[2025] Notte Stellata 2025

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.13

 

Source: https://x.com/mansai_gozaru/status/1900127988257001722

https://radiotalk.jp/talk/1287686 

 

 

Radiotalk: "Profession: Mansai Nomura" March 13 – Notte Stellata 2025 is the Best! 

 

This time, I had the honor of participating as a special guest in Yuzuru Hanyu’s Notte Stellata 2025. Today, I’d like to share my thoughts and some behind-the-scenes stories. So, instead of introducing each message one by one, I’ll just talk about my experiences.

 

Spoiler

Since I’m recording this outdoors, there might be some background noise. Sorry about that.
•    April 5: Mansaku no Kai viewing event in Nagoya—tickets are now on sale.
•    March 17 - April 17, 18: The 110th Nomura Kyogenza—ticket sales begin. Tickets are available via Ticket Pia, Confetti, and other play guides, as well as by phone through Mansaku no Kai.
•    March 29 (Saturday), 21:00 - 22:30: Notte Stellata 2025 will be broadcast on BS Nippon TV and later on CS broadcast BS Nittere Plus.

For more details, check our official website—this is per my manager’s instructions. So, for those who missed it, you’ll have a chance to watch it again.
 

Well, the show has ended, and I’ve received a flood of messages about it. I think it's something that the producers at Nippon Television (NTV) had been planning, and it gradually became a reality, of course with Hanyu's involvement. From the very beginning, it seems there was a thought of "one day, this will happen." The first time, it was Kohei Uchimura, the second was Mao Daichi, and this time, it was my turn. The first guest was a gymnast, then an actress, and now me, a classical performing arts actor. In a way, I think the concept of the performance evolved through these stages.

Without a doubt, the conversation we had from ten years ago became the catalyst for various things. While recalling that experience, I thought about what I could do with Hanyu-san this time, what I could remember, and what I could convey. With all these thoughts in mind, I directed this collaboration.

Since it was my first time performing on an ice skating rink, I wasn’t entirely familiar with how things worked. But after watching the previous two shows, I felt that it would be best not to be too far away, and I also wanted to be as close to the audience as possible, so I made an effort to close that gap. That’s one of the key points. 
In Bolero, the stage was built at the center, while in SEIMEI, I ran along the rinkside. Well, I didn’t just run, I walked properly as well. The staff referred to the small protruding stages as ‘debeso’, and I believe there were four... No, actually, three of them. Small, island-like stages were set up on both the long and short sides of the rink, where I could perform. I carefully considered my performance space and how to integrate it into the skating show, drawing on the wisdom of everyone involved.

I have always performed Bolero as a solo dance, sometimes accompanied by an orchestra and at other times with the support of 40 members from a Japanese dance company. However, this time, with the strong collaboration of Hanyu Yuzuru-san, as well as Shae-Lynn Bourne-san, Tanaka-san, Mura-san, Miyahara-san, and Suzuki-san, I truly feel that something entirely new was created. Shae-san’s choreography was also highly innovative, and Hanyu-san’s presence played a significant role in bringing everything together.

Speaking of Bolero, I think that Béjart's choreography is influenced by traditional Japanese performing arts, particularly the Bon Odori style. The idea of having a yagura (raised platform) at the center with people dancing in a circular motion around it was something I specifically wanted to incorporate this time.
Then, there was the question of how to position Hanyu-san’s presence. I wanted to incorporate the idea of utsushimi (manifestation or embodiment of a spirit or deity in a physical form) while ensuring that it did not overlap too much with the SEIMEI and Shikigami (spirit familiar) concept. To me, it felt like a god and its messenger bird—a phoenix itself. The kariginu I wore also featured a phoenix motif, embodying that immortal bird. In that sense, the phoenix and its 'manifestation' coexisted—that was what Bolero became for me.

The original piece was about 17 minutes long, but we condensed it to roughly half that length. More than anything, this performance carried a strong theme of requiem, so it was necessary to evoke scenes representing the deceased. With that in mind, the other performers—aside from Hanyu-san and myself—incorporated scenes depicting the sudden transition from life to death. I asked whether it was possible to lie down on the ice and for how long they could stay there. We used a black cloth like a blanket, but staying in that position for too long would be uncomfortable, so we significantly shortened the duration this time. I thought it could have been a bit longer, but I believe it turned out well in the end.

From there, we aimed for "rebirth". Since representing the four seasons is a major theme of Bolero, I wondered if we could make confetti fall like snow. In traditional theater, snow is often represented by white paper falling, but since scattering paper on an ice rink wouldn’t be ideal, we looked for an alternative. The staff suggested a solution—something like foam, which could be considered artificial snow, but perhaps it’s better described as foam. Since it would disappear quickly, it wouldn’t affect the rink, making it a perfect choice. 

That snow was really wonderful. When I first saw it, I thought it was beautiful. On opening night, when Bolero began, I’m sure some people in the audience may have anticipated it, while others were completely surprised, but the collective gasp when it started was immense. And when the snow fell, there was yet another huge reaction from the audience. I’ll never forget that moment.

We also incorporated various sound effects, such as birds chirping and the sound of rain, while making extensive use of lighting. Day by day, my collaboration with Hanyu-san deepened, so did my synergy with the other five performers, creating the piece together. I took a rather provocative approach, fostering communication through mutual engagement, and I felt that everyone responded to that energy.

As for my costume, we had various discussions, and this time, I chose a red Okuchi-hangiri hakama. Since the performance space was vast, I also added some red highlights to my hair to complement the look.

Now, SEIMEI is the piece from Hanyu-san’s gold medal performance, so I didn’t want to interfere with it too much. However, I also wanted to recall the film (Onmyoji) and our past discussion. Considering that, I used the keyword Tenchi-jin (Heaven, Earth, and Man) and had him appear as a Shikigami. And so, by having him appear as a shikigami, we decided to use human-shaped paper figures as the motif. When those paper figures were cast into the air, Hanyu-senshu appeared, and in the final moment, a large number of these human-shaped papers rained down in a visually striking effect.

Additionally, the four guardian beasts of Onmyōdō—Seiryu (Azure Dragon), Suzaku (Vermilion Bird), Byakko (White Tiger), and Genbu (Black Tortoise)— which also appeared in the film, were incorporated into the performance. I thoroughly enjoyed the process.

 

I'll continue this talk in some form or another. This was 'Profession: Nomura Mansai'. 

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.25

 

Source: AERA 2025 3/31 Enlarged Issue, pg 41-45

Info: https://www.amazon.co.jp/exec/obidos/ASIN/B00UG411Y4

 

The Circle of Bonds Continues to Expand
"Yuzuru Hanyu Notte Stellata 2025" Performance Report

 

Now in its third year, this ice show of remembrance and rebirth. Yuzuru Hanyu delivered an outstanding performance as a professional, showcasing both his exceptional skills and the heartfelt skating that remains unchanged.

Writer: Takaomi Matsubara Photography & Video: Takuya Matsunaga (Photography)

 

Spoiler

The third installment of this ice show surpassed the two remarkable performances that came before it. "Yuzuru Hanyu Notte Stellata 2025" was held from March 7 to 9 at the Sekisui Heim Super Arena in Miyagi Prefecture. It has been held since 2023 with the intention of remembering the Great East Japan Earthquake that occurred on March 11th, 2011.

 

The premiere performance began at 5:00 PM on March 7. Two large screens projected the night sky full of stars, with shooting stars occasionally tracing luminous lines across the darkness.

 

As showtime approached, the arena lights dimmed slightly past the scheduled start time. Applause erupted, followed by a brief moment of silence, then another wave of cheers and clapping.

 

Yuzuru Hanyu stepped onto the ice.

 

Just like in the previous two years, the show opened with "Notte Stellata". His performance was a fusion of fluid grace, quiet serenity that seemed to calm the soul, and an underlying strength—perhaps a form of prayer—that set the tone for the entire event. The audience was immediately captivated.

 

A Long-Awaited Collaboration Finally Realized

 

Following the opening performance, the guest skaters were introduced one by one. Then, Hanyu took the microphone.

 

"The words Notte Stellata mean 'a sky full of stars.' On March 11, 2011, in a day when so much was lost and destroyed, I remember looking up and seeing those stars shining so beautifully. I can’t simply say they gave me hope, but that memory of how beautiful they were has stayed with me, deeply precious. I hope that today, the skaters here can become stars for all of you. There may be times of loneliness, hardship, or sadness. But we are here. For those who have passed, for those who are still living, we will skate with all our souls."

 

Hanyu’s performance embodied these very words, not only in Notte Stellata, but throughout the entire show.

 

In its inaugural year, Notte Stellata featured a collaboration with gymnast Kohei Uchimura. Last year, it was with actress Mao Daichi. This year, the highly anticipated collaboration with Kyogen master Mansai Nomura came to life, and not just once, but twice.

 

The first collaboration took place at the end of the first part of the show, featuring "MANSAI Bolero", performed by Nomura, Hanyu, and the other skaters. The other was "SEIMEI" performed at the beginning of the second part.

 

Both performances carried a profound emotional significance, reflecting the deep meaning behind the show.

 

Hanyu previously revealed that he had been a fan of Nomura since he was a child. More than anything, SEIMEI holds special significance. It is the theme from the film Onmyoji, in which Nomura starred as the legendary onmyoji, Abe no Seimei. Hanyu incorporated Seimei’s iconic poses into his choreography and even drew inspiration from the film’s costumes. In 2015, the two had a conversation that deeply influenced Hanyu.

 

"From the very beginning, when Notte Stellata was first created, I had always wanted to collaborate with Mansai-san. One of those collaborations was 'Bolero,' which is a story of requiem and rebirth, so I definitely wanted to do it."

 

For a performance dedicated to reflecting on March 11, this collaboration was especially meaningful.

 

A True Test of Artistic Expression

 

At last, the long-awaited moment arrived.

 

"Ever since stepping firmly into the professional world of artistic expression, I’ve felt that I am still just a beginner. Collaborating with someone who carries on the legacy of Japan’s traditional performing arts—especially someone as exceptional as Mansai-san—felt like an incredible honor, but also a daunting challenge. I knew I had to deliver a level of skating and artistry truly worthy of this collaboration, and I approached every rehearsal with that strong resolve."

 

Since announcing his transition to professional skating in July 2022, Hanyu has taken on numerous challenges. This includes producing and structuring his own solo ice shows, and deepening his artistic expression through relentless effort.

 

His growth as a performer is evident on the ice, but this time, he was facing an artist with decades of experience in the world of expression. His collaboration with Nomura was not only essential to the show's purpose—it was, in a way, a test of his own artistic evolution.

 

Endless Cheers and Applause

And Hanyu responded with a breathtaking performance.

 

In "Bolero," a group dance unfolded around Mansai's stage. Amidst them, Hanyu delivered a powerful performance that echoed Mansai's powerful footsteps. This interplay added striking accents to the piece, enhancing its dramatic impact. Even without directly seeing Mansai's movements, Hanyu instinctively synchronized his steps with the beats of Mansai's footwork.

 

At the end, Nomura and Hanyu leaped into the air simultaneously. A wave of astonished cheers and applause erupted from the audience, continuing without end.

 

For SEIMEI, the stage belonged solely to Nomura and Hanyu.

 

Dressed as the onmyoji Abe no Seimei, Nomura’s commanding voice rang out: "Ten, Chi, Jin… (Heaven, Earth, Man). Appear, Yuzuru Hanyu!"—summoning Hanyu into the performance.

 

Nomura moved across various spots around the rink, and in perfect harmony, Hanyu danced on the ice, responding seamlessly to each shift. Their dynamic interaction was nothing short of extraordinary.

