[2023.03.15] GIFT Ice Story Book

[Wintek]

Official post-show booklet. It includes a long interview with Yuzuru Hanyu and MIKIKO.
The exact date of the book release needs to be confirmed -cover released 2023/03/15
More information:

https://gift-official.jp/index_en.html
https://www.asmart.jp/en/shop/gift-official/product/10036148

[Wintek]

*Machine translation from Japanese to English. Inaccuracies exist*

 

More information: https://gift-official.jp/index_en.html

https://www.asmart.jp/en/shop/gift-official/product/10036148

 

INTERVIEW: Yuzuru Hanyu x MIKIKO

 

The story GIFT, which expresses the life and future of Yuzuru Hanyu on ice, was produced by Hanyu and directed by MIKIKO. How did you create your first performance at the Tokyo Dome as a skater? In the interview, they talked about how the two of them decided to team up and the thoughts they put into it.

 

— What are the new challenges for the two of you in GIFT?

 

Hanyu (H): "When I asked her to direct ‘Itsuka Owaru Yume’ (Someday the Dream Will End) and ‘Haru yo, Koi’ (Come, Spring) for "Prologue," my first show as a professional, ‘Haru Yo Koi included jumps. It was also my first time working with MIKIKO-sensei, and I was a bit scared because we had very little time to compare our ideas. The first time I tried ‘Itsuka Owaru Yume’ at the Yokohama show, following the traced movements I had done on the ice was extremely difficult. I had already skated many pieces in the show, so keeping up that speed was really tough. Plus, maintaining accuracy was another challenge. I felt a strong need to match my movements to the visuals. However, as I kept performing it, I gradually started to understand the meaning behind the lighting in each moment. It was then that I felt deeply that, as a form of expression in figure skating and as Yuzuru Hanyu’s way of expressing himself, I had begun to master that production as a form of expression.”

 

“I don’t know if this is the right way to say it... it’s not about me adjusting to the visuals, or the visuals adjusting to me. There’s the visual, there’s Yuzuru Hanyu’s performance, there’s the music, there’s the choreography. And within all that, I think about how to show the ‘gaps’ between those elements, how to convey that meaning, and how to help people feel it. That’s something I hold very dear. So if there’s a trace or path on the ice, it’s not just about skating forward but about how to feel and bring out that trace behind you. Since figure skating allows the audience to view it from various angles, I started thinking about how I’m seen from a diagonal view from behind, and how to express myself from that angle. Even if you can’t see the trace from the front, I wondered how I could still bring out that trace behind me. I feel like I’ve started to really think about those things. In that sense, GIFT strengthened my sense of incorporating the production into my own form of expression as Yuzuru Hanyu.”

 

Spoiler

Ms. MIKIKO (M): “Everything (about this project) was a challenge for me. In music concerts, there aren’t many ‘gaps’ [TN: pauses, between performances] where the performer isn’t on stage. But this was my first time working with a structure where Hanyu-san skates a piece, then there’s a pause, then another piece. Figuring out how to show that structure was quite the challenge. GIFT is filled with Hanyu-san’s deeply personal thoughts, and the challenge was how to make each audience member in the vast Tokyo Dome feel like they were being spoken to directly by him. I think that was my first-ever challenge of that kind.”

“When it comes to using projection mapping in a production, if you don’t have someone performing who can make it seem like they’re controlling the projected images, the audience’s reaction becomes, ‘Wow, the projection mapping was amazing,’ and that’s the worst kind of direction. The role of a director is to make sure the direction itself doesn’t stand out. What’s important is that people say, ‘Yuzuru Hanyu was amazing,’ not ‘the direction was amazing.’ So in that sense, this was not your usual live performance. My job was to ensure the audience’s focus remained on Hanyu, balancing the dynamics and flow, including the ‘gaps’ in the performance, while crafting the emotional flow of time.”

H: "The Tokyo Dome is a large space, and the information that comes into the viewer's field of vision from a distance can look small and hard to see. On the other hand, that large space allows for a lot of information to reach the audience. It was necessary to make adjustments as an expression unique to GIFT.”

