General Yuzuru Chat

[amylance1215]

1 hour ago, Whoopiewoop said:

And wouldn’t that be fun.

 

Omg , I’m never this petty.

I swear FS brings out the pettiest side of me that I didn't even know existed. 

Like rationally i know it's I*U's fault that he got over scored but I still couldnt help but resent him a little for not even trying to live up to the scores he got. 

And after this whole mess I'm just, out of benefit of the doubt to give...

[Kat]

I still do, I wont go after someone for writing an apology out. Some things I'm seeing are beyond petty, it's toxic. It's really hurtful to have people say writing an apology out means it's fake...I write mine out due to private matters. It helps me keep thoughts organized and the main talking points as focus. I wont tell anyone what was said wasnt bad, but the suspected writing aspect I cant even....for scoring I solely blame I*U and judges that facilitate lining each others pocket. I get resenting on the matter of not living to the scoring. It does leave a bitter after taste :/. 

 

which is why we stan Yuzu lol (on a happier note)

1 hour ago, amylance1215 said:

I swear FS brings out the pettiest side of me that I didn't even know existed. 

Like rationally i know it's I*U's fault that he got over scored but I still couldnt help but resent him a little for not even trying to live up to the scores he got. 

And after this whole mess I'm just, out of benefit of the doubt to give...

 

[Yuzurella]

 

We did it!!!

2 million views!!!

Congrats, Fanyus!!! Well done!

And of course super well done Yuzu! What an absolutely spectacular performance!

[Guest Mary_kyo]

These days I can’t help but to compare the two different mindsets of the “current rivals” for evolving FS: “making FS straight” vs “using AI for fair judging”. And also can’t help but to notice how the first one is the mindset always pursued by the ISU. 

[gaia]

balleticyuzu new post by alessandra montrucchio

https://www.facebook.com/groups/1610393525875114/permalink/2970972083150578/

I'll put the text part of the post under spoilers for those who are not on fb (no videos though)
 

Spoiler

Hi everyone, here I am once again to examine some elements of Yuzu’s skating from a ballet dancer’s point of view. After writing about a few specific moments from two of his programs (“Heaven and Earth”, “Masquerade”), I’d like to talk about a jump that we’ve seen in all of Yuzu’s SPs and FSs of the last years.

I’m talking about the SALCHOW.

Why the Salchow, of all jumps?

Because, from a ballet dancer’s point of view, the Salchow (not Yuzu’s Salchow: the Salchow in general) is really, really ugly.

I’ve been wondering over and over if this is just my opinion, if my personal taste is overtaking my objectivity, and I still don’t have a final, clear answer. So I tried to examine the reasons why I consider the Salchow “balletically ugly”. Here they are.

First of all, it is an en dedans jump. In ballet, “en dehors” (outward) means that the legs, from hips to feet, are turned out. “En dedans” (inward) means that the legs are parallel or, sometimes, even turned in. Ballet is mostly based on en dehors positions. Pirouettes can be both en dehors and en dedans: in a pirouette en dehors, you turn toward your free leg (which is usually in a position called passé – the knee is bent and the toes lay on the ground leg’s knee – or coupé – the knee is bent and the toes lay on the ground leg’s ankle); in a pirouette en dedans, you turn toward your ground leg. Keep in mind, though, that even in a pirouette en dedans your legs are en dehors: in your passé (or coupé) the knee is turned out; if it was turned in, we’d be talking about another dance style, for instance jazz dance.

Now, I know I’m making it too easy, and I hope not to have any dancer or ballet fan horrified… but: ballet doesn’t perpetually force dancers to keep all those en dehors positions and steps – which means, to endlessly turn out their hips’ joints and bones – in order to punish them. The real reason why is that ballet’s ultimate goal is the chase of absolute beauty. Each and every movement, step, position can show a feeling, tell a story, express an idea, of course; but first and foremost, it is supposed to show the highest and purest beauty. No wonder, then, if contemporary dance or even neoclassical ballet (e.g. Balanchine), in order to innovate themselves, had to turn that beauty upside down: to underline how much ballet is unnatural (look at Balanchine’s broken lines, asymmetric positions, off-axis movements), or to create deliberately “dirty” or “ugly” steps and moves (e.g. Pina Bausch).

Back to the Salchow: it is an en dedans jump. The skater turns toward the ground leg; moreover, the legs are en dedans too, much turned in (like in a snow plough when you’re skiing). That’s why it’s a jump lacking in classic beauty, closer to a more contemporary, “dirtier” style of dance.

