[2022.09.29] Figure Skating Life Extra "Life on Ice Yuzuru Hanyu"

[yuzurujenn]

Info: https://www.amazon.co.jp/dp/4594619525 

https://x.com/fskating_Life/status/1565520538755182592

 

 

Yuzuru Hanyu has announced his professional turn and is embarking on his second skating career.

To commemorate this departure, we have compiled his extraordinary 18 years of competitive life in one book. The staff of "Figure Skating Life" look back on the achievements of this unprecedented skater through records of his growth and exclusive interviews that have been watched over by him. In addition, long interviews with those involved who have continued to support Hanyu praise his talent and efforts, as well as revealing a number of episodes that have never been revealed before. In addition to the "Hanyu Yuzuru History" written with photos and text from 2004 to 2022, it also includes the latest cuts and exclusive interviews from "SharePractice", making it a large volume, 192-page permanent edition.

 

●2004-2022 Yuzuru Hanyu History Record of struggle

●Yuzuru Hanyu Competition record

●Interview

・About Yuzuru Hanyu's "jumps" -- Tsuzuki Shoichiro, Ghislain Briand

・About Yuzuru Hanyu's "expression" -- David Wilson, Shae-Lynn Bourne, Abe Nanami

・About Yuzuru Hanyu's "musicality" -- Kiyozuka Shinya, Yano Keiichi

・Message from Skaters -- Tanaka Keiji, Yamamoto Sota, Sumoto Mitsuki, Sato Shun, Miura Yoshio

・Special Interview -- Ghislain Briand "Yuzuru, if you're happy, I'm happy too"

●Declaration of determination press conference

●SharePractice report & latest interviews, etc.

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: Figure Skating Life Extra "Life on Ice Yuzuru Hanyu", pg 152-157

 

 

About Yuzuru Hanyu’s “Expression” (Part 2) - David Wilson
"Yuzu has grown into a performer with extraordinary charisma."

 

David Wilson, the renowned choreographer behind pieces like "Romeo and Juliet" and "Notre-Dame de Paris," has also been responsible for many of Hanyu’s recent exhibition programs. We asked him how he felt about Hanyu’s evolution as a performer.

 

Spoiler

— Yuzuru Hanyu recently announced his transition to becoming a professional athlete. Could you share some of your memories of working with him over the years? Maybe starting from when he first came to the Cricket Club in 2012?
"It all started when Brian Orser told me, 'An incredible kid is coming.' Until then, I really didn’t know anything about Yuzu and I had never seen him skate either. Brian had told me that he was a Junior World Champion and had great talent, but more than anything, I was really excited about the fact that he would be based in Toronto. You see, although I’ve worked with skaters from all over the world, it’s rare and special to actually be able to see someone practice regularly on the same rink."

The First Choreography: Notre-Dame de Paris

"When we first began working together, we started from the music selection. Even back then, Yuzu already had a strong sense of what music he wanted to skate to. By the way, I personally think it's a very good thing when a skater takes a keen interest in their music. In our first discussion, Yuzu said, "I want to do The Phantom of the Opera," but I was reluctant for two reasons. First, I felt that Phantom had been used quite frequently by others in recent years, although it’s a wonderful work and there are countless ways to approach it musically. The second reason was more personal. I had recently started choreographing for Patrick Chan. Phantom had been Patrick’s free program before and had become something of a signature piece for him, even though I wasn’t the choreographer, it was Lori Nichol. Given that it seemed likely Yuzu and Patrick would become future rivals, it felt a bit awkward for me to take on Phantom with Yuzu. I wanted to show respect to both skaters. So instead, I proposed 'Notre-Dame de Paris.' It carried a similar musical atmosphere and I thought that skating to it could create a comparable mood. Fortunately, Yuzu agreed to this compromise."

— What was your impression of Hanyu’s skating when he was 17 years old?
"When we first started training together, I was really excited. I even told Brian, 'This kid is really amazing. He has incredible elasticity in his skating, and he has the charisma and power of Toller Cranston.' I remember being very inspired by his talent and excited that he could do so many things, even though he was still a young boy. However, during that first year, we really struggled with building up his stamina. Because of that, making sure he properly focused on the choreography became a major challenge for me. At the time, Yuzu was also gaining a lot of attention as a rising star, so he was very determined, thinking 'I have to nail the jumps!' As a result, there were times when he couldn’t fully pay attention to the choreography of the programs."

—The first competition of the 2012–13 season was the Finlandia Trophy, right? After his free skate, he looked very exhausted.
"At the beginning, his stamina was definitely an issue. It's really demanding to perform the program exactly as choreographed. You have to move your entire body while also managing your breathing patterns carefully. At the time, it looked to me like Yuzu was trying to conserve his energy for his jumps. For example, there were moments where he was supposed to do a full rotation with his upper body, but he'd only turn it halfway. But even then, it never looked bad. Even if he showed signs of fatigue, his movements and skating were always beautiful. Still, during the competition, he couldn't perform as well as he did in practice, so I remember always complaining about something to him during those first two seasons (burst out laughing). Because I thought he could do so much more."

