Afternoon Siesta, a Documentary with the Best Energy

The film, whose shooting recently wrapped, is directed by the experienced Cuban documentary filmmaker Lourdes de los Santos. It’s dedicated to the eponymous piece premiered by the National Ballet of Cuba in 1973 and, as the director affirms, is not an isolated project, but rather part of a tradition in Cuban filmmaking:

“I’m really just continuing the line of documentaries from the Cuban documentary school, which has produced great works for cinema based precisely on ballet or dance. I remember, for example, Massip’s *Historia de un Ballet*, the famous Yoruba Suite, which was fantastic. I also remember all the films that have been made of Alicia Alonso’s ballet, Carmen, which was filmed by Víctor Casaus for the film *Alicia*, and many other things that have been done about dance. So, this has been a dream come true for me.”

Lourdes emphasized that “Afternoon Siesta is an iconic ballet in the repertoire of the National Ballet of Cuba. It’s perhaps the most compelling example of Cuban ballet, of the Cuban School of Ballet, taken to its extremes, so to speak, in how to represent the Cuban woman of the early 20th century, at different moments in her life, or perhaps it’s the story of four sisters.

“They are four dancers; it’s the theme of the woman who has hope, who has sweetness, who has loneliness, and who also has solace. All these stories intertwine in this ballet, which is a great tribute to the choreographer Alberto Méndez, one of the greatest in Ibero-American dance.”

The documentary includes “interviews to Miguel Cabrera, to Marielena Llorente, a dancer who premiered this ballet in her first stage appearance, we learned from Miguelito Cabrera about many aspects of its premiere, all that was revolutionary and innovative about it, for example, in using costumes that weren't as common as they were for ballet. In other words, there are things that are characteristic of this ballet that we'll really learn about in the documentary,” the filmmaker explained, adding:

“We also had the participation, in costume and makeup, of great dancers, the leading figures in ballet right now: Viengsay Valdés, Sadaise Arencibia, Anette Delgado, and Alianed Moreno, all under the direction of Maestro Alberto Méndez, whom we also filmed.”

As for the project's origins, Lourdes commented: “I've wanted to make this documentary for years, but I'd always been looking for a way to make it happen.” I presented it to the nascent, the revitalized documentary department, and Alexis immediately embraced the idea because I believe it's in ICAIC's best interest to resume and renew its collaborative ties with the National Ballet of Cuba. It has always been a close collaboration; in fact, I want to emphasize the extraordinary acceptance and cooperation the Ballet has shown us.

“I also want to thank Roberto Ferguson, the television director, for his support. He was able to capture all those great premieres when they took place, and thanks to those archival materials, we now have these images of all the great figures who have danced with that ballet.”

It's footage shot during a time of crisis, but the complex energy situation in Cuba caused by the tightening of sanctions imposed by the United States government couldn't dampen the positive energy of art:

“Here, you have to rise to the challenge, and I have to say that we filmed the last two days during a blackout, in every location where we shot, at the headquarters of the National Ballet of Cuba and at the Center for Martí Studies. We were without power the entire time. We managed thanks to electric tricycles, EcoFlow generators, and portable fans—a documentary powered by alternative energy. But that's how it's done, that's how it has to be done, because as Alexis Triana says, nothing stops us; we have to keep moving forward.”

Translated by Amilkal Labañino / CubaSí Translation Staff