[2022.04.22] Number PLUS - FIGURE SKATING TRACE OF STARS 2021-2022

[yuzurujenn]

Info: https://www.amazon.co.jp/dp/4160082602

 

Contents:

*Cover front and back cover: Yuzuru Hanyu (The back of the cover is a special poster)
*Includes the popular feature "Artists talk about the beauty of Yuzuru Hanyu's past programs"
*Features a figure skating x gymnastics dialogue between Yuma Kagiyama and Kenzo Shirai (former Japanese gymnastics representative)
*Also includes interviews with Kaori Sakamoto, Kazuki Tomono, Satoko Miyahara, and Rika Kihira

 

 

[The yearning that was at the beginning]
Yuzuru Hanyu "Seeking the unknown world"

 

[Commentary by Takeshi Honda and Takahito Mura]
It was a quadruple Axel that was pushed to the very limit.

 

[Popular Feature]
Artists talk about Yuzuru Hanyu's past programs
● Nozomi Futo x 'SEIMEI'
● Ishimaru Kanji x 'The Phantom of the Opera'
● Ushida Tomoharu x 'Parisienne Walkways'
● Murakami Mai x 'Introduction and Rondo Capriccioso' 'Heaven and Earth'

 

[First victory dedicated to his mentor]
Uno Shoma: "Becoming world number one wasn't the goal"

 

[Figure Skating x Gymnastics Dialogue]
Kagiyama Yuma x Shirai Kenzo: "The profound world of jumps and twists"

 

[Behind the scenes of the long-awaited gold medal]
Nathan Chen: "Awakening to professionalism"

 

[Talking about the results of the emergency business trip]
Tomono Kazuki: "Next time, I want to win and give an exhibition that will make people cry"

 

[Interview with the world champion]
Sakamoto Kaori: "Entering the world of quadruple jumps with confidence"

 

[The two reveal their vision for the future]
Miura Riku & Kihara Ryuichi: "Let's keep going for another 8 years" "No objections (laughs)"

 

[4 years that changed my life]
Higuchi Wakaba: "Without fear, be greedy"

 

[A Tumultuous Second Season]
Kana Muramoto & Daisuke Takahashi: "True Unison is Yet to Come"

 

[Miss Perfect Speaks About Retirement]
Satoko Miyahara: "A Final Smile, a New Beginning"

 

[Comeback Interview]
Rika Kihira: "The Surprise and Lessons That Changed My Concept of Skating"

 

[Where Are the Genius Girls Going?]
Valieva/Shcherbakova/Trusova: "Heaven and Hell in the Russian Women's 'Tiger's Den'"

 

[Record Collection]
Records of Major Competitions in the 2021-2022 Season

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: FIGURE SKATING TRACE OF STARS 2021-2022, pg 22-23

 

Artists Talk About Yuzuru Hanyu's Past Programs

Nozomi Futo x 'SEIMEI'

 

“A Figure That Overlapped with Beethoven”

 

Inspired by SEIMEI, the celebrated program that also brought victory at the PyeongChang Olympics, the former Takarazuka top star portrayed Beethoven in her farewell performance. What is the unique charm of Hanyu, as told by this renowned actress who continues to be inspired by him?

 

Spoiler

I've always loved figure skating and watched it often. When I thought of men's figure skating, the image that came to mind was powerful jumps. However, when I watched Yuzuru Hanyu perform, I was shocked by the artistic quality of his programs and thought, "There is someone who can express things this beautifully." I felt, "I absolutely must watch the Sochi Olympics," and I gradually became absorbed in the appeal of figure skating and of Hanyu himself.

 

Of course, I watched the Beijing Olympics this February as well. The result may not have been what he hoped for, but I was honestly happy simply to see Hanyu continue challenging himself and, above all, to see him perform on the Olympic stage. Over the past several years, as the reigning champion, he has shown us the strength required to remain at the top while carrying the unique burden and suffering that only those being chased can feel. In this third Olympics, I sensed an even greater vision than before; a desire to fulfill the dreams of the people who support him. I feel that this is something he was able to see only because he continued to challenge himself, pursue his goals, and fight through loneliness.