—By the way, what was the concept behind "Notre-Dame de Paris"?
"I wanted Yuzu to immerse himself in the story of the musical. I wanted him to feel the passion of that epic story."

—So, you didn’t mean you wanted him to literally play Quasimodo, right? (laughs)
"No, no, of course not. There's no way he could recreate the entire story on his own. What I hoped for was that he would convey the passion unique to French musicals, behind this love story involving many different characters. Not Quasimodo himself (laughs). Though honestly, at that time, it might have been a little too heavy for him."

Yuzu's longing for "Romeo and Juliet"

—And then, the following season, the theme chosen for his free skate was "Romeo and Juliet." I heard that Hanyu sent you an email asking for this song.
"Yes, he sent me a long, long email, and it was like a confession. I was really moved. I thought, how can he be so thoughtful at such a young age? Now that I think about it, he might have been worried that I would reject Romeo and Juliet again because I had rejected Phantom the previous year. After all, it’s a piece that choreographers have used countless times, and I myself had choreographed it for Sasha Cohen before. So, in the email, he clearly stated, "I really want to use this piece. I need your help." I felt that this kid is really smart and reliable, and knows what he wants to do. I even showed part of his email to Brian, and said, 'It’s a piece that’s been used a million times, but after reading this, I have no choice but to do it.'
That level of hunger... I had never met an athlete like him before. I’ve worked with many great athletes, but the hunger and strength of will that he has is unparalleled. I’ve never met anyone with such a high level of motivation, driven purely from within. Usually, with many athletes, their motivation is fuelled by external factors, such as being pushed by passionate parents, or feeling a sense of duty toward their country, things like that. But with Yuzu, none of that was necessary. All of his drive comes purely from within himself."

—So, what was the concept behind "Romeo and Juliet"?
"It's a story where all the elements are already there as everyone knows the plot of Romeo and Juliet. So aside from the fact that it's a tragic love story, there wasn't much we needed to overthink. I was entrusted with the music editing, and I remember that once we actually started choreographing, everything came together really smoothly. It made me so happy back then. Yuzu worked really hard to build up his stamina for that program, so he was able to put more effort into the choreography. At the Olympics, it wasn’t his best performance, and maybe that was frustrating for him, but it doesn’t change the fact that he still won, beating out the other competitors. And without a doubt, he had made clear progress compared to the previous year."

A Temporary Farewell — Yuzu’s Evolution

— After that, for a while starting the next season, you no longer choreographed for Hanyu-san. But since you were both at the same Cricket Club, were you still able to observe his evolution even if you were a bit distanced?
"Yes, I watched it all with great enjoyment. Jeff (Buttle) and Shae (Lynn-Bourne), who choreographed Yuzuru's subsequent programs, are dear friends of mine. I have a great deal of respect for their talent. Especially Jeff, since I had choreographed his programs for years, he feels almost like my own child. I think very highly of his choreographic abilities. Each year, I was genuinely impressed by the programs Jeff created for Yuzuru. I could also see that he was raising the bar for Yuzu year after year, and I was happy to see Yuzu being inspired by that, working hard to skate in a way that lived up to Jeff’s choreography without falling behind.
The short programs were fine, but the real challenge for Yuzu was always the long programs, mainly because of stamina issues as I mentioned earlier. However, with the arrival of Shae-Lynn, who has her own unique passion and strength, she was able to draw out that ‘extra push’ from Yuzu. Thanks to that, compared to the two seasons I spent with him, Yuzu grew stronger and stronger and became able to skate the long program fully. I think that’s a huge achievement of Shae-Lynn’s. Not only did she create wonderful programs for him, but she also helped him build the physical strength needed to fully express them. It’s something I wasn’t able to do for him.”

Another collaboration — "Notte Stellata"

— Later on, you returned to choreograph for Hanyu-san once more. "Notte Stellata" is beloved by his fans as one of your masterpieces. Can we say that it marked a new phase in your relationship?
"Exactly (looking into the distance, filled with deep emotion). I remember telling Brian at the time, ‘It's so much fun to create show numbers with Yuzu because he puts 100% of his effort into the artistic side of the program.’ So I decided to do "Notte Stellata" without jumps. Until the very end. Then he finally jumps a huge single axel, does another lap, then a triple axel. It comes out of nowhere, so it just makes you go, ‘Wow!’ doesn’t it?"

