They say perfection is out of this world, but under the roofs of the Opéra Garnier in Paris, dancers strive for it, one leap at a time. Even for one of France's most sought-after dancers, excellence is never earned and every lesson is necessary to prepare body and mind.
Being a solo dancer is one thing, but you have to stay that way, you have to embrace it. It is a gift, but also a great responsibility.
At 23 years old, Guillaume Diop embodies discipline and endurance.
Guillaume is very special as a dancer, he has incredible physical possibilities, but more than that he has a kind of intelligence and finesse in interpretation, explains the dance director of the Paris Opera Ballet, José Martinez.
It was he who propelled him to stardom in March, which came as a surprise to everyone, since Diop is one of the rare dancers who achieved the highest possible award even before becoming principal dancer, as tradition dictates.
If for José Martinez the choice was obvious and not at all daring, it marks a major departure for the oldest dance institution in the world.
In the world of ballet, where cultural diversity is lacking in France, the appointment of Guillaume Diop is also historic.
He became the company's first black principal dancer.
“But to be honest, I would have preferred not to have been the first,” admits the dancer, throat tight and overcome with emotion for a few seconds, as he leads us into the corridors of the Opéra Garnier, which saw him grow up is and for whom it became a symbol.
Between two rehearsals, a make-up session and a dance class, Guillaume welcomed us in the brand new private box that the opera had just assigned him, a privilege reserved only for star dancers.
You are the first to come into my dressing room, it is brand new and I haven't had time to put everything in place yet, but the walls are already decorated with photos of those who inspire him: his family, his friends and his idols. Including the singer Beyoncé, who has fascinated him since his childhood and is still a woman who motivates him today.
Because although it was always a dream to become a star dancer, it took Guillaume Diop a long time to believe in it.
I honestly think it's because of the lack of representation I had back then.
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Guillaume Diop warming up.
Photo: Radio-Canada / Jose Martinez
Because without an internship he did in New York in 2016 with a troupe of predominantly African-American dancers, Diop might have given up dance.
I think that as children we really underestimate how important it is to see things with our eyes, even if we have pictures, videos or archives. I told myself yes, but I need to see people of color on stage.
Today he is the role model and role model he never had. A role he had not prepared for but understands the scope of, especially since he traveled to Guyana in October to promote ballet and diversity.
It was then that I really realized that I had become a role model for many children, certainly an inspiration, and it is a role that I take very seriously because I have asked myself for a long time whether I am convinced that this is possible.
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Guillaume Diop in dance class.
Photo: Radio-Canada / Jose Martinez
It is possible to be black or mixed race and dance the greatest roles in the classical repertoire, true to one's values within a 350-year-old institution.
In fact, the dancers are young and developing faster than the institution, admits José Martinez, who has set himself the task of modernizing the Paris Opera ballet since taking over the dance director last year.
We cannot be a company like we were 200 years ago, our development must follow that of society and Guillaume Diop is living proof of this.
Although Diop was young, he was also one of the initiators of these reflections when, in 2020, he wrote a major manifesto in the name of diversity together with the company's rare black dancers. The long plea also called for the abolition of discriminatory practices within the opera.
I felt more grown up, honest and mature to assert that because it is part of me and my identity.
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Guillaume Diop on makeup.
Photo: Radio-Canada / Tamara Alteresco
“Things have changed in concrete terms,” explains Guillaume Diop, sitting at the make-up chair.
There is makeup for our skin tones. No more reason to mix things up because it's a bit boring sometimes, and most importantly there's no more blackface at the Paris Opera because yes, it was still done.
Her make-up artist nods and smiles. Blackface, yellowface, whitening of black skin… all of that is now banned.
Guillaume Diop has to leave us. He disappears into the hustle and bustle that reigns behind the stage a few minutes before the big rehearsal of the Nutcracker Ballet.
We were treated to several scenes from the famous Christmas story, including one of Guillaume's favorite scenes, a waltz among the snowflakes with his partner, the great prima ballerina Dorothée Gilbert, who is almost twice his age.
For me it is a joy to rediscover with Guillaume the freshness of the beginnings, there is a discovery on his part and we see it in his eyes and his dancing.
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Guillaume Diop and Dorothée Gilbert during the big rehearsal of the “Nutcracker” ballet.
Photo: Radio-Canada / Jose Martinez
Guillaume Diop flies across the stage, but keeps both feet on the ground. As an ambassador for a new generation of stars, he makes the National Ballet shine.