I’m going to give you three examples of Salchow. I chose not to comment on Nathan Chen’s Salchow because I didn’t want to do what too many commentators do (continuously comparing him and Yuzu, when they have almost nothing in common), and because it would mean hitting an easy target. So here you have the Gifs I took of three Salchow that earned high GOEs: 1) Nam Nguyen’s 4S, FS, Skate Canada 2019; 2) Michal Březina’s 4S, SP, European Championships 2020; 3) Yuna Kim’s 3S, FS, Olympic Winter Games 2014.

Nam and Michal look very similar. In order to prepare the jump, they turn a few times on the ice: at the beginning, while they’re skating backwards, they bend their left leg (consequence: their butt sticks a little bit out) and keep on turning in that position; their torso leans forward; they spread their legs a few seconds before jumping; the whole time, their arms are stiff (Michal keeps them wide open, Nam opens and closes them a few times) in order to help the body to keep its balance. Then, right before jumping, they lift a bit their right leg and take it from the side to the front: in ballet, this movement is called rond de jambe. Please note that this leg is en dedans, with the knee a little bent: weak or loose, my ballet teachers would call it. Finally, the take off for the Salchow: the right leg joining the left one and “wrapping” around it to get the correct position during the jump. Both Nam and Michal perform a correct 4S and get a rightly good score for it. Is their 4S beautiful, though? I’m sorry: no, it isn’t. On an aesthetic and balletic level, it’s ugly.

That’s why the third example is a 3S performed by Yuna Kim: in my opinion, the greatest female skater of all time, even though she had no quads. Yuna is much more graceful than Nam and Michal: she doesn’t bend her left leg during the transitions before the jump; her torso doesn’t lean forward so much; her arms are less stiff; she does lift her right leg from the ice (sooner than the two men), but she keeps it stretched and not so much en dedans. Even Yuna, though, prepares and performs a traditional Salchow in a traditional way: her Salchow isn’t that ugly, but to me it looks the ugliest of her jumps anyway.

Finally, Yuzu’s Salchow. I made a Gif of the 4S he literally chiseled in his SP at the World Team Trophy. Please watch it in awe for a few times, then try to gain some distance and watch carefully each movement. Like the other three skaters, before jumping also Yuzu turns a few times on the ice; each turn is tighter than theirs, though, and he doesn’t spread his legs. At the beginning, also Yuzu bends his left leg, but very slightly, and he bends immediately (and very slightly) his right leg as well: this way, he seems to take two small consecutive steps, as light as if he was tip-toeing (as if he was… en pointe) and doing some bourrées: those tiny, quick pit-a-pats of the feet en pointe that you see when a ballerina is moving around the stage. This way, his flow and grace are impressive: he’s really gliding, without any pause or fits-and-starts between one step and another.

Then: Yuzu’s torso is perfectly straight. Once again: Yuzu’s. Torso. Is. Perfectly. Straight. Which means, he cannot look for the perfect balance, not before the very last moment. Which means, he needs to be very brave and very self-confident. Which means, he needs to have a balletic posture and set of mind: ballet would never, ever allow you to take an ugly position “only” because it works better and is safer before performing a jump. So Yuzu keeps is torso straight, bending it just an inch one millisecond before jumping.

Now look at his arms: they’re soft and graceful but solid, steady, in the typical position of a ballet dancer’s arms before a pirouette: on in second position (horizontally extended to the side), one arm in first position (raised in front of the navel, more or less). Look at his elbows: the right one is soft, rounded, a little bit more bent than the left one; that’s how a dancer would keep their arms, so that they can help him to turn – looking beautiful at the same time. Look at his wrists: each of his hands follows naturally, smoothly, the forearm’s line, without “breaking” it. Look at his shoulders: thanks to the position of the arms (held up thanks to Yuzu’s shoulder blades and back’s muscles) and of the torso (that is straight, not leaning forward), the shoulders are low, relaxed, so different from the tense shoulders of the other skaters. Finally, look at his right leg – the one that the other skaters lift and keep en dedans, with a slightly bent knee, in order to gain momentum before jumping. Have you looked? If you have, you’ve seen that Yuzu doesn’t lift it from the ground. Yes. He. Doesn’t. Lift. His. Free. Leg. No helps, no “ugly” positions. Yuzu keeps his free leg on the ice on the ice, not turned out (en dehors), but not turned in (en dedans) either. Parallel, let’s say. Instead, Yuzu seems to push his ground leg back, gaining momentum thanks to a movement very different from what the other skaters do… an opposite movement, in fact: Yuzu doesn’t do a rond de jambe from the side to the front of his body with his right leg; he does a rond de jambe from the side to the back of his body with his left leg. Exactly: he doesn’t do a rond de jambe en dedans, “dirty” and unavoidably clumsy; he does a rond de jambe en dehors, clean, airy, elegant.

Paying so much attention not only to the transitions, to the entry and the exit, and to the jump itself, but also to the beauty of it all, means making any jump act much riskier, I guess. We all know that Yuzu can pop a Salchow, sometimes; but when he jumps it as his best, the Salchow stops being the awkward jump that you could never see in a ballet like Don Quixote or Swan Lake and turns into absolute, almost supernatural beauty; the epiphany of a power above.

#balleticyuzu

 

[yuzu-san-fanyu]

4 minutes ago, gaia said:

balleticyuzu new post by alessandra montrucchio

https://www.facebook.com/groups/1610393525875114/permalink/2970972083150578/

I'll put the text part of the post under spoilers for those who are not on fb (no videos though)
 

  Hide contents

Hi everyone, here I am once again to examine some elements of Yuzu’s skating from a ballet dancer’s point of view. After writing about a few specific moments from two of his programs (“Heaven and Earth”, “Masquerade”), I’d like to talk about a jump that we’ve seen in all of Yuzu’s SPs and FSs of the last years.

I’m talking about the SALCHOW.

Why the Salchow, of all jumps?

Because, from a ballet dancer’s point of view, the Salchow (not Yuzu’s Salchow: the Salchow in general) is really, really ugly.

I’ve been wondering over and over if this is just my opinion, if my personal taste is overtaking my objectivity, and I still don’t have a final, clear answer. So I tried to examine the reasons why I consider the Salchow “balletically ugly”. Here they are.

First of all, it is an en dedans jump. In ballet, “en dehors” (outward) means that the legs, from hips to feet, are turned out. “En dedans” (inward) means that the legs are parallel or, sometimes, even turned in. Ballet is mostly based on en dehors positions. Pirouettes can be both en dehors and en dedans: in a pirouette en dehors, you turn toward your free leg (which is usually in a position called passé – the knee is bent and the toes lay on the ground leg’s knee – or coupé – the knee is bent and the toes lay on the ground leg’s ankle); in a pirouette en dedans, you turn toward your ground leg. Keep in mind, though, that even in a pirouette en dedans your legs are en dehors: in your passé (or coupé) the knee is turned out; if it was turned in, we’d be talking about another dance style, for instance jazz dance.

Now, I know I’m making it too easy, and I hope not to have any dancer or ballet fan horrified… but: ballet doesn’t perpetually force dancers to keep all those en dehors positions and steps – which means, to endlessly turn out their hips’ joints and bones – in order to punish them. The real reason why is that ballet’s ultimate goal is the chase of absolute beauty. Each and every movement, step, position can show a feeling, tell a story, express an idea, of course; but first and foremost, it is supposed to show the highest and purest beauty. No wonder, then, if contemporary dance or even neoclassical ballet (e.g. Balanchine), in order to innovate themselves, had to turn that beauty upside down: to underline how much ballet is unnatural (look at Balanchine’s broken lines, asymmetric positions, off-axis movements), or to create deliberately “dirty” or “ugly” steps and moves (e.g. Pina Bausch).

Back to the Salchow: it is an en dedans jump. The skater turns toward the ground leg; moreover, the legs are en dedans too, much turned in (like in a snow plough when you’re skiing). That’s why it’s a jump lacking in classic beauty, closer to a more contemporary, “dirtier” style of dance.

I’m going to give you three examples of Salchow. I chose not to comment on Nathan Chen’s Salchow because I didn’t want to do what too many commentators do (continuously comparing him and Yuzu, when they have almost nothing in common), and because it would mean hitting an easy target. So here you have the Gifs I took of three Salchow that earned high GOEs: 1) Nam Nguyen’s 4S, FS, Skate Canada 2019; 2) Michal Březina’s 4S, SP, European Championships 2020; 3) Yuna Kim’s 3S, FS, Olympic Winter Games 2014.

