102 results where found for «How We Resemble Each Other»

To Be Seventeen Again (Volver a los diecisiete)

Music piece by:
Violeta Parra
Testimony by:
David Quintana García
Experience in:
Intendencia de Rancagua, 1973
Tags:
« I spent 45 days in the torture centre of Intendencia de Rancagua. Previously, I was detained with my brothers in the headquarters of the Cuartel de Investigaciones de Rancagua. »
[...]
« I remember that another prisoner used to sing ‘En qué nos parecemos’ ('How We Resemble Each Other'), popularised by Quilapayún. Those songs were linked to our actions during the Unidad Popular. »
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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. »
[...]
« How We Resemble Each Other »
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How We Resemble Each Other (En qué nos parecemos)

Music piece by:
Unknown. Popularised by Quilapayún
Testimony by:
Luis Cifuentes Seves
Experience in:
Campamento de Prisioneros, Estadio Nacional, September - November 1973
Tags:
« During the 1960s, the group Quilapayún popularised this old Spanish song in Chile. Víctor Canto and I performed it as a duet in Santiago’s National Stadium, which had been converted into a concentration, torture and extermination camp. »
[...]
« How We Resemble Each Other »
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The Soldier (El soldado)

Music piece by:
Rafael Alberti (lyrics), Ángel Parra (music)
Testimony by:
Alfonso Padilla Silva
Experience in:
Campamento Prisioneros Estadio Regional, 25 December 1973
Tags:
« During Christmas 1973, approximately 660 men and 100 women were held as prisoners in the Concepción Regional Stadium. Concentration camp officials allowed us to celebrate Christmas on the pitch. We were in a corner of the pitch and we used the pole vault pit as a stage. »
[...]
« like those that her breasts resemble »
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Alfonsina and the Sea (Alfonsina y el mar)

Music piece by:
Félix Luna (lyrics) and Ariel Ramírez (music). Popularised by Mercedes Sosa.
Testimony by:
Sergio Vesely
Experience in:
Villa Grimaldi, January 1975
Tags:
« It was not easy to endure being locked up in one of Villa Grimaldi’s miserable cells, which resembled vertical coffins. It was even harder in the high temperatures of the summer months of the Andes foothills in Peñalolén. I was inside one of those cells, blindfolded, my feet and hands in chains. »
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Love (Amor)

Music piece by:
Guillermo Núñez (lyrics) and Sergio Vesely (music)
Testimony by:
Sergio Vesely
Experience in:
Campamento de Prisioneros Melinka, Puchuncaví, 1975
Tags:
« This song is based on a poem Guillermo wrote in the Puchuncaví Prison Camp dedicated to his partner Soledad. Of all the songs I composed as a prisoner, this is the only one where the lyrics are not mine. »
[...]
« to hear each other, to see each other »
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Ode to Joy (Himno a la alegría)

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:
Irma Alvarado
Experience in:
Cárcel de Río Negro, December 1974
Tags:
« Together with two comrades, I arrived at Río Negro Prison from Chin Chin Prison in Puerto Montt. As punishment, we were sent to a storehouse where the grass was kept for the animals. We shared a small space with mice and giant spiders crawling over our beds. The dungeon had only one small window. »
[...]
« From a distance and shouting, we greeted each other, wished each other better days and spontaneously began to sing the Ode to Joy. It was magical. Tears flowed. »
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Lucía

Music piece by:
Joan Manuel Serrat
Testimony by:
Beatriz Bataszew Contreras
Experience in:
Campamento de Prisioneros, Tres Álamos, December 1974 - May 1976
Tags:
« Tres Álamos was a more 'normal' camp, even though we never had a trial. There was a lot of music, it was sort of ritualistic. »
[...]
« ‘Candombe para José’ was very important. The line ‘ánimo Negro José’ (‘go for it, Negro José’) was a bit like saying ‘it will go away, there are always other possibilities’. I feel it was an encouraging song and also a way of showing each other affection. »
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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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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. »
[...]
« I did find, during the month that I was held in Tres Álamos in December 1974, that the musical activities were very intensive and embodied a way for us to feel united among the other female comrades, to share hope, emotions and create a collective body that went beyond each individual. »
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