yuzurujenn Posted October 2 Author Share Posted October 2 2024.09.25 Source: Newsweek Japan Oct 2024 issue, pg 18-25 Online text published Oct 4th, 2024: https://www.newsweekjapan.jp/stories/culture/2024/10/517791.php Info: https://x.com/Newsweek_JAPAN/status/1837401474730520872 Lending a Helping Hand Someday you'll be able to smile - What Yuzuru Hanyu wants to convey to the disaster-stricken area of Noto Nine months have passed since the Noto Peninsula earthquake that occurred on New Year's Day this year. In this special feature, we highlight the thoughts of figure skater Yuzuru Hanyu, who experienced the Great East Japan Earthquake in his hometown of Sendai, Miyagi Prefecture, and continues to support disaster relief efforts, as well as the voices of young people who have begun their journey towards recovery in Wajima City, Ishikawa Prefecture. What can the lives of people living in the aftermath of the disaster teach Japan, a country prone to earthquakes? Spoiler Earthquake disasters take so much away from people. What they truly are can ultimately be understood only by those who have actually experienced them. At the same time, if there is something to be gained from a disaster, it can only be conveyed by those who have lived through it. After achieving consecutive victories at the 2014 Sochi Winter Olympics and the 2018 PyeongChang Winter Olympics, figure skater Yuzuru Hanyu announced his transition to professional status in July 2022. A native of Sendai City in Miyagi Prefecture, he experienced the Great East Japan Earthquake in his hometown on March 11, 2011, about three years before winning his first gold medal. Hanyu spent several days after the disaster in an evacuation center with his family, and experienced a period when he was unable to practice properly because his home skating rink was closed. Over the past 13 years, he has supported disaster victims and engaged in relief activities for disaster-stricken areas throughout Japan. On September 14, he participated in a skating class in Kanazawa City, inviting elementary school students from Ishikawa, Toyama, and Fukui Prefectures, who were affected by the Noto Peninsula earthquake. The following day, on the 15th, he performed alongside Akiko Suzuki, Satoko Miyahara, and Takahito Mura in an ice show titled “Noto Peninsula Reconstruction Support Charity Performance.” Although the performance was held without an audience, public viewings were conducted in the disaster-stricken cities of Suzu, Wajima, Nanao, and Shika, and a paid streaming service was also offered to the general public. Proceeds will be donated to Ishikawa Prefecture (streaming is available on Lemino until September 30). During a press conference after the performance, Hanyu was asked why he chose to skate in Ishikawa despite the event being streamed. He said, “I wanted to skate close to those who have suffered, those who are currently suffering, and those who are troubled by various things.” Why does Hanyu have such deep sympathy for the victims and continue to convey his memories of the disaster? If there is one thing he would like to convey to the people of Noto, what is it? This magazine conducted an exclusive interview with Hanyu in Kanazawa City on September 15th. An hour and a half after the performance ended, Hanyu appeared at the interview location wearing the charity T-shirt. The fabric, dyeing, and sewing of the T-shirt are all "Made in Hokuriku," and on the front of the T-shirt is the word "CHALLENGE," the theme of the performance. When asked about his feelings for Noto, Hanyu spoke about his own journey of continuing to challenge himself alongside the memories of the earthquake. (Interviewers: Satoko Kogure and Nozomi Ohashi from the editorial team) -In June of this year, Hanyu visited Wajima City for an interview with Nippon Television's news program "news every." What were your thoughts while skating at this charity performance? My strongest wish was to make people smile, even if only a little. When I visited Noto, I couldn't forget the smiles on people's faces when they told me things like “It used to be like this” and “We had so much fun back then”. I realised that the smiles became fewer when talking about the present or the future, so I skated with the hope that people would smile in this "moment", and spread feelings of kindness and warmth. -I heard that the production costs for the performance were kept low by not focusing on elaborate lighting, allowing as much of the revenue as possible to go to charity. You yourself have donated more than 300 million yen to ice rinks and disaster-stricken areas. When the rink that I used as my training base became unusable due to the Great East Japan Earthquake, Shizuka Arakawa (Olympic gold medalist in figure skating) helped advocate for the restoration of the rink in Miyagi Prefecture and Sendai City. I always think that it was these various circles of support and the thoughts of many people that led to my Olympic gold medal. That’s why I want to give back (donate) to the rink that helped me so much and to support those in the disaster-stricken areas who have cheered me on. -You were 16 years old when the disaster struck Sendai City. I imagine that this experience had a big impact on your subsequent skating career. Can you tell us about your memories of the time of the disaster? Just before the earthquake, there were several tremors, including one that was a magnitude 5, but it didn’t damage the rink. So, when the earthquake on March 11 happened, I initially thought we would be okay, and since the general public was also present, I felt I needed to calm everyone down, saying, “It’s okay, everyone.” But gradually the earthquake got longer and stronger, and eventually the electricity went out, there was a loud sound of glass doors clashing, and the building began to crack so hard it seemed as if it might collapse... I experienced the earthquake amidst that deafening noise. It was very tough at the time, but I kept my skates with me at all times. There was no electricity in the evacuation center, so I remember looking up at the sky and thinking, "The stars are so beautiful," and warming myself by a kerosene heater. Lifelines were not easily restored, and I had no time to think about skating. But many people organised charity performances, and that was the trigger for me to think that I had to practice skating again. There was a sense of wanting to support the disaster-stricken areas through various ice shows, and I was able to continue skating with support such as being allowed to go to the rink early (before the show) to practice. -I think there are some things that only those who have actually experienced it can talk about. What does it feel like to have the town you've lived in taken away in an instant? I didn't lose anything, so to be honest, I don't feel it as much. You know how sometimes a familiar store renovates or moves? It felt like that happening all at once across the whole town, and a world I had never seen before suddenly appeared. Even though I thought, "It’s all broken," I didn't have time to feel sad about it. -Two weeks after the disaster, you left Sendai and resumed skating practice at a rink in Kanagawa Prefecture. Even now, there are people in Noto who have been forced to leave their hometowns due to the disaster. What were your thoughts when you left your hometown? I had things I needed to do, so out of that sense of mission, I felt I had no choice but to leave my hometown. It meant leaving my family behind, and I struggled thinking whether it was right for me to go alone. I always had the feeling that I had fled the disaster area. Now I might think that there is no need to have such a feeling, but back then, I went (to Kanagawa) with a sense of mission to do the best I could, even though I was tormented by guilt. -In the disaster-stricken areas of Noto, many of those who wanted to move into temporary housing by this summer have finally begun to regain their living conditions. While it’s quite challenging to shift focus from recovery to reconstruction, how do you remember the path to recovery based on your own experiences? I was 16 years old, so I couldn't take any active steps to support the recovery. I had no choice but to wait for the government and local people to take action. In that situation, I felt that I was given a role that only I could play, which was to work hard at skating for the people affected by the disaster. It wasn't a proactive or voluntary feeling, but more of a passive one. Wherever I went, no matter how I skated, I was labelled a "skater from the disaster area." It felt like society had created it for me before I could even think about the meaning of skating as a skater from a disaster area. I didn't rebel against it, but I felt like various burdens were placed on my shoulders before I knew it. -So, you could say that being from a disaster-stricken area become part of your identity? It took many twists and turns before I could accept it. I had just entered high school and was in my second season as a senior (2011-12), and thanks to all the hard work I had put in, I was able to achieve results and even became a member of the Japanese national team. But I was frustrated that I was no longer seen as anything other than someone from the disaster area who was trying his best, and it was a tough time for me. But then I read letters and messages of support from all kinds of people, and I started to think, "There's probably no one else who can receive this much support," and gradually (being from the disaster-stricken area) became a part of my identity. -I believe you have turned your experience of the disaster and being from a disaster area into your strength. How can one transform such experiences into something positive? It's really difficult, isn't it? You can't force someone to look forward, and what has happened so far and what will happen in the future is different depending on each person's position. But surely, a time will come when something happens. In my case, it was the supportive messages from everyone, as well as my results and failures, that provided me with the opportunity to accept the reality of the earthquake. For example, in Noto, it could be when the water supply is restored, or that people no longer have to go to school in Kanazawa (away from their hometown), or they can start a business in a different place. I think that there are many different opportunities waiting for you. I think that in the process, people will gradually come to see their own way of life and the value of their own lives. I think that the disaster is something that "shouldn't have happened." Absolutely. However, as sad as it is, what has happened cannot be undone. What has been lost cannot be brought back. However, at some point, we must accept and acknowledge that reality. It may take decades, but the time will come when you will be able to smile again. I believe that, and I think it's okay not to push yourself and just let things take their course. I can’t say I want people to smile right away, and I myself have found it difficult to visit places like Ishinomaki City in Miyagi Prefecture, which suffered from the tsunami. So much was lost there, and I hesitated, thinking if I had the right to go. But I thought that by winning the gold medal, and achieving consecutive victories, by showing my gold medals and my performance, maybe I could provide a small trigger for others to feel, “I’ve worked hard too,” or “There is meaning to my life”, so I’ve finally been able to take action. I'm sure that some sort of opportunity is waiting for everyone, so I want to say that it's going to be okay. -If there is anything you’ve gained from the earthquake, what do you think it is? I started to think a lot about life. I realised that the same time will never come again, and that this moment is truly a one-time experience. I also think that I've come to live my life constantly thinking about my responsibilities. -What do you mean by responsibility? It's the responsibility to the people who gave me their time to watch my performance. I can't show them something half-hearted, I can't spend time without putting my life or heart into it. Also, as someone who survived the earthquake, I feel a sense of responsibility for how I live my life. -You've seen a lot of things as a result of the earthquake, such as life and death, sadness and small joys. Do you feel that it has broadened the scope of your expression? Yes, that’s how it turned out. It would be better if the disaster never happened. But since it happened, it has some kind of impact. The deeper the sadness, the happier you feel about the smallest things. After the earthquake, I was able to feel happiness in things like the sprouting of grass, something I wouldn't have been able to feel if I had always been happy. And I also think that I feel a sense of happiness from having opportunities to talk with various people and share thoughts like this. I'm sure that each and every one of you has something that made you feel the way you do now. -Is the happiness you felt when you were a competing athlete different from the happiness you feel now? During my competitive days, the happiness I felt was more selfish, driven by the results I achieved. Now that I'm a professional, I think what people who come to see my skating want is the kind of experience they can get through watching my performance, or the kind of expressions they can see, among other things. When I think about it that way, I realised I'm doing it for the people around me... The time and energy I’ve dedicated for everyone connects directly to their smiles and emotions, and that truly makes me the happiest. Since becoming a professional, I’ve come to think more like this. But I think that has always been a part of my personality. It’s a very trivial thing, but ever since I was a child, I have always felt happy when someone praised me. I would feel happy when someone looked at me and thought, 'That was good.' That’s probably the fundamental source of my happiness, and now it has just grown in scale. -Today's solo performance was "Haru yo, koi". You performed this song in the ice show "Notte Stellata" (Italian for "A Starry Night") held in Miyagi Prefecture last March, with the aim of sending hope from the disaster area. Did you choose this song without hesitation this time as well? Yes, I think this was the only choice. Most importantly, I hope for everyone to feel kindness. Of all the songs I’m currently skating to, "Haru yo, Koi" has the most heartwarming and familiar melody that resonates deeply. This song was used in a morning drama in the year of the Great Hanshin-Awaji Earthquake (the theme song for the NHK morning drama "Haru yo, Koi" from 1994-95). It was also sung by Yumi Matsutoya for a charity project to support the recovery from the Great East Japan Earthquake, so I chose it because I felt a connection to it. -The title of today's performance was "Challenge". What is your current challenge? I think every day is a challenge. After all, when I think about wanting to deliver a good performance and for the audience to feel something from it, I realise that even if I perform the same performance, if there’s no improvement in it, it's unlikely that people will think it was “good”. It's very difficult to continue evolving from a point that I consider to be complete, and that's the challenge for me. I think that the fact that I am alive now and going through each day is, in a sense, a continuous challenge, an ongoing challenge to protect my life. When I think about Noto or remember March 11, it feels like that’s what it is. -Do you ever feel exhausted or lonely from continuously fighting and challenging yourself? For example, in your daily life, when you come home from work and feel “I’m so tired”, I think that means you must have worked really hard (laughs). Because what I do is showy, people pay attention to my every move and I get reported in the media for what I’ve done. But to me, this is just a part of my life. Everyone has a lot of hardships in their daily lives, right? We rarely get praised for what we do. It's not so easy to hear things like, "Thank you for cooking dinner again today!" or "You worked hard today, that’s great!" I think that's just how life is. Everyone is fighting hard every day. In my case, it’s just that my efforts are visible to everyone. -Hanyu will turn 30 this December. What do you envision yourself doing at 40, 50, and 60 years old? That’s just a future I can only imagine now, so I don’t really know how it will turn out, but I think I'll still be doing my best in the "now" at each moment. As I said earlier, working hard or fighting is the same in any field, and even when there’s no work, or if I’m just playing games, I’m sure I’m still fighting in my own way. There are days when I feel lonely despite being surrounded by people, and days when I can feel the warmth and kindness of those around me, and I think that this will never fundamentally change. Since what I’m doing is on a large scale, I feel great happiness and also great sadness. But I think the range of those emotions is probably the same as everyone else’s. I don't know if I'll still be skating when I'm 40. It might be impossible by 60, but I believe the range of emotions I have will remain constant throughout my life. -How do you feel in your daily life now? Are you happy? Yes, I’m happy. Because everyone is happy. -So that’s what happiness means to you. I mean, living day to day can be surprisingly tough, right? Sometimes I think, "It’s such a hassle to eat..." Ah, this might just be me though (laughs). For example, even if I want to sleep all day or live carelessly, society doesn’t really allow for that. There are rules in the world, and we have to live according to them. I think everyone is doing their best within those rules. In the realm of skating, I’m doing my best within the rules of skating. I have to face thousands of people with my one life, and I may think, "I don’t have the energy for tens of thousands of people!" But still, I try my best. So, even if not everyone in the audience thinks it was great, if even one person feels happy because of it, that’s enough to make me feel rewarded and happy. So, I think right now is probably the happiest I've ever been. -At the press conference in July 2022 when you turned professional, you said, "For me, the existence of Yuzuru Hanyu is heavy." Does that still hold true? Honestly, I’ve never thought that it wasn’t heavy. But I think this weight makes me reflect deeply on the meaning of my life. Of course, there were times when I felt like I was becoming disconnected from the so-called Yuzuru Hanyu that the general public sees, and there were times when I struggled with negative feelings because I couldn’t keep up with that image. However, it’s precisely because I am Yuzuru Hanyu that I want to live my life to the fullest. As long as there is a place for me to perform and a society that has high expectations of me, I have to keep working hard. Perhaps "I have to work hard" has a similar meaning to "I have to live." That's what I think. Link to comment Share on other sites More sharing options...
