[2024-2025] Compilation of translated interview articles with Yuzu

[yuzurujenn]

2025.04.03

 

 

Source: 20250403 KISS & CRY -THE STAGE4-

 

Special Interview: Costume Designer Taketoshi Hara
The Costume Is the Only Stage Device

 

In the Haier/AQUA commercial, Yuzuru Hanyu’s blue and white costumes became a big topic. We interviewed the designer, Taketoshi Hara, who worked on them, and asked about the design concepts and behind-the-scenes episodes.

 

Spoiler

Attention to detail in the two costumes, "Blue Hanyu" and "White Hanyu"

 

— How did you come to be involved in this project?

“I was approached around last autumn, but initially it wasn’t a costume-making request — it was for styling coordination. However, Haier/AQUA already had a clear image at that point, and as the discussions progressed, it became ‘let’s make something new rather than using existing pieces.’ At first, I was relaxed and excited thinking, ‘I get to see Hanyu skate up close again!’ But suddenly, I was tasked with creating two costumes in a short time, which was quite tough (laughs). The actual production period was about three weeks. While they were checking one design, I was simultaneously brainstorming the second — it was probably the tightest schedule I’ve ever worked on. Still, on the pure white ice, the costume is the only stage device, and since it’s for a commercial that has to leave a lasting impression, I tackled the project with a sense of purpose.”

 

— How did the production process go?

“I always get design ideas from music, so I asked the creative team, ‘Please tell me as soon as possible what kind of music will be used.’ Sometimes the commercial’s music is finalized only in post-production, near the end, but for me, music is crucial. So they kindly sent me the updated audio tracks each time the arrangement was revised, and I repeatedly listened and refined the design accordingly.”

 

— Can you explain the concept behind each costume?

“The blue costume is based on Haier’s corporate colour, a deep royal blue. The idea started from fusing something classical and noble with something technical. I drew inspiration from gemstones like lapis lazuli and European luxury cars like Lamborghinis and Ferraris. The commercial’s music blended string sounds with a modern EDM feel, similar to a movie or game soundtrack. So, instead of only going for a sharp, classical look, I incorporated elements inspired by artisan indie fashion brands’ unisex styles. I also wanted to bring out a strong sense of figure skating, so I included rhinestones. I personally decided on the placement of the shoulder stones and attached them by hand. Interestingly, the central motif on the blue costume’s shoulder is the same as the front motif on the white costume. Although the two outfits look very different, I made sure there were subtle links between them.”

 

— And the white costume?

“Since the blue costume is asymmetrical, I deliberately designed the white one to be symmetrical as a contrast. For example, the blue has pleats on the right side, while the white gathers tucks centrally around the button line to create dimension and nuance. Also, strictly speaking, the colour isn’t pure white — it’s a very pale, almost icy blue. Pure white can look bland, and because the rink itself is white, it lacks contrast and tends to blend in. By adding a hint of blue, I aimed for a transparent, dignified atmosphere. If you look closely at still shots on the rink, you can just make out the bluish tint. The silhouette combines soft bridal and Chinese garment elements, plus an image of clergy or sacred robes. For the decorative details, I used samples like custom-made jewellery, minerals, and European cathedrals.”

 

— What were the biggest challenges?

“The storyboards we received in advance showed a scene where Hanyu would jump, and I thought, ‘If it’s Hanyu, he’ll definitely go for a triple axel or a quad.’ Since we could only do fittings on the day of shooting, I was anxious about whether I could make something that could keep up with his movements, but I was familiar with his size, so somehow I managed. To ensure the garment didn’t restrict his movement, I made it fully stretchable, but at the same time, I fine-tuned the shoulder pads and the inner structure to preserve a tight, jacket-like silhouette.”

 

 

The Joy of a Designer Felt During Filming

 

— How was Haier/AQUA’s reaction?

“They were thrilled, saying things like, ‘It’s exactly what we imagined, no, even better!’ I think Haier/AQUA’s products stand out for their design emphasis, and it was the same with the costume direction, making this a very rewarding job. I'm proud that I was able to do a good job.”

 

— Any behind-the-scenes stories from the shoot?

“Usually, there’s a set place on the rink where Hanyu does his quad jumps, but because this was shot on a green screen for compositing, he had to jump right in the center. It looked tricky to time, so Hanyu said, ‘Let me adjust!’ and tried again and again. Also, since we used real rhinestones, the costumes were a bit heavy. It's a spot where he doesn't usually jump, and it's his first time wearing the costume, but I was impressed by his professionalism in completing the quadruple jump within the allocated time. Also, the white costume’s sleeves are made of an unusual draping tulle material, attached in a way we’d never used before, and Hanyu commented, ‘This is unusual,’ showing interest. He tested the air resistance when jumping and said, ‘Maybe I should hold this part when I jump.’ As always, I’m amazed at how skillfully he ‘tames’ his costumes.”

 

— It feels like it’s been a while since we’ve seen Hanyu skating on the rink in a commercial.

“That’s true. Hanyu is an all-rounder who can do anything, but for me, seeing him perform on ice is what moves my heart the most. Having that appear in a commercial and reaching people who might not be interested in figure skating, and knowing that my costume is involved in that, makes me very happy. This time, with special permission, the staff, including me, were allowed onto the rink to adjust the costumes during filming. I have been involved in figure skating for about 10 years, but I have only been allowed inside the rink a few times. I was very nervous because I know how sacred that place is. Seeing Hanyu skate from the closest possible distance, I was so moved I almost teared up. Standing in the middle of the rink, it feels wider and colder than it looks from outside. I felt an indescribable emotion, thinking, ‘The skater stands here all alone…’”

 

— Thank you. Last question. What does "making costumes for Hanyu Yuzuru" mean to you as a designer?

"There are two costumes this time, one blue and one white, but when Hanyu puts them on, he truly becomes 'Yuzuru Hanyu in that costume.' It's as if he transforms into a completely different person. He communicates with the costume I’ve created and brings an entire world to life. That was the case this time as well. Honestly, he’s probably the only person who gives me that kind of feeling. Of course, there's a lot of pressure and many challenges involved, but seeing a piece of work I poured my soul into be elevated beyond what I even imagined is deeply moving. Every project I’ve done with Hanyu becomes a cherished memory. If I can continue creating costumes for him in the future, it would be a true honor."

 

 

 

PROFILE
Born in Kanagawa Prefecture. While designing costumes for many top figure skaters, he also has a career as a guitarist. Instagram: @taketoshihara

The asymmetrical blue costume
Combining a structured image with the elegance unique to figure skating. The design of the blue costume was inspired by minerals and high-end European cars.

The white costume featuring a blend of various fashion elements
A balance of gentleness and purity. In contrast to the blue, the white costume was designed with symmetry in mind. Detailed touches were added to avoid it looking flat or plain.
 

 

 

[yuzurujenn]

2025.04.03

 

Source: 20250403 KISS & CRY -THE STAGE4-

Special Interview: Yuzuru Hanyu × Haier / AQUA
A Resonance with the Unrelenting Spirit of “Challenge”

 

Yuzuru Hanyu has been appointed as brand ambassador for the home appliance brands Haier and AQUA. We spoke with Mr. Kazuaki Kajiyama, Executive Officer and CSO, Head of Strategy at AQUA Co., Ltd.

 

Spoiler

As a “comrade-in-arms” who keeps the flame of the soul burning

— Please tell us how Yuzuru Hanyu came to be appointed as brand ambassador.
“Hanyu-san is a figure skater who has stood at the top of the world many times, including winning two consecutive Olympic gold medals. Yet he has never been satisfied and has constantly kept challenging himself. Even after retiring from competition and becoming a professional skater, he continues to produce innovative ice shows one after another, achieving ongoing success.
We at Haier Japan Region also have a management philosophy: ‘Even after conquering the peak before you, aim for the next summit.’ Hanyu’s attitude of constantly striving higher without being satisfied by past successes perfectly embodies this philosophy. That’s why we decided to appoint him as brand ambassador for Haier and AQUA.”

