[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 now skates with the feeling of “I understand, I really do” toward the pain people feel during this time of self-restraint due to the COVID-19 pandemic. Of course, the earthquake and the pandemic are completely different things, but because he understands that kind of suffering, it seemed like he was performing with the thought, “What is it that only figure skating can do? If there’s something people can feel through it, I want them to.” Maybe that’s why, when I saw Hana wa Saku live at the World Team Trophy, I felt, “It’s definitely different from before.” I think that’s what made it feel different.

 

—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. I think his performance at that time was an expression that went beyond the realm of sport. 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.”

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

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

 

 

Message from Skaters: Tanaka Keiji

 

Skaters with a deep connection to Yuzuru Hanyu and junior skaters who look up to him shared their memories of Hanyu and messages for his new beginning.

 

Spoiler

Seeing his attitude made me want to not give up

--Can you tell us about the first time you met?
“At a training camp in Nobeyama, we first gathered and were sitting in line, and he was sitting in front of me. That’s where we introduced ourselves and started talking. We were in the same room, so we got along and talked. Even back then, watching him skate and take dance lessons, I had the impression that he was really good at skating.”

--Has that impression changed since then?
“Not much has changed. As skaters, we grew up together, and being from the same generation, we pushed each other because we didn’t want to lose. Not just the two of us, I think it was a generation where everyone spurred each other on. It was a meaningful time.”

-- Among your generation, there were many male skaters, like Ryuju Hino and Jun Suzuki.
“That’s right. In the end, when it comes to competing, you’re skating alone, so even though we were close, we were also conscious of each other as we worked hard together. It felt like we were showing each other how hard we were working on the ice. I think it was an ideal relationship, but since Japanese male skaters generally have good relationships, I think it’s like that across all generations. Back in our novice days, there were two times when Yuzu, Fei (Ryuju Hino), and I were allowed to compete in junior competitions together, and I remember how kind the junior skaters were to us.

--Was there something about Hanyu that you thought was amazing from a young age?
“It wasn’t just his drive to improve his jumps. Even as a kid, he already had qualities like expressiveness and flexibility, the kind of things you’d hope to have at that age. He was able to master triples at an early stage, but it wasn’t just his jumps that stood out. Even back then, you could see that his skating, spins, and expressive ability were on another level. I believe those are all things he acquired through hard work from that time.”

-- You both moved up to the senior level at different times, but how did you see your peer's success in the senior ranks?
“He moved up to seniors really early and wasn’t struggling, instead he was competing head-to-head and even beating senior veterans. While I thought he was amazing, at the same time I’d talk with Fei like, ‘Oh no, we need to catch up.’ I really struggled with the frustration of my own results and jumps not keeping up with that.”

--After that, you competed together internationally.
“Yes. There was the GP Final where I competed as a junior and he as a senior, and we also overlapped several times in senior GP Series and World Championships. During competitions, we had to focus on ourselves, so we didn’t talk that much, but we used to talk a lot at banquets before the COVID-19 pandemic.”

--Did the content of your conversations change from when you were kids to after moving up to seniors?
“They did change, of course (laughs). But we still talk about silly stuff, and we have normal, serious conversations too. Of course, we talk about skating—the technical stuff and mental aspects. As for non-skating conversations… I honestly can’t even remember them as they were so trivial (laughs). Also, at this year’s Fantasy on Ice, we talked about the collaboration song. It was my first time collaborating with an artist, so I asked him for advice.”

--What kind of advice did he give?
“He said that he gives it his all even during rehearsals. We have rehearsals with artists, and he said, 'The artist is singing seriously, so I’m also doing it seriously,' so I thought, I should do the same. Since it was my first time at Fantasy, I also asked him about the flow and things like that.”

--You spent a long time together on the Fantasy tour.
“That was the first time we’d been together that long. It’s a long tour, but everyone—of course, not just Yuzu but all the other skaters—gave their all in every single performance. I learned a lot from the attitude of the senior pro skaters.”

--You hugged each other on the final day of Fantasy.
“We had been on tour for a month, so there were those emotions as well.”

--You two were the last of your generation to continue as active competitors. Did his presence support you?
“Over the past few years, I’ve felt my peers gradually retiring, and I knew the numbers were dwindling. Amidst that, Yuzu was still fighting at the front lines. I was trying hard to catch up too, but sometimes seeing him fighting even further ahead made me think, ‘Is he really my peer?’ (laughs). Rather than being a support, seeing his attitude made me think, ‘I don’t want to give up here either.’ I felt that a lot.”

--I feel like, for Hanyu, your presence was a place where he could return to being his natural self and relax. That’s what I felt seeing the NHK Trophy in Sapporo in 2016, when the three of you were together.
“That’s true, we were really excited at the time (laughs).”

--Hanyu was smiling the whole time, and it looked like he was really enjoying himself.
“Fei and I are the type who don’t show our emotions that much, while Yuzu is the type who does, so I think it's interesting to see that contrast (laughs)."

--I remember Hino-san talking about the three of you in a later interview, saying, "Yuzu is the radio DJ, and Keiji and I are the listeners."
“That’s how it is (laughs). But we’d talk normally too. We don't talk that much though.”

--What do you think is great about Hanyu from your perspective?
“His concentration is the best in the world. You often see on TV how he’s warming up or doing image training before competitions. I think his ability to focus is number one in the world.”

--The last two of your generation turned pro in the same year.
“I have to balance coaching while doing pro activities, so there’s a lot to do, but my goal is to manage both well. I have to find time to practice, and I need to prepare not just the same performances but a wide variety of programs, so in that sense, I just want more time (laughs). As for Yuzu, I think it's very much like him to continue as a professional athlete, and I believe he should pursue that path. We each have different approaches, but without being bound by rules, I’m curious to see what kind of music I’ll be able to skate to in the future, and what kind of expressions I’ll be able to create. That’s my challenge.”

