I’m puzzled by the near-obscurity into which Fernando Bujones has fallen.
Barishnikov and Nureyev are household words, even for a lot of people who know nothing else about ballet. Likewise, Nijinsky, who danced a hundred years ago.
But Bujones, one of the greatest male dancers of all time, and probably the greatest American male dancer ever? Crickets, relatively speaking.
I saw Bujones dance in person many many times. Bujones had the misfortune to die young, at the age of 50 in 2005, but that was after he had had a full dance career. So his relative obscurity is somewhat puzzling.
There are surprisingly few films/videos of Bujones, although he danced during the 70s through the 90s. His career (which began in his teen years; he was a prodigy who was offered a job at the age of 14 by Balanchine) also coincided with that of Barishnikov, who defected to the West around the same time Bujones won the Gold Medal at Varna in 1974. Barishnikov caught the attention of the public while Bujones never really did.
Bujones was born in Cuba but came to this country at a very young age. He had many sterling qualities as a dancer, but I think the most important was his tremendous ballon, the definition of which is an effect that makes it “seem as though a dancer effortlessly becomes airborne, floats in the air, and lands softly.” Neat trick, eh? And try doing it over and over, while maintaining a perfect line, pointed feet, and not seeming to be making a whole lot of effort or to breathe all that heavily?
Sadly, many of the videos of Bujones are blurry. But I offer you a few that show just a glimpse of the gifts I’m talking about. Here he is as James, the hero (or perhaps anti-hero) of one of the oldest ballets in existence, “La Sylphide.” He has the challenge here of dancing in a kilt (in this case, you may be relieved to hear, with underwear). I think this short clip is a great example of the extraordinary quality of Bujones’ ballon:
I said that dancers have to look as though they’re not exhausted. But in this next clip from the finale of “Giselle,” Bujones has to achieve the next trick of seeming both energetic and exhausted, sequentially and even simultaneously. The plot involves the eponymous heroine Giselle’s betrayal in the first act by Prince Albrecht, played here by Bujones. This is the second act, in which he goes to her grave (she has died of a broken heart at the end of Act I) and he is set upon by Wilis, spirits of women who are determined to dance him to his death. But Giselle herself has a love that transcends the grave and the betrayal, and she is set on saving him from his fate.
In this excerpt Albrecht has already been under the spell of the Wilis and is forced to dance, against his will, and is both spellbound and exhausted. At the very beginning of the segment I’ve cued up, there is a series of entrechats (the step where he jumps vertically, with beats) that is absolutely phenomenal. A sequence like that has the effect of turning one’s legs and feet into the equivalent of lead weights. (By the way, looking at videos of Barishnikov doing the same ballet, he does a different type of step that’s not quite as exhausting, although I can’t remember which is the original choreography, Bujones’ version or Barishnikov’s). Giselle appears at around 1:20; before that we just see the Wilis, commanding him to dance till he dies: