[2026.06.01] KISS & CRY: Yuzuru Hanyu - THE STAGE 5 -

[yuzurujenn]

Info:

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https://www.amazon.co.jp/dp/4868360795

 

 

After a period of maintenance, Yuzuru Hanyu successfully led "Yuzuru Hanyu notte stellata 2026" and "Yuzuru Hanyu “REALIVE” an ICE STORY project." In this exclusive long interview, Hanyu talks about "the present" and "the future." The stunning, newly shot photos are presented in a powerful B4 size, and come with a B3 size pin-up and stickers that you can keep with you at all times! In addition, there are reports on "Yuzuru Hanyu notte stellata 2026" and "Yuzuru Hanyu “REALIVE” an ICE STORY project," as well as a report on "The First Skate" at Xebio Arena Sendai and other performances in which Hanyu has appeared. Enjoy the powerful images of Hanyu. 

 

 

Table of content:

Exclusive Interview
Yuzuru Hanyu
"I'm in the midst of growing pains."

-The stirrings of evolution shown in REALIVE
 

<Backstage Report>

Yuzuru Hanyu Behind the Scenes

 

Ice Show Report 1:
Yuzuru Hanyu "REALIVE" an ICE STORY project

<Special Feature>
The History of Yuzuru Hanyu ICE STORY Project
-Yuzuru Hanyu ICE STORY 2023 "GIFT" at Tokyo Dome
-Yuzuru Hanyu ICE STORY 2nd "RE_PRAY" TOUR
-Yuzuru Hanyu ICE STORY 3rd "Echoes of Life" TOUR

 

<Special Column>
"ICE STORY" that transcends the Boundaries of Ice Shows
-Yuzuru Hanyu: The Trajectory of His Creative Vision

 

Ice Show Report 2:
Yuzuru Hanyu notte stellata 2026

<Special Interview>
David Wilson

『Notte Stellata』 Thoughts behind "Yae no Sakura"

 

<Special Interview>
Shae-Lynn Bourne-Turok
A Close Friend Reflects on the Gift That Is Yuzuru Hanyu

 

<Special Feature>
Because He Was There, We Were Able to Keep Moving Forward.
-Special Interview: Tohoku Youth Orchestra
-Special Report: Yuzuru Hanyu and the Sendai City Exhibition — Toward Reconstruction and the Future Beyond
-Special Interview: Yuzuru Hanyu's Support Initiative for Ishikawa Prefecture
-Special Interview: Bell Sunpia Miyagi Izumi

Ice Show Report 3:
Sendai City Arena Opening Commemorative Event
"The First Skate"

<Special Report>
AQUA Corporation
"I'm in favor of getting all dirty." #ThatStainIs #ASignOfYourPassion

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: https://weibo.com/6473801248/R26Ejp08F / https://weibo.com/6473801248/R27AukslG / https://weibo.com/6473801248/R25s06qtD

 

Interview: Yuzuru Hanyu

 

Spoiler

What I Gained and Learned During My Maintenance Period

 

— After your maintenance, your solo performance about one year and two months later, “Yuzuru Hanyu ‘REALIVE’ an ICE STORY project,” had also concluded. Looking back on it now, could you share your thoughts once again?

 

Hanyu: Although it was called a maintenance, in reality I was constantly confronting my body, continuously learning, and running full speed ahead the whole time. So when REALIVE ended, there really was a moment when I felt completely spent, almost as if I had burned everything out. Or rather, as if I had been filled with an overwhelming sense of accomplishment.

 

The opportunities I had to skate in front of people as a skater undoubtedly decreased compared with previous years. But looking back now, I still feel that this past year was an incredibly fulfilling one for me personally, and also an extremely dense and meaningful year.

 

— The word “maintenance” or “tuning up” tends to bring to mind ideas like “inspection” or “repair,” but that wasn’t really the case, was it?

 

Hanyu: If anything, I was charging forward at full speed the entire time. I reexamined the foundations of my body, reconsidered them, and rebuilt them. It took a very long time, and it was far from easy to bring myself into a condition where I could perform a solo show. But I believe that the changes I made and the things I thought through during that period are extremely, extremely important for my skating career going forward.

 

— For many years, you have faced yourself sincerely and honestly, continuously training your body and refining your sensations. In a sense, this maintenancemeant temporarily setting those things aside and starting over from the beginning. Did you experience fear or struggle during that process?

 

Hanyu: Yes, it was frightening. Many things, including strength training, had been built upon the accumulation of my past training. This time, however, I decided to put those things on hold and even set aside all the experience I had accumulated up to now in order to create a body for the future. Of course that was scary, but at the same time it was exciting and something I looked forward to. I've always been eager to find out just how much further I can evolve.

 

I have an ideal image of “Yuzuru Hanyu” that I am striving toward. The things I've learned and the results of my training during this period have not yet completely connected to that ideal image. But they have started to connect, little by little. So compared to this time last year, I now have a much stronger feeling of anticipation for the person I will become in the future.

 

— In what situations have you felt that things are “starting to connect”?

 

Hanyu: For example, there have been times when I wasn't consciously trying to change my jumping technique, yet people told me, “Your jumps seem a little different now.” And from my own physical sensations, I can feel changes in both my landings and my movement quality, the flexibility and extension in my body have changed.

It's not only in performance itself. When I think, “This is the effect I want to achieve, but I still can't quite reach it,” or when I feel that “I'm not in good condition today,” I can now analyze much more easily exactly what went wrong and why I wasn't able to perform as I wanted. In addition, my knowledge of body maintenance and of how to build a strong physical foundation has increased overwhelmingly.

 

— After reassessing your body and learning all of this, have your everyday movements changed as well, apart from skating?

 

Hanyu: My theoretical understanding has definitely increased a great deal. Things like the way I walk or run, I can now analyze them much more precisely, understanding that if force is transmitted in a certain way, it leads to the correct physical state. Because of that, in scenes like the running sequence in Prequel (Before the White), I was able to create the effect of truly running on land, rather than simply gliding across the ice.

 

— Since restarting your career as a professional figure skater, you have consistently held firm to the belief that you want to continue living as an athlete. At the same time, you have also continued pursuing growth as a performer and artist. Has the way these two identities come together changed for you?

 

Hanyu: I feel that my pursuit of both has deepened, and the level of what I demand from myself has risen as well. I've always believed that if I can't achieve both, then I can't truly call myself a professional. For example, in 'Happy End' from notte stellata 2026, I incorporated many contemporary dance movements, and I can feel that the vocabulary I possess for expression is steadily expanding. Even without jumps, I now have a sense that I can attract and hold an audience's attention to a certain extent. I've gained that kind of confidence. But then I find myself thinking, "If that's all there is, then wouldn't it be better just to watch a dancer?" There are so many incredible dancers in the world, and their performances can move people even more deeply. At the end of the day, however, I am a figure skater. That means my jumps, spins, skating skills and every technical aspect must be genuinely strong.

 

'Prequel' was an extremely avant-garde program for me. I integrated jumps in a way that was almost imperceptible to the audience. The spins were not presented as conventional combination spins or change-foot spins; instead, I embedded them into the step sequence itself and deliberately avoided clearly showing their ending positions. All of those things are only possible because they are built upon solid singles-skating technique. To deepen expression, technique is indispensable. You need both the kind of body development a dancer pursues for expression and the kind of body development required of an athlete. The key is how to allow those two to coexist. And I believe that only by doing that can I continue to exist as a one-of-a-kind figure skater and a one-of-a-kind performer.

 

— Bringing the conversation back to ICE STORY: in a sense, it has already moved beyond the traditional concept of an ice show and created an entirely new genre called “Yuzuru Hanyu.” How do you view that yourself?

 

Hanyu: That is certainly what I hope to create. When we were making GIFT, everyone, including myself, was still feeling our way forward. But looking back, perhaps it had already become a new genre even then. Then, during the RE_PRAY tour, we constantly held review meetings, discussing things like, "Would this part work better if we handled it differently?" We reflected together, experimented, and learned through trial and error. In the end, I feel that by the time we reached Echoes of Life, this new genre had truly been established.

 

As for Echoes of Life, there was even a point when I felt that I had already put everything I possibly could into it, almost to the point where there was nothing left to squeeze out. That's why I'm satisfied with that work. But as I continue to change, MIKIKO-sensei told me, "You can still do so many more things!" This time, for the first time, I tried the format of remaining on the ice for the entire performance, and that made me realize once again that ICE STORY can continue evolving.

 

I do have a certain pride in believing that it has become a completely new genre that transcends the framework of figure skating. At the same time, though, I also feel that it will continue to transform and develop from here on.

 

— Earlier you mentioned that reassessing yourself during your maintenance changed your physical sensations and many other aspects of your skating. Do you think those changes will influence the next work, ICE STORY 4th WHITE...?

 

Hanyu: As for the fourth installment, we're still at a stage where many things have yet to be decided, so there are still plenty of uncertainties. However, I want to carry forward the realization I gained from this performance and the feeling that "I can still do more."

 

During REALIVE, I was honestly performing with my body pushed to its absolute limits. I still wanted to refine myself further, and I felt that I should have been able to present something of an even higher technical standard. So I think that next time, I should be able to create an even better work.

 

— During your hiatus, I'm sure many fans missed you terribly and were thinking, “We can't wait any longer!” Finally, would you like to say a few words to them?

 

Hanyu: Because everyone gave me this time, I was able to learn so many things and sort through so many thoughts. If I hadn't taken this maintenance, I might have become lost, feeling that I had reached the limits of my abilities and no longer knowing where to go next. But because I had this time away, I discovered things I hadn't known before, things I hadn't been able to do before, and how I should continue learning from now on.

