[2023.07.18] Ice Jewels Vol.18 ~Professional skater Yuzuru Hanyu's new path~

[yuzurujenn]

*machine translation, inaccuracies exist*

 

 

Info: 

https://www.amazon.co.jp/dp/4807299085

 

 

[Content introduction]
In July 2022, Yuzuru Hanyu began a new path as a professional skater. We look back on the past year with cover photos and exclusive interviews.

What's more, this issue features exclusive interviews and contributions from the gorgeous members who create and watch over Yuzuru Hanyu as a professional skater, including MIKIKO, who was responsible for the direction of the historic "GIFT" solo performance at Tokyo Dome (a first in skating history), Mansai Nomura, with whom Hanyu has had a deep connection since SEIMEI, Satoshi Takebe, who served as music director for "GIFT" with an even deeper involvement than before, and Shuzo Matsuoka, who has continuously supported Hanyu since his competitive days.  In addition, in "Their Style," Johnny Weir and Keiji Tanaka also talked about their competitive days, their future prospects, their thoughts on figure skating, and their impressions of Hanyu.

[Contents]
◆Special Photo Session
"A Special Look at Hanyu Yuzuru"

◆Special Interview
with Hanyu Yuzuru "Redefining a Professional Athlete"

◆GIFT Witnesses

MIKIKO: The trust in Hanyu's ability to make sense of things intuitively
Mansai Nomura: The deeper the world you're trying to depict, the more it becomes a world you can never tire of
Satoshi Takebe: Giving 100% as a professional to convey Hanyu's charm

Shuzo Matsuoka: The gift I received from the Hanyuism

◆Fantasy on Ice 2023

Held at four locations nationwide!

◆Special Interview Tanaka Nobuaki x Noto Sunao
Talking in detail about professional skater Hanyu Yuzuru!!

◆Their Style
Johnny Weir
Keiji Tanaka
Patine Leisure Co., Ltd. / Iihashi Yasutaka, Takahashi Futao

◆Figure skating as a performing art
Hanyu Yuzuru's Phantom of the Opera - Music that secretly captivates you

[yuzurujenn]

Source: https://weibo.com/ttarticle/p/show?id=2309404941603868639423

 

 

Witnesses of "GIFT" - Matsuoka Shuzo

The Gift of Hanyuism to me

 

Since Yuzuru Hanyu was 16, Shuzo Matsuoka, as a sports commentator, has been supporting his journey. What are the three "Gifts" he received from the performance revealed by Yuzuru at the Tokyo Dome?
 

Spoiler

Witnessing Yuzuru Hanyu's New Beginning

 

"I have always supported the fighting spirit of athlete Yuzuru Hanyu. To be honest, I feel that Hanyu has now moved to a place that seems unreachable. Not only with his two Olympic gold medals, but Hanyu's sensitivity goes beyond my own realm of experience.

 

The impression I had from both 'Prologue' and 'GIFT' can be summed up in one phrase: 'That’s Yuzuru Hanyu.'

 

The performance, the music, the expression—Hanyu is the only one who can manage all of these aspects. Through the use of microphone narration and holographic projections in 'Prologue,' alongside the poem he created himself that helped progress 'GIFT,' what we experienced at the Tokyo Dome was a unique and one-of-a-kind moment.

 

For me, if I were to write about Yuzuru Hanyu, the Prologue would fill up pages. Today, I would like to share with everyone the three "Gifts" I received from witnessing Yuzuru’s new journey."

 

---

Gift of Emotion

"Why does it touch my heart so deeply? Although I’ve seen many ice shows, this was not just any ordinary show. The beauty and grandeur were evident, but the most fundamental element was the 'serious contest for victory.' Every program was a challenge for Hanyu.

 

On the day he decided to take this step, I remembered something Hanyu had said. To me, Hanyu's charm lies in his obsession with winning. Can this decision (to turn professional) be described as stepping away from the stage of competition...? And without hesitation, he immediately replied:

 

'No, rather than leaving the stage of competition, I stepped onto a new stage. From now on, I think it’s not about comparing or competing with others in a specific setting, but about constantly battling with myself, battling my past self, battling with everyone’s expectations, while having the strong will of "I must win even more here!"'

 

This was a perfect embodiment of those words. A person’s stage—who exactly is he fighting against? I felt a sense of emotion that was different from the past. It was Hanyu's ability to express himself. Each performance, each execution of a jump, all carried such vivid realism. When competing, the focus is on how to convey it to the judges, but now, it’s different. Hanyu's soul is completely conveyed to us, the audience. I can say that this emotional 'Gift' comes from fighting against the expectations of the audience that supports him."

 

Gift of Courage

"Hanyu fully released his courage. The sudden start of a 6-minute practice session—it was beyond comprehension. Especially when 'Introduction and Rondo Capriccioso' was playing in the Tokyo Dome, instead of feeling the chills of fear, I felt goosebumps of courage.

 

While all 35,000 spectators focused on Hanyu's every move, he created an environment where failure was not an option. I told myself this wasn’t an official competition, but the scene from the Beijing Winter Olympics that had been etched into my mind resurfaced, like a moving lantern. Just how much regret did he carry...? Those were three minutes filled with deep reflection. Naturally, tears of profound emotion began to fall. Congratulations! That was the moment Yuzuru Hanyu surpassed Yuzuru Hanyu. It can be said that it is precisely because Hanyu never avoids reality and pursues challenges that he has the courage to give this kind of gift."

 

Gift of Life

"Even if it meant shortening his life… he did it completely! This tragic sense was also accompanied by a soul that felt transparent. This is Hanyu's way of living. I’ve always felt that Hanyu embraces both the sun and the moon, but why does he push himself to such extremes? Why does he love standing on the edge of a cliff so much? Why does he delve so deeply into figure skating? No, is it that I want to understand Yuzuru Hanyu? It feels almost like I want to shout at him: 'Live on!'

 

At the beginning of his poem: 'This is a gift to you, from your companions.'

 

I can truly feel that Yuzuru Hanyu, as a companion, exists within my soul. Yuzuru Hanyu is a 'Gift' to me. This isn’t just limited to me. I feel that many others who came to watch the ice show also received 'the power to live' from Yuzuru Hanyu."