Nam and Michal look very similar. In order to prepare the jump, they turn a few times on the ice: at the beginning, while they’re skating backwards, they bend their left leg (consequence: their butt sticks a little bit out) and keep on turning in that position; their torso leans forward; they spread their legs a few seconds before jumping; the whole time, their arms are stiff (Michal keeps them wide open, Nam opens and closes them a few times) in order to help the body to keep its balance. Then, right before jumping, they lift a bit their right leg and take it from the side to the front: in ballet, this movement is called rond de jambe. Please note that this leg is en dedans, with the knee a little bent: weak or loose, my ballet teachers would call it. Finally, the take off for the Salchow: the right leg joining the left one and “wrapping” around it to get the correct position during the jump. Both Nam and Michal perform a correct 4S and get a rightly good score for it. Is their 4S beautiful, though? I’m sorry: no, it isn’t. On an aesthetic and balletic level, it’s ugly.

That’s why the third example is a 3S performed by Yuna Kim: in my opinion, the greatest female skater of all time, even though she had no quads. Yuna is much more graceful than Nam and Michal: she doesn’t bend her left leg during the transitions before the jump; her torso doesn’t lean forward so much; her arms are less stiff; she does lift her right leg from the ice (sooner than the two men), but she keeps it stretched and not so much en dedans. Even Yuna, though, prepares and performs a traditional Salchow in a traditional way: her Salchow isn’t that ugly, but to me it looks the ugliest of her jumps anyway.

Finally, Yuzu’s Salchow. I made a Gif of the 4S he literally chiseled in his SP at the World Team Trophy. Please watch it in awe for a few times, then try to gain some distance and watch carefully each movement. Like the other three skaters, before jumping also Yuzu turns a few times on the ice; each turn is tighter than theirs, though, and he doesn’t spread his legs. At the beginning, also Yuzu bends his left leg, but very slightly, and he bends immediately (and very slightly) his right leg as well: this way, he seems to take two small consecutive steps, as light as if he was tip-toeing (as if he was… en pointe) and doing some bourrées: those tiny, quick pit-a-pats of the feet en pointe that you see when a ballerina is moving around the stage. This way, his flow and grace are impressive: he’s really gliding, without any pause or fits-and-starts between one step and another.

Then: Yuzu’s torso is perfectly straight. Once again: Yuzu’s. Torso. Is. Perfectly. Straight. Which means, he cannot look for the perfect balance, not before the very last moment. Which means, he needs to be very brave and very self-confident. Which means, he needs to have a balletic posture and set of mind: ballet would never, ever allow you to take an ugly position “only” because it works better and is safer before performing a jump. So Yuzu keeps is torso straight, bending it just an inch one millisecond before jumping.

Now look at his arms: they’re soft and graceful but solid, steady, in the typical position of a ballet dancer’s arms before a pirouette: on in second position (horizontally extended to the side), one arm in first position (raised in front of the navel, more or less). Look at his elbows: the right one is soft, rounded, a little bit more bent than the left one; that’s how a dancer would keep their arms, so that they can help him to turn – looking beautiful at the same time. Look at his wrists: each of his hands follows naturally, smoothly, the forearm’s line, without “breaking” it. Look at his shoulders: thanks to the position of the arms (held up thanks to Yuzu’s shoulder blades and back’s muscles) and of the torso (that is straight, not leaning forward), the shoulders are low, relaxed, so different from the tense shoulders of the other skaters. Finally, look at his right leg – the one that the other skaters lift and keep en dedans, with a slightly bent knee, in order to gain momentum before jumping. Have you looked? If you have, you’ve seen that Yuzu doesn’t lift it from the ground. Yes. He. Doesn’t. Lift. His. Free. Leg. No helps, no “ugly” positions. Yuzu keeps his free leg on the ice on the ice, not turned out (en dehors), but not turned in (en dedans) either. Parallel, let’s say. Instead, Yuzu seems to push his ground leg back, gaining momentum thanks to a movement very different from what the other skaters do… an opposite movement, in fact: Yuzu doesn’t do a rond de jambe from the side to the front of his body with his right leg; he does a rond de jambe from the side to the back of his body with his left leg. Exactly: he doesn’t do a rond de jambe en dedans, “dirty” and unavoidably clumsy; he does a rond de jambe en dehors, clean, airy, elegant.

Paying so much attention not only to the transitions, to the entry and the exit, and to the jump itself, but also to the beauty of it all, means making any jump act much riskier, I guess. We all know that Yuzu can pop a Salchow, sometimes; but when he jumps it as his best, the Salchow stops being the awkward jump that you could never see in a ballet like Don Quixote or Swan Lake and turns into absolute, almost supernatural beauty; the epiphany of a power above.

