Daisuke Takahashi appeared as a Thursday regular on âPoka Pokaâ
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@izayukam
Daisuke Takahashi appeared as a Thursday regular on âPoka Pokaâ
2021-2022 Season
ãRhythm DanceãTeaser
MusicïŒSoran Bushi by Maia Barouh ïŒ Koto by CloZee Choreographer ïŒMarina Zoueva / Ilia Tkachenko / Koyo Yanai
ãFree Dance ã Music ïŒLa Bayadere Choreographer ïŒMarina Zoueva / Massimo Scali / Ilia Tkachenko
message from dai & kana
Daisuke Takahashi Half-Gloves Appreciate Post || Kinki Regionals 2018
Kurukuru Daisuke Takahashi || 2007.2010.2011.2015.2016.2017.2017.2017.2020
bonus:
Thanks for the kurukuru Dai with even cuter bonus!!
Ice Explosion 2020
Let me share a little report of Ice Explosion 2020 here, at least, the Daisukeâs parts. It was a lively, warm and friendly send-off for him as much as a huge gift from him to his fans. It was happy, fun and emotional time. The venue was our familiar Shin-Yokohama Ice Arena, where Friends on Ice and Christmas on Ice had been held. The cast skaters are similar to the other two. Due to the lack of time so soon after the Nationals and the biggest holidays of Japan I was prepared to see another show exactly like those and tried to be understanding. Well, it did have the same format. Some group numbers, each individual programs, collaboration works with a live artist, even Mr. Gamadaâs passionate MC style that comes with teasing with his heavy love to the skaters (or all the mankind). They are all there. But this is made of, for and about Daisuke Takahashi and celebrating the years of his singles competitive career and cheering for his new beginning as an ice dancer with Kana Muramoto. The first show of the Day 1, I found the seats are fully occupied though it was early afternoon of a weekday and pretty busy time of the year for homemakers. The opening: On the ice the images lightning flashed. Daisuke came out alone all in black. T-shirt, pants and his face buried in the hood of a thin, crisp and loose robe. aimlessly skating he was lost and powerless. In the dim lights he blindly let out white breath in the cold air a few times, once with his face up. It reminded his âMarnieâ video he made in 2015. (It was the very first beauty I noticed in this show but sadly this visible breath never happened again on five other shows) Another being came over to give him power. And three pairs of other âanimalsâ as well. According to the notes ran on the upper wall, he must have been given eyes of an eagle, ears of an wolf, strength of a bear and speed of a puma. Making him a brave soul. Now he raised up. All the skaters came out on the ice and he took charge. Music: â4 Powersâ by Bravestar https://youtu.be/n0AsEcIRvq8 Now he is the leader of the pack. He gives them power... later it turned out that this was choreographed by Kenji Miyamoto but some of the movements I felt it was an homage to The Phoenix. This opening was so cool I wanted more. Music: âThe Time is Nowâ by atreyu https://youtu.be/ss_JgjdxX40 After the opening two Chinese junior skaters, coached by Pang/Tong pair (I believe they are considered not a major group in China unlike nationally backed one around the gold medalist pairs of the Vancouver. Dai might have felt to give them encouragement for the long year friends). They skated alternatively, 13 years old girl in the early show and 16 YO boy for the evening. Then Kana Muramotoâs âFeeling Goodâ. I was thrilled when in the middle of the program she rose from lying position and skated straight to me. Enticing and sensuous, yet she got class. She got sense of movements like her new partner. She could connect with the audience. I can see Kana + Dai will be a bomb to the ice dancing with or without their numerical success. At the very end of the program Daisuke joined and they skated together just to finish. I got excited with fingers crossed. The very first official performance in public for the couple was really short. They looked great to present passionate movement together. In two seconds it was over and the applause came he moved away from the center back to his humble self and gave her his cute clapping. After individual programs of Keiji Tanaka (âpump itâ- wonderful all through, good luck in the Worlds) and Kanako Murakami (âBoléroâ ambitious music choice of Shae-Lynnâs Choreography) then Tanith and Benâs (-simply fun!), Misha Ge (âLes Feuilles mortes â- beautiful ), the collaboration pieces with a violinist Ms Emiri Miyamoto were presented. Akiko Suzukiâs Lavender pro, (splendid) team PIW and Andrew/Kaitlynâs âTime to Say Goodbyeâ choreographed by Kana Muramoto (my heart ached) and Shizuka Arakawaâs continental tango choreographed by Kanako Murakami (awesome). And the Meryl and Charlie skated to a great love song (no name at hand) Then, the last of the Act I had come. The two men from PIW team, Daiâs long time friend Hirokazu Kobayashi, also Yuta Onuma, and Elladj Balde started it to the strong tune of: Music: My Songs Know What You Did In The Dark by Fall Out Boy https://youtu.be/LkIWmsP3c_s After the short, athletic and artful skating and dancing, Ms. Miyamotoâs live violin stepped in and started very intense tune that grew into ... isnât it? Isnât it that? Itâs coming, I know itâs coming.. here we go!! The intro of the Phoenix and Daisuke came in! The audience roared. The four guys made a formation of one line one behind another w Dai in the front, as the violinist quietly turned and walked out. And the Fall Out Boyâs song started and now the audience went wild. I love this group version. In and out to skate Daisuke could pour all his energy into the major dance movements w/o pacing to save it for the elements. (And after each of his all-out performances he still had a hard time getting up. But to his credit he completely nailed beautiful 3 Lutz on ALL the six performances!) The piece had more than a few screaming points and I prepared lozenge after Day 1 but it didnât save my voice very well. Daisuke being one of the group didnât water it down. It got more intense. More fire. He didn't try to blend in to the group like he used to do. He was even more Daisuke than any other time. The rest boys danced to Daisukeâs Phoenix or so I felt. I wish this to be one of his standard repertory or at least to be brought to a few more shows. And I seriously worry about the roof or the structural damage of the venue. The performers and the audience, even the other skaters dancing at rink side shook the entire house. The Act II started with âWelcome to the Ice Dance Worldâ to the music of Disneyâs âBeauty and the Beast medleyâ. Two of the ice dancing couples, Meryl/Charlie and Tanith/Ben and the baby couple just hatched, Kana/Dai. Kana in white, looking pure and fresh, found and picked up a red rose. It is the key item of time limit of the curse for true love to break in the original story. Maybe it didnât have so much role in THIS program but later on it earned a very nice story to cherish in my memory. She gracefully skated and left the rose in the back, and the two senior couples showed their craft and what ice dancing is made of. (Throughout the show the three couples displayed variety of lifts seemingly to educate the newcomers and help creating their own) Dai came in with the rose. Still in the boots for singles but he swiftly reached to Kana and presented the flower. Instead of staying there to check her reaction he ran to the other end of the rink and showed off his ballet jump. But now he saw her dancing with the two other guys. He didnât know what to do and turned to the two other ladies. (ââOne of my favorite moments I canât get enough) They quickly checked and touched up his hair and clothes and gave a cheer-up clap in the back to send him back to her. And then this brand new couple got together and started skating while the two other couples (and the audience as well) gave them parental smiles... After that show went on with: Keiji (Hip Hip Chin Chin) Kanako, Akane and Kiki (PIW crews, Dancing Hero of from 80âs Bubble age ) Chinese Jr. Group performance (Soothing) Elladj (Love it) Kaitlyn/Andrew (Adorable) Then the violinist Emiri Miyamoto with Akiko, Misha and 4 of PIW crews presented Wild West number, âRoundtable Rivalâ by Lindsey Stirling. The Great Emiri time! I believe I was excused to keep watching her and her âdancingâ while playing instead of skaters because at the end the skaters werenât credited. Only the violinistâs name announced. (But skaters were really lovely) Followed by Shizuka Arakawaâs âOne Day Iâll Fly Awayâ and Meryl/Charlieâs Queen, the last solo of Dai. The recorded narration in his soft voice was played first. I try to put it in English as close as possible to his original. (Words are from my memory and a few peoplesâ tweets. Sorry for the missing or mistaken parts.) âMy figure skating life that started when I was eight years old, now has reached 25 years, quickly. In days, those years count about 9000 days. Looking back I feel them both long and short. Lots of scenes come back from my memories. Sometimes I had tears of regret, sometimes I shared tears of joy with my buddies. All the experiences are my treasures. With these memories I am now closing the final curtain of my competitive life as a singles skater. But at the same time, the curtain of my new life as a competitor is opening. There must be a lot of walls stand in the path and I am going to go over one by one and I am hoping to see and looking forward to the new sceneries beyond. I am grateful to all the people around who had supported me and also all of you in the audience who had cheered for me and given me courage at any time. Thank you so very much. And I hope I will have your support to continue.