 

Reflecting on these two collaborations, Hanyu shared:

 

"I was incredibly nervous. Especially for SEIMEI, I constantly felt an overwhelming sense of dignity and responsibility pressing behind me. The pressure was immense. I couldn’t afford a single mistake. Honestly, it felt like competing in the Olympics all over again."

 

"Bolero was a completely new challenge for me. As a figure skater, I couldn’t ignore the legendary ice dance performances set to this music. Even Shae-Lynn Bourne, who choreographed the piece and also performed in the show, mentioned how difficult it was. But by incorporating Mansai-san’s Bolero, we blended various movements and gestures unique to this collaboration. I truly feel we created a Bolero that could only exist in this moment, in this performance."

 

A Sense of Fulfillment on the Ice

"Now that this collaboration with Nomura has become a reality, I still feel like I'm floating in a dream. But… I’d like to believe that, even just a little, I was able to create a skate performance and show composition worthy of embracing the presence of Mansai-san, of Nomura Mansai himself. That’s the sense of fulfillment I have."

 

Though spoken modestly, he repeated the word "sense of fulfillment" twice. Yet, what he had demonstrated on the ice was something even greater.

 

At the end of the second half, Hanyu performed Haru yo, Koi. After the show, he thanked the people who watched the show, including the live stream, and said the following:

 

"Seeing everyone standing, applauding, and cheering, I was reminded, in this very moment of Notte Stellata, that we are all here, alive. Just as we found the strength to rise again after the earthquake, I truly hope that this bond between us continues to grow and spread further and further."

 

Then, he took the microphone once more for a final message:

 

"There are still many people who are suffering, so please don’t forget them. If this show can even slightly serve as a starting point for support, I would be so, so grateful. Not only March 11th, but also the Noto Peninsula, and so many other places affected by heavy snowfall and other tragedies. If you could extend even a little support to those in need, it would mean the world to me. From the bottom of my heart, thank you so much for today."

 

During the event, there were also booths selling specialty products from Wajima City, which suffered great damage in Noto. It was like a way to encourage the "expanding of bonds."

 

An awe-inspiring performance on the ice, a deep empathy for disaster-stricken areas and those affected, and an unwavering commitment to remembrance—these elements all intertwined to shape the Notte Stellata ice show. Now in its third year, it concluded with an even greater brilliance and lasting impression than ever before.

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.25

 

Source: S-style April 2025 issue, pg 82-91

Info: https://www.amazon.co.jp/せんだいタウン情報S-style-2025年4月号-S-style編集部/dp/B0DYDPWTT6

https://s-style.machico.mu/pickup/43628

 

Towa Pharmaceutical Presents: Yuzuru Hanyu Notte Stellata 2025
Notte Stellata [Special Report]

 

The ice show Yuzuru Hanyu Notte Stellata, led by Yuzuru Hanyu, was held from March 7 to 9, 2025, at Sekisui Heim Super Arena in Miyagi Prefecture. The performance was also broadcast live in movie theaters across the country, drawing a large crowd of enthusiastic fans to the venue. In this special report, we bring you exclusive photos and coverage from the opening night.

Photography: Kiyoshi Sakamoto  Reporting & Writing: S-Style Editorial Team

 

Spoiler

On the day of the Great East Japan Earthquake, Yuzuru Hanyu was in Sendai. That night, as his once-ordinary life crumbled around him, he looked up at the sky in the midst of a power outage—only to find it illuminated by a vast expanse of shining stars.

 

Seeing a "light of hope" in that sky, he began Notte Stellata in 2023 with a deep and special intention. Now in its third year, this time saw the realization of a long-awaited collaboration with the esteemed Mansai Nomura. The first act concluded with MANSAI Bolero, a collaborative program where Nomura stood at the center of the rink on a specially built stage, performing his powerful movements. One by one, skaters draped in black fabric entered, first lying down on the fabric before rising at Nomura’s signal. Finally, Hanyu, clad in a luminous kariginu-style costume, glided onto the ice, receiving Nomura’s intent like a creator guiding five skaters through the performance. Repeating the same musical phrases, accompanied by the sounds of birdsong and rainfall evoking the changing seasons, the program was rich with layered narratives of death and rebirth and the grand cycle of life.

 

Before the second act began, Hanyu repeatedly practiced his jumps in the bright white light, reminiscent of the "six-minute warm-up" from his competitive days. He landed his quadruple jumps flawlessly, earning enthusiastic applause from the audience each time.

 

The second act opened with a special version of SEIMEI, one of his signature performances, created exclusively for this event.

 

On stage, Mansai appeared as the onmyoji Abe no Seimei. Breathing life into a paper doll, he chanted, "Kyūkyū nyoritsuryō, appear—Yuzuru Hanyu!" In response, Hanyu, embodying Seimei’s shikigami (spirit servant), began to dance across the ice as Seimei’s alter ego. As Mansai performed ritual gestures in various spots around the rink, a luminous pentagram—formed by five glowing stars—gradually emerged on the ice.

Unlike the usual program where Hanyu himself plays Seimei, this unique collaboration placed him in the role of a shikigami, allowing for an innovative and unexpected interpretation. The audience reached a fever pitch, responding with a standing ovation and thunderous applause.

 

The first act evoked themes of requiem and sorrow, while the second act expressed hope for recovery and the joy of life. Every detail of the program reflected the significance of performing in Miyagi. Through this richly diverse performance, the audience could feel both Hanyu’s unwavering determination and the heartfelt passion of the cast who resonated with his vision.

 

After the show, both Mansai Nomura and Yuzuru Hanyu gave separate interviews. Below is the full transcript of Nomura’s Q&A session.

 

Mansai Nomura: Q&A Interview

--- This was your first ice show experience. How did it feel to participate?
Nomura: I could really feel the energy and excitement of the audience in this large venue. When so many living people gather in one place, the atmosphere becomes incredibly charged. This venue was once a temporary morgue in the aftermath of the disaster, and yet, here we are, turning this space into something meaningful. I think events like this are a way of embracing our history—both the good and the painful—and continuing forward as living beings. That shared experience made this a truly remarkable event.

 

--- What emotions did you have while performing "MANSAI Bolero" in this setting?
Nomura: I found myself overwhelmed at moments. At the beginning, just as the performance started, I felt—well, I wouldn’t say it was a supernatural presence—but it was as if I could sense the souls of those who had once been here. It felt like something was resting upon me, almost weighing on my shoulders. But that, too, is part of the duty of a Noh and Kyogen performer—to bear the unseen and give it form. This experience reaffirmed for me the meaning of my craft and my responsibility as a performer in such a significant space.

 

--- "SEIMEI" is a special piece for both you and Hanyu. How did it feel to perform together?
Nomura: Throughout the process of creating the performance, it was clear how much Hanyu loves Onmyoji. Honestly, I think he might be a bit of an otaku about it (laughs). He remembered details I had forgotten, sometimes he knew more than I did! Jokes aside, this is the piece that brought him Olympic gold, a monumental achievement. To be involved in something so precious to him was an immense honor for me. I wonder how the audience perceived our composition, especially the moment where the pentagram appeared on the ice. That moment carried a deep significance, tying back to the events of March 11. I feel incredibly privileged to have contributed to this program through both Bolero and SEIMEI.

 

--- Collaborating with figure skating must have presented some unique challenges. Was there anything unexpected?
Nomura: Yes, definitely. During rehearsals, when Hanyu and I alternated movements in sync with the music, I wanted to make each transition seamless. However, I realized that figure skating requires a preparatory movement—a slight push or glide—to initiate motion. Unlike on stage, where I can move instantly, skating requires an extra beat to gain momentum. That time lag was an interesting discovery for me.

 

--- How did you adapt to those differences?
Nomura: We used stage effects like smoke, and I also made my exit movements more dramatic to bridge the gaps. In SEIMEI, we started with the theme of "Heaven, Earth, and Man." This concept was something we had discussed in a past interview, about how a performer governs space and time, and "wears" the music. Watching Hanyu produce and direct these ice shows, I really felt that he embodies this idea—he orchestrates Heaven, Earth, and Man. Working with him, I saw firsthand how much he has grown, and I found that really reassuring.

 

--- It has been 10 years since your first conversation with Hanyu, and 10 years since "SEIMEI" debuted. How do you view his growth?
Nomura: I’m genuinely happy to see how far he has come. Back then, there were thoughts and ideas he held inside but had not yet put into words. Through experience, and maybe even through some of our past discussions, he has gradually broken out of his shell, and now his ideas are fully blooming. It’s wonderful to see.

 

As we age, we pass our knowledge to the next generation, and it brings me great joy to see someone like Hanyu carrying forward a legacy. Just as I inherited the traditions of Noh and Kyogen from my predecessors, Hanyu has taken what he has learned and transformed it into something extraordinary. Moreover, the central theme of this show—remembrance and mourning—adds even more depth.

 

At the start of my remarks today, I introduced him as “Profession: Yuzuru Hanyu.” That’s because I myself always introduce myself as “Profession: Mansai Nomura.” I see him not just as an individual but as someone who carries an immense responsibility. He’s not just a skater. His vision, creativity, and actions transcend the sport. This show was a culmination of everything he embodies. "Profession: Yuzuru Hanyu" is only going to continue achieving more, and I am grateful to witness that.

 

--- In a past conversation, you said, "Our culture is one of omission." How did you incorporate that into "MANSAI Bolero"?
Nomura: Yes, as we refined Bolero, we stripped away unnecessary elements, distilling it to its essence. The piece draws from the Noh-Kyogen Sanbasō tradition, but we reinterpreted it as a form of prayer, incorporating themes of March 11.

 

Originally, there were more concrete images—raising a child in distress, flowers blooming in hardship, rain falling, summer arriving. However, we abstracted these into broader, symbolic expressions. In the end, the piece reflects the human life cycle—glimpses of death, rebirth, and ultimately, flight into the next existence. The final jump in the performance ties into that theme. Though the performance may appear abstract, I believe that those who watch it with this understanding will see something profoundly special. I hope we can continue collaborating on Bolero in the future.

 

--- One last question. So in "SEIMEI," Hanyu was the shikigami?
Nomura: Ah, yes, in a way. When we were developing the piece, we considered what our relationship should be on stage. The moment I drop the paper shikigami at the start—that was deliberate. The idea of Hanyu waiting on the ice while I performed was actually conceived after we arrived at the venue. It just naturally came together that way.

 

--- Thank you very much.

 

 

Yuzuru Hanyu: Q&A Interview

 

— Thank you for your hard work. How do you feel now that you’ve finished your third "notte stellata" performance?
Hanyu: Honestly, I put all my physical and mental energy into today’s performance, to the point where it felt like a grand finale. I was completely focused, never letting my guard down for even a second. Together with all the skaters here, I performed while praying and hoping that our show could serve as a small step toward helping those affected by the 3/11 disaster and other tragedies.

 

— How was your collaboration with Mansai Nomura?
Hanyu: I was extremely nervous. Especially for "SEIMEI," I constantly felt a sense of dignity emanating from behind me, and I skated under the pressure that I absolutely could not make a mistake. It felt as nerve-wracking as the Olympics.

 

As for "Bolero," I had never used that piece before, but in the figure skating world, there’s already the legendary ice dance performance by Jayne Torvill and Christopher Dean at the 1984 Sarajevo Olympics. Choreographer Shae-Lynn Bourne also said it was a very difficult piece. However, we incorporated various movements and gestures unique to this collaboration, making it a "Bolero" that could only be created with Mansai-san. I feel that we achieved something special.

 

— It’s been about ten years since you last worked with Mansai-san. Has your impression of him changed through this collaboration?
Hanyu: I feel like he has opened up to me a little. About ten years ago, I was just overwhelmed with nerves, like a dry sponge that couldn’t absorb anything due to its limited capacity. I was simply in awe. But this time, after gaining various experiences as a professional skater, I was determined to stand on the same stage and face him as an equal professional. I kept that in mind during our discussions and rehearsals.