— Whose idea was that?
"It’s me. I absolutely love Yuzu’s delayed Axel, so I thought it would be best to hold off on all jumps until the end to showcase it. Suddenly, that delayed axel appears, and while you're still basking in the afterglow of, "What was that? What happened?", he does a triple axel. But it’s not just that, the contrast with the way Yuzu completely surrenders himself to the music enhances the entire effect. He truly immersed himself in every nuance of the music and followed me. I'm the type who loses myself in the music when I choreograph. For me, choreography is like weaving a magic spider web. Everything is connected and unravelling and spreading, just like life. It feels like a continuous thread, but sometimes it brings great surprises too. That’s why you need to be conscious of each moment. That’s the way I approach choreography. And Yuzu was able to follow me all the way into that state of mind. From the very first note, I could feel he was pouring everything he had into the artistic side. That’s why the jumps became even more meaningful. They’re integrated as part of the whole package. That’s exactly what I’m looking for."

— The spins in that program were also innovative, with movements like swan wings.
"Yuzu is a great spinner, with fast spinning speed and a stable axis. He spins like a top, and because he’s so flexible, he can create beautiful postures. That’s why his spins are not only dynamic but also very exciting to watch. t's also a lot of fun for the choreographer. With a skater like Yuzu who is good at spinning, it's possible to create a truly amazing "moment". When I say things like, 'Try this,' or 'How about that,' he would show me all kinds of ideas, and it was just fascinating. I remember it felt like a 'best of both worlds' process, where I thought, 'What if I try adding this to the previous position this time?' Since Yuzu can do anything, he actively participated."

— He also performed this program at the gala exhibition during the PyeongChang Olympics.
"(Again, deeply moved) I feel truly honoured. The first two years went by so quickly, and I was left with a feeling of disappointment. Not towards him, but towards the situation at the time. I felt that because I lacked the ability, I wasn’t able to properly convey to him what I wanted to express (gestures as if trying to reach for something). Do you understand what I mean? I desperately tried to reach out to him and tell him, but I just couldn't find the way. So I decided to step back and wait for him to find it (what I was trying to tell him) with those two amazing artists (Jeff and Shae). But then, some time passed and I got the chance to create something with him again. (Ahh! Looks up in the sky) What a fulfilling experience! It felt like it was worth it in so many ways, this old man here was so happy! (big laughs)"

A New Challenge: "Raison"

— After that, the two of you also created "Haru yo, Koi," which Hanyu-san performed at the gala exhibition during the Beijing Olympics. And this year, you co-created "Raison," which he performed at Fantasy on Ice. Was it difficult to choreograph to a Japanese song?
" When choreographing foreign songs, whether they have lyrics or not, I always ask the skater to explain in detail what the song is about. I can't choreograph if I don't understand the background. Yuzu, in that regard, is very good at explaining the background of a song. For 'Raison,' I had him translate the lyrics line by line, and that allowed me to understand what the artist was trying to express. That song is based on the French expression 'Raison d'être,' right?"

— The program drew a lot of attention for incorporating various new movements, like lying down on the ice during the choreography.
"Ah yes, that choreography. Yuzu approached me, saying, 'I want to do a choreography lying down on the ice,' so we tried out a lot of different things. We went back and forth, trying this and that, but we paid very close attention to the lyrics. We followed them line by line and built the choreography from there. It was very interesting. When I first heard the song, I thought, 'This has a very different vibe from anything Yuzu has done before,' and I got really excited. However, I couldn’t immediately picture what the final product would look like, and it was only after Yuzu explained everything in detail that I finally thought, 'Ah, I see!' and it clicked."

— You showed on your Instagram that the choreography sessions were conducted over Zoom, right?
"I don’t mind choreographing over Zoom. It’s one of the few good things that came out of the pandemic, it made working with overseas skaters much easier. Of course, working with Yuzu wasn’t under ideal conditions, but he can do anything (operating the equipment, etc.), so it went very well, despite my concerns. He's very talented and strong-willed, so he can do anything in any situation. Well, it took about four or five sessions, two hours each. After that, Yuzu would practice what we worked on during the session, record a video, and send it to me, and I would give feedback. That way, I could clearly see how much progress he had made by the time of the next session. That true professionalism is what makes Yuzu so great. He always knows exactly how to maintain himself at his best. There are so many skaters who just leave it up to others to think for them, but Yuzu always takes the initiative himself. That’s exactly what being a 'pro' means, isn’t it?"

"Notre-Dame" Revival

— Your relationship with Hanyu-san has evolved significantly, but did you know that he performed "Notre-Dame" for you at Fantasy on Ice?
"Yes, yes, I know (seemingly overcome with emotion). I saw the performance. Actually, he had contacted me about that piece and said, 'I’d like your help.' But it was very last-minute, and unfortunately, we couldn't coordinate our schedules in time. So Yuzu said, 'I’ll try to put it together myself, and when I've managed it, I'll send you a video.' In the end, all I could do was help him with the part he performed on stage. I advised him, 'When you come onto the stage, kneel down and try to draw inspiration from the woman singing.' I told him to make it as theatrical and expressive as possible. As for the on-ice choreography, it seems he reworked the choreography from the original old program himself. It ended up fitting perfectly with the little theatrical scene he performed live that day."