yuzurujenn Posted October 15 Author Share Posted October 15 2024.10.15 Source: BRUTUS November 1, 2024 issue No. 1018 [Beautiful Architecture and Windows], pg 65 Info: https://brutus.jp/magazine/issue/1018/ https://www.amazon.co.jp/BRUTUS-ブルータス-11月1日号-No-1018-美しい建築と窓。-ebook/dp/B0DGQ71LZY/ https://x.com/gucci_jp/status/1846128889573032006 BTS: https://www.youtube.com/shorts/_MEmG5MwL0g / https://www.youtube.com/shorts/lAnWsArkHYw OPEN MY WINDOW Open your own window. Hanyu Yuzuru special photoshoot. Yuzuru Hanyu Hanyu Yuzuru / Born in Miyagi Prefecture in 1994. He won two consecutive gold medals in men's singles figure skating at the Sochi 2014 and Pyeongchang 2018 Olympics. He has also won numerous World Championships and Grand Prix Finals. In 2018, he received the People’s Honor Award. After turning professional in July 2022, he became a producer and held three solo shows, including "GIFT" and "RE_PRAY." He also has a picture book titled "GIFT" (text: Yuzuru Hanyu, illustrations: CLAMP). What do you see from your window, Hanyu-san? Spoiler One summer day in a house studio, Yuzuru Hanyu was sitting by the window. He gazed at the garden, which glistens in the quiet sunlight shining through the trees. Behind the sound of the shutter, Erik Satie’s "Gymnopédie No. 1," which he had selected from his iPhone playlist, was playing on the portable speaker. "During shoots, I always choose a song that suits the situation and the intention for each shot. Since turning professional, I've had more opportunities to be photographed not just as an athlete, but as a person and an artist, and each time I am reminded of how many people put in a lot of time and effort to create a single photograph. When I heard that today’s theme from BRUTUS was 'windows,' I approached the shoot as if I were trying to fit myself into a crafted story." At the beginning of the score for "Gymnopédie No. 1," the performance instructions read, "Slowly, with sorrow." The gentle yet melancholic melody resonates with the struggles a skater must have faced both physically and mentally, before and after achieving glory. Hanyu-san, what do you see from your window? "When I used to live in Toronto, my house was on a high floor of a building, so I could see the whole city. It was raining in the areas covered by clouds, but I often saw rainbows in the gaps between the clouds where it wasn’t raining at all. That scene left a strong impression on me. I also can’t forget the view I saw from the airplane window during overseas trips. Whether it was on my way to Europe or coming back, I can’t recall clearly, but the plane was flying above the clouds, and only the moon shone brightly amidst the surrounding darkness. The brightness of the moon made it impossible to see the stars, and that scene was so beautiful that I rested my forehead against the window and gazed at it for a long time." A town in the rain and with a rainbow. Darkness and moonlight. Even these scenes seem to suggest the journey he has taken so far. During the photo shoot, Hanyu was photographed from both inside and outside the window, but which side does he prefer? "Personality-wise, I guess I'm the type who likes to keep to myself. I'm an introspective person, and I've often thought deeply about myself and people since I was little, so in that sense I might be the type of person who prefers to close the window and focus on being alone. However, I believe that even the most sociable and cheerful people need personal space and sometimes want to close all the windows. But those windows must have handles on them, so that when the time comes, someone else can open it for them, or they can open it themselves… That's what I was hoping to express in that window-shoot I did earlier." He announced his transition to a professional career in July 2022. It was a declaration of his unwavering commitment to move forward. Although he stepped away from the competitive world where he compared himself to others, his battle with himself continues as he strives for even greater heights. He has already achieved three solo shows, a first in the figure skating world, all of which were a huge success. If we were to compare Hanyu to a house, would it be that he didn’t move to a new house when he turned professional; rather, the house itself remains the same, but the direction the window opens and the view from it have changed? "Well, it’s true that my fundamental personality hasn't changed at all from before I started skating to the present. I have always been inquisitive and curious, often wondering, 'What is a human being?' In that sense, it is the same house. I probably have windows facing all directions, and I probably hang blackout curtains over them. Sometimes I want to feel the morning sun coming through the east-facing window, and other times I don't want to see anything and keep all the curtains closed. I think humans, myself included, are very selfish and interesting, and sometimes we wish to be part of society, and sometimes we just want to shut ourselves away in solitude. "When I'm on tour, I might close the curtains. I want to block out the noise around me, concentrate on myself, and deliver a good performance. Afterwards, I'll secretly lift the curtains to see how the audience reacts (laughs)." In his solo performance tour "RE_PRAY" from 2023 to 2024, Hanyu himself became the protagonist of a role-playing game, blending skating performances and videos to express a world of opposites, such as success and failure, life and death, light and darkness, and game-over and continue. This unprecedented ice show struck a universal chord with audiences from all walks of life, touching their hearts. What’s next for Hanyu, who always exceeds the expectations of his fans? “I can’t reveal the details... but I’m constantly thinking about new songs and programs. I said earlier that I haven't changed, but since I became a professional, the way I spend my time has obviously changed, and I don't have time to just sit idle anymore. This year I turn 30, and every day I reflect deeply on what I’ve worked hard for nearly 30 years and the meaning of my existence now.” After the interview, we returned to the studio for the rest of the shoot, where we could hear Matsutoya Yumi's "Yasashisa ni Tsutsumareta Nara" playing in the background. "Open the curtains..." Perhaps now is the time to open windows in various directions and take in new input in anticipation of the next step. I tell myself that everything I see is a message. Link to comment Share on other sites More sharing options...
yuzurujenn Posted October 31 Author Share Posted October 31 2024.10.28 Source: https://victorysportsnews.com/articles/8932 Yuzuru Hanyu Now: A Message He Continues to Deliver through Ice Shows Yuzuru Hanyu (29), a professional skater who won two consecutive Olympic gold medals in men's figure skating, announced at 11:11 a.m. on October 4 that he will appear in and serve as executive producer of the third installment of ICE STORY, titled 'ICE STORY 3rd - Echoes of Life - TOUR.' This performance will take place from 2024 to 2025 across three locations nationwide: Saitama (Saitama Super Arena), Hiroshima (Hiroshima Green Arena), and Chiba (Lala Arena Tokyo Bay). Ahead of this new challenge, we delve into the resolve glimpsed in his past ice shows. Spoiler Even now, the answer has not been found. Hanyu continues to move forward with sincerity in the face of this eternal question. March 11, 2011. The Great East Japan Earthquake brought devastating damage primarily to the Tohoku region, completely changed everyday lives. Hanyu, a first-year student at Tohoku High School in MIyagi Prefecture, was practicing at the Sendai Ice Rink when the disaster struck. He escaped the building while still wearing his skates. His home in Sendai was declared a total loss, and he and his family of four had to live in an evacuation shelter. The earthquake claimed the lives of 15,900 people across 12 prefectures, with over 2,500 people still missing. Amidst the grief that many carried, Hanyu sometimes wondered whether it was appropriate to evoke memories through his performances. Nevertheless, he was determined to deliver a "story" through his performance. February 26, 2023. At Tokyo Dome, where many idols and artists have left their mark, one skater captivated an audience of about 35,000. He named the performance "GIFT," with the hope of 'providing a place to return to when one feels alone.' Opening with the powerful "Firebird," Hanyu presented a three-hour show featuring 12 programs, including "Introduction and Rondo Capriccioso" and "SEIMEI." The Tokyo Dome remained filled with enthusiasm until the very end. Yet, Hanyu reflected, "Honestly, when I entered this venue, what I thought was, 'How small of a person I am.'" The scale of the ice show was unlike any other he had experienced, evoking similar feelings to those during the earthquake. "It was a bit like my memory of not being able to do anything if I was alone." "GIFT" was enhanced by various productions, including projection mapping and live orchestral performances by the Tokyo Philharmonic Orchestra. "Thanks to the support of the 35,000 people and everyone who contributed to the production using this entire space, even though I am just a small person, I think I was able to reach out to everyone." There are things that can only be conveyed when everyone comes together. He hoped that this can be a catalyst for healing the wounds in people's hearts, even if just a little. This was a thought that only Hanyu, who has struggled with loneliness, could have. From November 2023 to April 2024, the "Yuzuru Hanyu ICE STORY 2nd 'RE_PRAY' TOUR" was held at four locations nationwide, featuring a performance that incorporated ethics and values from the world of gaming. Following "GIFT," it was an unprecedented challenge, yet he never backed down. "I sometimes feel afraid to involve so many people in creating something that I want to express, but I want to push myself to my limits as an athlete and perform well." The first performance in Saitama had everyone on the edge of their seats. The story began with the song "Itsuka Owaru Yume" from "Final Fantasy X," intertwining the world of gaming with his life story. After a six-minute practice akin to a competition, he performed the new program "Messenger of Ruin," landing both a quadruple Salchow and a toe loop. His performance maintained the sharpness of his competitive days. When the word "CLEAR" appeared on the monitor, Hanyu raised his fist in triumph. Even for him, nothing is ever 100%. This emotion stemmed from performing with the pride of an athlete. In front of about 14,000 people, he passionately performed 12 programs, including three new ones. His willingness to take on new challenges reflects his determination to keep moving forward. "This ice show is completely different from what I’ve done before. It’s not just a single program, but various programs woven into one work. There are programs that I have done before, but when they are incorporated into the story, they appear completely different. I envision the program itself as the 'final boss,' and when I achieve 'clear' at the end, it feels like I've finally conquered it after battling through." How to blend gaming with figure skating must have been a source of deep contemplation for him. Yet, Hanyu never wavered. Through his relentless pursuit of perfection, he gained invaluable insights. "I hope that I can improve my level every time, and gain experience and show myself as a more technically advanced person, which is also part of my story." After his performance in Yokohama in February, Hanyu's expression seemed brighter than usual as he spoke about his success. Of course, he hasn't found the right answer yet. However, Hanyu's beliefs are conveyed through his skating. Most recently, he appeared in the "Noto Peninsula Reconstruction Support Charity Performance" held in September. He performed "Haru yo, Koi" in Ishikawa prefecture, which was hit hard by the Noto Peninsula earthquake in January. For the finale, he performed "Que Sera Sera" by Mrs. GREEN APPLE, alongside fellow skaters Akiko Suzuki, Satoko Miyahara, and Takahito Mura. Hanyu's desire to do something for Noto reached the local station, TV Kanazawa, leading to the realisation of the performance. "I think there are people in all different situations, some who are suffering and some who are doing well. I hope to spread a circle of smiles among all of those people, even if just a little," he said, expressing his hopes through his skating. The proceeds from the live streaming and sales of charity T-shirts were donated to Ishikawa Prefecture. To deliver as much support as possible, various measures were taken, such as avoiding the use of special lighting. "After winning the Olympic gold medal for the second time in a row, I had the desire to initiate support and compassion for the disaster-stricken areas. I hope it warms everyone’s hearts, even if just a little." What can I do now? What can I do because I am Yuzuru Hanyu? As he reflects and asks himself these questions, a vision of his path forward naturally takes shape. Whether it was fate or coincidence, the first performance of the third ICE STORY instalment, "ICE STORY 3rd―Echoes of Life―TOUR," will be held on December 7th, Hanyu's 30th birthday. As he continues to deliver messages through his evolving performances, one wonders what form he will take this time. We quietly await news of the next chapter in his story. Link to comment Share on other sites More sharing options...
yuzurujenn Posted November 5 Author Share Posted November 5 2024.11.01 Source: AERA Special Edition "Shin" https://weibo.com/6473801248/OEil7CHGs https://weibo.com/6473801248/OEirAk5Bv https://weibo.com/6473801248/OEiFAf2Vv Info: https://www.amazon.co.jp/dp/4023323748 Q&A session from Yuzuru Hanyu's photo book "Shin": Spoiler Q: When you feel uncomfortable in your current environment, should you try harder or choose to change your environment? What standards do you use to judge? A: I think when you really want to work hard, but you know that no matter how hard you try, you won't get better results, then maybe it's time to consider changing your environment. Or perhaps it depends on whether you see "changing the environment" as giving up or as an opportunity to finally continue striving. So, I believe that “how I feel inside about changing my environment” is my standard for judgment. If I feel like I’m “giving up” or “escaping” when trying to change my environment, then it might be better not to change. Q: When you feel so small that it's overwhelming and you have no confidence, what words do you use to boost your self-affirmation? Can you share a magic phrase? A: Hmm… Words? I don’t have such a phrase, so I can only “put my head down and work hard.” I can only keep trying. I’ve always felt this way, whether it’s about things outside of skating or skating itself, I strongly feel that “I’m too insignificant.” I lack confidence. But because I lack confidence, I push myself to work hard. I practice to the point where I think, “If I reach this level, I should feel a bit more confident.” I’m someone who manages to hold on through hard work. So, I don’t think there’s a magic phrase that works wonders when confidence is low. It’s just about doing your best, that’s all. Q: When I’m about to have an important event, I always worry too much about my health management, which makes my physical condition worse. Mr. Hanyu, how do you manage your health? A: Honestly, I feel a bit helpless about this. Before big events, I also end up exhausting myself. I get so nervous that I have stomach aches and feel nauseous, but how should I put it… I accept that this situation can happen from the very beginning. With this mindset, sometimes I think, “Hey, surprisingly, my condition this time isn’t bad,” or when I consider my poor physical state as the norm, I feel great when I’m in good shape and just think, “Oh, it’s not bad,” when I’m not feeling well. Q: When I have to talk with difficult people at work, I find it hard to make eye contact. How do you manage communication with challenging individuals, Mr. Hanyu? A: In those situations, I don’t think it’s necessary to look directly into the other person’s eyes. From a zoological perspective, “looking someone in the eye” can be seen as a form of intimidation, so sometimes not trying to maintain eye contact actually makes the other person feel more comfortable. So, I try not to overly fixate on their eyes. Q: Recently, I find that I suddenly forget small things… How do you remember them in this case? ① Try to think hard ② Look it up ③ Use your own unique method to think hard A: I understand the urge to look things up because you don’t want to waste time, but that does give a feeling of having lost to yourself… What to do? I don’t have any unique tricks… Hmm? Actually, maybe I do? I think I will be like, “If I can’t recall it, I’ll just set it aside until I can remember.” While I do try to think hard about it, if I can’t recall it at that moment, then I might just let it go. I accept it as “not being able to recall means I don’t need it right now.” Q: I don’t have friends I can call close friends, and I feel very lonely. Mr. Hanyu mentioned close friends recently. How can I meet someone like that? A: Ah, I can only say it’s fate. How should I put it? It means that there is someone with whom I get along well. I feel that if it is this person, I will not feel tired when I am together. If it is this person, it is easy to talk about anything. Sometimes I am surprised that I can talk so much. For me, I think it’s because I’ve been thinking about performance with that close friend, exchanging ideas and working together, so, how should I put it? It’s like people with similar views on performance and similar values in life might become close friends. I have that feeling. But truly, it’s all about chance. If you do encounter someone, you’ll feel very lucky... Even if you don’t meet someone, if you go looking, you might find unexpected connections. They don’t necessarily have to be a person from the real world, they could be from a fictional world or a book. As long as you can have moments that bring you peace of mind, moments where you don’t have to think about anything, that might be good. Q: When something you’ve poured your pride and perseverance into doesn’t get the expected response or evaluation, how does Mr. Hanyu feel? A: I probably just think, “My efforts weren’t enough.” I understand that sense of perseverance and pride very well, because I’m a creator and a performer myself, so I empathise deeply. But if it doesn’t come across, it might just mean my work is still half-baked... How to say it? Being too radical can lead to various criticisms and all sorts of feedback, but ultimately, we’re striving to make people feel good, so I reflect on whether my efforts were enough. Q: After watching Mr. Hanyu’s performances, although I was indeed there, the memories feel blurry, like a dream. How does Mr. Hanyu preserve such incredibly happy memories? A: Actually, my own memories can’t linger much either. Good memories don’t tend to last long, that’s a rule in my heart. Unpleasant memories or failures tend to stick around unexpectedly. So, I try to recall the memory of that moment as much as possible. It’s like memorising words. When memorising English words, you say them out loud or write them down multiple times, right? It’s a bit like that feeling. I keep picturing that memory in my mind countless times. Even though I don’t know if it’s a real memory, that moment’s memory temporarily takes shape, and that’s how I remember it. That’s how I remember the scene around me during my performance at the PyeongChang Winter Olympics. Q: I have a major failure that makes me feel very frustrated every time I think about it. If it were Mr. Hanyu, how would you overcome it? A: Ah… I just don’t touch it (laughs). I completely avoid that topic and don’t think about it at all. That’s how I do it. Link to comment Share on other sites More sharing options...
