[2024.11.25] Weekly Toyo Keizai 2024/11/30 issue

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

Source: Weekly Toyo Keizai 2024/11/30 issue, pg 62-69

Info: https://www.amazon.co.jp/dp/B0DM558RM9 

 

Content summary:

[Second feature] Yuzuru Hanyu: An evolving entertainer
Special interview with Yuzuru Hanyu: "I want everyone to have a special experience no matter where they're seated"
Performances are a good opportunity to promote the region
Commitment to supporting disaster-stricken areas
The meaning of "a gold medal for people": two consecutive victories to support reconstruction

 

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Yuzuru Hanyu: An evolving entertainer

 

The world's most famous figure skater is now on the verge of further evolution. Ahead of the opening of his latest tour, "Echoes of Life," on December 7, he shares his thoughts on being a "professional" and the influence he holds.

Text Mai Yamamoto
Design: Satoko Suzuki, Kanaka Nakamura
Photography: Shuji Umetani
Cooperation: WINEstudios

Yuzuru Hanyu achieved back-to-back Olympic victories in Sochi 2014 and Pyeongchang 2018. He was the youngest individual recipient of the People's Honor Award. At the Beijing Olympics in 2022, he attempted his dream of a quadruple axel jump, attracting worldwide attention. Yuzuru Hanyu is a rare figure skater. His popularity remains immense. Tickets for his shows remain hard to come by, regardless of the venue, and his performances attract fans from all over Japan and the world. His long-term commitment to disaster relief has garnered widespread support, creating a large circle of aid centred around him. After transitioning to professional skating in the summer of 2022, he has focused on expanding his figure skating. He is creating new entertainment that expresses his own stories through large-scale productions such as video and on-ice projection mapping. What is Yuzuru Hanyu trying to achieve? An exclusive interview delves into what happens when he takes action, including insights from related companies and local governments.

 

Quote

Special interview

 

After turning professional, he held solo shows and solo tours, which were previously unimaginable in the traditional figure skating world. He created a unique show format called "Ice Story." He is also now exploring new ways of connecting with his fan community. What is the young entertainer thinking in the midst of such transformative times?

 

--What was the reason for the success of all your solo shows "Prologue," "GIFT," and "RE_PRAY"?

Honestly, it's hard to define what "success" means in this world. However, one thing I can proudly say is that tickets for all the shows were almost sold out. Many people bought tickets to see me skate. Ticket sales are an important indicator, and I want to maintain the perspective that "almost sold out = almost successful." When I think about the factors behind the success, it's not just my own ability, but something much bigger. How can we make the show better and what is most needed? Everyone involved in the show put in a lot of effort and thought. I think the success came as a result of that.

 

--In your first solo show "Prologue," you performed 8 programs in each show, mostly from your competitive skating repertoire.

Although not all the performances were full versions, "Prologue" was a show with many parts that I had to manage with my own strength and technique. The Tokyo Dome performance "GIFT" was coming up in few months, so I approached this show with the mindset that I was going to shape my solo show from now on.

The production and management team also took a trial-and-error approach to this new challenge. I didn't consider "Prologue" as an "experiment" but instead wanted to succeed as a complete piece of work. However, it was significant that this show helped us all share the image of a solo show as a team.

The next show, "GIFT," was a one-time performance. How do we showcase a skater in the vast Tokyo Dome? How could figure skating as an expressive art be expanded? It was an unknown challenge for all of us.

 

The challenges and appeal of the Tokyo Dome

 

--Normally, seats close to the rink are popular at ice shows, but for "GIFT," all the seats were far from the rink. Overcoming and making use of this condition was a key feature of the show. You incorporated elements of a music concert into the direction. For example, there were scenes where dancers performed around the rink. While such a direction is not unusual in live performances at dome venues, it’s not something you can do at a regular ice show since it would obstruct the view of the audience and make it difficult to see the skaters.

It was an unusually extravagant production for an ice show, but without it, the space between the rink and the audience would have seemed rather empty. Loneliness and solitude are important pieces in constructing the story of "GIFT," so there was also a desire to bring out these emotions. But in the individual sport of figure skating, the skater is already a solitary figure. Simply performing in an empty space would have made the performance feel too lonely. To surprise and entertain the audience, it was necessary to do something different from the usual.

 

I want everyone, no matter where they sit, to have a special experience.

 

--It's a refreshing feeling that it's interesting to watch from a distance.

It’s a difficult point. When considering demand, many people say the best experience is when they watch from the front row. The speed and dynamics of a skater are more noticeable up close, and you can feel their expressions and breathing and even sense their gaze on you, which is part of the appeal of sitting near the rink.

However, I don’t think the figure skating I want to show is limited to just the charm of close-up views. I always think, “No matter where you sit, I want you to have a special experience that you can only have in that seat.” In "GIFT," there were no seats close to the rink, so we focused all our efforts on how the skating can be seen from a distance.

 

--This approach of "no matter where you sit" is also carried over into the arena tour "RE_PRAY."

We refined the know-how that we gained from "GIFT." And one more point. In figure skating competitions, generally, the skaters perform on the long side of a 30m x 60m rink, the 60m side of the rink, with the side where the judges are located as the front. This is how people perceive the rink as being horizontal. However, after turning professional, I started placing great importance on showing the rink from the short side, with the 30m side as the front. On one side of the short side, we placed a large LED screen, and the audience sat in front and on either side. We used projection mapping to link the visuals on the ice with the skating paths, and we also used large gauze curtains. Since we are using the rink vertically, I am also conscious of utilising the depth and perspective of the space.

 

--So, the short side seems like the "winning" side, but there are more seats on the long side. Doesn’t that lower audience satisfaction?

Actually, there are things that can only be felt from the long side. In figure skating, how far you can glide in one step and how fast you can go is crucial, and this is most apparent during long-distance movements. Therefore, on the long side, you can enjoy the big horizontal movements that are typical of figure skating, while on the short side, the focus is on utilising the depth, which is a new attempt. Also, in programs that use projection mapping, the visuals on the ice and the skating trajectory are more clearly visible from seats further away.

 

--So, the experience is different depending on the seat.

When I look at the data of those who bought tickets for my shows, I see that many are repeat customers. Because of this, when I was thinking about the structure and direction of "RE_PRAY," I focused on the concept that 'by watching it repeatedly, you can experience a different world each time (replay).

Additionally, this is something common in dance and ballet, but in expressive forms like those, the appeal tends to be stronger on the front-facing side of the body. Plus, figure skating is like performing on a stage placed in the center, meaning the audience can view it from 360 degrees. Therefore, in ice shows, we must be conscious of the 360-degree perspective in the direction and lighting. The fusion of the 360-degree design of the skating and the 360-degree design of the staging creates a fascinating experience where different views can be seen depending on the seat.

 

--"RE_PRAY" seemed to attract many new fans.

"RE_PRAY" had a theme of games, and word-of-mouth spread among game fans, which led many people to come to the venue or attend the live viewing for the first time.

The production and management team always want to create a show that new audiences can enjoy. However, even so, the most important thing is to consider those who think, "After all, I love Hanyu most." First of all, I want to create something that my fans will think is cool. Then, I think about the people who come to the show for the first time. Since people who love music, ballet, or have a deep appreciation for the arts also attend, I want to ensure that the experience doesn’t feel cheap, but rather that they can think, 'I had a luxurious experience by coming to this show.'