 

For "Bolero," the choreography was gradually developed after everyone, including Mansai-san, arrived at the venue. When he first saw it, it was still incomplete, and even he seemed unsure of how to proceed. However, through numerous rehearsals, he made efforts to adjust to us, and I also thought carefully about how to match my movements with his. That process led to the final version of "Bolero."

 

— When I asked Mansai-san about meeting you again after ten years, he said...
Hanyu: Did he say I’ve become arrogant? (laughs)

 

— He mentioned that he had forgotten a lot about "SEIMEI."
Hanyu: For me personally, now that I’ve fully stepped into the professional and artistic world, I still feel like a novice. Collaborating with someone who has inherited and mastered Japan’s traditional performing arts is truly an honor. I felt a strong responsibility to present skating that is worthy of such a collaboration, to express artistry as a professional. During rehearsals, I kept that in mind, but honestly, I’d rate my performance today only about 50 points (laughs). I was really nervous...

 

— Mansai-san also said he was happy to see how much you’ve grown.
Hanyu: No... I still have a long way to go. I’ll continue to improve.

 

— How did it feel to perform "SEIMEI" with Mansai-san at "notte stellata"?
Hanyu: Every guest I’ve collaborated with at "notte stellata" was chosen not just for the sake of collaboration itself but to elevate the show to a truly remarkable level. From the beginning of "notte stellata," I had always wanted to collaborate with Mansai-san. "Bolero" is a story of mourning and rebirth, so I felt strongly about performing it. Now that it has become reality, it still feels like a dream. But I hope the skating and show composition were able to reach a level that could embrace and reflect the presence of Mansai Nomura.

 

— How do you feel about being able to continue performing this show in Miyagi, your hometown, during this time of year? What are your thoughts on moving forward, including your message to those in the disaster-affected areas?
Hanyu: Some people may have bought tickets but couldn’t attend due to health issues or transportation difficulties. "Grande 21" in Rifu isn’t easily accessible, so I know it’s not easy for everyone to get here. But before anything else, I’m grateful that those who did attend were healthy, and even those who couldn’t make it watched via livestream. That alone makes us incredibly happy.

 

We put everything we have into our performances, to the point of exhaustion. And I’ve noticed that my level of commitment and energy is spreading to the other skaters as well. Seeing them give their all made me really happy. I don’t think many people have ever seen Mansai Nomura running out of breath from a performance, so I feel a bit guilty (laughs). But he also gave his all in portraying "SEIMEI."

 

To be honest, our energy levels are completely drained, and physically, we’re far from "healthy" right now (laughs). But seeing the audience stand up and applaud, cheering for us, makes me truly feel that they are "alive in this moment." It’s something unique to "notte stellata"—this sense of connection and resilience. Just like how we managed to stand up again after the disaster, I hope that our bonds will continue to grow and spread.

 

During rehearsals, Mansai Nomura was out of breath, and I thought, "I've really put him through something tough." Especially at the end of "SEIMEI," he was constantly sprinting. I felt really sorry about it, but at the same time, I was once again deeply impressed by his incredible ability and capacity to rise to the challenge.

 

— We’re out of time, so this will be the last question.
Hanyu: I tend to talk too much (laughs). Sorry about that.

 

— Regarding "SEIMEI," Nomura-san mentioned that while he had forgotten many details, you remembered them all like a true enthusiast. Could you tell us what aspects you focused on this time and how you interpreted the performance, which he called your "signature piece"?
Hanyu: Usually, when I perform "SEIMEI," I embody the figure of Abe no Seimei himself. But this time, the actual Seimei was there (laughs), so I imagined myself as a servant or a shikigami (a spirit summoned and controlled by Seimei). That was the concept we developed and directed.

 

Because Abe no Seimei is a flawless and mysterious presence, the shikigami had to act accordingly—not as a perfect being, but as one granted power. I kept that in mind throughout the performance, channeling full energy the entire time, even more than in my usual "SEIMEI" routine. I envisioned a story where the shikigami is given a role, fulfills it, then returns to being a paper doll, only to be summoned again and assigned a new task. This dynamic between the two of us shaped the performance. It felt different from my usual experience with "SEIMEI." In a way, it even made me reflect on my own role, what my purpose is in being part of this "notte stellata" ice show and what it means for me to be alive.

 

— Sorry, but we’re out of time, so we’ll have to end it here.
Hanyu: I’m really sorry for talking so much. Thank you very much. This reminds me of the NHK Trophy when I kept talking, and they had to cut me off (laughs). Thanks again for always listening to my long answers. I appreciate it. Looking forward to next time!

 

— Thank you very much.

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.27

 

Source: https://x.com/mansai_gozaru/status/1905211625373827123

https://radiotalk.jp/talk/1292623

 

Radiotalk: "Profession: Mansai Nomura" March 27 – Only 2 days left until broadcast!

 

On Saturday, March 29, from 9:00 PM to 10:30 PM on BS Nittele, the broadcast of "Notte Stellata 2025" is set to air. Be sure to set your reservations and tune in!
I had the honor of participating in "Mansai Bolero" and "Seimei", and the show received an overwhelmingly positive response. While it will only be available in video form, I highly recommend watching it to get a glimpse of its brilliance. I've heard that some people were a bit disappointed with the camera work in past video streams. I'm also curious to see how the editing turns out this time, so I'm looking forward to it.

 

Spoiler

I vividly remember the second day of open practice. After various training sessions, Shea gathered the performers, including Mura-san, and provided additional guidance on Bolero, explaining subtle adjustments to improve the performance. Over the course of three days, I could feel the strong desire to refine and elevate the piece beyond its previous execution. Their commitment to excellence was evident.

 

After practice, Hanyu-san addressed everyone with words that left a strong impression:

"We are honored to welcome someone as extraordinary as Mansai-san. We will give it our all, so I hope you all bring the same level of dedication."

 

While I may not recall his exact words, the sentiment was clear. Witnessing the synchronized rhythmic footwork alongside Hanyu-san, the beautiful precision in every movement, and the perfectly timed final leap was a privilege. Thank you.

 

It’s remarkable that such words could be overheard. I do recall hearing from Hanyu-san himself about his determination to push forward. Each performance is, of course, a moment of challenge, yet the true essence of artistry and sport lies in constant evolution—the drive to reach ever-greater heights with every repetition.

 

This applies equally to athletes and artists.

 

I found myself pondering, Does a tuna continue swimming through the vast ocean even at night without rest? It reminded me of when you recently compared yourself to a tuna, constantly swimming forward. After all, migratory fish must keep moving—if they stop, they won’t survive.

 

I also saw the overwhelming reactions on social media. Some attendees described Mansai’s portrayal of "Abe no Seimei" as a celestial presence, and his "Bolero" performance as that of a phoenix soaring across the vast universe. Hearing their impressions, I deeply regretted not being able to witness it in person. For those who couldn’t attend, I highly recommend watching the online streaming version when available.

 

One viewer described the stage as a microcosm of the universe, with the heavens and the earth merging through the divine performance. Their interpretation was fascinating—despite not seeing it firsthand, they envisioned the grandeur within their mind. This discussion brought forth the contrast between Eastern and Western cosmology.

 

In Abe no Seimei, fate and divine will are central, reflecting Eastern philosophical beliefs.
In Bolero, the performance revolves around the sun as the eternal source of life, resonating with Western cosmic imagery.

 

The relationship between fate (命運) and the source of life (生命の源) is an intriguing one. How were these elements interwoven into the performance? What was Hanyu Yuzuru’s role as a shaman-like figure in conveying this cosmic vision?

 

I can't possibly cover everything in this short time, so I'm sure I'll have another opportunity to talk about it in more detail at some point.

 

But in some way, I feel that I share this cosmic perspective with Hanyu-san. In that sense, Onmyoji is also deeply connected to the universe.

 

It embodies an Eastern cosmic view, and Boléro, set to a Western rhythm, expresses that very perspective of the universe. Focusing on the sun is not necessarily exclusive to the Western cosmology. In the mythology of Amaterasu, the Sun Goddess, there is a parallel in the Japanese performing arts history. The origins of sacred dance (kagura) can be traced back to the myth where Ame-no-Uzume danced before the cave to entice Amaterasu, who had hidden herself away.

 

The countless gods (Yaoyorozu no Kami) were so amused by Uzume's dance that they burst into laughter. Curious about the commotion, Amaterasu peeked out from the cave, allowing the concealed sunlight to shine upon their faces. This humorous and profound moment is said to be the origin of the Japanese word omoshiroi (meaning “interesting” or “amusing”).

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.03.29

 

Source: https://news.ntv.co.jp/category/society/1d60d2f62cb549599206990082b2eb13

Archived: https://web.archive.org/web/20250329060139/https://news.ntv.co.jp/category/society/1d60d2f62cb549599206990082b2eb13

 

Yuzuru Hanyu travels from Tohoku to Noto... Bonds forged through the show, moving forward together

 

Thinking about disasters and disaster prevention with Yuzuru Hanyu: "Yuzuru Hanyu – The Message He Wants to Convey."

Hanyu performed in an ice show held in Miyagi around March 11. At the event, vendors from Wajima Morning Market, with whom Hanyu has built connections over the years, set up food stalls in the dining area. They shared their thoughts and the current situation in Wajima.

 

Spoiler

■ With Love for His Hometown and the Disaster-Stricken Areas
Expressing his thoughts on the Great East Japan Earthquake, Yuzuru Hanyu held an ice show in Miyagi for three days starting on March 7. He skated with love in his heart for his hometown and the affected areas.

 

Watching him closely were visitors from Wajima Morning Market in Ishikawa Prefecture. The day before, three women—Yoshiko Mizuguchi, Ryoko Yamashita, and Hatsue Yamashita—had arrived in Miyagi from Ishikawa.

 

Yoshiko Mizuguchi:
"We finally made it here."
"It's colder than I expected."

 

Yamashita and Mizuguchi, from Wajima Morning Market, were part of the ice show’s food and merchandise area, which featured local vendors supporting recovery efforts in the Tohoku region. This time, Wajima Morning Market also participated.

 

■ Wajima’s Recovery… Living Each Day with Determination to Move Forward
Wajima Morning Market was completely destroyed by fires caused by the earthquake. When Hanyu visited Wajima in June 2024, he spoke with the three women who had once run stalls there.

 

Yoshiko Mizuguchi:
"There’s nothing more painful than this."

 

Later, in September, torrential rains caused further devastation. Mizuguchi’s farm was also severely damaged.

 

Then, in February, at Wajima Morning Market, burned-down buildings were being cleared away, leaving vast empty lots.

 

Hatsue Yamashita:
"We hope to reopen the market as soon as possible..."
"But we know it won’t be easy..."

 

Even a year later, the road to recovery is still long. Each day, they remind themselves to keep looking forward. On this day, they were preparing for their stall at the ice show. One of the items they were making was straw sandals, which are believed to bring protection for the feet.

 

Mizuguchi, whose farm was damaged by the heavy rains, decided to sell shiso (perilla) furikake seasoning.

 

Yoshiko Mizuguchi:
"By listening to the stories of those affected by the disaster in Tohoku and sharing our own feelings, I hope we can find encouragement to move forward together."

 

■ Fukushima’s Naraha Town Shares Its Earthquake Experience: "If It Can Help Noto..."
Upon arriving in Miyagi, the three women met Kaneko Takahara from Naraha Town, Fukushima.

 

Kaneko Takahara:
"I can’t even find the right words..."