â He came out once again on the ice in a casual, living-room wear of a long camel colored cardigan sweater on a white T shirt and black pants. While preparing the performance to start, somewhat similar words from Daisuke were running on the upper wall screen in English. And it ended with these words, âI hope to continue my dream with all of you by my side.â And he skated to â9000 Daysâ from the movie Invictus. https://youtu.be/UjCW9ktWB88 His beautiful skating that floats over the ice, unprepared gentle lifting and soft landing of his jumps, (Salchow and Lutz), movement of his arms connected to his back and shoulders. All were organically harmonized. They were all there, those other things Dai always had been giving that he skipped during The Phoenix. In a way for some reason I relate this piece to the final skating of Genjiâs wailing in Hyoen. He put everything with his deep emotion, only this is full of thankfulness. He was smiling all through the program. I have never seen that before. At the end of it all the skaters came to give a huge group hug. The circle around him got so tight and he went completely out of sight. The show ended. The applause at the end of this was somewhat subdued. Clapping endlessly most of his fans in the audience choked and no one felt like screaming out. Instead, I imagine, many were hugging the banner and their own memories and inwardly shout thanks like I did. The lights were up and now fun time of finale. The music for finale âEver Againâ and grand finale âCelebrateâ. Each time he tried 4T and fell. (Pretty nice try though) The very last one when he fell he got on his stomach and cover his face with his both hands, mighty cute (again). The very last day Kana found something within the front row of the audience on the north side, the opposite of the front. She went over to Daisuke and talked to him and two went over to that corner of north almost to the west. They gave something to the one of the guests and the people around pleasantly reacted. Later I found this on a few tweets: they saw the banner of K7/D1 to cheer up for both Kana and Dai. Kana found it first and went to Dai, bashfully telling him something. He saw it too and made a broad smile and they gave her the rose they used in the show. I hope TV Tokyo will show it when they air the complete version. I will add a few bits more if I can, but I have to go to the gate to catch my flight. Thank you very much for reading.
Daisuke Takahashi [An Exclusive Interview]Â Â âMy Peak is Yet to Comeâ
https://number.bunshun.jp/articles/-/839101 The article translated from: Bunshun NUMBER Vol. 970 Jan. 17, 2019 Gasping for air harshly, the eyes shut tight in agony,
yet there was an unmistakable smile on his face.
It was about half a year since the announcement of his return to compete.
The former champion came back to the Japan Nationals that he set as his goal. He said, âI will not retire yetâ, while declining the World Championships
to represent the nation. He now tells the story behind those decisions and
about the change of his feelings toward skating ------.
Text by Takaomi Matsubara Photos by Kosuke Mae / Asami Enomoto
The new year has started, and he appeared with a freshly cropped hair style and a smile.
âI took a break for about ten days after the Nationals and indulged in heavy eating and drinking on all those days, but I returned to the ice rink now. I have started practicingâ
He announced his return to compete last July. While an unusual kind of challenge by the 32-year-old after four years of retirement got attention by many, he proceeded step by step competing in the regional and then the sectional competition and reached to attend the National Championships last December for the first time in five years. He realized his initial goal at the time of announcement of his return to competitions, that is, making it to perform his Free Skating in the final group, and beyond that, he even got the overall result of winning the second place.
After the competition he revealed that he declined the offer to be selected to represent Japan in the World Championships, but also, he told the press he was ânot planning to retire yetâ.
It is about half a month since then. His expression shows that he is feeling good and fulfilled in the way as he has been all through the time since his return. It looks like symbolizing this season itself.