--Finally, a message to Hanyu-san.
“First of all, thank you for your hard work as a competitive skater. We will continue to be friends as skaters for a long time, so I don't feel lonely. I don’t really have anything special to say, but I’m looking forward to standing on the same stage again as fellow pro skaters. I want to keep refining myself as a skater, and I want to work hard so I can give something back to Yuzu even a little when we’re sharing the ice, and I look forward to continuing our relationship... I guess that’s it. There’s not really anything else to say, since we’ll continue to stay in touch and I’ve already said everything I want to say directly to him (laughs).
 

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

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

 

 

Message from Skaters: Yamamoto Sota

 

I respect his attitude of striving for perfection

 

Spoiler

[The first time I saw Hanyu-san’s performance]

It was the 2009 All-Japan. It was the competition selecting representatives for the Vancouver Olympics, and Hanyu-kun was still a junior. I was training in my hometown of Osaka at the time, and I was there as a flower boy. I had heard that there were some great junior skaters, but that was the first time I actually saw him. During the six-minute warm-up, Hanyu-kun fell on an Axel, landing in a split position with his legs stretched front to back. I thought, “His body is so flexible! And his Axel is so high!” Even though it was a failed jump, my first impression was, “He’s an amazing skater.” From that time on, I was watching him closely, and it was around then that he became someone I admired.

[The first time we were in the same competition]

I think it was the All-Japan that was the Sochi Olympics selection, which I participated in as a junior by recommendation. At that time, Hanyu-kun, who won the championship, and I were subjected to doping (tests), so I remember that we were in the same testing room and were able to talk together. I really remember that he told me “Do your best.” After that too, there were precious opportunities like being together at ice shows or competitions, and at those times too he actively communicated with juniors, and said a lot of words that struck me. When I was skating “Poeta” at an ice show, Kenji Miyamoto-sensei told me to set my hair in a slicked-back style, but I couldn't do it well and struggled in front of the mirror (laughs). When Hanyu-kun saw that, he said “It doesn’t matter what your hair’s like, as long as your skating is cool” and that left such a strong impression on me. Of course, since it’s a sport where you present yourself, I do set my hair for competitions, and even though I don’t really understand fashion, I try to be mindful of it. But the idea that “as long as the skating is cool, that’s all that matters” is still the core of how I feel about skating.

[What I admire]

The attitude of striving for perfection. These days, the level of difficulty has gone up, and the jumps are very hard. For spins as well, skaters must execute difficult positions in order to earn higher levels, and even the component scores (PCS) are demanding. On top of that, to add in complex transitions and still pull all of that off while aiming for no mistakes, I think that mindset is really amazing. For me, just managing to deliver both the short and free programs in one season is already a level where I’d say “I did my best.” But he feels frustrated even by small mistakes, and keeps striving for perfection. I really respect that attitude, and seeing him makes me feel like I still have a long way to go and that I need to work harder. When we were together at the NHK Trophy, there was a break during the exhibition practice, and I had a chance to talk with him one-on-one. He said something like, “The first run-through in practice is the most important.” He explained that on the day of practice, after stepping on the ice and moving a little, that first run-through really matters. Even if you fail, by the second or third attempt, your body is warmed up and can perform better. That kind of practice is important too, but in competition, you get just one six-minute warm-up and then it’s the real thing. So, if you can go clean on that first run-through in practice, then you’ll be able to do it in the actual competition as well. I really resonated with that, and even now, I keep that in mind during my practices.

[Memory of Borrowing Practice Clothes]

At the 2021 Stars on Ice show in Hachinohe, I forgot to bring the black pants I was supposed to wear for the “Beard Dance” segment. Hanyu-kun kindly lent me a pair of his practice pants. I was so happy 

that I even took a selfie wearing the pants, and when I wore the pants, I was able to do a beautiful quadruple jump (laughs). When I said, “I forgot them~” he immediately said, “I’ll lend you mine~” without hesitation. I really admire that kind of kindness, and it made me think, even now, that I want to become that kind of person too. 
 
[A message to Hanyu-san]

Since my junior days, Hanyu-kun has always been kind to me. Even when I was out due to injury, the next time we met, he asked with concern, “Is your injury okay?” And when we happened to be at the same competition, he would give me advice like, “This kind of practice is good.” Thanks to his words, I’ve had many moments that made me think, “I want to become stronger.” So I want to keep doing my best with him as my goal, and I hope I can get even a little bit closer to him someday. Now that he’s transitioned to being a professional skater, I believe he’ll continue to pave new paths, and I want to follow in his footsteps and work hard too. I would be happy if we had the opportunity to skate together again in a show, so I hope to make that dream come true. 
 

“Let Me Entertain You is a program that I would like to skate to once.”
 

 

PROFILE
Born January 10, 2000, in Osaka Prefecture.
2021 Skate Canada 7th place, Warsaw Cup champion, NHK Trophy 7th place, All-Japan Championships 8th place.
Loves using gloves with the character of Ice Rink Sendai.
“At first it was the motivation of wanting the same gloves as the skater I admired, but I love them because they fit so well I forget I’m even wearing them.”
 

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

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

 

 

Message from Skaters: Sato Shun

 

Someone to look up to not only in skating but also in character

 

Spoiler

[Memories of when we first met]

We were on the same rink in Sendai when I was still in kindergarten or the first grade of elementary school. I don't remember the details, but Hanyu was already on another level, and from the first time I saw him perform, I wanted to be a skater like him. There are many aspects of him I want to emulate, not just his skating, but also his character. For example, he greets everyone properly, and he even took the initiative to speak to me. I could never bring myself to start a conversation with him, but whenever he spoke to me, we would chat. I also thought the way he treated his juniors was amazing, and I really wanted to follow his example and grow as a person, not just as a skater. Now that I’m in college and have more younger skaters around me, I try to talk to them and teach them whenever I can.

[The first time we competed at the same event]

The first time we were in the same competition was the 2019 All-Japan Championships. That time, I was in the same group as him for the free skate, so I got the opportunity to skate with him during official practice and the six-minute warm-up. Honestly, I couldn’t focus on my own practice because I was so caught up in watching Hanyu-san practice up close (laughs).

[A memorable gift]

The most memorable memory is when I received a pendant from him when I was in kindergarten. At the time, I had gone to support him at the All-Japan Junior Championships, and I received the pendant as a kind of thank-you. There was also a letter with a message like “Keep doing your best,” and I was really happy. I might lose it if I wear the pendant all the time (laughs), so I only wear it during important occasions like competitions. If I lose it, it's all over, so I'm afraid to wear it all the time... (laughs). So I keep it safely stored most of the time.