— What was the concept behind the advertising visuals this time?
"This time, we’ve taken a bold approach by having Hanyu-san represent both the Haier and AQUA brand images on his own. For Haier, rooted in the management philosophy of ‘challenge’ I just mentioned, we built the story around the keyword ‘Surpass yourself.’ In the commercial titled 'Me vs. Me,' it begins with a confrontation between the 'past Hanyu' and the 'present Hanyu,' and then the 'present Hanyu' delivers a powerful skating performance.
When filming, we requested that Hanyu show ‘strength and speed’ and express the idea of ‘never-ending challenge for new, unseen possibilities and value.’ We also worked with the costume designer to create a blue outfit that visually expresses strength, in line with the story.
On the other hand, AQUA is also based on the concept of 'challenge,' but centres around the word ‘innovation.’ This word is very important to Haier Japan. It expresses our philosophy of 'creating unprecedented new connections with people’s lives and the future,' 'allowing users to generate and share new value through using our products,' and 'delivering genuine love to our users from a place free of limitations.'
For the commercial, we requested that these ideas be conveyed in an elegant and graceful way. It seems fans are calling the two different Hanyu-sans, with the different concepts, ‘Blue Hanyu’ and ‘White Hanyu.’ We are very happy about that.”

— How did the project progress?
“We first had an online meeting where we conveyed our corporate philosophy and the concept of the commercial. After that, we conducted the actual filming, and Hanyu-san truly paid attention to details beyond what we had imagined, and the visual and commercial shoots went far over the planned schedule.”

 

— What impression did you have of Hanyu at the filming site?
“He was even more passionate than the impression you get from seeing him on TV. Even when the director and we gave the OK, Hanyu would say, ‘I’m not satisfied. Please let me do it again!’
He repeated his quadruple jumps again and again, aiming for perfection. Honestly, we were worried: ‘What if he gets injured?’ We told him, ‘It’s already more than enough, it’s okay,’ but he kept challenging himself until he was satisfied. We could feel that Hanyu was approaching this project with the determination to ‘fight alongside us,’ and it was deeply moving.”

— What kind of reactions have you received?
“We’ve received positive feedback from all stakeholders — customers, social media, business partners, and our employees.
It seems many people learned about Haier and AQUA through Hanyu, and even those who already knew of us now feel a stronger connection and greater interest in our products, services, and company. By borrowing Hanyu-san’s power, we were able to take the first step in spreading Haier / AQUA’s philosophy.”

— Have you seen Hanyu-san’s performance? Please tell us your thoughts.
“My first time was at Fantasy on Ice 2024. Watching him skate, I felt that "even though he has become a professional skater, he has not stopped evolving. His spirit of challenge is still intact." It was a powerful performance, and I got the impression that he has grown even more as a skater and as a person."

— What kinds of promotions or projects are you planning for the future?
“We want Hanyu-san to continue helping us widely convey our philosophy, and we hope he will continue to be a ‘comrade-in-arms’ who keeps the ‘flame of the soul’ burning. Although we cannot talk about it yet, please look forward to and pay attention to future developments.”

— So, you see Hanyu-san as a ‘comrade-in-arms’?
“In 2012, the AQUA brand debuted, and the following year, in 2013, we put up the Haier / AQUA signboard in Ginza, Tokyo.
At that time, our founder Zhang Ruimin sent this message to employees: ‘We were able to light neon in Ginza, one of the world’s most prestigious locations. But we must keep this light burning forever in the hearts of Japanese users as our soul.’
That feeling is something always in our hearts, and the idea of ‘firmly holding your convictions and continuing to send them out, eternally keeping the flame alive in the soul’ is something that I think resonates with Hanyu-san’s own thinking. When I think about it like that, I feel like it was not a coincidence that we found Hanyu, but rather it was inevitable."

 

[yuzurujenn]

 2025.04.07

 

Radio archive: https://weibo.com/tv/show/1034:5152891220983881

Source:
https://weibo.com/1683522853/PmcKvEkhp

https://weibo.com/1683522853/Pmg5DrL7p

https://weibo.com/1683522853/PmgD0tRjq

https://weibo.com/1683522853/Pmh9EhfzN

https://weibo.com/1683522853/PmhhPonFL

 

 

NHK Radio 1's "Nomura Mansai's Radio Fukubukuro" featuring special guest Yuzuru Hanyu Part 1 - BOLERO

 

Spoiler

Yuzuru Hanyu: "The 'NS' in the Notte Stellata ice show originally stands for 'a sky full of stars.' After the March 11, 2011 disaster, the city was devastated - there was no electricity, everything was pitch black. When I looked up at the night sky, it was incredibly beautiful. That beauty wasn't something simple. It's hard to even say it was about 'hope' or 'healing.' And yet, I was completely overwhelmed by how beautiful it was. For me, it's an incredibly important memory, how should I put it... it felt like a fated encounter. By chance, I came across Notte Stellata, and it became a piece I performed for gala exhibitions. Because I treasure that program so much, I made it the title for the ice show. Starting from 2023, we created this ice show with the hope of supporting not only the earthquake disaster recovery but all those affected by disasters across Japan."

Mansai Nomura: "On that day - 3.11 - I was actually in Paris. I only learned about it through the news, and it was agonizing, an overwhelming sense of helplessness. Even though I wasn't there, my family was still in Tokyo. So you were looking up at the stars that night, carrying feelings of sadness and loss. March must have been so cold... I can almost imagine breathing in that kind of air."

Yuzuru Hanyu: "At that time, I hadn't had many chances to travel abroad for competitions yet. When there was news of meteor showers, once, I had climbed a mountain to watch the stars. But the night sky then after the earthquake wasn't the same as during a meteor shower. It was shining in a completely different way. In a sense, it felt sacred. Maybe because we were facing such a massive disaster... In a city littered with broken glass, I felt like there weren't many people who would even think to look up at the sky. And yet, that night sky was so beautiful, a beauty we usually overlook. The stars were shining as if they were lighting the way for us."

Mansai Nomura: "This ties into the idea of a 'cosmic perspective,' doesn't it? The stars themselves, they don't change."

 



Yuzuru Hanyu: "Exactly. Just like how people from the Heian period were already reading the stars... Looking up at the same sky, at constellations whose positions haven't changed. As performers, we're also polishing the same things over time. We inherit the expressions and artistry passed down by those who came before us - the masters - and we transform them into something new. That's what we do, isn't it?"

Mansai Nomura: "The stars... If you think about it, the biggest star we can see from Earth is the sun. The sun, the moon - they are still watching over us. Over a long time, they've helped us grow stronger. Even during COVID, I kept wondering: Why do we have theater? Why were these spaces built? And thinking about that made me feel: We cannot give up. We have to survive. The stars are still there, watching over us. We can rebuild. When you go to a theater, and you experience a live performance, you can truly feel that you're alive."

Yuzuru Hanyu: "Yes, exactly. Even during COVID, and back during the 3.11 earthquake, I happened to be practicing skating at the time. I still vividly remember the damage to my home rink. After the rainstorms that followed, the rink became unusable. As someone who experienced the disaster firsthand, with so many people around me losing their lives, losing everything... At the time, I didn't even know if I could continue skating. I wondered if it was really okay for me to even think about skating when the very foundations of survival were lost. Was it right to even mention skating at all? Later, when I heard the call to organize charity ice shows, it gave me a way to skate again. The venue for Notte Stellata ice show was once used as a temporary morgue after the disaster. Of course, besides Notte Stellata, I've had other chances to skate too... But skating there on 3.11, in that place, I kept wondering deep in my heart: Is it really okay for me to skate here? It felt like I was retracing the past as I performed the entire show."

 



Nomura Mansai: This ties into the idea of performing rituals for the repose of souls, and also how those who are still alive must look forward. Considering that the venue was once a place where bodies were laid to rest, in a way, the thoughts and feelings of those who passed away with regrets linger there. It serves as a reminder to the living that we must continue moving forward, carrying a spirit of rebirth. These abilities are like divine gifts, entrusted into our bodies by the gods.

Yuzuru Hanyu: Hearing you say that... it truly makes me proud to be Japanese.