 

"You are not alone. It's okay. It's okay. Just move forward step by step in your own style!"

 

---

 

I first heard Hanyu's heart at the age of 16. The 'power to live' from Yuzuru’s philosophy was instilled in my heart.

 

'Five years, ten years from now, I want to be the hero I aim to catch up with.'

 

While releasing 'light,' he faces the 'loneliness' of figure skating. Life, in itself, is painful, difficult, and lonely. However, it is the challenges we face along the way that will guide us to happiness.

 

Through the 'Gifts' I received from Hanyu, I will carefully walk my own life’s path! And this should be my 'Gift' to Hanyu.

 

 

 

[yuzurujenn]

Source: Ice Jewels vol.18, pg 52-55

 

 

Witnesses of "GIFT" - MIKIKO

The trust I received from Yuzuru Hanyu to understand things intuitively

 

What Yuzuru Hanyu revealed in GIFT was his collaboration with MIKIKO, known for her choreography and live performances with various artists. On stage, a dense, sensory exchange unfolded between the two geniuses.

 

MIKIKO
Choreographer and Director.
Founder of the dance company [ELEVENPLAY].
She has choreographed and directed live performances for artists such as Perfume and BABYMETAL, as well as created choreography for various music videos and commercials.

 

Spoiler

[By repeating the exchange of ideas, we can improve the resolution.]

 

-- How did you start the process of creating "GIFT" with Hanyu?

I believe the title "GIFT" came from Hanyu when we first talked. I remember him explaining why he chose that title. It felt like a theme that reflected Hanyu’s deep care for his fans. After that, Hanyu shared the setlist, and also sent me a narrative that connected the pieces together. I thought about how to present this at Tokyo Dome, returned it to Hanyu for feedback, and built it up from there. Once the overall flow and set design were decided, we focused on each scene, exchanged ideas, and worked tirelessly to increase the resolution of the work.

 

-- The opening scene with "Firebird" was absolutely stunning. How did that grand production come about?

I put my heart and soul into the opening. When I was given the task, the first thing I thought about was the opening. When I imagined "How should we make Yuzuru Hanyu appear at the Tokyo Dome?", the first thing that came to my mind was "I want Hanyu to fly!!". But, given the limitations of Tokyo Dome, we quickly realized that flying wasn’t possible. So, we started discussing how we could make the Firebird float in the air instead, and that’s how we arrived at that dramatic entrance. This time, we had director Kikuo Mukai, who has been helping me bring my wild ideas to life, and we had many discussions about what was realistically possible, ultimately arriving at the final result. I was nervous because the performance and projection, the speed of the mechanism, and the timing of Hanyu's landing on the ice could not be off by even a second, but I'm glad it was a success.

 

-- Can you share the story behind the large "hands" on the sides of the screen?

When I received the story from Hanyu, I felt like I was getting a peek inside his 'body', rather than inside his 'head'. So I imagined the entire dome as his body, and Hanyu skating inside it... At first, it wasn’t clear what this "being" was, but it was slowly forming. As a symbol of that, I placed the large hands. Chronologically, I thought the connection to "The Phantom of the Opera" in which "Yuzuru Hanyu" becomes this "being" would be fitting, and that’s how the concept for that scene came together.

 

-- At the end of the first act, there was a "Introduction and Rondo Capriccioso," which could also be seen as a sort of revenge for the Beijing Olympics. I imagine Hanyu had to perform flawlessly. How did you feel watching it, MIKIKO-sensei?

I didn’t even think for a second that he would make a mistake. When he finished the flawless performance, I couldn't help but stand up and applaud along with the other audience members (laughs).

[A peek into Yuzuru Hanyu from various angles]

 

-- As the second act progresses, the story dives deeper into Hanyu’s inner thoughts and feelings. How did you, MIKIKO-sensei, who touched upon such deep emotions and determination from Hanyu, transform those into a performance (entertainment) in front of a large audience at Tokyo Dome? Could you tell us about the process?

When I first received the text, to be honest, I thought, "What should I do...?" It was more than I expected, "He's going to reveal so much...", and when I thought of Hanyu's feelings of deciding to show this, my heart felt raw and I was very worried about how to direct it. These words were the result of countless iterations and reflections for him. However, the audience would only see it once. Moreover, I had to ensure that even people who hadn’t followed "Yuzuru Hanyu" would understand. So, in order to avoid any misunderstandings, I realized that I had to create the "flow of time" that conveyed the experience of hearing these words. I paid extreme attention to the speed and tone of the music. I also thought about how to visually present the protagonist of the story in the video. Sometimes, the more painful the words, the more effective it can be to play light music, as it can bring the emotions to the surface. I tried to transform the expression “being trapped” to mean being locked in a box called GAME. I wanted the audience to feel like they were peeking at a person called Yuzuru Hanyu from various angles, so I carefully crafted each scene.

 

-- How did you create the video segments between the programs?

First, I decided on the image for each song, how the scenes would connect with each other, and the music that would flow through them. Then, I had experts work on creating those elements.

 

-- I heard that Kyotaro Hayashi (filmmaker) was involved in creating the video segments for "GIFT."

I discussed the ideas I had with Hayashi-san, and he planned how to visually represent each scene. While it was important to convey the story through the narrative, we also wanted to make sure 'Yuzuru Hanyu' looked as cool as possible, and that's how the video was created.

 

-- How did you come up with the idea of 'writing a story with a pen'?

I felt that "GIFT" was like a letter that Hanyu was writing to each and every fan, but at the same time, it also felt like he was writing to himself, so I imagined a scene of him writing something alone in a blank white space, so I added that into the production.

 

[Hanyu-kun knows how to use space within a program]

 

-- MIKIKO-sensei, did you provide choreography or dance instruction for Hanyu’s programs?

No, I didn't make any changes to the programs. I only added the necessary staging (choreography cues) for the performance. I believe Hanyu-kun has talent as a choreographer as well. He has excellent ears and listens to sound really well, so he can create choreography that enhances the music. He also has the rare ability to visualize how to use space within a program.