 

What I find most impressive about Hanyu's performances is his ability to express "sound" so beautifully. Personally, and this might be a bit niche, I particularly love the way he uses the music when entering a triple Axel. It's amazing how he matches the music not just at the moment of the jump, but at the take-off entry itself. Even knowing that a jump is coming, the way he uses the music in that instant, his concentration during the setup, the way he uses his muscles... it all gives me goosebumps. I watched the All-Japan Championships in person at the end of last year, and when I saw his attempt at the quadruple Axel live, I got chills just from watching the entry into the jump (laughs).

 

During the process of building the role, SEIMEI came to mind

 

During my time in Takarazuka, ever since I was a junior member, I was often advised by my teachers, “Listen carefully to the music when you dance. When you sing.” The idea was to interpret each and every note and think about how to express it most effectively. Depending on how you use the music, you can make a performance appear even grander in scale, and you can also reflect the power of the music in your acting. I feel that Hanyu is incredibly meticulous about how he incorporates the music into his movements, paying attention to every detail.

 

Among his many wonderful programs, the one that has remained especially memorable to me is SEIMEI, which he also performed as his free skate during the PyeongChang Olympic season. He has performed it across multiple seasons, and I believe that each time he chose this music, he did so with different thoughts and motivations in mind. In fact, I could feel a strong sense of determination in every version of SEIMEI. Because of that, I always watched it feeling that it would be almost disrespectful to simply enjoy it as entertainment. I felt I had to properly receive and understand the message Hanyu was conveying through the performance.

 

My farewell performance with the Takarazuka Revue, "Fortississimo ~Sing with Joy!~," was based on Beethoven. While preparing to play the lead role of Beethoven, Hanyu's SEIMEI suddenly came to mind. This work depicts the process by which Beethoven, who revolutionized music history and ushered in a new era, overcame hardships to create his “Ninth Symphony.” He did not necessarily have to choose such a difficult path, but he deliberately chose it and moved forward. I think those around him may have seen him as “eccentric,” but he himself probably did not feel that the process was especially difficult, nor that he was carrying some kind of burden. Rather, at each stage, he found meaning and a sense of purpose in what he needed to do, and fulfilled it. And he released the swirling emotions within him, the feelings he wanted to express and convey, through his own works. He knew there would be people willing to receive and appreciate them.

 

When I revisited Hanyu's SEIMEI, I felt as though I could better understand those feelings of Beethoven's. Of course, Beethoven and Hanyu are completely different people, but for me, Hanyu became an enormous source of inspiration in creating the role. Hanyu has now performed SEIMEI three times. His commitment to evolving it artistically as a single work also reminded me of Beethoven.

 

I also had the opportunity to play the Phantom in Phantom, which was staged for the fourth time at Takarazuka. At the time, I faced the role while feeling a sense of frustration that I could not surpass the energy of the original Takarazuka production, and continued working through it. However, performing in a revival also became a valuable opportunity to understand the energy of the original production. As with Phantom, when a work is revived in a different era, what to convey to the audience and how to convey it becomes a true challenge for the performers. Of course, if you are going to revive a production, it is meaningless unless you create something that people will say is “the best version.” That brings pressure, but it is also deeply rewarding.

 

I could go on and on listing my favorite programs, starting with "SEIMEI," then "Parisienne Walkways," and "The Phantom of the Opera" (laughs), but I'd love to see a collaboration with Beethoven someday. I wonder what kind of world he would express by incorporating Beethoven’s personality and the background behind his compositions. I would also like to see what kind of message Hanyu, living in the modern era, would convey through such a program. Beethoven’s music is full of energy, so I think it would be very difficult to express, but I would be truly happy if it were ever realized someday.

 

 

[SEIMEI]
2015-2016 2017-2018 2019-2020 FS
Composer: Shigeru Umebayashi

Choreography: Shae-Lynn Bourne

 

 

Profile:
Born on October 19 in Kanagawa Prefecture. She joined the Takarazuka Revue in 2003 and became the top star of the Snow Troupe in 2017. She retired from the company in April 2021 with the production “fff – Fortississimo: Sing with Joy!”. Currently active primarily in stage productions. From June, she will play Miss Adelaide in the musical "Guys and Dolls".