Nomura Mansai: Whenever I talk with you, Hanyu-san, our conversations always naturally lead to topics like this. It feels like destiny in a way. For ordinary people, it's natural to wonder: How far should we go in honouring and comforting the spirits? At Grande 21, that place where souls remain, I personally feel a strong sense of their presence.

Yuzuru Hanyu: Yes, I do feel a bit of fear as well. Every time I skate there, I'm very aware of it. In Noh plays, there are also movements where you stomp on the ground, right? We lay down ice in that place, put on makeup, and create a show... but I feel it's not something we should do just for entertainment or for fun. If I can transform it into an act of "stepping on the ice, sounding out the souls," then that's the feeling I bring into my skating.

Nomura Mansai: In Noh performances, each piece has its own particular foot-stamping patterns. Different plays have different rhythmic foot patterns, and especially in the piece Sanbasō, we use a lot of foot-stamping. This also appeared in the movie Onmyoji. There's a scene called "offering the sake cup," where this foot-stamping movement is performed. In a sense, it's a ritual for awakening souls from their winter slumber, encouraging rebirth with the arrival of spring. It fits perfectly with what we're discussing now. When you invited me this time, I thought carefully about what I could contribute. Of course, people are familiar with my connection to you through SEIMEI. When the 3.11 disaster happened, I was overseas, and after hearing the news and returning to Tokyo, I kept wondering what I could possibly do. I ended up choosing Boléro by Ravel. It became like a requiem, a ritual dance piece for me. Even though 10 years have passed, when I received your invitation, I thought: I want to perform it once more. This time, perhaps a bit boldly, I took the liberty of setting up a Noh stage right on the ice.

 

Nomura Mansai: It's not very common to move the stage to the center like this, is it?

Yuzuru Hanyu: It's the first time I've seen it.

Nomura Mansai: Such passionate skaters, truly. For us, the Noh stage is something quite fixed in form. Boléro is a very famous ballet piece and Maurice Béjart's Boléro is known worldwide. I personally interpreted it as a kind of Bon dance (Bon Odori) that could be performed on a Noh stage. Especially since Béjart's version had a red platform in the center, waiting for the melody to begin, with dancers surrounding it. That's why I thought of moving the red stage out from the entrance, like passing through a torii gate.

Yuzuru Hanyu: Hearing you explain it like that, I'm realizing it for the first time.

Nomura Mansai: Even the platform itself was designed like a torii gate.

Yuzuru Hanyu: Ahh, I really want to see it again!

Nomura Mansai: That concept connects to Sanbasō too. Doing footwork on the ice adds another layer of meaning.

Yuzuru Hanyu: When I performed with you, I wasn't always in sync with the footwork on the ice. The sound of stepping on the ice stage was actually different from the sound of our hard stepping on the ice. But when we resonated in those brief moments, I felt something sacred. When skating, realistically, we can't keep stomping the whole time. Even so, I feel like we managed to create something truly meaningful, something offered up to the spirits.

Nomura Mansai: Yes, when we perform the footwork (stamping), the music seems to respond to us. It's like the sound itself heard our steps. So it's not just a one-sided act. We respond to the sound too. Perhaps it's the resonance of the stage, but it feels almost as if we're surrounded by the earth god. It's as though the souls are there. In your case, Hanyu-san, you use your blades to touch the surface, and when the ice responds to that, maybe that's the gift of the "earth" itself.

Yuzuru Hanyu: With ice rinks, you can create sounds in other venues too. But I feel there's a sound unique to this particular venue. No matter how many layers of ice you lay, the floor, the concrete, the air that fills this space, the density of the air, the texture of the walls, they all make the sound feel close and intimate. I truly feel this is a sound that can only be born in this place.

Nomura Mansai: Before, I performed Boléro solo, but this was the first time collaborating with Hanyu-san, and with a group of incredible skaters. Choreographed together with Shae-Lynn as well, and it all came together into a great climax.

Yuzuru Hanyu: This is a treasure I will never forget for the rest of my life.

Nomura Mansai: I see. It was my first time performing together with you too. I simply tried to perform my part as best I could, while everyone around supported and built the performance together.



Yuzuru Hanyu: The rehearsals were truly tough. There were things that only those of us there could feel. Mansai-san must have been feeling anxious, checking on us while performing at the same time.

 

Nomura Mansai: When we depicted the scene of disaster victims suddenly collapsing, I asked the skaters to fall one after another. And I wondered, how many minutes should they lie there?

Yuzuru Hanyu: It depends on the willpower. They can lie down as long as they want.

Nomura Mansai: Ah, but you're all athletes, and now you have to act too. It must have been really tough to hold that for minutes at a time.

Yuzuru Hanyu: It was definitely cold. The weather wasn't particularly warm that day either. That special ice we used, it wasn't freezing cold, but it's not like it's warm either. Lying down like that must have been quite chilly.

Nomura Mansai: The five skaters lying gracefully, representing the disaster victims... Then they were reborn, and afterward, you, Hanyu-san, appeared as a golden angel soaring through.

Yuzuru Hanyu: When I saw the photos afterward, it really looked like a bird. I could feel everything you said every day, Mansai-san, it really felt like a firebird, or a painting of a bird flying. The costume, too, at rest it's sewn tightly, but it's very big, so performing in it was really difficult.

Nomura Mansai: You kept improving day by day. Flying and soaring must have been so hard.

Yuzuru Hanyu: No, no- rather, I treated the role you performed, Mansai-san, as a kind of mirror for me to imitate, trying to match that feeling as closely as possible. Each time, I would carefully study your movements and absorb them into myself. Even though I don't fully understand traditional kata (forms), I tried to activate all my cells and perform them.

Nomura Mansai: Our synchronization improved every single day, from the first day to the very last.

 

Yuzuru Hanyu: Mansai-san really adapted himself to us a lot, didn't he?

Nomura Mansai: No, no - watching you perform from the front, I thought syncing up would be even more fun. That way, we could push each other even further, and that's even more powerful than performing alone.

 



Hanyu: This is the version from Paris.

Nomura Mansai: It depends on the conductor. Previously, with a very strong-willed version, it didn't quite match well. This one is more standard, or perhaps calmer and more composed.

Hanyu: It's the same in figure skating. It's not about "completing" the music. We perform figure skating along with the music. If the final product isn't done well, the whole performance collapses. There are types where, if you do it in a formulaic way, it just falls apart. In the end, the music must bring out the beauty and excellence of figure skating. So, choosing the right music is extremely important.

Nomura Mansai: After this performance, I received many impressions and feedback from people around me - all very positive. Everyone naturally, and emotionally, ended up in tears.

Hanyu: I skated with strong faith in that belief.

Nomura Mansai: It was my first time performing Boléro on Tohoku soil. What did that mean? It might sound strange, but it felt like the most fitting place to dance Boléro. I originally created my Boléro inspired by the earthquake disaster, and now I was fortunate to perform it there in person. I might be forcing the comparison a bit, but I feel that figure skating and Noh theater are actually very similar. My stage is a fixed, front-facing direction, while the ice rink is rectangular. In a space with almost nothing else, it's basically oriented toward four directions - north, south, east, west. Although it might sound a little strange, you always have an awareness of which direction you're facing. Including the way you skate, the way you step, the way you jump, the way you take off - when you perform with figure skating, it's actually quite similar to traditional stage performance. Perhaps Hanyu-san, you can naturally sense "heaven, earth, and people" (th) and that may be why you're interested in Kyogen.

Hanyu: When we talked about SEIMEI, you said that the stage itself is like a universe. I actually had that same feeling when I was a child skating at the rink. I don't know if every figure skater feels this, but within the rink, that "universe", we carve out miracles and draw shapes with our blades. It's very similar to the idea of rituals in Onmyoji, where you're creating and connecting constellations. Figure skating originally started with the practice of drawing figures. In that sense, it's extremely similar. This is something I personally treasure deeply, it might even be a uniquely Japanese sense of spirituality: a belief in gods, in humans, and in objects - the sense that something divine resides in them. Because of that uniquely Japanese feeling, I think figure skating might actually be closer to ceremonial/ritual dance (舞-mai), Noh or Kyogen than it is to dance.

