Every bailaora’s dream is to be able to work in their home, with their own company, and to be loved and admired. Patricia Guerrero brought all of these together with her show, ‘Deliranza,’ which is a mix of dance and delirium. The Generalife Gardens patio was filled with curious people, flamingos and followers, eagerly awaiting his proposal. The Music and Dance Festival was delighted with the success of this show. We should have a moral obligation to Granada to bring every year our artists from outside of our borders. This is especially true if they have something valuable to share with us.
Patricia’s dream is even more. Actually, “Deliranza”, that is, the delirium is a surrealist dreamlike, imaginative work. It is confronted with the exact same language with a contemporary vision without ceasing being flamenco and responds to its schemes in a style of delivery that could very well be called “contemflamenco”. The role of light (or its absence), is also important. This was made more difficult by row 21’s remoteness. Penumbra in crescent. It was nuanced at other times and macerated silently. A large portion of the dance was performed in a dry style. Sometimes, the rhythm of Agustin Diossera or the guitar of Dani de Moron broke up the monotony. The music, which was complemented by Oscar Alvarez on keyboard and Sergio ‘el Colorao’s voices (with a controlled scat, glossolalia) bordered on extraordinary. These musicians were suspended in a large box suspended between scaffolding. The tables were transformed into theater with black backstage and canvases, which erased the natural beauty.
The Granada-born bailaora’s good form allowed her to stay on stage throughout the performance (until the 40th minute, she didn’t leave the stage, but returned immediately). She is the one who dreams. It is her who enters another world and becomes “Patricia In Wonderland.” Guerrero performs step by step, solo or in company with other dancers.
Patricia is a master of space and creativity. The orbital image, which engulfs the whole stage, is a lasting memory.
The group arrives with walking sticks, hats, and chopsticks after the first solea. They are ready to take on some Bulerias A Cappella (Sergio immense), which is seasoned with heel rhythm. The oriental touch of a dervish is evident as she returns, and behind her, the dancers parade together, illustrating the transitions. After a recitation, Patricia, dressed in a blue frilly gown, shows her roots por tangos en Granada. She then returns to her company with a new paso a dons, and then moves on to an amparo lagares (buleria) with a chorus effect. accompanied by percussion. The ending is nearing with a beautiful ovillejo sung in milongas. A Granada-born woman walks around the stage in red, with a five-meter line. This is Rafaela Carrasco’s style, but it may not achieve the desired effect. The sequence is ended by rumbas. This might have been a nice ending. There was one more seguiriya, one last dose of silence, the body returning in unison as if it were starlings and the golden return to a beginning that, like a closed circle begins again. Patricia wakes from her sleep.
It was a great job that was lost in the enigma of taking a minute longer than necessary and then a constant imitation of its self until exhausting a respectable person who was left wanting the flash of color and still photos to fuel his memory.