--There are more and more performances attracting attention from fans of the works you've collaborated with, such as 'GIFT,' which has a picture book published by the creative group CLAMP, and 'Meteor,' a song from the anime series 'Gundam SEED'. Is this a conscious effort?

I do think about bringing in fresh collaborations. But when it comes to games, anime, or manga, when I collaborate or use songs, it’s important that "I am really interested in it, I love it, I have been exposed to it for many years, and I have accumulated knowledge and experience." If I don't have depth in my approach to the work, I can’t show respect for it, and my performance will end up shallow.

That shallowness would likely be felt by the fans of that work, so I don’t want to casually take advantage of the popularity of someone else’s work. I want to make sure I respect and value the people who love these works. Because I genuinely love it myself, I can understand what would make people who also love that work or field feel like, 'It would be fun if it were expressed this way.' I want to focus on doing things that I can dive into deeply and do well.

 

"As a medium and a brand"

 

--You once said that "Yuzuru Hanyu is a medium." Do you still feel that way?

Essentially, I still feel the same. There's a line in the song "Sainoujin Ouenka (Support Song for the Troubled Talent)" by BUMP OF CHICKEN that says, "There is no song sung just for me." I believe that’s true. On the other hand, many people experience a song that touches their hearts, or an image forming in their mind when they listen to it. That’s something the creator probably didn’t intend. It’s from the creativity of the listener that unique emotions and actions are born.

It's the same with my figure skating and the words I say. When the person who receives them recalls something from it and feels their imagination being sparked, they say things like “That touched me” or “I like it.”

In that sense, I see myself as a medium. When I try to convey something, it is not always possible for 100% of what I am thinking to reach the audience. But if, in that moment, my attempt to convey something helps someone recall or evoke something within themselves, then I believe that’s the most accurate form of expression.

 

--I imagine there are also difficulties in maintaining the 'Yuzuru Hanyu brand' as a medium and meeting expectations.

Right now, I have a team of many people who worked with me on my solo shows. We share and discuss the image of 'how Yuzuru Hanyu should be presented' through the perspectives of people with diverse expertise. I receive their advice and align it with my own objective view and feelings of 'what I want to do.'

In the end, only I know how I feel. Now that I am starting to place more value on my own feelings, I have a clear image of what I want to do. But, if I were to solely produce myself based on my own feelings, the product would end up too narrow in its perspective. Although, it feels strange to call myself a product...

 

Now, I can speak comfortably in front of my fans.

 

--Was it difficult for you to value your own feelings in the past?

I think I was much more empty before. In figure skating, everything is left up to the judges. The score changes depending on what the judges think. So, in order to earn points and win, I had to prioritise what kind of music to choose, what themes to pick, and what to express, rather than what I personally wanted to express. I spent a long time thinking about how I would be evaluated. It may also be a habit from when I was a child. I’ve always felt that the happiest thing is when someone becomes happy or when someone is pleased.

So, I wasn’t sure what personal happiness from within me really was. But over time, as I worked on ice shows and new programs, I gradually came to understand what happiness arises from within me. I think I’ve started to be able to cherish that feeling. In a good way, skating is no longer just something personal to me. Being part of this larger movement of ‘creating a show with everyone’s help’, I’ve started to understand what personal happiness is. Although it’s still somewhat unclear and difficult for me to grasp.

 

-- Is it like separating the happiness of "work = skating" from the happiness of your private life and balancing them?

I wonder. To some extent, I try to separate them, but in reality, they proceed simultaneously. Skating and the various projects that stem from it aren't absolutely essential to my survival, but without them, I would lose my sense of purpose. In that case, I think 'purpose' and 'happiness' might be the same thing. So, when my personal happiness aligns with the success of a project, I think, 'Well, in the end, they are one and the same.'

 

"Realising the presence of fans"

 

--You maintained a stance of not revealing your private life or sharing unnecessary information during your competitive years. However, in the past few months, you’ve been expanding the ways you communicate with your fans, such as through messages for YouTube membership subscribers and radio (audio broadcasts).

"The frustration of not being able to express what I want to convey has always been there since my competitive years. For example, after a competition where things didn’t go well, if I were to analyse the cause and explain it in detail, it might come across as making excuses. There was a long period when I felt I shouldn’t show any weakness, and I thought I couldn’t afford to show any openings. If I showed my weakness, there were some... how should I put it... bad people who would seize upon it. It's hard to say (laughs).

However, during the "RE_PRAY" tour, I came to realise that there are so many people, including those in the membership, who are genuinely looking forward to my skating. Of course, each fan has their own heart, and when I say something, the interpretation will vary among individuals, and the images that come to mind will be different. But now I can speak with the reassurance that these people are supporting me in such a positive and kind way. I’ve gradually started to be able to express things that I had buried deep inside me with the help of everyone.

 

--Is that the main difference between your amateur career and your professional career?

When I was competing, I was fighting with everyone, including my fans. No matter what performance or result I had, people would say, "You did a great job," or "I'm glad for you," but deep down, I'm sure everyone wanted me to come in first. In the professional world, I don't have to fight anymore. As long as I do a good performance and look happy, most of the fans will tell me that makes them happy too. Because of that, I can feel at ease and entrust myself to the fans.

 

--On the other hand, there is a unique excitement in competition. Without clear rivals, is there something you’re doing to maintain the enthusiasm of the fans in ice shows?

It’s difficult. This is something I’m thinking a lot about right now. It’s not easy to create the same excitement in an ice show as in a competition. Without a clear goal of overcoming something or becoming number one, the sense of unity between me and the fans, as well as among the fans themselves, can easily become fragmented.

However, through my skating, I believe I can evoke the memories of the competition days, like the landscapes seen at the competition venues and their surroundings, and the images and emotions from those times. Therefore, for my long-time fans, I consciously perform in a way that helps them recall what they hold dear. I believe it’s possible for them to feel the excitement from back then, plus see how much I’ve improved since.

Also, like the ‘suspension bridge effect’, I’ve had many situations where I fought through a crisis. For example, at the Pyeongchang Olympics, and at many other competitions where my ankle was in terrible shape, or my overall physical condition was bad. When I managed to overcome those tough situations and win, many people thought, "It's cool that he won against the odds."

My biggest goal now is to create something that makes people think, "This person's skating is really good," without needing the ‘suspension bridge effect’.

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Yuzuru Hanyu, born on December 7, 1994, in Sendai. He won gold medals at the 2014 Sochi Olympics and the 2018 Pyeongchang Olympics. In 2018, he was awarded the People's Honor Award. In 2022, he attempted the quadruple axel at the Beijing Olympics, finishing in 4th place. In July 2022, he turned professional. He pioneered a new frontier in figure skating with his solo performance "Ice Story." Since the Great East Japan Earthquake, he has been diligently working on supporting recovery efforts.

 

 

[Wintek]

[2024/11/25]

*Machine translation from Japanese to English (Kindle edition), inaccuracies exist*

Notes added at the end for clarity regarding some expressions.