âNothing has been wasted. Now I feel that all that happened were connected.â
Reflected the past, Takahashi touched on his decision not going to the Worlds as a start.
âWhen I thankfully got offered that they would select me as a representative if I go get the Minimum Score, I thought, âthatâs not itâ. Going to the World Championships is to represent Japan and one must feel the responsibility to match that, and yet, I got no time for such preparedness. I did not return to go to the Worlds or to compete in the world. I returned to get back my own skating, so my feeling doesnât chime in with it. Something feels wrong, perhaps, like lack of resolution. If, say, this was next year, or if I were doing it for about two years already and could feel familiar to the world level, then I might have been able to tell myself âheck, they (other skaters) simply couldnât go above meâ though. Moreover, a chance to go to the World Championships held in Japan is a rare opportunity. That experience is huge. Therefore, I thought it must go to the young ones. Keiji (Tanaka) is not all that young but he is, to me. (LOL)â
Although he was placed second in the Nationals, he made a lot of mistakes in jumps in his Free Skating and Takahashi himself called it âpatheticâ. If he could skate that FS well and felt satisfied with his performance, would it be possible that he chose not to decline the Worlds?
He instantly replied. âNo. I would think I did it by dumb luck. If I got asked whether I can do the same in the Worlds I donât think I would feel confident. So I think I still would choose not to go.â
The Worlds 2019 will be taken place at Saitama Super Arena. That is the same venue the Worlds 2014 were held, which Takahashi had to decline. Did he not feel driven by a desire to settle the score with the regret he had last time around? âI sure thought of it. But probably thatâs just my ego.â Â All through the time from the press conference to announce his comeback until the National Championships, Takahashi kept making mention of the younger generation or the development of the sport. And often, this attitude stood out more than his focus on his own matters in competing. Athletes generally place the âIâ first before the other things and that is an accepted trait.
 Takahashi himself, while showing the strong feelings against loosing, has been an athlete very thoughtful and caring to the people around him from the very beginning of his career, but even with such a nature considered, those words and acts of his left a conspicuous impression.
âIf I had kept competing, I might feel like that. But I left once. Ichiro (Baseball) and Kazu (Kazuyoshi Miura of Soccer) both never left the field. Mr. Funaki (Kazuyoshi Funaki of Ski Jump) as well. I think continuing is very hard and people like them are just fine to put their âIâ first. On the other hand, I ran away, or I lost confidence and left and then returned. And when I was away, I was in a place to support and cheer them all. Itâs hard to explain, though.â
He expressed his earlier decision to retire that he âran awayâ.
âI could not reach my goal, could not get a medal in the (Sochi) Olympics, then I could not go on until the Worlds even I got selected to, I failed to sort things out and rewire myself; I would put it that I gave it up and fled, in a way. I had an issue with my leg. But I could force myself to go to that competition if I really try hard enough. So, I mostly felt that I ran away.â
At that time, his coach, Mrs. Utako Nagamitsu recommended to decline the Worlds as well.
âThat made me feel relieved. I could feel much easier. Even though (she) normally would be the one to say, âyou might as well go, you never know what will happenâ, she just said, âsounds goodâ at that time. She had been watching how things going throughout the time. For those two years until Sochi, things are not working out well. It was like I kept pressing all the wrong buttons.â
And yet, he was expected to get results as a representative of Japan. He was counted on. It must be quite some weight he had on his shoulders as much as his sense of responsibility.
âI had fun feeling anticipating I could move ahead on and on even at age of 32â
With a sense of bitterness Takahashi left his competing life on October â14. And after some period studying in New York, he expanded his stage of activities. Along with performing in ice shows he worked as a TV reporter. Those hours and days precipitated at the bottom of his heart like lees.
âWhile I was doing different things that had been thankfully offered to me, I could not help feeling that I was doing what  I was not cut out for. I already knew that I was not good at talking but I truly realized that I was a failure. I thought itâs not just for me.â
Or he felt that:
âI hated my face more and more. I donât look lively. I donât like this face. That feeling got stronger as time went by.â
But this period was not just filled with what made him unhappy. In addition to the conventional ice shows, Takahashi performed in a dance show âLOVE ON THE FLOORâ and a collaboration of Kabuki and figure skating, âHyoenâ.Â
âAs I took part in those shows I realized that I liked a place to do a performance and that feeling grew stronger. And even through the work of a TV reporter I feel uncomfortable, I had some opportunities to hear some stories from artists working in different fields. They were shining brightly, I could really sense their joy of being able to do what they love to do, and at the same time, I thought I wanted to be like that myself.â
And he reached to this one thought.