— After the show, he said he dedicated that scene to you.
"I was so moved that I was overwhelmed with tears. Truly, my eyes filled up with tears... And not just because he performed that piece. Recently, Yuzuru has sent me many heartfelt messages of gratitude. We choreographers don't usually get thanked like that. Well, I guess I’m one of the lucky ones, but I’m really touched."

 

The Presence of Yuzuru Hanyu in the Skating World

— Lastly, what do you think are the reasons Hanyu was able to become such a special presence in the skating world?
"There are so many reasons. First, his passion, his energy, and, as we discussed earlier, his motivation. Just witnessing someone so driven from within is already a powerful source of inspiration. He is someone truly deserving of the title of 'legend.' In every sport, there are figures like that. It’s not just about winning a few times, but about overwhelmingly dominating the sport and being remembered as an iconic figure for generations to come. Yuzu is that kind of presence in figure skating. That’s what he is. From now on, he won't just be remembered as 'a former champion.' There was definitely an era, the 'Yuzuru Hanyu era.' Do you understand what I mean? In any case, that's the kind of existence he is.

One more thing... I recently had the opportunity to work with him again and realized that over the years, he has grown into an incredible performer with unbelievable charisma. His charisma is so overwhelming it feels like it's pouring out of his ears and nose (with gestures). You don't often see that even among actors or musicians. If I had to compare, maybe Celine Dion or Meryl Streep. Yuzu's charisma is enough to cause a revolution in the skating world. My close friend Sandra Bezic, who herself built an era in the figure skating world as a renowned choreographer, says, 'Yuzu is a rock star. There's no other way to describe it. He’s comparable to Mick Jagger.' When he steps onto the ice, it’s as if no one else is there. He completely takes control of the space. When he starts skating, it’s as if he’s saying, 'Look at me!' even though he isn’t doing anything. It’s difficult to put into words, how and why this happens. But whatever it is, Yuzu ‘has it’. Shae-Lynn Bourne also 'had it.' Her charisma was incredible. In that sense, I think the influence she had on Yuzu went beyond just choreography. Her attitude toward practice and work, her meticulous preparation, and her constant natural charisma, I feel like spending time together allowed those qualities to transfer to him as well."

What I hope for Yuzu as a professional performer in the future

— Is there any genre or program you would like to see Hanyu explore now that he has turned professional?
"I can't think of a specific program right now. But I've always wanted Yuzu to become a true "professional performer" and to reach a level that goes beyond typical boundaries of today's pro skating.

Over the past 20 years or so, ice shows have mostly turned into 'gala-type' performances. They gather a bunch of stars, each skates their number, and then there’s the standard group number... I'd love to see something more substantial, where the entire show is treated as a work of art, with a solid concept, and Yuzu collaborates with others to create something greater. I want him to explore what figure skating can be as a true art form and what possibilities lie there. Yuzu has already perfected figure skating as a sport. It's a good thing that he wants to maintain and improve his level as an athlete, even after turning professional.
However... back when I was performing in the Ice Capades ice show from 1985 to 1991, there was a skater named Robert Wagenhoffer. He didn’t achieve great results in competitions, but in my opinion, he was one of the greatest skaters of all time. He was doing quadruple toe loops and quadruple salchows much earlier than anyone else! He was showcasing these in the shows. He would do backflips and acrobatics, and even in group numbers, he stood out. We, the skaters and choreographers, absolutely revered his skating. 

Knowing that someone with that level of technical skill and charisma existed, I would love for Yuzu to prove that such a balance is still possible. I hope he continues to explore from a broad, expansive perspective, using his incredible charisma. Rather than just skating solo programs, it would be amazing if he could create a large-scale production with Yuzu at the center. I hope that Yuzu will be successful on a global scale. I hope many people will support him financially and in various other ways, so that he can achieve what he wants to do. I'm sure that whatever he creates will be amazing, and he is worth it."
 

 

 

 

PROFILE
Born May 25, 1966, in Canada.
After retiring from competitive men's singles skating at the age of 18, he pursued a career as a professional skater. Later, based in Toronto, he became a coach and choreographer, creating programs for Olympic medalists such as Jeffrey Buttle, Kim Yuna, Javier Fernández, Patrick Chan, and Yuzuru Hanyu. Among Japanese skaters, he has choreographed for Midori Ito, Nobunari Oda, Miki Ando, Daisuke Takahashi, Mai Mihara, and Rika Kihira, among others.
 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: Figure Skating Life Extra "Life on Ice Yuzuru Hanyu", pg 146-149

 

 

About Yuzuru Hanyu’s “Expression” (Part 1) - Nanami Abe

“Etude,” born from the earthquake, expresses the strength to face hardship.

