383 results where found for «To Sing by Improvising»

The Prisoner of Til Til (El cautivo de Til Til)

Music piece by:
Patricio Manns
Testimony by:
Renato Alvarado
Experience in:
Campamento de Prisioneros, Tres Álamos, 1975
Tags:
« I arrived at Tres Álamos on the eve of the departure for Mexico with a large group of prisoners. The group included Dr. Ipinza, who before leaving entrusted me with the job of physician, the medicine donated by the Red Cross, and his position in the Council of Elders. »
[...]
« The fact of the matter is that a while later we learned that an International Red Cross committee would visit our pavilion. The prisoners of the adjoining pavilion, who were about to leave for Mexico and would not be visited by the Red Cross, were keen to ensure that the visiting committee saw a list of the names of people who had disappeared by then. »
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I Come Back (Vuelvo)

Music piece by:
Patricio Manns (lyrics) and Horacio Salinas (music)
Testimony by:
Fernando Aravena
Experience in:
Cárcel de Santiago, 1989
Tags:
« During our mateadas in the Prison of Santiago, we always talked about the song ‘Vuelvo’ (I Come Back). It gave you the hope of returning to the fight. The prison was only something temporary. »
[...]
« Amongst the visitors we had in the prison was Silvio Rodríguez. He sang ‘El breve espacio en que no estás’, a very well-known song by Pablo Milanés. »
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Moments (Los momentos)

Music piece by:
Eduardo Gatti
Testimony by:
Scarlett Mathieu
Experience in:
Campamento de Prisioneros, Tres Álamos, 1974
Tags:
« ‘Moments’ was a song sung by the female comrades whose partners were imprisoned on the other side of Tres Álamos, or were fugitives or disappeared. We all sang it, but it was like their anthem. »
[...]
« The ‘Ode to Joy’ by Beethoven was one of our anthems. It was important for what it represented. We even changed the lyrics: ‘beyond the stars’ became ‘beyond borders’ because many prisoners would go into exile. »
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The Apparition (El aparecido)

Music piece by:
Víctor Jara
Testimony by:
Pedro Mella Contreras
Experience in:
Cárcel de Valdivia / Cárcel de Isla Teja, 1988-1989
Tags:
« When they took me out to physiotherapy treatment, I sang some verses of the song ‘The Apparition’ loudly: »
[...]
« For example, the verses that I sang relate to the fact that we escaped from being executed by the CNI. »
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Cantata Santa María de Iquique

Music piece by:
Luis Advis
Testimony by:
Alfonso Padilla
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. »
[...]
« We took in records that were, in fact, forbidden, or their possession would seriously endanger our safety. They were hidden in sleeves of records by singers that were inoffensive to the dictatorship. Sometimes, we would also ‘pay’ a guard with a liquor bottle. »
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The Dance of Those Left Behind (El baile de los que sobran)

Music piece by:
Los Prisioneros
Testimony by:
Eduardo Andrés Arancibia Ortiz
Experience in:
Cárcel de Santiago, 1986
Tags:
« I learnt about Los Prisioneros through the 'Hecho en Chile' programme on Radio Galaxia, presented by Sergio 'Pirincho' Cárcamo. Their music became our trench and musical poetry, like all other forms of struggles against dictatorship. »
[...]
« I was already listening to the 'Nuestro Canto' programme presented by Miguel Davagnino on Radio Chilena in 1976. From 1986 I listened to the music dissident to the dictatorship on Radio Umbral, played by the late Pedro Henríquez. This was the radio panorama that allowed us to hear the voices and sounds of resistance. »
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King Ñaca Ñaca (El rey Ñaca Ñaca)

Music piece by:
Sergio Vesely
Testimony by:
Renato Alvarado Vidal
Experience in:
Campamento de Prisioneros Melinka, Puchuncaví, May - October 1975
Tags:
« During the last third of the 20th century, the concentration camps of the Chilean dictatorship were characterised by a high grade of organisation among prisoners, as well as the overflowing creativity they applied to all areas of human ingenuity. »
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Under my Skin (A flor de piel)

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. »
[...]
« They took us to Colonia Dignidad. They kept us women on camping beds, tied by the feet and hands. That’s where the torture started. I remember there was a very loud turbine, I think it provided light and power for the whole complex. »
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Swan Lake (El lago de los cisnes)

Music piece by:
Piotr Ilich Tchaikovski
Testimony by:
Carmen Espinoza Alegría
Experience in:
Colonia Dignidad, April 1975
Tags:
« When we arrived at Colonia Dignidad, they threw us into a shed. I despaired, took off my hood and a guard gave me a slap so hard that I fell to the ground. This was my arrival at the Colonia. »
[...]
« When they took us to interrogations with our eyes covered and a hood on our head, they played classical music that hypnotised us. Later, when speaking to a comrade, he told me that the music was Swan Lake, a ballet by Tchaikovsky. »
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Thanks to Life (Gracias a la vida)

Music piece by:
Violeta Parra
Testimony by:
Felipe Chiang Martínez
Experience in:
Regimiento de Infantería Motorizada Nº 23, Copiapó, October-December 1973
Tags:
« I was born in Vallenar, but I have lived in Copiapó practically all my life. At the age of 18, I started working in the mines and also began my political activity. »
[...]
« When we heard ‘Gracias a la vida’ (Thanks to Life) by Violeta Parra, we would hum it. It was historic for any radio station at that time to broadcast such a song, because her songs and those of other artists on the DICAP label were totally banned. »
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