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 Wednesday at 01:38 AM Author Share Posted Wednesday at 01:38 AM 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 Wednesday at 01:44 AM Author Share Posted Wednesday at 01:44 AM 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...
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