 

-- Regarding "Ashura-chan," Hanyu commented on YouTube, saying, "Ashura-chan is my choreography... and some of my choreography gradually made its way into the choreography by ELEVENPLAY members, and I feel a bit embarrassed about that... (Thank you, MIKIKO-sensei...)." Could you tell us more about the background and episode behind this?

Before "Ashura-chan," there was a story section where I incorporated a GAME motif in the performance. In that part, following Hanyu-kun's narration, the clones trapped inside the GAME (the box) were portrayed by ELEVENPLAY. From there, I realized that ELEVENPLAY should appear as Hanyu-kun's clones, so I reworked it to sync with Hanyu-kun's choreography in some parts. (It wasn't the same choreography as Hanyu-kun's.) The sections that were solely created by ELEVENPLAY had a very strong MIKIKO flavor, so I think some fans may have misunderstood that I also choreographed for Hanyu-kun. I was really impressed with how the choreography aligned with the music and lyrics so naturally.

 

-- What did you feel while watching the performance of "GIFT"?

I thought, “Oh, this can still be improved” (laughs). Of course, I poured 120% of my energy into creating "GIFT," but since this was my first time working on a skating show, it was all trial and error. There were many things I couldn’t predict until I saw the actual performance, including the audience’s reaction. Watching the audience's response (at the performance), I felt a sense of "they understand," and I also thought that I really wanted people from all over the world to see Hanyu-kun's innate ability to captivate people. I was excited to discover new entertainment possibilities in Japan.

 

-- Please tell us about a memorable scene in "GIFT."

It’s hard to pick just one since I have strong feelings about every scene... but I really liked the narration that starts with “The starry sky illuminated me,” in the scene before “Ballade No. 1,” which we called “Story 3.” I think the scene turned out just as I envisioned. ELEVENPLAY exists as an image of a faint ray of hope shining into a heart swollen and broken from crying, as cells that heal and protect it. In the end, when those "cells" throw particles of hope, it creates Yuzuru Hanyu in "Ballade No. 1." It is a scene born from very fragile and beautiful words that only Hanyu, who repeats the process of healing and regenerating himself, could write.

 

[Hanyu and I Speak the Same Language]

 

-- While working on "Prologue" and "GIFT" with Hanyu, were there any memorable exchanges?

Hanyu-kun said, "When MIKIKO-sensei says 'I see,' it means she's not convinced," and that really struck me (laughs). I'll be more careful from now on. Also, this is something I’ve seen with the 'geniuses' I’ve worked with in the past: they’re particular about certain things, but they also know when to trust others with other tasks. The boundaries are clearly defined, so the division of roles is clear, which made it very easy to work together.

 

-- Was there any order or request from Hanyu that left an impression on you?

Perhaps the ending to “Ano Natsu e” (One Summer's Day). In that scene, there is no sound, and ELEVENPLAY ends with a jump like droplets generated from the aftershock of Hanyu’s hand movements. That was Hanyu’s idea, and I thought, "This is a different way of seeing things!"

 

-- MIKIKO-sensei, I feel that you and Hanyu share a very similar mindset and sensitivity as performers and creators. Have you ever felt that way?

Yes, before working together, I was unsure where we would find common ground, but once we started talking, I realized we share the same language when it comes to expression, and I felt a strong sense of trust in the way we could intuitively understand one another with just a few words. I tend to have a lot of passion when it comes to creating things, which can sometimes be overwhelming, but Hanyu-kun is even more passionate about expression than I am, and I feel like I was given the courage to think, 'It’s okay to go this far.' It's rare to feel this way in such a short time, and this has become an important encounter in my life.

[yuzurujenn]

Source: 

https://weibo.com/1746783312/Nd9pzaHSt
https://weibo.com/1746783312/NdaiaCKAW

 

 

Witnesses of "GIFT" - Satoshi Takebe

Giving 100% as a professional to convey Hanyu's charm

 

Spoiler

[Turning What He Wants to Do into Reality]

"The music director of 'GIFT' was directly appointed by Hanyu, so I had to think about how to turn his ideas into reality. For example, if he wanted to perform this piece and that piece, we had to decide which one would be better with an orchestra, which one should be accompanied by piano, or which one might be better with a band, or if one could just use existing sound sources. The planning process started with decisions like these. As I am a pianist and also responsible for composing and arranging, it was important to determine which parts I would perform myself and which parts would be better performed by another pianist. We had to weigh those options as well. Ultimately, the music performed at the Tokyo Dome had to be delivered to the audience in a way that complemented the performance. I had to consider how the music would be presented with the program, making adjustments accordingly. This was my task. I also worked with MIKIKO-sensei, the director, and the stage team, discussing questions like 'Do we need this transition between these two pieces?' 'To allow Hanyu to rest, we need a few minutes here, so let’s do it this way,' or 'The background for this video should look like this.' Sometimes, we had ZOOM meetings, including Hanyu, to listen to everyone's opinions."

 

[In a large space like Tokyo Dome, the sound is also very important, and for this reason, the PA team also does their best in the layout of the speakers.] 

"Hanyu-san has always placed great importance on sound. Even the slightest nuances in the music must be reflected in his performance. When playing in sync with the music, even a slight delay of 1 to 2 seconds caused by something like sound reflections could ruin the entire performance. Therefore, it is crucial to connect all the music and audio sources in a way that allows him to easily stay in sync with the music. For a typical large-scale concert at the Dome, there might be delays in sound reaching the audience members who are a bit farther from the stage and screens. Moreover, this time, the ice surface was laid out in the center of the venue with seating surrounding it, and if the music couldn’t be delivered in real-time to the audience, the synchronization between his performance and the music would be lost. Holding an ice show at the Tokyo Dome seemed like a rather reckless idea to me, but in the end, its success was due to the collaboration of professionals who truly understood Hanyu-san’s performance."

 

"I’ve already experienced Hanyu-san’s dedication to sound at events like Fantasy on Ice. Because we’ve had similar exchanges like 'I want this to be more like this,' or 'Because my timing is like this, I want the music to be more focused on this moment,' I knew from the start that he would make such requests. This time, it’s truly a once-in-a-lifetime grand stage for him, so I also wanted to provide enough support for him, ensuring that he could perform in a relaxed state and bring out an even higher level of performance than usual."