Pages: 62-69

Magazine available in printing and digitally: https://amzn.asia/d/5QtQ3rq

 

Special Interview

Yuzuru Hanyu: The Evolving Entertainer

As the world’s most famous figure skater, Yuzuru Hanyu continues to evolve. Ahead of the December 7 launch of his latest tour, Echoes of Light, he reveals his thoughts as a professional and the impact he strives to create.

Written by: Mai Yamamoto
Design: Satoko Suzuki, Kanaka Nakamura
Photography: Shuji Umetani
Photo assistance: WINE Studios

---

In 2014 and 2018, he won consecutive Olympic gold medals. He became the youngest individual recipient of Japan’s People’s Honor Award. At the 2022 Beijing Olympics, he challenged the dream jump, the quadruple Axel, capturing the world's attention.

Yuzuru Hanyu, an extraordinary figure skater, remains immensely popular today. Tickets to his shows are nearly impossible to obtain, regardless of location, attracting fans from across Japan and around the world. His long-standing efforts to support disaster-stricken areas have garnered significant support from fans, creating a broad network of aid centered around him.

Since turning professional in the summer of 2022, Hanyu has focused on expanding the realm of figure skating. Using his own narratives, large-scale productions featuring video projections and ice projection mapping, he has pioneered a new form of entertainment.

What is Yuzuru Hanyu striving to achieve? And what happens when he moves forward? In this exclusive interview, we delve into these questions and also gathered insights from related businesses and municipalities.

 

Spoiler

Special Interview

After turning professional, he has held solo shows and tours that were previously unthinkable in the figure skating world, creating a unique show format called “Ice Story.” He is also exploring a new relationship with hid fan community.

Amid such a whirlwind of activity, what is the young entertainer thinking?

――All your solo performances—Prologue, GIFT, and RE_PRAY—have been highly successful. What do you think contributed to this success?

Honestly, it’s hard to define what counts as "success." But one thing I can proudly say is that the tickets for all these shows were almost entirely sold out. So many people purchased tickets just to see me skate. Ticket sales are an important indicator, and I want to hold onto the perspective that “nearly sold out equals nearly successful.”

When I think about the reasons for this success, though, it’s not so much about my own abilities as it is about something much bigger. Everyone involved in the shows really gave their all, thinking deeply about how to make each show great and what was most needed. I believe the success was the result of all that effort.

――In your first solo show, Prologue, you performed eight programs per show, mainly from your competitive career.

Not all the programs were full-length versions, but Prologue was a show that heavily relied on my stamina and skills to carry it through. With the Tokyo Dome performance GIFT coming up just a few months later, I approached Prologue with the mindset of shaping what my solo shows would become from here on out.

The production and operational teams were also tackling many first-time challenges. While I didn’t view Prologue as an “experiment” and genuinely wanted it to succeed as a standalone piece, the fact that we brought the show to life allowed us as a team to share a unified vision of what a solo show could look like. That was a significant achievement.

――Then came GIFT, a one-time-only performance.

GIFT was a challenge for all of us—figuring out how to present a single skater in the vast Tokyo Dome and how to expand the expressive potential of figure skating as a medium. It was a journey into the unknown.

Challenges and Charms of the Tokyo Dome

――In a typical ice show, seats near the rink are usually the most popular. However, in GIFT, all seats were situated far from the rink. Overcoming and leveraging that condition became one of the show's defining features.

We incorporated elements of live music performances into the production. For instance, there were scenes where dancers performed around the rink. While such staging is not uncommon in dome concerts, it's nearly impossible in regular ice shows because it would block the audience's view of the skaters.

The production was unusually elaborate for an ice show. Without such an approach, the space between the rink and the audience could have appeared desolate.

Loneliness and solitude are key themes in the narrative of GIFT, so we embraced and utilized them. However, figure skating, being an individual sport, already places the skater in solitude. Simply performing in a vast, empty space would have felt overwhelmingly lonely. To surprise and entertain the audience on that day, we needed unconventional strategies.

――It's a refreshing feeling that something is interesting because you see it from a distance.

It’s a challenge as well. From a demand perspective, many people say that watching from the front row is the best experience. When viewed up close, you can appreciate the skater's speed, dynamics, facial expressions, changes in breath, and even eye contact. These are the unique joys of seats close to the rink.

However, I don’t think the allure of the figure skating I want to showcase is confined to proximity alone. I always consider how to create a special experience that feels exclusive to the venue, no matter where the audience is seated.

In GIFT, precisely because there weren’t any close seats, we focused entirely on how the performance would look from a distance.

This principle of creating a show where “it’s special from any seat” was carried over to the arena tour RE_PRAY.

We refined the expertise we gained from GIFT.

Another point to mention: in figure skating competitions, performances are generally oriented toward the judges, who are seated along one of the long sides of the standard 30x60-meter rink. In other words, the rink is perceived as being horizontal. On the other hand, since turning professional, I’ve been emphasizing performances with the short side (30 meters) as the front.

By placing a large LED screen on one short side, with seating arranged directly in front and to the sides, we can synchronize skating with the screen visuals or use massive gauze curtains for effects. Utilizing the rink vertically allows us to emphasize depth and perspective.

――Doesn’t that make the short side feel like the 'prime' seats? But the long side has more seats. Wouldn’t that lower satisfaction?

Actually, there are experiences that are unique to the long side as well.

In figure skating, how far you can glide in one stroke and how much speed you can generate are critical. These elements are most evident in long-distance movements. On the long side, you can enjoy the expansive lateral movements that are characteristic of figure skating, while on the short side, you experience the innovative use of depth.

Additionally, when projection mapping is used, the visuals on the ice and the trajectories of the skaters are often best seen from seats farther away from the rink.

――So the appeal varies depending on the seat.

Looking at data on ticket buyers for my shows, I see that many are repeat attendees. That’s why, when designing and directing RE_PRAY, the concept was to allow audiences to experience a different world each time they watched (a kind of “replay”).

Also, as with dance or ballet, performances tend to emphasize the side facing forward. In figure skating, however, the rink is like a stage in the center, visible from 360 degrees. Ice show productions must consider lighting and staging with a full 360-degree perspective in mind.

The fusion of figure skating's 360-degree design with 360-degree production likely created the unique appeal of offering entirely different views depending on the seat.

――It seemed like RE_PRAY drew a lot of new audience members.

The theme of RE_PRAY was gaming, and word spread among gamers. It was wonderful to see people attending the venue or live viewings for the first time.

As creators and organizers, we’re always aiming to make shows that new audiences can enjoy.

However, my top priority will always be those who think, “I really love Hanyu the most.” I focus first on creating something that will make my fans feel I’m cool and impressive.

From there, I also think about first-time attendees. Some are music or ballet enthusiasts, or deeply knowledgeable about the arts. I want to ensure they don’t feel the show is superficial and instead leave with the sense that they’ve experienced something luxurious.

――Collaborations with works like CLAMP’s GIFT picture book and the Gundam SEED song “Meteor” have drawn attention from fans of those works. Is this intentional?

I do consider the appeal of fresh collaborations. But when it comes to games, anime, or manga, the key factor for me is that I’m genuinely passionate about and deeply familiar with the work. I need to have invested years in it and possess enough knowledge and experience to feel confident in my interpretations.

Without such depth, it’s impossible to show true respect for a work, and any resulting performance would feel shallow.

Such shallowness would likely be apparent to the fans of the original work, so I’m cautious about what I choose to engage with. I never want to simply ride on the popularity of someone else’s creation.