yuzurujenn Posted November 6 Author Share Posted November 6 2024.11.01 Source: AERA Special Edition "Shin" https://weibo.com/6473801248/OEgQd1Vjm https://weibo.com/6473801248/OEhf1dYW6 https://weibo.com/6473801248/OEhA7mxou Info: https://www.amazon.co.jp/dp/4023323748 Interview with Yuzuru Hanyu from the Photo Book "Shin" Spoiler — In the sports world, people often say that "heart, technique, and body" (Shin-Gi-Tai) are very important. Among these, I’d like to hear your thoughts on something related to "heart." YH: Of course! Thank you for your support! — First, I want to ask, in the Q&A of this photo book, you said, "If the feedback is not good, I only think that 'my effort is not enough.'" This statement left a deep impression on me. Some performers believe that if their work does not receive good evaluations, it is due to a lack of understanding on the part of others. They think the problem lies with those who do not understand. Your perspective of thinking "it's just that I haven't tried hard enough" feels like pointing the blade at yourself rather than others. YH: I actually don't know how to think "Why don't people understand me?" — So, you mean this is a matter for the performers, and it’s their responsibility? YH: From the perspective of a performer, if we delve into what we want to express, I think it stems from having something we want to convey and hoping others can understand it in some way. We aim to communicate these ideas. If they are not conveyed, I only see it as a shortcoming in my method. People are different, and everyone has various interpretations of what is "impressive." So, I know it’s impossible to communicate with everyone. However, I still hope to reach as many people as possible, and I want anyone who sees it to think, "Ah, this is what it is." That’s what keeps me motivated. — Some people might think, “Even if I can’t make everyone understand, as long as one person gets it, that’s enough.” Your thoughts seem to completely contradict this idea. YH: Of course, I have thought, "As long as I can convey this feeling to one person who is moved by it, that’s enough." However, if that "one person" could become everyone, then I would indeed be very happy. For example, if 70% of the audience understands, but 30% feel left out and bored, then I would think, "My performance didn't cater to that 30%." Therefore, I believe that while I strive to enhance the purity of my emotions, I must also develop expressive techniques that resonate with that emotional purity. Take, for instance, a manga artist who has created a popular series spanning 20 volumes. If they start a new series that fails to gain popularity and gets cancelled, such a situation is quite likely, isn’t it? Because the voices of readers will not lie. The same goes for us—if no one is watching, we can't continue. I think that’s the structure of society. Even if you work hard to present what you believe is the best, if society doesn’t recognise it, you might feel, “I’ve worked so hard, yet I haven’t conveyed anything. That is too unreasonable!” The world is full of such experiences. However, I think this unreasonableness ultimately comes down to my own efforts not being thorough enough, or not mastering the correct techniques for communication, which leads to the message not getting through. — You hold such thoughts and feelings, and to convey them, you also need to improve your skills. As a performer, your strict attitude is evident. When did you start to have this mindset? YH: It might be due to my personality, or perhaps it has always been this way. For example, if you fail a jump in a competition, do you blame others? No, right? Similarly, for me, if the ideas I want to convey are not expressed, it equals failure. This failure is not anyone else's fault; it’s my fault. I'll think "maybe my timing was wrong" or "maybe I was too forceful in my performance." I see it as my own responsibility. [It is because of the pain that it feels real] — Taking the example of the comic you just mentioned. If the message isn’t conveyed, attributing it to the reader's lack of understanding shifts the responsibility onto others. I think, in a sense, this is just finding an escape for oneself. If you believe it’s due to insufficient personal effort, then it leads to personal suffering, doesn’t it? YH: Yes, it does. But it is precisely this pain that gives a sense of reality. If you immerse yourself in a lukewarm hot spring, you won't really feel like you're in a hot spring, right? Of course, I believe there should be an appropriate temperature, but only when it reaches a certain heat can you truly feel that you’re soaking in a hot spring, warming up and feeling happy. Similarly, in daily life, if you stay in warm water too long, you’ll just end up feeling more and more swollen, and ultimately, there’s no sense of feeling alive or the reality of effort. I think it can become that way. It’s precisely because there are times that are very cold and times that are very hot that I become aware of moments like “I’m experiencing a hot moment” or “I’m currently in cold water.” This awareness allows me to truly feel the reality of my efforts. — I can sense your desire to convey something to many people and your pursuit of expressing your ideals. You’ve mentioned that this ideal is constantly advancing, and I think this progression is closely related to your capacity to receive various stimuli. From what sources do you gain this stimulation? YH: For example, from ballet and dance-related content, and more broadly speaking, from novels, the feelings conveyed by photographers, movies, anime, and so on—everything can stimulate me. In a sense, I think news is also a form of expression. For instance, when a major disaster occurs, the way the message is conveyed and received can vary greatly based on the content and the method of delivery. Even if the facts remain unchanged, the understanding can differ entirely depending on how it’s conveyed, right? I believe this applies to skating as well. Suppose I’m performing a sad program; if a smile appears on my face, how would that be understood? Some might think, “That’s inappropriate for the performance.” But if that smile comes after transcending sadness, it might be interpreted differently. If I can reach that point, I think both my technique and mind would have improved further, allowing me to convey it. — In other words, everything can serve as stimulation for your performance and ideals. YH: That’s true. It's the same with the trivial things in daily life. If I consider everything that enters my eyes and ears as part of my expression, I can repeatedly recognise my shortcomings and constantly discover areas where I haven’t done enough. I live in this awareness every day. — While receiving such stimulation, your ideals are continuously developing. At the same time, I feel that your ideals should be things you envision for yourself or are based on yourself. However, when your ice performances achieve such great success, external expectations like “I want to see something even more amazing” can also increase. Does this create pressure and inner conflict for you? YH: The pressure is immense… Every single time, I try my best to show something that "there is no better than this", so if someone asks me if I can show something that surpasses that in the next moment, I can only say that it is not so easy to do. For example, in "RE_PRAY," if I deliver a perfect performance on Friday, can I surpass that by Sunday? It’s impossible to surpass it just one day later. I put in over a month of effort for that Friday performance to finally exceed my previous performance, yet I’m expected to outdo myself within a day or two. This terrifies me. I become so nervous that I can’t eat and my body trembles. This happens often. But I just realised that when I think about my ideals, the standards are indeed based on myself, but I believe that is “the version of myself that everyone expects.” The evaluations are not my own but are based on how others see me, which becomes my standard. Regarding what you mentioned about using others as punching bag when what you want to convey is not understood, attributing the failure to communicate to the audience's shortsightedness, I believe that everyone’s evaluation is my evaluation. It’s wrong for me to assess myself independently. I think only when I achieve results and receive good evaluations can I tell myself, “You’ve worked hard.” Without these, I think I could never truly feel that I’ve put in enough effort in my life. [Every day feels like a last-minute effort.] — You place great importance on communication and understanding. If you fail to convey something well, you see it as your responsibility. YH: While preparing for performances, even if I work hard, if I don’t receive good feedback in the end, I’ll feel like "I thought I was trying hard." I’ll think that my efforts were meaningless. With all sorts of information coming in, I continue to grow, and my ideals evolve too. I believe that the point where my personal ideals intersect with everyone else's ideals of Yuzuru Hanyu is my target. My self-assessment and my current position are shaped by others' evaluations. I’ve been striving to exceed both my own ideals and everyone’s ideal. — These two ideals continuously intersect, and striving to position them at a higher point and surpass that must be incredibly challenging... especially when you bear all the responsibility. YH: Perhaps it’s just in my nature, so I don’t find it strange. In fact, pushing responsibility onto others would cause me more pain. Blaming others or attributing my incompetence to them in an attempt to escape makes me feel even more pathetic. I don’t want to feel guilty, and maybe that’s why I keep working hard. When I fail to meet others' expectations, I feel extreme disappointment in myself, and I work hard to avoid that feeling. — In a sense, do you feel like you’re constantly being pursued? YH: That’s why I’m scared. I think humans are like this. For example, during hunting, if you’re not in a state of fear or pushed to your limits, adrenaline cannot be released at 100%. In other words, it’s this constant sense of fear that keeps me driven and striving. This has probably become part of my personality. Some people have experienced this, others may not. It’s like when you’re in school and have a test coming up, only to find out the night before what’s on the exam, then frantically studying last-minute... that’s how I approach skating and training every day. — Lastly, I want to ask you, on December 7th, you will be turning 30. How do you feel about transitioning from your 20s to your 30s? YH: I’m gradually understanding what kind of person I am, realising the strength of my will and the things I want to do. My core is becoming clearer. The things I can do are also increasing, and I feel like I’m gradually climbing the ladder of adulthood in my own way. However, as a performer and skater, there is also a part of me that is free-spirited like a child, which is very important. As I approach my 30s, I want to learn how to switch between being an adult and a child. It is important to have both sides. As an adult, I want to stand firm and strong. But I don’t think I can skate on my own. It’s truly because of the support of many people that Yuzuru Hanyu exists. So, I absolutely don’t want to become complacent. In this sense, I want to be an adult while continuing to embrace my inner child. Link to comment Share on other sites More sharing options...
yuzurujenn Posted November 6 Author Share Posted November 6 2024.11.01 Source: AERA Special Edition "Gi" https://weibo.com/6473801248/OFlBmeYol https://weibo.com/6473801248/OFBKdyEV0 Interview with Yuzuru Hanyu from the Photo Book "Gi" Spoiler [What Hanyu Yuzuru Was Thinking During the Aera Photoshoot] —For this photoshoot, we changed the set and outfits, and shot in various different scenarios. During the shoot, music was always playing, and the moment you hear those songs, your expression and body immediately react. This left a deep impression on me. I do react to music, yes. When I think about using this set, this outfit, and this makeup, I sometimes wonder, "Does this really suit the music being played?" So, sometimes I deliberately try not to match the music too much, while at other times, I think about how I can better match the music in certain moments. I was thinking about these kinds of questions during the shoot. —If you were in a world without sound, how would you feel? Well, even without sound, there are still unique expressions that can emerge from silence. I can still feel the atmosphere on set or think about what effect each set is trying to convey. I think, if there were no music, my expression might lean more in that direction, focusing more on the visual elements rather than sound. [The Harmony of Heart, Skill, and Body] —In sports, it's often said that "heart, skill, and body" (Shin-Gi-Tai) are all important. Among these, I'd like to hear your thoughts on the "skill" aspect. When you hear the word "skill" in the context of "heart, skill, and body," what image comes to your mind first? The image of "heart, skill, and body" in my mind is like a well-balanced triangle. Ultimately, when we focus on "skill," we realize that both "heart" and "body" are involved. So even when we isolate "skill," it cannot fully capture the essence of what skill truly is... So, if asked, "What is skill?" I think it is both "heart" and "body." They are not separate; they are always interconnected. Hmm... For example, if we take a jump as an example, without the physical strength and muscle power to support it, or without enough mental strength, it just won't work. It’s difficult to isolate "skill" and discuss it alone. [The "True Essence" in Every Field] —Over the past year, as a skater, have you experienced any internal changes regarding your technique as you've refined your skills? I feel like I’ve been spending more time thinking about "performance." Even in daily life, I’m constantly thinking about it. My way of thinking about my skating, and my thoughts on each of the programs, have clearly deepened. —Where do you think this change comes from? When creating new ice performances like "RE_PRAY" after "GIFT," and when working with my own performances, I began thinking more deeply about what I need—essentially, "What kind of technique do I need to achieve this kind of effect?" I must carry these deeper thoughts into my daily life. Until now, in my skating career, I’ve never really studied ballet or dance seriously. I’ve just been imitating and copying the moves of the choreographers. That’s how I’ve come this far. So, I feel that my foundation isn't solid, or rather, I don’t have a specific level of technical skill—I've just been copying what I see. But now, I’m starting to observe the movements of true experts in those fields, and I’m thinking about whether I should move like this, or like that. I am learning from them. —After two years as a professional athlete, what has changed significantly for you compared to when you were an elite competitive skater? Before transitioning, I was very much confined by figure skating, and most of my time was spent thinking about my figure skating performances. But now, during the creative process, I’ve gradually become clearer about the idea that "this is something I can achieve through figure skating, but that I can’t." So now, I’m actively learning how to use my arms and body in different ways. [The Importance Beyond Jumps] —In a previous interview, you mentioned that "your abilities haven’t caught up to what you want to do." That’s exactly why I feel I need to keep learning! When we think about technique, our minds tend to get drawn to jumps, but the technique beyond jumping is also very important. In fact, if the techniques outside of jumping aren’t solid, many aspects will look messy. From this perspective, simply saying "I managed to land the jump" is far from enough. —From my outsider's perspective, it seems like your technique has evolved and become deeper than before. But from your own perspective, is it really that simple? I do believe I am evolving. I’m definitely skating better. But it’s still far from enough. Because I keep delving deeper into it, my ideals are constantly growing, and the specificity of what I want to express is constantly increasing. The more concrete my ideals become, the more I realize the small deficiencies in my movements—like the subtle imperfections in my body language. I start noticing things like the angle of my hand being off by about 5 centimetres, the direction my body is facing, the position of my face, the direction of my gaze, even the way I breathe. While others may not notice these details, it's these small things, which I’ve neglected until now, that make me painfully aware of my lack of skill. —Don’t you find it exhausting to keep striving every day for a better performance or for your ideals? If every day were easy, I probably wouldn’t have any confidence for the rest of my life. It’s precisely because I push myself hard every single day, working tirelessly even through extremely tough days, constantly researching and refining, that I’ve been able to gain a bit of confidence. But that confidence isn’t "I can definitely do it, so I don’t have to worry." It’s more like, I know how to execute a certain performance or technique, and because I know what to do and actually do it, I gain that kind of confidence. —This photobook is being released in early autumn. How do you plan to spend this time? Right now, I have something I’m planning, and I think I’ll definitely be putting in effort toward it. At that time, I’ll probably be thinking about how I want to skate better than I do now, and most likely, every day I’ll be thinking "I just want to give up," or "I want to run away..." But… how should I put it, in the end, I never really ran away, and I kept pushing myself, didn’t I? Link to comment Share on other sites More sharing options...