[Watching the public practice stream] (*SharePractice)

I couldn’t watch the whole thing, but I saw as much as I could, like when the music was played. Since I heard Hanyu-san would no longer be competing, honestly, I thought he might not be doing quadruple jumps anymore, but he was doing quad loops and such like it was nothing. He was practicing no differently than when he was competing, so I was really surprised. Watching his training made me realize there are a lot of differences between him and myself. There aren't many chances to see Hanyu-san practice, so being able to watch through the stream was truly valuable. I’d love to learn from it and try to imitate and incorporate what I can. 

 

[Message to Hanyu-san]

He’s been my goal ever since I was little, and honestly, I still want to keep chasing after him. But since it’s a decision Hanyu-san made himself, I want to continue supporting him just as I always have.
 

 

PROFILE
Born on February 6, 2004, in Miyagi Prefecture. Champion of the 2019 Junior Grand Prix Final. In 2021, he placed 2nd at the Asian Open Trophy, 4th at Skate America, 2nd at Internationaux de France, and 7th at the All-Japan Championships. Born in Sendai, he began skating at the age of five after visiting Ice Rink Sendai.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

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

 

 

Message from Skaters: Mitsuki Sumoto

 

I was shocked by the intensity of "Romeo"

 

Spoiler

[Chasing his back]

 

The first time I saw Hanyu-kun perform live was at the 2015 All-Japan Championships in Sapporo (Makomanai Sekisui Heim Ice Arena). It was a competition I participated in after placing 6th at the All-Japan Junior, and that year Hanyu-kun was performing "SEIMEI." That was the first time we were in the same competition. I started watching his competitions in real time from the Sochi Olympics season. But what shocked me was the intensity of his Romeo + Juliet from the 2011–12 season. I’ve talked about it in various places, but after watching his performance at the World Championships in Nice, I changed from feeling like I was “being forced to skate” to “I want to skate!” Everything was amazing, but the passion he showed during the performance really touched my heart. So, I had always decided that I would skate to "Romeo and Juliet" in my final season. I chose "Romeo and Juliet" as my free program last season because I was planning to retire last year. Also, in my first year as a junior, I skated to "Pathétique." The arrangement was different, but that’s how much those programs stuck in my mind. Also, when I was little, I used to buy the gum that Hanyu-kun appeared in commercials for to get the clear files and collected the merchandise too (laughs). Even now, I still have them on display in the skating room at my parents' house.

[What influenced me]

The way he expresses music. Rather than the jumps, I think I was more influenced in terms of the completeness of the program. Of course, “completeness” includes the spins, jumps, and steps, but what I value the most is “a program that flows seamlessly from start to finish.” I was inspired by how his programs feel like a fully completed piece of art. I started to realize this after I entered university. Before that, I was mostly focused on jumps. I was often praised for my skating skills, but even now, there are skaters who I think are better than me, so I don't see myself that way. But around my first year of university, I began to think, “I want to make skating itself the highlight of my performances.” That shift made me realize, through watching Hanyu’s performances, what true program completeness really means.

[An unforgettable episode]

In 2017, I went to watch the World Team Trophy (Yoyogi) as a spectator, and when I was watching the exhibition practice, I was able to take a photo with Hanyu-kun. That year, my goal was to qualify for the Junior Grand Prix Final, and I thought if I made it, I could compete in the same event even though it was a different category. So I told him, “I’ll work hard so I can make it to the Final this year.” He said, “Do your best!” and that made me really happy. Hanyu-kun may not remember, but because those were words from the skater I admire the most, I’ll never forget it. That season, Hanyu-kun injured his foot at NHK Trophy. When I read the article about it, I felt worried and also sad that we wouldn’t be able to be in the same competition. But winning the Junior Grand Prix that season, gaining the confidence to compete internationally, and making it to the Final where I won bronze were largely thanks to those words, I think.

[Watching the public practice stream] (*SharePractice)

I watched both the professional transition press conference and the public practice in real time. The level was so different I didn’t even understand it (laughs). It was the first time I had seen a skater who 

turned pro train so intensely, so I thought the level was just different. At the time, while watching the stream broadcast with my skating friends, we were messaging on LINE like, “He’s trying to crush the spirits of active competitors (laughs).” That’s how insane his training was. I couldn’t believe it when I saw that he decided to run the whole thing again after making just one mistake in his program. And then, to skate the exact same layout as the Olympics and nail it clean on the third try… it’s just unimaginable. I thought it was really amazing.

[Message to Hanyu-san]

Personally, I like both Hanyu-san’s short and free programs, but I love his exhibition programs just as much, like “Hana wa Saku,” Che’ Nelle’s “Believe,” and “Requiem of Heaven and Earth.” I think the beauty of Hanyu-san’s skating comes out fully in his exhibition performances, so I don’t know when it will be, but I’m really looking forward to seeing him perform programs that captivate many people again, including me.
 

 

PROFILE
Born February 4, 2001, in Osaka Prefecture. 2017 Junior Grand Prix Final 3rd place. 2017 All-Japan Championships 6th place. 2021 All-Japan Championships 15th place. A self-proclaimed Hanyu fan who says, "I think I probably have a complete collection of the clear files that came with the gum."
 

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

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

 

 

Message from Skaters: Kao Miura

 

His stance of pursuing and staying true to something is admirable

 

Spoiler

[The first time I saw Hanyu]

It was when I was in kindergarten or early elementary school. I first learned about Hanyu during the season he was skating to “Notre-Dame de Paris.” I remember being shocked by the impossible skill of the quadruple jump. Even back then, he was doing quad Salchow and toe loop, and at that time I couldn’t believe anyone could jump quads, I was really surprised.