 



Nomura Mansai: I'm not sure if the audience fully grasped it, but perhaps the space that forms the universe was unfolding right before their eyes. Maybe that's what dance is, creating a certain world in an otherwise empty space. And Hanyu-san, what you're doing is probably designing and performing a world within the environment of the ice rink.

Hanyu: Also, what we believe in and what we follow is a very strong force in itself, and it is originally about believing in gods. I have always supported that, especially in relation to 3.11, and to everyone who has supported me. I feel the need to respond to them by continuing to skate. It's also about calming the souls of the disaster victims, as well as rebirth, and these programs have supported me. So, these elements are very strong for me.

Nomura Mansai: This time, if we say it's a ritual for calming the souls and rebirth, it could be said that you are the priest or the officiant of the ceremony.

Hanyu: It is quite difficult. There are overseas skaters involved too, and it is difficult to share such values. Even among Japanese people, it's not easy to share this kind of feeling. But this time, everyone worked together as one, and we performed the "ritual" as a unified effort.

 

[yuzurujenn]

 2025.04.14

 

Radio archive: https://weibo.com/tv/show/1034:5156907199954996

Source: https://weibo.com/5437806211/PoMEMkESM

 

 

NHK Radio 1's "Nomura Mansai's Radio Fukubukuro" featuring special guest Yuzuru Part 2 - SEIMEI

 

Spoiler

Nomura: …This time, let’s talk about SEIMEI! Our connection really began with SEIMEI, didn’t it? The music comes mainly from the movie Onmyoji, which I starred in, and you chose it as your free skate program, right? And you won the gold medal with it.

 

Hanyu: Yes, absolutely. I really feel like that piece, that program, helped me.

 

Nomura: After we had a lot of conversations back then, I saw your performance and thought, “He governs heaven, earth, and man, cloaked in the soul of music.” I felt that perhaps skating with a clear intention and purpose was a real strength for you. I hope you don’t mind me saying this so bluntly. But in judged sports like figure skating, I imagine you have to perform with the awareness of scoring points, don’t you? That’s something almost unimaginable for us in traditional theater. I feel it’s quite different from performing to create a world or an atmosphere. That’s why I ended up rambling about this, but then again, I also feel that performing for the sake of expression can itself lead to higher scores, right?

 

Hanyu: That’s true. And also, it was from this program onward that I really started to think deeply, very deeply, about how to use jumps as part of artistic expression. Programs like Sanbasō (a traditional Japanese dance), for example—the jumps in those performances already have deep meaning built into them. But in figure skating, we hadn’t really considered the meaning of jumps that much.

 

Nomura: You mean jumps are seen more as a scoring tool?

 

Hanyu: Yes, they’re mostly viewed in relation to points. There are also skaters who try jumps not for scores, but purely to push their own limits. In that sense, they jump with a mindset of “challenge.” But with SEIMEI, after having all those conversations with you, learning the background of the story, and understanding the movements as kata (forms) within a larger expression, jumping stopped being the “end goal.” Instead, it became something that must be done as part of the program. Jumps became just one of many elements along the way, tools to support the expression. That mindset really started with SEIMEI.

 

Nomura: It feels like a natural progression, too.

 

Hanyu: Of course, not every jump went perfectly when I performed SEIMEI. It definitely demanded extraordinary effort. But in terms of mindset, I freed myself from the idea that jumps = points. It was a big shift in consciousness.

 

Nomura: When you’re aiming to score, your focus gets super tight, doesn’t it?

 

Hanyu: Yes. Also, when I look at a piece of music, I think carefully about what kind of jump fits that particular moment. There are jumps that launch from a forceful push off the ice with your foot, and others that rely more on centrifugal force to spin up. You can basically group them into those two types. I consider things like: is there a sound in the music that fits the spinning motion? Does this move have meaning in that musical moment? On the other hand, for the jumps where you kick off hard from the ice, I have to think about whether the toe-pick movement matches the music.

 

Nomura: After our conversations, and especially after seeing you perform SEIMEI up close this time, I could truly feel the music swirling around you. I felt your dedication to the music and your incredible ability to express its meaning. Performing SEIMEI together this time, I sensed that you had meticulously designed every part. You edited the music yourself too, didn’t you?

 

Hanyu: Yes, I did edit the music myself. Of course, I didn’t use the version I edited all on my own, but that was the first time I handled the music editing—including tempo adjustments. I also added sound effects and used reverse playback to insert unique sounds. I was trying to figure out how to create the right texture, how to highlight the coolness of the choreography, and how to convey the progression of the story.

 

Nomura: And then I had to go and insert myself into such a perfectly constructed piece…

 

Hanyu: No, no, no! Please don’t say that. I’m the one who inserted myself into your world! Didn’t you say in an interview, “Seimei has finally transferred into Hanyu,” and then your fans started worrying, like, “Does that mean Nomura-san won’t play Seimei anymore…?” That’s why people were saying, “Thank you, Hanyu-kun!” when you appeared in full Seimei regalia again this time.

 

Nomura: Haha, is that so? It had been over twenty years since I wore that costume. I thought, “Wow, I’ve really gotten old and lost my charm…”

 

Hanyu: No way, not at all!

 

Nomura: Boléro is my own creation, but SEIMEI—written in Roman letters—was the music that brought you Olympic gold. In that sense, it’s an immortal milestone. So figuring out how to enter into that was honestly quite a challenge. But I think what we created together turned out pretty well. What do you think? Not bad, right?

 

Hanyu: Yes! I'm truly a fortunate guy! Watching you, I thought, "Ah! The real Seimei has finally arrived!"

 

Nomura: I also rewatched that movie from over 20 years ago, trying to recreate its elements while maintaining a subtle relationship without interfering with your performance. Originally, my stage was set at the end of that vertical rectangle, which is typical, but I thought it would be boring like remote control, so this time I ran along the edge of the ice rink.

 

Hanyu: You really ran with all your might! I also mentioned in other interviews, "How could I do something that makes Mansai Nomura-san out of breath?!"

 

Nomura: It’s fine, it’s fine. You were performing with your soul, so of course I couldn’t take it easy or get in your way. Even when I’m performing on a smaller stage, I’m always thinking about how to move between the stage areas without disrupting things.

 

Hanyu: Seeing Seimei dashing across the space with such vigor made me think, “Ah! It’s just like the movie!”

 

Nomura: Is that so? Well, I managed to chant incantations while forming hand seals at the same time. Even though it may have looked like I was merely observing Hanyu's performance from the side, in my head I was already thinking, “I have just a few seconds to get to the next position!” And just like in the movie, I used a hitogata (paper doll), as if summoning a shikigami. Yuzuru Hanyu would suddenly appear and begin to perform, and I would chant as though summoning the four guardian spirits of Onmyōdō. That was the concept.

 

Hanyu: Before arriving at the venue, I really didn’t know how it would all turn out! I had actually prepared to skate the full version of SEIMEI, thinking that if we found it worked better to include Mansai’s chanting during the full version, I’d need to skate the entire program every day. But then…

 

Nomura: Your body couldn’t keep up, huh?

 

Hanyu: Yeah, I couldn’t sustain it. For this SEIMEI, I honestly felt even more nervous than I did during PyeongChang. I didn’t expect to do it three days in a row, it was quite tough.

 

Nomura: And you even added a six-minute practice session, which wasn’t originally planned.

 

Hanyu: Right! That was because performing SEIMEI with you, Mansai-san, I couldn’t afford to go in unprepared. I was so nervous, there was just too much pressure, responsibility, and anxiety, so I added that practice step to ensure I could prioritize the performance quality.

 

Nomura: Ah, your dedication… I may have been running around, but honestly, it was nothing compared to what you were doing.

 

Hanyu: I actually have a question for you. Figure skating isn’t originally a Japanese art—it comes from the West, right? But with SEIMEI, including all the choreographers and everyone involved, I think we managed to present something with a Japanese flavour after a lot of study. Still, the foundational elements of figure skating remain Western. On the other hand, you’ve adapted Kyogen and Noh into many forms, including something like Boléro, which fuses with Western culture. What do you think are the advantages and disadvantages of doing that kind of cultural fusion?

