Worst quadrennial huh... Can't say I disagree either.
Yuzuru Hanyu Cheer Thread
- Thread starter galaxy
- Start date
-
- Tags
- yuzuru hanyu
Worst quadrennial huh... Can't say I disagree either.
New (better) camera angles from Notte Stellata 2025
Bolero: https://weibo.com/2287303795/5152528226060482
SEIMEI: https://weibo.com/2287303795/5152531320934473
6 mins warmup: https://video.weibo.com/show?fid=1034:5152527629352972
Interview with Jeff Buttle about Yuzu (machine translation from Kiss and Cry Magazine)
It seems that Jeff (and Yuzu) are busy incorporating "the fundamental aspect of skating—connecting steps" in their programs while ISU is actively remove them from competition.
Bolero: https://weibo.com/2287303795/5152528226060482
SEIMEI: https://weibo.com/2287303795/5152531320934473
6 mins warmup: https://video.weibo.com/show?fid=1034:5152527629352972
Interview with Jeff Buttle about Yuzu (machine translation from Kiss and Cry Magazine)
— I heard that you were responsible for choreographing the Piano Collection in Echoes. How did you get involved with this project?
Yuzu contacted me directly and said, "I would like you to choreograph a medley of short piano pieces." He provided me with a list of selected pieces, some of which reminded me of the Ballade No.1 I had choreographed before. He also specified certain elements he wanted to include, such as "I want to add a 4T here," but beyond that, he gave me full creative freedom. Unlike competitive programs, which come with many rules and restrictions, I was able to fully explore my creativity. Moreover, it had been a long time since he last commissioned me for a program, so I felt incredibly happy and honored.
— Did he give you any specific direction for the concept of the performance?
I heard that the theme revolves around the past, present, and future. Yuzu also explained that he wanted to express one person’s timeline through this performance.
— Was the idea of using a medley of piano pieces something Hanyu suggested?
Yes, the concept of weaving together multiple short piano pieces was his idea. When I first received the request, I asked him at which part of the show and in what way he planned to use these pieces. This was because I knew the choreography I would create wouldn’t be simple and would require a lot of physical effort, so I wanted to confirm where in the overall show this program would be placed. Of course, I was well aware of his extraordinary stamina…
— What was the choreography process like?
Since I couldn’t go to Japan, we worked together remotely via video communication. I first sent him a video of myself skating, and then Yuzu sent me back a video with much higher quality than mine (laughs). We completed the choreography through this back-and-forth exchange. Most of our communication was done through emails, along with a combination of calls and video sharing. We had worked this way a few times before, so there were no issues.
— What was the most important aspect you focused on while choreographing?
My main focus was on how to express the emotions conveyed by each piece of music. I paid particular attention to the fundamental aspect of skating—connecting steps. This is an extremely crucial element in figure skating, and working on it was a fascinating process. Since I couldn’t skate and film myself at the same time, I asked Yohnatan Elizarov, a Canadian skater who had been part of the Junior Worlds pairs team, to help demonstrate the movements. When I showed him the video Yuzu had sent back to me, he was amazed by the high quality. It was an interesting experience to let a future champion involved in this process as well.
— Ballade No.1, which you choreographed, was also performed in the show. I saw that part! That’s not an easy piece at all, and performing it at the very end of the Piano medley is just unbelievable. I can’t even imagine the level of stamina he has…
— Hanyu continues to perform competitive-era programs you choreographed in his ice shows after his career transition. What do you think about the evolution of his performances?
It’s such an honor that he’s still performing programs I choreographed. What’s amazing about Yuzu is that he continues to evolve mentally and artistically. It’s similar to when Joni Mitchell sings her older songs. It carries a different flavor than when she was younger. Yuzu is the same. When he performs past programs, you can clearly see how much he’s evolved, both as a skater and as a person. The way he expresses subtle nuances in the music, the way he handles every note—it all keeps changing, and it’s mesmerizing to watch.
— Hanyu has been producing solo ice shows since his transition. What are your thoughts on this?
It’s unheard of for someone to perform an entire ice show solo from beginning to end, but I know Yuzu well, so I’m not too surprised. He has a unique ability to hold the audience’s attention for two and a half hours. I hope people realize how special it is to witness his performances. Honestly, I don’t think we’ll see another show like this again anytime soon. Performing for two continuous hours on ice is on a completely different level from a concert. It’s a rare talent, a gift. Usually, including myself, athletes stop training at a competitive level after retiring. But Yuzu has kept at it, and that’s why he’s capable of something like this.
— If you could freely choose, what pieces would you like to choreograph for Yuzu?
Actually, I already have a few pieces in mind. One is Alexander Scriabin’s Symphony No. 4, Poem of Ecstasy. Some pieces immediately bring to mind a skater performing them, and certain pieces make me think, "Only this skater could bring this music to life." This was a piece I came across when I was searching for my own competitive programs, but even back then, I knew I wouldn't be able to do it justice. I've kept it close to my heart ever since. Later, I thought, if it were Yuzu, he would be able to embody it perfectly. Another piece is the final movement of The Pines of Rome by Ottorino Respighi. The music builds and builds, layer upon layer, pushing toward an overwhelming climax. Without extraordinary stamina, it would be impossible to skate to this. But I believe Yuzu has that strength. If I ever get the opportunity, I would love to choreograph these pieces for him.
— Hanyu recently celebrated his 30th birthday. What does the age 30 mean for a figure skater?
Personally, turning 30 wasn’t an issue for me. It was turning 20 that scared me the most. Like gymnastics, figure skating is often seen as a sport where youth is an advantage. If you have talent, people say, Wow, they can jump so well at such a young age! and you get a lot of attention. But when I was 20, I hadn’t achieved much as a competitor yet, so I was afraid. But later I understood that every athlete develops at their own pace. Yuzu has countless achievements to be proud of, but more than that, he should take pride in how much he has contributed to the sport as a whole. He has accomplished so much, and yet, he’s still only 30—that actually amazes me.