[When I actually met him]

The first time I actually met him was at the 2020 All-Japan Championships. I had the chance to watch the World Championships held in Japan, and at that time I felt like, “He really exists.” So when I saw Hanyu right in front of me at Nationals, it felt unreal. The first time I talked to him was while waiting for an interview at Medalist on Ice. I was sitting, and he tapped me from behind and said, “Good job!” and that was the first contact. After that, I asked him for a photo, and he told me, “Your quads were amazing. Keep it up.” That was the first time he spoke to me. Being tapped, being praised, the fact that Hanyu-senshu noticed me all felt shocking, almost unreal.

[An unforgettable episode]

At Stars on Ice, I was mimicking professional baseball players’ batting stances with Shun Sato. Then Hanyu-kun requested, “Do Yuki Yanagita’s swing.” I did my best, but he told me, “That’s Asamura (Hideto).” (laughs) That really stuck with me. I realized he doesn’t just know the famous players but really watches and knows many different athletes.

[Things I was influenced by]

Seeing Hanyu at the Sochi Olympics changed the way I thought about skating. That season, every time he competed, he kept breaking his own short program record, and I kept thinking, “That’s awesome!” Then finally at the Olympics he scored over 100 points. I also loved his “Parisienne Walkways” program. Every detail was so polished, and the way he incorporated jumps like choreography was truly amazing. Wanting to one day share the same stage with Hanyu became my motivation to work hard. At the time of Sochi, I was barely able to land a double, so thinking back, being able to skate in the same group at Nationals last year made me really happy. Outside of skating, at an ice show we were seated together at dinner, and Hanyu-kun looked at my plate, which was full of meat and all brown, and said, “Is that all? Where are the vegetables? If you don’t eat vegetables, you’ll get more pimples.” Ever since then, I started eating vegetables properly, and my skin has gotten a lot better. When I saw him again at Fantasy on Ice, it seemed like he noticed what I put on my plate and praised me, saying, “Looks like you’re thinking about what you’re eating.”

[Favorite programs] 

I love “Parisienne Walkways” too, but “Hope & Legacy” is my absolute favorite. Not only does the piano music match perfectly, but the way it gradually builds toward the second half is just incredible. Watching him land that quad in the second half at Worlds made my mind go blank (laughs). Programs I’d like to skate are, it feels presumptuous, but “Notre-Dame de Paris” or “White Legend.” I’d also love to skate Hanyu’s “Phantom of the Opera.”

 

[Watching his public practice stream] (*SharePractice)

He said he’ll keep improving his skills as a pro, but seeing him still doing things like quad loop + triple toe loop made no sense to me. I just thought, “That’s insanely awesome,” “This is exactly Yuzuru Hanyu!” He keeps levelling up, and watching him endlessly pursue and stay true to things simply makes me want to cheer for him, and makes me want to be like that too. As for the quad Axel, in my case I’d need to fix my triple Axel first, but since it’s a jump Hanyu is taking on himself, I feel motivated to take on the challenge too.

[A message to Hanyu]
Thank you for your hard work as an active competitor. I think the many stories and advice I’ve heard from Hanyu-kun will continue to be useful, and Hanyu-kun will continue to be my motivation. I believe he’ll keep evolving, so I’ll do my best too so I won’t lose.
 

 

 

PROFILE
Born June 8, 2005, in Tokyo. 8th place at the 2021 NHK Trophy, Junior National Champion, 4th place at the All-Japan Championships. 3rd place at the 2022 Four Continents Championships, 13th place at the World Junior Championships. “When I skated in the same group as Hanyu at Nationals, whom I had admired since I was little, I was so overwhelmed that I couldn’t stop grinning the whole practice.”
 

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: Figure Skating Life Extra "Life on Ice Yuzuru Hanyu", pg 140-141

 

 

About Yuzuru Hanyu’s “Jumps” - Tsuzuki Shoichiro

"I feel nothing but gratitude for Hanyu’s attempt at the quadruple Axel"

 

Tsuzuki coached Hanyu in Sendai from second to the end of fourth grade in elementary school. We asked the mentor who taught him that the Axel is “the king of jumps” for his thoughts on Hanyu’s Beijing Olympic performance.
(*Reprinted from FS Life Extra – Beijing Olympics 2022)

 

Spoiler

—How did you view Hanyu’s short program at the Beijing Olympics?
“I watched it at home. For Hanyu, falling into that hole in the ice was a major mishap. It was something even he hadn’t anticipated. If it had been any ordinary skater, I think they would’ve fallen apart. But after that, he still executed a triple Axel, didn’t break the program, and performed well enough to showcase his strengths. I thought, ‘He really brought out the best of himself.’”

 

—What about the free program?
“I think he was pursuing both victory and the image of himself taking on a challenge. He chose to attempt the quadruple Axel in that context.
Some people might say he should’ve avoided the risk in order to give his best performance, but to choose that kind of challenge, well, I was simply amazed. And deeply grateful.”

 

—You say you’re grateful?
“Yes. I’m filled with gratitude for his spirit of challenge toward skating and his determination to see it through. A skater like him can’t exist without the support of many people. And for that support to bear fruit, the child also must not lose sight of what they're told and must internalize it. It’s rare to find children who can truly absorb and make something their own. That’s what’s amazing about him. From a young age, I’ve tried to pass on the spirit of challenging the unknown and Hanyu has continued to take on challenges. I believe he is a skater who, in his heart, always wants to show people a new kind of figure skating. He wants the world to see what it looks like when a Japanese person takes on such a challenge, to see it and be moved. I think he’s a young man with a big heart.”

 

—Did you already feel that Hanyu had the attitude of challenging the unknown and seeing things through from the time he was young??
“Yes, from a young age he was always at the forefront. Always leading, very competitive. When I first received him from Coach Yamada (Mami), she told me, ‘He’s such a fun, interesting kid. You’ll see.’ And right from the start, he was active, decisive, and straightforward with his thoughts. In that sense, the person that is now Yuzuru Hanyu, who has grown into a young man, has not changed in heart. I think that is really amazing. That strength of spirit has remained with him since childhood. I believe it’s thanks to the deep love of his family that he grew up this way.”

 

—Were you also inspired by the young Hanyu?
“I’ve encountered many skaters in my life, but with Yuzuru Hanyu, I felt like I really wanted to ‘entrust something to him.’ I wanted to pass on the techniques and dreams I had accumulated and have him continue them. With that feeling in mind, I taught him various things like skating in sync with technique and musical expression. And I think he sincerely took on those challenges with a willingness to learn.”