 

[After deciding on the programs to skate, everyone, including the choreographer MIKIKO, discussed every single detail, such as where Hanyu would enter the stage during a 4-minute-and-30-second piece, what images and lighting should be used, and how the dancers around the ice should move, one song at a time, and completed the creation.]

"For example, during the opening of the second half, the band performed live while surrounding the ice rink. This was because Hanyu requested, 'I want to pursue a sense of unity with the music, so I’d like it to feel like a live performance where I can interact with the audience, rather than having the performance solely on the stage.' So, we performed 'Let's Go Crazy' and 'Let Me Entertain You' in this manner, with the arrangement emphasizing the live feeling. Additionally, because he asked, 'I want to skate to the vocal parts using the familiar voice I’m used to hearing,' we recorded the beats as audio data and played them while skating. Although we used a technique that might make some wonder, 'Is this all live? What about the vocal parts?' I think it can be considered an effective attempt."

 

[With a mask on, Hanyu appeared on the big screen, creating a massive phantom image by connecting with the huge hands set on either side. The music production for the Phantom of the Opera segment, which had such a striking stage effect, had to be redone after Hanyu himself made several suggestions that led to changes, which was quite a labor-intensive process.]

"Although the voiceover for his lines during the segment was handled by other producers, I was in charge of the sound for the visuals leading up to the Phantom of the Opera part. I used Masquerade, which had been featured in Fantasy on Ice, as the base, blending in a phrase from Phantom of the Opera. In the end, the contrast between Hanyu in black and Hanyu in white clothing, one representing yin and the other yang, was reflected in the music as well. Although I was ultimately satisfied with the result, it was definitely a nerve-wracking part of the process."

 

"Another example is the piece Ano Natsu e (One Summer's Day). Initially, I thought it would be nice to evoke the image of a clear, babbling stream and sunlight streaming through gaps in the leaves, so I planned to add strings and harp to color the music. I worked on the arrangement and rehearsed, but Hanyu requested that he skate to the piece with only piano accompaniment. Although I had to redo the entire arrangement, in the end, he still delivered an incredible performance."

 

[In addition, there were also moments That again highlights his extreme attention to music]

"When it comes to symphonic accompaniment, if the music isn't something Hanyu is used to hearing, skating to it wouldn't feel smooth. For this reason, we specifically created clips that matched the audio source, and had the orchestra conductor listen and conduct at the same time, ensuring there was not even a one-second delay. Furthermore, Hanyu would directly give requests to the orchestra musicians, such as, 'Please make this note a little shorter,' or, 'Although it's currently being played with two forte (ff) markings, I want it played with five forte (fffff) for maximum intensity.' On one hand, he has a strong will to align his performance perfectly with the notes, and on the other hand, he is very familiar with musical terminology, so he has deep insights into the length and strength of the notes.  Because of this, the performers also put in extra effort, determined to meet his requests. This synergistic effect led to the creation of a performance full of energy and power. While there may be similarly meticulous people among dancers, Hanyu must be second to none among athletes when it comes to this level of attention to music. For him, it's not that the performance comes first and the music follows, nor that the music comes first and the performance follows—it’s about truly integrating both and presenting them as one to the audience."

 

[For this ice show, the Tokyo Philharmonic Orchestra and the GIFT Special Band were in charge of the performance. Motivating every musician's spirit is also part of the music director’s job.]

"Since there were also first-time performers at this ice show, it was very important to make them realize that they were playing for Hanyu. The ideal state we were aiming for was for all the notes played by everyone to come together as one massive entity, supporting the performance as a whole. So, on the day of the show, I went to the stage in front of the orchestra and conveyed this message to them: 'Today, please play with the mindset that you are supporting him, putting your heart into the music.' In my view, leading everyone into this mindset is also the responsibility of a music director. This became the goal for everyone, and it was also because everyone truly likes Hanyu and is captivated by the charm of his performance. I wanted to give 100% as a professional, and convey these things to the audience in the best possible form. It wasn’t just about being performers; it was because the entire staff shared the mindset of 'Everything is for Hanyu,' that we were able to achieve success in the end."

 

[Once he starts skating, Hanyu shows a passionate performance, but this time, as the executive producer, he also displayed extraordinary calmness.  During rehearsals, Hanyu made very detailed suggestions, and while performing and watching Hanyu’s figure skating, Takebe, who played the music, also felt the sparks fly during the live performance. ]

"His performance was full of passion, and naturally, I didn’t want to be outdone. I wanted to create something vibrant and dynamic, and in this regard, it truly felt like sparks were flying."

 

[After the words 'fin' appeared on the ice and the credits were shown, Hanyu introduced all the performers, and then he played 'GIFT,' a piece he composed himself. He smiled wryly and said, 'Although that was a heartfelt, soothing performance, at the same time, I genuinely felt nervous. After Hanyu left the stage, all eyes in the entire Tokyo Dome were on me, the one playing the piano.']

"Taking on the task of 'GIFT' this time, after much planning and brainstorming from the end of the year to the beginning of the new year, I thought, 'I want to compose a new instrumental piece.' Even if Hanyu didn’t skate to this piece, I thought it would be a 'GIFT' from me to Hanyu, and a 'GIFT' from all of us to the audience as well. I wanted to create a calm piece for that purpose. After all, during the live performance, everyone would be emotionally heightened, and the energetic performances would come one after another. So I thought it would be nice to have a piece that could help everyone settle down, allowing them to savor the moment. Thus, I created it with that intention."

 

"I first sent the piece to the staff via Group Line, and then I let Hanyu listen to it. After hearing it, he said, 'Takebe-san, let’s use this as the encore piece.' I was really happy to hear that. I created the song thinking, "This is it," and he also thought, "This is a work that should be released this time." From that, I could sense what I can call mutual trust between us. Even though it wasn’t a piece he was skating to, in a sense, it played a very important role."

 

[After the ice show, the piece 'GIFT' received messages of thanks from the audience on social media. In response, Hanyu also requested, 'It must be made public.' Therefore, it is expected that the single will be released in the summer of 2023. Takebe expressed, 'I would be very happy if everyone can accept this as a gift from our production team.' And after 'GIFT' ended, Takebe-san’s thoughts were, 'For his future solo ice shows, I absolutely must create a work that surpasses 'GIFT'.]

