They say perfection is not of this world, but beneath the roofs of the Opera Garnier in Paris, dancers aspire to it, one leap at a time. Even for one of France’s most sought-after dancers, excellence is never earned and every class is necessary to prepare the body and mind.
Being a principal dancer is one thing, but you have to stay that way, you have to embrace it. It’s a gift, but it’s also a huge responsibility.
At 23 years old, Guillaume Diop embodies discipline and perseverance.
Guillaume is very special as a dancer, he has incredible physical potential, but in addition to that, he has a kind of intelligence and dexterity in his interpretation.
“, explains Paris Opera Ballet’s dance director José Martinez.
He promoted him to the rank of star last March, which surprised everyone, as Diop is one of the rare dancers who achieved the highest possible distinction even before they became… The first dancer
As tradition dictates.
If for José Martinez the choice was clear and by no means audacious, it represents a major departure for the oldest dance institution in the world.
In the world of ballet that sorely 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 confesses his tight throat, overcome with emotion for a few seconds as he leads us through the corridors of the Opera Garnier where he grew up and became an icon.
Between two rehearsals, a make-up session and a dance lesson, Guillaume received us in the new private box that the Opera had just allocated to him, a privilege reserved only for star dancers.
You’re the first one to come into my dressing room, everything is new and I haven’t had time to put everything away yet
But the walls are already decorated with photos of those who inspire him: his family, friends and idols, including Beyoncé, who has enchanted him since he was young and who to this day remains a motivating woman.
Because if becoming a star dancer was always a dream, it took Guillaume Diop a long time to believe in it.
I honestly think it comes from the lack of representation I had at the time.
Guillaume Diop warming up.
Photo: Radio-Canada/Sergio Santos
Because if it had not been for the training he did in New York in 2016 with a troupe of African-American dancers, 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 if we have photos, videos, and archives. I told myself yes, but I need to see people of color on stage.
Today he is a model and example that he never had before. It’s a role he didn’t prepare for, but he understands its scope, especially since he traveled to Guyana last October to promote ballet and diversity.
And here I really realized that I had become a role model for many children, and certainly an inspiration, a role that I take very seriously, because, for a long time, I doubted myself about being convinced that it was possible.
Guillaume Diop in dance lessons.
Photo: Radio-Canada/Sergio Santos
You can be black or mixed race and dance the greatest roles of the classical repertoire, as they are, true to their values within a 350-year-old institution.
In fact, the dancers are young, and developing faster than the establishment
admits José Martinez who, since taking charge of dance last year, has set himself the task of modernizing the Paris Opera Ballet.
We cannot be a company as it was 200 years ago, our development must follow the development of society, and Guillaume Diop is living proof of that.
Diop, despite his young age, was also one of the instigators of this thinking when in 2020 he co-wrote a major statement in the name of diversity with the company’s rare black dancers. The long appeal also called for the abolition of discriminatory practices within the opera.
I felt more mature, more honest, more mature to claim it because it’s part of who I am and who I am.
Guillaume Diop on makeup.
Photo: Radio-Canada/Tamara Altresco
Things have changed in a tangible way, as Guillaume Diop explains while sitting in the makeup chair.
There is makeup that suits our skin tone. There is no longer any need to mix, because sometimes it is a bit boring, and above all, there is no more Black face Which is done at the Paris Opera, because yes, it was still being done.
Her makeup artist nodded, smiling. Black face, com. yellowfacewhitening black skin…all of this has become prohibited.
Guillaume Diop must leave us. He disappears into the noise that animates the backstage a few minutes before the big ballet rehearsal. Nutcracker.
We watched several scenes from the famous Christmas story, including one of Guillaume’s favorites, a waltz under the snowflakes with his partner, the great ballerina Dorothy Gilbert, who is almost twice his age.
For me, it is a pleasure to rediscover the freshness of the beginnings with Guillaume, there is a discovery on his part and we see it in his eyes and his dance.
Guillaume Diop and Dorothy Gilbert during the grand rehearsal of the ballet “The Nutcracker.”
Photo: Radio-Canada/Sergio Santos
Guillaume Diop flies above the stage, but keeps his feet on the ground. An ambassador of a new generation of stars, he makes the National Ballet shine.
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