[Ice Jewels9] Yuzuru Hanyu exclusive interview
Challenge to the next generation
2-time Olympics Champion Hanyu Yuzuru returned to skating rink once again. From the view from the top of “The absolute Emperor of skating”, what motivates him to continue standing on competitive stage? In the season when he carries on with taking on new programs, Hanyu reveals his mindset of continuous pursuit of challenges.
Part 1: On this season’s programs “Performing for myself”
Question (Q):How did you decide on your SP and FS program for this season?
Hanyu(H): When I managed to win the 2ndconsecutive Olympic Games, there was an instant when I felt I had achieved all my dreams, and then I thought about what I wished to do next, and in that moment, the thought “maybe I should skate for myself, and I look forward to enjoying skating with a liberated heart” came to me. That was what I based my decision of this season’s music choices on, for the sake of realizing my purposes.
Q: Please tell us why you chose “Aki ni yosete秋によせて”= “Otonal” for the SP?
H: This piece was used by Johnny Weir from 2004 to 2006, and I was tremendously impressed by it at the time. That was a program which inspired me to yearn for being able to deliver such (great) skating and expression.
Q: In 2004, that was when you were about 10 years old.
H: That was 2004, and I was only about 9 years old.
Q: What was that “impression” you talked about?
H:2004 was when I won Japanese Novice Championship, and at the time, I really admired Evengi Plushenko-san, and I wanted to become a skater like him. I associated a powerful image to Plushenko-san. On the other hand, when I watched Johnny Weir-san’s performance, I was inspired to believe that even men can pull off such beautiful expression, elegant and beautiful arm postures that I remembered being charmed by.
Q: When you actually got down to business with the SP’s choreography, did you feel like adjusting (the piece) to any extent?
H: There were changes from the way I listened to the music, looked at performance, to how I wanted to express it, and I was somehow lost when thinking about how I should express this piece. Taking the construction of the program by Johnny Weir-san into account, the piece was used for FS, so it was quite difficult to contain it in an SP, regarding time limit. The original piece was about 7 minutes, and to reconstruct it into 2.40 or .50-minute time frame troubled me when I was planning program’s structure. I was also determined that I must insert my own originality into the program.
Q: Do you have any idea what expression you would convey in your SP right now?
H: In my mind, I had the idea of “nostalgia”, and I thought that may have been a good idea. On the 1stday I met Jeff (Jeffery Buttle-choreographer) to work on choreography, at the beginning we spent a good 1 hour discussing how we should plan the choreography, putting forward our images and finally reaching a mutual decision. About 1/3 of the total amount of time for choreography was used for discussion. The original title for “Aki ni yosete (秋によせて)” was “Otonal”, a word used to describe “autumn”, but I spent a lot of time pondering how to put it across (in the fullest sense) in Japanese.
Also, for Japanese people, there’ll be certain difference in their “Sense of Four seasons” with Jeff’s experience of 4 seasons in Canada, and there’s the Japanese view on “autumn” , so we explored the ideas together while working (on choreo).
Q: Hanyu-senshu did the arrangement?
H: I exchanged my ideas while working on creating it together with the specialist I entrusted with arranging the piece.
Q: How about the FS’s music?
H: The basis of this music is “Tribute to Nijinsky” used previously by Plushenko-san, and this is a piece that I’ve been wanting to skate to since a long time ago. It’s the music of my dream. (Because the impression that Plushenko-san’s made on the music is very strong) I was figuring out how to use it for competitive programs, and was also tempted to use it for my exhibition program, so I tried to hold back (the urge to skate to the music). Until this point, I think it’s finally a suitable time to enjoy skating, and from now, it’s finally the right moment to skate to it, also for the sake of my younger self who dreamt (about skating to that music).
Hanyu Yuzuru-senshu’s FS music this season is “Origin”, an arrangement based on Edvin Marton’s “Art on Ice” and “Magic Stradivarius”.
Q: The choreography will be a reminder of Evengi Plushenko?
