Cantos Cautivos
57 results where found for «Oración para que no me olvides»
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. »
- [...]
- « Oración para que no me olvides »
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- Music piece by:Roberto Ternán
- Testimony by:Sara De Witt
- Experience in:Campamento de Prisioneros, Tres Álamos, September 1976
- Tags:
- « We were in Tres Álamos barracks in September 1976. I don’t recall how many of us women were imprisoned there. I believe there were close to a hundred of us. »
- [...]
- « I still remember those intense moments when we sang so many songs. Gazing up at the sky, we sang
'Candombe para José' , which we called 'El Negro José'. I understood that song as something new and different from the songs we usually sang. It seemed more contemporary to me and it made me feel in touch with my people outside the camp. The line 'en un pueblo olvidado no sé por qué' ('in a God-forsaken town, I don't know why') seemed connected with how I was feeling at that time. »- [Read full testimony]
- 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. »
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- «
‘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. »- [Read full testimony]
- Music piece by:José Agustín Goytisolo (lyrics) and Paco Ibáñez (music)
- Testimony by:Amelia Negrón
- Experience in:Campamento de Prisioneros, Tres Álamos, 1975 and 1976, until the closure of Tres Álamos
- Tags:
- « There were so many of us women prisoners. Despite the circumstances, we had managed to invent our own world, one with our rules, according to what we thought and wanted for ourselves, our families and all the Chilean people. »
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- « Palabras para Julia »
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How Can I Describe This to You? (Cómo hacer para darte una idea)
- Music piece by:Sergio Vesely
- Testimony by:Sergio Vesely
- Experience in:Cárcel de Valparaíso, 1976
- Tags:
- « This is one of two songs I wrote in prison for my beloved Graciela. In the song I tried to draw her closer to me, describing my everyday world and my experience of life as a captive. »
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- « Cómo hacer para darte una idea »
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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:Amelia Negrón
- Experience in:Campamento de Prisioneros, Tres Álamos, 31 December 1975
- Tags:
- « Preparations for that Wednesday night became more intense. It would be a different night. We women prisoners had secretly organised ourselves, but more importantly, we had also coordinated with the male prisoners. »
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- « We sang and sang: 'Ode to Joy', 'El negro José', 'Palabras para Julia', 'No volveré', and we kept singing and singing. We would start singing a song and the men, fellow prisoners on the other side, beyond the walls that separated us, would respond. That night we went to bed around one in the morning, exhausted and hoarse but so happy. We had broken the chains - it was still possible to think of freedom. »
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- Music piece by:Roberto Ternán
- Testimony by:Alejandro Olate
- Experience in:
- Tags:
- « The youngest among us, aged 17 or even 16 years, did the heaviest work on Dawson Island. We had to fell trees, cut them, split them in two, cut them into wedges, and walk the several hundred meters back to the barracks carrying the logs on our shoulders. »
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- « That was the birth of artistic expression. Each of the sections in the camp would contribute a number. We would sing, do impressions, put on costumes, put on impressive plays, all performed with much affection. The song 'Candombe para José' was a hit on Dawson Island. »
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- Music piece by:Roberto Ternán
- Testimony by:Amelia Negrón
- Experience in:Campamento de Prisioneros, Tres Álamos, June 1976
- Tags:
- « We were in Pavilion 1. One of us came up with the idea, I can’t remember who. There were so many of us and we spent the day inventing and creating things! »
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- « And from then on, we would sing it back and forth from one pavilion to the other during festive nights, and that is how 'Candombe para José', on a Saturday in June 1976, became the hymn of the political prisoners. »
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- Music piece by:Hamlet Lima Quintana
- Testimony by:Ana María Jiménez
- Experience in:Villa Grimaldi, April 1975
- Tags:
- « I want to recall a night at Villa Grimaldi. »
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- « And when the guard returned, without a word, I began singing “Zamba para no morir” (Zamba so as not to die), the song performed by
Mercedes Sosa . »- [Read full testimony]
- Music piece by:Eduardo Gatti
- Testimony by:Scarlett Mathieu
- Experience in:
- 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. »
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- « We sang a lot ‘Palabras para Julia’ by Goytisolo and Ibáñez, ‘De cartón piedra’, ‘Lucía’ and ‘Vagabundear’ by Serrat, and ‘A los bosques’ by Lavandenz. »
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