration camp, he was renowned for his charm, excellent mood and spirit of collaboration. He taught songs to many of his colleagues, including myself, although I should note that I could never pluck the guitar as well as him. »
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- Music piece by:Víctor Jara
- Testimony by:Joaquín Vallejos
- Experience in:Academia de Guerra Naval, January 1974
- Tags:
- « I was arrested at home together with a childhood friend who they’d gone to pick up first. My family thought he’d stitched me up, which was not true. »
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- « To me, that song sung by many female comrades from university, by housewives and female workers, epitomises Chilean women: strong, feisty, committed, rebellious, but also coquettish, feminine and affectionate. »
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- Music piece by:Chicho Sánchez Ferlosio
- Testimony by:Sergio Reyes Soto
- Experience in: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 laterQuilapayún , introduced “Dicen que la patria es” (or “Canción de soldados”) to Chile. »- [Read full testimony]
- Music piece by:Silvio Rodríguez
- Testimony by:Eduardo Andrés Arancibia Ortiz
- Experience in:Cárcel de Santiago, 1990
- « 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.