 

—Hanyu has said the final pose of his free skate “Heaven and Earth” was the same as the one in your choreographed program "From Russia With Love."
“That’s what I’ve heard. I was overwhelmed knowing that program stayed in his heart. That was the program he used when he won his first overseas novice competition (2004 Santa Claus Cup in Tampere, Finland). Seeing him bring back that same pose at the end of a program now deeply moved and surprised me.”

 

—He often talks about "From Russia With Love," so it must be a very important program to him.
“The origin of that program goes back to when I took Minoru Sano to a competition in Russia and strongly felt the difference between Russian and Japanese skating. After that, I invited many coaches and skaters from Russia and worked to spread Russian skating techniques in Japan.
At that time, I met a coach—Viktor Ruyshkin—who provided me with music. He brought about 50 songs. Thanks to him coming to Japan, I was able to incorporate Russian-style training methods into my team. I had a kind of personal dream to have little Hanyu perform a program that included the rich emotional expressiveness of Russian dance, something not found in Japanese sports until then. I’m not sure if my feelings were conveyed, but when I had him try it, it turned out the way it did.”

 

—That program is still certainly a part of who Hanyu is today.
“Back then during practice, we had something called ‘presentation time.’ We’d play music, and the skaters were free to skate however they wanted. During that time, little Hanyu would skate and dance nonstop for an hour. He had a period where he could fully express himself as he wished while growing. I believe it’s precisely because of that time that he grew into a young man with a rich sensitivity to music."

 

—So all that training helped shape today’s Yuzuru Hanyu.
“Yes. The accumulation of those experiences shaped Hanyu’s current style. And from there, he’s built the image of Yuzuru Hanyu the skater on his own.”

 

A Jump That Gives People Dreams

—Your saying that ‘the Axel is the king of jumps’ really inspired him to master it.
“The Axel is so majestic and captivating that it’s even been called the king of jumps. It’s a jump that gives people dreams. For Hanyu, it’s also his strongest jump, and it was thanks to that triple Axel that he was able to soar onto the world stage. I believe it’s a jump that has truly taken root in Hanyu’s skating career and has given him hope and dreams.”

 

—You saw footage of Hanyu practicing the quad Axel before the NHK Trophy two years ago...
“Someone showed me a video and I emailed him, saying, ‘Wow, that looks like you can land it!’ But later I found out it was an edited video (laughs). After that, I saw him attempt the quad Axel at the All Japan Championships. I was amazed and impressed that he didn’t give up and that he kept the determination to challenge himself at this All Japan event.”

 

—Did you see him in person at All Japan?
“Yes, I was there. I didn’t speak to him, but I saw it live. It was completed in a very good form, and this time at the Olympics, he perfected it even further, building it up to a form that could be officially recognized. The strong determination to truly make the quadruple Axel a promise fulfilled, to complete it, and to have everyone see it is astonishing. I'm filled with admiration.”

 

—In his Olympic free skate, despite falling, he didn’t let it affect the rest of his performance.
“Isn’t he incredible? He never loses sight of who he is. From a coach’s perspective, it’s amazing how he can fully deliver a performance that brings joy to everyone. Even after a jump he’s been pushing himself on doesn’t go perfectly, he still manages to finish strong without falling apart. That’s what makes Hanyu so remarkable."

 

—Why is he able to stay focused even after a mistake?
“I believe it’s because he has a strong conviction, a clear idea of what he needs to do in skating and what he needs to deliver. He has a deep desire and determination to show the world something of extremely high caliber that’s never been done before. That spirit has taken root in his heart as he’s grown.”

 

—Given the progression toward success with the quad Axel at All Japan and the Olympics, I can't help but wonder what the future holds...

“When Hanyu finished the free skate this time, I could truly feel a deep satisfaction in his words that he had given it his all. I don’t know which path he will choose next, but Hanyu is always challenging the world. He challenges himself, gives joy to skating fans everywhere, and takes on what the world expects of him. It brings tears to my eyes.”

 

—What would you say to Hanyu next time you see him?
“I don’t get to see him often, but now that the Olympics are over, I hope to meet him. If such an opportunity arises… I’d tell him: ‘You went through a difficult time after the earthquake, supported by so many fans. You took that gratitude and turned it into growth. Then you soared into the world at the World Championships. Cherish where you are now as a Japanese skater, and believe in yourself. Your challenges have given dreams to many children in Japan and across the world. I hope you continue these challenges, creating even more skating fans in Japan, inspiring dreams worldwide, and bringing joy to those who watch Yuzuru Hanyu’s skating.’”

 

 

Born January 5, 1938, in Nagoya.
Champion of the 1960 All-Japan Junior Championships.
Notable skaters he has coached include: Yutaka Nagakubo, Minoru Sano, Fumio Igarashi, Takashi Mura, Rena Inoue, Yuko Kavaguti, Hanae Yokoya, Chisato Shiina, Narumi Takahashi, Takahito Mura, and Yuzuru Hanyu.
He has also supported team development for skaters like Shizuka Arakawa, Takeshi Honda, and Taketo Tamura.

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: Figure Skating Life Extra "Life on Ice Yuzuru Hanyu", pg 142-145

 

 

About Yuzuru Hanyu’s “Jumps” (1) - Ghislain Briand 

“The quadruple Axel that Yuzu jumped at the Beijing Olympics was, by far, the best jump.”

 

How did Mr. Briand, Hanyu’s jump coach, support and coach him on the quadruple Axel during the COVID era? And how did he analyze the jump Hanyu executed at Beijing?
(reprinted from FS Life Extra: Beijing Olympics 2022)

 

Spoiler

—First, can you share your impressions of Yuzu’s short program? Unfortunately, he got caught in a hole in the ice, yet he composed himself and finished the rest calmly. Did you see it live on broadcast?