— You became a world champion at 25, right?
Yes. Then I retired at 26. By 30, I was doing what I loved and living a very fulfilling life. I’ve always loved skating, but I never really liked competing. So being able to focus on ice shows and tours in my 30s was a truly happy time for me.
— Thank you. Lastly, do you have a message for Hanyu?
Everything Yuzu has achieved is the result of his own effort and passion. Even now, he continues to share that passion with the world, and that makes me incredibly proud of him. He could have chosen to retire and live a more relaxed life, but instead, he keeps pushing himself forward, constantly working hard, and continuing to grow. He is a true icon.
Credit: yuzurujenn on tumblr
Yuzu contacted me directly and said, "I would like you to choreograph a medley of short piano pieces." He provided me with a list of selected pieces, some of which reminded me of the Ballade No.1 I had choreographed before. He also specified certain elements he wanted to include, such as "I want to add a 4T here," but beyond that, he gave me full creative freedom. Unlike competitive programs, which come with many rules and restrictions, I was able to fully explore my creativity. Moreover, it had been a long time since he last commissioned me for a program, so I felt incredibly happy and honored.
— Did he give you any specific direction for the concept of the performance?
I heard that the theme revolves around the past, present, and future. Yuzu also explained that he wanted to express one person’s timeline through this performance.
— Was the idea of using a medley of piano pieces something Hanyu suggested?
Yes, the concept of weaving together multiple short piano pieces was his idea. When I first received the request, I asked him at which part of the show and in what way he planned to use these pieces. This was because I knew the choreography I would create wouldn’t be simple and would require a lot of physical effort, so I wanted to confirm where in the overall show this program would be placed. Of course, I was well aware of his extraordinary stamina…
— What was the choreography process like?
Since I couldn’t go to Japan, we worked together remotely via video communication. I first sent him a video of myself skating, and then Yuzu sent me back a video with much higher quality than mine (laughs). We completed the choreography through this back-and-forth exchange. Most of our communication was done through emails, along with a combination of calls and video sharing. We had worked this way a few times before, so there were no issues.
— What was the most important aspect you focused on while choreographing?
My main focus was on how to express the emotions conveyed by each piece of music. I paid particular attention to the fundamental aspect of skating—connecting steps. This is an extremely crucial element in figure skating, and working on it was a fascinating process. Since I couldn’t skate and film myself at the same time, I asked Yohnatan Elizarov, a Canadian skater who had been part of the Junior Worlds pairs team, to help demonstrate the movements. When I showed him the video Yuzu had sent back to me, he was amazed by the high quality. It was an interesting experience to let a future champion involved in this process as well.
— Ballade No.1, which you choreographed, was also performed in the show. I saw that part! That’s not an easy piece at all, and performing it at the very end of the Piano medley is just unbelievable. I can’t even imagine the level of stamina he has…
— Hanyu continues to perform competitive-era programs you choreographed in his ice shows after his career transition. What do you think about the evolution of his performances?
It’s such an honor that he’s still performing programs I choreographed. What’s amazing about Yuzu is that he continues to evolve mentally and artistically. It’s similar to when Joni Mitchell sings her older songs. It carries a different flavor than when she was younger. Yuzu is the same. When he performs past programs, you can clearly see how much he’s evolved, both as a skater and as a person. The way he expresses subtle nuances in the music, the way he handles every note—it all keeps changing, and it’s mesmerizing to watch.
— Hanyu has been producing solo ice shows since his transition. What are your thoughts on this?
It’s unheard of for someone to perform an entire ice show solo from beginning to end, but I know Yuzu well, so I’m not too surprised. He has a unique ability to hold the audience’s attention for two and a half hours. I hope people realize how special it is to witness his performances. Honestly, I don’t think we’ll see another show like this again anytime soon. Performing for two continuous hours on ice is on a completely different level from a concert. It’s a rare talent, a gift. Usually, including myself, athletes stop training at a competitive level after retiring. But Yuzu has kept at it, and that’s why he’s capable of something like this.
— If you could freely choose, what pieces would you like to choreograph for Yuzu?
Actually, I already have a few pieces in mind. One is Alexander Scriabin’s Symphony No. 4, Poem of Ecstasy. Some pieces immediately bring to mind a skater performing them, and certain pieces make me think, "Only this skater could bring this music to life." This was a piece I came across when I was searching for my own competitive programs, but even back then, I knew I wouldn't be able to do it justice. I've kept it close to my heart ever since. Later, I thought, if it were Yuzu, he would be able to embody it perfectly. Another piece is the final movement of The Pines of Rome by Ottorino Respighi. The music builds and builds, layer upon layer, pushing toward an overwhelming climax. Without extraordinary stamina, it would be impossible to skate to this. But I believe Yuzu has that strength. If I ever get the opportunity, I would love to choreograph these pieces for him.
— Hanyu recently celebrated his 30th birthday. What does the age 30 mean for a figure skater?
Personally, turning 30 wasn’t an issue for me. It was turning 20 that scared me the most. Like gymnastics, figure skating is often seen as a sport where youth is an advantage. If you have talent, people say, Wow, they can jump so well at such a young age! and you get a lot of attention. But when I was 20, I hadn’t achieved much as a competitor yet, so I was afraid. But later I understood that every athlete develops at their own pace. Yuzu has countless achievements to be proud of, but more than that, he should take pride in how much he has contributed to the sport as a whole. He has accomplished so much, and yet, he’s still only 30—that actually amazes me.
— You became a world champion at 25, right?