 

Right now, I'm in the midst of what you might call the most intense period of "growing pains." The person who is most excited to see how much further I can still grow from here is actually me. I'm incredibly excited, and full of anticipation. And so, in order to show everyone something that not only fills the gap created by this hiatus but far surpasses it, I will continue working hard from here on as well!

 

 

《Kiss & Cry》 – Mini Talk Corner

Q: What have you been really into lately?

Hanyu: Lately I've been spending my time building Heian City Story in a mobile game. Originally, I picked out a bunch of PC games to play in search of creative inspiration, but I've ended up having absolutely no time to play them. At this point I'm starting to get a little anxious, thinking, "I've got to hurry up and play them!" (laughs)

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: https://weibo.com/6473801248/R276DdVca / https://weibo.com/6473801248/R2dDi3zDd / https://weibo.com/6473801248/R3mK6aQmd

 

Interview: David Wilson

 

Spoiler

— We heard that you choreographed the new program Yae no Sakura. Could you tell us about the choreographic process and how long it took?

 

David: This year, because we were collaborating with the Tohoku Youth Orchestra, I choreographed several programs using music by the orchestra's founder, Ryuichi Sakamoto. Yuzu's new program also used one of Sakamoto's pieces, originally written as a soundtrack for a television drama. At the beginning, Yuzu sent me a story he had written about the program. Then he told me, "Please choreograph it according to how you feel."

 

— The two of you working remotely over social media and online platforms also became a topic of discussion among fans.

 

David: Actually, I had originally planned to travel to Japan in January to choreograph the piece in person. But about two days before my departure, Yuzu injured his ankle. He wasn't able to return to the ice until about three weeks before the performance. So the situation ended up being that he was at the rink while I was in my living room at home, and we completed the choreography through Zoom. We've worked together that way before, but this time it went surprisingly smoothly. Of course, before that we'd already spent a considerable amount of time organizing our ideas and inspirations. The actual time we worked together was about three and a half days, roughly sixteen hours in total.

 

— What was the central concept behind the choreography of Yae no Sakura?

 

David: The story Yuzu sent me was about the path he has walked as a figure skater and the traces he has left behind. He is someone who thinks very deeply and possesses a remarkable sensitivity. He gives meaning to everything.

 

— Could you give an example of what a specific movement symbolizes?

 

David: It's difficult to point to just one example. Every movement in the choreography was given meaning. There isn't a single gesture in the entire program that is there without purpose.

 

— After watching Yae no Sakura live, what were your impressions?

 

David: Yuzu carried extraordinarily strong emotions and determination into that performance. That energy filled the entire arena and reached every corner of it. I believe every audience member felt, "He's skating for me." He wasn't forcing anyone to feel anything, yet everyone was naturally drawn in by his passion. What people saw on the ice was incredible, but in reality he had only just recovered from his ankle injury and was still skating in pain. I don't think anyone realized that. When Yuzu came off the ice drenched in sweat, he looked like Muhammad Ali after finishing a fight. (laughs)

 

— After arriving in Japan and seeing the full rehearsal in the actual venue, were there any changes made?

 

David: Yes. (laughs) The dry-ice effect was simply too strong. During rehearsal, Yuzu was practically hidden by it. Since at the actual venue you usually only get one full run-through, I always feel a little nervous whenever special lighting or stage effects are involved. So we reduced the amount of dry ice and started releasing it earlier. That way, during the actual performance, the audience could clearly see him.

 

— Have you seen Hanyu's self-choreographed program, Happy End?

 

David: It was absolutely wonderful! The work has an extremely distinctive personal character. Watching it, I felt almost as though I were watching a contemporary dance performance. Perhaps he consulted some professional dancers he knows, but to be honest, it was choreographed even better than some of my own work. (laughs) After watching it, I actually felt a sense of awe. He really is a very special person. Deep inside, he carries an extraordinary wealth of ideas and emotions.

 

— This year, Hanyu collaborated with the Tohoku Youth Orchestra. How did he look to you skating to live orchestral music?

 

David: I think he was probably a little concerned at first. For a skater like him, someone who places such importance on music, skating to a live performance naturally comes with certain worries. Most of the orchestra members were children and young people, and they were all absolutely lovely. The conductor was outstanding as well. While conducting, he would occasionally turn around to check on the skaters' movements. The quality of the performance was remarkable. It didn't sound like something performed by children at all. It was truly excellent.

 

— Could you share any behind-the-scenes stories about Hanyu during notte stellata 2026?

 

David: Yuzu takes care of everyone involved. He's always trying to maintain a positive atmosphere backstage. He was the same way with the orchestra children. He would joke around with them and make them laugh, always looking for ways to ease everyone's nerves. I think that's something very characteristic of Yuzu.

 

— In April, Yuzuru Hanyu “REALIVE” an ICE STORY was held. What are your impressions of his solo performance?

 

David: It's truly an extraordinary achievement. To skate an entire show from beginning to end by yourself is probably something no skater ever even imagined doing. I love music and listen to all kinds of pieces. Some masterpieces simply can't be edited down into competition-length programs. Whenever I come across a work like that, something I truly love but can't use myself, I often recommend it to Yuzu. Even if I can't incorporate it into my own choreography, I think that as a professional skater he might someday have an opportunity to use it. As for whether he will use any of those pieces in future performances, I don't know yet.

 

— If you have the opportunity in the future, what would you like to challenge yourselves with together?

 

David: I would love to be involved in the production of one of his ice shows. Of course, I know that many talented people have already gathered around him—choreographers, directors, and many other creative professionals. But I'm especially interested in stage design and in productions that combine skating with contemporary dance and classical ballet. Although my professional work is mainly choreographing competitive programs, I've always loved art itself. So if an opportunity arose to participate in one of his productions, I would be very eager to take on that challenge.

 

— Finally, is there anything you would like to say to Hanyu?

David: I hope Yuzu stays healthy, and I wish success for all of his future projects. Please make sure to take good care of your body. And I very much look forward to the next opportunity to work together with you again.

 

 

David's comment about Yuzu:

I have a habit of instinctively judging my own work with a very critical eye. There are very, very few skaters who can give me the kind of deep satisfaction that Yuzu does. As a choreographer, I’ve always believed that once a program is completed and handed over to the skater, it becomes the skater’s work. Because of that, I usually try to keep some distance and look at it in a detached way. But whenever I watch Yuzu perform, I’m able to relax completely and simply enjoy it. He has never once disappointed me.

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

 

Source: https://weibo.com/6473801248/R28eEr6eN

 

Interview: Shae-Lynn Bourne

 

Spoiler

— Could you share any memorable behind-the-scenes moments from notte stellata?

 

Shae: Yuzu was very relaxed and truly enjoying the whole process. However, in the past he would always perform highly difficult jumps like the triple Axel and quadruple jumps, but because of his injury this year, he wasn’t able to do them. It seems he carried a feeling of guilt toward the audience because of that. So I told him, “That’s not a problem at all. Of course it’s wonderful that you can perform those jumps, but that’s not the only reason people love you. Even though you couldn’t do those jumps this time, you showed everyone a completely new side of yourself, and I believe the audience was able to discover something new as well. That is also a very precious gift.”

That’s what I said to him.

 

— Through your collaboration with Hanyu, were there any things that inspired you or that you learned from him?

Shae: One of the most important things in figure skating is expressing who you are on the ice. And I learned a great deal from the way Yuzu expresses himself. Now, when I choreograph programs for active competitors, I have them listen to music and write down what they feel from it—the images and impressions that come to their minds. But not everyone is able to immediately draw out that kind of personal imagery. As we grow older, we sometimes lose the rich creativity we once had as children during the process of growing up. Working with Yuzu was a precious gift for me. I also try to share the insights and experiences I gained from him with other skaters.

 

[yuzurujenn]

 

*Machine translation. Inaccuracies exist*

 

Source: K&C Stage5, pg 70-73

 

Special Feature: "Because He Was There, We Were Able to Keep Moving Forward."

 

From disaster relief efforts to donations supporting ice rinks, this feature introduces the many acts of "hope" that Yuzuru Hanyu has created, through interviews and on-site reports.

 

Yuzuru Hanyu Continues to Pass On the Baton of Hope

 

The ice show "Yuzuru Hanyu notte stellata," which shares a message of hope from disaster-affected communities, marked its fourth edition. From his teenage years to the present day, Hanyu has remained steadfast in his support for recovery efforts following the Great East Japan Earthquake. He has also extended assistance to disaster-stricken regions across Japan, including Ishikawa's Noto Peninsula, and has worked to preserve ice rinks for future generations. Throughout it all, he has continually asked himself, "What can I do?" and has never stopped reaching out to help.

 

His activities have transcended mere support, becoming a powerful wave that moves many people. The baton of hope that Hanyu has passed on will continue to spread warmly across regions and generations.

 

 

Special Interview: Tohoku Youth Orchestra

 

Spoiler

The Tohoku Youth Orchestra, which performed alongside Yuzuru Hanyu in "Yuzuru Hanyu notte stellata 2026," shared their thoughts on the collaboration. We spoke with orchestra members Minami Suzuki and Aiko Chiba about the experience.

 

Young Musicians' Commitment to Reconstruction and Their Passion for Music

— What were your impressions of the performance?

 

Suzuki: "Watching figure skating live was overwhelmingly powerful. I was excited from the very first rehearsal. Fifteen years ago, I was also one of the people who looked up at a sky filled with stars. So when I saw the glow of the audience's penlights, it overlapped with my memory of that night's starry sky, and I was deeply moved."

 

Chiba: "World-renowned skaters, along with audiences of all ages and from many different countries, came to Rifu because they connected with Hanyu's message. As someone from Miyagi, that made me incredibly happy. Seeing so many people resonate with what he stands for was truly moving."