yuzurujenn Posted November 7 Author Share Posted November 7 2024.11.05 Source: AERA 2024.11.11 No. 51 issue, pg 38-39 Info: https://x.com/AERAnetjp/status/1852259285981626571 / https://www.amazon.co.jp/dp/B0DJBF75PN person in focus ―What image comes to your mind when you hear the words "skill of the mind (Shin), technique (Gi), and body (Tai)"? If you ask me what “technique” is, I would say it is both the mind and the body. From "Yuzuru Hanyu Photo Book Gi" (Special Edition by AERA) [This is the Best of the Best] Hanyu Yuzuru x Ninagawa Mika Permanent Edition Photo Book "Tai" The first session between the two took place in 2018, when Hanyu was 23 years old. Since then, we look back on the four photoshoots that have taken place up until this summer. Spoiler In a set with blue roses, he gazes intently at the camera lens as if searching for something. The innocent Yuzuru first stood in front of the camera of our magazine's cover photographer, Mika Ninagawa, before the opening of the 2018 Pyeongchang Olympics. He curiously observed the set that Ninagawa had prepared and said with a smile, "I feel like a doll." On the other hand, when he was asked to "show an expression like when performing," he instantly changed the atmosphere he exuded. The magazine, with the "Blue Rose" image created at that time as its cover, quickly sold out in many stores. It became an unprecedented large reprint for a weekly magazine. The next time he stood in front of Ninagawa’s camera again was in September 2022. Back-to-back Olympic victories, becoming the first male to win all junior and senior major international competitions, and challenging the unprecedented quadruple Axel... This was after he had accomplished many great feats and declared his decision to become a professional skater. A stunning photo capturing graceful curves taken during that shoot caught the eye of a curator overseas and was even displayed at the Museum of Fine Arts Boston. It demonstrated that Hanyu, though an athlete, was also an artist. Since then, the two have had photoshoots about once a year. On November 1st, two books were released at the same time, "Hanyu Yuzuru Photo Book Shin" and "Hanyu Yuzuru Photo Book Gi," marking their fourth session together. The photo books, which capture his “heart (Shin)” in a monochrome world and his “technique (Gi)” in a colorful one, have received a great deal of attention. [The brilliance and melancholy of his 20s] Born in 1994, Yuzuru Hanyu is about to turn 30. He reveals his thoughts on this milestone: “It's because of the support of so many people that ‘Yuzuru Hanyu’ exists, and because of the passion everyone has for me, that the 'Yuzuru Hanyu' who stands as a subject exists, and the works that come after it exist too. That’s why I want to make sure I don’t become complacent." The brilliance and melancholy of Hanyu’s 20s, captured through four photoshoots. As both the culmination of his 20s and a new starting point, this magazine has decided to produce the "Yuzuru Hanyu Photo Book Tai." In addition to carefully selected shots from the four photoshoots, the book will include previously unreleased images. It will also be presented as a large 297mm × 297mm format for the first time. Furthermore, the special box set will contain a booklet with interviews and candid moments from the shoots, a calendar featuring Hanyu’s handwritten text, and a behind-the-scenes DVD. The permanent edition of the photo book is scheduled to be released in March 2025 by pre-order only. Link to comment Share on other sites More sharing options...
yuzurujenn Posted November 13 Author Share Posted November 13 2024.11.07 Source: https://www.nikkansports.com/sports/news/202411060001231.html Archived: https://web.archive.org/web/20241107125155/https://www.nikkansports.com/sports/news/202411060001231.html "Yuzuru Hanyu: The Only Male Figure Skater to Achieve the Super Slam and His Career Highlights... Celebrating his 30th birthday, National Tour Kicks Off in One Month" Professional figure skater Yuzuru Hanyu (29), who won the men's Winter Olympic gold medal twice in a row, reminisced about the 2022 Beijing Olympics, expressing his gratitude for the support he received in terms of conditioning, which he described as the 'culmination of his training.' He recently had a conversation with Kurihara Hidefumi (48), team leader of the "Victory Project (VP)" by Ajinomoto, which supports the Japanese Olympic team. In the interview, Hanyu looks back at his journey to attempt the unprecedented quadruple Axel (4.5-turn jump), leading to a world’s first certified "4A." With the pre-season for the 2026 Milan-Cortina Olympics now underway, the insights gained by supporting Hanyu’s two Olympic golds will continue to shine brightly for the next generation of Japanese athletes. (Honorifics omitted) [Written by: Kinoshita Jun] Spoiler Yuzuru Hanyu (羽生結弦) Born December 7, 1994, in Izumi Ward, Sendai City. He began figure skating at the age of 4. He moved to senior level in 2010. He has won the All-Japan Championships 6 times. In 2020, he became the first male figure skater to achieve the "Super Slam" by winning all major junior and senior titles: Junior Championships (2 titles), the Olympics, World Championships, Grand Prix Final, and Four Continents Championships. In 2016, he became the first to successfully land the quadruple loop. He also set the world record for the highest score in the Short Program (SP), Free Program (FP), and Total Score (total 19 times). After returning to Japan from Toronto, Canada, during the COVID-19 pandemic, he honed his skills in his hometown of Sendai. He graduated from Miyagi Prefecture's Tohoku High School and Waseda University's School of Human Sciences (distance learning program). On July 19, 2022, he turned professional, and in February 2023, he held the first-ever solo skating performance at Tokyo Dome in history. This December 7, on his 30th birthday, he will kick off his national tour Yuzuru Hanyu ICE STORY 3rd – Echoes of Life – TOUR (3 cities) at Saitama Super Arena. He is 172 cm tall and has blood type B. Kurihara Hidefumi (栗原秀文) Born May 2, 1976, in Itabashi Ward, Tokyo. He devoted himself to baseball from elementary school until graduating from Rikkyo University. He joined Ajinomoto in 1999, working in sales and the "Amino Vital" division, before becoming involved in the "Victory Project" (VP) in 2004. His failure to properly manage his conditioning during his university days, when he aspired to be a professional baseball player, became the driving force behind his work in supporting athletes. He is now considered the engine of the VP. For the 2024 Paris Olympics, he was in charge of supporting athletes including the judo siblings Abe, Tashiro Miku, and Tatsuru Saito, as well as the swimming delegation. Ajinomoto Co., Inc. "Victory Project" Launched in 2003 in collaboration with the Japanese Olympic Committee (JOC), the "Victory Project" is a nutritional and dietary support initiative for the Japanese national team. In 2010, the Ajinomoto National Training Center (NTC) opened the " Kachimeshi (Victory Meal)" cafeteria. Since the 2016 Rio Olympics, they have set up the "JOC G-Road Station" nutritional support facilities at both summer and winter Olympic venues, providing Japanese light meals with the support of VP members, chefs, and registered dietitians. Source: https://www.nikkansports.com/sports/news/202411060001227.html Archived: https://web.archive.org/web/20241107125417/https://www.nikkansports.com/sports/news/202411060001227.html "Yuzuru Hanyu: Reminiscing about the 'culmination' of the Beijing Olympics and a behind-the-scenes look at his 4A challenge with Ajinomoto VP Kurihara Hidefumi / Interview 1" Hanyu has walked a solitary path through three Olympic Games, exploring nutrition and refining both his mind and body. In the 2014 Sochi Olympics, he became the first Asian male skater to win gold. At the PyeongChang Games in 2018, he became the first man in 66 years to win consecutive gold medals. In Beijing in 2022, he made Olympic history by becoming the first to be certified with a quadruple axel. Alongside him, providing support, were Kurihara Hidefumi and the team from Ajinomoto's Victory Project (VP). Spoiler Kurihara: Someone told me that there was an athlete who was having some concerns about nutrition, body building, and health. That’s when I was introduced to Hanyu. Hanyu: That’s right. It was before Sochi... before that. I was 17. It was the end of April 2012. It was the summer after he had moved from Sendai to Toronto, Canada. At the time, he was a second-year high school student with no interest in food at all. Kurihara: The first thing he told me was, "I don't really like to eat." Hanyu: I don't have a strong stomach to begin with, so sometimes I can eat and sometimes I can't. It was right after I'd gone to Canada, and there were times when the local ingredients and cuisines "suited me" and "didn't suit me." In that situation, we started by thinking about what was easy to eat, then how and when to take in the nutrients. When I couldn't eat, I was taught a lot, such as how to eat supplements. In our sport, we need to restrict ourselves (for jumping), and I was afraid of my body becoming heavy. I had a strong image of food as a diet rather than nutrition (intake). Ajinomoto has been supporting the Japanese national team since 2003, helping athletes with "food and amino acids." This year marked the 22nd anniversary of their partnership with the Olympics, starting from the 2004 Athens Games to the Paris 2024 Games. Hanyu has been receiving "exclusive" support from them for over 10 years in winter figure skating. Kurihara: Until Sochi, we basically focused only on physical and mental “health” and took the step of “eating three well-balanced meals every day. Figure skating in particular is a competition in which you express your emotions and worldview to judges and spectators through your performance. So, you absolutely had to be mentally healthy as well. Hanyu: Leading up to Pyeongchang, the themes shifted to "weight" and "activity level." When did you start that? Kurihara: It was two years after Sochi. While managing weight and body composition, I quantified daily training volume and intensity as 'load (stress)' and monitored changes in condition over time, aligning it with performance. Source: https://www.nikkansports.com/sports/news/202411060001228.html Archived: https://web.archive.org/web/20241107131223/https://www.nikkansports.com/sports/news/202411060001228.html "Yuzuru Hanyu: The Dream of Achieving the Unprecedented Quadruple Axel... The Key Is 'Tendon Reflex,' Along with Carb Restriction and Pressure Training / Interview 2" Hanyu has won every title on the ice, including the six major titles at world championships known as the Super Slam, but his final dream in competition was to successfully complete a quadruple axel. Spoiler Hanyu: In terms of nutritional management, the approach leading up to the PyeongChang Olympics became the basis. Around the ages of 23 or 24, after winning two consecutive gold medals, I started saying, 'I don’t think I like feeling heavy.' Like a marathon, it’s a sport where the damage to the internal organs is greater due to constant shaking, so I also took care of my internal organs (to prevent food from remaining in my stomach). We also discussed whether it would be better to stay at the weight when I was performing at my best, or whether it would be better to build up muscle strength, as I was aiming for a quadruple axel. Kurihara: I could tell at a glance that you had trained your legs a lot before the Beijing Olympics, such as squats to strengthen the hamstrings (back of the thighs), so I was surprised and you said, “You can tell? But…” And then you added, "The muscle strength for jumping is looking good. Now it’s all about the tendons." I was just about to say that the key to jumping a 4A is "tendon reflexes." Apparently, you had been thinking the same thing. Hanyu: In terms of global trends, research is progressing rapidly and some things are being scientifically proven. "Tendons" connect muscles and bones and act like springs, storing and reusing elastic energy. To use this tendon reflex to jump the quadruple Axel, Hanyu actively took amino acids and worked to strengthen his body in preparation for the Beijing Olympics. This moment was one of synergy between Hanyu’s deep understanding of body mechanics and Kurihara’s suggestions. Hanyu laughed, saying, "I’ve been brainwashed by Kurihara," and added, "I’m really hungry to know ‘how can I improve.’ My own knowledge was never enough. That’s why I asked Kurihara and also did my own research. We shared everything, and it helped us refine things." On June 1, 2021, before the Beijing Olympic season began, he held an online meeting with his trainer. Everything was aimed for the success of the quadruple Axel. Kurihara: We discussed everything from tendon reflex to intense glycolytic training and aerobic training. I also developed a new amino acid that makes the tendons healthier, so I designed my training with the hypothesis that it would definitely benefit the 4A. Hanyu: There was interval training, low-carb (sugar restriction) to pressure (blood flow restriction) training and heart rate monitoring, and both explosive and endurance training. By then, it was no longer just about 'health'; the foundation was already laid, and everything was built on top of that. (The Beijing Olympics) was the culmination of it all. Source: https://www.nikkansports.com/sports/news/202411060001229.html Archived: https://web.archive.org/web/20241107135935/https://www.nikkansports.com/sports/news/202411060001229.html "Yuzuru Hanyu: A Touching Exhibition, ‘The best performance until the very end’ – Never-Before-Revealed Story / Interview 3" "Life isn't all about being rewarded. But I’m happy now even though I wasn’t rewarded." Such was the famous quote that emerged from Hanyu at the Beijing Olympics. He ended up in 4th place. He was struck by bad luck when his quadruple Salchow was blocked by a hole in the ice. Although he missed out on a medal in his third consecutive Olympics with a surprising 8th place finish in the short program, his challenge to focus all his energy on the men’s free skate on February 10, 2022, amidst the COVID-19 pandemic, remains a vivid moment. The world’s first certified "4A" (quadruple Axel) was etched into Olympic history. Spoiler Kurihara: There’s something I’ve really wanted to ask you. The 4A was officially certified in Beijing… but it was still a disappointing result. Yet, you still contacted me for the exhibition (in 10 days), saying, "Kuri-san, I’ll gather energy again" and "I’ll do it." I think it was 3 or 4 days after the free skate. How did you feel during that process of replenishing energy and glycogen in the days that followed? Hanyu: Honestly, I was really disappointed with my performance. Of course, I didn’t plan to do the 4A, but while some people see exhibitions as a kind of festival, for me it’s a place to showcase the qualities of an athlete. I thought that "all impressions would be decided" by how well I could show myself there. I was feeling down, and I thought to myself, "Why did I sprain my ankle again?" (He injured his right ankle before the free skate). But I couldn’t let my guard down. I thought, "I'll give it my best until the very last performance." Kurihara: I was watching it on TV in the cafeteria of the athlete's village, and I was crying my eyes out. It was the best performance. It’s a moment I will never forget in my life, and I absolutely wanted to tell you that. Even now, after turning professional and successfully performing the first-ever solo ice shows, that determination has not changed. Hanyu: Even now, I’m still in that same mindset. How can I deliver the best performance until the very last moment? I’ve continued along that path. My right ankle was really hurting, but more than that, I wanted to show something amazing. Athletes compete in competitions with