Yes. Then I retired at 26. By 30, I was doing what I loved and living a very fulfilling life. I’ve always loved skating, but I never really liked competing. So being able to focus on ice shows and tours in my 30s was a truly happy time for me.
— Thank you. Lastly, do you have a message for Hanyu?
Everything Yuzu has achieved is the result of his own effort and passion. Even now, he continues to share that passion with the world, and that makes me incredibly proud of him. He could have chosen to retire and live a more relaxed life, but instead, he keeps pushing himself forward, constantly working hard, and continuing to grow. He is a true icon.
Credit: yuzurujenn on tumblr
It seems that Jeff (and Yuzu) are busy incorporating "the fundamental aspect of skating—connecting steps" in their programs while ISU is actively remove them from competition.
Last edited:
I wish to see Yuzuru go for someone who isn't Buttle, whom I've always found contrived... although perhaps in saying that, it would include 99% of skaters and skating "choreographers" so whatever.
BTW. Wilson usually gets a bad rap for his choreo, and I have to admit that his competitive programs for Yuzuru were pretty terrible. But do check out his Ararat long program for Buttle. I think Wilson is much better suited for the 'artistic' aspects of skating, and hope to see more work with him.
BTW. Wilson usually gets a bad rap for his choreo, and I have to admit that his competitive programs for Yuzuru were pretty terrible. But do check out his Ararat long program for Buttle. I think Wilson is much better suited for the 'artistic' aspects of skating, and hope to see more work with him.
Show + BTS for Echoes of Life (3hr duration)
https://weibo.com/tv/show/1034:5163054175027334
They show bits of preparation and costume fitting stage, then the backstage situation during the shows. ?
Some unseen parts:
Costume fitting
His warm up during the intermission
Backstage after the last show
https://weibo.com/tv/show/1034:5163054175027334
They show bits of preparation and costume fitting stage, then the backstage situation during the shows. ?
Some unseen parts:
Costume fitting
His warm up during the intermission
Backstage after the last show
Last edited:
No one posted this yet? There's an English auto-dub for it.
www.youtube.com
Yuzuru Hanyu: "I didn't need to have fun to win" NumberTV (Auto-dub seems to call him "she" many times, so make sure to take it with a grain of salt)
lemino.docomo.ne.jp
- YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.
www.youtube.com
Yuzuru Hanyu: "I didn't need to have fun to win" NumberTV (Auto-dub seems to call him "she" many times, so make sure to take it with a grain of salt)
NumberTV ＃21 羽生結弦 「あの光景を、脳裏に焼き付けて。」 | Lemino(レミノ) - 映画・ドラマ・アニメや音楽・ライブが見放題 | ドコモの動画配信サービス
新しい映像配信サービスLemino！NumberTV ＃21 羽生結弦...
lemino.docomo.ne.jp
No one posted this yet? There's an English auto-dub for it.
- YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.
Yuzuru Hanyu: "I didn't need to have fun to win" NumberTV (Auto-dub seems to call him "she" many times, so make sure to take it with a grain of salt)
NumberTV ＃21 羽生結弦 「あの光景を、脳裏に焼き付けて。」 | Lemino(レミノ) - 映画・ドラマ・アニメや音楽・ライブが見放題 | ドコモの動画配信サービス
新しい映像配信サービスLemino！NumberTV ＃21 羽生結弦...
Thank you! The Lemino interview on Youtube is the shorter version, the full version has 38 mins duration and I haven’t found the full translation.
Cfanyus are always fast and have shared the full video, ofc: https://weibo.com/tv/show/1034:5168880985768014
That translation is correct, but here's the full statement about it (to get the whole context):
"I have never been happy in any competition. All my competitions were painful and tense. If I could, I would not want to compete. Really. The tension and pressure I feel every time are immeasurable. Of course, if I can finally feel that I have won beautifully in some competitions and feel that what I have trained for has been well played, such competitions may end with happy memories. But I did not compete for "happiness", but only for winning. As a competitor, the only moment I felt happy in the competition was at the end of the free skating in Pyeongchang, and there was no other moment. I think there is no room for happiness in the competition, only "wanting to win".
In the idea of "wanting to win", there is no need for "happiness". You just need to keep pushing yourself, eliminate all the superfluous things, and devote all your energy to fighting."
Yuzuru Hanyu: “I wasn’t someone who succeeded from the very beginning. I learned that simply working hard doesn’t always result in success – you need methods that suit you personally.”
Yuzuru Hanyu about challenges he faced in his career.
fs-gossips.com
This has more, but it's fs-gossips, so make sure to take it with a grain of salt.
There will be an ice show to commemorate the opening of newly refurbished Xebio Arena Sendai. Xebio Arena Sendai will be the second year-round ice rink in Sendai area after Ice Rink Sendai.
Skaters: Yuzuru Hanyu, Takeshi Honda, Akiko Suzuki, Rika Hongo & skaters from Ice Rink Sendai.
Choreographer: Nanami Abe
Jul 5, 2025
13.30
Further details on Jun 1 onwards.
www.sendaicityarena-op.jp
Skaters: Yuzuru Hanyu, Takeshi Honda, Akiko Suzuki, Rika Hongo & skaters from Ice Rink Sendai.
Choreographer: Nanami Abe
Jul 5, 2025
13.30
Further details on Jun 1 onwards.
The First Skate 仙台市アリーナイベント
羽生結弦、本田武史、鈴木明子、本郷理華が届けるフィギュアスケーターによる仙台市アリーナイベントアイスショー The First Skate
Yuzu wrote an article to Bungeishunju. Seems to be about workstyle/lifestyle.