H: I don’t think the choreography will be mimicking (Plushenko’s choreo), and we will put together the program that is “overflowed” with my own originality. The image of Plushenko-san attached to this piece of music is already very profound, and and there’ve been people who used to perform to this music (referring to“Art on Ice” and “Magic Stradivarius”). I want to pay my respect to Plushenko-san and at the same time, I’m strongly motivated to create something with my own trademark.
Q: In “Origin”, it looks like the way the music comes across is a little bit different.
H: There’s a lot of “beat”, so it’s difficult (to detect the difference).
For “Otonal” SP, the tempo is gentle and bright throughout, and there’s no sudden change (in tempo), it’s easier to catch the “beat”. On the other hand, for “Origin”, the tempo constantly changes as the music goes on, and that necessarily leads to changing the approach to catch the “beat”.
I’ve discussed with Shae while we’re shaping up the program, and the difficult thing was that at the beginning, when I tried to catch up with the “beat”. However, now, it’s not about “beat”, but trying to connect and construct certain moments in which allows something like “an abrupt outburst of sound”. It’s half way through when the music enters its beat. Usually, it’s good that there’s be lead-up sound like “ja-an dadan” that matches the beat (he’s talking about the opening notes), but preceding “ja-an dada-a” there is music flowing on too, so for that part, which expression should we incorporate, at what point of the piece we should start incorporating music (音を取る), we considered such matters in the process of creating the choreography.
(T/N: (音を取る: preparing voice/instrument by singing/playing from the lowest note to highest note and such. It also refers to the sound of the beginning of the music. Eg: In Seimei, it was Yuzuru’s breath）
Q: Amidst the music flow, how do you adjust the point from which you place your opening notes?
H: It also depends on choreography and varies from SP, FS, EX.
At Faoi, I had the chance to observe many things from invited artists, on how they prepared
their respiratory system, how they entered their rhythm and how their body vibrated when they sang, on what way of “tuning” there was, and on different people’s preference on what they were listening to. In the process, I started learning and knowing how to identify things like the moment someone was entering their rhythm.
So, when Shae suggested, for example, let’s start from here, or when Shae intended to start from that point, I could somehow figure out, and my body could pick up (the music and choreography) accordingly. On top of that, there were parts of the music I especially want to express, or parts that allow me to pour my emotion into easily. In this season, I hope they come together nicely into good, harmonious balance.
Q: Looking at the complete picture, together with respect towards Plushenko-san, will you also express your memory and the enjoyment of skating from your heart?
H: I didn’t mean I would return to my childhood when skating to this piece, but for now, what makes me most happy is that I can finally skate to the music I wanted to skate to, (the music of) a program that showed me the “charm” of skating.
Shae’s choreography is unique, and since she used to be an ice dancer, I notice the different way of using toe steps, planning and connecting jumps, the concept of connection that single skaters might not be able to grasp. I can feel the “essence” of skating.
At “Continue with wings”, when looking at Shae’s skating, I realized, only by skating, she managed to capture the audience with her charm. That was fantastic in my opinion.
Besides, I think I’ve mentioned on Plus Alpha (Arakawa Shizuka’s talk show Friends +a), but I think single skaters can show the “charm” of spins, jumps, etc… Combining Shae’s sense of connection and skating skills with that (charm of spins, jumps), will bring me close to the ideal skating that I’m pursuing. That’s why I want to deliver a program that reflects the outlook on the direction I’m aiming to bring my skating towards.
Part 2: Post-ACI interview “The meaning of “no-miss” obsession”
Q: Your takeaway from this challenger series?
H: There were many unrefined parts in the programs, so I think I need to readdress many issues.
Q: The 4T3A combination appeared to have caused you troubles, but you still put it in your program?
H: This time, I just intended to do it in practice, but then I thought I could do it, so let’s do it. Anyway, in my mind, there’s this pestering thought, which is to jump 4T3A in the 2ndhalf of the program. It’s obvious that I can jump it in the 1sthalf, I know. It’s because it’s obvious that I could do it, I couldn’t just be self-satisfied, which led to my decision of putting it in the 2ndhalf.
Q: Well, it’s not only about to jump it, but that combination can be considered “Hanyu Yuzuru’s jump”?