the support of so many people, including Kuri-san. In a way, I wished I could have given everything in the free skate, but I couldn’t, and it was frustrating. So, I wanted to put everything into the exhibition. I wanted to repay everyone who’s supported me by showing my best every time and producing results. That was both the pressure and a driving force for me. Source: https://www.nikkansports.com/sports/news/202411060001230.html Archived: https://web.archive.org/web/20241107142559/https://www.nikkansports.com/sports/news/202411060001230.html "Yuzuru Hanyu: Insights from the Two-Time Olympic Champion – 'Research Based on Me' – Knowledge Accumulated as Guidance for Shows and His Juniors / Interview 4" At the Beijing Olympics, Kurihara, who supported the entire Team Japan, entered the athlete village and worked with a chef based outside the village to provide Hanyu with 'victory meals.' He worked hard to maintain and even increase his lean body mass. Similar to the 2018 PyeongChang Olympics, where the men's events were scheduled in the morning, Hanyu was required to wake up around 4 a.m., and Kurihara carefully coordinated the schedule with him. Spoiler Hanyu: The Olympics have a different schedule compared to regular competitions, so for example, there’s a routine for athletes, like 'meals must be eaten a certain number of hours before.' But often, it's not possible to follow that. We had many discussions about things like 'Should we have a snack here?' and other details. Kurihara: We even went as far as discussing areas close to the science behind it in detail. All that’s left was to ensure that you were sent out onto the ice in the best shape. That was my role. Hanyu: In figure skating, I was basically the only one at competitions (with exclusive support), so I think the tension while waiting for the results must have been different. It was always like, "I did what I had to do, now all I can do is wait" (laughs). I probably seemed "troublesome," but I learned a lot. I didn’t even know how many calories were in a bowl of rice, but they helped build the foundation for me to think about physical conditioning. On the other hand, the insights gained from this support were fully accumulated on Ajinomoto’s side. Hanyu: Every week, I would submit data on my training load and body composition and combine it with my activities to assess how my condition was. I think it probably became a part of the research as well. Did the formula match the intensity that an athlete actually feels? Even though I was only 19, I was already an Olympic gold medalist. So, over the course of more than 10 years, I think they conducted research using me as a base, examining body composition, activity levels, and calorie consumption. After turning professional, he continues to shine in unprecedented ice shows, performing alone for over 90 minutes. His national tour, announced on October 4th, will begin on December 7th, the day he turns 30. He will once again prove his evolution. In the world of competition, the trial and error between Hanyu and Kurihara will be passed down as a success story. At the 2026 Milan-Cortina d'Ampezzo Olympics, it will serve as a clear guide to light the way for his juniors. 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yuzurujenn Posted November 13 Author Share Posted November 13 2024.11.12 Source: Ginza Magazine December 2024 special edition, pg 81 Alt CN: https://weibo.com/6473801248/OFTTgf6uJ Info: https://x.com/GINZA_magazine/status/1855415112800096561 / https://www.amazon.co.jp/dp/B0DMSBWSK7/ The happiness of being able to perform focusing solely on the gift of blessings. Spoiler The final shot of a non-stop, 7-hour long shoot, interrupted only by short breaks. In the horizon studio, Yuzuru Hanyu repeatedly performed rotating jumps. With all his senses heightened, even to the tips of his fingers and toes, he faced the camera with incredible concentration. Amid the lightning-like flashes and the sound of strobes charging, his body no longer seemed human but more like that of a dragon in motion. "For this shoot, I tried a hands-free cartwheel for the first time. It was fun to improvise and create freely with the cameraman and lighting team, working in perfect harmony. I've worn Gucci's clothes many times as an ambassador, but every time, I feel like I'm wrapped in something of the highest quality, with just the right weight, texture, and functionality. As I approached the shoot, I thought about how I wanted these special clothes to be seen, and how I wanted to move in them." He sees them as "costumes" rather than as fashion. This awareness is probably something he has cultivated as a skater. "Only I know myself best. But I can't just focus on my own perspective—I always have to think about how I am perceived by those around me. No matter how much I refine my expressions, if it doesn’t resonate with the viewers, it’s meaningless. I think this way because I’ve always been in a world where my performances were judged. In competitions, when an abstract performance gets a score from 0 to 10, if I’m satisfied with my own internal standards, it won't lead to a good result. Even though it's impossible to make everyone happy, I've always tried to create something that anyone would rate at least a 7, and I’m still on that path Furthermore, as a professional now, I believe I won’t survive in the entertainment world unless I produce something even more special from within myself." It has been over two years since he declared his transition to professional figure skating in July 2022. During this time, he moved beyond the world of competitions and aimed for even greater heights, becoming the first in the figure skating world to hold a solo performance and successfully complete a solo tour. Has his mindset changed during this time? "In these two years, I’ve had more opportunities to plan and write stories for my original shows, and in reflecting on the past, I’ve realised that there is no fundamental difference between the person I was before I started skating and who I am now. Of course, I believe my character has changed since I encountered figure skating—both in good ways and bad I’ve come to understand society, and sometimes I overthink things or fall into negativity. But my fundamental personality hasn’t changed at all. It’s my curiosity and inquisitiveness. I’ve always been the type of person who asks ‘why?’ about everything. From the age of 2 or 3, I was the kind of child who was always asking questions to the adults around me. " There is a picture book, GIFT, written by Yuzuru Hanyu himself, in which a character appears that hints at the image of Yuzuru Hanyu as a young boy. In Hanyu’s own words, we can see the pain and loneliness he experienced while growing up as a skater. "In that story, my younger self always exists as a dream and talks with me during moments when I feel down or troubled. It’s set during a time when I didn't know much about society and when I wasn’t bound by anything. I feel that the feelings I had back then, when I simply wanted someone to see me, to praise me, to improve, and to achieve something, are definitely still present in me today." At the root of his journey to two Olympic gold medals and the People’s Honor Award was a pure and innocent desire to improve and have fun. "The medals and certificates I received during my competitive days were prizes for the results I achieved, and the congratulations and joy from the people around me and my fans were my gifts. Now that I’m a professional, I no longer need to compete for results. Instead, I feel very happy that I can now focus solely on delivering the greatest satisfaction to those who watch me, that is, on receiving a 'gift' from all of you." Yuzuru Hanyu, who was blessed with a natural talent (=Gift), has continued to give courage, joy, and love to many people through numerous performances, and even outside of the rink, by supporting and visiting disaster-stricken areas such as Tohoku and Noto. Doesn't that wear him down? "Performing well and continuing social activities require both time and energy, and it can be tough at times, but I feel that I have to do it. It's a sense of mission, and perhaps the meaning of my life in this world. Feeling needed by others gives me self-affirmation, and even if I fail and fall into self-loathing, I believe that is proof that I am confronting myself properly, and it’s a moment when I can truly feel alive. I strongly want to be someone who makes those who see my performances and photos think, 'I’ll keep doing my best,' or 'I’ll keep living tomorrow.' By connecting with society in this way, I want to continue feeling the meaning of life. Perhaps that awareness is a gift from God to me." Photo_TOKI Styling_Tetsuro Nagase Hair_TAKU for CUTTERS Make-up_Nobuko Maekawa (Perle management) Text_Mari Matsubara Yuzuru Hanyu >> Born in 1994 in Miyagi Prefecture. Two-time World Champion and two-time consecutive Olympic champion. Awarded the People’s Honor Award in 2018. After turning professional in July 2022, he became his own producer and held three solo shows. Link to comment Share on other sites More sharing options...
yuzurujenn Posted November 24 Author Share Posted November 24 2024.11.21 Source: https://www.newsweekjapan.jp/press-release/2024/11/post-9869.php Archived: https://web.archive.org/web/20241120201643/https://www.newsweekjapan.jp/press-release/2024/11/post-9869.php ~ Continuing to Carve the Glory of "World's Best" ~ Professional Figure Skater Yuzuru Hanyu Becomes Brand Ambassador for Both Haier and Aqua! Haier Japan (CEO Du Jingguo) announced that on November 21 (Thursday), a brand ambassador contract was signed with professional figure skater Yuzuru Hanyu for both the "Haier" (hereinafter, Haier) and "AQUA" (hereinafter, Aqua) brands. Spoiler Haier Japan, as part of the global company Haier, which has held the No.1 global market share in major home appliances for 15 consecutive years*, is implementing a "dual brand strategy" for both Haier and Aqua in Japan. By leveraging global resources, Haier delivers new surprises and discoveries to Japanese lives, while Aqua proposes a richer and healthier lifestyle through high technology honed in Japan, utilizing unique ideas. Both brands continue to grow steadily in the Japanese market through their respective challenges. Haier Japan's management philosophy is "Even if we conquer the summit in front of us, we aim for the next summit." Yuzuru Hanyu, having achieved numerous successes, continues to aim higher and pursue challenges as a professional figure skater. We strongly resonate with his ambition, which aligns with Haier's philosophy, and have decided to appoint him as the brand ambassador for both Haier and Aqua. The key visuals for Haier Japan use the keyword "Surpass Yourself," declaring a new challenge that does not settle for being No.1 in global major appliances. Aqua's key visuals, under the theme of "Innovation," convey a continuous challenge to create new added value through multifunctionality and high design, while providing value that brings happiness to both today and tomorrow. Both visuals powerfully and gracefully express the messages of Haier and Aqua through Yuzuru Hanyu's unique worldview. Plans for the collaboration with Yuzuru Hanyu include TV commercials, official social media posts for Haier and Aqua, in-store campaigns at home appliance retail stores, and more. Haier Japan Website Ambassador Special Page: https://haier.co.jp/branding/ambassador/ (Note: The information on the special page is expected to be published around 9 AM on November 21, 2024.) *According to the "Global Major Appliances 2023 Brand Rankings" by Euromonitor International, Haier has been certified as No.1 in global sales volume market share for major appliances for 15 consecutive years in 2023. [Yuzuru Hanyu's Comment on Becoming the Haier and Aqua Brand Ambassador] I am Yuzuru Hanyu, and I have been appointed as the brand ambassador for Haier and Aqua. I heard that both Haier and Aqua brand their products with the spirit of "challenge." Even after overcoming big mountains, they don't settle for the status quo, and aim for the next peak—this is a corporate attitude that aligns with my own belief as an athlete. I also value continuously "challenging" myself to surpass my limits. Going forward, I will work with Haier and Aqua, striving together to bring various "challenges" to everyone! Please look forward to it! ---------------------------------------------------------------------------------------------------------------------------------------------- Ambassador Profile Yuzuru Hanyu Born in 1994 / From Miyagi Prefecture He started skating at the age of 4. In the 2009-10 season, he became the youngest-ever (14 years old) to win the overall title at the JGP Final and became the World Junior Champion. In the 2011-12 season, he won the bronze medal in his first appearance at the World Championships. In the 2013-14 season, he won his first Grand Prix Final, and in the 2016-17 season, he achieved an unprecedented four consecutive wins. In the 2015-16 season, he won his fourth consecutive Japanese National Championship, and in the 2020-21 season, he won his fifth title. He won consecutive gold medals at the Sochi and Pyeongchang Olympics. In July 2022, he transitioned to a professional figure skater. About Haier Group Haier Group was founded in 1984 in Qingdao, Shandong Province, China. As a leading company, it responds to the ever-changing digital landscape and proposes a rich lifestyle for users. Haier has achieved the No.1 global market share in major home appliances for 15 consecutive years*. Always focused on the user, Haier has expanded into smart homes, healthcare, and IoT industries through its unique technology. With a global network covering over 200 countries and regions, including China, Southeast Asia, the US, European countries, and Japan, Haier operates more than 10 R&D centers, 143 factories, and 126 marketing centers. Going forward, Haier will continue to provide new technologies and solutions through devices and services, creating value tailored to the cultures, lifestyles, and needs of each country to support users' enriched lives. Haier Japan Website: https://haier.co.jp/ *According to the "Global Major Appliances 2023 Brand Rankings" by Euromonitor International, Haier has been ranked No.1 in global sales volume market share for major appliances for 15 consecutive years in 2023. About Haier Japan Sales Co., Ltd. Haier Japan Sales Co., Ltd. was established in January 2002 as the sales company for Haier brand products in Japan, a part of the Haier Group (headquartered in Qingdao, Shandong Province, China). The company is responsible for the planning, sales, and support of home appliances in the Japanese market. Haier Japan Sales Official Website: https://www.haier.com/jp/ (Information about Yuzuru Hanyu's appointment as the brand ambassador will be released on this website at approximately 11 AM on November 21, 2024.) About Aqua Corporation Aqua Corporation was established in January 2012, inheriting part of Sanyo Electric's business. As the Japanese subsidiary of the Haier Group, Aqua is responsible for the planning, development, and sales of AQUA brand products and services, including commercial washing machines, household washing machines, refrigerators, vacuum cleaners, and more. Aqua Official Website: https://aqua-has.com/ (Information regarding Yuzuru Hanyu's appointment as brand ambassador will be released on this website at approximately 11 AM on November 21, 2024.) About Haier Asia R&D Corporation Haier Asia R&D Corporation is responsible for the planning, design, development, and engineering of products under the two sales brands (AQUA/Haier) for the Japanese market. Guided by the founding spirit of relentless pursuit of quality, the company is dedicated to developing products that enrich and enhance people's lives, making them more enjoyable. Link to comment Share on other sites More sharing options...