Some excerpts:
"It's been three years since I became a professional skater this summer. I feel like I'm taking on a new challenge in a completely different world. In a sense, the 18 years I spent as an athlete were a time when I was happy or sad about the scores. The "goodness" of a performance was determined by the scores that reflected the technical elements of jumps and spins. On the stage where I stand now, the judgment of goodness or badness is left to the values of the audience. The "freedom" of not being bound by rules or scores further stimulates my creative desire, but it also comes with fear. The content of the evaluation has changed from scores to the words and feelings of the audience, and I have started asking myself more and more questions, such as "Am I delivering something truly good?" and "Am I meeting their expectations?"
"Similarly, if you have done the work of "knowing yourself" properly and have a clear idea of what you want to do, you should not be too bothered by public evaluations or slander on social media. In this world where the waves come and go in an instant, there is no need to waver or waver with the waves. If I have time to waver, I have decided to continue making efforts to perform in a way that will shake the hearts of those who watch."
The full article is posted on Reddit
Some excerpts:
"It's been three years since I became a professional skater this summer. I feel like I'm taking on a new challenge in a completely different world. In a sense, the 18 years I spent as an athlete were a time when I was happy or sad about the scores. The "goodness" of a performance was determined by the scores that reflected the technical elements of jumps and spins. On the stage where I stand now, the judgment of goodness or badness is left to the values of the audience. The "freedom" of not being bound by rules or scores further stimulates my creative desire, but it also comes with fear. The content of the evaluation has changed from scores to the words and feelings of the audience, and I have started asking myself more and more questions, such as "Am I delivering something truly good?" and "Am I meeting their expectations?"
"Similarly, if you have done the work of "knowing yourself" properly and have a clear idea of what you want to do, you should not be too bothered by public evaluations or slander on social media. In this world where the waves come and go in an instant, there is no need to waver or waver with the waves. If I have time to waver, I have decided to continue making efforts to perform in a way that will shake the hearts of those who watch."
The full article is posted on Reddit
Last edited:
What is a "skating village"? Is that maybe a fishing village?
New photobook (2 different covers)
Kyodo will have a series of article based on Yuzu’s discussion with Rei Nagai (one of the authors whose work inspired his Echoes of Life). Starting tomorrow, I think.
Another photoshoot for GUCCI.
And yet… Another special edition from Quadruple Axel magazine.
Kyodo will have a series of article based on Yuzu’s discussion with Rei Nagai (one of the authors whose work inspired his Echoes of Life). Starting tomorrow, I think.
Another photoshoot for GUCCI.
And yet… Another special edition from Quadruple Axel magazine.
Last edited:
Yuzu's 3rd anniversary as a pro skater on 19th July.
He shared an edited video to thank fans for their support
Then uploaded a full video for Mass Destruction on his YouTube channel
Fans celebration
Congratulations from medias and his colleagues
He shared an edited video to thank fans for their support
Then uploaded a full video for Mass Destruction on his YouTube channel
Fans celebration
Congratulations from medias and his colleagues
New Yuzu interview with FS Magz. Mostly machine translated, errors may occur.
Compared to a year ago, I noticed that Yuzuru Hanyu has "no hesitation at all". Next time, I want to dig deeper into myself as an "artist" and as a "philosopher" who calmly assesses the nature of words. This interview made me make that decision. (Recorded in April 2025)
Text by Shinichi Yamaguchi (山口真一), Photos by Ryosuke Menju (毛受亮介)
Hanyu: Thank you for having me. Looking forward to it.
— Sorry to take up your time when you're so busy...
Hanyu: No, no, not at all (laughs). Let’s do it.
— The theme for today’s interview is "as a professional." In the 2024–2025 season, you produced the Ice Story: “Echoes of Life” tour, which was performed in three venues nationwide. You were both the star of the show and its overall producer. I imagine that as a creator, you were constantly thinking about “how the stage looks from the audience’s perspective,” especially on opening night, December 7.
Hanyu: On the first performance... hmm, of course things like the cheers, the sound of the applause, the way the gazes feel, of course, I do care about those things, but more than that, what matters to me is whether or not I’m able to express what I want to express, including the direction and staging, and whether I can deliver everything without missing anything. I guess what I’m trying to say is: I don’t really have much extra room mentally. More often than not, I find myself in a state of “completely locked-in focus.”
What I care about, ultimately, is the “overall” aspect. The Ice Story series isn’t something that’s made up purely of skating. It includes everything from the flow of the show to how the tickets are handled, how the event is run, how sightlines are managed, how the show is seen by the audience, what level of satisfaction they feel, where their frustrations might be... I'm constantly thinking about all of it. I aim to make sure that there are no elements of dissatisfaction anywhere and there are no “inconsistencies.”
— On performance days, fans’ feedback tends to flood in. Do you ever go online and check those “voices”?
Hanyu: Yes, I look, I do. I check out the impressions from fans who came to see the show. Especially for opening night, which is sort of like a media day, I’m curious about what kind of articles are written, what kind of “impressions” people had from watching it. That kind of thing definitely matters to me. But to be honest, while I’m actually performing the show, I really don’t have time to think about that. What’s foremost in my mind is, “Just get through one show safely.” Or rather, it’s more like, “Give everything I have until the very end.” That’s the strongest feeling.
— For the audience, that day’s show might be the only “Yuzuru Hanyu experience” they ever have in their life.
Hanyu: Yeah, I think about that all the time. Probably that’s because I was a “competitor.” There are competitions with the same name that happen over and over again, but each “such-and-such event in such-and-such year” only happens once in a lifetime. And the ultimate version of that, I think, is the “Olympics.”
Even if it's the same venue, you almost never get to skate there again in your career. So when I think about that, I always carry this image of, “This performance, in this moment, is once-in-a-lifetime.”
That way of thinking hasn’t changed, even now with ice shows. For the people watching in that moment, of course, it might be their one and only time. There are definitely people who have saved and saved money for years just to finally be able to come.