 

“Even though I was the only one skating on the rink, as part of the production, everyone helped complete the world I wanted to express. This was my first time experiencing something like that, so I felt nervous but also had great trust. Even before the performance, I was really excited about the challenge. My world of expression had been limited to a 30×60-meter rink. For rock pieces like ‘Let Me Entertain You’, I had slightly expanded that, but within the rink, my expression always ended within those boundaries. However, with GIFT, the world I was expressing extended beyond the space where I was physically skating. That was a big challenge for me. Especially with the new programs like ‘Ano Natsu e’ (One Summer’s Day) and ‘Ashura-chan,’ which were created specifically for GIFT, the challenge was to expand the world that could only be expressed in GIFT. Those pieces are designed with the overall production and presentation in mind, so I hope people notice that. I hope the audience will think, ‘That’s why the choreography is like this,’ or ‘That’s why the direction is like that,’ and feel how those expressions expand the world of the performance. These programs were created with the idea that we were collaborating in GIFT at Tokyo Dome with MIKIKO-sensei and her team. I hope people can enjoy the fact that my other programs, which had been confined to a 30×60-meter world, now appear in a much larger world.”

 

M: “For ‘Ashura-chan’, we tried out several versions of the choreography, experimenting with how ELEVENPLAY should exist in the performance. Finding the right balance between parts where they could move separately and parts where they should be synchronized with Hanyu was extremely important. We experimented a lot with joining Hanyu-san’s choreography in certain moments and pausing in others. Initially, we created choreography that was entirely in ELEVENPLAY’s style, but we threw it all out and realized that it would be more meaningful if ELEVENPLAY performed Hanyu-san’s choreography in certain moments and then paused. It was a rare experience for me to practice Hanyu’s choreography so much—slowing it down, practicing at night like, ‘Okay, so this is where the right hand goes… I see, I see.’ (laughs) I hope people will also pay attention to the choreography created through that process. Should ELEVENPLAY appear like Hanyu’s alter egos in the center, or like musicians playing a different melody? We thought about that a lot, and I wanted them to exist in a way that enhances the sound and makes the space in the Dome feel tighter. So it’s less about being backup dancers, and more about the importance of their presence.”

H: “It’s so fun but also embarrassing (laughs). Having MIKIKO-sensei and ELEVENPLAY perform choreography I created is embarrassing, but it’s fun. Since I had a big responsibility, I worked hard.”

— How did you decide on the collaboration between the two of you for GIFT?

 

M: "One day, I heard about this project that was being planned, and I said, 'It sounds amazing, I’d love to see it.' Then, I was asked, 'Could you lend us your strength?' For a moment, I thought, 'Me?' But it was also a time when I wanted to take on something I hadn’t done before, so I valued that feeling of wanting to see it. Whether I had confidence or not didn’t matter; I said, 'If I end up doing it, I’ll give it my all.'"

"After that, I had the opportunity to actually meet with Hanyu-san and hear his thoughts. It was right after the press conference where he announced his transition to the professional realm, and he spoke again about the meaning of what he had said at that press conference. His passion and resolve were very clear and left a strong impression on me. Shortly after, when we started discussing creative ideas, I also realized how much he had seen and how much music he had listened to. I was surprised at how knowledgeable he was, even about some really niche things. And I also realized that we could communicate in terms of expression."

H: "Through creating GIFT, I’ve learned that whether you can communicate through words is crucial. It’s inevitable that people interpret words differently, with varying values and personal meanings. When we try to convey something through expression or production, we work on sharing the same image. But if different images arise from the same word, even the smallest misalignment can eventually lead to a much bigger gap. What MIKIKO-sensei mentioned about whether 'we can communicate or not' is incredibly important. When I first met MIKIKO-sensei, I thought, 'With her, I can feel reassured and entrust this project.'"

"From the beginning, as a fan of MIKIKO-sensei, I had always wanted to go see her work on stage or in performances. But when I spoke with MIKIKO-sensei as Yuzuru Hanyu, not just as a fan, I felt that I could entrust her with my world of expression. She asked me, 'Are you really sure about choosing me?' and I replied, 'Absolutely.'"

— What kind of resolve did Mr. Hanyu appeal for?

 

H: "At the press conference for my professional transition, which I named the 'Declaration of Determination Press Conference,' I talked about how strong I can be as an athlete and how much I can continue to improve. But in addition to that, I also emphasized how much I wanted to focus on the art of expression. While I am an athlete, I am also an artist, and while I can hone my artistic side on my own, there are many aspects I can’t accomplish without the help of various people. I spoke about my desire to further refine my expression, and how I’m determined to carry this responsibility with my whole heart and soul, and to keep working hard. I asked for everyone’s support in this journey."