 

— During the performance, was there anything Hanyu said about the Great East Japan Earthquake that particularly stayed with you?

 

Suzuki: "Suzuki: "I was deeply moved by Hanyu's address to the audience. He said, 'This venue was once a morgue. But now, people gather in this arena, and it has become a place where the energy of life flows. Life and death are side by side.' I was deeply struck by the weight of those words."

 

Chiba: "Actually, since the earthquake, my family had never returned to Sekisui Heim Super Arena, where this performance was held. The memories were simply too painful, and it wasn't somewhere they felt they could casually visit. But this time, my family was able to return there for the first time in fifteen years. It's a place of great significance to us, and seeing Hanyu skating with all his heart for the sake of Tohoku's recovery made me realize once again just how deeply committed he is to the region."

 

— What did you discuss with Hanyu about your collaboration on "Happy End"?

 

Suzuki: "We met Hanyu for the first time during rehearsals, and he spoke to us directly about the piece. He told us that it embodies inner conflict and a complex mix of emotions that are difficult to put into words. After hearing that, I felt even more strongly that our performance needed to express what he had sensed in the music and was striving to embody through his skating."

 

— Did hearing that change the way you performed the piece?

 

Chiba: "Yes, it did. Hanyu explained in great detail the role of every single note and the emotions behind each movement in the choreography. As Suzuki mentioned, the central theme of this piece is inner conflict. Our challenge was how we could best complement Hanyu's deeply heartfelt performance with our music. We performed with that single-minded focus from beginning to end."

 

— Were there any unique challenges in collaborating with a figure skater?

 

Suzuki: "During rehearsals for 'Yae no Sakura,' the music was slightly too fast, and it didn't quite match Hanyu's jump timing. We had to not only keep track of our own tempo, but also completely understand the skater's movements, otherwise we'd ruin the performance. There was a unique kind of tension, completely different from when we perform on our own."

 

— What feelings did you hope to express in your performance of 'Yae no Sakura'?

 

Chiba: "Yae no Sakura was originally the main theme of the historical drama depicting a woman who perseveres through the turbulent final years of the Edo period with remarkable determination. To me, that story strongly overlaps with Tohoku's own journey, having lost everything to the tsunami and then gradually rebuilding from nothing. I kept that feeling in my heart and treasured every single note we played."

 

— Looking back on this experience, what are your goals and hopes for the future?

 

Suzuki: "This experience taught me not only how to refine my skills, but also one of the most important things for a performer: how to convey the feelings behind the music. I strongly hope to continue my work in a way that allows me to stand beside people's hearts and deliver hope through music."

 

Chiba: "As I continue making music here in Tohoku, I'll never forget the sea of glowing penlights and the warm applause that filled the venue. I truly believe music has the power to connect people beyond words, and I hope to keep moving forward, one step at a time, with that belief."

 

 

 

Special Report:

Yuzuru Hanyu and the Sendai City Exhibition ~ Towards Reconstruction and the Future Beyond 

 

Spoiler

A report on the special exhibition hosted by Sendai City, tracing Yuzuru Hanyu's journey through a variety of exhibits.

 

A Special Exhibition Organized by Sendai City Tracing the Career of Yuzuru Hanyu

 

Yuzuru Hanyu, who has served as a Sendai Tourism Ambassador since 2014, was featured in a special exhibition hosted by the City of Sendai, held at Aoba no Kaze Terrace at International Center Station on the Sendai Municipal Subway Tozai Line to mark the 15th anniversary of the Great East Japan Earthquake. The exhibition traced the journey of his activities and achievements over the years.

 

The first-floor information corner, which was open for free admission, displayed items including Hanyu's actual skating boots and the costume from his 2011–12 short program, "Etude." It was particularly striking to see passing station users instinctively stop and become engrossed in the exhibits.

 

Meanwhile, the exhibition held in the second-floor indoor event space, which required advance reservations for designated time slots, attracted a flood of applicants, resulting in a highly competitive lottery for admission. Fans who came from both Japan and overseas carefully took in each of the rare exhibits available only at this venue, including photo panels looking back on his journey as both a competitive and professional skater, the "Sendai-hira" hakama he wore at the presentation ceremony for the People's Honour Award, and decorative streamers from the collection of Zuihōden Mausoleum, created with designs inspired by his costumes.

 

Following the exhibition's popularity, an encore exhibition was held from April 10 to 12 at the third-floor event space of EBeans in front of Sendai Station, with newly added photographs from "Yuzuru Hanyu notte stellata 2026." The event also drew large crowds each day, once again highlighting the deep bond between Yuzuru Hanyu and the city of Sendai.

 

 

 

Special Interview: Yuzuru Hanyu's Ishikawa Prefecture Support Initiative

 

Spoiler

A project supporting recovery efforts following the Noto Peninsula Earthquake and the Oku-Noto Torrential Rains. We spoke with a representative from the Ishikawa Prefecture Tourism Strategy Division about the response to the initiative.

 

A Circle of Hope for Recovery Connected Through Yuzuru Hanyu's Support

 

— Could you tell us about the Ishikawa Prefecture support initiative by Yuzuru Hanyu?

 

"In 2024, at the 'Noto Peninsula Reconstruction Support Charity performance,' Hanyu kindly offered, 'I would like to help support efforts to attract visitors to the region as well.' This initiative began in February 2025. Life-sized panels and posters featuring a QR code that allows visitors to watch a video message of support for Noto from Hanyu have been installed at various locations throughout Ishikawa Prefecture."

 

— How has the response been?

 

"Many tourists from both inside and outside the prefecture have visited Ishikawa specifically because of this support initiative. Private businesses have also created travel packages that allow visitors to tour locations displaying the life-sized panels and posters from this project. We understand that these have been extremely well received, with application numbers quickly reaching capacity due to overwhelming interest."

 

— We understand that the installation period has been extended until the end of March 2027. What was the reason behind this decision?

 

"We received requests from tourists to the Ishikawa Prefecture Tourism Strategy Division, such as, 'There are too many locations to visit them all within the current period, so we would like the campaign to be extended.' Taking these voices into consideration, we consulted with Hanyu, and as a result, the extension of the installation period was decided."

 

— Through this initiative, what aspects of Ishikawa and Noto would you like people across Japan to see?

 

"Noto has many landscapes that can only be seen now, while it is still in the process of recovery. We hope that this project will encourage many people to come to Noto. We would also be very grateful if people could offer words of encouragement to the local people who are working hard every day towards recovery in the region."

 

 

 

Special Interview: Bell Sunpia Miyagi Izumi

 

Spoiler

Yuzuru Hanyu donated approximately 54,205,800 yen toward repair costs for the sports complex Bell Sunpia Miyagi Izumi. Facility manager Hiroki Baba shared his gratitude and reflected on the impact of the donation.

 

The Connections and Hope for the Future Created by Yuzuru Hanyu's Donation

 

— What repairs were carried out using the donation from Hanyu?

 

"Condensation water had been dripping onto the rink, causing numerous bumps to form on the ice surface. Hanyu occasionally uses our rink for practice, and he had apparently been concerned about the excessive condensation for quite some time. Then, around the beginning of 2025, he made a concrete offer to provide a donation. We consulted with Taiyo Sangyo Co., Ltd., an equipment company based in Yamagata with whom we had a long-standing relationship. They had experience implementing condensation-control measures in logistics warehouses, so they conducted an assessment. As a result, we installed six dehumidifiers and eight air blowers. We also applied anti-condensation paint to the steel framework."

 

— What changes have you seen after implementing these various measures?

 

"First of all, the bumps stopped forming. Of course, this has made it safer for users to skate, but we also used to have to shave the ice several times a day to remove those bumps, so being able to eliminate that work has been a tremendous relief. We have also heard people say that the air itself feels different. Previously, there was a deep chill that seemed to seep in from the feet upward, but now the environment feels warmer. I believe the accompanying parents and guardians are also able to spend their time here more comfortably."

 

— Was it difficult for the facility itself to raise funds for these repairs?

 

"Bell Sunpia Miyagi Izumi has many facilities besides the ice rink, so due to budget limitations, we inevitably have to prioritize repairs. If essential infrastructure such as toilets breaks down, those repairs must come first, so the issue of the ice bumps had been put on the back burner. The repair costs were quite substantial, but when we explained the situation to Hanyu, he immediately said, 'Let's do it.' He had always been worried about children getting injured because of the uneven ice surface caused by the bumps."

 

— Did Hanyu get to see the renovated rink?

 

"The practices and rehearsals for 'Yuzuru Hanyu notte stellata 2026' were held here, and Hanyu was pleased, saying, 'I'm glad it has become so much better.' For figure skating, the condition of the ice is everything. Thanks to his passion and commitment, this place has been transformed into a safer environment for skating."

 

— I imagine that Hanyu's donation has also helped increase awareness of the facility.

 

"Yes, we are extremely grateful. Hanyu shared information about us on his own social media, and as a result, the number of visitors using our restaurant and accommodation facilities has also increased. He told us, 'I hope this helps people become aware of the name, even just a little.' It truly made me realize once again how deeply he cares for his hometown."

 

— We heard that staff members from Bandai Atami Ice Arena in Fukushima Prefecture also came to visit.

 

"Staff members from Bandai came after seeing articles about the donation. They are also struggling with ice bumps caused by condensation and leaks, so it was meaningful to see the circle of information sharing between facilities expanding."

 

— It seems that this has also led to other new connections.

 

"During the 'Yuzuru Hanyu Notte Stellata 2026' event, people from Noto (Ishikawa Prefecture) stayed at our facility. And now, we're in the process of offering a menu using ingredients from Noto at our restaurant. The connections that Hanyu helped create have developed into exchanges between disaster-affected regions."

