459 results where found for «They Say the Homeland Is»

Filistoque's Cueca (Cueca del Filistoque)

Music piece by:
Víctor Canto Fuenzalida (lyrics), Efraín Navarro (music)
Testimony by:
Víctor Canto Fuenzalida
Experience in:
Campamento de Prisioneros Chacabuco, June 1974
Tags:
« Filistoque is a real-life person in all his mighty height (1.90 metres tall). I always remember him 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. »
[...]
« Some of the guards were more receptive and it was not rare to see Filistoque in lively conversation with them; they were swayed by his happy demeanour to such an extent that he persuaded them that he could teach the soldiers how to march. »
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South-Eastern Storm (La Sudestada)

Music piece by:
Poni Micharvegas
Testimony by:
Luis Alfredo Muñoz González
Experience in:
Campamento de Prisioneros Cuatro Álamos, late February 1975
Tags:
« While I was in solitary confinement in Cuatro Álamos, one day I noticed there was a large room at the end of the corridor, which, overnight, the dinos had filled with prisoners. »
[...]
« Although I only heard the song a few times before Carabantes disappeared from the prison block, I’ve never forgotten it. During my years in exile, I sang 'his' song as often as I could and to whoever wanted to listen. It leaves everyone moved even if they don’t understand Spanish. »
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Lili Marlene

Music piece by:
Hans Leip
Testimony by:
Rogelio Felipe Castillo Acevedo
Experience in:
Campamento de Prisioneros Melinka, Puchuncaví, November 1974
Tags:
« We were forced to belt out these marching songs. »
[...]
« When they realised what was causing our lack of coordination, they left that comrade out of the marches. »
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Beloved Friend (Amado amigo)

Music piece by:
Sergio Vesely
Testimony by:
Sergio Vesely
Experience in:
Campamento de Prisioneros Melinka, Puchuncaví, 1975
Tags:
« 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. »
[...]
« The lyrics contain metaphors that might be difficult to understand today because they constitute a cryptic language that prisoners used to communicate with each other. Here are a few explanations: »
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Three White Lilies (Tres blancos lirios)

Music piece by:
Unknown composer. This song probably relates to European early-years pedagogy.
Testimony by:
Domingo Lizama
Experience in:
Cárcel de Valdivia / Cárcel de Isla Teja, 9 October 1973
Tags:
« They arrested me at my workplace in October 1973 . I was 31 years old and worked as a porter at a logging business in Chumpullo, near Valdivia. »
[...]
« I would come up with religious songs. They would say: 'this guy with his past as a priest, he should stop this silly stuff'. »
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The Wall (La muralla)

Music piece by:
Nicolás Guillén (lyrics) and Quilapayún (music)
Testimony by:
Domingo Lizama
Experience in:
Cárcel de Valdivia / Cárcel de Isla Teja, 1973 - 1978
Tags:
« In prison, there was a guy who played the guitar. He cheered up the afternoons in the cell. We all sang with him. »
[...]
« We sang them when we already knew that they would not kill us, after a visit from a delegation of the United Nations. »
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Everything Changes (Todo cambia)

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. »
[...]
« There was an open space in the prison which was guarded by men. They were also our audience when we sang. We had to cross this courtyard when we were taken to prosecution. »
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How We Resemble Each Other (En qué nos parecemos)

Music piece by:
Unknown. Popularised by Quilapayún
Testimony by:
Scarlett Mathieu
Experience in:
Campamento de Prisioneros Cuatro Álamos, 1974
Tags:
« In Cuatro Álamos, I was profoundly marked by the singing of a current detained-disappeared named Juan Chacón. He sang ‘En qué nos parecemos’, a love song from the Spanish Civil War. It remained engraved in me because that comrade disappeared from Cuatro Álamos. »
[...]
« For me, ‘En qué nos parecemos’ is the symbol of the period of solitary confinement. In my case, it was not very long and then they sent me to a place where I wasn’t isolated anymore. »
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A Million Friends (Un millón de amigos)

Music piece by:
Roberto Carlos
Testimony by:
Pedro Mella Contreras
Experience in:
Recinto CNI calle Pérez Rosales 764, Valdivia, September 1986
Tags:
« I was arrested when I was 32 years old, along with approximately 23 other people. »
[...]
« They played a lot of songs but ‘A million friends’ is the only one I remember. »
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Cantata Santa María de Iquique

Music piece by:
Luis Advis
Testimony by:
Alfonso Padilla Silva
Experience in:
Campamento Prisioneros Estadio Regional, 1975
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. »
[...]
« Nevertheless, my knowledge was rudimentary so the notation was imprecise; the worst example is the prelude, which is in 3/4 and I wrote in 4/4. (On the Quilapayún recording there are rhythmic parts that are not 100% fixed, there is some improvisation, or rather, they used a freer agogic for brief periods. All this is normal in traditional and popular music.) »
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