Mirror Dance: The story of Cuban twins forever linked through birth and dance but separated by a revolution.
Two sisters. One passion. Romance. Revolution. "Mirror Dance" is the story of Cuban-born twins Ramona and Margarita de Saa, who become estranged through politics when one moves to the U.S. and the other remains behind. Though separated for almost 40 years, both continue to share a passion for dance. Shot over a period of four years in the U.S. and Cuba, the film reveals some of the complexities of their relationship: the worlds in which they live, the choices each has made and the conflicts each has endured. Set within the context of the turbulent dynamic between the two countries, "Mirror Dance" focuses on the twins' story of division, difference and ongoing efforts at reconciliation. It is a universal story that speaks to the personal pain, loss and waste that can result from international hostilities. "Mirror Dance" will be broadcast on "Independent Lens," hosted by Edie Falco, on Tuesday, November 15 at 10:30 PM (check local listings).
Identical twins Ramona and Margarita de Saa knew they wanted to be ballerinas. At age 11 they were dancing with Alicia Alonso and mentored by master teacher Fernando Alonso. Enter the 1959 Cuban Revolution. Fidel Castro pledged a strong commitment to the arts, especially ballet, a commitment that continues to this day.
Margarita flourished in the system, rising through the ranks from corps de ballet to prima ballerina. Margarita married John White, an American who was recruited by Alicia Alonso to dance with the newly formed National Ballet of Cuba. Ramona married Santiago, one of Fidel Castro's close associates.
Using old family photographs and archival footage of their days as young dancers in Havana, including rare footage of Margarita de Saa performing in the National Ballet of Cuba's "Giselle," "Mirror Dance" introduces viewers to the twin sisters and their worlds. Archival and super 8 footage further suggest Havana in the turbulent '50s and early '60s when the twins were growing up, during their respective courtships and marriages, and through the political events leading up to their dramatic separation. A soundtrack of original music composed by Cuban-born Elio Villafranca and traditional ballet music further evoke the eazra.
Following the marriages, the twins began to grow apart. In 1964, concerned about the changing political environment, Margarita, her infant son and husband--now a ballet master--made the painful decision to leave their life, careers and family in Cuba. Ramona remained in Havana. A self-described "revolutionary woman," she was dismayed by her twin's lack of commitment to the Revolution. Believing Margarita was a traitor, Ramona refused to have contact with her.
In the forty years since the sisters' separation, Margarita and John opened a small dance academy in Narberth, near Philadelphia, where they remain committed to helping young dancers pursue their dream. Ramona has become Director of the Cuban National Schools of Ballet. It was not until 2000, after being approached by the filmmakers, that Margarita began to think seriously about returning to Cuba.
During the course of the film, Margarita reflects: "When I left Cuba I didn't just lose my biological family, I lost something very special to me--the National Ballet of Cuba. I lost two families." Despite pouring her heart into her work, and trying to create a new ballet family in the United States, memory and loss still persist.
In Cuba, the film follows Ramona in her routine as the sole woman who determines the fate of every aspiring dancer in Cuba, and viewer experience the all-encompassing, government endowed National School of Ballet.
Finally, on February 28th, 2004, Margarita, her husband John and daughter Melinda depart for Havana. In a touching scene at Jose Marti Airport, Margarita, Ramona and their brother Jovita are finally reunited.
Still, the short visit between the twins remains guarded. On Margarita's last day in Havana, a visit to their parents' grave helps the twins put the loss of the past forty years into some perspective. The desire to recover their past relationship exists. But as Margarita reflects, it will be work. "The ice has been broken to continue this relationship. But we have to work at it, in person."
Once again politics intervene in the twins' relationship. In June 2004, the U.S. Government tightened travel restrictions to Cuba. Now Margarita must wait until 2007 to see her sister again. Like the ongoing political situation between the U.S. and Cuba, the twins' story still awaits an outcome.