 

— What kind of image did you have of each other before meeting in person?

 

H: "I’ve always really liked Hoshino Gen-san’s music*, and I knew that MIKIKO-sensei did the choreography for Perfume. The movements of the dancers in their live performances were just so cool. I thought, 'That’s amazing,' 'They’re incredibly skilled,' 'They’re so coordinated,' and 'Their technical prowess is incredible.' That’s what I felt. I became a fan of MIKIKO-sensei through seeing the choreography she did for ELEVENPLAY."

[TN: *reference to Koi dance]

 

M: "I, as an ordinary citizen of Japan, had the impression of ‘Yuzuru Hanyu of the world’ [TN: Yuzuru Hanyu, the global figure.] I felt that he had transcended the realm of athletes and reached the domain of artistry. His technique is flawless, and on top of that, there are very few Japanese who can immerse themselves so deeply in music—what we often call 'intoする' (getting into something). There are also very few people who can do that while not looking like they’re trying too hard. So, I felt proud, as a fellow Japanese, that he was able to embody that so perfectly on the world stage, a stage of competition, while also expressing himself beautifully. And then someone told me about a video of him dancing to the Koi Dance. I actually tweeted something like, 'Yuzuru-sama is doing the Koi Dance!'" (laughs)

 

H: "I was so happy when I saw that! At that moment, I thought, 'It reached MIKIKO-sensei!' I was really excited." (laughs)

 

"For me, one of the things I value deeply in figure skating is, of course, immersing myself in the music. But before that, there has to be a solid foundation. Without that base, you can’t truly get into the music. Whether the silhouette is beautiful depends on how much you’ve built up that foundation. When you’ve built that foundation, you can instantly adjust and think, 'If I do it this way, it’ll look more beautiful,' or 'If I do it like this, it’ll look cooler.' I really place importance on having a strong foundation."

 

"At the press conference after the Pyeongchang Olympics, when I was asked, 'Are you a performer or an athlete?' I responded along the lines of, 'I think jumps are important. They’re essential for scoring. But it’s because I have solid technique and a strong foundation that I can turn it into art.' Perfume-san and ELEVENPLAY-san are the same way. When I watch ELEVENPLAY, their intricate formations and how much precision they accumulate down to single-digit centimeters turn even the simplest movements into art. It’s incredibly meticulous and cool, and I love that. I’m very drawn to those aspects."

M: "They don’t flaunt their technique. But technique is the absolute foundation. Beyond that, expression comes in, and then further beyond that, you start to see the person’s inner self. I want to do the kind of work that draws out and sharpens that inner self until it comes through. So, I’m not just interested in synchronized dancing. It’s only when synchronization is achieved that individuality begins to emerge. I always aim to convey how much a human being can move someone’s heart with just their body. Hearing this makes me really happy."

 

H: "I think that’s where we share common ground. Because I skate alone, I rely on a lot of ad-libbing, and each time I express something differently—like how I move my hands or where I direct my gaze. Of course, there are differences between performing as part of a group and performing solo, but even so, I like that there’s this shared understanding: that it’s not about showing off technique, but that technique is a given, and from there, it becomes true expression."

"I really love how each member of ELEVENPLAY brings out their inner self during the free parts of the choreography. That kind of expression is something I really enjoy. I think maybe that’s why, when we first met, we clicked so quickly—because we had this underlying connection in our values."

— What is the state of being into music that you just mentioned?

 

H: “For example, when I'm warming up, I'm singing passionately or deeply immersed in that world. People today,, especially Japanese, tend to be overcome by a sense of embarrassment, so it's hard to do. But I've always loved the time when I can be fully immersed in music. In that sense, I'm a rather rare person. When I immerse myself in music, it's not just about being absorbed or possessed by the music, but I channel that into expression. It's not just about listening to the music and feeling good; I actually enter the world of the music. And from that world of music, I try to draw out as much of my inner self or the essence of the music as possible. When I'm skating, I approach it while thinking about these things, crafting the story, adding meaning. In that sense, my thought process might be close to that of dancers, performers, or artists."

