Guillaume began his journey with diabolo at the age of 10 in France. After years of dedicated practice, he graduated from the Stockholm circus school in 2016 and became a professional artist. Over the years, he has performed his diabolo act in more than 20 countries worldwide and has set diabolo world records. In recent years, he created the DiaboloFocus online shop to offer Sundia diabolos in Europe. At the age of 31 in 2024, he unveils a technical video showcasing 8 years of unprecedented progress.
Technical Video
1. What was the process of making an 8-year-long technical video?
I have always found pleasure in practicing privately without showcasing too much of my progress to the public. During my childhood, I admired Tony Frebourg, who would only share a video every few years. This approach became deeply rooted in me. I constantly seek to surpass my accomplishments. The feeling of contentment doesn't last long due to my high standards, leading me to believe that my achievements are not enough. This mindset can be advantageous in certain scenarios yet detrimental in others.
As my dreams keep growing, I must recognise my own limits and celebrate what I have already achieved. I am now very proud to showcase this series of videos.
2. How has diabolo equipment influenced your technique over the time ?
In 2016, I released a technical video, which I thought was the peak of what I could achieve. I realised that a lot of limitations were, in fact, based on the prop itself, since I was using a Henry’s circus diabolo. Discovering the Evo diabolo model has completely changed my technique and given me motivation to pursue the path of technical improvement. Sundia produced an ultra-lightweight Evo diabolo upon request, and that was a second epiphany. I felt the lightweight diabolo would allow me to push technique much further. The prop itself has been a source of motivation. It allows me to be tired less quickly, which leads to a better learning curve. I switched from 31cm sticks to 32cm sticks in recent years, which I think has been improving my technique too, although in a more sublte way.
3. What were your hardest tricks ?
With 4 diabolos, the "rotating 4high" and "C42424242" were the most challenging. The trick C42424242 is not only a difficult trick, but it is the siteswap with the highest number achieved in diabolo (C=12). The 97531 is the most difficult trick I have qualified and collected with 5. In addition to being physically difficult, they represented a big mental barrier too. I had to break them down into smaller versions first. A special mention for 534 anti shuffle too, which is not adding more visual significance and is merely a challenge for the sake of difficulty.
4. What tricks do you like the most ?
I love two types of tricks. On one hand, the very high throws with intricate patterns underneath. It’s like trying to ‘beat the clock’ before the high diabolo comes down. On the other hand the tricks with special trajectories or concepts, that are hard to express in basic Siteswap notation. I love the feel of the continuous 56234 and the fountain pattern.
5. What was it like training 7 diabolo?
Guillaume:
This is the ultimate challenge because nobody has done it before. It represents a real level up, and so much of it is just mental. I have been trying it as early as 2016 from a self-start and quickly realised that an assisted start would give me better chances at a flash. I attempted it once in 2018 and another time in 2019 without success. Later on in 2022, Johan Juslin was performing in Berlin with Cirque du Soleil, and I thought he could be a good assist for that task. I eventually managed 8 catches on the first session and 10 on the second one. He then had to go on with the tour. I think what helped is that mentally, I was prepared to accept failure, and yet very determined. I didn't put too much pressure on myself. On the other hand, I tried to sound confident to Johan in hopes he would be convinced that we could do it. It is really a team effort because figuring out the timing of the pass is already quite the challenge. Props to him!
Johan:
It gave me a lot of motivation to assist with the throws because I wanted to see it be done. With the sessions we had I was constantly thinking it can be done so we can’t give up. Even if I probably won't do 7 diabolos myself I wanted to be able to help as much as possible someone who deserves to make it happen. With the results we got out of it, I was super happy!
General Questions
1. How did you start getting into diabolo?
At the age of 10, I first encountered diabolo at a pedagogical circus event in my school. The physics behind it immediately fascinated me - how could it maintain balance on the string? The seemingly endless possibilities of the diabolo never failed to astound me. Five years later, I became part of the professional team in a family circus. Our routine involved teaching school children for a week, culminating in a joint performance where the kids showcased their skills in the first half and the professionals took over in the second half. This experience instilled in me the traditional circus values, emphasized the importance of consistent training, and developed my stage presence.