 

Coach Nanami Abe supported Yuzuru Hanyu during a season of great growth, both as a coach and as a choreographer who created many masterpieces. We asked her about the thoughts behind each program, as well as the roots and talent behind Yuzuru Hanyu’s expressiveness.

 

Spoiler

--Which program was the most memorable for you?
I began directly coaching him right after the 2006 All-Japan Novice Championships, when he was in sixth grade. Partway through that season, we decided to make a new program. When I thought about what music to use, the very first thing that came to mind was “Sing, Sing, Sing.” At the time, we were using that song in basic stroking practice, and he really loved it. Even in simple practices with just crossovers and strokes, he was expressing the music with his whole body. I remembered young Yuzuru saying, “I really love this song,” so I thought, “This has to be it,” and created the program.

There was a competition version and an exhibition version. In the exhibition version, he used a hat as a prop. There was a movement where he tightened his tie as if to say, “All right, I’m going to dance now,” but I remember he had a hard time getting it right (laughs). It was the first piece I ever choreographed for him, and I remember really enjoying the choreography process.

-- The Novice A free skate "Firebird" was also memorable. At the time, you told me that he practiced movements like hatching from an egg and spreading his wings, gradually taking flight into the sky, and just like that theme, it turned out to be a season where his results truly soared. (He placed third on the podium at the Japan Junior Championships, having been recommended from the Novice category.)

Just before the All-Japan Novice, I gave birth to my second child, so things were quite hectic, but it was a very memorable season. That year’s Junior Nationals were held in Sendai, and immediately after the competition, there was also practice for the NHK Trophy flag skaters, which was held in Sendai as well.
After the competition, the flag skaters were allowed to practice at that same rink. Everyone was wearing matching blue costumes, but Yuzu didn’t have time to change, so he practiced in his red “Firebird” costume. It was quite funny as he was the only one in red at the front (laughs). With events like that going on too, it was quite a hectic season.

--And in the season after “Firebird,” I remember him saying a bit disappointedly, “When I said I wanted to use a violin piece, Sensei told me, 'It's too early for you.'"
Yes, I did (laughs). It was “Introduction and Rondo Capriccioso.” Violin is nice, of course, but I thought the sound of the piano suited him much better. I think it’s quite difficult to express the violin’s lingering, drawn-out tones through body movement. At that time, I felt piano music would be better for him, so for the next season we used the piano piece “Rhapsody on a Theme of Paganini.” If I remember correctly, after that, he told me that he wanted to do something with the violin again (laughs).

--His final short program as a competitive skater ended up being “Introduction and Rondo Capriccioso.” It must have been a piece he cherished for a long time.
That may be true. When I saw that it was a piano arrangement, I thought, “Oh, so there’s a piano version of it too.”

 

 

“Romeo + Juliet”: A perfect match for his ability to express music

--Please tell us some stories about the programs that are indispensable when talking about Hanyu—such as “White Legend,” “Etude,” and “Romeo + Juliet.”
“White Legend” was created with the idea of expanding his range of expression, so I designed it with an image that was not bound by gender. It was a piece I had always wanted someone to skate to. The music is based on the well-known “Swan Lake,” and I thought it would be wonderful if he could interpret it in his own way. I remember deciding on it because I thought the way it builds up from the first half to the second half would align well with the expressive power he has when it comes to music. That program also had a competitive version and an exhibition version. In the exhibition version, I believe he added movements evoking a swan resting still. Unlike in competition, where he has to focus on the elements, I think he was able to concentrate more on expression in the exhibition. The tone of the piece had a distinctly Japanese flavour, so we tried to express that atmosphere in detail through the choreography.

I watched 'White Legend' from the rink side at the charity performance held in Kobe in April 2011, just after the earthquake, and I couldn’t stop crying. The last All-Japan Championships I competed in as a fourth-year university student had been held at that very rink. The morning after the competition, when I returned to Sendai, the earthquake struck Kobe. The rink where we had skated was also damaged, so it was a huge shock. This time, I brought my skater there and received encouragement. The moment he was given a standing ovation, I got goosebumps all over. I believe he was also skating with all sorts of emotions, but personally, I felt encouraged, and I think he, too, was able to feel the joy and gratitude of being able to skate.

--Do you think that performance and experience influenced his skating afterward?
I think that’s probably true. I don’t think he consciously remembers the hardship every time he performs, but I do believe that kind of experience definitely leads to a kind of expression that only someone who has lived through it can convey. Those feelings may come out naturally through a subtle expression or movement.