Lately, I’ve heard about middle schoolers who were finally able to save up their own “allowance” to watch a livestream or go to a live viewing for the first time. For people like that, it might be the first Yuzuru Hanyu they’ve ever seen, and it could also be the last Yuzuru Hanyu they ever see...
So yeah, I pour my soul into all of it. Whether it’s the opening performance or the final one, that feeling never changes. I always perform with the mindset: “This is the final performance.” “It’s always the last time.”
Hanyu: The one thing I can say with pride more than anything is, well, skating. But, like... when it comes to calling skating a “job,”[仕事/ shigoto], if you ask me whether I want to say that or not, I feel a little like “I don’t really want to call it that.” Of course, I do have the feeling that skating is my job, without a doubt, and I skate with pride. But at the same time, I also think: I don’t want to skate only within the “framework” of it being a job.
Like... how should I put this... At the root of it, I want to always like skating. But if it starts to feel purely like “I’m doing this because it’s my job,” then I feel like I might fall into a state where I lose that curiosity toward skating, that desire to improve... like that could all disappear. So I guess you could say that’s why I don’t really want to use that kind of word. I’d rather not end up with the equation “skating equals job.” I just really want to avoid that, as much as possible. It’s really all about the nuance of the words, though.
So when Mansai-san said “Profession: Yuzuru Hanyu,” it really resonated with me. It made sense to me because it’s not just about skating. I work hard in all kinds of ways, absorb all kinds of things, compile and create various elements myself, and all of that, taken together, becomes the artistic creation that surrounds “figure skating: Yuzuru Hanyu.” That’s the kind of thing I’m aiming to create now that I’m active as a pro. So in that sense, it’s not something only focused on skating, it’s more like “Profession: Yuzuru Hanyu” is a comprehensive thing that includes many elements. But even with that said, as I’ve just mentioned, the very foundation, the very center of it all, without a doubt, is figure skating. I want to be “Yuzuru Hanyu, figure skater.”
— “Profession: Yuzuru Hanyu” and “Private Yuzuru Hanyu.” Is there a line dividing those two?
Hanyu: If I had to say whether there is or isn’t, I’d say... there is, but there also isn’t... maybe? (laughs) It’s a really fine line. Like I said earlier, the fact that I don’t want to call skating my job, or can’t fully bring myself to say that, it ties into this too. Because if I were to say clearly, “Skating is my job,” then in a way... how should I put it... that would be like drawing a line under it. There’s a fear that it would become skating “just for the job,” and that’s definitely something I feel inside.
So in that sense, it feels like skating is something like an extension.
Hanyu: Ah, no, that doesn’t happen. It doesn’t. It really doesn’t.
— Really?
Hanyu: Including “GIFT,” I’ve already written three works like this. And of course there are many different interpretations and analyses of each program. But basically, I don’t think “this is wrong” when I read them. It’s not like I’m just letting go of them, though. It’s not like, “Here’s my work, I’m done with it, now feel free to interpret however you like,” and just letting it fly away from me.
But words... or maybe especially words, they’re just tools to connect your thoughts or heart with someone else’s, right? In a way, I think of them as something like the “string” in a tin can phone. You use words, and the “resonance” reaches the other person. In the same way, I think performances in “figure skating,” or the stories I write, also exist along that same line.
So... how do I say this... what gets through to the other person? The core of my actual “heart” [「心」kokoro] doesn’t ride along that string. It’s only the tool that travels along it. So the real feelings inside me, or the true scenery, or what I really want to express, those probably don’t get through just by using words. As long as I’m expressing through figure skating, I’ve kind of already made peace with that.
On the other hand, when we listen to different songs, read different lyrics, or articles, we don’t always get 100% of what the creator meant to convey. It’s not equal. It’s probably not 100% equal, maybe “nearly equal” is the best we can get.
But because it’s “nearly equal,” how should I put this... that’s what makes it “fun.” That’s where different interpretations are born. And I think that’s how human “culture” came to be.
I do think mathematics is incredibly beautiful, but human activity, what can’t be expressed by formulas, arises precisely because of that “nearly equal,” because things don’t fully get across. We end up using imagination to bring our hearts closer to each other, or use our own experiences to find the answer. That’s probably why “we have been able to live as human beings.” And there’s something like a “god” inside me that tells me that.
So that’s why, as someone who expresses things, I think there are all sorts of ways people can interpret what I do. And there’s basically nothing I’d ever say like, “I didn’t do this hoping for that interpretation.” If anything, if something does turn out like that, I feel like it’s probably because of my own lack of technique or inadequate words, like it’s on me.
Hanyu: Well, I mean… when it came to things like “expression,” [表現] or around the time I turned pro, or right before I made that decision, to be honest, I did feel like I didn’t have anyone to talk to about that kind of thing. Even after becoming a professional skater, when I found myself wondering, “What exactly is expression?” or “What kind of mindset should I bring to skating?” There were just these gaps in how we thought about things. It felt like those gaps, those differences in the level of emotional engagement, just couldn’t be bridged, no matter how much I tried. Things like how other skaters perceive “being a professional” or “expression”… To put it bluntly, I didn’t have anyone I truly looked up to in that way, inside my heart.
To be honest… I kind of felt, “The usual ice shows felt bland" [please read footnote 13]. There’s so much more I want to express. It’s not just about “my feelings toward skating.” There’s also daily life, my physical strength, and all sorts of things like that. And when I looked at those aspects, I realized that I was probably standing in a completely different place from the current generation of pro skaters, the level itself, and even the direction we were headed in, were fundamentally different. In that sense, no matter how much I did, I felt like I was going down a path that was never going to intersect with theirs. Even while performing in ice shows, I would sometimes feel that loneliness.