 

Nomura: Ultimately, the worldview of Noh and Kyogen is incredibly vast. There are many aspects that we haven’t fully grasped yet. By bringing in Western culture, we can shine a light on those parts and let our own techniques evolve in new ways. Boléro is a perfect example. I heard that Ravel—the composer—was inspired by something in Japan when creating that music. I watched a biographical film about him, and it said he got the idea from the repetitive industrial sounds in a factory. That kind of inspiration is common for composers, but it’s precisely because of the repeated melodies that the piece builds toward a climax. In a way, you could say they are approaching us. Ravel did, and Béjart (the choreographer) also had some connection to Japan. Because of those musical works acting as a bridge, we too can take part in them.

That’s why pieces suitable for this kind of cross-cultural work get selected. From a more analytical perspective—like drawing shapes—we can see how we move on a Noh stage, for example: “From this point to that point, move in a semicircle.” This act of drawing forms is very similar to figure skating. And something I really felt this time is that sometimes you strike the ice in time with the rhythm, but other times you—

 

Hanyu: —make a move that breaks away from the rhythm.

 

Nomura: Yes, exactly. Those movements that detach from the rhythm. I’m not sure if “lightly passing through” is the right way to put it, but it's like giving a swift push with your foot—whoosh—and then gliding gently. We’re the same, really. Our initial steps follow the rhythm, but sometimes there’s a sudden swoosh, a foot movement that breaks away from the tempo. That kind of thing makes me feel a strong similarity between us.

 

Hanyu: That’s very true… And I think many different fields share that in common. In the end, maybe the essence of expression flows with the same kind of blood. You’ve mentioned before the idea of kata (form), and also the concept of “Heaven, Earth, and Man,” and the idea of dynamics—light and heavy, fast and slow—and the structure of Jo-Ha-Kyū (introduction, development, rapid finale). When I listen to music, I feel that many composers are also consciously aware of these things. Even what you just said about Ravel getting inspiration from repetitive factory sounds, that’s not so different from minimalist music. And sometimes we also express through repeating the same motion. I think the wavelengths of what humans perceive as beauty, or what stirs their emotions—whether through physical expression, auditory perception, or visual reception—might all be fundamentally the same…

 

Nomura: Hmm… While I can’t say for sure they’re the same, at least ten years ago I was consciously trying to share with you, “This is how we think.” The delicate manipulation of space and time is really important. If you just repeat the same movement over and over, it gets dull. So, before you unleash a big move, you create a moment of stillness. By restraining yourself first, the eventual explosion becomes twice as powerful—it’s that kind of feeling. How should I say this… I’ve seen many people perform, and I truly believe that kind of instinct is determined by one’s innate taste.

 

(Hanyu: Really!?)

 

Trying to boil that kind of thing down into scientific or mathematical formulas—it’s not impossible—but doing so makes it hard to grasp the nuance of flow and modulation. I think that’s something figure skating and Noh/Kyogen have in common. For example, what I mentioned earlier—actions that match the rhythm, like kicking the ground, versus moments that go beyond just matching the rhythm and instead “pass lightly” through…

 

Hanyu: Actually, in figure skating, keeping in sync with the rhythm is really hard. So a lot of people give up on trying to do that. I think I might be the only skater who really carves out the rhythm and synchronizes with the music to this degree. So in contrast to you, I actually came into it from the opposite side, starting with movements that didn't follow the rhythm or melody. But I felt uncomfortable with that, so I made efforts to match rhythm and melody. That struggle eventually brought me to the balanced state I’m in now.

 

Nomura: Boléro also has segments that align with rhythm, and parts that follow the melody. Especially when I’m performing it solo, I treat adjusting that balance while walking around the stage as a key focus.

 

Hanyu: That’s exactly the kind of effort figure skaters are constantly making too. One of the performers I really admire is Michael Jackson. Even if you turn off the music and just watch him dance, he still looks cool, doesn’t he? Even with no sound, you can remember what song is supposed to be playing there, what sound effects are used, what kind of lighting there is. That’s why I think his body itself is like a musical instrument.

 

(Nomura: You can even see the grace notes!)

 

Exactly! That’s why, when I perform figure skating, if I want to get as close to the music as possible—if I want to cherish the character and the imagery I’m portraying—then I also need to work hard to fully capture the background, the character, and the sounds. I want to become the kind of performer where, even without sets or sound, people can still see those elements through me.

 

Nomura: That’s wonderful! Just standing there makes people go “wow,” and then you simply raise one hand—

 

Hanyu: —and it looks so cool, right!?

 

Nomura: It really is cool! MJ was exactly like that. Every move was in a whole different dimension. To use singers as an example, it’s like even if you don’t understand the lyrics, the moment they sing, you just feel, “Wow.” There’s something inexplicably powerful about it.

Hanyu: But I think you are exactly like that, Nomura-san! For example, when you enter during Boléro, every single movement you make—from spreading your hakama sleeves to kneeling down with that one impactful sound—it instantly silences the atmosphere. Your command of space feels like you're unfolding an entire universe there.

 

Nomura: I see… We’ve really gotten fired up about this topic. Well, I say “we,” but it’s really just the two of us getting excited here (laughs). Anyway, next up is the original piece used in SEIMEI, the theme song from the film Onmyoji!

 

<music plays>

 

Nomura: These days, whenever I hear that piece, I immediately picture you skating to it. It’s really become like that for me.

 

Hanyu: When I hear it, I always start mentally rehearsing how I should perform and express myself, how I should move to it, so I actually try to avoid listening to it too often.

 

Nomura: Every time you finish skating to that piece, you look really satisfied. Like you’ve truly done it. That feeling of having fully expressed something, right?

 

Hanyu: Especially this time, I focused a lot on maintaining the persona of “Shikigami Yuzuru Hanyu” until the final moment when the curtain dropped. I had to stay as a shikigami the entire time. But during the Pyeongchang Olympics, I was just so happy that “Yuzuru Hanyu the person” ended up bursting out during the cheers.

 

Nomura: On the flip side, in this time’s notte stellata, right after I shouted “Kyūkyū nyoritsuryō,” there was that boom and you returned to a paper doll (hitogata - a human-shaped talisman). Then a pentagram appeared on the ice. In that moment, I truly felt that our wish to bring peace to souls had been conveyed through SEIMEI. That’s what I call “Professional Yuzuru Hanyu.” That’s just a label I’ve personally made up, but participating in notte stellata, I felt this deeply meaningful endeavour has gone far beyond just being an ice show. There really aren’t many people who can achieve something like this from so many angles! I’ve said it in interviews too, but I used the word “public figure.” I feel like you’re no longer just an individual, you’ve become a public presence. Going forward, “Professional Yuzuru Hanyu,” and even the existence of “Yuzuru Hanyu” itself, may no longer belong solely to you—though I hope that’s not too forward of me to say.

 

Hanyu: Haha, yes. This ever-expanding idea of “Yuzuru Hanyu” that exists in everyone’s imagination has, in a way, already left my physical self behind and is flying off toward an ideal version of me. Because of that, this flesh-and-blood version of Yuzuru Hanyu wants to keep striving to catch up, to become the ideal “Yuzuru Hanyu” that everyone envisions and needs. As for the “3.11” disaster, from which I received so much support, I want to continue supporting others in return, and keep my heart close to all kinds of disasters and those affected by them.

 

Nomura: That’s truly admirable. There are hardly any men in Japan these days who can do what you’re doing!

 

[yuzurujenn]

 2025.04.21

 

Source: https://digital.kyodonews.jp/deepedge/column/figureskating-art-cafe/105448/

 

[Part 1] Rhythm, beat, steps and movement: Noh and Kyogen are fundamentally connected. Yuzuru Hanyu vs. Mansai Nomura. Behind the scenes of an ice show where two performers transcending boundaries resonate with each other.