 

“I always try to watch Yuzu’s performances live. I prefer feeling the adrenaline as if I’m right there. That quadruple Salchow was indeed a shock. A few days before the short, Yuzu sent me a video of his performance, and everything seemed to be going smoothly. In fact, his Salchow even looked better than before. After the short, I sent him a text. Since the pandemic began, that’s how we’ve been keeping in touch. I haven’t seen him in person for two years. When I mentioned the short, he sent me a photo and said, ‘I got caught in a hole on the ice,’ and I was like, ‘Oh, I see.’ But then a close acquaintance of mine who works as a videographer for the Chinese organizers sent me two videos. By the way, I’ve been observing Chinese national team training for about three years, so we’ve been in contact for a long time.

 

One video showed Yuzu’s quadruple Salchow in the Beijing short. The other video was of the same jump from a different competition, shot from exactly the same camera angle. Comparing the two, you can see that Yuzu's foot movement slows down a little, just a little, more than his upper body movement when he takes off the quad salchow in the first video. Yuzuru is very much like a finely tuned F1 race car. He knows his body completely, and every part responds sensitively. So even a tiny misalignment can have a big effect. I looked again at the photo Yuzu sent me and confirmed where the hole he said he got caught on during the takeoff was. Then, when I reviewed the video, it matched exactly with the moment his foot slowed down.

 

So I told him, ‘That was unfortunate.’ That mistake basically meant the Olympic gold was gone. It was that big a mistake. But I also told him, ‘There’s no point getting angry. It’s like doing a ski jump outdoors: your first jump goes perfectly, then before the next jump a gust of wind hits and throws you off axis. Are you going to sue nature for that?’ The hole in the ice was unfortunate, but it happens. It actually happened to him before, in a competition in Japan. This was the second time. But Yuzu always trains by doing run-throughs where, no matter what happens, he never stops midway and keeps skating all the way to the end. So it wasn’t surprising he finished that way after the mistake. It’s proof he’s an excellent athlete and skater.

 

Honestly, it was a shame. If that Salchow had landed, his score wouldn’t have differed much from Nathan’s. Adding those 13 points would’ve put him in contention for first. But Nathan did well. Finishing second to Nathan is nothing to be ashamed of. In the end, Nathan did a good job.”

 

—While Hanyu was experimenting and trying the quadruple Axel alone, how did you advise him?

 

“We began the process of challenging the quad Axel years ago. But we hadn’t been able to focus on it 100%. Yuzu tried to jump it (occasionally), but he was distracted by the quad lutz for a while. After he perfected the lutz and landed it in competitions, he finally returned to working on the quad axel.

 

To be honest, this year Yuzuru’s desire to land the quad Axel felt stronger than his desire to win the Olympics. He said, ‘I’ve already won Olympic gold twice, it’s not like winning again would be a first. But if I land the 4A, I’ll be the first in history. So I want to focus on that.’

 

Yuzu made the quadruple Axel his research topic at university. He has studied this jump very thoroughly. As for me, I’m the type who focuses on the axis of rotation when it comes to jumps. I also place importance on body alignment (the position of the hands, feet, and hips) during takeoff. So when Yuzu was attempting it, I gave him 'cue spots' — key points he absolutely must execute.

 

Even so, he’s unbelievably amazing. I mean, he’s done almost everything by himself. Since the pandemic began, I've been coaching virtually, which has its merits, but it's completely different from actually doing it face-to-face. It may sound strange to say this, but I like to "touch" (laughs). My way of teaching skaters is to "hand-hold" them. I teach skaters by placing their arms, hips, feet into position, kind of like sculpting. That’s how I show them what I want to do. And yet, just when Yuzu was trying to master the most difficult jump of all, the quadruple Axel of all things, we had no choice but to do everything virtually."

 

—Specifically, how did you monitor his practice?

 

“My practice with Yuzu is completely different from that with other skaters. For example, with Boyang (Jin) we use Zoom in real time. I say, ‘Do this here,’ and he immediately practices that part. But with Yuzu, he sends me videos. I analyze them, note what I noticed and what needs correcting, then send a text reply. He reviews it and applies it in his next practice. If he’s unclear on something, he messages me and we clarify it.

 

I explained to him that even with other quad jumps like the Lutz, the airtime is about 0.57 seconds. And with that, a quadruple Axel is absolutely impossible. You need at least 0.80 seconds. That’s a difference of 0.23 seconds. It may not sound like much, but 0.23 seconds feels like a lifetime (in terms of air time). Because the quadruple Axel requires an extra rotation compared to other quads, you have to initiate rotation the instant you take off. But the difficult part is that in most cases, when you try to rotate that quickly, you end up sacrificing height. You don’t get enough elevation. And then, if you try to increase the number of rotations, your axis becomes unstable. If you land with your axis off, you get slammed into the ice, and it’s like getting hit by a school bus. Bang! (he gestures with his hands).

 

But training with Yuzu is really fun. He knows his body inside out. It’s already been about eight years since we started working together, and he always understands what I’m saying right away. I give him a hint like, ‘Speed this up a bit, align this and that,’ and he just replies, ‘Got it.’ That’s how the whole process has been.”

 

‘Oh my god!’ I jumped around inside my house.

 

—In the free skate at Beijing, he attempted the quadruple Axel and, although it was under-rotated, it was the first time it was officially recognized. How did you view it?

 

“He changed his approach to the jump, didn’t he? The pattern he used at All-Japan was different from what he used at the Olympics. Which is better? Well, either is fine as long as he lands it. Whether you go this way or that way, there are basic rules for jumps that never change. How fast the takeoff is, whether the free leg aligns with the axis, how quickly the rotation begins, these things never change. Whether the entry is circular or S-shaped doesn’t really matter. It’s like opening a door: you can open it any way, as long as it opens.

 

About a month and a half before All-Japan Championships, he sent me some videos with the message, ‘Check this out.’ Usually Yuzu is very modest, and he’d ask, ‘What do you think of this video?’ But this time it was different. He said, ‘Check this out!’ So I watched the videos, and he was standing (after landing the 4A), even though he'd never stood before. Even if he landed, it was always a fall, fall after fall. But this time, he sent me five or so videos, and in all of them, he was standing. At that point, I totally panicked. No joke, when I saw those videos, I was jumping around inside my house. I said, ‘Oh my god! He’s standing!’ From that moment, everything changed."