 

M: "The idea of 'immersing in music' that Hanyu-san just mentioned resonates with me emotionally. When I choreograph, it's not just about making the movements look skilled or interesting on the surface, but about which instrument you're picking up on, which rhythm you're capturing, which sound you're being pulled towards—those are the things I want to convey. If we liken the body to an instrument, it can be a violin, or it can be a drum. That's a very important aspect, and how you interpret the space between the notes requires a certain sense. So, the way Hanyu-san skates or listens to music, as if the sheet music is visible, makes me realize how attuned he is to sound. His reaction to music, the words he strings together in response to it, isn't just about listening but about how he feels as an instrument himself. I think he places great importance on how he experiences music as an instrument, and that's something I also value when choreographing. So, while 'immersing into' lyrics or sound is one thing, it's equally important to ask whether it feels good or not when you, yourself, are playing that music."

 

H: "When I was young, I saw Michael Jackson and thought, 'I want to be like him.' He was incredibly rhythm-driven, and his range of rhythms was so wide. Not only that, but he could be a keyboard, a synthesizer, or a cymbal. It was as if all kinds of sounds were coming from his body, and I loved that. When I was young, I really liked the jazz song 'Sing, Sing, Sing,' and I absolutely loved expressing every single sound from that piece. I think I've valued that kind of thing from a young age. Recently, I choreographed 'Ashura-chan,' and although I naturally gravitate toward rhythm because I love it, I also thought about how to shift my focus toward the vocals. I thought a lot about how the vocals should be sung, what rhythm the vocals carry, and how to connect with the bass or the guitar sounds. I paid a lot of attention to that."

 

— What is the meaning behind GIFT, and what thoughts or themes did you put into it?

 

H: "Through my own experiences and various events, everything eventually connected to my dreams. And it's precisely because I had dreams that I struggled, made sacrifices, and at times was pushed away from them. But there were people who supported me through it all. While reflecting on my life, I’ve woven words into the story of GIFT. The most important aspect of GIFT has been expressing Yuzuru Hanyu—the skating itself, why I turned professional, why I'm doing difficult things in the world of expression. Those who have understood that much might feel like, 'This is the flow of Yuzuru Hanyu,' and they might resonate with it. I created the worldview of GIFT in the hope that even those who were not that interested in Yuzuru Hanyu would be able to retain one or two fragments of his words in their hearts. The story is incredibly important. And because there are programs embedded within it, I believe that the worldview that emerges will be entirely different from anything seen before. I carefully considered the setlist for those programs, wanting the words to resonate, even if just a little. Whether it’s a favorite phrase from one of the programs, even just one measure, I hope it connects with the viewer’s memories, struggles, current feelings, or happiness in some way. That was the main thing I thought about while constructing GIFT. I don't have the arrogant belief that everything will reach everyone. But if even a small part of it reaches someone as a gift, that's enough. Even if it is something painful or linked to a painful memory, I hope it stays with them. GIFT is a new kind of skating that I’ve created with that in mind. I wrote the story first, and within that story, the programs come in, and I created the narration myself. The story progresses in that format. However, if it were just me stringing together words and adding programs, it would feel too straightforward or too soft. I wanted the worldview to be broader, to evoke a variety of feelings, and that’s why I asked for MIKIKO-sensei's help. The focus is on words and programs, and while it may be seen as a new kind of skating for Yuzuru Hanyu, I hope it also conveys a new kind of storytelling." 

 

M: "When I first received these words from Yuzuru, I thought, 'So, this is what it means to be a professional.' The parts that shouldn’t have been shown before, the struggles and the process, can now be revealed because he's entered the world of expression, stepping away from the world of points and rankings. I even wondered if it was okay to say so much, as his struggles and journey came through so clearly. For those who pay attention, GIFT will be an answer to many things. Ultimately, the theme is about exchanging gifts, the mutual affirmation of existence. That’s the main message. This day wouldn’t have happened without everyone being there for each other. Also, Yuzuru’s words and the words in quotes are extremely important. The words in quotes—where do they come from? That’s a point of emphasis. I believe that voice will reach everyone. Some adults might no longer hear those words, but others, who heard them as children, might still hear them. It's a voice that you can hear when you strip away distractions. I think Yuzuru is one of the rare people who can still hear those words. I hope that warmth spreads within everyone through these words. That’s a central theme, and if that message reaches people, I could die happy (laughs). In the world of dance and figure skating, it's a world where you express yourself without words. It's heavy for someone in that world to use words because it feels like revealing the answer. That’s the challenge: how do you convey without words? But in GIFT, there are many words, so I believe it’s crucial to fully immerse in those words with conviction."