"I believe I will be able to create it. The things I’ve developed and the effort I’ve put in this time will definitely be put to good use next time. Although it will likely be a very tough challenge, no matter what, I want to take it on. I hope to participate in creating an unprecedented, comprehensive entertainment performance that combines figure skating, music, visuals, lighting, performance, and stage direction."

 

 

[yuzurujenn]

Source: Ice Jewels vol.18, pg 56

 

 

Witnesses of "GIFT" - Nomura Mansai

"The deeper the world you try to portray, the more it becomes a world that you can never get tired of."

Nomura Mansai formed a deep connection with Hanyu through the program SEIMEI and was one of the first to offer words of encouragement after his transition to a professional skater. He shares his thoughts on GIFT, which he saw at the invitation of director MIKIKO, as well as his expectations for Hanyu's future as a professional.

 

Nomura Mansai
Kyogen Performer, Director

 

Spoiler

[Hanyu has a vast worldview in his mind.]

 

Q: What did you feel after watching GIFT?

 

It was very cosmic, and I felt that he has an even larger worldview in his mind. And I think he wanted to draw a clear line as an athlete. I think there was great meaning in him doing the rematch of the Beijing Olympics in front of everyone, and I believe he accomplished a remarkable revenge. I was also happy to see SEIMEI at the end. I think that SEIMEI may contain some kind of worldview that forms the foundation of who he is.

 

As for the production, he included elements other than ice, such as fire and water. I’m not sure how much of these elements are mixed into recent skating shows, but I sense that he’s conscious of and has studied the concepts of "wood," "fire," "earth," "metal," and "water" in the Yin-Yang and Five Elements philosophy. There was a lot of thought put into the direction as well. The focus was on the people and on the wider world. When the focus is on that wider world, it takes on a global scale. He also did Ado's "Ashura-chan," and since it was the ending song for "Doctor-X," my fans seemed to be happy about it (laughs). I wonder why that song was used.

 

Q: Lyrics such as 'Wakacchainai (You don’t understand)' are unusual and unexpected, and since the musical style changes drastically from what came before, it seems that the intention was to create a scene transition within the overall flow of GIFT.

 

I see. I was invited by MIKIKO to watch GIFT, and she told me, "When I was talking with Hanyu, I remembered the times when you (Mansai) and I were talking." We had talked a lot about the Tokyo Olympics, and in terms of the Olympic concept, I always mentioned words like "worldview" and "cosmic perspective" to her. It seems that Hanyu also talked about philosophical and conceptual ideas, such as the 'Tenchi-jin' (heaven, earth, and man), and MIKIKO felt there was a very strong similarity between the two of us in terms of our thoughts.

 

[How will things change as you get older?]

 

Q: As a professional skater, I think Hanyu will continue to deepen his expression as he ages. I feel there are aspects that overlap with the path of performing arts like Kyogen. What do you think?

 

Yes, absolutely. When he transitioned to a professional skater, I quoted the words of Noh master Zeami (Motokiyo) on Twitter: 'A man's life has an end, but there is no end to the pursuit of Noh.' Unfortunately, athletes have a peak in physical strength, and so do we. There is a saying 'flowers of the time,' but in the long journey of mastering an art, when one is young, there is a privilege in relying on one's physical strength or in catching the eye with speed and freshness. However, as youth fades and one moves past their peak, the brilliance of vitality begins to decline. Zeami said that there must be a way for a flower to bloom according to one's age, and that ultimately a "true flower" will bloom. Rather than the cherry blossoms of a young tree that rely on their vigour, after the cherry blossoms have passed their peak, there is an expression "flowers of an old tree," and the sight of one or two flowers blooming quietly in the mist on an aged tree is called "Yugen," which is likened to the greatest and highest realm of beauty.

 

Hanyu is 28 now, and he still has much physical potential, so he probably won't immediately turn to such thoughts. However, as he grows older, in his 30s and 40s, it will be interesting to see how he changes. He might not be on the ice, or he might still be on the ice, but I sense potential in his interests and awareness.

 

Q: Was there a time when you felt a change in your physical strength and physique?

 

Well, until your 20s, physical strength, such as the height of jumps and the number of rotations, plays an important role. However, as you get older, it becomes more about the overall worldview you create, the sense of inevitability connecting one technique to another, the way each stroke of movement is drawn with a single intention. In fact, height doesn't matter that much to achieving beauty. Of course, if you perform a difficult technique, people will be amazed, but the deeper the world you try to portray, the more it becomes a world that you can never get tired of. I think he will likely aim for that kind of thing. Eventually, a quadruple jump becomes a triple, and a triple becomes a double. In that process, what you show will increasingly reflect your aesthetic sense and humanity, evolving into something that expresses beauty as a person.

 

For myself, I could push my body to the limit until I was about 50. After 50, I thought, ‘If I keep going like this, I’m going to break my body.’ In that situation, when you do as much as you can, you become "settled" in your awareness or "encompass" it, and it's not about "I’ll try to do something" but rather about having your presence already radiate such an aura, that even if you jump a single rotation, it’ll feel as though you’ve done five (laughs). This is the kind of world that truly exists in the arts. My father, now 92, still performs ‘Sanbansou.’ When he does it, it’s completely different from when I perform it or when my son does it. In that sense, I am very curious about how Hanyu will change, what will he do when he can no longer do jumps, and what he will show us.

 

[Maybe it's also possible to skate wearing a kariginu and sashinuki?]

 

Q: What will he show us? I'm looking forward to it.

 

I believe he will continue to grow more and more in terms of artistic expression, and I’m really excited to see his worldview. Also, I think he is someone who possesses both great strictness and compassion when it comes to following through something.

 

By the way, the other day, I watched the ending dance of Onmyoji for the first time in a while, and I laughed, thinking, 'I wonder if our rotation is a single something.' Maybe he thought something when he saw the way I jumped. He talks a lot about that ending dance. So please tell him that it might be possible to skate wearing a kariginu and sashinuki (laughs).