 

Yoshiko Mizuguchi:
"We’ve both been through it... It’s been 14 years for you, hasn’t it?"

 

Kaneko Takahara:
"It went by in the blink of an eye."

 

Naraha Town is located within 20 kilometers of the Fukushima Daiichi Nuclear Power Plant. Takahara first met Yuzuru Hanyu in 2015. At that time, all residents of Naraha had been forced to evacuate due to the nuclear accident.

 

Back then, Takahara told Hanyu, "Hometown is like a mother’s womb... a place where you feel safe, like being in amniotic fluid."

 

Since then, the evacuation order has been lifted, and she now runs a sewing class in her beloved hometown of Naraha.

 

Wanting to offer some support to Noto, she spent January 2025 making small pouches and bags to gift to the people affected there. She said she created the items based on what she and others had wished for after experiencing a disaster themselves.

 

■ "Seniors" and "juniors" overcome disasters
From Naraha to Wajima—the gifts were personally handed over at the ice show.

 

Kaneko Takahara:
"Please use these, everyone."
"We’ve been through 14 years now. You’ll definitely be okay too."

 

Kaneko Takahara:
"Don’t push yourselves too hard. Let’s move forward while finding joy along the way."

 

Yoshiko Mizuguchi:
"In ten years, I hope to be like you—one of the ‘seniors’ in overcoming disaster."

 

Those who have overcome disasters and those still on their journey—"seniors" and "juniors"—sharing their experiences.

 

Meanwhile, the ice show was fast approaching.

 

To deliver his best performance, Hanyu was making final adjustments, landing difficult jumps like the quadruple loop one after another.

 

■ Worries About Sales… But Everything from Wajima Sold Out
Amidst the event, the merchandise area opened. Yoshiko Mizuguchi couldn’t help but feel anxious—"Will people actually buy our products?"

But then, visitors approached.

 

Visitor:
"Please keep going, everyone. Stay strong."

 

Visitor:
"Don’t give up. I understand, because I’m from Miyagi too."

 

Warm words from the people. And then—

 

Yoshiko Mizuguchi:
"This is the last one!"

 

With tears in her eyes, she said, "Everyone bought our products. I’m so happy."

 

Everything the three women had brought from Wajima sold out. And now, the long-awaited ice show was about to begin.

 

■ In Remembrance and for Rebirth—The Great East Japan Earthquake
Yuzuru Hanyu’s ice show featured a special guest: Kyogen actor Mansai Nomura.

 

On that tragic day—March 11, fourteen years ago—snow fell over Tohoku. To honor the memory of the disaster and symbolize renewal, Nomura created a performance to Boléro, in which Hanyu and other skaters joined.

 

So much sorrow. So many irreplaceable lives lost.

 

Against the backdrop of the seasons changing—just like the cycle of life—the performance was a prayer for rebirth. It was presented for the first time on the land of Tohoku.

 

■ "I Forgot Everything Else and Just Watched"
After the show, Hanyu rushed over to meet the three women.

 

Hatsue Yamashita:
"Thanks to you, everything sold out!"

 

Yuzuru Hanyu:
"That’s really great!"

 

For the three women, this was their very first ice show experience.

 

Hatsue Yamashita:
"It was amazing. A truly wonderful show."

 

Ryoko Yamashita:
"I forgot everything else—I was completely drawn in."

 

Yoshiko Mizuguchi:
"What if I get hooked on ice shows now?"

 

And then, there was Kaneko Takahara from Naraha.

 

Yuzuru Hanyu:
"Have you all gotten to know each other?"

 

Kaneko Takahara:
"They called me their ‘senpai.’"

 

Yuzuru Hanyu (smiling):
"Senpai."

 

Yoshiko Mizuguchi:
"Senpai!"

 

■ "They Did Nothing Wrong, and Yet..."
At the stall, there was a single photograph. It was of Kiyoshi Tsubasa, a 14-year-old middle school student who lost her life in the torrential rains of September 2024.

Her family was part of the Wajima Morning Market, and they had participated in the event.

 

Just a few months earlier, in June 2024, before the heavy rains, Hanyu had visited Tsubasa’s middle school for a special lesson, hoping to lift the spirits of students affected by the earthquake.

 

Tsubasa’s father, Kiyoshi Takaya:
"Tsubasa told me she met you, Hanyu-san. She was so happy."

 

Yuzuru Hanyu:

"Ever since I heard about it on the news, I wondered if it might be.. They haven't done anything wrong, but everyone.."

 

Tsubasa’s father:
"She was here today, watching the show with us."

 

Yuzuru Hanyu:
"Thank you... I’m glad I got to see you."

 

■ Moving Forward Together—Towards a Day We Can Smile Again
The days have been tough. The pain is heavy. And yet, may the day come when we can smile again. Together, we move forward.

 

Hatsue Yamashita:
"I feel truly happy. So many people are telling us, ‘Keep going!’"

"We’ll get back to the fields, grow vegetables again."

 

Yoshiko Mizuguchi:
"I need to start weeding."

 

Hatsue Yamashita:
"Our skin get burned, all dark again."

 

Yoshiko Mizuguchi:
"More sunspots coming my way!"

 

 

(From the March 21 broadcast of ‘news every.’)

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.04.03

 

Source: https://www.sanspo.com/article/20250403-WD22INK7FBBNXBBAFRPXY4RBZE/

Archived: https://web.archive.org/web/20250403092622/https://www.sanspo.com/article/20250403-WD22INK7FBBNXBBAFRPXY4RBZE/

 

Yuzuru Hanyu and Mansai Nomura to Hold a Two-Week Consecutive Dialogue on NHK Radio 1

 

It was announced on the 3rd that Yuzuru Hanyu (30), who won consecutive gold medals in men's figure skating at the 2014 Sochi and 2018 Pyeongchang Winter Olympics, will have a talk with Kyogen performer Mansai Nomura (58) on NHK Radio 1's "Mansai Nomura's Radio Fukubukuro" (Mondays 8:05 p.m.). The special dialogue will be broadcast over two consecutive weeks on April 7 and 14.

 

The program, hosted by Mansai, has moved to a new Monday night time slot starting in April, and this special dialogue marks its relaunch. Hanyu, who was deeply inspired by the film Onmyoji, has been significantly influenced by Mansai, including receiving direct guidance from him. The two recently performed together for the first time in March at an ice show in Hanyu’s hometown of Miyagi, where they collaborated on MANSAI Bolero and SEIMEI. The two will discuss how the beautiful stage was created,  their shared aspirations, and the similarities between figure skating and Noh and Kyogen.

 

 

 

2025.04.03

 

Source: https://www.dempa-times.co.jp/entertainment/19607/

Archived: https://web.archive.org/web/20250403093557/https://www.dempa-times.co.jp/entertainment/19607/

 

A big talk between Yuzuru Hanyu and Mansai Nomura has been realized! NHK Radio 1 "Mansai Nomura's Lucky Bags on the Radio"

 

NHK Radio 1’s Nomura Mansai no Rajio de Fukubukuro, hosted by world-renowned Kyogen actor Mansai Nomura, has moved to a new time slot on Monday nights at 8 PM. Starting in April, it will be broadcast on the first and second Mondays of each month.

 

Spoiler

To commemorate this relaunch, the guest for April will be the immensely popular professional figure skater, Yuzuru Hanyu. Ever since being deeply moved by the film Onmyoji, Hanyu has been greatly influenced by Mansai, even receiving direct guidance from him.

 

Earlier this year, Hanyu held an ice show in Sendai, one of the areas affected by the Great East Japan Earthquake, where he invited Mansai as a special guest. The two artists shared the stage for the first time in breathtaking performances of MANSAI Bolero and SEIMEI.

 

How was this beautiful stage, as if a god had descended from heaven, created? What were the artistic ideals that both pursued? This extraordinary dialogue explores the connections between figure skating, Noh, and Kyogen—an exchange rich in depth and mutual respect.

 

Both Hanyu and Mansai are artists who set their sights high and dedicate themselves to artistic expression. Their exclusive conversation is filled with unique insights that could only be made possible by their mutual respect for each other. Whether you're a fan of Hanyu, a fan of Mansai, or someone unfamiliar with their worlds, this program promises to be an engaging and fascinating experience.

 

■ Program information
: "Mansai Nomura's Lucky Bags on the Radio"
[Scheduled broadcast] Monday, April 7th and Monday, April 14th (NHK Radio 1) 8:05pm to 8:55pm
[Starring] Yuzuru Hanyu, Mansai Nomura
*Simultaneous and catch-up streaming available on NHK's radio app "Radiru★Radiru"

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.04.07

 

Source: https://www.sponichi.co.jp/entertainment/news/2025/04/07/kiji/20250407s00041000319000c.html

Archived: https://web.archive.org/web/20250407130036/https://www.sponichi.co.jp/entertainment/news/2025/04/07/kiji/20250407s00041000319000c.html

 

Yuzuru Hanyu talks about the behind-the-scenes collaboration with Mansai Nomura: "I'll never forget it," but "the rehearsals were really tough..."

 

Yuzuru Hanyu (30), a professional figure skater and consecutive Olympic champion, appeared as a guest on NHK Radio 1's "Nomura Mansai's Radio Fukubukuro" (Mondays 8:05 p.m.) on the 7th. He talked about the behind-the-scenes of the ice show "Yuzuru Hanyu Notte Stellata 2025," a collaboration with the personality and kyogen performer Nomura Mansai (59).

 

Spoiler

The ice show kicked off in March at Sekisui Heim Super Arena in his hometown of Miyagi. At the beginning, he performed "Notte Stellata," and later showcased a collaboration number with special guest Mansai Nomura. With a lineup of top skaters, they performed "MANSAI Bolero × Notte Stellata" with Nomura, as well as the legendary program "SEIMEI" from the PyeongChang Olympics, which conveyed a feeling of mourning. For the grand finale, he skated expressively to the piano piece "Haru yo, Koi".

 

Nomura conceptualized "MANSAI Bolero" as a story of mourning and rebirth. Hanyu recalled the moment when the footsteps of Noh and the sound of skating synced, saying, "The resonance between our sounds at the moment of synchronization felt incredibly sacred."

 

While Nomura usually performs Bolero as a solo piece in his stage productions, he reflected on the collaboration with the top skaters, saying, "It was really exciting." Hanyu also shared, "I will treasure it forever, and never forget it."

 

"This was our first collaboration, so I did some things that were already established and relied on the people around me to adapt some parts," Nomura said. Hanyu laughed as he recalled, "The rehearsals were tough." He continued, "I think this is something that only we on the set can really feel. The rehearsals were really tough, and I think Mansai must have been anxious as he watched." 

 

Nomura's direction included a scene where a skater falls onto the ice. When Nomura asked, "How long do you think you could do that?" Hanyu laughed and said, "It's all about willpower. If you have the willpower, you can do it for as long as you want."

 

 

 

Source: https://www.sponichi.co.jp/entertainment/news/2025/04/07/kiji/20250407s00041000324000c.html

Archived: https://web.archive.org/web/20250407134251/https://www.sponichi.co.jp/entertainment/news/2025/04/07/kiji/20250407s00041000324000c.html

 

Mansai Nomura comments on the similarities between Noh, Kyogen and figure skating: "It may be a bit of a stretch, but..."

 

Kyogen performer Mansai Nomura (59) appeared on NHK Radio 1's "Mansai Nomura's Radio Fukubukuro" (Mondays 8:05pm) on the 7th. He welcomed Yuzuru Hanyu (30), a professional figure skater and Olympic champion, as a guest, and looked back on the ice show "Yuzuru Hanyu notte stellata 2025," which was a collaboration between the two, and mentioned the similarities between Kyogen, Noh, and figure skating.