--What about “Etude”?
This was his free program, and it was during the season right after the earthquake. The season before, he had won a medal at the Four Continents Championships, and we were just beginning to discuss what we might do for the following season when the earthquake hit on March 11. I had just started thinking about possible concepts and looking for music, and then the earthquake happened, which completely halted the process. We were just struggling to get by, and there was no rink. At that time, the manager of the rink in Hachinohe (Technol Ice Park Hachinohe) kindly said, “We can’t open for business, but we have ice, so come skate if you’d like.” That’s where I was able to do the choreography for both “Etude” and “Romeo + Juliet.”

It’s hard to put “Etude” into words, and it might sound inappropriate, but the more I listened to the music, the more the TV images of the coastal areas after the earthquake came back to me. I started to feel an image of fighting back against that. I spoke to him about that, and we decided to go with that piece. That’s also why we chose blue for the costume, to reflect the sea. The strength of the music itself supported the feeling of facing hardship, of not giving up. I think the things he experienced added something extra to the choreography I created.

As for the free skate, I had already settled on the idea of using film music with a strong storyline before the earthquake. We chose the movie version of Romeo + Juliet partly because it's a movie I like, but also because I thought it would allow him to express himself better than classical music would. Also, the 'Kissing You' part was something I had choreographed for Kensuke Nakaniwa when he was still a competitive skater, who is now a coach in Minami Funabashi. One reason I chose it was simply because I liked the song, but at the time, Yuzu was 16–17 years old, and in terms of age he also matched Romeo. I thought that with the combination of the music, we could wonderfully express his energetic nature, kindness, and sensitivity.

--After the choreography was done, I asked Hanyu, "What is your image of Juliet?" and he said, "Everyone watching my performance is Juliet!" I remember him saying that.
I don’t usually go into great detail like, ‘This piece of music corresponds to this scene, so you should have this kind of image’ or tell him to completely become the protagonist. I might say something like, ‘For this moment, since it’s like this scene in the movie, make this kind of face,’ but I don’t set those kinds of things for the whole program. If you have that kind of setting for the entire program, it becomes very tough. In competitions, there are many things to focus on besides expression, so balancing that is very difficult. So, I think he thought about it in his own way and found many Juliets at each venue at the time.

--Is there anything memorable from that season?
The first Grand Prix event was the Cup of China, and the result wasn’t very good (4th place). In the Kiss-and-Cry, Yuzu was saying, ‘Ah, this is no good...’ and was really down, so I said something unusually harsh to him: ‘Are you going to give up here? You still don’t know what could happen.’ Our goal was to reach the Final, so we were pushing to get there somehow.

--After winning the Rostelecom Cup, he safely qualified for the Grand Prix Final. At that season’s World Championships (Nice), there was also the incident where he sprained his ankle right before the short program.
Yes, at that competition, not only did he injure his foot, but his skates weren’t in good condition either. It just so happened that my husband (Toshinobu Yoshida, who handled his skate maintenance) said, ‘Since it’s a rare opportunity, I’d like to go watch,’ and he came alone to Nice. He was at the venue, so we handed over the skates to have them adjusted. As for the injured foot, I wasn’t too worried because he is the type of athlete who has the mental strength to perform properly, no matter how much pain he’s in. I just told him not to ice his foot in front of other people. Even if he didn’t mean to, if he showed others his pain, it might make them worry. I also felt that I didn't want him to show any weaknesses in front of others.

--When I hear about Hanyu’s consideration for others and his thoughts, it reminds me of how his coaches and family have been guiding him since he was a child. I feel that these aspects of his character have become part of who he is now.
Thank you. It makes me happy to hear you say that, but I believe that it’s thanks to his family, his previous coaches, and all the many people who have supported him that he has become who he is today. He’s always taken everything sincerely and seriously. He would listen to me and say things like, ‘Coach so-and-so told me this,’ or ‘Coach so-and-so said that.’ I think his ability to accept someone’s advice with sincerity is part of his character, and I feel very honoured to have been able to be a part of his skating life, even for just a short time.

 

 

“A sense of embodying music and the ability to reproduce music”

--Do you have any other memorable episodes regarding choreography?
In the year he won Junior Worlds, his short program was Mission: Impossible 2. I had him do a movement like turning a steering wheel going into the step sequence. Since he said he hardly ever rides a bicycle, let alone cars, I remembered that Yagiyama Benyland in Sendai had go-karts, so I told him, ‘Imagine driving a go-kart.’ But he said, ‘I’ve never ridden a go-kart.’ Since Yuzu loves games, I said, ‘Okay, then just imagine Mario Kart,’ and he replied, ‘Got it!’ (laughs) He’s turning the steering wheel with such a serious look, but what he’s imagining is Mario Kart (laughs). 