Because I genuinely love these works, I can understand what someone who also loves that work or field might find enjoyable in my interpretations. I want to focus only on projects where I can dig that deeply.

Media and Brand Identity

 

―― In the past, you mentioned that "Yuzuru Hanyu is a medium." Do you still feel the same way?

Fundamentally, that hasn’t changed. There’s a song by BUMP OF CHICKEN called Sainoujin Ouenka (A Song of Support for the Troubled), and one of its lyrics says, “There isn’t a song in this world that was sung just for me.” I feel the same way.

At the same time, many of us have experienced moments when a song resonates deeply with us, or when listening to it brings to mind vivid images or memories. Those feelings or images likely weren’t something the songwriter imagined or intended. Rather, they’re born from the creativity of the listener, who interprets the song in their own way, giving rise to unique emotions and actions.

The same applies to my figure skating and the words I express. When someone feels something resonate within them—when they say, “That struck a chord,” or “I love it”—it’s often because they’ve drawn meaning or inspiration from it in their own way.

In that sense, I consider myself a medium. No matter how much I try to convey my thoughts, they’ll never reach someone exactly as I intended, 100%. But if my efforts to express something can become a spark that helps someone recall or imagine something meaningful to them, then perhaps that’s the truest form of expression.

―― As a medium, how do you maintain and meet expectations for "the Yuzuru Hanyu brand"? That must be challenging.

Right now, I’m surrounded by many people who have come together as a team to create my solo shows. These are individuals with diverse expertise, and through their perspectives, we constantly discuss and share ideas about “How should Yuzuru Hanyu be perceived? What’s the right way to present him?” I receive advice from them, and I balance that input with my own vision of what I want to do and how I view myself. It’s an ongoing process of alignment and refinement.

At the same time, there are aspects of my feelings and thoughts that only I can truly understand. Lately, I’ve begun placing greater value on my own emotions, ensuring I have a clear image of what I want to do and how I want to express myself.

However, if I were to produce myself solely based on my own perspective, I think the result would be a very narrow, limited “product.” And calling myself a “product” feels a bit… strange, doesn’t it? 

―― Was it hard for you to value your own feelings in the past?

I think I used to feel emptier—like there was less of “me.” In competitive figure skating, everything is left to the judges. Scores change depending on what they think, so I had no choice but to prioritize things like what music to choose, what themes to use, and what to express in order to win points over what I personally wanted to convey. My time was always spent thinking about how I would be judged.

Maybe it’s also a habit I’ve had since I was young. I feel happiest when I make someone else happy or bring them joy. That’s always been the most fulfilling thing for me.

But I haven’t been very good at figuring out what happiness looks like when it wells up from within me as an individual. Gradually, though, as I’ve gone through the process of creating ice shows and new programs, I’ve started to understand that kind of happiness. I feel I’ve gotten better at cherishing it.

In a way, skating has become less of a personal endeavor.

I think I’ve started to grasp what personal happiness is because I am part of a big movement of “creating my shows and myself with everyone’s help.” Even for me, it's still ambiguous and difficult [to define what personal happiness is]."

―― Do you see your happiness in skating and your private happiness as separate things that coexist?

I wonder. To an extent, I do keep them distinct, but they progress simultaneously.

Skating and the various projects that stem from it aren’t absolutely essential to my survival, but without them, I’d lose my sense of purpose. If that’s the case, doesn’t that mean that “purpose” [1] and “happiness” are essentially the same thing? That’s why, when things go well in both my personal life and my projects, I find myself thinking, “In the end, they’re one and the same.”

Realizing the Presence of Fans

— During your competitive years, you maintained a stance of not revealing your private life and refraining from sharing unnecessary information. Recently, however, you’ve broadened your communication with fans through YouTube membership messages and audio broadcasts. Has this been a deliberate change?

I’ve always felt a frustration about not being able to express what I wanted to convey, even during my competitive years.

For instance, after a performance that didn’t go well, if I tried to analyze and explain the reasons in detail, it might have sounded like I was making excuses. There was a long period when I thought I couldn’t show any weakness. I believed I couldn’t afford to let my guard down. If I showed weakness, there were those who would seize on it [2], those...let’s just say, not with good intentions. It’s a little hard to put into words (laughs).

But through the RE_PRAY tour, I’ve come to deeply realize that there are so many people—especially members of my YouTube membership—who simply look forward to and enjoy my skating.

Of course, every fan is an individual with their own heart and mind [3], so when I say something, there will naturally be a wide variety of interpretations. The images replayed in people’s minds in response to my words will also differ.

But with the reassurance that these people are supporting me with genuine goodwill, I’ve been able to speak more freely. In the past, there were things I had buried deep in my heart, but with everyone’s help, I’m gradually starting to bring them out.

— Is this the biggest difference between your amateur career and your professional life?

In my competitive days, I felt that we were all fighting together [4], including my fans. No matter what my performance or result was, people would say, “You did your best,” or “It was great.” But I know in their hearts, everyone wanted me to come in first.

In the professional world, I no longer have to fight [aiming for victory in competition]. Now, if I deliver a good performance and look happy, most fans will simply say that makes them happy too. That allows me to trust and rely on them in return.

— On the other hand, competition brings a unique kind of excitement. Without a clear rival, how do you keep fans engaged and passionate?

That’s a difficult question—and something I think about a lot. It’s not easy to recreate the same kind of thrill in an ice show that you get from competition. In competition, there’s the straightforward goal of beating others or being the best, which is easy to understand. Without that, it’s easier for the shared sense of unity between me and my fans—or even among fans themselves—to become fragmented.

However, I think I can evoke the memories of competition days. The landscapes and emotions from those times—what people saw around the venues, the images etched in their minds—can be brought back through my skating. For long-time fans, I try to consciously perform in a way that helps them recall those cherished moments. At the same time, they can see how much I’ve improved since then.

Another thing is, it’s a bit like the “suspension bridge effect.” I’ve had many matches where I competed under extreme circumstances—like the PyeongChang Olympics or other competitions where my ankle or overall condition was terrible. Overcoming those adversities and winning probably left people thinking, “He’s so cool, winning against all odds.”

Now, my biggest goal is to create something that’s so good it moves people purely for its quality—without relying on that kind of dramatic tension. I want people to think, “This person’s skating is simply incredible.”

---

Yuzuru Hanyu

Born December 7, 1994, in Sendai. He won gold medals at the 2014 Sochi Olympics and the 2018 PyeongChang Olympics, and was awarded the People’s Honor Award in 2018. At the 2022 Beijing Olympics, he attempted a quadruple Axel, finishing fourth. In July 2022, he turned professional, pioneering a new era of figure skating through his solo ice show Ice Story. Since experiencing the Great East Japan Earthquake, he has been consistently involved in recovery efforts.

----

NOTES:

[1] Yuzuru uses「生きがい」(ikigai), which might be a well known Japanese concept for some westerners. It refers to something one lives for, purpose in life, raison d'être. It is often described as the intersection of four key elements: 1) What you love (好きなこと): Activities or passions that bring you joy and fulfillment; What you are good at (得意なこと): Your skills, talents, or things you excel at; What the world needs (社会が必要とすること): What can contribute positively to society or the broader world; What you can be paid for (お金を得られること): Work or activities that can support you financially. The idea is that when all these elements align, one experiences a deep sense of fulfillment, which is often connected to personal well-being and mental health. Ikigai isn't always something grand or grandiose—it could be as simple as finding joy in daily activities, like caring for a garden, helping others, or engaging in hobbies. For many, ikigai is a lifelong journey of self-discovery, evolving as one's experiences and circumstances change.