2. Who influenced your journey?
In 2003, I began watching Diabolo Folies video tapes featuring Jochen Shell. This led me to be later on inspired by the diabolo artists showcased in the Diabology DVD, including Sylvestre Dewa, Eric Longequel, Antonin Hartz, and Jean-Baptiste Hurteaux. I soon developed a keen interest in high diabolo technique and found myself admiring Priam Pierret and Tony Frebourg.
In 2011, I enrolled in the Bordeaux circus school where Priam taught diabolo. He instilled in me a passion for theory, siteswaps, and passing. A workshop with Eric Longequel left a profound impact on me at the artistic level. Two years later, I was accepted into DOCH, the circus school in Stockholm, where my style continued to evolve thanks to the guidance of Jay Gilligan and Ben Richter.
3. What makes a good diabolo performance?
This is a difficult one. A successful performance is one where the artist is fully engaged and excelling in their craft. I personally appreciate seeing a high level of expertise and admire individuals who go deeply into a particular technique. When it comes to my personal choices, I have consistently aimed to present a diabolo performance that can be appreciated by both non-jugglers and diabolo enthusiasts alike. I like working on details and being non conformist to a certain degree.
4. How do you practice technique?
When working on numbers, I usually spend 10 minutes warming up with tricks I already master. I then directly practice tricks I can’t do. I guess with the time, I learned to appreciate failure because it promises progress. I occasionally work on endurance, as I believe it is crucial to improve form. Although I usually have tricks in mind before a session, I do not follow a strict plan and often come up with new ideas for tricks in the moment. If a trick takes too long to succeed, that’s a signal I should break it down into easier versions. When I set out to improve my level and have the opportunity, I do 2 to 3-hour sessions 4-5 times a week.
My approach has always been to beat my personal best instead of my average. I would describe my style as a flexible technician. I might not be very solid at a few single tricks, but I certainly learn new types of tricks very fast.
5. Who do you take inspiration from? What motivates you?
From a technical standpoint, I draw inspiration from individuals pushing the numbers technique forward, specifically Pen Zen, Ronnie Slowinski, Liao Jia Wang, Robin Spinelli, Kenta Hara & Jose Concha among others. A special mention for Pen Zen who is continuously pushing the boundaries in low. Both of us have decided to pursue diabolo as a career and have a strong commitment to overcoming mental barriers. For these reasons, he's been and continues to be a big source of motivation.
All that said, I have motivation that comes from within too. I feel a sense of responsibility and satisfaction in challenging my limits.
On an artistic level, I have found early inspiration in a few jugglers who had a movement awareness in their juggling. I can name Eric Longequel, Stefan Sing, Guillaume Martinet, André Hidalgo, Carlos Muños, Miguel Gigosos. However, I have not actively engaged in doing artistic research since 2020.
6. What are you the most proud of?
In terms of diabolo, I am proud of having consistently pushed the limits of diabolo technique for about 15 years and I have been performing my one diabolo act in more than 20 countries worldwide. I am motivated to push diabolo forward in many regards, such as technically, artistically, culturally. My collaboration with Sundia allows me to request products or colours in accordance with my requirements, which is exciting. I am trying to provide diabolo resources. I recently created new pages for Records, Diabolists, Video, Simulator. I believe this can be useful to the younger generation and can help the community in the long term.
7. Which diabolo and sticks model are you using?
I am using the EVO UL for numbers, which was produced upon request in 2019 and is also becoming available in the shop. For my stage performances, I am using the standard EVO G2 diabolo. I am using the 32cm Sundia Carbon sticks with 1.3mm white Sundia string.
8. Do you have dreams or goals to achieve in the future?
I aim to keep pushing the boundaries of diabolo techniques. I plan to use the shop as a means of financial support to expand diabolo in various aspects. I believe that diabolo could thrive independently from the field of juggling, similar to the yoyo community. While I have a deep appreciation for juggling and understand that certain aspects are connected, I wish for diabolo to establish its own distinct presence on a larger scale.
9. What advices can you give to someone starting out with diabolo?
Diabolo has many benefits, do whatever makes you happy. Personally, I enjoy to see someone who specialises in one style or types of technique. Find out what you like most and give it your best!