 

— That is wonderful. Finally, what do you believe is the significance of keeping this ice rink open for the future?"

 

"Operating an ice rink is truly challenging. However, skaters who grew up here, including Hanyu, Shun Sato, and Mone Chiba, are now achieving great success on the world stage. We cannot take away the place where children who look up to them come to practice and pursue their dreams. I want to carry forward the light that Hanyu has helped connect and pass it on to future generations."

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: K&C Stage5, pg 84

 

Special Report:
AQUA Corporation -  "I’m all for getting dirty." #ThatDirtIs #AMarkOfYourPassion

 

Yuzuru Hanyu appears in the home appliance brand AQUA’s commercial, “#I'mAllForGettingDirty. Yuzuru Hanyu Washing Machine Branding Movie.” This report takes a behind-the-scenes look at the making of the campaign.

 

Yuzuru Hanyu x AQUA: A message of encouragement to those who take on challenges

 

Yuzuru Hanyu, who has served as the brand ambassador for home appliance brand AQUA since 2024, stars in the commercial “#I’mAllForGettingDirty. Yuzuru Hanyu Washing Machine Branding Movie.” Featuring the taglines “I’m All For Getting Dirty” and “#ThatDirtIs #AMarkOfYourPassion,” the commercial uses the washing machine as a means of encouragement for people who are wholeheartedly pursuing their goals.

 

Hanyu’s refreshing image, combined with the positive message that dirt is proof of hard work, received a strong response. After the commercial was released, AQUA reportedly received many positive messages on social media, such as, “I used to think dirt was something unpleasant, but now I can see it as proof of taking on challenges,” and “My washing machine is a comrade (that fights alongside me daily).” By giving new value to something as ordinary as everyday life, this project went beyond being merely a commercial and became an “encouraging message” that gave courage to many people.

 

 

Special Interview: “Through his continued pursuit of challenges, we hope he can deliver courage and hope.”

 

Spoiler

We spoke with Takahiro Tanaka from the Promotion Division of AQUA Corporation’s Marketing Strategy Department about the behind-the-scenes details of the filming and the thoughts behind the advertisement.

 

The Story of a “Sincere White” That Resonated with Yuzuru Hanyu

— How did this project begin?

 

“The project started around the end of 2024. Words that came to mind when imagining Hanyu included ‘challenge,’ ‘effort,’ and ‘101.’ From there, we wanted to create a PR campaign aimed at people who are passionately dedicated to something. ‘Dirt’ has a negative connotation, but it is also proof that someone is putting their heart into something. With AQUA washing machines, which can easily remove dirt, we wanted to convey the message that people can immerse themselves fully in whatever they want to pursue without worrying about getting dirty."

 

— What image of Hanyu was most important to you in developing this project?

 

“One of the reasons we were so strongly drawn to Hanyu was the image of ‘whiteness.’ Hanyu’s performances on the pure white ice rink are filled with beauty that is free of unnecessary elements and radiates a sense of transparency. We felt that this connects with the ‘original whiteness’ that people hope to restore through washing their clothes, and that there is an essential similarity between the two.”

 

— Please share any anecdotes about Hanyu from the filming set.

 

“Hanyu thoroughly understood the product, repeated rehearsals many times, and carefully considered how to best showcase the product. He also offered his own ideas and suggestions.”

 

— Did Hanyu comment on or react to the product’s functions or design?

 

“Hanyu strongly connected with the sincerity of the product as something used every day, rather than something flashy, as well as with the attention paid to small details.”

 

— Through this project, what aspects of Hanyu’s appeal stood out to you?

 

“It was the fact that Hanyu is a true professional performer who never compromises, even in the smallest details. He considered the meaning behind every expression, every movement, and even his positioning, while constantly being aware of how his performance would be received by others.”

 

— Were there any particular points you focused on in the advertisement visuals?

 

“We placed particular emphasis on the expression conveying the message of support. We believe that Hanyu’s expression — disciplined and strong, yet kind and encouraging — will become a message that truly supports and connects with users.”

 

— What was the most important message you wanted to convey through this project?

 

“We wanted people to reconsider the fixed idea that ‘dirt equals something bad.’ Clothes become dirty because people play wholeheartedly, become absorbed in something, or take on challenges. In other words, we believe dirt is not something negative, but rather ‘a sign that someone has taken positive action.’ Just as Hanyu has built his current self through repeated challenges and efforts, the dirt created in everyday life is also the result of someone living positively. We want people to enjoy every day to the fullest without hesitation, even if it means getting dirty. And we want to be there to support them.”

 

— Finally, do you have a message for Hanyu, who continues to take on challenges?

 

"We hope that Hanyu will continue to bring courage and hope to many users through his continued pursuit of challenges. We, too, hope to be a presence that supports each and every step of our users through the everyday act of doing laundry. Sharing the same sentiment of ‘supporting people who live their daily lives with dedication,’ we would be delighted to continue walking forward together."

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: K&C Stage5, pg 38-51

 

Special Feature: The History of Yuzuru Hanyu ICE STORY Project

 

The "ICE STORY" project is one of professional skater Yuzuru Hanyu's life's works. With anticipation building for the fourth installment, let's look back at the three previous productions: "GIFT," "RE_PRAY," and "Echoes of Life."

 

 

 

Yuzuru Hanyu ICE STORY 2023 "GIFT" at Tokyo Dome

 

Spoiler

The first installment of “ICE STORY,” held on February 26, 2023, was the first-ever solo Tokyo Dome performance by a figure skater in history. With Hanyu serving as executive producer and MIKIKO as director, this golden duo brought “Hanyu’s life so far” and “his future” to life on an unprecedented scale.

 

Set List

1. The Firebird

2. Hope & Legacy

3. One Summer's Day

4. Ballade No. 1 in G minor

5. Introduction and Rondo Capriccioso

6. Let's Go Crazy

7. Let Me Entertain You

8. Ashura-chan

9. The Phantom of the Opera

10. A Dream That Will One Day End

11. Notte Stellata

EC1: Haru yo, Koi

EC2: SEIMEI

 

 

 

Yuzuru Hanyu ICE STORY 2nd RE_PRAY" TOUR

 

Spoiler

Hanyu’s first solo tour was held in Saitama (November 2023), Saga (January 2024), Yokohama (February 2024), and an additional performance in Miyagi (April 2024). Using “games,” which Hanyu himself described as “a major element in my own experiences,” as its motif, the production explored the meaning of life.

 

Set List

 

1. A Dream That Will One Day End -Original-

2. Gate Of Living

3. Hope & Legacy / Ashura-chan

4. MEGALOVANIA

5. Messenger of Destruction

6. A Dream That Will One Day End: Re

7. Requiem for Heaven and Earth

8. One Summer's Day

9. Haru yo, Koi

ED: Estopolis II Medley

EC1: Let Me Entertain You

EC2: SEIMEI

EC3: Introduction and Rondo Capriccioso

 

 

Live Voice - RE_PRAY Interviews: Revisited

November 4, 2023 / Saitama Performance at Saitama Super Arena

 

From questioning life choices through games to a multidisciplinary art experience that moves the five senses

 

— Could you tell us about the theme of this performance, “RE_PRAY”?

 

“Through various forms of media such as games, manga, and novels, I have also taken in things that many people may have felt themselves, thoughts like, ‘What is my life really about?’ or ‘Life is something precious.’ In games, the concept of ‘life’ is, in a sense, light; it can be repeated over and over again. Because of that, you can move forward out of pure curiosity, using a ‘character’ as your avatar. If you apply that idea to the real world, it could mean someone is a person with the drive to pursue and achieve their dreams. But viewed from another perspective, that same person could also be seen as someone quite frightening. I found myself thinking, ‘If something could be repeated, perhaps people would choose to do it.’

 

Suppose that, among the choices you have made in your life, there was once a path that led to ‘ruin.’ And suppose there was also a life in which you overcame every obstacle and achieved your dream. If you were able to repeat that life once again, what would you choose, and what would you feel?

That is the theme I want people to consider through this ‘ICE STORY.’ The purpose of this story is not for me to provide an answer; rather, I want it to encourage them to think. I hope that ‘RE_PRAY’ can become one of the catalysts that prompts that reflection.”

 

— What makes “RE_PRAY” different from previous ice shows?

 

“The idea is to show how the various programs within a single work take on completely different meanings when those (past programs) are placed within the context of the story, and to present that transformation as one continuous flow. For me, I am approaching this ‘ICE STORY’ with a different mindset from previous ice shows. Above all, it is about writing down what I myself want to express and creating it by involving many people. There is pressure that comes with that, and I feel a strong sense of responsibility as I perform. I do think, ‘This is difficult,’ but at the same time, as an athlete, I have once again found myself wanting to continue challenging my limits and work hard so that I can deliver even better performances.”

 

Selected quote:
“As an athlete, I want to continue challenging my limits and work hard so that I can deliver even better performances.”

 

 

 

Yuzuru Hanyu ICE STORY 3rd "Echoes of Life" TOUR

 

Spoiler

The third installment, “Echoes of Life,” was held in Saitama in December 2024, Hiroshima in January 2025, and Chiba in February 2025. It tells the epic story of the protagonist “Nova,” who awakens in a devastated world and searches for the meaning of life, brought to life through powerful visuals, Hanyu’s own narration, and a diverse lineup of 12 performances.

