Librea of Valle Guerra
The Librea of Valle de Guerra is a symbol, a hallmark of the people of Valle de Guerra. Every year 250 people are involved, including performers, stage management team, musicians and collaborators. Tradition is transmitted from generation to generation, from parents to children.
In the Valle de Guerra, the battle of Lepanto is symbolically represented. It is a ritualized staging in which historical and religious facts are combined that are reflected in Canarian popular theater.
The representation of the sacramental self has changed over time.
The Valle de Guerra livery is part of the valleros DNA.
"A symbol, a hallmark of the people of Valle de Guerra."
What it is?
The Librea of Valle de Guerra is a tribute to the Canarian soldiers who participated in the crucial battle of Lepanto (occurred in 1571), led by the Palms captain Francisco Días Pimienta, and whose victory they attributed to the divine intercession of the Virgin of the Rosary.
The Librea of Valle de Guerra is also a commemoration of the victory of the Christians in the battle of Lepanto, between the Turkish squad under the command of Ali Bajá and the Christian league made up of the Pontifical State, Venice and Spain, led by Juan de Austria.
When?
The Librea of Valle de Guerra is celebrated on the first Saturday closest to October 7 of each year in honor of the Virgin of the Rosary. This year is celebrated on Saturday, October 5, 2019, at 10 p.m.
Where are we?
The Librea of Valle de Guerra takes place as every year in the square attached to the church of Our Lady of the Rosary, which has been the tow´s parish since 1925. The new church was inaugurated in 1965. On the initiative of the artist Vallero, Juan Cairós, the Great Mural project is launched, the result of which, in September 2014, the south facade of the Valle de Guerra pavilion is decorated, which gives the town square a stage of the representation of the livery. With a design by the artist himself, the graffiti artist, Eloy Fernández, executes the great painting that serves as a scenic background. In it we see two galleys, one Christian and another Turkish, in clear tribute to La Real de Juan de Austria and La Sultana de Alí Bajá, at sea and about to ram under the luminous mantle of the Virgen del Rosario.
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