 

Yuzuru Hanyu, who hails from Sendai City, collaborated with kyogen actor Mansai Nomura in the memorial ice show "notte stellata," held in remembrance of the 14th anniversary of the Great East Japan Earthquake. The venue was the Sekisui Heim Super Arena in Rifu, Miyagi Prefecture—part of the "Grande 21" complex, which served as a temporary morgue immediately after the disaster.

 

Spoiler

Nomura portrayed Abe no Seimei in the film Onmyoji, while Hanyu famously chose the program "SEIMEI" for his free skate at the 2018 PyeongChang Olympics.

From this ice show, which brought together two artists crossing the boundaries of genre, emerged a surprising realization: that figure skating and traditional Japanese performing arts like Noh and Kyogen share a deep, underlying connection.

 

In this two-part interview series, a journalist specializing in classical performing arts speaks with Nomura about what happened behind the scenes.

 

In Part 1, the focus is on how Hanyu came to perform the role of a shikigami—a spirit summoned by the onmyoji (sorcerer)—in this production, the order of the pieces “MANSAI Boléro” and “SEIMEI,” and the details of their planning and rehearsals.

 

What is "notte stellata"?

 

This program, titled “Notte Stellata”—Italian for “a sky full of stars”—was performed by Yuzuru Hanyu during the exhibition at the 2018 PyeongChang Olympics, and he now leads the production as its main star.

 

Hanyu was affected by the 2011 Great East Japan Earthquake in his hometown of Sendai on March 11. He recalls seeing the starry night sky during the blackout and feeling it as a “light of hope.”

 

The show began in 2023, and over time Hanyu has performed alongside notable figures such as Kohei Uchimura, a two-time Olympic gold medalist in men’s gymnastics, and Mao Daichi, a well-known actress.

 

What can be done close to the spectator seats? Mansai's proposal to set up a Noh stage on the ice

 

— This time, you performed two pieces: “MANSAI Bolero” and “SEIMEI.” “MANSAI Bolero” was created and presented with the intention of conveying a message of remembrance and recovery following the Great East Japan Earthquake. Was it decided from the beginning that these two pieces would be performed at the ice show?

“I believe the idea to perform SEIMEI came first. When it was decided to hold the show in Rifu, Miyagi Prefecture, I was asked, ‘In addition to SEIMEI, what else would you like to do?’ Given the significance of the location, I said I would very much like to perform Bolero. That proposal came from me.”

 

— After the opening night on March 7, during Yuzuru Hanyu’s media interview, he mentioned that you were still saying ‘What should we do?’ after arriving in Miyagi. So at that point, it wasn’t finalized yet?

“When I said ‘What should we do?’ it wasn’t about MANSAI Bolero itself—I had already fully developed my part. I meant the collaboration with skating. I threw out a lot of wild ideas at first. When I looked at past collaborations in Notte Stellata, for example with Kohei Uchimura, they were performed side-by-side. A large part of the north side of the rink had to be blocked off, so only that space was usable. It worked for television, but from the audience’s perspective, it felt far away. So I proposed: couldn’t we do something closer to the audience? As for MANSAI Bolero, I made a bold suggestion—could we bring a Noh stage to the center of the rink and construct it there?”

 

— But isn’t it a bit much to put something like that on the ice, especially right before the skating performance?

“Yes, it was a massive undertaking. At first, we thought maybe we could mount the stage on top of the ice resurfacing machine, like a campaign van—that way it wouldn’t damage the ice and the stage could still function. Since a resurfacer moves easily, that seemed doable. But in the end, we went with a much more primitive method: we jacked up the stage and manually carried and set it in place.”

 

What is "MANSAI Bolero"?

 

The program was first performed by Mansai Nomura in 2011 at the Setagaya Public Theatre in Tokyo. It is a solo dance centered around Ravel’s Boléro and the Kyogen piece Sanbasō.

 

For this performance, a stage was set at the center of the rink. Mansai performed on the stage, while Yuzuru Hanyu and the other skaters performed on the ice surrounding it.

 

MANSAI Bolero is scheduled to be performed by Nomura at the “Three Generations of Kyogen Celebration: Grand Kyogen Festival 2025” on April 26, 2025, at Festival Hall in Osaka.

 

Yuzuru Hanyu as a Shikigami. The inevitable production was conceived during rehearsals.

 

— What were the dimensions of the Noh stage?

“They built it as a square, three ken (about 5.4 meters) on each side. For me, the significance lies more with Boléro, and I thought it would make more sense to place that performance later, considering the overall concept of the show. However, due to the need for ice resurfacing, it ended up being placed at the end of the first part. So, we placed this strange, foreign object — a stage — right in the center of the skating rink, resurfaced the ice afterward, and then started the second part with SEIMEI.

 

For SEIMEI, I didn’t like the idea of just staying far away on the rink and chanting spells from a distance, so I suggested, ‘What if I walk toward the audience seating area?’ In other words, I felt it wouldn’t be interesting if everything stayed confined to just the northern end of the rink. Even though the piece SEIMEI was inspired by my film Onmyoji, it’s also a hugely important program for Hanyu, who won a gold medal with it, so I didn’t want to impose too much. So then the question became: how do we bridge the time while Hanyu is resting? At that point, there’s no point in just fluttering around on the far north side.

 

So is the relationship between the two of them like two Abe no Seimei? There is the idea that the Seimei are swapped, but I think I said, 'Why not have Hanyu become a Shikigami?' Because he himself believes himself to be Seimei, I think I was being a little more reserved when I said it (laughs)."

 

“To turn Hanyu into a shikigami-like figure, I first drop a hitokata (a doll used in rituals). That is to say, everything that follows is within my spell — within my magical control. That’s the world of Onmyoji: you show this magical realm, and in the end, it all returns to just a paper doll.

Eventually, Hanyu’s heart began to soften,” (laughs) “At first, while I was performing, if Hanyu was just wandering around aimlessly, the audience wouldn’t know what to focus on. So in the end, we decided that he would kneel in the middle. I didn't directly say he was a hitokata or a shikigami, but I decided during rehearsal that I would summon him with a spell. That was when the line ‘Shutsugen Yuzuru Hanyu! Kyūkyū nyoritsuryō!’ (Appear, Yuzuru Hanyu! By the order of my spell!) came about.

 

— When was that rehearsal?

The day before or two days before opening night. When I breathed life into the doll, Hanyu appeared. I deliberately gave voice to that moment as ‘Shutsugen Yuzuru Hanyu.’ It naturally fit within the idea that he was something summoned from within a spell. That’s what you’d expect from a gold medalist — he just made it work.

 

— “Did the line ‘Shutsugen Yuzuru Hanyu’ (‘Appear, Yuzuru Hanyu’) come from a clear intention on your part to say it during the performance, or did it just sort of come out during rehearsal?”

“Well, I’m not an actual onmyoji in daily life,” (laughs) “so it’s not something that would just come out naturally. I deliberately chose to say it. I was watching the rehearsal footage and thought, ‘If he’s going to appear like this, then it should be done properly — like “Shutsugen Yuzuru Hanyu! Kyūkyū nyoritsuryō!” followed by a dramatic “ta-da!” — like he’s emerging from smoke.’ Since I come from the world of theater, I fundamentally follow a sense of narrative. I think maybe people haven’t noticed even now, but from my perspective, the pose he strikes at the end is like that of a (paper) doll.”

 

— It’s fate, isn’t it?

“It just turned out that way inevitably.”

 

“I Wanted to Recreate the Final Duel Scene with Hiroyuki Sanada from the Film Onmyoji”

 

— In the SEIMEI program, when you circled the outer edge of the rink, symbols of the Four Divine Beasts (shishin — the Azure Dragon of the East, the White Tiger of the West, the Vermilion Bird of the South, and the Black Tortoise of the North) were projected onto the ice, and finally, a pentagram appeared. Was including the Four Gods also your idea?

"I think that’s how it was.  When I suggested circling the outer edge, I also mentioned the idea of forming a barrier (kekkai) and ending with the appearance of the pentagram. I was trying to recreate the final scene from the film Onmyoji, where I faced off against Hiroyuki Sanada.
So I designed the performance so that as I moved around the rink, I would symbolically place the barrier points one by one, and in the end, the pentagram would be completed.”