 

Set List

1. First Pulse
2. Ubugoe ~ Meguri
3. Utai IV Reawakening
4. Mass Destruction - Reload
5. Piano Collection
 5-1. 6 Pieces for Piano, Op. 118: No.3, Ballade in G Minor. Allegro energio
 5-2. The Well-Tempered Clavier, Book 1: No.2, Prelude and Fugue in C Minor, BWV 847
 5-3. Keyboard Sonata in D Minor, K.141
 5-4. 12 Études, Op.25: No.12 in C Minor "Ocean"
 5-5. 12 Études, Op. 10: No.4 in C-Sharp Minor "Torrent"
6. Ballade No.1 in G Minor, Op.23
7. Goliath (2024 Remix)
8. Aqua's Journey (Piano Solo Ver.)
9. Eclipse/blue
10 GATE OF STEINER Aesthetics on Ice
11 Danny Boy
12 A Poem for Everyone's Soul
EC1 Let Me Entertain You
EC2 Ashura-chan/MEGALOVANIA
EC3 SEIMEI

 

 

Live Voice - Echoes of Life Interviews: Revisited

December 7, 2024 / Saitama Performance at Saitama Super Arena

 

The “Philosophy of Life” He Wrote Himself, and His Aspirations as He Turns 30

 

— Please share your thoughts after completing the opening day of “Echoes of Life.”

 

“The strongest feeling I have is that it has finally begun. I was truly nervous. Of course, I had spent a great deal of time practicing and training, but there was still a part of me that felt I would not know whether it was a success or a failure until I actually performed in front of everyone. So, I have a feeling of ‘It has finally started,’ and at the same time, I am grateful that I was able to complete the story on the first day without injury.”

 

— This show was created around the theme of “living.” Could you tell us about the thoughts you put into it?

 

“Originally, I had been interested in the philosophy of what it means to ‘live,’ having thought about bioethics from a young age and later studied it at university. From there, I revisited the thoughts and theories that had continued to swirl within me. I wanted to create a performance where, especially in the world we live in today, each person could find their own answer and develop their own philosophy about what it means to live. With that hope, I wrote ‘Echoes of Life.’”

 

— The protagonist’s ability to turn “words into sounds” was especially memorable. How did this idea come about?

 

“Some people see the color red as passion, while others see it as fear. It differs from person to person, but I have always been the type of person to hear those things as *sounds* since I was young. It's not that I have perfect pitch or anything, but it's more like I hear them with a kind of melodic sense... Philosophy enters my body as sound. That philosophy becomes music, and from there a program is created. I wrote it while expanding my imagination in that direction.”

 

— How do you feel about turning 30?

 

“When I compare my current physical and mental state to what I've always imagined my 30s to be like since I was a child, I realize it's quite different from what I imagined, and I feel like I can still do so much more. In ‘Echoes,’ there are questions such as ‘What is the future?’ and ‘What is the past?’ But I believe the future can become much, much better than we imagine. By continuing to give my best, I feel that I have entered my 30s in a way that is different from when I used to think, ‘Being 30 means you’re old.’”

 

— What are your aspirations for your 30s?

 

“I had a vague image that, as a figure skater, I would probably decline with age. But when I thought about it in terms of sports like baseball and soccer, I realized that this is actually the time when my experience, instincts, and skills will finally begin to come into their own. I want to approach my practices, training, and performances with a genuine sense of hope for my own future, always carrying the determination to ‘absolutely seize every opportunity.’”

 

Selected quote:
“I feel that I am finally entering the period when my experience, instincts, and skills can begin to truly come into their own.”

 

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: K&C Stage5, pg 52-53

 

<Special Column>
“ICE STORY”: Transcending the Boundaries of Ice Shows
Yuzuru Hanyu: The Trajectory of His Creative Journey

 

 

In July 2022, Yuzuru Hanyu stepped beyond the framework of competitive skating and took his first steps as a professional skater. What he set out to create was the establishment of a comprehensive form of expression that would break through existing concepts: “ICE STORY.” This article traces the passion and innovative journey that Hanyu, who continues to evolve as an artist, has brought to life on the ice.

 

Spoiler

The Innovative Ice Show “ICE STORY”

 

After beginning a new chapter as a professional figure skater in July 2022, Yuzuru Hanyu held his first ice show, “Prologue,” as a solo performance featuring only himself as the performer. Following that, he embarked on a new creative endeavor: a series of productions titled “ICE STORY.”

 

The first installment, “Yuzuru Hanyu ICE STORY 2023 ‘GIFT’ at Tokyo Dome,” was held at Tokyo Dome on February 26, 2023. It was the first time an ice show had ever been staged at Tokyo Dome. Approximately 35,000 people gathered at the venue for this historic event. Live viewings were also held in cinemas throughout Japan and overseas, with around 30,000 viewers. Considering that the event was also streamed live worldwide, it is easy to imagine the enormous number of viewers who watched it.

 

Not only was it significant for being held at Tokyo Dome; more importantly, the content itself was groundbreaking. The visuals projected onto the venue’s enormous screens, together with the performances on the ice, wove a story that reflected Yuzuru Hanyu’s life journey: his dreams, hardships, inner conflicts, and solitude as he continued to pursue excellence at the highest level of figure skating.

 

The world of the show was supported by orchestral and band performances, projection mapping, and dancers’ performances. It was an ice show with a narrative, but also a production unlike anything that had come before, including in terms of staging and direction. It truly lived up to the title, "ICE STORY."

 

The second installment of “ICE STORY” was “RE_PRAY.” It premiered on November 4, 2023, at Saitama Super Arena, followed by performances in January 2024 at SAGA Arena in Saga, in February 2024 at Pia Arena MM in Yokohama, and an additional performance in April 2024 at Sekisui Heim Super Arena in Miyagi, making a total of four cities.

 

This was a world inspired by the concept of video games. The protagonist, the player, is repeatedly faced with choices as the game unfolds. These choices mirror life itself. As people move through life, they are constantly making decisions. Within the setting of a game world where choices can be repeated, the story explored what it means to choose and what it means not to choose, while inviting us to reflect on the significance of a once-in-a-lifetime human existence. In this way, a profound and universal story was created.

 

Eight months after the conclusion of “RE_PRAY,” the third installment was presented: “Echoes of Life.” Beginning with performances at Saitama Super Arena in December 2024, the production continued in January 2025 at Hiroshima Green Arena and in February 2025 at LaLa arena TOKYO-BAY in Chiba.

 

In “Echoes of Life,” the focus was on life itself,  and on the question: what does it mean to live? It was a direct confrontation with one of the most fundamental themes of human existence. To portray such an abstract theme, the medium used was sound. The performances on the ice were also created in harmony with the music, which was deeply intertwined with the themes of the story. This concept proved highly effective.

 

From the Connected Stories Toward the Fourth Installment, “WHITE…”

 

These three “ICE STORY” productions each demonstrated a powerful and distinct presence. The foundation they shared was Hanyu’s creativity and his unquestionable skill as a skater. From creating the stories and carefully shaping the direction to being involved in every aspect of production, Hanyu’s sensitivity as an artist was fully reflected in all three works.

 

At the center of each production was Hanyu’s skating on the ice. With each new program, he continued to demonstrate an exceptional level of artistry and technical excellence through his dancing, graceful movements, and jumps. It was a world that could only exist through the combination of creativity and outstanding performance ability.

 

One year and two months after the conclusion of “Echoes of Life,” Hanyu held “REALIVE” at Sekisui Heim Super Arena. Following what Hanyu described as a “maintenance period,” the first part of the show featured performances that demonstrated how much further he had evolved during that time.

 

In contrast, the second part presented “Prequel: Before the WHITE.” Using color as its motif, it introduced a story built around original music. However, there was also a surprise: it was revealed to be the prequel to the fourth installment of “ICE STORY,” “WHITE…”, effectively serving as an announcement of the upcoming fourth installment as well.

 

The date of the production has not yet been announced. While “Prequel” provides clues about what may come, the details will likely continue to be refined from here.

 

Since embarking on his journey as a professional skater, Hanyu has continued to challenge himself and evolve in every aspect of “ICE STORY” — from original storytelling and creative direction to his skating on the ice. He has repeatedly exceeded expectations, bringing worlds of extraordinary depth and imagination to life. He continues to create works that transcend the conventional boundaries of an ice show.

 

The fact that his journey shows no signs of stopping has been proven by “REALIVE,” which demonstrated yet another stage of evolution. What kind of story, and what kind of world, will be created in the fourth installment? Until that moment arrives, our imaginations continue to soar.

 

[Wintek]

*Machine translation from Japanese to English. Inaccuracies exist*

 

[P. 08-27 ]

 

Special Interview

Yuzuru Hanyu

“In the middle of growing pains.”

— The stirrings of evolution seen in REALIVE —

In April, Yuzuru Hanyu held his solo performance “Yuzuru Hanyu ‘REALIVE’ an ICE STORY project,” his first in about one year and two months. After a “maintenance period” beginning in August of the previous year, and following this latest solo show, what is he thinking now? A long exclusive interview delves into his current state of mind.

Photo / Marco Perboni
Styling / Minako Orihara
Interview & text / Motohiro Matsubara

 

Spoiler

What he gained and learned during the maintenance period

— After your maintenance period, and your solo performance “REALIVE an ICE STORY project,” your first in about one year and two months, some time has passed. Looking back now, how do you feel about it?

“During this time, I set aside what I called a ‘maintenance period,’ but even while calling it that, I was constantly facing my body, continuing to study, and just… kept moving forward.

So when ‘REALIVE’ ended, there was a moment where I kind of burned out in an instant—or rather, I was filled with a sense of achievement. I didn’t stand in front of everyone in a skating form as often compared to previous years, but for me, it was a very fulfilling year. A really dense one, I feel that again now.”

— When we hear “maintenance,” it can sound like inspection or repair. But it seems it wasn’t quite like that?

“Rather, it felt like I was just running straight through it. I re-examined the foundation of my body, thought about it again, and rebuilt it.