[2] Yuzuru used the expression "餌として食らいついてくる" which can be more literally translated as “latch onto it as prey”

[3]  Yuzuru uses the expression “十人十色” (ten people ten colors), acknowledging that when he says something, the listeners, who are all different individuals with their own feelings, will interpret his words in their own ways.

[4] TN: shared struggle/battle during Yuzuru’s competitive days, with the pressure and intense effort of aiming for victory.

 

 

[Wintek]

[2024/11/25]

*Machine translation from Japanese to English, inaccuracies exist*

Notes added at the end for clarity regarding some expressions.

Pages: 70-71

Magazine available in printing and digitally: https://amzn.asia/d/5QtQ3rq

 

 

A Performance as an Opportunity for Regional Revitalization (p. 70-71)
How Saga leveraged Yuzuru Hanyu's performance to boost local engagement.

During his competitive skating career, Yuzuru Hanyu attracted fans from across the globe to his competitions. Many traveled great distances—even to Canada or Northern Europe—for the chance to support him during his brief 7–8 minutes of combined short program and free skate performances.

Since turning professional, Hanyu has been actively performing in solo and headlining ice shows throughout Japan, while based in Sendai. Fans eager to experience his performances in person travel long distances to the host cities of his shows.

For regional municipalities looking to attract visitors and create economic activity, hosting one of Hanyu’s performances is an unparalleled opportunity for regional revitalization.
 

Spoiler

On January 12 (Friday) and 13 (Saturday), 2024, Hanyu’s RE_PRAY Saga performances were held at SAGA Arena. The event drew approximately 5,500 attendees per show, both from within Japan and abroad—an opportunity that the local community was determined not to let slip by.

In preparation for the event, Saga Prefecture and Saga City collaborated to launch the "#RE_PRAY_SAGA_Hotomeki Project."

"Hotomeki" is a regional dialect term from Saga and Fukuoka that means "hospitality."

Thorough “Hotomeki” Hospitality

The project took a remarkably direct approach to showcasing RE_PRAY. Using materials provided by Saga Prefecture, the initiatives were mapped out as shown in the diagram (not provided here).

The city was adorned with features fans would appreciate, such as oversized tapestries and banner flags using the key visuals of the event. Public transportation was also included in the plan, with train stations decorated and temporary bus destination signs customized to display RE_PRAY. Even the duration of city illuminations was extended to align with the performance dates, creating a welcoming atmosphere that would draw people into the city.

For project planning meetings, Saga Prefecture sent three representatives, while Saga City sent four. The areas around the station were managed by the prefecture, while the city focused on the southern side of the central downtown area.

Mai Ejima of the Saga Prefecture Government’s SAGA Arena Convention Bureau recalled,

"The arena is located north of Saga Station, but the area with the most dining establishments and businesses is on the southern side. The key question for both the prefecture and the city was how to encourage foot traffic into the southern area."

To encourage visitors to explore on foot, Saga placed large photo-worthy tapestries in the southern entertainment district, including Tojinmachi, which is a short walk from the station. On social media, hashtags like #RE_PRAY_SAGA_Hotomeki Project and #Hotomeki Project accompanied numerous posts about local gourmet offerings. Encouraging people to walk and dine in the area greatly contributed to revitalizing the city.

From the perspective of local businesses, the hospitality initiative shone in Saga Station’s souvenir shops, which were a first stop for many fans. According to Ejima, the PR representative of Ocha no Matsuzakien put up hand-drawn POP (point-of-purchase) signs, prominently promoting their Ureshino Black Tea: Yuzu Blend—a product that reminded fans of Yuzuru (ゆづる→ゆづゆず / Yuzuru → Yuzu Yuzu). The tea sold at a pace equivalent to a year’s worth of regular sales in just three days during the event. Another business, Saga Kobo, displayed welcome signs and promoted items like yuzu pepper condiments.

Daisuke Arata of Saga City’s Central Downtown Revitalization Office reflected,

“While the short preparation period meant we couldn’t fully engage with all local businesses, there were still examples of mutual cooperation, such as participation in the coupon initiatives. I see this as a positive outcome.”

Public announcements for the project began in September 2023, with the first official meeting between the prefecture and city taking place only two months before the event in November. Miho Yonekura, responsible for the SAGA Arena project, said,

“We’ve focused on attracting major events during the opening year of the arena. Securing Hanyu-san’s performance was something we persisted in, so when it was finalized, we were thrilled. However, before the official announcement, we couldn’t share details. At the time, all we could say to the municipal government was something vague, like, ‘We’re planning an ice event.’”

This collaboration between the prefecture and city to jointly execute a welcoming project tied to an event was a first. Yonekura noted,

“There are very few regions nationwide where such a strong cooperative framework is possible. Both the prefecture and city share a strong intent to use the SAGA Arena not as a mere venue, but as a catalyst for regional revitalization. Welcoming visitors on this scale is something only a region like ours could accomplish.”

The organizers of the event also cooperated with the initiative. Early provision of the key visuals allowed the production of tapestries and flags for the southern area’s city dressing to proceed smoothly. The prefecture spent approximately 200,000 yen, while the city allocated around 1 million yen to the project. Additionally, the use of existing events and projects contributed to the overall hospitality efforts.

An Economic Impact of 482.1 Million Yen

On the other hand, the project achieved significant results. Saga Prefecture estimated the economic ripple effect of the RE_PRAY event to be approximately 482.1 million yen. This figure was calculated using input-output tables based on spending by attendees and organizers on accommodations, dining, and souvenirs, including the impact of the Hotomeki Project. Representatives from the prefecture, city, and SAGA Arena collectively noted,

“The enthusiasm surpassed our expectations, and we feel that the efforts we put into this initiative truly paid off.”

What were the key factors behind this success? Several elements can be considered, but one major factor was the genuine warmth and respect that those involved in the Hotomeki Project, as well as local businesses, showed towards Hanyu and RE_PRAY. Many fans took to social media to express gratitude for the “warm welcome” and the “city-wide effort” to make the event special.

When fans feel that a host city genuinely values something they hold dear, they, in turn, develop a fondness for the city. This fosters interest in Saga’s streets, local specialties, and gourmet offerings. While the high purchasing power and enthusiasm for tourism and gastronomy among Hanyu’s fans certainly contributed to the success, the Saga example is packed with insights into how to achieve regional revitalization centered around events.

 

[Wintek]

[2024/11/25]

*Machine translation from Japanese to English, inaccuracies exist*

Notes added at the end for clarity regarding some expressions.

Pages: 72-73

Magazine available in printing and digitally: https://amzn.asia/d/5QtQ3rq

 

Commitment to Supporting Disaster-Affected Areas (p. 72-73)

The behind-the-scenes story of charity events and on-site visits, as told by those involved.