 

I created Boléro myself, but when Jorge Donn (the ballet dancer) performs Boléro, he’s half-naked. By showing the lines of the body, the intent is clear. So, being half-naked is actually very important. On the other hand, in Kyogen, the body is not exposed. Even if the body is used in small movements, the costume makes it appear larger. The sleeves of the kariginu are so big that they make even small movements look grand. This is why older men in their 60s or 80s can perform and still look dynamic. It may seem like it restricts the body, but in reality, it acts as a device to amplify the body. I think he will really enjoy this, hehehe. Well, he doesn’t necessarily need to wear the kariginu. It just goes to show that it’s possible to convey the beauty of the body without revealing its lines.

 

------------------------------------------------------------------------------------------------------------------

 

"Studied under his grandfather, the late Manzo Nomura VI, and his father, Mansaku Nomura. He is designated as an Important Intangible Cultural Property. He made his stage debut at the age of 3. Graduated from the Faculty of Music at Tokyo University of the Arts. He has participated in numerous Kyogen and Noh performances both in Japan and overseas, contributing to their popularity, while also starring in contemporary theater, films, and TV dramas. He has shown excellence in various fields, greatly contributing to the increased awareness of Kyogen. As a Kyogen performer living in modern times, he questions the nature and future of Kyogen through all his activities.

Interview: Hitomi Hasegawa

 

[yuzurujenn]

Source: Ice Jewels vol.18, pg 43

 

 

Special Interview with Yuzuru Hanyu
Redefining the Professional Athlete

 

The First Step as a Professional Skater Taken on July 19, 2022.
While planning and performing in his own ice shows, Yuzuru Hanyu has continued to take on new challenges to deepen his connection with fans, including launching a YouTube channel to share videos. In this interview, he reflects on his journey so far and discusses his future goals and challenges.
 

(Interview by Ice Jewels / Photography by Nobuaki Tanaka)
 

Spoiler

A Year in the Life of Professional Skater Yuzuru Hanyu

 

2022

• July 19 – Determination Press Conference
• August 7 – Launched YouTube Channel
• August 10 – SharePractice Livestream
• November 4–5 – Prologue (Yokohama)
• December 2, 3, 5 – Prologue (Hachinohe)

2023

• February 26 – GIFT Performance
• March 10–12 – notte stellata
• March 30 – April 9 – Stars on Ice
• May 26 – June 25 – Fantasy on Ice 2023

 

Searching for What Only "Yuzuru Hanyu" Can Achieve

 

— Since your “Determination Press Conference” on July 19, 2022, how satisfied are you with the goals you’ve achieved as a professional skater so far?

Hanyu: As a professional skater, I’ve pushed myself to the point of feeling completely emptied out. I gave everything I had, creating the best possible stage with the best possible team. Being able to skate to the very end in such an environment has become a source of pride for me as I continue my career as a pro.

 

— Creating and producing your own solo ice show was something entirely new for you. This was quite a bold challenge for your start as a professional skater—where did that determination come from?

Hanyu: Of course, I had a desire to try something new, but more than that, I wanted to explore the kind of world that only Yuzuru Hanyu can present and find something that only I can achieve. I’m still constantly searching for that now, always reflecting on how I approach skating.

 

Keeping the effort at 105%: The Standard of a Professional’s Practice

 

— Hosting "GIFT" at the Tokyo Dome must have been a huge decision. What supported you through that challenge? Also, how did you feel after performing the "Prologue" shows?

Hanyu: Although I was the only one skating in GIFT, I was supported by incredible people like MIKIKO-sensei and many others who helped create the show. Because of that, I had no doubts about the performance itself. Of course, I felt anxious and pressured about my own execution, but thanks to everyone's support, I was able to believe in myself until the very end.

For Prologue, it was my first time performing an entire solo ice show from start to finish, so I was genuinely worried about whether it would meet everyone’s expectations. I worked hard on building my stamina, adjusting my condition for the performance, and refining both the intensity and quality of my warm-ups. I studied and sharpened my senses even more than I would for competitions. Seeing the reactions from those who watched Prologue became a source of motivation that helped me move forward with GIFT.

 

— In your solo shows, you've mentioned stamina as a challenge. During last August’s SharePractice, we saw you pushing yourself through back-to-back performances. Did you feel any improvements in your endurance or confidence?

Hanyu: The kind of practice I did during SharePractice was actually something I had already developed by the fall of 2020. I refined that method further to create a training routine specifically for solo performances. I feel like I now have a clearer understanding of how my training methods work and how they affect my skating.

 

— You’ve also paid attention to your diet to aid recovery. What specific things have you been mindful of with your meals?

Hanyu: I try to minimize my intake of white sugar and additives—not necessarily because I know they’re effective, but more as a kind of superstition I follow. I also pay attention to when and how I consume vitamins and proteins, drawing from the lessons I learned during my competitive career.

During competitions, I’d usually eat around 3-4 hours before performing. However, with ice shows, there are often rehearsals at that time, or it can be difficult to secure proper rest periods between practices. I’ve been figuring out how to adapt through experience and constant learning.

 

— You’ve had to be cautious about injuries and COVID-19 prevention. How did you approach practicing with all those concerns in mind?

Hanyu: Injury prevention has always been extremely challenging. Even now, I have to push myself to the limit to improve, and for both solo and group performances, I give everything I have. While pushing my limits, I take meticulous care to avoid injuries.

Especially during practice, I tend to push myself far beyond my limits, so as a professional, I’ve learned to tell myself that sometimes stopping training at 105% effort is part of responsible practice.

 

— As a professional athlete, you must maintain strict control over your physical condition. Have your strategies for conditioning or peak performance changed since turning pro? Have you allowed yourself any new freedoms you previously restricted?

Hanyu: Not at all. In fact, I feel like I’ve only become stricter with myself. I’m constantly thinking about how to use my time after waking up to optimize my training.

 

"A Program That Holds Value as Yuzuru Hanyu"

 

— After Prologue and GIFT, did you feel a sense of accomplishment or loss? Did you find any motivation or recovery to move forward?

Hanyu: I did feel an enormous sense of accomplishment, but even more than that, I now feel a deep sense of sadness. The time spent bringing all my ideas to life and creating something together with so many incredible people passed by so quickly. Even now, I still have the feeling of, “Ah, it’s really over.” Honestly, there’s a part of me that wishes I could go back to that time.