But now, like recently, I’ve had the chance to connect with truly amazing artists, like [actor] Mansai Nomura, [musician] Kenshi Yonezu, [musician/actor] Gen Hoshino… And in talking with them about expression, I came to feel again, “Ah, I’m one of them, I’m on this side.” I’ve also gotten to work with top-tier professionals on the production side of things, and through that, I’ve found people I could truly communicate with. People I could feel, “Wow, they’re creating something of this caliber!”, those kinds of companions. And in that sense, I stopped feeling lonely at all.
— You announced your decision to turn pro in July 2022. What’s something you didn’t realize three years ago?
Hanyu: I think I came to realize: “Ah, I’m someone who’s meant to be on the creation side of things.” Up until then, I had always been on the receiving end of choreography. I’d be given choreography, interpret it in various ways, and then figure out how to express it within the rules of competition, how to both express it well and rack up points. I was always strategizing how to strike that balance while competing.
So… I guess this kind of connects to the earlier discussion about “loneliness,” but, the more I talked about how I think, about the way my mind works, and all of that, the more I realized that the people who resonated with me, who could really relate, were almost always artists, not athletes.
And lately I’ve come to realize: I was more of an artist-type person after all. Over these past three years, I’ve spent time reflecting, and I’ve come to feel that, at my core—what’s inside me—is fundamentally aligned with the artist side of things. That said, before these three years, I spent so many years doing skating, and I had always lived with the idea of “winning and losing”, so I've realized that as an athlete, I have a competitive spirit, or an appetite for this idea of winning and losing. So I’ve come to recognize that I do still carry that part of me too, that part that’s a true “athlete.” So, as a "hybrid," as both a professional skater and a pro athlete who is striving to perfect figure skating, I intend to remain a hybrid.
Text by Shinichi Yamaguchi (山口真一), Photos by Ryosuke Menju (毛受亮介)
Ice shows are like the Olympics. I perform with the feeling that each one might be my last.
— Thank you for joining us today.Hanyu: Thank you for having me. Looking forward to it.
— Sorry to take up your time when you're so busy...
Hanyu: No, no, not at all (laughs). Let’s do it.
— The theme for today’s interview is "as a professional." In the 2024–2025 season, you produced the Ice Story: “Echoes of Life” tour, which was performed in three venues nationwide. You were both the star of the show and its overall producer. I imagine that as a creator, you were constantly thinking about “how the stage looks from the audience’s perspective,” especially on opening night, December 7.
Hanyu: On the first performance... hmm, of course things like the cheers, the sound of the applause, the way the gazes feel, of course, I do care about those things, but more than that, what matters to me is whether or not I’m able to express what I want to express, including the direction and staging, and whether I can deliver everything without missing anything. I guess what I’m trying to say is: I don’t really have much extra room mentally. More often than not, I find myself in a state of “completely locked-in focus.”
What I care about, ultimately, is the “overall” aspect. The Ice Story series isn’t something that’s made up purely of skating. It includes everything from the flow of the show to how the tickets are handled, how the event is run, how sightlines are managed, how the show is seen by the audience, what level of satisfaction they feel, where their frustrations might be... I'm constantly thinking about all of it. I aim to make sure that there are no elements of dissatisfaction anywhere and there are no “inconsistencies.”
— On performance days, fans’ feedback tends to flood in. Do you ever go online and check those “voices”?
Hanyu: Yes, I look, I do. I check out the impressions from fans who came to see the show. Especially for opening night, which is sort of like a media day, I’m curious about what kind of articles are written, what kind of “impressions” people had from watching it. That kind of thing definitely matters to me. But to be honest, while I’m actually performing the show, I really don’t have time to think about that. What’s foremost in my mind is, “Just get through one show safely.” Or rather, it’s more like, “Give everything I have until the very end.” That’s the strongest feeling.
— For the audience, that day’s show might be the only “Yuzuru Hanyu experience” they ever have in their life.
Hanyu: Yeah, I think about that all the time. Probably that’s because I was a “competitor.” There are competitions with the same name that happen over and over again, but each “such-and-such event in such-and-such year” only happens once in a lifetime. And the ultimate version of that, I think, is the “Olympics.”
Even if it's the same venue, you almost never get to skate there again in your career. So when I think about that, I always carry this image of, “This performance, in this moment, is once-in-a-lifetime.”
That way of thinking hasn’t changed, even now with ice shows. For the people watching in that moment, of course, it might be their one and only time. There are definitely people who have saved and saved money for years just to finally be able to come.
Lately, I’ve heard about middle schoolers who were finally able to save up their own “allowance” to watch a livestream or go to a live viewing for the first time. For people like that, it might be the first Yuzuru Hanyu they’ve ever seen, and it could also be the last Yuzuru Hanyu they ever see...
So yeah, I pour my soul into all of it. Whether it’s the opening performance or the final one, that feeling never changes. I always perform with the mindset: “This is the final performance.” “It’s always the last time.”
Figure skating doesn’t feel like a job, it feels like a kind of ‘extension’ of myself.
— “Profession: Yuzuru Hanyu” is a phrase used by Mansai Nomura, but what do you, Hanyu-san, think your own “profession” is?Hanyu: The one thing I can say with pride more than anything is, well, skating. But, like... when it comes to calling skating a “job,”[仕事/ shigoto], if you ask me whether I want to say that or not, I feel a little like “I don’t really want to call it that.” Of course, I do have the feeling that skating is my job, without a doubt, and I skate with pride. But at the same time, I also think: I don’t want to skate only within the “framework” of it being a job.
Like... how should I put this... At the root of it, I want to always like skating. But if it starts to feel purely like “I’m doing this because it’s my job,” then I feel like I might fall into a state where I lose that curiosity toward skating, that desire to improve... like that could all disappear. So I guess you could say that’s why I don’t really want to use that kind of word. I’d rather not end up with the equation “skating equals job.” I just really want to avoid that, as much as possible. It’s really all about the nuance of the words, though.
