Cantos Cautivos
166 results where found for «Song to the Pampa»
- Music piece by:poem by Francisco Pezoa Astudillo set to music by Quilapayún
- Testimony by:Renato Alvarado
- Experience in:Campamento de Prisioneros Cuatro Álamos, February 1975
- Tags:
- « The first song that we managed to sing was Quilapayún's setting of the poem Canto a la Pampa (Song to the Pampa), by the anarchist poet Francisco Pezoa Astudillo, which recounts one of the bloodiest episodes of the class struggle in Chile: the massacre of the Santa María school in Iquique in December 1907. The prisoners of the large Room 13 of Cuatro Álamos camp sang it complete and as a chorus around February 1975. »
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- Music piece by:Julio Iglesias
- Testimony by:César Montiel
- Experience in:Colonia Dignidad, April 1975
- Tags:
- « At the beginning of the 1970s, I met Carmen, my comrade, my love, at the Juventudes Comunistas of Talca. We had the life of young idealists, sharing our everyday, living this revolutionary process so beautifully. »
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- « That's the curious thing, to this day we wonder how they knew that song was our song, the song of our love. None of the guards asked us what music we liked. I would ask myself: How did they know that ‘A flor de piel’ was our song? Which of my cell comrades knew? I felt uncertain and worried that they knew this and how much information they could access. »
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- Music piece by:All the women present at that moment in Chacabuco
- Testimony by:Mónica García Cuadra
- Experience in:Campamento de Prisioneros Chacabuco, Summer of 1974
- Tags:
- « I am the daughter of a former political prisoner who spent a long time imprisoned at Chacabuco, among other places. I am Monica, a little 9-year-old girl who travelled with a heavy heart full of sadness to visit her father, Gerardo García Salas, held at the Chacabuco concentration camp. I am an only child and in my young life, he is my sole reference point and, in essence, my image of masculinity. »
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- « The song that finally sealed that profound reunion was a “tacit song” written by all the comrades present at that moment, while the men held their fists high, eyes gazing straight ahead, firm, expectant, and trembling behind the fence, observing how their daughters, wives, girlfriends, sisters, mothers - their women- took flight with their own fists held high, wails suppressed in their throats. »
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- 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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- « I mustered enough courage to sing the beautiful verses of this song a second time. The song was written as a tribute to a poet who killed herself in the sea. To my surprise, the guard let me sing the entire song without interrupting or beating me. And all my tortured comrades could hear my voice in the silence of their own cells. »
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- Music piece by:Sergio Vesely
- Testimony by:Sergio Vesely
- Experience in:
- 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. »
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- « Paper boat (barco de papel): We had a habit of wishing farewell to our comrades who were released or about to be transferred to other prisons. People who were not fortunate enough to be included in the group would gather around those who were about to leave, a ritual that sometimes included singing Julio Numhausser’s beautiful song 'El barco de papel'. The first verse goes like this: 'Se va el barco de papel por el mar de la esperanza, llevando un montón de sueños y los niños no lo alcanzan. Se va, se va y no volverá. Se va, se va a la libertad.' (The paper boat sails to a sea of hope, carrying dreams and children can’t reach it. There it goes, there it goes, and it will never return. There it goes, there it goes to freedom.). »
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- Music piece by:Nydia Caro and Ricardo Ceratto
- Testimony by:Beatriz Bataszew Contreras
- Experience in:Calle Irán Nº 3037 / Venda Sexy / La Discotheque, 12 - 18 December 1974
- Tags:
- « I have never been a great music listener. Nevertheless, before the coup I used to listen to
Nueva Canción , especially Quilapayún and Rolando Alarcón. I also liked cumbias, to fool around. We would dance and have fun. »- [...]
- « I knew the song from before, maybe I had heard it somewhere, perhaps in a television series, I don’t remember well. But at the Venda, it had a different meaning: the guards would sing it, they would sneer, they would jeer at the situation we were in. So that stayed with me. It is possible that I have heard that song since. »
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- 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. »
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- « 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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- Music piece by:Antônio Marcos. Popularised in Chile by Claudio Reyes
- Testimony by:Carolina Videla
- Experience in:Cárcel Pública de Arica, January 1989
- Tags:
- « My prison term happened during the last year of the dictatorship after the No vote won. I was set free because of 'lack of evidence', after a year and a half in prison. »
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- « In the afternoon they watched the soap opera 'A la sombra del ángel' ('In the shadow of the angel'), which played a song called 'La tarde está llorando' ('The afternoon is crying'). I listened to that song for 11 days. »
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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. »- [...]
- « My final wish was to transport myself, by hook or by crook, to those northern latitudes. That was how that song developed, that song I was unable to write down. There was no manuscript paper, as we were thoroughly searched and checked twice a day. It was not possible to write down, only to learn by heart. »
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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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- « Some of those songs have remained in my memory as an indelible mark of those times, and on the whole, I cannot or do not want to sing them. I would like to tell you about one of those songs, which I never knew what it was called nor its author, nor did I ever try to find out. It was taught to us by Cecilia Bojanic, a young 23-year-old woman who was a member of MIR and who had been arrested together with her husband Flavio Oyarzún. »
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- « This
- « I have never been a great music listener. Nevertheless, before the coup I used to listen to