#balleticyuzu

 

this is amazing!! tysm for sharing!!

[gaia]

2 hours ago, Yuzurella said:

 

We did it!!!

2 million views!!!

Congrats, Fanyus!!! Well done!

And of course super well done Yuzu! What an absolutely spectacular performance!

which one next? so many beautiful programs with too little views need our attention and worldwide love...

 

[gaia]

@yuzu-san-fanyu she's made many more of them. all of them so interesting. just search for #balleticyuzu

[yuzu-san-fanyu]

Just now, gaia said:

@yuzu-san-fanyu she's made many more of them. all of them so interesting. just search for #balleticyuzu

ooh yay!! thank u!!

[gaia]

 please submit and share  
 

[Fay]

 

[Yuzuwinnie]

42 minutes ago, Fay said:

 

 

 

Hello , i think it's the same that Gaia ? but i have no FB and so i just learn that ( directely writte in English ) i try with fault ......  

[Melodie]

13 hours ago, Whoopiewoop said:

And wouldn’t that be fun.

 

Omg , I’m never this petty.

I was thinking that guy would literally be disqualified if Axel was used as the first qualification criteria. His Axel is a complete mess even tho his toe picks and edges on jumps are fine. If you think about it, Dima would go with him as well, given that both his Axel and toepicks are terrible LOL. 

 

We do need a Yuzu’s club of pure techniques LOL.  

 

PS: This has nothing to do with whatever drama. 

[thebellsjar]

Hi besties, I hope everybody is doing great. I've been a bit out of the loop on the FS drama since the Formula 1 championship took over my whole life (ikr the duality of man, I love pretty ice skating performances and fast cars going vroom vroom and both worlds have so much drama!), so anyway, I read what Nathan Chen said about figure skating being a "LGBTQ dominated sport", and LMAO boy he set himself up for the backfire with that one, and then kind of apologised for saying that. BUT I try to be as fair as possible and not hate on him for things he can't avoid, like being madly overscored in situations he clearly didn't deserve * coughs any of his PCS tbh coughs * so I would like to hear the take from you girlies since I'm too lazy and tbh don't care enough about him to do a proper research. Do you guys think he was genuinely misinterpreted or he's just trying to save some face now? I'm sorry if this topic has already been covered a lot here, I'm not trying to shit stirr, I'm just curious of what other FS fans think of that and the planet is the only "safe space" for me to post without being accused of being a blind fanyu just for not really vibing with Nathan.

Anyway, sorry if this is a touchy topic or if I'm breaking any rules for bringing this up so late in the game, I'm just really lost lol.

[Kat]

2 hours ago, thebellsjar said:

Hi besties, I hope everybody is doing great. I've been a bit out of the loop on the FS drama since the Formula 1 championship took over my whole life (ikr the duality of man, I love pretty ice skating performances and fast cars going vroom vroom and both worlds have so much drama!), so anyway, I read what Nathan Chen said about figure skating being a "LGBTQ dominated sport", and LMAO boy he set himself up for the backfire with that one, and then kind of apologised for saying that. BUT I try to be as fair as possible and not hate on him for things he can't avoid, like being madly overscored in situations he clearly didn't deserve * coughs any of his PCS tbh coughs * so I would like to hear the take from you girlies since I'm too lazy and tbh don't care enough about him to do a proper research. Do you guys think he was genuinely misinterpreted or he's just trying to save some face now? I'm sorry if this topic has already been covered a lot here, I'm not trying to shit stirr, I'm just curious of what other FS fans think of that and the planet is the only "safe space" for me to post without being accused of being a blind fanyu just for not really vibing with Nathan.

Anyway, sorry if this is a touchy topic or if I'm breaking any rules for bringing this up so late in the game, I'm just really lost lol.

This has been done a lot prior, you could read the thread, it's only a few pages back.

 

My take? I dont hate him. Yes what he said was dumb, and people can be angry. I wont tell someone how to feel, but I do not hate him. I think his apology was genuine-writing it out doesnt matter to me. He is in a case of being damned no matter what he did.

 

People scream apologize-and he did-and then the split into factions of: it's not genuine because you didnt speak off the cuff (which got him in trouble in the first place). Proceed to bash him and demand apology and gleefully wish for him to fail.

 

2nd faction: he apologized-still mad and upset, but moving on

 

3rd: confused. Disappointed. Trying to navigate