When it comes to events featuring Yuzuru Hanyu, they attract large crowds regardless of the location, urban or rural. However, the Noto Peninsula Reconstruction Support Charity Exhibition Challenge, held on September 15 this year, was a nearly audience-free event with streaming-only access. The participating skaters included Yuzuru Hanyu, Takahito Mura, Akiko Suzuki, and Satoko Miyahara. Despite the ticket price being a not-so-inexpensive 4,500 yen, over 10,000 tickets were sold, with the proceeds donated to Ishikawa Prefecture.

Reports on social media highlighted international fans purchasing tickets as well. While the streaming service Lemino was only available within Japan, many expressed their desire to support disaster-affected areas in alignment with Hanyu's cause.

Spoiler

The donation amount from the event's proceeds is expected to reach tens of millions of yen.

"I want to do something meaningful for those affected by the disaster in Noto," Hanyu expressed. Inspired by his sentiment, TV Kanazawa took the initiative to organize the event. Keichi Sato, a managing director at TV Kanazawa, remarked,
"I've been in the television industry for many years, but it's rare to see a charity event of this scale. The overwhelming response was truly surprising."

Planning began in May, and everything started from scratch.

“Initially, we were considering a live audience ice show,” said Sato. In the past, ice shows had been held in Kanazawa City. However, such shows require filling an arena with water to create an ice rink, which incurs significant costs. Running such a show profitably is challenging, and this would go against the charity’s purpose.

At this point, the Kenmin Sporereku Plaza—Ishikawa Prefecture’s only ice skating rink, managed by an affiliated organization—emerged as a candidate venue.

"It’s an old practice facility, unsuitable for glamorous shows. Its structural limitations also made it difficult to accommodate a large audience on-site. We were uncertain if Hanyu would agree to perform there, but he kindly accepted," shared Sato.

The rink typically opens in October, but after direct negotiations with prefectural officials, they agreed to prepare the ice two weeks earlier for the September 15 performance.

As discussions progressed about the format of the charity event, the concept of a no-audience, paid streaming event took shape. This is where TV Kanazawa’s strengths came into play.

“For streaming, we could adopt a TV program-like approach. Since we had the opportunity, we wanted to include plans that showcased Noto as it is now,” explained Sato.

During the exhibition, live coverage connected the Noto region with the skating rink. Performances included local taiko drum team Wajima Wadaiko Toranosuke and a calligraphy demonstration by the Noto High School Calligraphy Club. The energy of the local youth and the warm interactions among performers reaffirmed the event’s significance to the audience.

For TV Kanazawa, a station with approximately 80 employees, the exhibition was a major undertaking, with over half the staff involved in some capacity.

“This exhibition was a challenge for us as well. I feel that TV Kanazawa grew significantly through this experience,” said Sato.

Additionally, as proposed by TV Kanazawa, Hanyu will collaborate with Ishikawa Prefecture on a tourism promotion project.

The Mission of Survivors

In June of this year, prior to the charity exhibition, Yuzuru Hanyu visited Wajima City as part of a segment for news every., a program by Nippon TV where he serves as a special messenger. This visit was at Hanyu's own request. The news every. reporting team, which has accompanied Hanyu in his long-standing disaster relief efforts, remarked:

"Having experienced the Great East Japan Earthquake in Sendai, Mr. Hanyu seems to feel it is the mission of those who survived to convey the realities of disaster-stricken areas and the importance of disaster preparedness."

One of Hanyu's formative experiences in visiting disaster-hit areas seems to stem from an incident following the Sochi Olympics when he visited Ishinomaki, a city affected by the tsunami. Although hesitant at first, Hanyu was warmly welcomed by the community. Not only at the school he visited but also by passersby on the streets, who said things like, "You did great at the Olympics," and "We're cheering for you, Hanyu-kun."

That experience left a deep impression on him, as he felt the warmth of people and realized that his Olympic gold medal could bring smiles to the faces of disaster survivors. Since then, Hanyu has actively made suggestions to the reporting team, saying things like, "I want to visit Fukushima," or "I’d like to go to areas affected by the Hokkaido Eastern Iburi Earthquake."

"Even amidst his busy schedule, he has consistently made time for activities that contribute to disaster relief. Disaster recovery and disaster prevention have become another pillar of his life’s work," said the reporting team.

Events bearing the name Yuzuru Hanyu have also supported disaster-affected areas. For example, The Yuzuru Hanyu Exhibition, organized by the Yomiuri Shimbun, has donated approximately 156.52 million yen from merchandise sales over three exhibitions. Part of these funds is accumulated in a Major Disaster Relief Fund and used to provide support to affected municipalities and other organizations. The remaining balance of the fund currently stands at about 65.93 million yen.

(Titles omitted for brevity)

 

The Meaning of a "Gold Medal for Others"

Winning back-to-back Olympic golds for the sake of disaster recovery.

When visiting disaster-stricken areas, Yuzuru Hanyu always brings his Olympic gold medals.

"Even for people who don’t know me, just seeing two gold medals brings a smile to their faces. That’s the power of the Olympics," he says.

Since his junior years, Hanyu had dreamed of winning an Olympic gold medal, a goal he first achieved at the age of 19. In September this year, now 29 years old, during a group interview after the charity exhibition, he revealed that one of the purposes behind his consecutive Olympic wins was to start supporting disaster-affected areas.

How did his childhood admiration for the Olympics evolve into a desire to "win for the sake of recovery" after the Great East Japan Earthquake?

"What was it…? This is my first time reflecting on it, but it doesn’t feel like it was a particularly convoluted process," Hanyu says.

The root of this transformation lies in his own experience during the winter of 2004, at the age of 10, when he lost access to his home rink due to financial difficulties. However, the situation changed in 2006 after Shizuka Arakawa won the gold medal at the Torino Olympics. Her words prompted action from local government officials, leading to the rink reopening in 2010.

"Thanks to Arakawa-san, we were able to practice again," Hanyu reflects.

 

---

 

Wanting to Be a Source of Strength for Others

It was during this time that Hanyu came to realize the power of a gold medal. He decided that he, too, wanted to win gold and use it to help others. For Hanyu, gold medals have always been for others.

"That’s why, after the earthquake, making disaster recovery a major purpose for winning gold felt less like a change and more like a natural progression," he explains.

Hanyu has always enjoyed bringing joy to others.

"When I was little, I wanted to skate as well as my sister so I could be praised, too. Nothing made me happier than seeing people smile because of my skating. Winning a gold medal was just an extension of that. So, when I think about it again, the desire to make others happy has always been there. It feels like everything was connected. I’m realizing that for myself right now," he says.

At the same time, he acknowledges moments when he can’t rely on the power of his medals.

"If I’m skating for disaster recovery, it all depends on who I am now. As a single skater, I’ll give my absolute best."

During the charity exhibition, Hanyu focused on showcasing the talents of his fellow performers from disaster-hit areas. Photographer Toru Yaguchi, who documented the event from rehearsals to the final performance, shared:

"During practice, Hanyu paid special attention to adjusting his movements to match the rhythm of the drums played by young local performers from Noto. I was struck by how much he valued the feelings of these local musicians."

 

[Wintek]

[2024/11/25]

*Machine translation from Japanese to English, inaccuracies exist*

Notes added at the end for clarity regarding some expressions.