 

— You also started a YouTube channel to share your own work. What inspired you to begin? Managing a channel must be challenging—can you share some of the difficulties as well as the joys of connecting with fans?

Hanyu: The initial reason I started YouTube was that, without competitive events, there would be fewer opportunities for people to see my performances. I thought it would be nice to have an easy-access platform for those who wanted to watch my skating. I also thought it would bring joy if I could keep sharing my latest performances there.

Managing the membership feature has its challenges. I sometimes feel pressured, thinking, “I haven’t done anything this month!” There are moments when inspiration strikes suddenly, and I rush to shoot and edit a video, only to face issues like music licensing delays. It’s not something that can be done just for fun, but I want to keep performing with all my heart and making videos as best as I can.

 

— It’s been a year since you became a professional skater. Are there any non-skating activities you’d like to pursue?

Hanyu: I’d like to contribute by donating to skating rinks, helping improve facilities, and supporting victims of earthquakes or natural disasters.

 

— Your Winnie-the-Pooh has returned safely, and you’ve also shared moments from skating at the Cricket Club on social media. After visiting Toronto again for the first time in three years, how did you feel about the place where you trained from 2012 to March 2020?

Hanyu: Once again, I was reminded of how incredible the environment at the Cricket Club is. In my opinion, there isn’t a rink with better ice quality anywhere else—it’s the best ice for me. Toronto has changed quickly, with new buildings going up rapidly since 2012. But seeing familiar shop signs and streets from back then brought me a sense of peace. I don’t think there’s another place overseas where I can feel as calm and comfortable as I do there.

 

— Do you have any new goals or challenges for the next season? Are there any particular performances or types of music you’d like to skate to?

Hanyu: My goal is simply to deliver the best performance I can at any given moment. I haven’t decided what kind of ice shows or programs I’ll be doing yet, but no matter the situation, I want to skate with all my heart.

I also want to challenge myself with programs from various genres. However, I don’t want it to end just as an “experiment” or challenge. I want to perform pieces that hold true value as Yuzuru Hanyu. Little by little, ideas are starting to take shape, so I want to keep improving my skills to make those ideas a reality.

 

[yuzurujenn]

Source: https://m.weibo.cn/status/4938405832296504

https://m.weibo.cn/status/4938416761870294

 

 

Special Interview Tanaka Nobuaki x Noto Sunao
Talking in detail about professional skater Hanyu Yuzuru!!

 

Excerpts

 

Spoiler

Q: Have you noticed any changes in his expressions and performances since his transition?

 

Tanaka: I feel like I see him smile less often now. Back when he was competing, I used to capture moments of him smiling when his eyes met his coach’s during practice, and his expressions when they talked. But now, even during practice, it seems like he’s constantly battling and struggling within himself, and I hardly ever see those softer expressions anymore.

 

Noto: That’s true. You don’t really see those moments during practice anymore.

 

Tanaka: Doesn't it change the moment he steps onto the ice? It’s like a switch flips, as if he’s heading into battle. If he lets his guard down even slightly and gets injured, everything could come to an end. In that sense, I think he’s extremely cautious. If he can't perform at his ice show, hundreds of people involved will be affected. I wonder if he now feels the weight of that responsibility even more deeply.

 

Noto: His expressions have completely changed.

 

Q: Tanaka-san, you often say “cute, cute.” Are those gestures and expressions something he does intentionally?

 

Tanaka: That kid really does have all sorts of cute aspects to him. And his smile isn’t always the same. That’s really unfair. But I guess that’s exactly what fascinates us.

 

Noto: How should I put it… He never seems self-conscious at all as the subject. That’s why we can capture him naturally.

 

Q: When he is asked to "give me a cute expression", does he get shy like "Eh——"?

 

Tanaka: We have met quite often, but usually only at competitions, and at most 4-5 times a year. And unlike journalists or writers, photographers rarely get close to him. Yet, he still makes an effort to understand us. Once the shoot begins, Hanyu just tears down that invisible wall and jumps right into our world. It’s rare to find a subject like that.

 

Q: When photographing him, is there anything he’s particularly particular about?

 

Noto: I think it’s the same for other photographers as well. Hanyu tries to understand what kind of shots the photographer is aiming for at any given moment.

 

Tanaka: He’s a very considerate person. There was this one time when about eight media outlets gathered for individual interviews. Each media was assigned a time, and I ended up being the last one to shoot. Everyone was photographing in the same room, and I asked him, “Hanyu, how about posing like this?” And he replied, “Tanaka-san, I just did that earlier.” So I suggested another pose, and he said, “I already did that one too. What should we do?”

 

Q: He tries to avoid repeating poses for each photographer as much as possible. Was it because it was Tanaka-san that he said that?

 

Noto: That might be part of it, but he’s really just someone who always thinks about others.

 

Tanaka: I couldn’t help but say, “Thank you so much.” He truly is a thoughtful person.

 

[yuzurujenn]

 

Source: https://m.weibo.cn/status/5139096332406115

https://m.weibo.cn/status/5139105461838415

https://m.weibo.cn/status/5139113288927896

 

 

◆Their Style
Patine Leisure Co., Ltd. / Iihashi Yasutaka, Takahashi Futao

 

Two ice makers, Iihashi Yasutaka and Takahashi Futao, who were responsible for laying ice at the Tokyo Dome, were interviewed. They talked about how the ice rink was built, including the ice making process at the Tokyo Dome and shared a little story with Hanyu.
 

Spoiler

【Sprinkling water for three consecutive days and nights to make ice】

 

— What is the specific process for building an ice rink?

 

Iihashi: Take our current tour as an example. We start setting up the venue on Monday and complete the basic framework of the rink by the evening. Then, staff members take turns continuously sprinkling water for three days and nights to create the ice, ensuring everything is ready for the official performance on Friday.

 

Takahashi: While it’s possible to pour 1 cm of water at once to freeze into ice, doing so results in a brittle and fragile surface with insufficient strength. This can cause large cracks when landing jumps, so it’s better to freeze the ice gradually, as this improves its durability.