 

—By 'standing,' do you mean he landed on one foot?

 

“He landed on both feet. It wasn’t fully clean, but he landed and stayed upright. That was a huge step forward! Until then, whenever he landed he’d always fall. What that means is, he was getting closer to the correct axis. His body had finally reached the right axis, and that’s why he was able to land it. As I said earlier, landing a quad Axel with a misaligned axis is like getting hit by a car. There’s no way you could stand. So I immediately told him, ‘OMG, that is incredible, I can't believe it. You're finally on the right track.’

 

So, the first quad axel that he did in the first practice for All Japan, he landed it and stood up, right? That was a really good jump. I think it was even better than the one he did in the actual competition. But the one in Beijing was even better. Of course, he fell, but the jump had more height, better distance, and a clearly one-foot landing. In my opinion, that was by far the best quad axel that anyone has ever done in competition.

 

I told him, ‘That was the best quad Axel you’ve done so far. It was a clear one-footed landing. Too bad about the fall, though.’ But I'm happy it was called a quad Axel. He clearly rotated more than a triple Axel, and the under-rotation was was closer to 1/4 than 1/2. You could argue about it all you want, but it's still a quad Axel. So, I believe the 4A in Beijing was his best one yet.”

 

—He’s said before that he’s particular about the shape of the Axel, that he can’t be satisfied with just rotating into the jump, but needs to step up properly before rotating, right?

 

"That means he properly absorbed what I taught him (laughs). When it comes to jump coaching, there’s one line I absolutely don’t compromise on: my skaters must never cheat their jumps. I don’t allow any shortcuts at takeoff, in the air, or on the landing. As for the quad Lutz, I personally believe only three people in the world execute it correctly: Boyang, Nathan, and Yuzuru. I told Yuzu, ‘If you want to do the quad Lutz, then get the toe pick right. No cheating.’ When you pick with the right toe, you shouldn’t turn or curve on the ice. The body should remain straight, with the left side moving back, and then you jump. He did a lot of singles, doubles, even triples like that. And when he finally mastered the quad, his toe pick technique was precise."

 

I’m impressed by his respect and discipline.

—Hanyu said the Axel he landed in Beijing was the best he could do. Do you think that means he was satisfied with it?

 

“I think that’s a fair interpretation. When you think about it, he’s 27 years old. He’s had multiple injuries to his foot. His body has taken a toll. When that happens, your rotational speed drops, weight transfer between feet slows, your takeoff loses power, everything starts to decline. So it’s possible that’s how it feels to him. He might be thinking, ‘That’s the best I can do right now,’ while also feeling like he's missing just a little something.

 

He’s achieved so much up to now. It’s only natural to feel worn out. But at the same time, he has more experience than anyone else and knows his body inside out. What surprises me when we practice together is that even if I just give him a small sign or hint, he can immediately put it into action without needing words.

 

But that’s also thanks to his discipline. Back in the early days, when I wasn’t even traveling with him to competitions, he’d send me videos right after practice. Sometimes 30 videos at once. I always sent feedback immediately, and he knew I would. I told him, ‘I’m available 24/7 for you. You can contact me anytime.’ He would send me videos at 3 a.m. I’d have my feedback ready by 3:30. I really admire his diligence.

 

He treats everything around him with respect. He uses different blade covers for the short and the free programs, and he handles both with incredible care. He bows when stepping off the ice. He says thank you when practice ends. He greets you at the beginning. He bows to everyone around him when he gets on the ice. Who else does that? There really aren’t many people like him who show such respect. That’s why he’s so beloved."

 

—You've known each other for a long time. How do you think he’s changed, especially over the past two years?

 

“Of course, he’s matured a lot in how he trains. Not that he was immature before, but these past two years he’s had to train entirely alone. Watching him, I want to say to people who claim, ‘I can’t train unless I’m around others doing quads’—‘No, look at Yuzu.’ He pushes himself, sets his own goals. That’s why he’s been able to stay competitive longer than anyone else. He can visualize in his mind where he wants to be.

 

We haven't been able to practice together for the past two years, but I told Yuzu, "I'm here 24/7, just like before. You know my contact information. You can send me videos anytime. You're my number one priority. It's going to be tough, but let's keep trying." He’s truly special. That’s why he’s been able to keep competing longer than anyone else, and why he still can. I’m not saying for sure he will continue, but I am saying he has the potential to keep going longer than anyone.”

 

—He didn’t win a third consecutive Olympic title, but his attempt at the unprecedented quad Axel moved many people.

 

“What I respect most is Yuzuru’s ability to follow through on what he says. These past few years have been extremely tough because of the pandemic. I missed him a lot. We couldn’t hug like we used to. Everything had to be done remotely. It's different from how it used to be. But even in that situation, he never wavered once in what he said he would do. I truly respect that.

 

Some people don’t understand what he’s trying to do. They ask, ‘Why is he so fixated on that? Is it really necessary to do that (land a quad Axel)?’ But that’s not the point. It’s about, 'What sets your soul on fire?' Without that, you can’t keep going. It’s about passion. Think about it. Waking up every day, going to practice, watching your weight, thinking about what to eat, all the lifestyle restrictions, and so many sacrifices. Without something that truly drives you, it’s impossible."

 

When he goes for the quad Axel in competition, he doesn’t ease into it slowly like he’s taking a walk. He throws himself into it full-force. I watch him thinking, 'I wouldn’t have the guts to do that, it’s absolutely impossible for me.' But if I told him, ‘It’s too dangerous, don’t do it. Stop,’ I think he’d quit skating altogether. He needs that kind of goal, as fuel to keep the fire burning in him.

 

What’s amazing is that he’s doing all of this alone. We haven’t seen each other in person for two years. Sure, we talk remotely. But basically, he’s pushing himself, staying motivated all on his own. His goal isn’t winning the Olympics, it’s landing the quad Axel.