Pages: 72-73

Magazine available in printing and digitally: https://amzn.asia/d/5QtQ3rq

From the Editorial Department (p. 12)

 

I covered the article on the “Entertainer,” focusing on the figure skater Yuzuru Hanyu, who achieved back-to-back Olympic gold medals. In addition to interviewing him, I explored his solo ice shows and their impact since his professional transition in 2022, as well as his ongoing disaster relief efforts since his competitive days.During the interviews, several people mentioned, “Hanyu’s events have become success stories for us too.” This was true for Saga, where a city-wide hospitality project was launched in conjunction with one of his shows, and for the local TV station that planned and operated the charity exhibition in support of the Noto Peninsula’s recovery. Experiences of working with Hanyu through these projects have translated into confidence and subsequent action. Even now, it’s not just fans who continue to draw courage from him. (Mai Yamamoto)

Spoiler

---

 

This week, we’ve focused on two main topics: “Doctors” and “Yuzuru Hanyu.” The common thread between them is their approach to work and the theme of career development.

The former looks at how doctors, even in a life-saving profession, are navigating career changes in an era where the value of “fulfillment” is often dismissed as inefficient.

The latter examines how Yuzuru Hanyu, a globally recognized “entertainer” in today’s terms, perceives and seeks to expand his role. The article delves into his perspective as a self-styled “producer” of his work. We wondered if this angle—unique to a business magazine—would resonate. Whether we’ve succeeded or not, we’d like to hear our readers’ thoughts. (Nishizawa)

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

Source: Weekly Toyo Keizai 2024/11/30 issue, pg 70-71

 

Performances as an opportunity for regional development

Saga's efforts to connect Yuzuru Hanyu's performance to regional revitalization

 

During his competitive years, Yuzuru Hanyu attracted fans from across the globe to competitions. Many travelled from places as far as Canada and Northern Europe to support him for just 7–8 minutes of his short program and free skate. After turning professional, Hanyu has been energetically performing in solo shows and headlining ice shows across Japan, while based in Sendai. Fans eager to watch him perform travel from distant places to attend these events. For local governments seeking to bring people in and create excitement, Hanyu’s performances provide a unique opportunity for regional revitalization.

 

Spoiler

Hanyu's "RE_PRAY" Saga performances were held at SAGA Arena on Friday, January 12th and Sunday, January 14th, 2024, with approximately 5,500 people from Japan and abroad attending each show. Saga took full advantage of this opportunity. In preparation for the performance, Saga Prefecture and Saga City jointly planned the "#RE_PRAY_SAGA_ Hotomeki Project." "Hotomeki" means hospitality in the Saga and Fukuoka dialects.

 

Thorough "Hotomeki" Efforts

 

The project was remarkably straightforward in featuring "RE_PRAY." Based on materials prepared by Saga Prefecture, the initiative was depicted on a map, as shown on the left. Large banners and flags featuring the key visual adorned the streets, creating excitement for fans. Public transportation was also involved, with train stations and even temporary bus routes decorated to match "RE_PRAY." Illuminations were extended to coincide with the event, further enhancing the city’s appeal.

For the project meetings, three people from the prefecture and four people from the city attended each time. The prefecture was in charge of the area around the station, while the city handled the central downtown area to the south.

 

Mai Ejima from the Saga Prefecture SAGA Arena Convention Bureau recalls, "The arena is located on the north side of Saga Station, but the area with many restaurants and shops is on the south side. What the prefecture and city focused on was how to create a flow of people to the south side of the station."

 

In the bustling area south of the station, large photo-worthy tapestries were installed in places like Tojinmachi, just a short walk from the station, encouraging fans to explore the city. On social media, many posts were shared with hashtags like "#RE_PRAY_SAGA_ほとめきプロジェクト" (Hotomeki Project) and "#ほとめきプロジェクト" (Hotomeki Project), featuring information about local cuisine. Encouraging people to walk and enjoy local food helps revitalize the city.

 

Hotomeki from Local Businesses

 

As part of the "Hotomeki" initiative from local businesses, the souvenir shops inside Saga Station, where arriving visitors first stop to look around, attracted a lot of attention from fans. According to Ejima, the PR representative of "Ocha no Suezakien," handmade illustrated POPs were displayed in the sales area, promoting their "Ureshino Kocha Yuzu Blend," which evokes "Yuzuru" (結弦) (Yuzuru ゆづる → Yuzu ゆづ→ Yuzu ゆず). He mentioned that sales during the 3-day event reached the equivalent of a year's worth of stock. "Saga Kobo" also displayed welcoming POPs, promoting products like yuzu pepper.

 

Daisuke Shin, from the Saga City Central City Revitalization Office, said, "We didn't have enough time to publicize the plan, so there were some challenges in engaging with downtown businesses. However, I think it was positive that we were able to cooperate with them through initiatives like the coupon campaign."

The information was made publicly available in September 2023, and the first meeting between the prefectural and city officials was held in November, two months before the performance, so the time was limited.

 

According to Miho Yonekura, who was in charge of attracting events to the SAGA Arena, "We have been putting a lot of effort into attracting large events in the first year of operation, and I had been persistently pushing to bring Hanyu's performance to Saga, so I was really happy when it was finalized. However, we couldn't disclose the details until the information was made public. Initially, all we told the local government was that we were 'considering an ice event.'"

 

This is the first time that the prefecture and city have jointly carried out a welcoming project linked to an event. Yonekura notes that it is rare for an area to set up such a strong collaborative framework. "Both the prefecture and the city have a strong will to use the SAGA Arena not just as a venue, but as a tool for regional revitalization. The city's full support for the event is something that could only have been achieved in a rural area," said Yonekura.

 

The organizers were also cooperative in this effort. The prompt provision of key visuals allowed for the smooth production of tapestries and flags used for city dressing in the southern area. The prefecture spent approximately 200,000 yen on production, while the city spent about 1 million yen. Additionally, they were able to implement hospitality efforts by leveraging existing events and initiatives.

 

482.1 million yen effect

 

The economic ripple effect of the "RE_PRAY" performance was substantial, with Saga Prefecture estimating it at 482.1 million yen. This figure is based on an input-output table of visitor and organizer spending on accommodation, food and drink, and souvenirs, and includes the impact of the Hotomeki Project. Both the local government and Saga Arena personnel expressed satisfaction with the outcome, saying it exceeded their expectations.

 

The prefecture, city, and SAGA Arena officials all agree that the excitement exceeded expectations and that they felt a strong sense of accomplishment with this initiative. What were the factors behind the success? Several reasons can be considered, but one of the most significant was that the people involved in the Hotomeki Project and local businesses genuinely welcomed Yuzuru Hanyu and "RE_PRAY," treating them with respect. Many fans expressed their gratitude on social media, praising the "warm welcome" and the "city-wide enthusiasm."

 

The fact that the local community cherished the event and its visitors contributed to increased interest in Saga’s local culture, food, and attractions. While the high purchasing power of Hanyu's fans and their enthusiasm for tourism and food likely played a role in the success, Saga's example offers valuable insights into "regional revitalization centred around events."