-- Mario Kart, really! (laughs) Earlier, when you spoke about White Legend, you mentioned “his power of musical expression.” Back then, what kind of thoughts did Hanyu have about expression?
I think there are countless ways to express music. Even with the same music, each person interprets it differently. He tries to embody the sounds and rhythms he hears, not just dancing to the beat or having good musicality, but really listening to the music and expressing it with his body. Even from a young age, I felt that he was trying to express things with his whole body. Of course, compared to adults, a child has less experience, so the quality of fine expression is naturally rougher, but I had the impression that he was always doing his best to express things like the stretch and flow of the sound with his body. Even with music in a genre he hadn’t tried before, he never said ‘I can’t,’ and was eager to give it a go. And he always gave his all. That’s really a natural talent.

--He seemed mischievous and energetic even off the ice.
I think he’s always been curious about many things. I believe (Yamada) Mami-sensei had the hardest time with him, and I think if you asked him who was the scariest teacher he ever had, he’d say Mami-sensei (laughs). Without her guidance, things might have been different, and I think if even one of the coaches who came after her had been missing, it wouldn’t have been the same.”

 

--How was he in terms of performing?
When choreographing, we decide: here’s where the jump goes, here’s where the spin starts, and so on. But sometimes, in the actual performance, accidents like falls happen, and the timing for entering a spin might shift just slightly. When that happens, Yuzu adjusts in the moment to match the music he’s hearing. For example, there’s a section where he normally extends his hands during a sit spin, but if the timing of entering the spin shifts because of a fall, he might change how he moves his hands. Some skaters get so focused on the technical elements that they stop paying attention to the music, but in his case, I think the music is always playing in his head. That’s why, after landing a jump, his hand movements or the way he transitions into the next move naturally adjust to fit the music. I feel his ability to move his body in sync with the music he hears is really amazing.

--In the recent open practice, the step sequence he showed at the end had Japanese music as the BGM, but it felt like I could hear ‘White Legend’ as he skated. I thought, maybe he has the ability to reproduce music.
I’m sure he does. These days, speakers have improved, and you can adjust things like emphasizing the bass or making the vocals clearer. But I think that even without any of that, he probably hears all the sounds within the music. Sometimes I think maybe he has that kind of extraordinary ability (laughs).

--Finally, could you give a message to Hanyu, who will surely take on various challenges as a professional?
I believe he will approach performing in front of an audience as a professional with even more determination than before. Being a professional means making it your livelihood, so I’m sure he’ll face everything seriously, from rehearsals onward, to ensure he’s respectful toward the audiences who come to watch and toward everyone involved in the shows. By doing so, I hope he will show his juniors not only what it means to be a professional but also what it means to face skating as a skater. I believe Yuzu himself will be able to show that it’s not just about achieving good competition results, but how you carry yourself is also important, so I think he will continue to be a great role model. And I hope that while enjoying the skating he loves so much, he’ll keep skating for a long time and continue to bring joy and excitement to many people.
 

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: Figure Skating Life Extra "Life on Ice Yuzuru Hanyu"

 

 

"Hana wa Saku" was truly moving as a piece of work -Nanami Abe

 

"Hana wa Saku" was choreographed by Abe Nanami in 2014 as part of the NHK Great East Japan Earthquake Project. Hanyu performed it in the exhibition at the 2021 World Team Trophy. (Reconstructed from "FS Life" Vol.24)

 

Spoiler

—We heard you saw Hanyu’s exhibition performance of "Hana wa Saku" at the World Team Trophy. Could you share your impressions from that time?

“During the morning practice, he himself came and said, ‘Sensei, today I’ll skate “Hana wa Saku”’, so I replied, ‘I’m looking forward to it!’ Because I’ve been involved in choreographing the group exhibition programs for the World Team Trophy for a while, I was allowed to be at the venue. But usually, I’m busy behind the scenes with various tasks, so I can hardly ever watch the athletes’ performances. However, at that time, I happened to have a free moment, and I was able to watch right from the rinkside. Watching his performance, I was truly moved. It was a complete work of art. Also, what left the strongest impression was how his emotions in this performance were completely different from when he skated it in 2014. It felt like a “Hana wa Saku Part 2.” I thought that perhaps something had changed deeply in his heart and that this was reflected in his expression.”

 

—From your perspective, how do you think Hanyu’s thoughts embedded in the program have changed?

“This relates back to when we originally created ‘Hana wa Saku’ in 2014. The NHK production team gave us a general image or concept. Then I shared my own thoughts, and we began the choreography process. First, we talked with Hanyu about the image of the lyrics and how they convey a sense of moving from the past, through the present, and ultimately toward the future. Even at the World Team Trophy, he skated with that broad structure, but this time, I felt a very strong emotional power emerging from him at key moments.”

 

—Before the performance, Hanyu said to the audience, “I hope this performance today can bring hope, courage, and a light to those going through hard times.” We believe there were people who truly felt that light from watching him.