 

Spoiler

The ice show opened in March at Sekisui Heim Super Arena in Miyagi, Hanyu's hometown. At the beginning, he performed "Notte Stellata," and later showcased a collaboration number with special guest Mansai Nomura. With a lineup of top skaters, they performed "MANSAI Bolero × Notte Stellata" with Nomura, as well as the legendary program "SEIMEI" from the PyeongChang Olympics, which conveyed a feeling of mourning. For the grand finale, Hanyu skated expressively to the piano piece "Haru yo, Koi".

 

Nomura said, "The ice rink and the Noh stage are the same, although it might be a bit of a stretch." While touching on the shape of the rink and the stage, he continued, "It's about gliding or showing through footwork. Jumping or leaping, too. When you include those elements, I realized how similar they are after performing in the ice show for the first time."

 

In response, Hanyu mentioned, "When I talked with Mansai-san during 'SEIMEI,' he said 'the stage itself is the universe,' and I had the feeling that the rink is the same kind of thing," referring to the "common point."  He continued, "In the universe of skating, we, in a sense, create our traces with blades, just like Onmyoji carve constellations in the sky," adding, "Figure skating originally started from drawing shapes, so in that sense, it might be similar."

 

Hanyu shared, "When there’s something like a spell, a uniquely Japanese view of spirituality that I hold dear in my heart — a sense of whether or not a god resides in a person, an object, or nature — it brings the performance even closer to ceremonial dance (舞 - mai). Rather than figure skating simply becoming closer to dance, I feel it becomes more akin to 'mai', Noh, or Kyogen,"

 

Nomura, pondering this, laughed and said, "I wonder if this difference can be conveyed to the listeners... Dance and ‘mai’—when translated into English, both are called dance."

 

[Wintek]

*machine translation reviewed by Japanese fan*

Lengthy foot notes added for additional context and clarity
 

2025.04.07

Source: https://mainichi.jp/articles/20250407/spp/sp0/006/312000c 

Archive: https://web.archive.org/web/20250407164237/https://mainichi.jp/articles/20250407/spp/sp0/006/312000c 

Nomura Mansai Reflects on Commonalities Between Noh, Kyogen, and Figure Skating: “It might be a bit of a stretch, but...”
The Mainichi, April 7, 2025

Spoiler

Kyogen performer Nomura Mansai (59) appeared on the April 7 broadcast of “Nomura Mansai no Rajio de Fukubukuro” (NHK Radio 1, Mondays at 8:05 PM), a show he hosts. His guest was Yuzuru Hanyu (30), the two-time Olympic gold medalist in men’s figure skating who now performs professionally. Together, they looked back on their collaboration in the ice show “Yuzuru Hanyu notte stellata 2025” and discussed the unexpected parallels between figure skating and the traditional performing arts of Kyogen and Noh.

The ice show premiered in March at the Sekisui Heim Super Arena in Hanyu’s hometown of Miyagi. It opened with a performance of “Notte Stellata”, followed by a collaborative number with Mansai. Highlights included “MANSAI Boléro × notte stellata”, performed with Nomura and a star-studded cast of skaters, and a reprise of “SEIMEI”, Hanyu’s legendary free skate from the Pyeongchang Olympics, performed with a deep sense of remembrance. He closed the show with an emotionally rich skate to the piano piece “Haru yo, Koi” (Come, Spring).

“There’s a way in which the skating rink and the Noh stage are alike,” Nomura said. “It might be a bit of a stretch, but the shape of the stage, or the rink, and the way you captivate through footwork, or perhaps through gliding, jumping, leaping, all of it taken together, this being my first time in an ice show, I found myself thinking, ‘We’re not so different after all.’”

Responding to this, Hanyu recalled, “When I spoke with Mansai-san during SEIMEI, he told me, ‘The stage itself is the universe.’ That really resonated with me. I’ve always had this feeling that the rink is that kind of space.”

He continued, “In this universe of skating, what we do—drawing traces with our blades—is, in a sense, like the ritual steps of an onmyōji (henbai(1)), as if we were sketching out(2) constellations. And figure skating originally began as a practice of tracing figures and patterns on the ice, so in that sense too, I think it’s very similar.”

That act itself feels, in a way, like the ritual steps of an onmyōji’s henbai… like we’re sketching out constellations across the ice.”

Hanyu then shared a more personal layer of his thinking:
“When you bring in something like a majinalike(3) ritual element—something tied to the spiritual awareness I hold dear—there’s a uniquely Japanese sense of the divine. Whether it’s toward the gods, or toward people, or even toward things… there’s a way of sensing whether a spirit resides within or not. And when that kind of sensibility is present, I feel figure skating edges closer not to dance as we typically imagine it, but to mai [舞], to Noh, and to Kyogen.”

At that point, Nomura laughed gently and said with a trace of uncertainty, “I wonder if listeners will be able to grasp this difference… between mai(4) and dance. You know, both end up being translated as ‘dance’ in English.”

Translation Notes:

(1) へんばい: Henbai is a ritual walking method used in onmyōdō (陰陽道), the esoteric cosmology practiced by onmyōji, the yin-yang diviners of classical Japan. It’s a ceremonial form of movement, often used to: purify space, repel evil spirits, seal off negative energy, and mark sacred boundaries. It’s intentional movement that transforms the ground itself into a protected or empowered zone.

 

(2) つづって(from the verb 綴る). It can mean: to spell or to write (like forming letters), to compose (as in writing essays or poetry), to weave together thoughts, feelings, or words. It implies intentional composition, stringing together something meaningful.

 

(3) まじない (majinai), can be translated as charm, incantation, spell, amulet, ritual for protection or healing. However, it’s not always as theatrical or "magical" as these English words suggest. Majinai has a more folk-religious, often subtle and everyday feeling. It refers to small rituals or symbolic acts that carry a spiritual or protective meaning, rooted in ancient belief systems—often Shinto, Buddhism, or animism. An example is tying omamori (amulets) to a bag or purse, or writing and hanging an ema (wooden plaques) with prayers or wishes at a temple.
When Yuzuru says “uniquely Japanese sense of the divine,” we have to consider the influence of Shinto in Japanese culture and society. Shinto is an animistic religion, which revolves around supernatural entities called the kami (神= deity, divinity, spirit). The kami are believed to inhabit all things, including forces of nature and prominent landscape locations. More information about Shinto and it's influence.

(4) Mansai-san  says, “舞とダンス、英訳すると舞もダンス”, noting the loss of nuance in translation. Though 舞 / mai and ダンス (dance) might both be translated as “dance”, their feel, purpose, and philosophy are very different. 舞 / mai is a traditional form of movement in Japanese performing arts like Noh (能) and Kyōgen (狂言). It’s often slow, circular, and restrained. “Mai” is spiritual, ritualistic, symbolic movement (like meditation in motion). Often seen in Noh, Kyōgen, or kagura. Connected with nature, emotion, and the cosmos.

“Mai” is less about rhythmic movement to music (like Western dance) and more about:

• Symbolism: Every gesture carries spiritual or emotional meaning.

• Stillness and silence: Negative space—pauses, slowness, and minimalism—are essential.

• Floating quality: Movements can feel like gliding or hovering.

 

“Mai” often expresses “ma” (間), the Japanese concept of space or pause. It’s about being in harmony with time, space, and intention.
 

To help with some examples for those familiar with other forms of "dance" that are not for performance or show but tied to ritual, spirituality, and communal meaning, the definition may also resonate with “dances” such as Sufi Whirling (Turkey / Middle East), Hula (Hawaii), Kathakali (India), among others.

 

Transcription from NHK radio broadcast.
This part comes immediately after the section included in the previous article.
Transcript was done by a Japanese fan. The translation is a machine translation, inaccuracies exist.

Nomura: In a way, composing space within that kind of cosmology… it might be closer to mai (舞), rather than dance. Of course, dance can also have that element, but because it all begins in an empty space, creating a world within that space—that's probably the kind of plan you have in mind for your skating performances, isn’t it?

Hanyu: Yes, I think so. And maybe, for me, there’s also a strong sense of offering(1) something.

Spoiler

Nomura: Then that makes it even more aligned. After all, the origins of the (Japanese) performing arts(2) lie in offerings to the gods.

Hanyu: Right… I feel like I’ve always been offering something. Of course, it’s for the people watching, but especially ever since 3.11, from the position of someone who has continuously been supported, there’s this feeling that I’m there, that I keep skating, in order to meet the expectations of those who support me. And more directly too, there are programs I have that carry meanings of mourning or rebirth in relation to the earthquake. Because I’ve been offering those things through skating, maybe that’s why my performances have such a strong mai-like quality.

Nomura: In that sense, this year’s Notte Stellata can be seen as a kind of grand ceremony… a ceremony of mourning and rebirth. And in that case, you were truly like the ritual master(3), the officiant(3) of the ritual.

Hanyu: Well… yeah, it’s not easy. Especially when there are skaters from overseas, I think it’s really difficult to share that kind of worldview. Even among Japanese people, it’s not easy to share that sense or feeling. But this time, it felt like all the skaters truly came together in heart and spirit, and carried out a kind of ritual together.

Translation Notes:

(1) 捧げている / sasagete iru, from the verb 捧げる / sasageru. It literally means “to offer,” “to dedicate,” or “to devote.”

It often carries a spiritual or ceremonial nuance, especially when used in the context of offering something to a deity, to the dead, or to something greater than oneself.

 

(2) 芸能 / geinō. This term doesn’t exactly translate as “performing arts” in the western academic sense (e.g. ballet, opera, or theatre). Geinō is a broader and older concept in Japan. Historically,  geinō includes:

• Traditional ritual performance, like 神楽 (kagura)—music and dance offerings to the gods

• 能 (nō) and 狂言 (kyōgen)—classical stage arts with spiritual and ceremonial roots

• 舞 (mai) and 舞踊 (buyō)—ritualistic dance

• Even folk entertainment that emerged from agrarian festivals

(3) 祭主 / saishu, literally means "festival/ritual master." It’s a Shinto term that refers to the chief officiant of a ceremony, often the one who offers rituals to the kami (gods) at a shrine. This is a deeply sacred role: the person who leads the act of offering, purifying, and invoking presence.
司祭 / shisai. A Buddhist and Christian term in Japanese. In broader usage, it's often translated as "officiant" or "minister"—someone who presides over a spiritual or ceremonial function.

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.04.10

 

Source: https://www.ninomiyasports.com/archives/130292

Archived: https://web.archive.org/web/20250410124954/https://www.ninomiyasports.com/archives/130292

 

After the radio broadcast of Mansai Nomura and Yuzuru Hanyu, Meteor came to my mind.

 

On the 7th, Yuzuru Hanyu appeared as a guest on NHK Radio 1's "Nomura Mansai's Radio Fukubukuro." The two performed together at "Notte Stellata 2025," held at Sekisui Heim Super Arena (Grande 21) on March 7th, 8th, and 9th. They talked about the feelings they put into the ice show, as well as requiem and rebirth.

 

Spoiler

The Second Part of the Radio Show Airs on the 14th

During the radio program, the two reflected on their feelings during the time of the Great East Japan Earthquake. First, Mansai Nomura spoke:

 

“On the day of 3.11, I was actually in Paris. Hearing the news from Japan, I felt extremely frustrated. I couldn’t be there. My family was in Tokyo, but I was still very worried about many things.”

 

Mansai then asked Hanyu, “Was it the starry sky you looked up at when you felt like you’d hit rock bottom?”

 

To which Hanyu responded, “It was still a time when I hadn’t competed much internationally...” and then continued:

 

“There was a news report that a meteor shower would be visible, so I once went up a mountain to see it. The starry sky I saw after the disaster... it had a different kind of sacredness from the way the stars had shone back then.”