âThe tool for me to shine is figure skating.â
The time of four years had him rediscover skating.
The final push to the decision was the Japan Nationals at the end of year 2017.
âWhen I saw the official practices, or while I sit in the commentatorâs seat looking across at the skaters and coaches, I thought, âI want to be on that other sideâ.â
Many were paying attention to who would win the tickets to Pyeongchang Olympics, but there are some skaters who left Takahashiâs heart strong impressions: Koshin Yamada and Sota Yamamoto. Yamada once retired from competing after he graduated Kansai University. He returned to the sport while working at the Mitsui Sumitomo Bank. The other skater, Yamamoto, managed to come back to the Nationals after two times of major injuries.
âKoshin left figure skating once but returned as a member of working society and did a good performance and gave a fist pumping of joy at the end. Sota was not back to his real level with injuries but he performed with deep feelings. The performances by those two hit me in my mind and made me realize that there are many ways to compete. Even if it is hard to be a few of the top, there are skaters who continue for the love of competing, performing in front of people or simply for the love of skating.â And he realized:
âUp until then, I thought that I should not be competing if I could not feel that I am capable to win. But that is not the only way to compete.â
It may be the Nationals that gave him the direct impact. But what made him to regain the feeling for this sport once lost is the four years of different experiences he had been through.
Once he decided to return to the sport and came back to the ice rink as a competitor, what Takahashi got is the feeling of pure joy. âI put the skating on the back burner for four years until I returned and there are lot of things I can no longer do, but when I started to practice then I got, like, âoh, I can do this, or that, and hey, I can do this too!â I almost feel like a new beginner with a mindset of one. It is true that I felt some pressure, a different kind from the one before. If I would turn out to compete miserably then people might say âoh Daisuke Takahashi is actually not that good after all.â But rather than that fear, as one by one I added what I could do on the list, I had stronger feeling of anticipating I could move ahead on and on even at age of 32.â
âI finally got to be able to say, âI love skatingâ.â
Soon, he was feeling more than just âbackâ on the ice.Â
âI was away from skating since I got tired of it, but after all, what I feel most confident in me is skating. Now I face it squarely, feeling that I want to truly devote myself to skating, and that I love to do performing. I found myself determined as much as considering myself competing for a lifetime even after I eventually retire from attending competitions. So, I thought I am making âa new startâ.
And that is not all.
âI finally got to be able to say, âI love skatingâ.â
As far as I remember, he never said âI love skatingâ before his retirement in 2014. Takahashi nodded.
âNo. I think I didnât say that. I didnât know myself if I like it or hate it. It was rather something what I had to do. I certainly liked it very much at the beginning, but I guess I lost that somewhere along the line. Because I was offered to do many different things after the retirement, I could find that I like skating and I could say that. That was a discovery as well.â
And he smiled.
âI had opportunities getting my photos taken before my return, but after coming back to skating the pictures of me look better, or they impress myself that I got a good face now. Thatâs another way I realized that I liked skating. My love of skating might have finally grown in my mind after I came back.â
He once again spoke clearly regarding his word that he would ânot going to retire yetâ, the statement he gave at the same time he announced his declination of the Worlds.
âYes. I will continue to be a competitive skaterâ
Asked what his goal is in the next season, he answered:
âI have no thoughts. (In the press conference for comeback announcement last year) I said that going to the Nationals was my goal just because I got asked. I had general goals of building up my skating, showing my best performances whenever I am in front of audiences and to make those happen, I wanted to practice as hard as one would for going back to compete. I really havenât thought about any specific target. I will find one. (LOL)â
In an event in central Tokyo he attended on January 12, he shared that he is planning to have a quad in each of his two programs, Short and Free, and challenging a quad Salchow is also a possibility in addition to quad toe loop, but he doesnât have any certain scores or results in mind. He is just sure about one thing, though.