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: FIGURE SKATING TRACE OF STARS 2021-2022, pg 24-25

 

Artists Talk About Yuzuru Hanyu's Past Programs

Ishimaru Kanji x 'The Phantom of the Opera'

 

"Riding the 'Wind' of the Phantom of the Opera"

In the free skate “The Phantom of the Opera,” performed in the season following the Sochi Olympics, how did Yuzuru Hanyu perceive the protagonist, the Phantom, and the world of the work? An actor active across many fields, including musical theatre, shared his thoughts that echoed those impressions.

 

Spoiler

I first met Yuzuru Hanyu at last year’s All Japan Championships exhibition gala, where I participated with a vocal performance. He greeted me very politely, and my first impression was that he was exactly the person everyone described him to be. During rehearsal, he carefully listened to how I would sing, and then in the actual performance he caught the climax of the music perfectly and jumped on it. It was my first time singing on ice, so it was very fresh and inspiring.

 

I joined the Shiki Theatre Company at the age of 25 and made my stage debut in the musical "The Phantom of the Opera," playing the role of Raoul, the heroine's lover. From the standpoint of someone familiar with the original work, when I watched Hanyu’s 2014–2015 free skate “The Phantom of the Opera,” what I felt was that he is expressing the story within the program. It felt as though he was portraying different characters and scenes according to the structure of the music. In my case, I live the role as Raoul, so there is no other character work beyond that, but Hanyu gave me the impression that he is constantly staying close to whichever character the music expresses.

 

At that time, Hanyu expressed the sensation of the “wind” created by his own skating, almost as if he himself were riding that wind, using his entire body. Although there is a difference between a rink and a theatre stage, I too, after performing "The Phantom of the Opera" on stage for many years, sometimes felt, “I’ve become able to ride this role well.” In that sense, there may be something in common.

 

His greatness is not simply about jumping exactly on the beat, but rather that it feels as though he is creating the sound himself while jumping, spinning, and skating. As if the music is coming from within his own body. I think this is one of his defining traits.

 

Normally, when preparing for a jump, skaters wait for the perfect moment, right? But Hanyu is immersed in the music even during this "waiting" phase. He takes off at the climax, always executing his jump and landing within the same musical flow.

 

The way he begins is also striking. Just as a conductor swiftly lifts their baton and the musicians produce a sound, the timing of the music and his skating movements are perfectly synchronized, and the performance begins. His “finishing” is equally precise; the way he concludes his performance, and the harmony with the music are also excellent.

 

To use a calligraphy brush as an analogy, the most important moment is when the brush is lifted. The moment it touches down is also crucial. It’s the same for us stage actors. Of course, it’s not just our own effort; direction, lighting, and sound all synchronize together. We have to judge the timing of things like how to subtly fade the light, and then consider what kind of expression the actor will leave at that moment. That is part of our job. I feel that Hanyu also pays attention to those details when performing on the ice. I sense a common ground there.

 

In his performances, he does not simply finish the music, finish the choreography, and then snap back to reality. He remains within the lingering resonance, aligning his breathing with the audience. While he slowly exhales, the audience seems to exhale with him. And when he gently inhales, the people watching all break into applause at once. This control of the entire arena is what makes Hanyu so extraordinary.

 

The "beauty" inherent in his performance, and a performance that even adults can appreciate

 

He’s an actor. Everyone knows how incredible his performance is, but he also conveys a sense of “beauty” within it. At my age, that kind of beauty is irresistible. He delivers performances that can convince even adults. That is Yuzuru Hanyu.

 

He must be in pain all over his body, but he doesn't show it at all. This is true of Japanese skaters in general, but I feel there's an aesthetic sense that's akin to martial arts. In Hanyu’s case especially, he bows to all four sides before and after each performance, and he never forgets to bow when entering and leaving the rink. This is the world of “the Way,” isn’t it? (*dō - a way of discipline) I even wonder if he has turned skating into something like a “Way of Skating.”

 

I think the skating rink is a sacred place for them. It’s the same for us actors and the stage. In that sacred space, Hanyu has what we call in theatre “presence,” or “way of being.” When you watch him, you are struck by his strong aura. It's an aura that comes from his unwavering dedication to his sport.

 

Many younger skaters are striving to follow in Hanyu's footsteps. While we don't know how much longer Hanyu will continue competing, I hope he remains a role model for everyone.

 

Among his programs, “SEIMEI” has left the deepest impression on me. As someone living in Japan, there is a sense of deeper understanding. I’m not sure if this is the right word, but it feels like it has reached the level of "wabi-sabi" (a Japanese aesthetic concept). It is not flashy, yet when you look closely, “beauty” emerges. Even the fluttering of his sleeves is calculated. It was truly worth watching as a total work of art.