 

“The original inspiration for SEIMEI is the movie, after all. And in my film, the ending was completely improvised — even the sound was added afterward. So there was no fixed choreography tied to specific points in the melody. Once we decided to include the Four Gods, more things fell into place. We built a small protruding stage along the outer edge of the rink.

The smoke effects were suggested by the special effects team. They said the smoke could help eliminate the time lag between when I’m waiting and when I begin the performance, so it would make the transition seamless.

The staff really supported me in those ways. Even for Boléro, when I asked, ‘Should we make it snow?’, we thought falling paper might interfere with the skating since it would accumulate on the ice. But then they said, ‘We can use bubble foam instead.’”

 

A Different Relationship Between the Two in Each Program — In MANSAI Bolero, Hanyu incorporated my movements as a physical embodiment of me.

 

— The major theme of "MANSAI Bolero" is the cycle of the four seasons and a human lifetime. Hanyu’s costume had long, kimono-like sleeves, and at moments, the colors looked like rice ears bathed in sunlight. Aside from the overall staging, did you have specific imagery in mind for individual parts of the performance?

"The concept of spring, summer, autumn, and winter was part of the original MANSAI Bolero, so the question was: what kind of relationship should I have with Hanyu this time? In SEIMEI, the relationship is that of Seimei and a shikigami — one who commands and one who is commanded. I thought, let’s not make it the same kind of relationship.

 

In this piece, I myself represent a god, and my costume is that of a phoenix. I visit people, and as a mythical bird of immortality, I bring them encouragement. I also conveyed the image of ‘watching from the sky.’ In that sense, this time, I could move freely. I told the skaters, including Shae-Lynn Bourne, that I wanted them to ‘die’ (within the performance). It might be a shock for those who actually experienced the earthquake disaster, but in the sense of rebirth from death, I wanted them to collapse and be lying dead. We discussed: how long can you remain lying on the ice? How can you physically manage to stay down? And, well, since that would be too emotionally painful if shown directly, we used black cloaks. The black and gray costumes symbolized death, and that worked well.”

 

“Since I can’t come down from the stage, Hanyu became the figure who directly engages with the people. I may have said things like: imagine the phoenix descending, or a divine messenger appearing. (Hanyu’s costume) is the manifestation of my costume, and in a sense, he is my alter ego. In Boléro, I think Hanyu-san plays the role of a ‘messenger,’ and he meets people as an alter ego. While I stuck to my set choreography, Hanyu and the rest worked over the three days of rehearsals to develop the performance, and I believe Hanyu incorporated my movements as a physical extension of me.”

 

“In the scene where we first encounter each other, I clap my hands — ‘pan!’ — and we mirror each other like a reflection. After I stomp out a rhythm with my foot, we step in sync with each other from the upper and lower stage positions. Hanyu said, ‘I can match you here,’ so he adjusted accordingly. In the spinning sequence — turning round and round and round — it was clear that he drew a lot of inspiration from the ending of the Onmyoji film. He imitated quite a bit. He must have watched it a lot. I was surprised by how much more he knew about Onmyoji than I did. It felt like he had watched it so many times it was practically worn out.

 

What was interesting was SEIMEI. It was like the opposite of Boléro. Since he’s done it many times, he has a sense of ease, but on my side, I was doing it while thinking through all kinds of things. Hanyu told me, ‘It’s okay to slow down the tempo on “Kyūkyū nyo-ritsu-ryō.” That way, it’s closer to the voice in the movie.’ He listens so carefully. On my side, I was still in the phase of trying to memorize the steps: what’s next, where do I need to dash to in how many seconds… so I wasn’t yet fully calm, but he was already saying things like that. I thought, ‘This guy must have been listening to my voice all along.”

 

I felt 'the heavens' as the skaters gracefully circled around the Noh stage.

 

— Did you share the direction and the storytelling aspects with Shae-Lynn Bourne, who choreographed the skaters for MANSAI Bolero?

"When we had the first remote meeting, I showed her my solo, and I mentioned that within it, there are the four seasons, the human lifespan, and themes of lamentation. I talked about the idea of the heavenly realm and the earthly realm, and also conveyed that I wanted people to fall and then be reborn, symbolizing death and resurrection. There was a request from Hanyu's side to make him a slightly different presence. When all six skaters were together, it was Shae-Lynn Bourne’s choreography, but when Hanyu skated alone, I think he choreographed that part himself."

 

— Did you ask the skaters to synchronize with your movements in the same way?

“This was my first time too, so I took the approach of matching wherever I could. For example, when everyone suddenly forms a wedge formation and moves forward, I thought maybe I could push from behind to support them — so I adjusted my movements for that. When I’m being still, I wanted them to be moving, and when it’s my moment to stand out, I wanted them to draw their focus inward instead. It gradually came together into something where, as if I were directly exchanging energy between the heavens and the earthly realm, I would also send energy to Satoko Miyahara on the east side, then the west side, north side — and together we would bring it all to the ending.”

 

"What felt the best, and this is really something you could never do on the ground, was when, as I circled around the stage, everyone else glided all the way around the Noh stage too. That’s something only ice skating can achieve. Ordinary people can’t run at such speed, but the skaters moved gracefully, gliding along, and it was such a wonderful feeling to watch. It really felt like, just as a god moves time forward, people were also sweeping forward in great spirals. What seemed to resonate with everyone was that, even though there was a distinction between the heavenly realm and the earthly realm, everything on the rink connected in a very effective way."

 

The surprising harmony between figure skating and Noh and Kyogen.

 

— Watching, I felt that figure skating and Noh and Kyogen were similar.

"The reason they harmonize so well is because, while the rink isn't a perfect square, it still has four sides. And the Noh stage is square. Above all, both emphasize the movement of the feet. In other words, it’s about how you move. In Noh and Kyogen, we show everything with our feet, and in figure skating, it’s the steps, which match the rhythm. But figure skating goes beyond the rhythm, drifting away from it, and skates in a way that transcends rhythm. Also, figure skating is a sport where you draw shapes. We, too, from a bird's-eye view, draw circles or semicircles, make straight lines, curves, and stop after spinning—these are the basics. So I think it was only natural that Hanyu-san became very interested in our movements. As a Japanese person, perhaps. If you come from a ballet background, it might all feel unrelated, but through this experience, I came to see how similar they really are. The beauty of the hand movements, the spinning and stopping, and the way the costume flows. Using a costume with sleeves like that in Bolero — I get the sense that he must really like that kind of thing, or rather, he must have studied a lot, including how to make the wind catch and flow through it."

 

 

[yuzurujenn]

 *machine translation, inaccuracies exist*

 

2025.04.30

 

Source: https://deepedgeplus.kyodonews.jp/column/figureskating-art-cafe/105555/

 

[Part 2] Mansai Nomura on the Changes Over Ten Years — The loneliness of his fellow ‘Professional Yuzuru Hanyu,’ Who Is Pushing Ahead Toward What Only He Can Do

 

Nomura Mansai and Hanyu Yuzuru had a conversation 10 years ago. At that time, Mansai told Hanyu about the awareness that an artist should have, and the relationship between sound and the body. As a Kyogen performer, Mansai continues to challenge himself to express himself beyond genres, and has called himself "Professional Nomura Mansai." This time, he described Hanyu, who stands between athlete and artist as a professional, as "Professional Hanyu Yuzuru," calling him a comrade. He took part in the ice show "notte stellata," and praised him, saying, "I was deeply moved by the way he does things that only he can do in such a wonderful way."

 

Spoiler

Mansai teaches us not to match the music, but to wear the music.

 

—Ten years ago, when you had a conversation with Hanyu-san, you mentioned that he hadn’t yet fully put what was inside him into words. But at the press conference on the first day of notte stellata, you said that this time, it had taken form. When specifically did you feel that?

"He talks much more now. Back then, he was still an athlete, around 20 years old, spending all his time training. There was no need to verbalize anything, and before even thinking about putting things into words, the sport is about gaining points. What matters is whether you can do the technique or not.