yuzurujenn Posted November 26 Author Share Posted November 26 2024.11.22 Source: 7 Corriere della Sera, pg 64-67 https://www.corriere.it/sette/24_novembre_22/yuzuru-hanyu-il-pattinatore-della-speranza-io-danzo-sul-ghiaccio-e-la-mia-preghiera-334d0ef6-a5aa-4880-b391-9cffe8495xlk.shtml Yuzuru Hanyu, the skater of hope: 'I dance on the ice: it is my prayer.' By Costanza Rizzacasa D’Orsogna Japanese, 29 years old: he is the greatest of all time. In 2011, after the earthquake, he fled with his skates on. Spoiler When, on February 10, 2022, at the Capital Indoor Stadium in Beijing, injured and relegated to eighth place due to a hole in the ice during the short program, Yuzuru Hanyu performed the quadruple Axel for the first time in an Olympic Games, falling and rising again with elegance as if it were part of the choreography, the audience erupted in applause. He could have played it safe, Hanyu, winning yet another medal, even if it was the wrong colour. Instead, by risking everything, he won the hearts of millions, demonstrating what true honour and fighting spirit are. Because his jump was not just a leap, but literature. The culmination of courage, honesty, and the strength of character of an extraordinary artist. At 29 years old, from Sendai in northeastern Japan, Hanyu is the greatest figure skater of all time: 19 world records; the only man to complete the Super Slam; the only one, after American Dick Button (1948-52), to win two consecutive Olympic gold medals in a much more competitive environment, despite asthma and a myriad of injuries. His technical and artistic excellence is so high that a recent AIPS ranking, compiled by a thousand international journalists on the most important athletes of the last hundred years, places him sixth: ahead of Michael Phelps and Maradona. He was just 16 years old when, in 2011, the “3.11” Tohoku earthquake and tsunami (20,000 victims, with the epicentre near his city) struck the ice rink where he was training. He fled with his skates on, and for several days, he lived with his family in an emergency shelter without water or electricity. To continue training, he performed in charity shows all over Japan. The public gave him hope, and he gave them hope in return: he then decided he would win the Olympics for his people. This happened in Sochi in 2014: he was the youngest and the first Asian to win. In 2018, he did it again. At just 23 years old, he was awarded the People’s Honor Award by then Prime Minister Shinzo Abe, Japan’s highest honour, for giving courage to his people. Until someone decided Hanyu should no longer win. The rules changed, and his self-confidence was affected. He understood. After Beijing, he turned professional and never stopped. Producer, choreographer, screenwriter. In 2023, his solo GIFT (available on Disney+) was the first skating show to be held at the Tokyo Dome, a venue that has also hosted Madonna. Meanwhile, his efforts for disaster-stricken areas have multiplied. Camouflaged, beautiful, he has been a Gucci ambassador for several months. But Hanyu is also a philosopher, and recently had a conversation with the Buddhist high priest Ryojun Shionuma about the meaning of existence. Because Hanyu’s language is universal, transcending sport and boundaries, showing that difficulties can transform into strength. ----------------------------------------------------------------------------------------------------------------------------------------------- More than 300,000 viewers from all over the world in less than two years for your shows, not counting all those who follow you through streaming. While competitive figure skating struggles to fill a few thousand seats, you are revolutionising professionalism, creating new formats to tell universal stories. At the same time, you have never been in better shape. Before, professionalism was the moment when a skater could relax. Now, once again, everyone is forced to chase after you. "Before my series of shows Ice Story, it was unthinkable for a skater to perform more than ten programs, including some with high technical difficulty, in a single day, in a solo performance lasting over two hours. Not only that, but each program was independent of the others. Today, each of my programs is part of a cohesive narrative that tells a broader story, a worldview. I hope Ice Story becomes a symbol of Japanese entertainment. In a few days, I will turn thirty (on December 7th), but I don’t see age as a limitation. I try to give everything I have. When I was competing, the wall I had to overcome was made of scores. As a professional, I am the one who determines my wall, my limits. I continuously expand my boundaries, becoming stronger to break that wall. And then another, and another." Many of your programs, and entire shows like Notte Stellata (Starry Night), which takes place on the anniversary of the "3.11" disaster, are linked to the experience of the earthquake. How do you cope with the difficult legacy of being a survivor? "If it hadn't been for the earthquake, my life would be different. Every program I perform is, even if not directly, linked to that experience: it is, in a sense, a prayer. It was then that I decided to skate for the people. The concept of hope is in every program I perform. Like Haru yo, Koi (Come, Spring), which I also performed in Beijing. I believe I won my Olympic golds because I lived through the '3.11,' and if my medals have any meaning, in these troubled times for the world, with wars, pandemics, and natural disasters, it is hope. I would like to offer my victories to the world as a symbol of hope." You have often spoken about the guilt you feel for surviving—the feeling of complete powerlessness, as you said recently, while reporting for Japanese TV among the people of Ishikawa, who were struck by the New Year's earthquake and subsequent flooding, where you performed for charity in September. You know what it means to live with the fear of an imminent disaster, and thus the importance of living our lives in a way that leaves no regrets. And it is precisely the meaning of life that is the focus of your upcoming tour, Echoes of Life. "I studied bioethics, and I often reflect on life and death. The only thing we can do is move forward. Survive each day in this world where we know nothing of what awaits us; live one second at a time, one day at a time. I would be happy if my skating, in which I give everything, could convey the feeling of living in the moment, living fully. After the '3.11,' I was supported by so many people. I can only repay them by doing my best, even if it’s little. So many are still suffering. My commitment to ensure they are not forgotten is a thought that accompanies me every moment." Since "3.11," your skating, your example, have been a comfort for those who suffer. Every day, on your YouTube channel, hundreds of people from around the world write to thank you. Do you feel the weight of expectations? Figure skating is an incredibly tough and lonely sport. But when you skate, it feels like everyone is skating with you. "I feel the responsibility toward my audience, and thus toward my performance. But I believe it's a positive pressure because it helps improve my performances. Seeing the enthusiastic spectators is the motivation I need. Loneliness is a fact of life, but if my skating can provide comfort, can bring a smile, then that is my mission." With programs like Seimei and Ten to Chi to, the first of which earned you the 2018 Olympic gold, dedicated to the famous mystic of feudal Japan, and the second to Uesugi Kenshin, the warlord and fierce defender of his people who became a Buddhist monk, you have brought Japanese culture and history to figure skating, which had previously been a realm of Western music and traditions. Your first tour, RE_PRAY, explored the ethics of video games. What can video games tell us about the world we live in? "Programs like Seimei and Ten to Chi to represent the pride of Japan. When I create a program, I think of something only I can do. RE_PRAY was a great challenge. No one had ever explored the world of video games so intensely. It’s Japanese culture, but more importantly, it’s my culture. Megalovania, Dark Messenger, Gate of Living... In the show, which mimics a video game, the scene 'GAME OVER. Continue?' 'Yes' is repeated several times. We are in the middle of the battle: the player is destroyed, wants to stop, but continues. Obstacles, fear, choice, rules, the mission, loneliness, giving everything: they are at the core of video games and life." You often speak of confronting the Yuzuru of nine years old. Despite everything you have been through, you have managed to stay true to yourself, to carry within you the child you once were. Today, society forces us to forget that we were once children, and, not by chance, when we grow up, we lose the creativity we had as children. "I’ve learned a lot from the Yuzuru of nine years old, who did everything with his heart, tried with all his strength to improve, just as I always try to improve. He was so courageous, so pure. At that age, the child has not yet been swallowed by society, and while he feels its pressures, he still does not know fear: he has a dream and wants to realise it. As we grow, we learn to associate sensations with the things around us. Rain = darkness, darkness = pain. When we are children, though, rain is just rain, darkness is just darkness. Compared to the purity of children, the adult world is full of interference. Adapting to society is important. But when I skate, I have to distance myself from the adult I’ve become and return to purity. To give my best, I have to return, in part, to being a child." After the "3.11," Gucci was very present in Sendai, helping with reconstruction through scholarships and promoting local crafts. What are the goals of your partnership? "For me, Gucci has always represented the pride of Italian craftsmanship, the same pride I feel for my country and my skating. Just as I create with the utmost care programs that reflect the history and culture of Japan, Gucci creates clothing and accessories that tell the story and culture of Italy." Link to comment Share on other sites More sharing options...
yuzurujenn Posted November 26 Author Share Posted November 26 2024.11.25 Source: Weekly Toyo Keizai 2024/11/30 issue, pg 62-69 Info: https://www.amazon.co.jp/dp/B0DM558RM9 Yuzuru Hanyu: An evolving entertainer The world's most famous figure skater is now on the verge of further evolution. Ahead of the opening of his latest tour, "Echoes of Life," on December 7, he shares his thoughts on being a "professional" and the influence he holds. Text Mai Yamamoto Design: Satoko Suzuki, Kanaka Nakamura Photography: Shuji Umetani Cooperation: WINEstudios Yuzuru Hanyu achieved back-to-back Olympic victories in Sochi 2014 and Pyeongchang 2018. He was the youngest individual recipient of the People's Honor Award. At the Beijing Olympics in 2022, he attempted his dream of a quadruple axel jump, attracting worldwide attention. Yuzuru Hanyu is a rare figure skater. His popularity remains immense. Tickets for his shows remain hard to come by, regardless of the venue, and his performances attract fans from all over Japan and the world. His long-term commitment to disaster relief has garnered widespread support, creating a large circle of aid centred around him. After transitioning to professional skating in the summer of 2022, he has focused on expanding his figure skating. He is creating new entertainment that expresses his own stories through large-scale productions such as video and on-ice projection mapping. What is Yuzuru Hanyu trying to achieve? An exclusive interview delves into what happens when he takes action, including insights from related companies and local governments. Quote Special interview After turning professional, he held solo shows and solo tours, which were previously unimaginable in the traditional figure skating world. He created a unique show format called "Ice Story." He is also now exploring new ways of connecting with his fan community. What is the young entertainer thinking in the midst of such transformative times? --What was the reason for the success of all your solo shows "Prologue," "GIFT," and "RE_PRAY"? Honestly, it's hard to define what "success" means in this world. However, one thing I can proudly say is that tickets for all the shows were almost sold out. Many people bought tickets to see me skate. Ticket sales are an important indicator, and I want to maintain the perspective that "almost sold out = almost successful." When I think about the factors behind the success, it's not just my own ability, but something much bigger. How can we make the show better and what is most needed? Everyone involved in the show put in a lot of effort and thought. I think the success came as a result of that. --In your first solo show "Prologue," you performed 8 programs in each show, mostly from your competitive skating repertoire. Although not all the performances were full versions, "Prologue" was a show with many parts that I had to manage with my own strength and technique. The Tokyo Dome performance "GIFT" was coming up in few months, so I approached this show with the mindset that I was going to shape my solo show from now on. The production and management team also took a trial-and-error approach to this new challenge. I didn't consider "Prologue" as an "experiment" but instead wanted to succeed as a complete piece of work. However, it was significant that this show helped us all share the image of a solo show as a team. The next show, "GIFT," was a one-time performance. How do we showcase a skater in the vast Tokyo Dome? How could figure skating as an expressive art be expanded? It was an unknown challenge for all of us. The challenges and appeal of the Tokyo Dome --Normally, seats close to the rink are popular at ice shows, but for "GIFT," all the seats were far from the rink. Overcoming and making use of this condition was a key feature of the show. You incorporated elements of a music concert into the direction. For example, there were scenes where dancers performed around the rink. While such a direction is not unusual in live performances at dome venues, it’s not something you can do at a regular ice show since it would obstruct the view of the audience and make it difficult to see the skaters. It was an unusually extravagant production for an ice show, but without it, the space between the rink and the audience would have seemed rather empty. Loneliness and solitude are important pieces in constructing the story of "GIFT," so there was also a desire to bring out these emotions. But in the individual sport of figure skating, the skater is already a solitary figure. Simply performing in an empty space would have made the performance feel too lonely. To surprise and entertain the audience, it was necessary to do something different from the usual. I want everyone, no matter where they sit, to have a special experience. --It's a refreshing feeling that it's interesting to watch from a distance. It’s a difficult point. When considering demand, many people say the best experience is when they watch from the front row. The speed and dynamics of a skater are more noticeable up close, and you can feel their expressions and breathing and even sense their gaze on you, which is part of the appeal of sitting near the rink. However, I don’t think the figure skating I want to show is limited to just the charm of close-up views. I always think, “No matter where you sit, I want you to have a special experience that you can only have in that seat.” In "GIFT," there were no seats close to the rink, so we focused all our efforts on how the skating can be seen from a distance. --This approach of "no matter where you sit" is also carried over into the arena tour "RE_PRAY." We refined the know-how that we gained from "GIFT." And one more point. In figure skating competitions, generally, the skaters perform on the long side of a 30m x 60m rink, the 60m side of the rink, with the side where the judges are located as the front. This is how people perceive the rink as being horizontal. However, after turning professional, I started placing great importance on showing the rink from the short side, with the 30m side as the front. On one side of the short side, we placed a large LED screen, and the audience sat in front and on either side. We used projection mapping to link the visuals on the ice with the skating paths, and we also used large gauze curtains. Since we are using the rink vertically, I am also conscious of utilising the depth and perspective of the space. --So, the short side seems like the "winning" side, but there are more seats on the long side. Doesn’t that lower audience satisfaction? Actually, there are things that can only be felt from the long side. In figure skating, how far you can glide in one step and how fast you can go is crucial, and this is most apparent during long-distance movements. Therefore, on the long side, you can enjoy the big horizontal movements that are typical of figure skating, while on the short side, the focus is on utilising the depth, which is a new attempt. Also, in programs that use projection mapping, the visuals on the ice and the skating trajectory are more clearly visible from seats further