 

Through performing it over multiple seasons, I think he deepened his understanding of “SEIMEI” and refined it further each time. In theatre as well, great works are repeatedly staged and gradually become masterpieces. There is a richness that comes from performing a piece extensively. I hope he continues to create such repertoire works in the future. As an audience member, I look forward to them.

 

 

From the movie "The Phantom of the Opera"
2014-2015 FS
Composer: Andrew Lloyd Webber

Choreography: Shae-Lynn Pawn

 

 

Profile:

Born August 15, 1965, in Ehime Prefecture, actor and singer. He made his debut in 1990 with the Shiki Theatre Company in "The Phantom of the Opera." After leaving the company in 2007, he has been active in stage, film, and music, and has also hosted TV programs such as "Untitled Concert" and "Genki no Jikan." He is scheduled to appear this summer in the stage production "Harry Potter and the Cursed Child."

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: FIGURE SKATING TRACE OF STARS 2021-2022, pg 26-27

 

Artists Talk About Yuzuru Hanyu's Past Programs

Ushida Tomoharu x 'Parisienne Walkways'

 

“Absolute beauty that never loses its rationality”

A signature program performed with deep emotion, set to the melancholic sound of the guitar. A genius pianist, who has also arranged the piece for piano, praises the performance, saying, "I feel a composure that completely controls technique and expression."

 

Spoiler

Around 2013, I had the opportunity to greet Yuzuru Hanyu at an ice show in Nagoya. During that brief conversation of just a few minutes, he repeatedly said, “I am not satisfied with this. I have to aim higher.” I still remember being overwhelmed, thinking, “Do people who are called top-level athletes really maintain such a level of ambition and obsession with growth in their everyday lives?”

 

Starting from the 2012–13 season, Hanyu performed the SP “Parisienne Walkways” over two seasons. During the Sochi Olympics, I also stayed up late watching it on television. The Olympics, held once every four years, present a stage where everything is condensed into just a few minutes of extreme intensity, and his performance there was truly breathtaking.

 

After the Sochi Olympics, at the strong request of the record label, I arranged this piece into a piano version and included it on an album. Rather than simply reproducing the sound of the original guitar performance, I adapted it to suit the characteristics of the piano. Because the piano's sound decays after it's played, it's not really possible to recreate the dense, sustained tone of an electric guitar. At the time, I focused on keeping the original melody and harmony intact while changing rhythm and tempo to create a different atmosphere on the piano.

 

This work carries a kind of “uncivilized” energy that does not really exist in classical music in a good sense. As seen in how many people enjoy rock and pop, a piece like “Parisienne Walkways” can possess a force that overwhelms human learning, common sense, and reason, and directly takes hold of the listener’s heart. That is likely why Hanyu’s performance left such a strong impression on judges and audiences alike.

 

It goes without saying that each element of Hanyu’s program—jumps, steps, spins, etc—is of a very high level, but what is truly remarkable about the program’s structure is its meticulous construction and excellence. It begins with a calm tempo to ensure the jumps are executed securely, then transitions into music that highlights the beauty of various movements and forms, and finally shifts into a more dynamic section, bringing the performance to a close on a high note that leaves the audience exhilarated. Each technical element is intricately woven into the musical structure.

 

Furthermore, Hanyu’s performances exude a sense of “composure,” reflecting complete control over both technique and expression. In the 18th-century French philosopher Denis Diderot’s essay Paradox of the Actor, he wrote that “the most outstanding actor must possess an absolute lack of sensitivity, and the actor’s tears must flow not from his heart but from his mind.” Across many art forms, I believe what clearly separates “true artistry” from “amateur self-indulgence” lies in this “composure”—that is, the degree of control the performer has over the work. As long as there is an audience, no matter how much drama or emotion may swirl within a work, everything must be fully governed by the intellect. Hanyu’s performances never lose rational control, even in moments requiring highly difficult techniques or when accompanied by emotionally charged music, and yet they maintain absolute beauty. In this sense, it can be said that he fully embodies Diderot’s aesthetics.