 

Iihashi: To prevent damage to the cooling pipes from the impact of jumps, we aim for an ice thickness of 5 cm above the pipes. Each time you sprinkle water, you can only form about 1mm thick ice, so you need to sprinkle water about 50 times to achieve the ideal thickness.

 

Takahashi: In the initial stage, we must secure the cooling pipes while allowing the water to freeze to prevent them from floating up. Then, we use specialized nozzles to adjust the spraying range according to the rink size. For example, on a 25m × 50m rink, two people spraying water takes about 20 minutes. After that, we wait roughly an hour for the ice to dry before spraying again. This process needs to be repeated over and over again, which is very time-consuming.

 

— Some venues may not have a perfectly level floor. How do you handle that?

 

Iihashi: If the floor has a significant slope, we adjust it by laying a layer of plywood on the base surface. Most modern venues have relatively flat floors, but some still have height differences. Typically, we use 24mm-thick plywood to cover the floor, and for lower areas, we add an extra 12mm layer to even it out. The standard process is to first lay a waterproof sheet over the venue’s protective layer, then add insulation materials, followed by plywood, another waterproof sheet, and finally, the cooling pipes.

 

— How has refrigeration technology evolved?

 

Takahashi: During the Sapporo Winter Olympics, iron pipes were embedded in concrete for refrigeration. However, these pipes would corrode after about 10 years, requiring periodic replacement.

 

Iihashi: Later, polyethylene pipes with a diameter of about 5 cm were introduced for ice rink construction. However, these pipes required a large amount of coolant, leading to larger water pumps and lower overall efficiency. Now, we use a small-diameter cooling pipe originally developed by the U.S. military, making the system more compact and efficient. The new cooling pipes have an outer diameter of just 9.5 mm, with 24 pipes installed per meter, and they can be rolled up for easier transportation and installation.

 

 

[The 30m×60m ice rink seems particularly small]

 

— Since the venue for "GIFT" was the Tokyo Dome, did it feel more like constructing an outdoor ice rink rather than an indoor one?

Iihashi: Yes, it definitely felt that way. We were initially concerned about the levelness of the ground, so we went to measure it beforehand. However, the Dome had sufficient internal power supply, so there is no need for additional generators, and water sources were available inside the venue, making things more convenient than we expected. But the venue is really too big, and it was exhausting just walking around. It takes a lot of time just to get something you forgot to bring (laughs).

 

Takahashi: Our rest areas are also located in different places, so it's troublesome to walk back and forth. Walking on the soft artificial turf makes me tired more easily than usual (laughs). When I first heard about building an ice rink inside the Tokyo Dome, I thought, “If we can pull this off, it’ll be amazing.” Some people even asked me, “Are you covering the entire field with ice?” Since we had a sense of the dimensions, we built a 30m × 60m rink, but from a bird’s-eye view, it still looked quite small.

 

— Besides concerns about the ground, were there any other worries when you first heard about constructing an ice rink in the Tokyo Dome?

Iihashi: The idea was proposed in the summer of 2022, and we conducted several on-site inspections and discussions whenever the venue was available. Since we were building the rink on artificial turf, we expected it to provide some cushioning. However, we were also concerned that if the turf was too soft, the ice would become slushy when the ice trucks entered the arena. In the end, it turned out to be a non-issue, but we were also worried about whether the weight of the ice would impact the artificial turf. We wanted to take a small sample of the turf and simulate the same weight for testing, but the staff told us that “the stage equipment for concerts is much heavier than this, so there’s no need to worry.”

 

Takahashi: Usually, the air conditioning in the arena will blow directly onto the ice surface, causing partial melting, but this time there was no such problem, so it was a bit easier.

 

Iihashi: The management of the ice rink after its construction was pretty much the same as usual... For example, in large venues like Saitama Super Arena, where the World Championships are held, it can be quite nerve-wracking. When the venue is full, the indoor temperature rises by about 2°C, so I was wondering what it would be like if 35,000 people entered at the same time.

 

Takahashi: In a typical ice show, where the audience is seated close to the rink, even just the collective “Wow!” from the crowd can noticeably raise the temperature. But the audience at Tokyo Dome was farther away, so the temperature didn't cause much trouble this time.

 

— What was the ice-making process like?

 

Takahashi: The entire setup period was less than a week—only five days—and we had just about two days for the actual ice-making, so time was extremely tight. As a result, the ice surface wasn’t in its most ideal condition. Hanyu understood the situation and was very understanding. Normally, we use tap water to make the ice, but since tap water is around 20°C, it takes a long time to cool. This time, a cooling device was specially transported from the company to cool the water before sprinkling it on the ice surface, which significantly reduced the time needed for freezing. On the other hand, since the cooled water froze much faster, we barely had any time to rest (laughs).

 

[Hanyu’s Thoughtful and Heartfelt Gratitude]

 

— In so many venues, does Hanyu talk about the ice surface?

 

Iihashi: Yes, he does, but Takahashi interacts with him more in that regard. One moment that left a deep impression on me was during the 2014 World Championships in Saitama. I was standing by the rink when Hanyu came over and asked, “Is there any way to make the main rink feel like the practice rink?” In reality, due to structural differences, the main rink was a movable type, making it naturally softer, whereas the practice rink was built on concrete. After I explained this to him, he simply said, “I understand,” and walked away with a look of relief.

 

Takahashi: He never brought it up again after that. But he has always expressed his gratitude to us, was very attentive and considerate to the ice crew, and always cared for everyone with warm words.

 

— Were you both able to watch the actual performance?

 

Iihashi: Since we needed to monitor the indoor temperature and the ice surface temperature, we had to stay inside the venue, and Takahashi was stationed at the side of the rink the whole time. Due to the limited number of attendees for "GIFT," it was just the two of us at the rinkside.

 

Takahashi: I always watch from the rinkside, so I can sense Hanyu’s mood and condition each day (laughs). He always comes up to me after the performance and says things like, "The ice was great today," which makes me really happy. He once told me, "Other skaters may not be so sensitive, but I judge whether the ice is good today by how I skate after landing on the ice." He said that if he skates out smoothly after landing, he would think, "The ice is really nice today." So whenever he tells me, "The ice was great today," I feel truly happy from the bottom of my heart.