Perfection is not of this world, they say, but under the roof of the Opera Garnier in Paris, dancers love to jump one at a time. Even for one of France’s most beloved dancers, there is no getting away from excellence, and each class requires preparation of body and mind.
It’s one thing to be a principal dancer, but you have to stay that way, and you have to embrace it. It’s a gift, but it’s also a great responsibility.
At 23, Guillaume Diop embodies discipline and perseverance.
Guillaume is very special as a dancer, he has incredible physical skills, but in addition, he has a kind of intelligence and subtlety in his interpretation.
Choreographer Jose Martinez at the Paris Opera Ballet explains.
It was he who catapulted her to stardom in March, much to everyone’s surprise, as Diop was one of those rare dancers who had already achieved such a high level of individuality. First dancer
Tradition dictates.
If the choice is obvious and by no means daring for José Martínez, it marks a major departure for the world’s oldest dance company.
In a ballet world that lacks cultural diversity in France, Guillaume Diop’s appointment is also historic.
He became the company’s first black principal dancer.
But to be honest with you, I wish I wasn’t the first
The dancer, throat tight, becomes an icon as he takes us through the corridors of the Opéra Garnier, where he grew up, with a few moments of emotion.
In between two rehearsals, a make-up session and a dance class, Guillaume received us in the brand new private box the opera had reserved for him, reserved only for star dancers.
You’re the first one to come to my dressing room, it’s all new and I haven’t had time to put everything up yet
But already, the walls are decorated with photos of those who inspire him: his family, his friends and his idols, including the singer Beyoncé, who has fascinated him since childhood and remains a woman who inspires him to this day.
Because if becoming a star dancer was always a dream, Guillaume Diop took a long time to believe it.
I honestly think it came from the lack of representation I had at the time.
Guillaume Diop is warming up.
Photo: Radio-Canada / Sergio Santos
Because if it weren’t for an internship she did with a group of predominantly African-American dancers in New York in 2016, Diop might have given up dancing.
I think we really underestimate the importance of seeing things with our own eyes when we’re kids, even with pictures, videos, archives. I said to myself yes, but I want to see people of color on stage.
Today he is a role model and role model. It’s a role he hasn’t produced, but one whose purpose he understands, since he moved to Guyana in October to promote ballet and diversity.
I have become a role model for many children, definitely an inspiration and a role that I take very seriously, because for a long time I questioned myself if it was possible.
Guillaume Diop in dance class.
Photo: Radio-Canada / Sergio Santos
It’s possible to dance the biggest roles in the classical repertoire, whether black or mixed-race, and staying true to its values within a 350-year-old company.
In fact, the dancers are young and they evolve faster than the company
José Martínez agrees that since he took charge of the choreography last year, he has given himself the task of modernizing the Paris Opera Ballet.
We cannot be an institution like we were 200 years ago, our evolution must follow society, Guillaume Diop is living proof of this.
Diop, though young, was one of those who prompted this reflection in 2020 when she co-wrote a major statement titled Diversity with the company’s rare black dancers. The lengthy petition also calls for an end to discriminatory practices in opera.
I felt more grown up, more honest and more mature to say that because it is who I am and part of my identity.
Guillaume Diop on makeup.
Photo: Radio-Canada / Tamara Alteresco
Things have changed in a tangible way, explains Guillaume Diop, sitting in the make-up chair.
Our skin color has makeup. And there is no need to mix, because, sometimes, it is a little tired, after all, not anymore black face It’s done at the Paris Opera, because yes, it’s still done.
Her makeup artist smiles and nods. black face, yellow faceWhitening of black skin… all this is now banned.
Guillaume Diop must leave us. He disappears into an animated hubbub backstage minutes before the big ballet rehearsal. The Nutcracker.
We were treated to several scenes from the famous Christmas story, including one of Guillaume’s favorites, the waltz under the snowflakes, with his partner, the great prima ballerina Dorothy Gilbert, almost twice his age.
For me, the joy of rediscovering the freshness of the beginning with Guillaume, there is a discovery on his part that we see in his eyes and in his dance.
Guillaume Diop and Dorothy Gilbert during the grand rehearsal of the “Nutcracker” ballet.
Photo: Radio-Canada / Sergio Santos
Guillaume Diop flies over the stage, but he keeps both feet on the ground. An ambassador of the new generation of stars, he shines in the National Ballet.
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