 

The tempo can be varied more naturally and freely

 

In recent seasons, Hanyu has performed programs such as “Introduction and Rondo Capriccioso” and “Ballade No. 1” on piano versions. Compared to chamber works for strings, winds, or piano, or compositions for full orchestra, solo piano works do not require consideration for other performers, which allows the tempo to be shaped more naturally and freely. 

Perhaps this also helps reduce stress in figure skating performance. For example, it becomes possible to slightly extend timing during jumps, or to subtly increase tempo during step sequences in order to enhance a sense of excitement. The piano, even as a single instrument, can produce a range and sonic intensity comparable to an orchestra, so there is little risk of it coming across as too plain.

Unlike string instruments, it produces a strong attack at the moment of sound, which may make it easier to grasp the rhythm even in large arenas where the acoustics are not ideal.

 

What inspires me most about Hanyu is his mental strength. His willingness to continue challenging extremely difficult elements without giving up, and to keep aiming higher even after achieving great results, has been a source of motivation for me as well. His ability to move forward without fear of failure, and not dwell on mistakes when they happen, is also deeply encouraging.

 

Among his programs, I especially like “SEIMEI,” which he performed at the PyeongChang Olympics. It expresses the mystical and fantastical relationship between ancient Japanese gods and humans in a very compelling way. In Mugen Noh, a form of Noh theatre said to have been perfected by the Noh master Zeami, the Noh stage is regarded as representing the world after death (or the realm of the gods), while the hashigakari (bridgeway) is seen as the connection between this world and the next. During the performance, the ice rink truly felt like a special place connecting reality with the world of the gods.

 

Like many fans, I am very much looking forward to the next season's program and the path we will take from here on out. I would be delighted if he continues to use classical music as well, not limited to piano works.

 

 

"Parisienne Walkways"
2012-2013 2013-2014 SP
Composer: Gary Moore

Choreography: Jeffrey Buttle

 

 

Profile:

Born October 16, 1999, in Fukushima Prefecture. Pianist. Debuted with a CD in March 2012 at the age of 12, the youngest Japanese classical pianist to do so. Won second place at the 2018 Hamamatsu International Piano Competition, the highest ranking ever achieved by a Japanese competitor. Received the 29th Idemitsu Music Award in March 2019. Performs both domestically and internationally.

[yuzurujenn]

*Machine translation. Inaccuracies exist*

 

Source: FIGURE SKATING TRACE OF STARS 2021-2022, pg 28-29

 

Artists Talk About Yuzuru Hanyu's Past Programs

Murakami Mai x 'Introduction and Rondo Capriccioso' & 'Heaven and Earth'

 

"Like a Painting That Captures a Single Moment"

 

In artistic gymnastics, the floor exercise is the only event performed to music. The Tokyo Olympic bronze medalist, who specialized in this discipline, praises Hanyu's wide range of expression, saying, "Perhaps there is no piece of music that doesn't suit him." What does she see in Hanyu when viewed through the perspective of two judged sports—gymnastics and figure skating?

 

Spoiler

In artistic gymnastics, the floor exercise is the only event for women that uses music, and it's where each athlete can best express their individuality. The performance lasts 90 seconds. Compared with figure skating, where the short program (SP) is 2 minutes and 40 seconds and the free skate 4 minutes, it is brief. However, in recent years gymnasts have increasingly been expected to perform a "program with a sense of narrative" within those 90 seconds, making detailed expressive ability more important than ever.

 

In the past, athletes who packed many acrobatic skills into their routines often earned the highest scores. Today, however, the trend has changed, and athletes who place greater emphasis on expression are increasingly receiving higher scores. As a result, many female gymnasts watch figure skating as a way of studying expression.

 

Hanyu's performances have a magical aura that is completely unlike anyone else's. Not only does every part of his body, from his fingertips to his toes, seem to be under conscious control, but it feels as though he performs with his entire being—including his facial expressions, his hair, and even his skin. It almost feels as though an afterimage lingers in the path he skates, and I think that's because he pays such careful attention to even the smallest details of movement. The amount of expression packed into a single second has a density that sets him apart from other skaters. The kind of expressiveness Hanyu possesses is something I myself have always wanted to have. In that sense, I think there are similarities between figure skating and floor exercise.