So when Mansai-san said “Profession: Yuzuru Hanyu,” it really resonated with me. It made sense to me because it’s not just about skating. I work hard in all kinds of ways, absorb all kinds of things, compile and create various elements myself, and all of that, taken together, becomes the artistic creation that surrounds “figure skating: Yuzuru Hanyu.” That’s the kind of thing I’m aiming to create now that I’m active as a pro. So in that sense, it’s not something only focused on skating, it’s more like “Profession: Yuzuru Hanyu” is a comprehensive thing that includes many elements. But even with that said, as I’ve just mentioned, the very foundation, the very center of it all, without a doubt, is figure skating. I want to be “Yuzuru Hanyu, figure skater.”
— “Profession: Yuzuru Hanyu” and “Private Yuzuru Hanyu.” Is there a line dividing those two?
Hanyu: If I had to say whether there is or isn’t, I’d say... there is, but there also isn’t... maybe? (laughs) It’s a really fine line. Like I said earlier, the fact that I don’t want to call skating my job, or can’t fully bring myself to say that, it ties into this too. Because if I were to say clearly, “Skating is my job,” then in a way... how should I put it... that would be like drawing a line under it. There’s a fear that it would become skating “just for the job,” and that’s definitely something I feel inside.
So in that sense, it feels like skating is something like an extension.
Humans have used their imagination to connect their hearts. I think that's why we’ve been able to live.
— Especially with the ice story shows, there’s a sense of “leaving the conclusion of the story up to the audience.” Like, for instance, if someone watches Echoes of Life and writes their own interpretation of it in an essay, there may be times when, to you, Hanyu-san, you’re like, ‘No, that’s not quite what I meant…’ right?Hanyu: Ah, no, that doesn’t happen. It doesn’t. It really doesn’t.
— Really?
Hanyu: Including “GIFT,” I’ve already written three works like this. And of course there are many different interpretations and analyses of each program. But basically, I don’t think “this is wrong” when I read them. It’s not like I’m just letting go of them, though. It’s not like, “Here’s my work, I’m done with it, now feel free to interpret however you like,” and just letting it fly away from me.
But words... or maybe especially words, they’re just tools to connect your thoughts or heart with someone else’s, right? In a way, I think of them as something like the “string” in a tin can phone. You use words, and the “resonance” reaches the other person. In the same way, I think performances in “figure skating,” or the stories I write, also exist along that same line.
So... how do I say this... what gets through to the other person? The core of my actual “heart” [「心」kokoro] doesn’t ride along that string. It’s only the tool that travels along it. So the real feelings inside me, or the true scenery, or what I really want to express, those probably don’t get through just by using words. As long as I’m expressing through figure skating, I’ve kind of already made peace with that.
On the other hand, when we listen to different songs, read different lyrics, or articles, we don’t always get 100% of what the creator meant to convey. It’s not equal. It’s probably not 100% equal, maybe “nearly equal” is the best we can get.
But because it’s “nearly equal,” how should I put this... that’s what makes it “fun.” That’s where different interpretations are born. And I think that’s how human “culture” came to be.
I do think mathematics is incredibly beautiful, but human activity, what can’t be expressed by formulas, arises precisely because of that “nearly equal,” because things don’t fully get across. We end up using imagination to bring our hearts closer to each other, or use our own experiences to find the answer. That’s probably why “we have been able to live as human beings.” And there’s something like a “god” inside me that tells me that.
So that’s why, as someone who expresses things, I think there are all sorts of ways people can interpret what I do. And there’s basically nothing I’d ever say like, “I didn’t do this hoping for that interpretation.” If anything, if something does turn out like that, I feel like it’s probably because of my own lack of technique or inadequate words, like it’s on me.
I stand on the “artist” side. But my ambition is still that of an athlete.
— During the group interview after the Chiba performance, you said something like, “I don’t really feel lonely or anything... these days.” Does that mean you used to feel lonely?Hanyu: Well, I mean… when it came to things like “expression,” [表現] or around the time I turned pro, or right before I made that decision, to be honest, I did feel like I didn’t have anyone to talk to about that kind of thing. Even after becoming a professional skater, when I found myself wondering, “What exactly is expression?” or “What kind of mindset should I bring to skating?” There were just these gaps in how we thought about things. It felt like those gaps, those differences in the level of emotional engagement, just couldn’t be bridged, no matter how much I tried. Things like how other skaters perceive “being a professional” or “expression”… To put it bluntly, I didn’t have anyone I truly looked up to in that way, inside my heart.
To be honest… I kind of felt, “The usual ice shows felt bland" [please read footnote 13]. There’s so much more I want to express. It’s not just about “my feelings toward skating.” There’s also daily life, my physical strength, and all sorts of things like that. And when I looked at those aspects, I realized that I was probably standing in a completely different place from the current generation of pro skaters, the level itself, and even the direction we were headed in, were fundamentally different. In that sense, no matter how much I did, I felt like I was going down a path that was never going to intersect with theirs. Even while performing in ice shows, I would sometimes feel that loneliness.
But now, like recently, I’ve had the chance to connect with truly amazing artists, like [actor] Mansai Nomura, [musician] Kenshi Yonezu, [musician/actor] Gen Hoshino… And in talking with them about expression, I came to feel again, “Ah, I’m one of them, I’m on this side.” I’ve also gotten to work with top-tier professionals on the production side of things, and through that, I’ve found people I could truly communicate with. People I could feel, “Wow, they’re creating something of this caliber!”, those kinds of companions. And in that sense, I stopped feeling lonely at all.
— You announced your decision to turn pro in July 2022. What’s something you didn’t realize three years ago?
