Cantos Cautivos
117 results where found for «#Relationship with prisoners»
- 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. »
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- « The relationship with the guards was generally good because they knew that we were not criminals and that we had a higher standard of culture. So the difference was evident. »
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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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- « Aimless strolls (caminatas sin destino): Nothing was more characteristic of life in the detention camps and jails than people who strolled alone or with another person in the corridors, halls, prison yard or in a cell. No observer could suppress a smirk upon watching the incongruous bustle to nowhere, changing direction upon nearing a wall or a barbed-wire fence. This ritual encouraged interpersonal relationships. We didn't go to the movies with a friend. Instead, we would take an aimless stroll to nowhere, which was also the safest 'place' for sharing information and to unleash the imagination without the risk of being overheard by some snoop. »
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- Music piece by:Unknown. Traditional Spanish children's song
- Testimony by:María Cecilia Marchant Rubilar
- Experience in:Cárcel de Mujeres Buen Pastor, La Serena, September 1973 - January 1974
- Tags:
- « We adapted this song and produced a play based on it. Each of us played one of the characters. We spent a lot of time on this. »
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- « We performed the play to the other women prisoners in both centres within the prison: Regina Coellys and Alborada. Alborada was a section of Buen Pastor but it was not part of the prison facility. Alborada housed female political prisoners too. »
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- Music piece by:Luis Advis
- Testimony by:Alfonso Padilla
- Experience in:
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- « 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. »
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- « In each of the collective cells – one for forty prisoners and two for sixty prisoners – we had three record players belonging to the political prisoners. We would listen to music on this basic equipment as we liked, but not loudly, to avoid surprise raids by guards. »
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- Music piece by:text by Saint Thomas Aquinas; music by Lorenzo Perosi
- Testimony by:Roberto Navarrete
- Experience in:Cárcel de Santiago, November 1973 - April 1974
- Tags:
- « The political prisoners’ cell block in Santiago Prison was established when they transferred many people from the National Stadium in October or November 1973. »
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- « We sang 'O salutaris Hostia' at a number of events organised by the political prisoners, including one when we went and sang to the common prisoners. We felt we had done a good deed. »
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You Will Pay (The Cigarette Smoke) (Pagarás [El humo del cigarrillo])
- Music piece by:Manuel Mantilla
- Testimony by:Fernando Aravena
- Experience in:Cárcel de Santiago, 1989
- Tags:
- « The political prisoners were isolated but when they made us go down to the courtyard, we were with the common prisoners. »
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- Music piece by:The Turtles ('Elenore'), with new lyrics by Gianni Morandi
- Testimony by:Eduardo René Cuevas
- Experience in:Cárcel de Los Ángeles, September 1973
- Tags:
- « This song was a workhorse for the prisoners. Iván Moscoso sang it, accompanied by a guitar, in a powerful and defiant voice, and the most altruistic among us sung along in the presence of the gendarme guards, in a courtyard that was only for political prisoners. »
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- Music piece by:unknown
- Testimony by:Patricio Polanco
- Experience in:Campamento de Prisioneros de Pisagua, November 1973
- Tags:
- « In 1973 and 1974, Pisagua was characterised by the harsh and cruel treatment of political prisoners. Singing was mandatory for prisoners, who were guarded by Army platoons, and it was also a means to avoid beatings and collective mistreatment. »
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- Music piece by:Víctor Jara
- Testimony by:Alfonso Padilla Silva
- Experience in:Campamento Prisioneros Estadio Regional, 25 December 1973
- Tags:
- « During Christmas 1973, I was one of some 600 men and 100 women prisoners in Concepción Regional Stadium. »
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- « The experience of prisoners in many concentration camps and jails throughout the country shows that engaging in cultural and artistic activity - whether it be creating and performing theatre, writing poems and stories, as well as essays, and producing crafts or music - was of vital importance in strengthening our personal and collective moral, an attitude of resistance and the sense of unity among political prisoners. »
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- Music piece by:Eusebio Lillo and Ramón Carnicer
- Testimony by:Joaquín Real Hermosilla
- Experience in:
- Tags:
- « Some 30 leaders and activists from the Popular Unity parties were arrested in Coyhaique and confined in Las Bandurrias, fifteen kilometres from the city, in a compound used as a veterinary clinic for horses. »
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- « We prisoners were ‘voluntarily’ assigned to unload hay, dig watering holes, sow potatoes, build a canal and look after the foals. These tasks were hard and quite risky, especially since the lieutenant had threatened that if one animal died, two prisoners would lose their lives. »
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