 

What's amazing about Hanyu's skating is the way he enters his jumps so naturally that you can't even tell where the preparation for them begins. What's more, even when he is skating while dancing, the movements of his upper and lower body are beautifully connected. That is proof of a strong core. Expressing myself through movement is something I'm good at as well, but when it comes to Hanyu, even a single snapshot of him looks like a work of art. In that, I can sense his commitment to flawless expression, with no detail left unattended. He must have a perfect understanding of how to present himself in the most captivating way possible.

 

For female gymnasts, performing floor routines to music usually begins around the third grade of elementary school. I personally always enjoyed expressing music through movement. I started competing at the World Championships as a member of Japan's national team in 2013, when I was in my second year of high school. However, it was around 2017, when I won the gold medal on floor exercise at the World Championships, that I began consciously tackling the challenge with a clear awareness of the "fusion of music and performance."

 

Performing while feeling the joy of expression is incredibly enjoyable

 

As in figure skating, in judged sports performed with music, the music is also part of the program. After reaching the top level in the world and coming to regard music as an integral part of my performance, I adopted the mindset of not wasting a single second of sound. For example, even before a high-difficulty acrobatic skill, I would not stop my movement, but instead try to make use of every note of the music.

 

Maintaining that awareness is difficult when the technical difficulty of skills keeps increasing. Even so, I always performed with the belief that music should never be treated as mere background music. There are also moments in a program when I fit my movements precisely to the music, and if the timing between the music and the performance is off, it can feel uncomfortable. On the other hand, if my movements start to rush ahead of the music, I know I am feeling nervous. In that sense, the relationship between music and movement also serves as a barometer of my condition.

 

The music I used at last summer's Tokyo Olympics, where I won a bronze medal, was an arrangement that combined several upbeat pop-beat songs. It was a style of music I liked, and because of that I think I genuinely enjoyed both training and competition. Conversely, when I use a style of music that does not come naturally to me, it takes longer to complete the routine. However, challenging myself in that way broadens my range of expression. In my case, I am not particularly good at slower-tempo music. Still, I believe those struggles ultimately contributed to my result at the Tokyo Olympics.

 

In the floor routine at the Tokyo Olympics, which I approached with the desire to create a performance that would remain in people’s memories, I incorporated hand movements at the beginning expressing my determination to “grasp victory,” and at the end, movements embodying the feeling of “gathering the hearts of those watching and releasing them all at once.” Performing while feeling the joy of expression was truly enjoyable.

 

What amazes me when I watch Hanyu is his ability to perform to such a wide variety of musical genres. Looking at the Beijing Olympics alone, he expressed the worlds of two entirely different pieces: "Introduction and Rondo Capriccioso" for the short program, performed to piano accompaniment, and "Heaven and Earth" for the free skate, which incorporated the sounds of traditional Japanese instruments. Furthermore, I have heard that in "SEIMEI," which he performed in earlier years, he even incorporated the sound of his own breathing into the music. That made me realize just how meticulous his attention to sound truly is.

 

Because of his slender physique, one might get the impression that softer music suits him best, but Hanyu also possesses a powerful presence. Watching his warm-ups, I feel he could probably express hip-hop just as well, and I even find myself thinking there may be no music that does not suit him. People who can express every genre the way he does are extremely rare.

 

At the Beijing Olympics, Hanyu missed the opening jump of his short program, but after that he performed everything perfectly. Normally, one would expect an athlete to be shaken by such a mistake, but there was absolutely no sign of that in his performance. I believe Hanyu is someone who operates on a different level of awareness from ordinary people.

 

 

"Introduction and Rondo Capriccioso"
2021-2022 SP
Composer: Camille Saint-Saëns

Arrangement & Piano Performance: Shinya Kiyozuka

Choreography: Jeffrey Buttle, Shae-Lynn Bourne

 

"Heaven and Earth"
2020-2021 2021-2022 FS
Composer: Isao Tomita

Choreography: Shae-Lynn Bourne

 

 

Profile:

Born on August 5, 1996, in Kanagawa Prefecture. Gymnastics instructor. Contributed to Japan's 4th-place finish in the team event at the 2016 Rio Olympics. Won the floor exercise title at the 2017 World Championships. The following year, she became the first Japanese woman to win a silver medal in the individual all-around at the same championships. Won a bronze medal in the floor exercise at the 2021 Tokyo Olympics. Retired in October of the same year. Currently serves as a coach at Nippon Sport Science University.