 

Hanyu, who was affected by the disaster, found hope in the star-filled sky he saw from the evacuation center. Incidentally, the Italian title of the ice show, notte stellata, means “a sky full of stars” or “a starry night” in Japanese.

 

While feeling hope from the stars, he also spoke candidly about how painful that time was:

 

“I wondered whether I should even want to skate when I had completely lost the foundation of my livelihood. Was it even alright to say the word ‘skating’...? That’s what I thought at the time.”

 

Similarities in terms of "dance"

Still, Hanyu stood up again with a strong will as a figure skater. On the radio, he resonated with Mansai’s comment that “figure skating and Noh/Kyogen share similarities in terms of ‘dance.’” As a two-time Olympic champion, Hanyu said:

 

“Since 3.11, I’ve been in a position where I’ve received so much support. I continue to skate to meet the expectations of those who have supported me.”

 

From these two comments, the phrase "Meteor" (ミーティア) crossed my mind. "Meteor" is a song by T.M.Revolution (Takanori Nishikawa), featured in the anime Mobile Suit Gundam SEED. Nishikawa and Hanyu performed this song together during the 2024 Fantasy on Ice tour at the Makuhari show (May 24–26) and Aichi show (May 31–June 2).

 

I wrote the following on this site after covering the opening day of the Makuhari performance:

 

“'Meteor' means 'shooting star' in Japanese.Once, after suffering a disaster, a young man found hope in the starry sky he saw at an evacuation shelter. (Omitted)

 

In the anime, the protagonist of Gundam SEED goes to the battlefield with the conflict of not wanting to fight, but knowing that if he doesn't fight, many people will not be saved.

 

In the same way, this young man questioned himself: "I wonder if I should be skating in this situation. But I am able to skate thanks to the support of many people. People will be happy with the results I achieve." We know the young man who resolved to walk the thorny path to become a champion.

 

With determination, he pushed forward along the thorny road, and at the end of it all, the young man won two Olympic gold medals. He matured beyond his sport, achieving an extraordinary collaboration with a Kyogen master.

 

What will he share with us next?

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.04.07

 

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

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

https://weibo.com/1683522853/Pmg5DrL7p

https://weibo.com/1683522853/PmgD0tRjq

https://weibo.com/1683522853/Pmh9EhfzN

https://weibo.com/1683522853/PmhhPonFL

 

 

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

 

Spoiler

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

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

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

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

 



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

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

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

 



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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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



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

 

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

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

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

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

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

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

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

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

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

 

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

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

 



Hanyu: This is the version from Paris.

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

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

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

Hanyu: I skated with strong faith in that belief.

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

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

 



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

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

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

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

 

[Wintek]

*machine translation, inaccuracies exist*

Endnotes added for additional context and to help defining Japanese-specific terms.

https://www.nhk.or.jp/radio/ondemand/detail.html?p=1K5J894M9V_0
 

2025.04.07

 

Nomura Mansai’s Lucky Bag on the Radio- Part 1: Yuzuru Hanyu Specia Guest

 

This machine translation is based on the transcript of NHK Radio Show “Nomura Mansai Rajio De Fukubukuro” (Part 1) done by @yuuzuuruu_jay.
Episode Air Date: April 7, 2025

Host:  Kyogen Actor Mansai Nomura

Guest: Pro Figure Skater Yuzuru Hanyu
This translation is also available as a Google doc with hyperinks to the endnotes for easier reading.

 

[50:00]

 

Mansai Nomura:
“Nomura Mansai’s Lucky Bag on the Radio!”

 

Spoiler

🎶🎶

How is everyone doing? This is kyogen actor Nomura Mansai.
These days, the spring sunlight is a joy, isn’t it? I imagine many of you are feeling that flutter of excitement with the start of a new chapter in your lives.
And, what do you know — this program has also been renewed! (applause)
We’ve moved to Monday nights and will now air twice a month. All of this is thanks to you, our listeners who’ve supported the show, and I’m truly grateful.

Well, I have to say, though my hosting… or DJ skills might still be pretty rough, it makes me happy that the show’s gotten more frequent, and in a better time slot, too. I’ll keep working at it with a spirit of improvement, so please continue supporting us just as warmly as before.

And now — to mark this memorable first episode after our renewal, I’m honored to welcome professional figure skater Yuzuru Hanyu-san as today’s guest.
In March, I had the joy of performing in “notte stellata 2025,” an ice show where Hanyu-san serves as director. I was deeply touched by the significance behind it.
This was the third time the show has been held since it began in response to the 3.11 earthquake and tsunami. I was invited as a special guest, and truly… I felt how much thought and care Hanyu-san pours into the concept, and how that’s received and carried by the other skaters as well. I was grateful to be part of it, and today, I’d love to talk more about all of that in depth.

So then—let’s begin “Lucky Bag on the Radio”!

🎶 Mrs. GREEN APPLE – Dance Hall 🎶

 

[47:35]  

Mansai Nomura:
Let’s start with this song. It was the ending number for “notte stellata 2025,” the one that filled the entire venue with the smiles of skaters and audience alike.
Here’s “Dance Hall” by Mrs. GREEN APPLE.

🎶 Mrs. GREEN APPLE – Dance Hall 🎶

[44:33]  

Mansai Nomura:
Even now, I can vividly recall that energized scene. It truly was a joyful moment.
And now, let me introduce him—professional figure skater Yuzuru Hanyu-san.

Yuzuru Hanyu:
Thank you for having me.

Mansai Nomura:
Thank you for coming. And again, thank you so much the other day.

Yuzuru Hanyu:
Thank you so much.

Mansai Nomura:
Really glad you could be here today.

Yuzuru Hanyu:
It’s a pleasure.

Mansai Nomura:
 Do you do radio sometimes?

Yuzuru Hanyu:
Ah, I’ve been on a few shows as a guest, but… yeah, I still get nervous.

Mansai Nomura:
(laughs)

Yuzuru Hanyu:
I mean, it’s not my main thing, after all. Yeah.

Mansai Nomura:
Is “nervous” a word you find yourself using a lot?

Yuzuru Hanyu:
All the time. I really am someone who gets nervous easily.
Even when I was a kid—I was always nervous. Like, in my very first competition… you know how in skating, we have to take a starting pose before we begin the program? I was so nervous that I slipped and fell before I could even get into the starting pose. I’ve always been that kind of person.

Mansai Nomura:
Is that so. Well, I think maybe that comes from wanting to make everything just right—striving for perfection, which in its own way, is a positive kind of tension.

Yuzuru Hanyu:
Ahh, yes, I do have high ideals. It’s probably because my expectations for myself are so high that I end up clinging a little too tightly to wanting to fulfill them.

Mansai Nomura:
Well, someone like that isn’t going to win two Olympic gold medals by accident.
Winning back-to-back golds… that’s not something just anyone could do.

Yuzuru Hanyu:
No, no, no! (laughs)

Mansai Nomura:
I mean, it might sound rude the way I’m saying it, but—

Yuzuru Hanyu:
It’s hard to say I’m not ordinary when I’m sitting right here in front of someone who clearly isn’t! (laughs)

Mansai Nomura:
(laughs) No, no, no! (laughs)
Well, still, I felt that we might have a few things in common (Yuzuru: Yes), actually—at least, that’s the sense I got working with you the other day (Yuzuru: Thank you). It really was the first time we stood on stage together, with me borrowing your spotlight, so to speak, (Yuzuru: No, no) for “notte stellata.”
But first, I’d like to ask: what exactly is this event, “notte stellata”?

[42:23]

Yuzuru Hanyu:
So, “notte stellata” is an Italian phrase that means “starry night.”
On March 11th, 2011, I was standing in a city that had been destroyed… with the streetlights and all the electricity gone, and I looked up at the night sky. And the stars were just—so incredibly beautiful.

But, you know, it’s hard to put that beauty into words like “hope” or “healing.” Those words don’t quite fit.
Still, that beauty just completely captivated me… and the memory of that moment has become something deeply, deeply important to me.

Then, by sheer coincidence, I came across a piece of music titled Notte Stellata. That became the music for one of my exhibition programs. Because that program means so much to me, I gave that name—“notte stellata”—to this ice show, which began in 2023.
I started it with the hope that it could somehow support not only those affected by the 3.11 disaster, but also people affected by other disasters throughout Japan. Even if just a little, I wanted it to become a catalyst for something positive.

Mansai Nomura:
On 3.11, I happened to be in Paris. And hearing the news from Japan… I felt so helpless. I couldn’t be there. My family was in Tokyo, but I still worried about all kinds of things.
But yes, the night sky that you saw at that moment—when you’d been thrown into such despair, when everything had fallen out from under you—looking up like that…
March is still cold, and the air is usually quite clear. I imagine the stars must have had a strange, otherworldly glow that night.

Yuzuru Hanyu:
Exactly. At the time, I wasn’t really competing internationally that much yet. But once, when a meteor shower was forecast, I went out to the mountains to see it.
The way the stars sparkled then was beautiful, but that night during the disaster… it felt entirely different. There was a kind of… sacredness to it.

Maybe it was because we were right in the middle of experiencing the disaster—but standing there, with glass shards scattered all around our feet, it hit me how rarely we look up at the sky in our daily lives.
And yet, those stars had always been there—shining quietly above us, lighting the way, even when we couldn’t see them. That realization stayed with me.

[39:24]

 

Mansai Nomura:
I see. In a way… I feel like this kind of touches on a view of the universe, maybe. Stars—they don’t change, do they?^[1]

Yuzuru Hanyu:
Right, exactly. That’s why, you know—just like how people have been reading the stars since the Heian period^[2]—we look up at them, and the constellations haven’t shifted. In a similar way, I feel like as performers (hyougensha)^[3], we keep polishing the same thing over and over. We inherit^[4] what those before us, those great people^[5],wanted to express, and we carry it forward, renewing it in our own way^[6]. It’s like a cycle of that same process, repeated endlessly.

Mansai Nomura:
Yes, that’s true. I mean, from our perspective on Earth, the biggest star would be the sun, right? The sun, the moon, the stars—they’ve all been watching over us for so long. And within that long passage of time, we’ve survived, we’ve endured, and we’ve stayed connected. I often think about this, even during the pandemic. Like, why do we do performing arts? What is the purpose of performance spaces? And I’ve come to feel that—we must never give up. As long as we keep living, the stars will keep watching over us, and we’ll find ways to come back. That connection continues.
And through watching performances—in a theatre, or going to an ice show—you feel alive. Only someone who is alive can go to these places. And when you cry, or laugh, or feel uplifted there, something inside is released—a catharsis. You leave thinking, “I’m glad I’m alive. I’m glad I came.” That, I believe, is our mission.

Yuzuru Hanyu:
Yes, exactly.

Mansai Nomura:
And this show, "notte stellata", was created with that very purpose in mind, wasn’t it?

[37:14]

Yuzuru Hanyu:
It was. Even during the pandemic—but especially during the 3.11 earthquake—I was actually practicing at the rink when it hit. I still remember the sound and the shaking, watching my home rink fall apart. And afterward, we weren’t able to use it anymore.
As a victim myself, and seeing so many around me who had lost their lives or lost so much—it didn’t feel right to think about skating. I didn’t even know if it was okay to want to skate again. Could I even say the word “skate”? That’s how deeply I questioned it.
Then, I received invitations to take part in charity ice shows, and that’s when I slowly started skating again.
But especially with notte stellata—the venue itself, during the disaster, served as a temporary morgue^[7]. Of course, I skate in other places too, but skating there, around March 11th… every time I’m on that ice, I feel as though I’m being asked whether I’m truly ready—whether I can really skate there. It’s a feeling of deep resolve, every time.