“I think there was a sense of uncertainty, like, ‘Can we even hold the World Team Trophy?’ because of the pandemic. In the midst of that, athletes from various countries gathered and competed in front of an audience. I felt that was such a powerful thing. Those are words that only someone like him, a two-time Olympic gold medalist who has experienced not only the disaster but so much more, can say. It’s not something just anyone can pick up a mic and say, ‘Let’s all do our best!’ It takes courage. I think the power of Hanyu saying that meant a great deal to his fans. He’s someone who has the inner strength to say such things, and he has an awareness of the responsibilities he bears.”

 

—To go back in time a bit, how did you come to choreograph "Hana wa Saku" in 2014, and how did Hanyu come to perform it?

“Before that, I had choreographed a version of ‘Hana wa Saku’ with Shizuka Arakawa and children from Sendai. Later, NHK approached me and said, ‘If possible, we’d like to do a solo “Hana wa Saku” with Hanyu. He has already given his approval.’ After Hanyu left Sendai, I hadn’t really had any interactions with him other than seeing him at competitions. But for something related to the recovery effort, I felt that if figure skating could go beyond being just a sport and become a source of strength, then I would love to be involved. Hanyu, too, I think, always has a strong desire to contribute to recovery in any way he can. So I agreed to choreograph, saying, ‘Please let me help.’”

 

—How did you interpret the song "Hana wa Saku" in your choreography?

“I live in Sendai, one of the affected areas, so I hear this song a lot around town. The image of ‘Let’s work hard toward recovery from here’ was something I naturally had within me. So rather than consciously reinterpreting the lyrics, I focused on the atmosphere of Fumiya Sashida’s voice and how the music starts soft, grows stronger, and then becomes bright as it heads into the future. I choreographed based on that progression.
Also, as we worked, I’d ask him, ‘How about skating this part with this kind of feeling?’ We choreographed while having that kind of dialogue.”

 

—What kind of emotions did you specifically discuss with Hanyu when choreographing?

“At the beginning, a gerbera flower is trampled, and its petals are scattered across the ice. Even when the music starts, he doesn’t notice the flower right away. When the lyrics say, ‘I remember that town,’ that’s the moment he notices the flower. And since that flower symbolized the dead, I told him: ‘Touch the flower, crouch down, and press it to your forehead as if expressing a prayer for the souls.’ I remember trying to draw out emotions from within him as much as possible when choreographing. That opening part remains deeply imprinted in my memory.”

 

His mental strength and focus have grown even stronger

 

—Hanyu has grown immensely over the past 10 years since the disaster. How do you view him now?

“First, I think his mental strength is extraordinary. His concentration in competitions, the way he runs toward one goal with total focus... Humans have weaknesses, so it’s natural to want to give up sometimes. But I don’t think that’s the case with him. His mental side has grown even stronger over these 10 years, and I think he’s an athlete with the ability to control himself.”

 

—This re-performance of "Hana wa Saku" comes at the 10-year mark since the earthquake, and also during the pandemic. Did you feel it resonated more deeply because of that?

“I believe he chooses his exhibition programs while thinking carefully about the timing. When he placed third at the 2012 World Championships in Nice, he skated ‘White Legend’ in the exhibition. That was the same program he performed in the charity ice show in Kobe right after the 2011 disaster. At the time, I was watching rinkside, and his performance was so powerful that I couldn’t stop crying. I think that show became a big turning point for him to start facing forward after the disaster. So I believe that’s why he chose ‘White Legend’ again at the 2012 Worlds.”

 

—It feels like he always wants to deliver programs that reach out to those suffering.

“Now that he’s older and has experienced the hardships of the disaster, I think he skated with a sense of, ‘I understand the pain of needing to restrain yourself during the pandemic. I really do.’ Of course, the disaster and the pandemic are entirely different, but because he understands that kind of suffering, I believe he was skating with the thought: ‘What can figure skating do precisely because it is figure skating? If there’s something people can feel from this, I hope they do.’ Maybe that’s why I felt something completely different when I saw this performance of ‘Hana wa Saku’ live — maybe that’s what it was.”

 

—After watching his performance of "Hana wa Saku" at the World Team Trophy, is there anything you’d like to tell Hanyu directly?

“Right after the performance, there wasn’t much time, so I could only say, ‘That was wonderful.’ Figure skating is a sport, but it’s also a highly artistic form of expression. His performance at that time went beyond sport, it was expression. So I hope he will pass on that aspect of putting emotions into skating to the younger generation. There are plenty of resources to study technique, but expression is something that comes from within, and teaching emotional interpretation is difficult. If he could say to them, ‘This is how I do it, maybe you can try it like this too,’ I think that would really resonate with young skaters. When someone you admire says something to you, it can leave a huge impression. It’s something you probably never forget. Since he can perform at such a level, I hope that someday he’ll take on the role of passing that on to the next generation, those young skaters with shining eyes. That’s what I’d like to tell him, if I ever get the chance.”