Interview with Guillaume Siard

Meeting with Guillaume Siard, Director of Education at Ballet Preljocaj Junior. With over two decades of experience at Ballet Preljocaj, he explains how this unit is dedicated to helping young dancers transition into professional careers, detailing the program’s unique features and its partnership with the Fonds de Dotation Francis Kurkdjian.

Fonds de Dotation Francis Kurkdjian: "Hello, Guillaume. To start, could you introduce yourself and tell us about the main mission of Ballet Preljocaj Junior? How does this program differ from other professional dance development initiatives?"

Guillaume Siard: "Hello. My name is Guillaume Siard, and I am the Director of Education at Ballet Preljocaj. I have been working with Angelin Preljocaj since September 2001, initially as a professional dancer. Alongside my work as a dancer, I also taught classes and led masterclasses, which led me to become the Assistant to the Director of Education in 2006 when the Pavillon Noir was inaugurated.

In 2015, with the Ballet team and Angelin Preljocaj’s support, we founded Ballet Preljocaj Junior, a structure focused on helping young dancers transition into professional careers. This program provides a bridge between higher education institutions and professional life. While some institutions offer young ballet programs, we wanted to create a direct pathway between our company and an autonomous experience for these young dancers. They participate in new creations with guest choreographers and also perform pieces that the main company does not dance. This allows them to progress towards professional careers in an immersive and personalized setting."

Fonds de Dotation Francis Kurkdjian: "How does the support from the Fonds de Dotation Francis Kurkdjian contribute to this program for young dancers?"

G.S.: "The support from the Fonds de Dotation Francis Kurkdjian is essential for us. It enables us to expand activities such as new creations and repertory performances. This support is invaluable, especially in a context where budgets can fluctuate from year to year. It's also crucial for young dancers to see that private partners, like foundations, are committed to their professional development, not just government organizations. This demonstrates that professional integration in the arts sector is a topic that resonates with a range of partners."

Fonds de Dotation Francis Kurkdjian: "What are the core skills that young dancers acquire in this program, and how does it impact their future careers?"

G.S.: "The fundamental skill we develop in young dancers is their mental adaptability. Technically, they already have a very high level when they join Ballet Preljocaj Junior, as they are selected through auditions. What sets them apart is their ability to interact with others, to receive input, and to adapt to the world around them. A dancer must be capable of inspiring a choreographer by offering ideas and interpretations. We look for dynamic interpreters—young but already mature."

Fonds de Dotation Francis Kurkdjian: "Could you tell us about the creative work rehearsals that took place at the Armenian National Opera between September 30 and October 15?"

Guillaume Siard: "We arrived in Yerevan on October 1st and immediately began working with the dancers of the Yerevan Opera, both from the classical company and the traditional dance troupe. This artistic collaboration, centered on the artist Sergei Parajanov, was immensely enriching—both intellectually and physically. We visited the Parajanov Museum, which is particularly meaningful for Armenians, and this artistic and human encounter became a profound cultural exchange, culminating in a first performance on October 14."

Fonds de Dotation Francis Kurkdjian: "How do these rehearsal moments contribute to group cohesion and to refining dancers’ skills?"

G.S.: "These rehearsals were crucial for group cohesion. There is a lot of group work, in unison or with physical connections that require dancers to truly know one another, to feel each other's breath. This year, the group came together very quickly. I was even surprised to see that these young dancers are relatively disconnected from social media, which promotes a stronger human connection between them. They communicate a lot with each other, using humor and forming natural bonds, much like people did before social networks existed."

Fonds de Dotation Francis Kurkdjian: "What are the main challenges young dancers face after their training?"

G.S.: "The main challenge actually begins before they even finish their training. Starting around February or March, they start auditioning for companies, facing selection from choreographers and the economic limitations of different countries. This can be overwhelming for them. They have to manage uncertainty, the sometimes high expectations from their parents, all while staying focused on their work. We support them through this process, and some even join the main company at Ballet Preljocaj if there is mutual interest."

Fonds de Dotation Francis Kurkdjian: "What evolution do you observe in young dancers between the beginning of their training and their emergence as young professionals?"

G.S.: "They gain maturity, as we all do. Over the course of the year, they become more grounded, more open, and less anxious. They learn to shift from a student mindset to that of a professional. Their relationship with choreographers evolves—they no longer simply meet expectations like students but begin to interact as professional dancers. This is a natural and necessary process, and we’ve learned to recognize and support this transition."