[35:31]

Mansai Nomura:
That’s exactly why, when I joined notte stellata, I did so with the spirit of calming the souls (chikon)^[8], which lies at the heart of Noh and Kyogen.
Knowing the venue had once housed the bodies of those who died with regrets (munen)^[9]… in performing there, we are offering a feeling—acknowledging their presence—and at the same time, we who are still living must look forward and keep walking. It’s a form of rebirth.
That’s how I see it. And I think those kinds of Noh-like elements… they really are woven into the performance.

Yuzuru Hanyu:
Really? (laughs) Hearing you say that makes me feel so proud to have been born Japanese.

Mansai Nomura:
(laughs) Well, yes. I feel like every time we talk, our conversation ends up like this—it feels almost destined.
I don’t know how much the average person thinks about requiem or souls… but there’s definitely something there. Especially at that venue, Grande 21, I too felt something.

[33:15]

Yuzuru Hanyu:
Yes. There’s always a sense of fear when I skate there.
In Noh as well, there’s that act of “stepping firmly,” (fumishimeru)^[10] right? And for us, we lay down the ice, almost like applying makeup over the ground—and we build entertainment on that surface. But I feel like we shouldn’t stand on it because it's simply interesting or simply fun. Instead, as we skate—creating sound with each step—I hope that somehow, those sounds could be sublimated (shōka)^[11] into something like a cry of the souls that once existed there. That’s what I’m thinking as I skate.

 

Mansai Nomura:
I think it really drew a lot of inspiration from Sanbasō^[12], so in that sense, stamping our feet on the ice—well, it felt quite emotional.

[30:23]

Yuzuru Hanyu:
Yeah, yeah, even while I was doing it with you, it wasn’t like we were always perfectly in sync with the foot stomps or anything—but the sound of stomping on the stage set on the rink and the sound we worked hard to make by striking the ice with our blades were completely different.
But in the moments when they synced up, the resonance (kyōmei)^[13] of those sounds between us—it felt incredibly sacred. How should I put it... While we can't objectively observe ourselves while we're skating, even so, I really felt like we were doing something meaningful, something good. Like we were offering up something to the soul, giving what we could.

Mansai Nomura:
I see. You know, when we do foot stomps, the sound especially bounces back to us, right? (Yuzuru: yes)
We hear that sound. So it’s not just a one-sided action—it feels like there’s a reaction to the act itself.  It might just be the floorboards resonating—but still, it feels like it’s responding to something, like a soul buried in the earth, echoing back to us.
In your case, Yuzuru-san, you're producing sound with the blades of your skates—but when the ice responds, I think it’s also a kind of resonance with something within the earth itself.

Yuzuru Hanyu:
Yes, of course. Really.

Mansai Nomura:
Well, it was a bit of a bold production, or rather, it was my decision, to set up a Noh stage in the middle of the skating rink, or rather, to bring it out. Isn’t that something that doesn’t happen often?

Yuzuru Hanyu:
No, I’ve never seen anything like that before. Yes.

Mansai Nomura:
To set a stage in the sacred skating rink, you know, that Noh stage also serves as a model for our own dance. And the famous ballet choreography, Maurice Béjart’s Boléro, which is known worldwide, actually has a deep awareness of Bon Odori and Noh stages, I believe. Especially Béjart's version, where there’s a solo dancer on something that looks like a red table, with a surrounding group of dancers forming a rhythm. The red tray-like thing actually comes from the idea of a torii gate.

Yuzuru Hanyu:
Ah, I see. Well, now that you mention it, that makes sense.

Mansai Nomura:
So the legs, you see, actually form a shape like a torii gate.

Yuzuru Hanyu:
Ah, I’ll have to take another look at that.

[28:42]

Yuzuru Hanyu:
That’s right. Also, for me, the act of pounding the ice to make sound, I’ve done it in other venues as well, but it’s a sound that can only be made in that particular venue. No matter how much ice you lay, the sound is completely different depending on the floorboards of the gym, or if it’s concrete, or the weight of the air in that space, or the texture of the walls. When you think about that, it feels like that’s the only place where that sound could have come from, and that makes me feel like I need to take it in more deeply.

Mansai Nomura:
I had been doing Boléro by myself for a while, but with you, Yuzuru, and other wonderful skaters, along with the choreography from Shéa-Lynn Bourne, it really became something incredible.

Yuzuru Hanyu:
Yes. I thought to myself, I’ll make that an unforgettable treasure for the rest of my life.

Mansai Nomura:
I see. Well, you know, of course, since this was the first performance, I did what I could with what was already more or less put together, and there were parts where I relied on the people around me to adjust accordingly.

Yuzuru Hanyu:
Yeah, the rehearsals were tough, too, really. (laughs) I think this is something that only those of us on-site could truly feel, but the rehearsals were really difficult. I’m sure Mansai was watching us with some frustration too, wasn’t he?

[27:10]

Mansai Nomura:
No, no. But, you know, I wanted to express the idea of life suddenly collapsing, with the earthquake in mind, and the idea of people suddenly falling down, representing death. So I asked the skaters to fall down and lie on the ice. How long do you think you could actually do something like that?

Yuzuru Hanyu:
Well, it’s all about willpower. (laughs) If you’ve got the willpower, you can do it for as long as you want.

Mansai Nomura:
Really? But, you know, everyone’s an athlete, and they still have to perform after that, so I thought it might be tough if you did it for too long.

Yuzuru Hanyu:
Well, it’s cold, that’s for sure. It wasn’t exactly warm on the day, and I don’t think there are many places with such a cold makeshift rink like that.

Mansai Nomura:
Oh, I see.

Yuzuru Hanyu:
I don’t think it’s been that cold before, either. I think the skaters lying down probably felt cold.

Mansai Nomura:
But those five people lying down, they truly symbolized the people affected by the earthquake, and then, they revived, and from there,and then when they are resurrected, a golden angel played by Yuzuru Hanyu flies in.

[25:48] 

Yuzuru Hanyu:
When I look at the photos, I can really feel what Mansai was saying day by day, that it looked a bit like a bird. It really did look like a phoenix, or like a bird soaring, now that I think about it.

Mansai Nomura:
Yes, like a phoenix.

Yuzuru Hanyu:
As for the shape of the costume, when it’s still, it’s more like a hunting costume... a "kariginu"^[14]...

Mansai Nomura:
Yes, that’s right. A skating costume with sleeves that big is... (inaudible)... it’s rare, isn’t it?

Yuzuru Hanyu:
Yes, it really was quite difficult to handle.

Mansai Nomura:
But you really got better at it day by day, with the way the costume fluttered and all.

Yuzuru Hanyu:
(laughs) It’s embarrassing... I'm embarrassed.

Mansai Nomura:
No, no.

Yuzuru Hanyu:
Well, every time, well, I tried to bring myself as close as possible to Mansai's existence, like a mirror of the real world of the character he was playing. So, every time, I’d watch Mr. Mansai’s performance and try to channel his essence into myself. Even though I didn’t know the specific forms, I tried to let Nomura Mansai's actions spread throughout my cells every time.

Mansai Nomura:
(laughs) Thanks to that, I think the synchronization rate really went up, from the first day to the second and third.

Yuzuru Hanyu:
Yeah, I really felt that Mansai adjusted a lot to help us.

Mansai Nomura:
No, no, but you know, as I watched you perform from the front, I thought it would be more interesting if we synchronized more. And when that happens, our strengths combine, and it really amplifies, much more than if we did it individually.

Yuzuru Hanyu:
It was amazing, really.

Mansai Nomura:
Well then, let’s listen to Ravel’s Boléro.

🎶Bolero🎶

[23:42]

Yuzuru Hanyu:
Is it from Paris...?

Mansai Nomura:
Well, I've listened to various conductors, like Karajan^[15] and others... but when the conductor has a strong individual personality, sometimes the music and the dance don't quite match. I think this one is a more neutral, maybe quieter one.

Yuzuru Hanyu:
That’s true. Yeah. It’s the same in figure skating too.

Mansai Nomura:
Is that so?

Yuzuru Hanyu:
Well, music is already complete as music, right? And when you overlay figure skating on top of that, if one’s not careful, it might end up destroying^[16] something that’s already complete. Or, you might try to visualize something that’s already packaged, and in doing so, end up destroying it. So, in the end, the music needs to bring out the beauty of the figure skating, the performance itself. So, choosing the right music is very important.

Mansai Nomura:
 I see.

🎶Bolero🎶

[17:27]

Mansai Nomura:
But, you know, regarding this Bolero in notte stellata, the feedback I've received around me has been very high.

Yuzuru Hanyu:
Thank you very much.

Mansai Nomura:
Everyone’s saying they naturally shed tears, and I’ve received a lot of feedback like that.

Yuzuru Hanyu:
Well, for me, I also thought to myself, “This is a sacred act,” as I danced.

Mansai Nomura:
Really? Well, for this event, it was my first time performing Bolero in Tohoku. In that sense, it’s a bit strange to say, but it felt like it found its true place here. I created it with that in mind, and I’m really grateful for this opportunity.

Yuzuru Hanyu:
No, thank you.

Mansai Nomura:
I’ve realized that the ice rink and a Noh stage are quite similar. It might sound like a stretch, but while an ice rink is rectangular, we use a square stage. Still, both are empty spaces, and each has its four corners. Here in Tohoku, the directions—north, south, east, and west—are clear. And, whether skating or showing your footwork, jumping, or leaping, there’s a similar element. It made me realize, in a way, it’s similar. By performing in an ice skating show, I could feel this connection. Maybe because you, Hanyu-san, already felt this kind of similarity, you’ve become interested in Noh and Kyogen, haven’t you?

Yuzuru Hanyu:
That’s true. However, when I spoke to Mansai about SEIMEI, he said that "the stage itself is the universe," and even though I was still a child, I somehow got the feeling that the skating rink was something like that. I’m not sure if all skaters feel the same, but in this universe of skating, what we do—drawing traces with our blades—is, in a sense, like the ritual steps of an onmyōji (henbai^[17]), as if we were sketching out^[18] constellations. And figure skating originally began as a practice of tracing figures and patterns on the ice, so in that sense too, I think it’s very similar.”

Mansai Nomura:
I see.

Yuzuru Hanyu:
When you bring in something like a majinalike^[19] ritual element—something tied to the spiritual awareness I hold dear—there’s a uniquely Japanese sense of the divine. Whether it’s toward the gods, or toward people, or even toward things… there’s a way of sensing whether a spirit resides within or not. And when that kind of sensibility is present, I feel figure skating edges closer not to dance as we typically imagine it, but to mai [舞], to Noh, and to Kyogen.

Mansai Nomura:
This difference... do the listeners understand it?

Yuzuru Hanyu:
I’m not sure if they do... (laughs)

Mansai Nomura:
Even though we call it "dance," the difference from "mai" is quite profound^[20]. If you were to translate it into English, "mai" is also a type of dance, but in some sense, it’s about creating space within the universe. Dance certainly has this element too, but when you’re working in an empty space, you draw out the world that exists within it. That’s probably the essence of how you approach your performance on the ice.

Yuzuru Hanyu:
Yes, I think so. And maybe, for me, there’s also a strong sense of offering^[21] something.

Mansai Nomura:
Then that makes it even more aligned. After all, the origins of the (Japanese) performing arts^[22] lie in offerings to the gods.

Yuzuru Hanyu:
Yes. I’ve always felt that way, especially since the 3.11 disaster. I’ve been in a position where I’ve been supported, so I feel like I’m skating to repay the support and meet the expectations of those who have been cheering me on. But also, with my programs, I’m expressing my condolences and my wishes for recovery. Because I’ve dedicated my performances, that’s why I feel there’s a stronger element of “mai” in them.