H: 4T+3A, for me, isn’t a difficult jump (combo). I have constructed some programs with great meticulousness (ref to signature programs), but I don’t want to compromise with myself and decided on putting this combo into the 2ndhalf.
Q: When mentioning “Hanyu Yuzuru”, the “no-miss” image of “Ballade no 1” and “SEIMEI” is very profound…
H: I am aware the sense that there are only a limited number of programs that I was able to skate with no mistakes. Even when I have the determination that I will skate (with no mistake), and from my heart I’m confident about that, if I’m not in the right (physical) condition to compete, I can’t deliver a “no-miss” performance. Of course, I’m not guaranteeing that if I’m in perfect condition, I can 100% do it, and difficult things are difficult, but for me it’s meaningless if I can’t skate with no mistake.
However, if I’m only all-consumed by only the need to skate with no mistake, there’s no need to jump 2 quads in the 1sthalf, and put quad combo(s) into the 2ndhalf, but if I don’t incorporate such structure for my program, that isn’t me, and in practices, I couldn’t push my own limits as well. I enjoy continuing competing, pushing my own self forward, and doing difficult things, and I think the happiness generated from my achievements will be prominent. Certainly, I must practice a lot, and I strongly feel the urge to work harder for the better.
Part 3: Aiming for the next pinnacle – Post-CoR interview
Q: This is the 1sttime you won all 2 of your GPS assignments, can you tell us what’s on your mind?
H: Right, actually if possible, I wanted to win everything this season. Winning the 1stassignment, then the 2ndone and competing well in the Final; my wish to achieve these goals were very strong. Especially, regarding this competition in Russia, I placed strong emphasis on both FS and SP, so I was determined not to water down the contents of my programs.
Q: Tatiana Tarasova, who choreographed Johnny Weir’s “Otonal”, was also watching you in the venue.
H: That was emotionally significant to me. This time, I made improvements in various parts of the programs, such as adding in more choreography that pays respect to Johnny, and the program was upgraded in some sense. I couldn’t say that I managed to skate perfectly, but as I did feel strong pressure, so it was generally satisfactory.
However, speaking of FS, I was extremely frustrated.
On the day (of FS), I skated the altered program with all my might, so at the end of the performance, I thought that was alright. Nevertheless, now, looking back, I want to confront my most difficult layout properly, and I am now frustrated.
Q: For the SP, from the time when you started working on choreography there seems to be various experiments with it, and we have noticed some subtle changes, so is this the perfect form of the program?
H: There can still be adjustments, particularly the issue concerning the back-counter axel. In my mind, I was always thinking about what I can do to match the music in the best way, and I had been exploring and experimenting for a while, but in Finland, I tried changing the entry into the 3A, and managed to land it. That result (landing 3A with a different entry in Finland), plus the high success rate of back-counter entry, and its easiness in matching the music, are my major reasons to decide (on changing 3A entry). I actually wanted to jump 3A from twizzle entry, but my attempts from twizzles and double-3 (2 consecutive 3 turns) didn’t go well, and I somehow feel like my mastery of those techniques isn’t refined enough. From now on, in some way I might be able to return to my initial plan (twizzle entry), but at the same time it’s vital that I can receive (good) GOE too, so right now, there’s quite much to ponder on.
Q: You may have actually wanted to perform twizzle entry into axel in the presence of Bestemianova-san (Natalia Filimonovna Bestemianova) and Bobrin-san (Igor Anatolyevich Bobrin-Bestemianova’s husband)?
(Note: From 2010 to 2011, Bestemianova and Bobrin choreographed for Yuzu, and the twizzle entry to the axel was inspired by this couple.
H: Twizzle entry into axel is rare sighting, and I thought that taking off from various twizzles might be an interesting idea. Of course, I did it many times with my exhibition in 2017 “Notte Stellata”, but considering that I am also fighting against the pressure to gain GOE in competition, before I jump, the twizzles sequence will be interrupted, so I would say it was difficult. However, when I discussed with Jeff, I thought “isn’t it beautiful?” and chose the twizzle, and for the counter entry, I has done it many times, and received (good) GOE with (different) variations, so I want to jump and challenge this technique with great enthusiasm (hunger).