 

 

Source: Weekly Toyo Keizai 2024/11/30 issue, pg 72-73

Online: https://toyokeizai.net/articles/-/841781 / https://toyokeizai.net/articles/-/841781?page=2

Archived: https://web.archive.org/web/20241204001209/https://toyokeizai.net/articles/-/841781 / https://web.archive.org/web/20241203235218/https://toyokeizai.net/articles/-/841781?page=2

 

Commitment to Supporting Disaster-stricken Areas

 

The strong commitment to supporting disaster-stricken areas. Behind the scenes of charity events and visits to the affected regions, as shared by the people involved.

 

Spoiler

When it comes to a live performance featuring Yuzuru Hanyu, people from both urban and rural areas gather in large numbers. However, the 'Noto Peninsula Reconstruction Support Charity Ice Show Challenge' held on September 15 this year was a streaming-only, nearly audience-free event. The skaters who participated were Yuzuru Hanyu, Takahito Mura, Akiko Suzuki, and Satoko Miyahara. Tickets were priced at 4,500 yen, which is not cheap, but over 10,000 tickets were sold. The proceeds were donated to Ishikawa Prefecture.

 

On social media, there were notable reports of ticket purchases from overseas. Although the service 'Lemino,' available only in Japan, was used for streaming and could not be accessed from abroad, many fans wanted to support the disaster-stricken area and expressed their solidarity with Hanyu.

 

The donation from the proceeds of the performance is expected to amount to several tens of millions of yen. "I want to do something that will help the people who were affected by the disaster in Noto." This wish of Hanyu's was the driving force behind the event, which was organized by TV Kanazawa. Keichi Sato, the managing director at TV Kanazawa, who oversaw the operation, said, "I’ve been in the television industry for a long time, but charity events of this scale are rare. I was truly surprised by the huge response and how many people tuned in."

 

The planning for the event began in May, and everything was done on trial and error. "Initially, we were thinking of holding an ice show with audience," said Sato. There had been ice shows in Kanazawa before, but those required laying ice in the arena, which involved substantial costs. It would be difficult to run the show in the black, and it could stray from the charity’s original purpose. At that time, the only ice-skating rink in the prefecture, the "Kenmin Sports Plaza" operated by an affiliated organization of Ishikawa Prefecture, emerged as a possible venue.

 

"It’s an old facility for practice, and it wouldn’t be suitable for a grand show. There were structural issues, and bringing many people to the site would be difficult. We were worried whether they would even be able to skate here, but they kindly agreed to it," said Sato. Although the rink is typically open in October, they persuaded the prefecture's officials to start preparing the ice two weeks in advance, allowing the performance to take place on September 15.

 

As discussions progressed about the type of charity event to host, the idea of a "no-audience, paid streaming" format emerged. TV Kanazawa used its expertise in television production to make the event possible. "With streaming, we can create a TV show-like experience. We should include something that shows Noto as it is right now," said Sato.

 

During the performance, live broadcasts connected the scenes from Noto and the skating rink, showcasing a performance by the local drum team "Wajima Wadaiko Toranosuke" and a calligraphy performance by the "Noto High School Calligraphy Club." The energy of the local younger generation, along with the warm interactions between the performers, strongly conveyed the significance of the event to the viewers.

 

For TV Kanazawa, which has about 80 employees, this performance was a major event, and more than half of the employees were involved in one way or another. "The performance was a challenge for us, too. I think TV Kanazawa grew a lot through this experience," said Sato.

 

Furthermore, at the suggestion of TV Kanazawa, it has been decided that Hanyu will cooperate with a tourism promotion project by Ishikawa Prefecture.

 

The Mission of the Survivor

 

In June of this year, ahead of the performance, Hanyu visited Wajima as part of his special message for the TV program "news every." on Nippon Television. This was also something Hanyu requested. The reporting team for "news every." which has long supported disaster-stricken areas, said, "Hanyu, who experienced the Great East Japan Earthquake in Sendai, seems to feel it is his mission as a survivor to convey the realities of the disaster areas and the importance of disaster prevention."

 

The Meaning of "A Gold Medal for the People"
Back-to-back victories to support reconstruction efforts.

 

When visiting disaster-stricken areas, he takes his Olympic gold medals with him. "Even people who don’t know me will smile just by seeing the two gold medals. That’s the power of the Olympics," said Hanyu. Since his junior years, he had dreamed of winning Olympic gold, which he achieved at the age of 19. Then, in September at the age of 29, during a press interview after the charity performance, he revealed that one of the goals behind his Olympic consecutive victories was to start supporting the disaster-stricken areas. His childhood dream of competing in the Olympics changed after the Great East Japan Earthquake to a desire to 'win for the sake of reconstruction.' What kind of change took place in Hanyu's heart during that time?

 

"What was it... I’m thinking about it for the first time, but I don’t think it was such a complicated process," said Hanyu. The roots of his commitment to helping others began in 2004, when at the age of 10, he lost his home rink due to financial difficulties. A year later, following an appeal from Shizuka Arakawa, who won a gold medal at the Turin Olympics, the local government took action, and the rink was reopened. "Thanks to Arakawa, we were able to practice again," Hanyu recalled.

 

Wanting to be a source of strength for others

 

He realized the power of a gold medal. He wanted to win gold and use it to help others. For Hanyu, the gold medal was for others. "After the earthquake, the major purpose of my gold medals was to support reconstruction. It wasn’t a change, but more of a natural progression."

 

From a young age, Hanyu has had an innate desire to make people happy. "When I was little, I wanted to skate well like my sister and be praised. What made me happiest was seeing people smile when they watched me skate. The gold medal was an extension of that. So, when I think about it now, my desire to make people happy has always been the same. It seems that everything was connected. I understand it now."

However, there are moments when he cannot rely on the power of the medal. "If I’m skating for reconstruction support, it depends on me as I am now. As a single skater, I will give it my all."

 

At the performance, he focused on bringing out the charm of the local performers from the disaster-affected area. Photographer Toru Yaguchi, who followed Hanyu from practice to the performance as the official photographer, said, "Hanyu paid particular attention to adjusting his movements to match the local young taiko drummers during practice. I really felt that he valued the feelings of the local performers."

 

After the Sochi Olympics, a visit to Ishinomaki, a tsunami-hit area, seems to have become his formative experience in visiting disaster-stricken areas. Hanyu, who had initially been hesitant to visit, was warmly welcomed by the town. Not only the schools he visited, but also people on the street, called out to him, saying, 'You did a great job at the Olympics,' and 'We're rooting for you, Hanyu.' He was deeply moved by the warmth of the people, and at the same time, this experience made him realize that his gold medal could be a catalyst for bringing smiles to the disaster-hit areas. Since then, Hanyu has been actively suggesting to the press team, 'I want to go to Fukushima,' and 'I want to visit the areas affected by the Hokkaido Eastern Iburi Earthquake.'

 

"Even amidst his busy schedule, Hanyu has always made time to support disaster-stricken areas I think that disaster recovery and disaster prevention has become another part of his life’s work," said the reporting team.

 

Events bearing the name "Yuzuru Hanyu" have also become a source of support for disaster-stricken areas. The 'Yuzuru Hanyu Exhibition,' sponsored by the Yomiuri Shimbun, has been held three times so far and has donated approximately 156.52 million yen from merchandise profits. Part of the donations have been set aside as a "Large-Scale Disaster Support Fund," which is used to provide financial support to affected local governments and other organizations in need. The current balance of the fund is said to be approximately 65.93 million yen.