Mansai Nomura:
In that sense, this year’s Notte Stellata can be seen as a kind of grand ceremony… a ceremony of mourning and rebirth. And in that case, you were truly like the ritual master, the officiant of the ritual^[23].

Yuzuru Hanyu:
Hmm... Well, it’s difficult. You know, it’s really hard to share those values, especially with foreign skaters. Even if it were just Japanese skaters, it would still be hard to share that sense. But this time, I really felt like all the skaters were united in heart, and we were performing a kind of ritual together.

Mansai Nomura:
I see. We could talk forever, but we’ll stop here for now. Let’s continue this discussion next time. Thank you very much.

Yuzuru Hanyu:
Thank you.

🎶MISIA - Kibou no Uta (Song of Hope)🎶

Mansai Nomura:
It’s already time to say goodbye. MISIA’s Kibou no Uta. This song played during the finale of notte stellata 2025, and it was such a wonderful sight, seeing all the skaters unite their hearts in this space, with MISIA’s embracing voice accompanying them.

It was amazing to witness the unity in the venue, feeling the shared thoughts of everyone, like a single large space. Hanyu-san’s notte stellata had such deep meaning because you, as someone who experienced the disaster, can feel and act on it. I really felt that. We’ve mainly talked about Bolero today, but next time, I’d like to focus on SEIMEI, the program that brought him his Olympic gold in PyeongChang. Look forward to it!

Mansai Nomura:
See you next time.

Closing remarks:

🎶MISIA - Kibou no Uta (Song of Hope)🎶

—- End of Broadcast —-

 

 

---

[1] 星は変わらない (“the stars don’t change”) has a strong symbolic and cultural resonance in Japanese thought. Stars represent permanence, guidance, and are often tied to fate and destiny, particularly in Heian-era literature and philosophy.

 

[2] The Heian period (794–1185), known for its refinement of court culture and literature, including astrology (星読み hoshi-yomi), which was a major part of decision-making, rituals, and calendar systems.

 

[3] 表現者 (hyougensha) — More than “performer,” this term emphasizes one who expresses or conveys meaning. It's broader than “actor” or “artist”; it includes anyone who channels meaning into form — like a skater, an actor, or a Noh performer.

 

[4] 受け継ぐ — “To inherit/pass on” — in Japanese culture, this often implies a duty not just to preserve, but to adapt respectfully.

 

[5] 先人 / 偉人 — “Predecessors” and “great people.” Reverence for those who came before is a key cultural value in Japan. This idea is part of 継承 (keishō), meaning “inheritance” or “passing down” — a concept common in arts like Nohgaku, martial arts, tea ceremony, etc

 

[6] 新しくしていって — “To make it new” — this expresses the balance between tradition and innovation, a recurring Japanese theme seen in 守破離 (shuhari): obey, break, leave — the stages of mastery.

 

[7] The venue refers to Sekisui Heim Super Arena, also known as Grande 21, in Miyagi Prefecture. It was used as an emergency mortuary for 3.11 victims.

 

[8] 鎮魂 (chinkon). A ritual or concept meaning “repose of the soul.” In traditional Japanese arts (especially Noh), performances often serve to honor the spirits of the dead and bring peace to lingering souls. This is deeply tied to Buddhist and Shinto views of the afterlife and remembrance.

 

[9] 無念 (munen). A key concept in Noh drama. It means “regret,” especially at death. Many Noh plays center around a spirit unable to rest because of unresolved emotions, and performances serve as a release or purification.

 

[10] 踏みしめる (fumishimeru). This is a deliberate motion in Noh, often symbolic of connection to the earth or spiritual grounding.

 

[11] 昇華 (shōka). “Sublimation.” In Japanese aesthetics, this often means elevating something worldly or emotional into a form of beauty or spiritual expression.

 

[12] Sanbasō A celebratory and sacred dance in Noh and Kyōgen theater, performed to pray for peace, prosperity, and bountiful harvests. It often involves rhythmic stomping (足拍子 ashibyōshi) as a symbolic act of grounding and invoking spiritual resonance with the earth. By bringing this into the skating context, it links modern performance with traditional Japanese ritual.

 

[13] 共鳴 (kyōmei): “Resonance,” but with a layered meaning—both physical (sound waves) and spiritual (sympathetic emotional/spiritual resonance).

 

[14] 狩衣 (kariginu), "hunting garment" and refers to a traditional Japanese robe worn by men, particularly by Shinto priests, nobles, and samurai.

 

[15] Herbert von Karajan was an Austrian conductor. He was principal conductor of the Berlin Philharmonic for 34 years.

 

[16] 壊しにいってしまう, verb “壊す” (kowasu) = to break, to ruin, to destroy.

 

[17] へんばい: Henbai is a ritual walking method used in onmyōdō (陰陽道), the esoteric cosmology practiced by onmyōji, the yin-yang diviners of classical Japan. It’s a ceremonial form of movement, often used to: purify space, repel evil spirits, seal off negative energy, and mark sacred boundaries. It’s intentional movement that transforms the ground itself into a protected or empowered zone.

 

[18] つづって(from the verb 綴る). It can mean: to spell or to write (like forming letters), to compose (as in writing essays or poetry), to weave together thoughts, feelings, or words. It implies intentional composition, stringing together something meaningful.

 

[19] まじない (majinai), can be translated as charm, incantation, spell, amulet, ritual for protection or healing. However, it’s not always as theatrical or "magical" as these English words suggest. Majinai has a more folk-religious, often subtle and everyday feeling. It refers to small rituals or symbolic acts that carry a spiritual or protective meaning, rooted in ancient belief systems—often Shinto, Buddhism, or animism. An example is tying omamori (amulets) to a bag or purse, or writing and hanging an ema (wooden plaques) with prayers or wishes at a temple.
When Yuzuru says “uniquely Japanese sense of the divine,” we have to consider thee influence of Shinto in Japanese culture and society. Shinto is an animistic religion, which revolves around supernatural entities called the kami (神, deity, divinity, spirit). The kami are believed to inhabit all things, such as illustrious ancestors, forces of nature, animals, rocks, and prominent landscape locations.

 

[20] Mansai-san  says, “舞とダンス、英訳すると舞もダンス”, noting the loss of nuance in translation. Though 舞 / mai and ダンス (dance) might both be translated as “dance”, their feel, purpose, and philosophy are very different. 舞 / mai is a traditional form of movement in Japanese performing arts like Noh (能) and Kyōgen (狂言). It’s often slow, circular, and restrained. “Mai” is spiritual, ritualistic, symbolic movement (like meditation in motion). Often seen in Noh, Kyōgen, or kagura. Connected with nature, emotion, and the cosmos.
“Mai” is less about rhythmic movement to music (like Western dance) and more about:

• Symbolism: Every gesture carries spiritual or emotional meaning.
• Stillness and silence: Negative space—pauses, slowness, and minimalism—are essential.
• Floating quality: Movements can feel like gliding or hovering.

“Mai” often expresses “ma” (間), the Japanese concept of space or pause. It’s about being in harmony with time, space, and intention.

To help with some examples for those familiar with other forms of "dance" that are not for performance or show but tied to ritual, spirituality, and communal meaning, the definition may also resonate with “dances” such as Sufi Whirling (Turkey / Middle East), Hula (Hawaii), Kathakali (India), among others.

 

[21] 捧げている / sasagete iru, from the verb 捧げる / sasageru. It literally means “to offer,” “to dedicate,” or “to devote.”

It often carries a spiritual or ceremonial nuance, especially when used in the context of offering something to a deity, to the dead, or to something greater than oneself.

 

[22] 芸能 / geinō. This term doesn’t exactly translate as “performing arts” in the western academic sense (e.g. ballet, opera, or theatre). Geinō is a broader and older concept in Japan. Historically,  geinō includes:

• Traditional ritual performance, like 神楽 (kagura)—music and dance offerings to the gods
• 能 (nō) and 狂言 (kyōgen)—classical stage arts with spiritual and ceremonial roots
• 舞 (mai) and 舞踊 (buyō)—ritualistic dance
• Even folk entertainment that emerged from agrarian festivals

 

[23] 祭主 / saishu, literally means "festival/ritual master." It’s a Shinto term that refers to the chief officiant of a ceremony, often the one who offers rituals to the kami (gods) at a shrine. This is a deeply sacred role: the person who leads the act of offering, purifying, and invoking presence.
司祭 / shisai. A Buddhist and Christian term in Japanese. In broader usage, it's often translated as "officiant" or "minister"—someone who presides over a spiritual or ceremonial function.

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

2025.04.15

 

Source: https://www.ninomiyasports.com/archives/130397

Archived: 

 

"Seimei," who preached the necessity of controlling the space, and "SEIMEI," who mastered that art – Mansai Nomura × Yuzuru Hanyu

 

　Yuzuru Hanyu appeared as a guest on NHK Radio 1's "Mansai Nomura's Lucky Bag on the Radio" on the 14th. Hanyu's appearance follows the first part that aired on the 7th. The two talked about their way of being as performers through the program song "SEIMEI" that they performed together at "notte stellata 2025."

 

Spoiler

"That song saved me."

 

As Hanyu joined the show, Nomura introduced him by saying, "Our connection originally began with SEIMEI. It’s the theme used mainly in the ending of the film Onmyoji, in which I starred as Abe no Seimei."

 

Hanyu reflected, “That song really saved me... or rather, that program saved me.”

To this, Nomura added supportively, “In judged sports, it's inevitable that you have to focus on earning points.”

 

SEIMEI was the program Hanyu used in the free skate at the 2018 PyeongChang Olympics, where he achieved his second consecutive Olympic gold medal, following Sochi 2014. But his words — "that song saved me" — weren’t merely about the victory. It wasn’t just a literal reference. It likely pointed to something deeper: how the program helped him navigate the tension between being an athlete and an artist. This interpretation was echoed by Nomura’s remarks.

 

　Let's turn the clock back to 2015. At the end of that year, Mansai and Hanyu had a conversation on a TV program. They discussed where to focus their attention during a performance, and Mansai said the following.

 

"Gather your energy in all four directions in the space. For example, focus your energy on the four pillars here. Approach everything. It's also a form of greeting that draws everyone's attention to you."

 

“Awareness across the whole venue”

 

Hanyu responded from an athlete’s perspective:
"We have to direct our awareness toward the judges. Honestly, it ends up being mostly about the judges."

 

But then, he showed signs of inner conflict as an artist:

"But as you said, the audience surrounds us 360 degrees. Their reactions may not affect the scores, but if we consider ourselves expressive artists, then we absolutely have to captivate them..."

 

Nomura responded, building on the point:
"Not focusing solely on that one person — the judge — but rather thinking about efficiency. For yourself, for the judges, for the audience. To control the space, you have to make the space your ally. That’s why I want to direct my awareness to the entire venue."

 

From Nomura’s tone, one could sense the expectations he held for Hanyu — as if to say, “Even the judges are just part of the overall space.”

 

Back to April 14’s radio segment. Hanyu shared:
"SEIMEI was the program that made me think strongly about making jumps part of my expression."

He continued, "It felt like a kind of awakening — I was released from that mindset of 'jumps and scores'."

 

After the opening performance of notte stellata 2025, Nomura smiled gently and reflected:

 

"Back when we spoke 10 years ago, everything we see in him now was already within him — it just hadn’t been verbalized yet. With a few words from me, and with his own experience, he began to crack the shell, sprout, and now, he’s in full bloom. We may be aging, but it brings me such joy to see the next generation inherit our spirit."

 

Mansai Nomura, who played Seimei on screen, once emphasized the importance of “controlling the space.” A decade later, Yuzuru Hanyu has mastered that very art through SEIMEI. Now, the two have reunited — not just as collaborators, but as fellow expressive artists.