 

People around me have often asked or told me, ‘Do you really think he’ll go for the 4A at the Olympics? Nah, probably not. If he wanted to win, he’d choose a safer strategy.’ But I didn’t say anything. I just thought to myself, ‘You don’t know Yuzu.’ No matter what anyone says, he'll do it. He wants to jump the quadruple axel more than he wants to win the Olympics, so he's going to do it. I really respect and admire that about him. He stuck to what he said from the very beginning. He never changed his mind. He clearly said why he was going to compete (in the Olympics), and he followed through on it. It's amazing.”

 

I want Yuzu to keep his inner passion alive.

—Now that the Olympics are over, what message would you like to give Yuzuru Hanyu?

 

“This is just my personal opinion, but I think Yuzuru could go for another four years. Looking at his lifestyle, he really takes good care of his body... Yes, he’s had many injuries. But for him, that’s just something he has to learn to live with. The right ankle he injured before PyeongChang has become a weak point, but if he just takes good care of that right foot and keeps it in good condition...

 

I mean, is there any other skater like him? With that level of quality in skating, spins, stroking, edge work, turns... it’s not just about the jumps. Of course, I like his jumps. He trains with me and performs the kind of jumps I expect from him. Anyway, he’s a complete skater. There’s no one else like him on Earth. He is the only one. Yes, Nathan is certainly a great athlete, but even then, I feel he does not have the same smooth, gliding quality that Yuzuru has.  When Yuzuru steps onto the ice, he immediately draws attention. He has a charisma that makes people think, "Ah, this guy has something special." That is why, as long as he keeps his passion alive in his heart, I think he can keep going. Age does not matter. Even if he is 35, I think he will be fine. His performances are that compelling.

 

Think about it. If he takes the quad Axel out of his program, he’ll conserve a ton of energy. He could do two quad toe loops, one quad salchow, one quad loop, and maybe even a quad lutz. That makes five quads. If he can control all of them, what do you think?

 

The season after he won the Pyeongchang Olympics, I think it was a competition in Moscow. I was watching Yuzuru practice and turned to Brian next to me and said, “Isn’t he even better than last year? His jumps, his overall skating?” And Brian replied, “Yeah, you might be right,” and we both looked at each other.

 

As long as he can keep that inner fire and that passion, he can keep going. His goals from now on will probably be very different. He’s already achieved everything. People might not understand the new goals he sets for himself. They might ask, ‘Why would he do that?’ But that’s only because they’re not in his shoes. It’s like with billionaires. Once you’ve made a hundred million, two hundred million, there comes a point where you feel, “That’s enough.” You start looking for a different kind of motivation. That’s the kind of path Yuzu is on. He’ll find goals that are different from everyone else’s. And as long as he has that, he still has so much power left in him.

 

That’s the kind of skater Yuzuru is. I don’t think I’ll meet another skater like him for the rest of my career. He is phenomenal. A once-in-a-lifetime kind of existence. That's why I just want him to keep holding on to his passion.”

 

 

Born November 22, 1962.
In 1994 and 1998, coached Olympic silver medalist Elvis Stojko, and from 2005 joined the Toronto Cricket Club as a jump specialist. Yuzuru Hanyu has been under his guidance since 2014. He also works as an instructor in Champéry, Switzerland, and at the Kinoshita Academy.

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: Figure Skating Life Extra "Life on Ice Yuzuru Hanyu", pg 186

 

 

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"The ideal image of a professional is to do something more difficult than competition"

 

Spoiler

— It seems that junior skaters were watching today’s live stream. Is there anything you want to convey to your juniors through this stream or videos?

 

“Not really! Honestly. I just want to keep being myself, and I think it would be good if I can just keep getting better. I haven’t really done anything specifically for my juniors up until now, and it’s not like I’ve been doing things because I wanted them to get better or anything. But I think people admired that image of me being totally focused on skating and greedy to improve. So if people want to keep watching that version of me, I’d be happy. And if they think, ‘That’s not for me,’ then I’d just say, ‘Good luck!’ (laughs). That’s pretty much how I feel (laughs)."

 

— Now that you’re no longer bound by competitive restrictions, it must feel like you’ve gained some freedom. What’s been the biggest change for you?

 

“Um, well... big change, huh...”

 

— For example, as an amateur, you have to be careful with doping tests, right?

 

“Ah, that’s gone now, so I’m a little relieved. But since it became a habit, nothing really changed. I said this during the press gathering too, but I have to do more physical training, practice more on my technical skills, and on top of that, there’s the pressure to absolutely not get injured. Honestly, I think it’s harder than when I was an amateur.”

 

— Any changes in your daily life?

 

“Not really. If anything, it's more like, ‘Make sure to get enough sleep,’ and such. Since the number of different jobs I have has increased, and the number of things I need to think about has grown, honestly, there are times when my head feels completely overwhelmed. But even then, I don’t slack off on skating practice or improving myself. I always push myself not to compromise. I think that’s something that’s changed a bit. Before, I used to think, ‘Maybe I can take a little break today.’ But I stopped doing that. I feel a sense of responsibility as a professional now. From now on, being seen as a professional means it’s no longer just about getting results for myself. It becomes a matter of whether people actually want to see me skate. So when I think about how I have to keep skating in a way that makes people say, ‘I want to see this,’ or ‘This is worth watching,’ I feel like I can’t just take a break so easily.”

 

— Do you have an ideal image in mind of what "professional athlete Yuzuru Hanyu" looks like?

 

“Well... Something like, ‘I can still skate competition-level programs!’ (laughs) Like, ‘I can still perform a clean free skate!’ That kind of vibe. I think people tend to have an image of professionals as being focused on the expressive side, up until now. But rather than that, I want to keep doing difficult things, including high-difficulty jumps, and I want to take on even more challenging things. I want people to see the kind of expression that comes through in that context. Kind of like: competition plus artistic expression. So, it’s even harder than before. Hehe (laughs).”

 

— Right, it’s more than ever before (laughs).

 

“Yes, I have to do more than ever (laughs). But even though it’s tough, I find it rewarding, and I think this kind of relentless pursuit is something unique to figure skating. To be honest, I think I can perfect figure skating even more from here."

 

— Is there any new kind of expression you want to try that you didn’t do when you were actively competing?

 

“I think I can add a lot more variety to my spins and steps. Without the restriction of levels, I want to experiment with all kinds of things.”