Bringing myself to the point where I could do a solo performance took a lot of time and was really difficult. But what I changed and what I thought about during this period—those things are, I think, going to be extremely important for my future as a skater.”

— You’ve always trained your body and refined your senses with sincerity over many years. The maintenance period also sounds like you had to put all of that aside for a moment. Was there fear or inner conflict in that?

“Yes, there definitely was fear.

I had built up so much through training and strength work over the years, and I had to stop all of that, and even discard my accumulated experience once… and basically think, ‘let’s build a body for what comes next.’

It was scary, but at the same time it was exciting. I kept feeling, ‘I wonder how much I can change from here.’

The ideal image I’m aiming for as Yuzuru Hanyu—and what I’ve studied and felt and trained so far—those things still aren’t fully connected yet. But they’re starting to connect little by little.

So compared to this time last year, I feel more like I’m looking forward to my future self.”

“I think it was something really important for my future as a skater.”

 

— When did you feel that things were “starting to connect”?

“It’s not like I was trying to change my jumps themselves, but people started saying things like, ‘you’ve changed, haven’t you?’

And I also feel it myself—in landing, in how I use my body in expression, in the softness and extension of movement.

Also, not just in performance, but in moments like, ‘I want to do this much, but I’m not quite there yet,’ or ‘I’m not in good condition today’—I’ve become much better at analyzing why something didn’t work.

I feel like my knowledge of self-care and how to build my base has increased dramatically.”

— After re-examining yourself and learning so much, have you noticed changes in everyday movements outside skating as well?

“Yes, I’ve gained a lot of theory. Even things like walking or running, I can analyze in much more detail now—like, ‘if I transfer force like this, maybe this is closer to the correct feeling.’ Because of that, for example in the running scene in Prequel (Prequel: Before the WHITE), I think it now looks less like skating and more like I’m actually running on the ground.”

 

Balancing the artist self and the athlete self

— Since your restart as a professional skater, you’ve strongly held onto the idea of continuing to be an athlete.

At the same time, you’ve also pursued artistic evolution. Has anything changed in how those two aspects are integrated? “I feel like the level at which I’m pursuing both has become deeper. Of course, I’ve always thought, ‘you can’t be a professional unless you can do both.’ For example, in the performance ‘Happy End’ in notte stellata 2026, I’ve started incorporating contemporary-style movement, and I feel like my ‘vocabulary’ for expression has expanded. I do feel that even without jumps, I can now present something that holds attention to a certain degree—but at the same time, I think, ‘if it’s only that, then I might as well be a dancer.’ There are amazing dancers all over the world, and watching them would probably bring even greater emotion. But I am a figure skater. So jumps, spins, skating—every technical element has to be solid. Prequel is, for me, quite avant-garde. I incorporate jumps in ways that are almost invisible, and spins are not used as typical combination spins or change-foot spins, but are connected as part of steps. Sometimes I even deliberately don’t show the finishing position of a spin clearly. But you can only do that if you have proper single-skater technique. To deepen expression, you still need technique. And you also need a body built for dance-like expression, and a body built as an athlete. The question is how to combine those. I think only by doing that can you survive as a one-of-a-kind skater, a one-of-a-kind entertainer.”

“The level of pursuing both has risen even deeper”

— In the intermission screen visuals, there were humorous sequences, such as framing battles as “ticket-grabbing wars.” How did those ideas come about?

“With MIKIKO-sensei’s direction, we were talking about doing something that would be an homage to RE_PRAY. But the next program is Chicken, Snake and Pig, so if it became too funny, it wouldn’t fit… so I was thinking about that balance. Then I remembered something from before—there was a time when I was joking around with fans like, ‘Let’s all go on a diet together!’ and it became linked to my program Aki ni Yosete (On Autumn), and hashtags like ‘#Aki ni Yasete,’ ‘#Futonaru (becoming fat),’ ‘#Hoso-naru (becoming thin)’ started trending and it became a whole fun thing. So I thought: while paying homage to RE_PRAY, I wanted something that would make people laugh a lot, but still properly connect into Chicken, Snake and Pig at the end. I actually wrote the script myself with that in mind.”

— So it was quite a densely packed segment. Coming back to the main topic, ICE STORY is, in a sense, no longer just a figure skating ice show, but a genre called “Yuzuru Hanyu.” What do you think about that yourself?

“I want it to be that way, and I create it with that in mind. During GIFT, everyone—including myself—was still feeling our way through it. But even back then, I think it had already become something like a new genre. And during the RE_PRAY tour, we reflected on things like ‘we could have done this better’ and kept trial-and-error-ing together, and as a result, with Echoes of Life, I feel like it really became established as a new genre. As for Echoes of Life, I feel like we gave everything we possibly could, like we couldn’t have pushed it further. I’m satisfied with it. But as I change, MIKIKO-sensei also tells me, ‘there are still so many things you can do.’ This time, I tried something for the first time—‘being on the rink the whole time’—and I feel like ICE STORY can still evolve. I do feel a sense of pride that it has gone beyond figure skating into a new genre… but I also think it will keep changing.”

 

Moving to the next stage with major gains in hand

— Alongside ICE STORY, you have also continued activities such as notte stellata, now in its fourth edition, as well as donations to disaster areas and skating rinks in Sendai. What thoughts do you carry in those activities?

“I always think that I just want to become a kind of trigger for something. For example, if I look at my shows from above, everyone focuses their gaze on something called ‘Yuzuru Hanyu,’ and from there, all kinds of different emotions are born. It’s the same with reconstruction support. Through what I do, attention gathers there, and from that, new bonds and emotions are created. It may not lead to world peace, but I at least hope that the people connected to me, and the people who support me, can have peace in their everyday surroundings.”

— That idea of “concentration expanding into spread” is interesting.

“In my mind, it’s like the solar system. There is the sun at the center, and various planets orbit around it. If feelings and connections can orbit around me like that, I would be very happy.”

— Earlier you mentioned that during the maintenance period, by re-examining yourself, your sensations have changed. Will that affect your next work, ICE STORY 4th: WHITE…?

“For the 4th, we are still in the process of deciding many things, so there are still a lot of unknowns. But I want to carry over this sense of ‘I can still do more’ that I gained this time. During REALIVE, my body was at its limit, and I feel I could have refined things more, and that I could have delivered something technically even higher level. So next time, I think I want to make something even better.”

— During your maintenance period, fans were surely feeling very eager while waiting. Could you share a message for them?

“Thanks to the time I was given, I was able to understand many things, and many things became clearer. And if I hadn’t had this maintenance period, I might have hit a ceiling in my abilities and lost my way. But because of it, I learned what I didn’t know, what I couldn’t do, and how I should learn from here. Right now, I am in the middle of ‘growing pains.’ I’m actually the most excited myself about how I will grow from here. I’m really looking forward to it. I want to show something that not only fills the blank period, but goes beyond it.”

---

Mini Talk Corner

Q. What are you into recently?

“For the past few days, I’ve been building Heian-kyo in an app game. I’ve been picking up a lot of PC games thinking I should use them as creative fuel, but I haven’t really had time to actually play them. I keep thinking, ‘I need to play them soon!’ and I’m kind of rushing a bit (laughs).”

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“I am the one most looking forward to my own future.”

PROFILE

Born on December 7, 1994, in Miyagi Prefecture. He won the first-ever gold medal for a Japanese male skater at the 2014 Sochi Olympics. At the 2018 PyeongChang Olympics, he achieved the feat of winning consecutive gold medals and was awarded the People's Honour Award. He achieved the "Super Slam"—a complete sweep of the Junior titles, Olympics, World Championships, Grand Prix Final, and Four Continents Championships. He announced his transition to professional skating in 2022 and, in 2023, successfully held a show at the Tokyo Dome—a first in the history of figure skating.

 

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Yuzuru Hanyu

Behind the Scenes

A photoshoot featuring Yuzuru Hanyu, captured in Sendai, Miyagi, during the spring season. This feature focuses on his natural, unadorned self—offering a different side from the images selected for the magazine pages.

Photography by Ryo Harusaki

Spoiler

Scene 1

The shoot took place at a hotel exuding a classic, elegant atmosphere. Hanyu arrived dressed in soft beige trousers, a chic gray jacket, and a vibrant blue shirt. The session began in a corridor filled with a serene, quiet air.

Scene 2

Next, the team moved to an open garden adjoining the guest rooms. Hanyu chatted amiably with the photographer, occasionally flashing a radiant, beaming smile. However, the moment the lens was pointed his way, the atmosphere shifted completely; he instantly transformed, adopting the intense, focused expression of a true artist.

Scene 3

For the indoor shots, the team captured a variety of scenes—from a graceful moment holding a teacup to a cool, composed shot in the washroom. Even amidst a tight schedule that required moving locations minute by minute, Hanyu harnessed the very atmosphere of the setting to instantly create a world rich with narrative depth.

Scene 4

 

During a brief pause while the main cameraman adjusted the equipment, there was a moment where he  playfully struck a pose for the behind-the-scenes camera. During the bed shoot, he appeared relaxed, even playfully tugging a cushion back and forth with the cameraman. The session wrapped up successfully, concluding with a radiant smile.

 

[Wintek]

*Machine translation from Japanese to English. Inaccuracies exist*

 

Special Interview

David Wilson
Thoughts behind “Notte Stellata” and “Yae no Sakura”

We spoke with choreographer David Wilson about his work on two symbolic programs in “Yuzuru Hanyu notte stellata”: Notte Stellata and the new program Yae no Sakura.

Interview and text: Akiko Tamura

Spoiler

A choreographer and a performer: an unchanging relationship of trust

— How do you feel about your choreographed program Notte Stellata opening the show as its symbolic piece?