Priam Pierret
1. How and when did you first meet Guillaume? What was your first impression of him?
I met Guillaume in 2006-2007 when he was around 12 or 13 years old. He sent me an email expressing his motivation for diabolo and seeking advice on learning three diabolos. Initially, these emails were for seeking advice, but quickly turned into showcasing his progress. It soon became apparent that he was extremely talented and had surpassed my own abilities, despite being only 14 or 15 years old. My first impressions were of a determined individual making bold moves. His motivation was evident in reaching out to strangers like myself, a fact that I found impressive at the time. It was clear that he was gifted and had a thoughtful approach to the subject, leaving a lasting impression on me.
2. How did you contribute to his development? What did you teach him?
When I noticed his exceptional talent despite his young age, I immediately wanted to meet him, so I invited him to the juggling convention in Bordeaux, probably in 2008 or 2009. I then suggested that he present his act at the gala show, knowing that he was working in a circus in Tours. His act was remarkable, I remember that at the end of his acclaimed performance, we said, "If you're ready, I invite you to join me on stage to attempt the 4 diabolo low.", which was a feat never been done before on stage. There is a video of him doing 4 diabolo high, provoking applause from the audience. However, I asked the audience to hold their applause until the diabolos reached the height of his head. A silence fell, followed by applause when the diabolos reached the desired height. This moment marked Guillaume's first time on stage with 4 diabolos low, a memorable performance.
"Passes la Balle" juggling convention in Bordeaux in 2009 - Priam introduces the world first attempt at a 4diabolo low on stage.
Subsequently, we developed a friendly relationship and exchanged regularly. Guillaume came to Bordeaux because I was teaching there. As for the lessons I gave him, in reality, I didn't have to teach him much. Guillaume has always been a talented self-taught individual, brimming with creative ideas. When he expressed his desires and projects, I would question him to help him clarify his thoughts and explore different pedagogical approaches.
I also delved into theory with him, a field I master well and to which I have contributed significantly. Initially, he asked a few questions, but he quickly became an expert in the subject. Then, we collaborated on research, especially on diabolo passing, a shared passion for aerial diabolo. This collaboration lasted for several years. Apart from these aspects, I did not have a predominant role in his education.
3. How did Guillaume contribute to diabolo? What was your reaction to his technical video?
Guillaume made a significant contribution. He excelled in aerial techniques, as well as in low techniques, being one of the first to perform with 4 diabolos on the string. That is certainly noteworthy. In my opinion, Guillaume is the one who dared to think: "If we can master 4 and 5 diabolos, then all the siteswap patterns we can imagine with 2 and 3 diabolos can be attempted with 4 and 5".
A significant breakthrough has been made in unlocking the repertoire with 3, 4, 5, 6 diabolos. This breakthrough followed a substantial contribution resulting from training at the Stockholm Circus School. It involves using a single diabolo with highly visual and precise manipulation techniques. More recently, there has been a shift in perspective towards viewing the diabolo string not as one hand, but as two hands. In traditional diabolo siteswap, it is treated as one hand. Guillaume has explored the concept of dividing the string into three or more sections to enable distinct points for throwing and catching.
The latest video showcases a variety of impressive tricks in high, demonstrating a remarkable level of skill and creativity. The incorporation of intricate techniques with a very fine diabolo maneuvers is truly astounding. 8 years of dedicated work is mind blowing. He showcases 4, 5, 6, 7, and 8 diabolos simultaneously, executing tricks that were previously unimaginable and distinctly original, deviating from traditional siteswap patterns. This display of immense creativity and technical proficiency surpasses even the most skilled diabolo artists on social media platforms. It is truly a groundbreaking performance that left me in awe, prompting me to share my amazement with fellow diabolo enthusiasts, forewarning them of the astonishing spectacle they are about to witness.
4. Anything else you’d like to add?
I would like to provide a brief description of Guillaume's personality. While this is solely my perception, I believe it is relevant to what has been accomplished. Guillaume is an individual with remarkable determination and a highly cerebral nature. He tends to intellectualize many aspects, projecting himself forward. I share a similarity with him for deep reflection. In our field of expertise, we envision and meticulously refine ideas in our minds before bringing them to fruition. Moreover, he has an exceptional calmness and profound serenity. Despite the intense cogitation within, he maintains a composed exterior. This composed demeanor enhances the impact of his remarkable achievements, as he refrains from flashy displays. There is no hint of his capabilities until he is fully prepared, thereby amplifying the element of surprise.
Go to Guillaume's video library to watch more:
One Diabolo Act (6)
Bonuses (3)
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