away. --So, the experience is different depending on the seat. When I look at the data of those who bought tickets for my shows, I see that many are repeat customers. Because of this, when I was thinking about the structure and direction of "RE_PRAY," I focused on the concept that 'by watching it repeatedly, you can experience a different world each time (replay). Additionally, this is something common in dance and ballet, but in expressive forms like those, the appeal tends to be stronger on the front-facing side of the body. Plus, figure skating is like performing on a stage placed in the center, meaning the audience can view it from 360 degrees. Therefore, in ice shows, we must be conscious of the 360-degree perspective in the direction and lighting. The fusion of the 360-degree design of the skating and the 360-degree design of the staging creates a fascinating experience where different views can be seen depending on the seat. --"RE_PRAY" seemed to attract many new fans. "RE_PRAY" had a theme of games, and word-of-mouth spread among game fans, which led many people to come to the venue or attend the live viewing for the first time. The production and management team always want to create a show that new audiences can enjoy. However, even so, the most important thing is to consider those who think, "After all, I love Hanyu most." First of all, I want to create something that my fans will think is cool. Then, I think about the people who come to the show for the first time. Since people who love music, ballet, or have a deep appreciation for the arts also attend, I want to ensure that the experience doesn’t feel cheap, but rather that they can think, 'I had a luxurious experience by coming to this show.' --There are more and more performances attracting attention from fans of the works you've collaborated with, such as 'GIFT,' which has a picture book published by the creative group CLAMP, and 'Meteor,' a song from the anime series 'Gundam SEED'. Is this a conscious effort? I do think about bringing in fresh collaborations. But when it comes to games, anime, or manga, when I collaborate or use songs, it’s important that "I am really interested in it, I love it, I have been exposed to it for many years, and I have accumulated knowledge and experience." If I don't have depth in my approach to the work, I can’t show respect for it, and my performance will end up shallow. That shallowness would likely be felt by the fans of that work, so I don’t want to casually take advantage of the popularity of someone else’s work. I want to make sure I respect and value the people who love these works. Because I genuinely love it myself, I can understand what would make people who also love that work or field feel like, 'It would be fun if it were expressed this way.' I want to focus on doing things that I can dive into deeply and do well. "As a medium and a brand" --You once said that "Yuzuru Hanyu is a medium." Do you still feel that way? Essentially, I still feel the same. There's a line in the song "Sainoujin Ouenka (Support Song for the Troubled Talent)" by BUMP OF CHICKEN that says, "There is no song sung just for me." I believe that’s true. On the other hand, many people experience a song that touches their hearts, or an image forming in their mind when they listen to it. That’s something the creator probably didn’t intend. It’s from the creativity of the listener that unique emotions and actions are born. It's the same with my figure skating and the words I say. When the person who receives them recalls something from it and feels their imagination being sparked, they say things like “That touched me” or “I like it.” In that sense, I see myself as a medium. When I try to convey something, it is not always possible for 100% of what I am thinking to reach the audience. But if, in that moment, my attempt to convey something helps someone recall or evoke something within themselves, then I believe that’s the most accurate form of expression. --I imagine there are also difficulties in maintaining the 'Yuzuru Hanyu brand' as a medium and meeting expectations. Right now, I have a team of many people who worked with me on my solo shows. We share and discuss the image of 'how Yuzuru Hanyu should be presented' through the perspectives of people with diverse expertise. I receive their advice and align it with my own objective view and feelings of 'what I want to do.' In the end, only I know how I feel. Now that I am starting to place more value on my own feelings, I have a clear image of what I want to do. But, if I were to solely produce myself based on my own feelings, the product would end up too narrow in its perspective. Although, it feels strange to call myself a product... Now, I can speak comfortably in front of my fans. --Was it difficult for you to value your own feelings in the past? I think I was much more empty before. In figure skating, everything is left up to the judges. The score changes depending on what the judges think. So, in order to earn points and win, I had to prioritise what kind of music to choose, what themes to pick, and what to express, rather than what I personally wanted to express. I spent a long time thinking about how I would be evaluated. It may also be a habit from when I was a child. I’ve always felt that the happiest thing is when someone becomes happy or when someone is pleased. So, I wasn’t sure what personal happiness from within me really was. But over time, as I worked on ice shows and new programs, I gradually came to understand what happiness arises from within me. I think I’ve started to be able to cherish that feeling. In a good way, skating is no longer just something personal to me. Being part of this larger movement of ‘creating a show with everyone’s help’, I’ve started to understand what personal happiness is. Although it’s still somewhat unclear and difficult for me to grasp. -- Is it like separating the happiness of "work = skating" from the happiness of your private life and balancing them? I wonder. To some extent, I try to separate them, but in reality, they proceed simultaneously. Skating and the various projects that stem from it aren't absolutely essential to my survival, but without them, I would lose my sense of purpose. In that case, I think 'purpose' and 'happiness' might be the same thing. So, when my personal happiness aligns with the success of a project, I think, 'Well, in the end, they are one and the same.' "Realising the presence of fans" --You maintained a stance of not revealing your private life or sharing unnecessary information during your competitive years. However, in the past few months, you’ve been expanding the ways you communicate with your fans, such as through messages for YouTube membership subscribers and radio (audio broadcasts). "The frustration of not being able to express what I want to convey has always been there since my competitive years. For example, after a competition where things didn’t go well, if I were to analyse the cause and explain it in detail, it might come across as making excuses. There was a long period when I felt I shouldn’t show any weakness, and I thought I couldn’t afford to show any openings. If I showed my weakness, there were some... how should I put it... bad people who would seize upon it. It's hard to say (laughs). However, during the "RE_PRAY" tour, I came to realise that there are so many people, including those in the membership, who are genuinely looking forward to my skating. Of course, each fan has their own heart, and when I say something, the interpretation will vary among individuals, and the images that come to mind will be different. But now I can speak with the reassurance that these people are supporting me in such a positive and kind way. I’ve gradually started to be able to express things that I had buried deep inside me with the help of everyone. --Is that the main difference between your amateur career and your professional career? When I was competing, I was fighting with everyone, including my fans. No matter what performance or result I had, people would say, "You did a great job," or "I'm glad for you," but deep down, I'm sure everyone wanted me to come in first. In the professional world, I don't have to fight anymore. As long as I do a good performance and look happy, most of the fans will tell me that makes them happy too. Because of that, I can feel at ease and entrust myself to the fans. --On the other hand, there is a unique excitement in competition. Without clear rivals, is there something you’re doing to maintain the enthusiasm of the fans in ice shows? It’s difficult. This is something I’m thinking a lot about right now. It’s not easy to create the same excitement in an ice show as in a competition. Without a clear goal of overcoming something or becoming number one, the sense of unity between me and the fans, as well as among the fans themselves, can easily become fragmented. However, through my skating, I believe I can evoke the memories of the competition days, like the landscapes seen at the competition venues and their surroundings, and the images and emotions from those times. Therefore, for my long-time fans, I consciously perform in a way that helps them recall what they hold dear. I believe it’s possible for them to feel the excitement from back then, plus see how much I’ve improved since. Also, like the ‘suspension bridge effect’, I’ve had many situations where I fought through a crisis. For example, at the Pyeongchang Olympics, and at many other competitions where my ankle was in terrible shape, or my overall physical condition was bad. When I managed to overcome those tough situations and win, many people thought, "It's cool that he won against the odds." My biggest goal now is to create something that makes people think, "This person's skating is really good," without needing the ‘suspension bridge effect’. ---------------------------------------------------------------------------------------------------------------------------------- Yuzuru Hanyu, born on December 7, 1994, in Sendai. He won gold medals at the 2014 Sochi Olympics and the 2018 Pyeongchang Olympics. In 2018, he was awarded the People's Honor Award. In 2022, he attempted the quadruple axel at the Beijing Olympics, finishing in 4th place. In July 2022, he turned professional. He pioneered a new frontier in figure skating with his solo performance "Ice Story." Since the Great East Japan Earthquake, he has been diligently working on supporting recovery efforts. Link to comment Share on other sites More sharing options...
yuzurujenn Posted November 26 Author Share Posted November 26 2024.11.25 Source: Weekly Toyo Keizai 2024/11/30 issue, pg 70-71 Info: https://www.amazon.co.jp/dp/B0DM558RM9 Performances as an opportunity for regional development Saga's efforts to connect Yuzuru Hanyu's performance to regional revitalization During his competitive years, Yuzuru Hanyu attracted fans from across the globe to competitions. Many travelled from places as far as Canada and Northern Europe to support him for just 7–8 minutes of his short program and free skate. After turning professional, Hanyu has been energetically performing in solo shows and headlining ice shows across Japan, while based in Sendai. Fans eager to watch him perform travel from distant places to attend these events. For local governments seeking to bring people in and create excitement, Hanyu’s performances provide a unique opportunity for regional revitalization. Spoiler Hanyu's "RE_PRAY" Saga performances were held at SAGA Arena on Friday, January 12th and Sunday, January 14th, 2024, with approximately 5,500 people from Japan and abroad attending each show. Saga took full advantage of this opportunity. In preparation for the performance, Saga Prefecture and Saga City jointly planned the "#RE_PRAY_SAGA_ Hotomeki Project." "Hotomeki" means hospitality in the Saga and Fukuoka dialects. Thorough "Hotomeki" Efforts The project was remarkably straightforward in featuring "RE_PRAY." Based on materials prepared by Saga Prefecture, the initiative was depicted on a map, as shown on the left. Large banners and flags featuring the key visual adorned the streets, creating excitement for fans. Public transportation was also involved, with train stations and even temporary bus routes decorated to match "RE_PRAY." Illuminations were extended to coincide with the event, further enhancing the city’s appeal. For the project meetings, three people from the prefecture and four people from the city attended each time. The prefecture was in charge of the area around the station, while the city handled the central downtown area to the south. Mai Ejima from the Saga Prefecture SAGA Arena Convention Bureau recalls, "The arena is located on the north side of Saga Station, but the area with many restaurants and shops is on the south side. What the prefecture and city focused on was how to create a flow of people to the south side of the station." In the bustling area south of the station, large photo-worthy tapestries were installed in places like Tojinmachi, just a short walk from the station, encouraging fans to explore the city. On social media, many posts were shared with hashtags like "#RE_PRAY_SAGA_ほとめきプロジェクト" (Hotomeki Project) and "#ほとめきプロジェクト" (Hotomeki Project), featuring information about local cuisine. Encouraging people to walk and enjoy local food helps revitalize the city. Hotomeki from Local Businesses As part of the "Hotomeki" initiative from local businesses, the souvenir shops inside Saga Station, where arriving visitors first stop to look around, attracted a lot of attention from fans. According to Ejima, the PR representative of "Ocha no Suezakien," handmade illustrated POPs were displayed in the sales area, promoting their "Ureshino Kocha Yuzu Blend," which evokes "Yuzuru" (結弦) (Yuzuru ゆづる → Yuzu ゆづ→ Yuzu ゆず). He mentioned that sales during the 3-day event reached the equivalent of a year's worth of stock. "Saga Kobo" also displayed welcoming POPs, promoting products like yuzu pepper. Daisuke Shin, from the Saga City Central City Revitalization Office, said, "We didn't have enough time to publicize the plan, so there were some challenges in engaging with downtown businesses. However, I think it was positive that we were able to cooperate with them through initiatives like the coupon campaign." The information was made publicly available in September 2023, and the first meeting between the prefectural and city officials was held in November, two months before the performance, so the time was limited. According to Miho Yonekura, who was in charge of attracting events to the SAGA Arena, "We have been putting a lot of effort into attracting large events in the first year of operation, and I had been persistently pushing to bring Hanyu's performance to Saga, so I was really happy when it was finalized. However, we couldn't disclose the details until the information was made public. Initially, all we told the local government was that we were 'considering an ice event.'" This is the first time that the prefecture and city have jointly carried out a welcoming project linked to an event. Yonekura notes that it is rare for an area to set up such a strong collaborative framework. "Both the prefecture and the city have a strong will to use the SAGA Arena not just as a venue, but as a tool for regional revitalization. The city's full support for the event is something that could only have been achieved in a rural area," said Yonekura. The organizers were also cooperative in this effort. The prompt provision of key visuals allowed for the smooth production of tapestries and flags used for city dressing in the southern area. The prefecture spent approximately 200,000 yen on production, while the city spent about 1 million yen. Additionally, they were able to implement hospitality efforts by leveraging existing events and initiatives. 482.1 million yen effect The economic ripple effect of the "RE_PRAY" performance was substantial, with Saga Prefecture estimating it at 482.1 million yen. This figure is based on an input-output table of visitor and organizer spending on accommodation, food and drink, and souvenirs, and includes the impact of the Hotomeki Project. Both the local government and Saga Arena personnel expressed satisfaction with the outcome, saying it exceeded their expectations. The prefecture, city, and SAGA Arena officials all agree that the excitement exceeded expectations and that they felt a strong sense of accomplishment with this initiative. What were the factors behind the success? Several reasons can be considered, but one of the most significant was that the people involved in the Hotomeki Project and local businesses genuinely welcomed Yuzuru Hanyu and "RE_PRAY," treating them with respect. Many fans expressed their gratitude on social media, praising the "warm welcome" and the "city-wide enthusiasm." The fact that the local community cherished the event and its visitors contributed to increased interest in Saga’s local culture, food, and attractions. While the high purchasing power of Hanyu's fans and their enthusiasm for tourism and food likely played a role in the success, Saga's example offers valuable insights into "regional revitalization centred around events." Link to comment Share on other sites More sharing options...