Q: In the process of choreographing, the twizzle entry into axel must be a refreshing experience, so we think it’s somehow regrettable to change it this time.
H: There’re a lot of trials and errors, for both SP and FS. It’s because I have understood that I cannot simply accept the unsatisfactory results at ACI, from now on, sure enough, I will contemplate thoroughly about what is beneficial to do.
In the end, among series of my performances, there’re FS programs in which I used back-counter entry to axel, and before that, there’re SPs including double-3 (2 consecutive 3 turns) entry, and many other variations, maybe that results in the impression that I could jump from various entries. Nevertheless, in the time between (my) SP and FS, there were a lot of other athletes’ performances, and it’s obvious that those 2 programs were on different days. Anyway, until that point (FS), the mechanism of choreography was different. Costume, aura, and impression differed too, so in any moment, if there was no “certainty” (for myself), I felt like I couldn’t produce something that I could appreciate, and I decided on jumping the axel from back-counter entry.
After all, for me, between having to deliver jumps possessing unshakeable quality, and having to win, the counter axel was the way to maintain both objectives.
Q: Hanyu-senshu has amazing axel from counter entry*. These days, there’s an increase in the number of skaters who do it?
H:From the start, there are female skaters who jump axel from /left foot backward-inside edge-3 turns/ entry. In that sense, speaking of the flow from counter to 3A, until now, basically I just do 3A from back-out, or even from spread eagle**. I want to take pride in that, and 3A is my signature move, and it’s become a source for (good) scores, so I consider it my “originality”, and of course I wish to breaking new grounds with it too.
*Yuzu was the first to jump 3A from left foot’s back-out-counter while staying on the same left foot.
**Generally, he jumps 3A from /right foot’s back-out to left foot’s forward-out/, and from spread eagle (right foot’s back-out and left foot’s forward-out) as well.
Q: Certainly, it (counter 3A) is overflowed with your originality.
H: 3A from counter is like my identity.
Q: As the season goes on, there’re impacts of rules changes, and (your) choreography changes as well. We think we can see that Hanyu-senshu has reflected on yourself and kept coming with tactics to battle on…
H: For myself, where the origin exists powerfully is in the choreographic components which contains my “obsession”. However, I felt painfully (clear) the kind of thought that “If there’s any mistake with jumps, the program is imperfect” at Helsinki’s World Championship 2017. From that point, I have been trying to think more thoroughly about my fixation on expressiveness when landing jumps.
As a result, for both “Ballade no.1” and this season’s “Otonal” as well, there’re various expressions that I want to articulate when skating, and a fair amount of hand movements, but eventually, I must polish them. And, a “polished” program (to me), is one that guarantees (good) success rate, with jumps that can attack effectively, and while pulling off the (complete) jumps layout is indispensable, the balance towards expressiveness and components are not to be forgotten as well. That is difficult.
At the same time with achieving that balance, I want to deliver a “masterpiece” of a program with a structure I myself can be satisfied with.
However, that will be when my score is the highest, but I am always searching for the highest score, so I don’t know how it will continue changing from now on. I’ve been keeping track on not only my own competitions, a lot of competitions, and I’ve seen the way judges evaluate, and I think I have to fight on. As I continue battling, I want to keep doing what I want to express, and attempting challenges that I would be proud of.
Q: Your finishing pose in the FS is different this time in Russia. Is there any change to it?
H: I still have the memory of when I finished my FS in Finland, and there was pressure that I must surpass that past performance this time.
There is only 1 week between competitions, and it’s tough to maintain the (ideal) condition, and everything is rushed as well. That’s why in the FS, the pressure was heavy. Right now, I still have the feeling that “I have much to improve”. In Finland, I thought I want to show “this pose” (no.1 pose), but now, I think it’s more like “it seems like I still need to fix many things; I want to jump like this; I want to insert more choreography”.
On 11/17, in the practice session before the FS, Hanyu-senshu fell on a 4Lo, and his left foot was hurt. He was instructed to rest for 3 weeks and undergo rehabilitation for 1 month.
“In order to say “I’m back” in front of everyone, I will come back stronger”-Hanyu Yuzuru.
~The End~