Cantos Cautivos
452 results where found for «The Man Who Transformed into an Animal»
The Man Who Transformed into an Animal (El hombre que se convirtió en animal)
- Music piece by:Sergio Vesely
- Testimony by:Sergio Vesely
- Experience in:
- Tags:
- « I wrote this song shortly after reading Franz Kafka’s The Metamorphosis, one of the books that circulated in Camp Melinka from hand to hand and cabin to cabin. »
- [...]
- « The Man Who Transformed into an Animal (El hombre que se convirtió en animal) »
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- Music piece by:anonymous 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
- Experience in: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. »
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- « The Amur partisans were transformed into the partisans of 'amor' (love), as rendered by the translations of that song that celebrates the courage of the guerrillas who fought on the shores of the river of the same name. »
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- Music piece by:Andrés Rivanera (lyrics) and Eugenio Moglia (music). Popularised by Los Moros and Jorge Yáñez.
- Testimony by:Guillermo Orrego Valdebenito
- Experience in:
- Tags:
- « 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. »
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- « 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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Prayer So You Don't Forget Me (Oración para que no me olvides)
- Music piece by:Óscar Castro (words) and Ariel Arancibia González (music)
- Testimony by:Rosalía Martínez
- Experience in:Campamento de Prisioneros Cuatro Álamos, November - December 1974
- Tags:
- « 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. »
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- « A sensitive expression is the space where society’s ideas and projects are transformed into life experiences. »
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The Dead Man Won't Be Pinned on Me (Ese muerto no lo cargo yo)
- Music piece by:Graciela Arango de Tobón, popularised in Chile by Giolito y su Combo, and by Los Vikings 5
- Testimony by:Joaquín Real Hermosilla
- Experience in:
- Tags:
- « From that troubled time, I would like to remember an activity that kept us active during the harsh confinement in Las Bandurrias. It is about music, an artistic expression that revealed the talent of several political prisoners and allowed us to endure the confinement for almost six months. »
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- « We called in the agricultural professionals who were among the prisoners, but to no avail. The animal died, causing stomach pains and fear among the detainees as they remembered the lieutenant's fatal warning. Fortunately for us, the lieutenant had left the kennel. »
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- 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:Luis Madariaga
- Experience in:Cárcel de Valparaíso, 1974 - 1976
- Tags:
- « In prison, we would sing the 'Ode to Joy' when a comrade was released or sent to exile. »
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- « 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. »
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- Music piece by:Claudio Durán Pardo
- Testimony by:Claudio Enrique 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. »
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- « The message more or less said the following: 'Tell the man who’s playing the quena, which from here can be heard clearly. . . to continue playing'. »
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- 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. »- [...]
- « Once at the police station, I was placed before a non-commissioned officer, who asked for my ID documents, wrote down my name, hit me and then pushed me into the cells. »
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- Music piece by:Julio Numhauser
- Testimony by:Carolina Videla
- Experience in:Cárcel Pública de Arica, 1989-1990
- Tags:
- « My guitar accompanied me for the entire time that I was deprived of freedom. It was like a magnet. In the afternoon we would sing and play in the courtyard. »
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- « There was a very friendly young guard who would let us into the courtyard when she was on a night shift. We would play cards, sing and look at the moon. The guard liked trova music and listening to me sing. »
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- Music piece by:Violeta Parra
- Testimony by:Gabriela Durand
- Experience in:
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