Hanyu: I think I came to realize: “Ah, I’m someone who’s meant to be on the creation side of things.” Up until then, I had always been on the receiving end of choreography. I’d be given choreography, interpret it in various ways, and then figure out how to express it within the rules of competition, how to both express it well and rack up points. I was always strategizing how to strike that balance while competing.
So… I guess this kind of connects to the earlier discussion about “loneliness,” but, the more I talked about how I think, about the way my mind works, and all of that, the more I realized that the people who resonated with me, who could really relate, were almost always artists, not athletes.
And lately I’ve come to realize: I was more of an artist-type person after all. Over these past three years, I’ve spent time reflecting, and I’ve come to feel that, at my core—what’s inside me—is fundamentally aligned with the artist side of things. That said, before these three years, I spent so many years doing skating, and I had always lived with the idea of “winning and losing”, so I've realized that as an athlete, I have a competitive spirit, or an appetite for this idea of winning and losing. So I’ve come to recognize that I do still carry that part of me too, that part that’s a true “athlete.” So, as a "hybrid," as both a professional skater and a pro athlete who is striving to perfect figure skating, I intend to remain a hybrid.
I don’t expect everything to be understood. “Nearly equal” is good enough for me.
— As a competitor, Yuzuru Hanyu didn’t really reveal much about his private life, did he? You were someone whose presence existed together with fans’ “imagination,” in a space shaped by limited information. In a way, that was part of your allure. But now that your role has shifted toward being an “artist,” I wonder if that makes you want your thoughts to be understood more clearly. What are your honest feelings about that?
Hanyu: Hmm. Well, just as an example, the fact that I didn’t really show much of my private life—during my competitive days—that was kind of a “strategy,” in a sense.
You know, right before the Olympics or something, no one would say, “This is the kind of training I’m doing privately,” right? You can’t go revealing your cards. I mean, I wanted to win. That’s just how it was. And to be honest, I didn’t think there was any need to reveal that stuff. Because I lived like that for so long, I don’t really have any feeling of “I want people to empathize with this.” I really don’t think that way.
But I do very much feel the presence of fans who get happy or feel emotional over small joys, or little struggles, or the things I’m working hard on in daily life. Nowadays, with things like “Menshibu” (Members-only channel) or YouTube, I have started to share a bit more about recent happenings and so on.
But at the root, I’m someone who wants to compete in figure skating. I put my heart out through figure skating. So when you ask, “Do I want everything to be understood?”, like I said before, “I’m okay with ‘nearly equal.’”
When I’m writing Ice Story, it’s not like I’m saying, “Everything I’m feeling is inside this.” Nor am I saying, “I want everything to be perfectly conveyed.” It’s not like that. It certainly feels that way.
Note:
[13] “言ってみれば、「既存のアイスショーはつまんないな」と思っちゃった”, please note that straightforward “boring” is not the most ideal translation in context. This sentence is deliberately casual and softened by Yuzuru's choice of phrasing, especially “思っちゃった”, a casual/slightly self-deprecating form of “思ってしまった.” Both forms often express regret or unwillingness that a certain thought has come to mind. The meaning is something like “I ended up thinking” or “I kind of thought”. 思っちゃった makes it sound more like a spontaneous or reluctant confession rather than a firm critique. The format of existing/ traditional ice shows felt old and tired, or uninteresting. But that “つまんない” should be interpreted in context: it’s not an attack, but rather an expression of how that format didn’t fulfill or resonate with his own expressive needs or creative goals.
— As a competitor, Yuzuru Hanyu didn’t really reveal much about his private life, did he? You were someone whose presence existed together with fans’ “imagination,” in a space shaped by limited information. In a way, that was part of your allure. But now that your role has shifted toward being an “artist,” I wonder if that makes you want your thoughts to be understood more clearly. What are your honest feelings about that?
Hanyu: Hmm. Well, just as an example, the fact that I didn’t really show much of my private life—during my competitive days—that was kind of a “strategy,” in a sense.
You know, right before the Olympics or something, no one would say, “This is the kind of training I’m doing privately,” right? You can’t go revealing your cards. I mean, I wanted to win. That’s just how it was. And to be honest, I didn’t think there was any need to reveal that stuff. Because I lived like that for so long, I don’t really have any feeling of “I want people to empathize with this.” I really don’t think that way.
But I do very much feel the presence of fans who get happy or feel emotional over small joys, or little struggles, or the things I’m working hard on in daily life. Nowadays, with things like “Menshibu” (Members-only channel) or YouTube, I have started to share a bit more about recent happenings and so on.
But at the root, I’m someone who wants to compete in figure skating. I put my heart out through figure skating. So when you ask, “Do I want everything to be understood?”, like I said before, “I’m okay with ‘nearly equal.’”
When I’m writing Ice Story, it’s not like I’m saying, “Everything I’m feeling is inside this.” Nor am I saying, “I want everything to be perfectly conveyed.” It’s not like that. It certainly feels that way.
Note:
[13] “言ってみれば、「既存のアイスショーはつまんないな」と思っちゃった”, please note that straightforward “boring” is not the most ideal translation in context. This sentence is deliberately casual and softened by Yuzuru's choice of phrasing, especially “思っちゃった”, a casual/slightly self-deprecating form of “思ってしまった.” Both forms often express regret or unwillingness that a certain thought has come to mind. The meaning is something like “I ended up thinking” or “I kind of thought”. 思っちゃった makes it sound more like a spontaneous or reluctant confession rather than a firm critique. The format of existing/ traditional ice shows felt old and tired, or uninteresting. But that “つまんない” should be interpreted in context: it’s not an attack, but rather an expression of how that format didn’t fulfill or resonate with his own expressive needs or creative goals.
Users who are viewing this thread
Similar threads