H: "I really want the worldview that MIKIKO-sensei and I have shared—the idea that 'this child is like this'—to reach the audience [TN: Yuzu says ‘ko’/child to refer to the characters of GIFT]. There are several children [TN: ‘ko-tachi’] who embody the voice of the heart, but there are two main ones [TN: two main characters]. It’s very important that their feelings and the way their words are received (or not received) are conveyed. But if we explain too much, the interpretation becomes too small, so this is as much as I can say."

— What does it mean to be separated from the dream that you've suffered and sacrificed for?

 

H: "I think if you watch, you'll understand, but when I write stories or words, the part I valued most as a human being—this might be a psychological characteristic of mine—but as humans, we overwhelmingly remember painful memories, and I think there are far more painful things in life. When it comes to fully digesting all of that suffering, it’s impossible. And it’s not like everything will become happy either. Still, somehow... for example, with the invasion of Ukraine or the uncertainty of the COVID-19 situation, there are many real hardships, things that are beyond our control. But within everyday life, there are small bits of happiness scattered around. Whether it's people supporting us, or words, even if you’re all alone, sometimes a song can help you. I’ve also thought, 'I hope I can deliver programs that offer that kind of solace.' I strongly felt that I wanted people to be able to feel even a little bit of that happiness amidst suffering.It would make me happy if, even just a little, people could relate their own struggles and powerlessness with mine.While writing, I thought, 'Yes, we all suffer, but we are also happy.' If people who have taken the time to come see my skating could experience this, I wanted to create a meaningful time for them. I wanted to create a moment where they could feel that they are spending time with those small bits of happiness, even amid the pain."

 

"This is something I’ve always felt when performing programs during my competitive career. Surely, the times we feel suffering might have some kind of meaning in our lives. Those programs that last just over three minutes—I’ve always wanted them to have meaning. That’s the core of me as a figure skater. GIFT is an expansion of that."

 

— What are some of the things that have been important to you?

 

M: "On a basic level, what I always value is to 'meet expectations while subverting them' [TN: More literally, “meet expectations while betraying them” referring to doing something that defies predictions, surprising or impressing the audience by doing something they didn’t expect]. In GIFT, I think we were able to subvert expectations quite a bit. Even when I received the story of GIFT, I felt my expectations were subverted. Rather than watching someone else's story, it was something that you could relate to, something that could resonate with your own life. That’s extremely important to me. When I’m creating, 98% of the time, it’s painful. Even if the reputation from those around me is good during the actual performance, I’m never fully satisfied with myself. There are always challenges left behind, and it's a tough life. But there’s hope in the sense that 'I can still do more' after completing something, and that’s what keeps me going. The little glimmer of light, the hope that I might bring joy to someone, even if it's just one person—that’s what I continue to rely on. I think that’s the same for any profession. I always strongly remind myself not to forget that. It's not about people thinking, 'I expected this,' but rather, 'I didn’t expect this.' That’s where the impact lies. For example, if the blackout during a performance is 0.5 seconds faster than expected, it can give you goosebumps. It’s those small, detailed things. I always think about that level of detail when creating, and I approached GIFT with the same care."

 

"Even the words used in the story section of GIFT subvert expectations, and at the same time, they have a raw, piercing quality that conveys a tangible sense of pain. Completing this project has opened up a new world for me, and it gave me time to reflect on my career as a director. This was a really important challenge for me. It’s become a special work that I’ll want to look back on even when I’m an old woman."

 

H: "As someone who’s done figure skating, the way I connect with sound is truly on a different level now. The connection between words and sound, between words and visuals, how it’s shown and expressed—that was an extremely challenging part."

 

"What I found most difficult this time was reconciling each of our unique perspectives. The goodness of figure skating that I have, or the goodness of Yuzuru Hanyu, if you will, and the goodness of the image that MIKIKO-sensei has, the goodness of the team, and on top of that, the direction and goodness that the music itself holds. The balance of blending all those together was incredibly challenging, but it turned into something truly wonderful."