“This is already the fourth time—it really feels like time flies. To be honest, when I first choreographed it, I didn’t really recognize it as a piece with such special meaning. I was simply told it was a piece recommended by Ms. Tatiana Tarasova, so I felt a strong sense of responsibility.

After that, Yuzu (Yuzuru Hanyu) told me it carried an important message for disaster victims. It’s also a somewhat emotional piece for me personally, and starting the show with the same program every time… I suppose it’s almost like going to see The Nutcracker. We make small refinements each year, so for us—and for the audience—it feels like experiencing something familiar yet slightly renewed every time.

When I’m walking around the venue, fans sometimes call out to me, and I feel truly honored that this piece is so eagerly anticipated.”

— Notte Stellata was choreographed five years after the earthquake, and this year marks the fifteenth anniversary. Has the program changed at all over time?

“Since I first choreographed it, we haven’t really changed the content, aside from minor adjustments during rehearsals. Yuzu has remained very faithful to the original choreography.

I tend to look at my own work quite critically, but there are very few skaters who give me the same sense of satisfaction that he does. Once a choreographer creates a piece, it belongs to the skater—that’s how I try to step back and view it.

But when I see Yuzu skate it, I can actually relax and enjoy it. He has never disappointed me.”

— You also choreographed the new program Yae no Sakura. Could you tell us how it came together and over what period of time?

“This year we worked with a special guest, the Tohoku Youth Orchestra, and I choreographed several numbers using music by Ryuichi Sakamoto, who is also their founder.

Yuzu’s new solo also uses Sakamoto’s music—it was originally written for a television drama. He first sent me a story he had created himself, and then told me, ‘Please choreograph it in the way you feel it.’”

— Your remote rehearsal sessions together became a topic on social media.

“I had planned to go to Japan in January for the choreography, but about two days before departure, Yuzu injured his ankle.

He was only able to return to the ice about three weeks before the show, so he was on the ice while I was in my living room, and we choreographed together via Zoom. I had done remote choreography before, but it worked surprisingly well.

Of course, we had already spent time organizing ideas beforehand, but the actual time we worked together was about three days—around 15 to 16 hours in total.”

— What was the concept behind Yae no Sakura?

“Yuzu’s story was about the path he has taken as a skater—the trajectory he has left behind. He is a deeply thoughtful, spiritual person, so he finds meaning in everything.”

— Could you give an example of what a movement represents?

“It’s difficult to isolate just one example, but every single movement was given meaning. There is not a single step that is meaningless.”

— What was your impression of seeing Yae no Sakura performed?

“Yuzu has a very strong emotional commitment and will toward this show, and that energy fills the entire venue and affects everyone there.

Every audience member must have felt that he was skating ‘for them.’ Rather than imposing something on people, it’s more like everyone is drawn into his intensity.

Seeing him live was extraordinary. I don’t think anyone realized he had only just recovered from his ankle injury and was still in pain. When he came off the ice, completely drenched in sweat, he looked like Muhammad Ali after a fight.”

— Did anything change after you arrived in Japan for rehearsals?

“In rehearsals, the dry ice actually made Yuzu disappear completely. Since we only had one full run-through in the venue, I’m always a bit nervous about special lighting and effects.

We reduced the amount of dry ice and started certain cues earlier, so that he would be clearly visible during the performance.”

— Did you see his self-choreographed program Happy End?

“It was fantastic. Very unique, it felt like watching a contemporary dance performance. He may have consulted professional dancers he knows, but it might even have been better than the pieces I choreographed (laughs). It was very moving. He is truly a special presence, with so much depth within him.”

— How was his collaboration with the Tohoku Youth Orchestra?

“At first, I think he was a little worried. For a skater who values music as deeply as he does, skating to live music naturally comes with some concern. The orchestra members were children and young people—they were incredibly charming. And the conductor was wonderful, constantly checking the skaters’ movements while conducting. The performance didn’t sound at all like it was played by children, it was excellent.”

— Do you have any backstage stories from notte stellata 2026?

“Yuzu was very attentive to maintaining a good atmosphere among all the performers. He joked with the children in the orchestra and helped ease everyone’s nerves. That felt very typical of him.”

— "Yuzuru Hanyu 'RE_PRAY' TOUR" took place in April. What are your thoughts on his solo shows?

“It’s extraordinary. I don’t think any skater had ever even imagined performing a routine entirely on their own—from start to finish—like that. I love music and listen to a wide variety of songs, including masterpieces that are technically impossible to use in competition. Sometimes I come across a track I really like, and if it’s one that would need editing to fit the competitive time limit, I’ll pass it on to him. I figure that even if I can’t use it for choreography myself, he might find a chance to use it now that he’s a professional. I’m not sure yet whether any of those pieces appeared in this show.”

— Is there anything you would like to try together with him in the future?

“I’d like to help with an ice show. Of course, he is surrounded by many talented directors and choreographers, but I’m very interested in set design, contemporary dance, and combining classical ballet with skating.

I am a big fan of the arts in general. So if there is an opportunity to take part in one of his projects, I would love to do it.”

— Finally, a message for Yuzuru Hanyu?

“I hope Yuzu stays healthy and that all of his future projects go well. Please take care of your body. I look forward to the next time we can work together.”

 

[Wintek]

*Machine translation from Japanese to English. Inaccuracies exist*

Special Interview
Shae-Lynn Bourne-Turok
“Yuzuru Hanyu” as a gift, spoken by a longtime ally

Shae-Lynn Bourne-Turok, a close confidante of Yuzuru Hanyu and his long-time ally, reflects on their renewed collaboration at “Yuzuru Hanyu notte stellata 2026,” and the bond between the two.

Interview and text: Akiko Tamura

 

Spoiler

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Experiencing Yuzuru Hanyu’s evolution and talent through ice shows

— “Yuzuru Hanyu notte stellata” is being held for the fourth time. What made you decide to participate in the very first edition?

“At first, I was contacted by a television producer who explained the concept of the show. Since it was Yuzu’s project, I had no hesitation about taking part. It was also a good opportunity to see him directly, and it was being held in his hometown. Every element of it felt appealing. The cast is small and remains the same each time, so every year it feels almost like a reunion.”

— What kind of presence is this ice show for you?

“This show has been very well organized from the beginning, and I’ve never felt it was difficult to work on. The opening and closing are the same every time, so there’s enough time to rehearse, and room to bring in new ideas and really put energy into it.

The audience is very passionate, and their reactions are wonderful—it feels very special and almost spiritual. I think this show is both a memorial for the victims of the earthquake, and at the same time a celebration of life for those who are still here.”

— What kind of evolution do you see in Yuzuru Hanyu’s role as a leader?

“He has always been very professional from the very beginning. He has a clear vision of what he wants to do, and that hasn’t changed since his competitive days. He’s always pushed his limits, and he’s very good at communication. He’s bright and friendly, but when it matters most, his focus is incredible. This year, I also watched him interacting with the conductor for the live orchestral performance, and he was very careful in how he explained things—clear, kind, but also direct. He naturally balances the roles of skater and producer.”

— How do you evaluate him as a choreographer after seeing his self-choreographed “Happy End”?

“From experience, I know that choreographing something for yourself is not easy. I think it took a lot of courage for him to take on that challenge, and I thought the piece was wonderful.”

— Do you feel that your past collaboration has influenced his movement?

“I’ve never really thought of it that way, but David (Wilson) once told me, ‘I can see your influence in him.’ For the last several years when I choreographed his programs, we were working remotely over Zoom, but even when Yuzu wasn’t physically there, I could still feel his presence—we understood each other that well. When I watch him perform, it feels like he is completely himself, but at the same time, I feel that everyone he has ever collaborated with is also inside him. I think that’s a gift of inspiration for Yuzu.”

— Yuzuru Hanyu has said that “Yae no Sakura” is a continuation of the program you choreographed, “Heaven and Earth.” How did you feel when you saw his performance?

“I didn’t know that! He’s an artist—and a poet as well, isn’t he? I hadn’t seen it from that perspective, so I think I need to watch the performance again. Thank you for telling me. Next time I meet him, I’ll have to ask him more about it (laughs).”

— This time you collaborated with the Tohoku Youth Orchestra performing live. How was it to watch Yuzuru Hanyu in that setting?

“Only the choreographer really understands the fine nuances and timing. And with live performance, no two moments are ever the same. I think performing with live music required even more concentration than usual. But since it’s not a competition, he was able to fully immerse himself in the music and energy.

His growth as a performer was very clear. He also took photos with everyone and spoke casually with the children, which was very lovely to see. They will remember this experience for the rest of their lives.”

— Is there anything you remember from backstage?

“Yuzu was very relaxed and clearly enjoying himself. In the past, he would be doing triple Axels and quad jumps, but this year, due to his injury, he couldn’t jump, and it seemed like he felt a bit sorry toward the audience. I told him, ‘That doesn’t matter. It would be wonderful if you could jump, of course, but that’s not the only reason people love you.’ Even without jumps, he was able to show new aspects of himself, and the audience was able to discover something new. I told him that was also a precious gift.”

— How did the idea for the finale scene—where you both take hands and dance—come about?

“Since there was an orchestra this time, we wanted to highlight them more. David suggested, ‘What if when the men come out, they take the women’s hands?’ Since Yuzu was leading the male side and I was leading the female side, it naturally became a moment where we took hands and skated together. We laughed and simply enjoyed that moment. I’m very happy the audience felt it was special and enjoyed it as well.”

— Have you learned or been inspired by Yuzuru Hanyu yourself?

“What’s important in skating is expressing who you are on the ice, and I’ve learned a lot from the way Yuzu expresses himself. Now, when I choreograph current competitive skaters, I ask them to write down what they feel or imagine when they hear the music. But not everyone can immediately form an image. As we grow older, we sometimes leave behind the creativity we had as children. My experience with Yuzu was a gift, and I now share it with other skaters.”