 

But after turning professional and becoming an artist, the question became: what is it that he wants to express? When I met him ten years ago, I meant to tell him: don’t just perform without purpose. Don’t just raise your hand. If you raise it with the idea that heaven lies in that direction, or the earth, then an inevitable truth will be born from that intention. If you act with purpose, then necessity follows. I said something like that to him, and he realized it. He gained that sense of inevitability. And I also told him: 'Wrap yourself in sound. Don’t just match the music.' Let the sound wrap around you, and let your body become the expression of that music — I believe that’s what I told him."

 

"And then, knowing when to subtract — for example, deliberately not making a sound when you jump, and then creating a loud impact only at the end — or using the opposite direction on purpose. These are basics of performance, or rather, fundamentals of staging. They’re not really necessary for someone who only thinks about earning points. There’s no time to verbalize things, and even if you do put them into words, it’s meaningless if you can’t actually do it. But conversely, by verbalizing and having a sense of purpose, it’s no longer just a spin that somehow happened — it becomes something inevitable. You begin to move in sync with the sound naturally. It’s not about thinking, ‘I’ll perform here’ or ‘I’ll get points here,’ but rather, if you're wrapped in the music, you’ll naturally take flight.”

 

"He was already thinking that way from the beginning, which is why he pieces music together with incredible calculation. By carefully thinking through the structure — where to insert steps, where to let it flow — he creates a more effective performance. You mustn't repeat the same thing three times. There should be contrast: strong and weak, high and low, large and small. I intended to convey, implicitly, that you need a variety of combinations.

 

Watching SEIMEI, I could tell he had restructured it with those ideas in mind. And the person who stood before me 10 years later had developed that kind of mindset. To express something, you have to have the words to communicate your vision — otherwise the team around you can’t move with you. You have to show your purpose, you have to have a purpose. It’s easy to say in words, but over ten years, he really came to embody that awareness."

 

The balance between the Noh stage, its central axis, and the surrounding movements of figure skating.

 

—Mansai-san mentioned that in classical performing arts, where the lighting is limited, one must be able to create their own spotlight, to be the kind of person who can shine light on themselves. Is that something Hanyu embodies?

"There’s a spotlight (at ice shows), you know (laughs). But because he’s the kind of person who naturally draws it, everyone inevitably looks at Hanyu. I’ll never forget how, during ‘Bolero,’ even though everyone had been watching me up until that point, the moment Hanyu appeared, all eyes turned to him. At first, it was just me on stage, but then Hanyu came out, and everyone's heads turned towards him, curious about what kind of costume he was wearing. It made me laugh."

 

—I wanted to see how your rhythm—your moments of rushing across the Noh stage, or the quick changes in tempo—would blend with the rhythm of skating, but it was hard to watch both.

"I kind of understand that when everyone moves fast, the eye goes to the slower movements. When everyone is moving quickly, it’s hard to keep up, so perhaps they focus more on the center."

 

—When there’s a slower person in the middle of fast movements, that becomes the center of gravity or axis, doesn’t it?

"That’s something already established in Bon Odori (traditional Japanese dance). The reason I placed the Noh stage at the center is because it serves as the central axis. It’s meant to create a centripetal force. So when everyone moves in circles around it, the thing at the center gains strength — and that’s exactly the balance with ice skating. When I thought about figure skating as a kind of mathematical centripetal force, I also considered that if you drift too far to the north side, you’d end up out of view."

 

The loneliness and praise that only those who transcend boundaries as performers can understand.

 

—Mansai-san, you referred to Yuzuru Hanyu as "Professional Yuzuru Hanyu." You yourself also call yourself "Professional Mansai Nomura," but there seems to be a sense of solitude in your boundaryless, non-categorized activities. Wouldn't that be a difficult position for someone who expresses themselves?

"Yes, that's exactly it. "Professional Mansai Nomura" means there are things that only I can do. I'm a kyogen actor, but I don't just limit myself to kyogen. However, it's very lonely. For example, can a kyogen critic evaluate this "Bolero"? Or can an ice skating critic evaluate this "Bolero"? You know? It doesn't matter if it's enjoyable, but when it's divided into specific fields, for someone who crosses genres, it's rare to find someone who can evaluate all of Mansai Nomura as a whole."

 

"At that moment, Hanyu himself was saying, ‘I don’t use the word retirement as an athlete,’ and I thought, once again, this is someone who’s very careful with words. He was kind of mumbling his way through, wasn’t he? When you ask whether he’s fully come to terms with it, it feels like maybe he hasn’t — but maybe there’s no need for him to. That, in itself, is what it means to pursue something only Yuzuru Hanyu can do. He’s an athlete, but there might be people who wouldn’t call him just an athlete. If you call him an artist, he might not see himself as just an artist either. In the same way, even if I say I’m an actor, people would call me a kyogen performer. In that sense, he’s very solitary. But he has high aspirations, and I believe there are things only he can do. That’s why I gave him the name ‘Professional Yuzuru Hanyu.’ Watching him in 'notte stellata,' I was deeply moved by the way he’s doing something that only he can do, and doing it beautifully."

 

"That moment was truly something only Yuzuru Hanyu could do, and there’s no greater level of conviction than his. That’s wonderful. I was also very grateful for this opportunity and felt a real sense of fulfillment. I'm glad that I could do it. Of course, the support of various staff members was great, but there was also the magnetic force that is Yuzuru Hanyu. Talking with him, I felt, in a way, like a kindred spirit. His worldview, his sense of the universe, and he’s a public person, I think I said that too, but there’s a weight he carries. In that sense, he’s a comrade, a person with that kind of capacity. He’s pushing forward with things only he can do, putting his own matters aside. I’m really glad he was happy with the name 'Professional Yuzuru Hanyu.' Right now, he's truly 'Professional Yuzuru Hanyu.' I felt that he’s someone I can connect with on that level of awareness."

 

Two 'otherworldly' individuals connected to the universe... 'I guess we have similar ways of thinking.'

 

― It was so interesting that I couldn't believe it was completed in such a short time.

"Apparently, he watched my 'Boléro' a lot. He was saying things like, 'That part was pretty off-beat, wasn’t it?' (laughs). I also do a lot of improvisation, so he definitely watched it more closely than I did. He’s quick to pick up on what I’m trying to do, or maybe we have similar ways of thinking. When he started working with choreographer MIKIKO, I got a LINE message saying, 'While creating with Hanyu-kun, I kept thinking of you, Mansai-san. You both are so connected to “the universe.” I guess I’m a little 'otherworldly' too, in a way. Well, isn’t that what an Onmyoji is? Onmyoji are people who are connected to the universe. With ‘Bolero’ too, a normal person might wonder, ‘What does it mean to become a god?’ But in our line of work, we put on a mask and embody that moment of transforming into a god — like in the kyōgen piece ‘Sanbasō.’ And Hanyu is someone who’s deeply interested in that, who resonates with it, who’s inspired by it.”

 

"He certainly has that 'divine' quality in him. Otherwise, he couldn’t pull off such a grand production. It’s his sense of mission and that almost divine quality that allows him to express so much to others. We shared a kind of deep, unspoken sympathy, which is why everything came together so quickly in just a few days. I think it’s because he had studied it well. At the core of it all, the movements of figure skating and Noh are never far apart. The rhythm, the flow, the beats—sometimes the concept of beats even disappears. It’s like surrendering to the universe. When a human walks, you hear footsteps, but the moment you leap into the air, that rhythm suddenly disappears. I think the feelings and energy inside you change depending on whether you're just gliding or flying into space. I said that 10 years ago, so I thought, 'Let’s start with Tenchijin (Heaven, Earth, and Man).' For core fans, it's like a review of my teachings. I thought they would be happy with that, too (laughs)."

 

 

Reporter Profile
Rui Higashi, joined in 2009. From Ishikawa Prefecture. After working at the Nagasaki Bureau and the Sendai Editorial Department, she became responsible for traditional performing arts in the Culture Department starting in 2023. Her favorite skaters include Tessa Virtue & Scott Moir, and Johnny Weir.