yuzurujenn Posted November 28 Author Share Posted November 28 2024.11.25 Source: Weekly Toyo Keizai 2024/11/30 issue, pg 72-73 Online: https://toyokeizai.net/articles/-/841781 / https://toyokeizai.net/articles/-/841781?page=2 Archived: https://web.archive.org/web/20241204001209/https://toyokeizai.net/articles/-/841781 / https://web.archive.org/web/20241203235218/https://toyokeizai.net/articles/-/841781?page=2 Info: https://www.amazon.co.jp/dp/B0DM558RM9 Commitment to Supporting Disaster-stricken Areas The strong commitment to supporting disaster-stricken areas. Behind the scenes of charity events and visits to the affected regions, as shared by the people involved. Spoiler When it comes to a live performance featuring Yuzuru Hanyu, people from both urban and rural areas gather in large numbers. However, the 'Noto Peninsula Reconstruction Support Charity Ice Show Challenge' held on September 15 this year was a streaming-only, nearly audience-free event. The skaters who participated were Yuzuru Hanyu, Takahito Mura, Akiko Suzuki, and Satoko Miyahara. Tickets were priced at 4,500 yen, which is not cheap, but over 10,000 tickets were sold. The proceeds were donated to Ishikawa Prefecture. On social media, there were notable reports of ticket purchases from overseas. Although the service 'Lemino,' available only in Japan, was used for streaming and could not be accessed from abroad, many fans wanted to support the disaster-stricken area and expressed their solidarity with Hanyu. The donation from the proceeds of the performance is expected to amount to several tens of millions of yen. "I want to do something that will help the people who were affected by the disaster in Noto." This wish of Hanyu's was the driving force behind the event, which was organized by TV Kanazawa. Keichi Sato, the managing director at TV Kanazawa, who oversaw the operation, said, "I’ve been in the television industry for a long time, but charity events of this scale are rare. I was truly surprised by the huge response and how many people tuned in." The planning for the event began in May, and everything was done on trial and error. "Initially, we were thinking of holding an ice show with audience," said Sato. There had been ice shows in Kanazawa before, but those required laying ice in the arena, which involved substantial costs. It would be difficult to run the show in the black, and it could stray from the charity’s original purpose. At that time, the only ice-skating rink in the prefecture, the "Kenmin Sports Plaza" operated by an affiliated organization of Ishikawa Prefecture, emerged as a possible venue. "It’s an old facility for practice, and it wouldn’t be suitable for a grand show. There were structural issues, and bringing many people to the site would be difficult. We were worried whether they would even be able to skate here, but they kindly agreed to it," said Sato. Although the rink is typically open in October, they persuaded the prefecture's officials to start preparing the ice two weeks in advance, allowing the performance to take place on September 15. As discussions progressed about the type of charity event to host, the idea of a "no-audience, paid streaming" format emerged. TV Kanazawa used its expertise in television production to make the event possible. "With streaming, we can create a TV show-like experience. We should include something that shows Noto as it is right now," said Sato. During the performance, live broadcasts connected the scenes from Noto and the skating rink, showcasing a performance by the local drum team "Wajima Wadaiko Toranosuke" and a calligraphy performance by the "Noto High School Calligraphy Club." The energy of the local younger generation, along with the warm interactions between the performers, strongly conveyed the significance of the event to the viewers. For TV Kanazawa, which has about 80 employees, this performance was a major event, and more than half of the employees were involved in one way or another. "The performance was a challenge for us, too. I think TV Kanazawa grew a lot through this experience," said Sato. Furthermore, at the suggestion of TV Kanazawa, it has been decided that Hanyu will cooperate with a tourism promotion project by Ishikawa Prefecture. The Mission of the Survivor In June of this year, ahead of the performance, Hanyu visited Wajima as part of his special message for the TV program "news every." on Nippon Television. This was also something Hanyu requested. The reporting team for "news every." which has long supported disaster-stricken areas, said, "Hanyu, who experienced the Great East Japan Earthquake in Sendai, seems to feel it is his mission as a survivor to convey the realities of the disaster areas and the importance of disaster prevention." The Meaning of "A Gold Medal for the People" Back-to-back victories to support reconstruction efforts. When visiting disaster-stricken areas, he takes his Olympic gold medals with him. "Even people who don’t know me will smile just by seeing the two gold medals. That’s the power of the Olympics," said Hanyu. Since his junior years, he had dreamed of winning Olympic gold, which he achieved at the age of 19. Then, in September at the age of 29, during a press interview after the charity performance, he revealed that one of the goals behind his Olympic consecutive victories was to start supporting the disaster-stricken areas. His childhood dream of competing in the Olympics changed after the Great East Japan Earthquake to a desire to 'win for the sake of reconstruction.' What kind of change took place in Hanyu's heart during that time? "What was it... I’m thinking about it for the first time, but I don’t think it was such a complicated process," said Hanyu. The roots of his commitment to helping others began in 2004, when at the age of 10, he lost his home rink due to financial difficulties. A year later, following an appeal from Shizuka Arakawa, who won a gold medal at the Turin Olympics, the local government took action, and the rink was reopened. "Thanks to Arakawa, we were able to practice again," Hanyu recalled. Wanting to be a source of strength for others He realized the power of a gold medal. He wanted to win gold and use it to help others. For Hanyu, the gold medal was for others. "After the earthquake, the major purpose of my gold medals was to support reconstruction. It wasn’t a change, but more of a natural progression." From a young age, Hanyu has had an innate desire to make people happy. "When I was little, I wanted to skate well like my sister and be praised. What made me happiest was seeing people smile when they watched me skate. The gold medal was an extension of that. So, when I think about it now, my desire to make people happy has always been the same. It seems that everything was connected. I understand it now." However, there are moments when he cannot rely on the power of the medal. "If I’m skating for reconstruction support, it depends on me as I am now. As a single skater, I will give it my all." At the performance, he focused on bringing out the charm of the local performers from the disaster-affected area. Photographer Toru Yaguchi, who followed Hanyu from practice to the performance as the official photographer, said, "Hanyu paid particular attention to adjusting his movements to match the local young taiko drummers during practice. I really felt that he valued the feelings of the local performers." After the Sochi Olympics, a visit to Ishinomaki, a tsunami-hit area, seems to have become his formative experience in visiting disaster-stricken areas. Hanyu, who had initially been hesitant to visit, was warmly welcomed by the town. Not only the schools he visited, but also people on the street, called out to him, saying, 'You did a great job at the Olympics,' and 'We're rooting for you, Hanyu.' He was deeply moved by the warmth of the people, and at the same time, this experience made him realize that his gold medal could be a catalyst for bringing smiles to the disaster-hit areas. Since then, Hanyu has been actively suggesting to the press team, 'I want to go to Fukushima,' and 'I want to visit the areas affected by the Hokkaido Eastern Iburi Earthquake.' "Even amidst his busy schedule, Hanyu has always made time to support disaster-stricken areas I think that disaster recovery and disaster prevention has become another part of his life’s work," said the reporting team. Events bearing the name "Yuzuru Hanyu" have also become a source of support for disaster-stricken areas. The 'Yuzuru Hanyu Exhibition,' sponsored by the Yomiuri Shimbun, has been held three times so far and has donated approximately 156.52 million yen from merchandise profits. Part of the donations have been set aside as a "Large-Scale Disaster Support Fund," which is used to provide financial support to affected local governments and other organizations in need. The current balance of the fund is said to be approximately 65.93 million yen. 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yuzurujenn Posted November 30 Author Share Posted November 30 2024.11.25 Source: https://www.phiten.com/hanyu-project/interview/ Archived: https://web.archive.org/web/20241128063817/https://www.phiten.com/hanyu-project/interview/ Info: https://x.com/phiten_official/status/1860956590863720525 Yuzuru Hanyu x Phiten Interview The ever-evolving Yuzuru Hanyu experiences Phiten's new technology "I'm looking forward to performing and taking care of my body even more now!" A conversation took place between professional figure skater Yuzuru Hanyu, who has been using Phiten products since he was 8 years old, and Yoshihiro Hirata, the president of Phiten. They not only discussed the appeal and usage of the products, but also introduced Phiten's latest technologies, with scenes of Hanyu actually wearing them. It seems that Hanyu, who continues to evolve, also gained new inspiration for his body care. Spoiler "Phiten is like a talisman." Hirata: "Hanyu has been using the RAKUWA Necklace for a long time, but what made you first decide to use Phiten products on the ice? Could you tell us about the initial inspiration?" Hanyu: "There was a Phiten shop near the rink. I also enjoyed watching baseball, and I admired the famous athletes who used Phiten products. When I was 8 years old, I went to the shop with my father, and that was my first experience with Phiten. So, I've been using the necklace since I was in elementary school." Hirata: "In addition to that, I understand you've used various other products, but I hear you're particularly particular about the socks." Hanyu: "Yes. At the time, five-toe socks weren't as common, but I was amazed at how much freedom they gave my feet. Afterward, Phiten released products that reflected my feedback, and last year, they even released a new series called 'Phiten 5-Toe Socks Washi,' which evolved into an even better form. In permanent ice rinks during winter, the room temperature often drops below freezing, and my toes would lose feeling, but with Phiten socks, I can maintain warmth. Also, in figure skating, we often tilt the thin edges to the left or right, switch between front and back, and during spins, we have to keep applying force to our toes to resist centrifugal force. This involves a lot of activity in the plantar muscles, and the socks support these movements as well." Hirata: "When we gave you the prototype, I was surprised when you pointed out that 'the sensation changes when wearing the same product, just by changing the knitting pattern.'" Hanyu: "Even small differences in materials or knitting patterns can affect my performance. The same goes for the RAKUWA Necklace—if the balance changes, or if the length of the necklace string changes even slightly, it can make it harder to spin. I'm very sensitive to those subtle differences (laughs)." Hirata: "As for body care, you're currently using the Kenkōyoku Shower. What is the main reason for that?" Hanyu: "Manual therapy can loosen muscles, but there are parts of the body, like the ligaments and muscles attached to the bones, that my hands can't reach. When fatigue builds up in those muscles and they start to stiffen, it disrupts the balance of the body. That's why I use the Kenkōyoku Shower. It helps relax the whole body while also targeting the areas that are hard to reach, improving flexibility and increasing the range of motion in the joints. Plus, since it's light, you can use it from any angle, which is great. I also use it simultaneously while receiving manual therapy." Hirata: "When during the day do you use the products?" Hanyu: "I use them during travel, before warm-ups, after practice or shows, and even while sleeping. I feel like I’m always using them. I use them to start my day feeling good and to end my day comfortably. Especially in the morning, muscles and various body tissues tend to be stiff or stuck, so I use it to activate those areas and get them moving. It’s become essential for that purpose. I believe that the preparation phase is very important, and it greatly influences my performance, as well as reducing fatigue and the risk of injury. The seriousness of my preparation shows in how I perform when it’s time for the main event." Hirata: "Since 2022, you’ve become a professional figure skater and taken on new challenges. How has your performance evolved?" Hanyu: "During competitions, I used to skate for 5 minutes, but now I skate continuously for about 2 and a half hours, so I’ve had to build my body to withstand long periods of high-intensity movement. However, if I only focus on building endurance, my explosive strength tends to weaken, so maintaining both endurance and strength at a high level while balancing them is very difficult. Right now, I’m researching and exploring what kind of approach is needed, and I believe I’m in the process of evolving. This process of thinking is very important, and I’m excited to see how I’ll change in the future." Hirata: "I'm happy to know that Phiten products are helping in your evolution." Hanyu: "Phiten products are like a talisman for me. I can’t imagine going into a competition or show without them—it’s become something I can’t do without. What’s great about Phiten is that many of their products can be worn throughout daily life, in the bath, or even while sleeping. In fact, now I feel uncomfortable if I take them off. I’ve always felt that I can’t perform at my best if I don’t wear them, both during my competitive years and now, and that won’t change." "With the development of Kenkōyoku®, greater relaxation can be achieved." Hirata: "To continue supporting you, Hanyu, we would like to propose our new technology. The light technology you are already using, the Kenkōyoku® series, has released the 'Kenkōyoku Fan,' 'Kenkōyoku Dome,' and 'Kenkōyoku Multicket.' The 'Kenkōyoku Fan' was very popular this summer because it combines light with a refreshing breeze. The 'Kenkōyoku Dome' uses 242 LED lights in 6 colors to provide care, and the 'Kenkōyoku Multi-ticket' combines 315 red and white LEDs, which can be draped, worn, or wrapped around the body for targeted care. How did you find these when you tried them?" Hanyu: "The 'Kenkōyoku Fan' not only offers light therapy but also a sense of cooling, and it helps make breathing easier. I can see why it's popular with people beyond athletes as a relaxing item during hot summer times. The 'Kenkōyoku Dome' seems great for targeting skin wrinkles and scalp care. I think it could also be used on the lymph nodes. With the variety of light options, you can expect a range of effects, which you can visually see, and it’s also great that it can be used in three dimensions. It’s not just for the face or head, but you can use it on your stomach and legs as well, targeting overall skin beauty, which I think women would really appreciate. The 'Kenkōyoku Multi-ticket' seems convenient for use during travel or while sleeping. Sometimes, I use up to eight Kenkōyoku Showers simultaneously, wrapped around my belt, so this is very helpful. With just one of these, body care can be done without stress, and the quality of sleep seems to improve as well. I’m looking forward to using it starting tonight. When you’re traveling for performances and the bed changes, maintaining sleep quality becomes a big part of conditioning, so I’m happy to know this could help with that. It allows for even more relaxation and care." Hirata: "Just like the Kenkōyoku Shower, these products are made with Phiten's Metax Carbon Ceramic, which is combined with silicone and resin. The light is radiated through these materials and reaches deep into the body." Hanyu: "I think the amazing thing about Phiten is that they try to do things that most people would never think of. I was previously shown 'Metax' at the factory, which is made by dissolving various metals in water at the nano level. Just that concept alone is something most people would never imagine, and I'm sure there is no one else who would try to solidify that water into clay and shine light on it (laughs)." Hirata: "In terms of challenging things that others wouldn’t do, Phiten and you, Hanyu, may be quite similar." "With Nano Metax coating, both care and performance evolution are accelerated." Until now, we have commercialized our technology into products, but from now on, we are introducing the idea of transforming your existing items into Phiten products. We are offering a service called 'Nano Metax Coating.' This is Phiten's cutting-edge technology, where the 'Nano Metax' is combined with the light technology 'Kenkōyoku®,' and then sprayed as a mist to coat items using a water vapor processing technique. Hanyu: "Are other Phiten products also processed with this technique?" Hirata: "Until now, we have dissolved metals like titanium, gold, and silver into water and used fabrics or materials infused with these to create our products. This is different from the Nano Metax coating. In that sense, it's a groundbreaking technology. Actually, today you wore running shoes and a T-shirt that were coated with Nano Metax. How did you feel about them?" Hanyu: "I compared both the before and after of the processing, and the changes were clear. The shirt became really soft, and the comfort is outstanding. As for the shoes, they were said to help with body balance, but not only that — when I kicked off the ground, I could feel the force not escaping sideways but staying concentrated in one point. I could immediately feel the smoothness and increased range of motion just by jumping and lightly rotating. These shoes aren’t my own, and it’s my first time wearing them, but I’m really surprised at how easily I can move exactly as I imagined. How long does the effect of this coating last?" Hirata: "It has been proven in tests that the effect doesn’t diminish even after 100 washes. In the past, we couldn’t create uniforms or costumes for athletes, but with the Nano Metax coating technology, we believe we will be able to cater to those needs in the future." Hanyu: "I’ve always wished that the costumes used in shows could have the same kind of effect as Phiten products, so this is great news. I would love to have the insoles of my skates, as well as my warm-up shoes, processed with this coating, and also the training wear I use. I think that with Phiten surrounding me even more in my daily life, training, and shows, the evolution of my conditioning and performance will accelerate, and I’m excited for the future of my performances and body care." Hirata: "I hope you continue to use this Nano Metax coating and keep evolving." Hanyu: "Learning about this new technology today has been really inspiring. I look forward to continuing to evolve with Phiten. Thank you for today." Link to comment Share on other sites More sharing options...
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