— Yuzuru Hanyu incorporates many different forms of expression. How do you see that change?

“About one or two years ago, Yuzu told me he had started taking dance lessons—that he had never done it before and still had a lot to learn. Because he always has that desire to learn, he continues to grow. Like expanding vocabulary, his range of expression is clearly becoming wider.”

— Is there anything you would like to try together with him in the future?

“My husband is an artist, and my dream is for him to perform his own music live, while Yuzu and I skate to it. My husband has a remarkable ability to see into people’s essence, so I’m very curious what kind of work would emerge if he collaborated with Yuzu.”

— Finally, a message for Yuzuru Hanyu?

“First, I want to say thank you. Thank you for always sharing your soul with the world. The greatest gift is that Yuzu is open and willing to share his talent. That alone is enough.”

 

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PROFILE
Born January 24, 1976, in Canada. Former ice dancer. Currently active as a coach.

 

[Wintek]

*Machine translation from Japanese to English. Inaccuracies exist*

『Notte Stellata』

The opening is the exhibition program “Notte Stellata”, which in Italian means “a sky full of stars.”  Wearing a costume reminiscent of a swan, Hanyu moved gently, as if carefully enveloping each fragment of pain and sorrow.

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Ice Show Report 2

Yuzuru Hanyu notte stellata 2026

Spoiler

Now in its fourth edition, the ice show “notte stellata” is led by Yuzuru Hanyu as its chairperson.

Even this year, marking 15 years since the Great East Japan Earthquake, Hanyu and his companions sent out a light of hope from Miyagi.

Photo / Manabu Takahashi

“May each of us skaters
become a star of hope
for everyone.”

 

A melody of hope performed with the Tohoku Youth Orchestra

Born in Sendai, Miyagi, Yuzuru Hanyu continues to present the ice show “Yuzuru Hanyu notte stellata” from the disaster-affected region of the Great East Japan Earthquake, once again held this year at Sekisui Heim Super Arena.

Opening the show was the exhibition program “Notte Stellata,” which also gives the show its title.
As the audience’s penlights shimmered like a sky full of stars, Hanyu carved a prayer of requiem onto the ice—one that remains unchanged even as time passes.

Following this, top skaters including Javier Fernández, Jason Brown, Satoko Miyahara, Akiko Suzuki, Keiji Tanaka, and Takahito Mura each presented performances themed around “hope,” lighting small flames of hope in the hearts of those watching.

In addition, Hanyu collaborated with special guest ensemble the Tohoku Youth Orchestra on two works composed by Ryuichi Sakamoto.

In “Happy End,” for which Hanyu himself created the choreography, he expressed the still-unhealed scars of the past and the act of continuing to live while carrying them—through delicate yet passionate choreography that evokes contemporary dance.

Furthermore, in a piece widely known as the main theme of the historical drama “Yae no Sakura,” he portrayed a “continuation” of his own final competitive free skate program “Heaven and Earth,” unfolding it on a grand, expansive scale.

Hanyu continues to skate as a bridge to the future, never allowing the memory of the earthquake to fade. His performances, carried by prayer, will surely continue to offer hope to many people.

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Happy End

A collaboration with the Tohoku Youth Orchestra, born from a project to inspect and repair instruments from schools affected by the Great East Japan Earthquake.
The program expresses suffering, inner conflict, and the strength that rises from them, deeply shaking the hearts of those who watch.

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Yae no Sakura

Performed again with the Tohoku Youth Orchestra, using the main theme of the NHK historical drama “Yae no Sakura,” which depicts the life of Yamamoto Yaeko, the daughter of a Aizu domain artillery instructor.
Hanyu delivered a sweeping, expansive performance that seemed to portray the scenery that lies beyond struggle.

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Yuzuru's Message

Spoiler

"Thank you very much for watching over us, and for enjoying the show.

As March 11 approaches, I find myself thinking about many things again—about the value of life, and about how precious it is that we can laugh together like this, hear live music like this, and feel the breathing of live instruments and live skaters.

I feel more and more that all these moments of “life” are not something to be taken for granted. Looking at what is happening in the world today, I feel that even more strongly. I also felt the same 15 years ago, on March 11.

The young strength here today, and the strength from those born in Tohoku, I believe all of you have gone through so many experiences to arrive here.

How did you feel about the performance by the Tohoku Youth Orchestra? (— applause)

It was wonderful, wasn’t it! I’m sure some of you were moved to tears. Some of you may have felt you received hope, or energy from it.

Let us never forget that we were able to come together like this.

Thank you so much for today!"

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“That we were all able to become one like this, I hope we will never, ever forget it.”

Live Voice
‘Happy End’ and ‘Yae no Sakura’

In a press scrum held after the opening day performance, he spoke about the feelings he put into the programs.

The fusion of “technique and emotion” gained through maintenance

Spoiler

— It was your first performance in front of an audience in a while. How did it feel?

“It was extremely nerve-wracking. I was being met with expectations, and I strongly felt that I wanted to live up to them, so much that my hands and feet were shaking. But I think I was able to skate while properly putting in both my feelings and my technique.”

— It has been 15 years since the Great East Japan Earthquake. What thoughts did you carry when you stood on the rink?

“It’s been 15 years, and I’ve gradually tried to understand how to face and live with my own sadness and wounds, and to keep moving forward while doing so. Especially with ‘Happy End,’ it’s precisely because these 15 years have passed that I now feel I can face these wounds. Or rather, I wanted to express that because of what happened back then (the Great East Japan Earthquake), I am now here, living and learning, living strongly—so I choreographed it myself.”

— In the past five years, how has your feeling toward the disaster-affected areas changed?

“Multiples of five do feel like milestones, but I don’t think there has been a major change. In some places, reconstruction has progressed, and communities have been restored. But there are also areas that have been left behind. Even in places that are said to have been rebuilt, if you look inside, you realize they are not really restored—it’s not something that can ever truly return to how it was… In that sense, I feel I want to keep supporting them forever and ever, and I’ve also come to understand that I should continue carrying and living with my own wounds and trauma from the disaster.”

— How did you interpret and perform ‘Happy End’?

“It was just… extremely painful. I also have a program called ‘Heaven and Earth Requiem,’ and that one is more about directly directing my feelings toward the earthquake, depicting scenes like looking out over roads filled with rubble, with a single soul… that kind of image. This time, I had heard that Ryuichi Sakamoto composed this piece while he was suffering from illness, and I also reflected on my own wounds from the earthquake, and the remaining scars in affected areas that are slowly being rebuilt, as well as the scratches on the walls of Ice Rink Sendai where I train… I tried to perform while feeling these ‘visible scars that have been repaired but are still there.’ I was suffering as I was being eroded by them again, but in the end I tried to accept that these wounds are also part of me. And I built the program so that after it ended, I could feel, ‘there is a next.’”

— Did you discover or gain anything during the maintenance period?

“I studied a lot about how the body moves, and I was reminded once again of how much I had been doing things in my own way. Figure skating is a popular sport, but in reality the number of people who actually do it is quite small. And it’s not a field with a lot of scientific research behind it. In that sense, it is still an underdeveloped sport scientifically, and I realized again how much training and technique I had built without proper evidence behind them. Since I didn’t have a very long maintenance period, it may only be a small amount, but I feel I was able to learn at least the basics of how the body should be used—not only as a figure skater, but as someone involved in sport and dance.”

— What feelings did you put into Act 2’s ‘Yae no Sakura’?

“When collaborating, I first listened to many pieces the Tohoku Youth Orchestra wanted to play, and this was the one I chose. Personally, I had chosen ‘Heaven and Earth’ as my final free program in my competitive career, and I wanted to portray ‘Yae no Sakura’ as a continuation of that. Both are themes from historical dramas, but I wasn’t deeply focused on the dramas themselves. Rather, after finishing ‘Heaven and Earth,’ standing on this stage, I thought about how I want to live my life from here on. In the end, it was an image of leaving behind memories one by one—wondering whether I was able, as a skater, to leave something behind in the traces I carved into the ice and into people’s lives.”

— ‘Happy End’ also felt different this time, with a different kind of tension and stillness. What did you emphasize in the choreography?

“Yes, I think I increased the dance elements. And also the connectivity that comes from understanding how the body should be used. When a strong boxer throws a punch, their whole body moves beautifully. In the same way, I think there must be movements in our own physical expression that are beautiful because they are rational and natural as human motion. I tried to build those kinds of movements as the foundation of emotion. I once said after the PyeongChang Olympics that expression and art are built on technique, and through the maintenance period I once again realized that emotional expression can only be layered on top of solid technical foundations. So I think it was a program I built very carefully, piece by piece.”

— More young people today do not know about the Great East Japan Earthquake. How do you think you will pass on that memory going forward?

“Even among the members of the Tohoku Youth Orchestra I collaborated with this time, there are people who were born after the earthquake, or who were too young at the time to remember it. But thanks to projects like the one initiated by Ryuichi Sakamoto, I think they continue to think about the earthquake through their lives. I feel the same—that I must continue to do my best in the position of someone who passes things on. Back then, even though I was young, I felt a kind of mission placed on me to carry this forward. And now, after visiting places affected by later disasters such as Noto in Ishikawa, Ofunato in Iwate, Iburi in Hokkaido, and Kumamoto, I feel that because of the Great East Japan Earthquake, disaster awareness has changed, and lives and communities have been saved. Because those lessons have been passed on, disaster mitigation continues. Generations will keep getting younger, new lives will be born, but I want to keep passing on the idea that ‘because something like this happened, we learned how to protect each other.’”

“I think I was able to skate while properly putting in both my feelings and my technique.”