âNow I am thankful for the environment that allows me to concentrate on skating and my days are so fulfilling. If you ask me what my motivation is, I really donât know the answer. I have no specific goal, but I am simply feeling well motivated regardless, I guess.â
A moment of silence, then he started.
âFor the last two years before Sochi, I could not imagine that I would improve myself. I only had a fear that my peak was over. I had no confidence as I was wondering when my end would come. But I returned to compete now, although my quad jump before the injury (on his knee in 2008) is some other thing, I am sure that my current jump is better than the jump I was doing after the surgery. I was watching the video the other day and thought, âOh, Iâm goodâ (LOL). They are higher, for the axel and generally all the others. My spins are terrible, but my skating quality is better than how I was in the past. Regarding my expression, I may not be able to do like when I was young, but I may have something I only can do now. I feel that I am getting matured in a good way. In that sense, perhaps my peak is yet to come. Therefore, I want to move ahead fully committed.â
He stopped, and he smiled as if he suddenly realized something.
âOh, I see. Thatâs the motivation I got.â
-------------------------------------------------------
First published: January 17, 2019, The Web article posted: May 1, 2019
Translated by: izayukam
[Photo by Asami Enomoto]
[Photo by Kosuke Mae]
Daisuke Takahashi's words from Brochure of Hyoen (Kabuki on Ice) 2017
DAISUKE TAKAHASHI : as Kuro Hogan Yoshitsune Minamoto
âThe surprise with the scale of it that is far greater than I imagined. Everyone working for this production is an outstanding expert.â
I first heard about the initial vision of this âHyoenâ in 2015, when I was studying in New York. I vaguely thought that it must be fun making such a show, but at the time I was away from skating trying to reset things to start with a clean slate, so I could not see specific image of myself to play a role in it. I just thought that it would be nice if I can do such a show some day.
Two years later, today, âHyoenâ has realized. Honestly, it was a surprise that this has taken shape this fast, but more than that I feel a special link by fate that I could get the offer to be a part of it right at the timing I made a new start as a professional skater.
And moreover, once it was revealed, the whole picture of âHyoenâ project totally blew me away. I never thought it would have such a massive level of projection mapping, and it comes with a far greater scale of cast and staff than I imagined. I feel huge pressure but the other cast undoubtedly and probably every member of the staff also feel the same way. Everyone working for this production is an outstanding expert. All the people who never worked with before have come together in one place across categories of business.
This time it is a collaboration of Figure Skating and Kabuki, and I especially found it interesting that no line is drawn between the two, self-contained as âKabuki actors are for Kabuki and Figure Skaters Figure Skatingâ. It is the first-time collaboration in the world, and therefore, both sides took off the exact same start line groping around our way to make this together â both sides of the cast tried new challenges in their own fields and had a goal to become one, mixing Kabuki and Figure Skating together â the process of it is very fresh and it is great fun.
This show brought me new discoveries in figure skating through the costume fitted to the character or the motions particular to Kabuki. For one thing, skating costumes are mostly tight-fitted and clingy, and I never knew showing my movement in a costume that is not, and Kimono of all others, was such a hard task. I have been expressing using my whole bodyline without thinking, so it was difficult to build the performances having that line hidden. Also, normally in figure skating, it is very important to make each movement look big in a large rink, but this time, it is the opposite. Instead of making a big movement, motions that are delicate and subtle are required. I struggled to find how I can make an impact in the rink. On top of that, I have scenes with no movement at all that never happens in figure skating (lol). The figures of those are not flashy, and I seriously wondered how on earth I can make them look attractive and cool. I felt that I had to put my creativity into it.
 The role I play is Yoshitsune Minamoto, someone every Japanese knows. I was told that I would be playing this role quite some time ago, but to be honest, I had very little idea about this man other than his name, and I could not visualize how I can play this person. He actually has many faces, such as, an image of Ushiwaka-maru (Translatorâs notes: a mostly fictional image of his young days meeting his faithful detainer/guard Benkei) and also a tragic image of his death by his own sword after fleeting as a fugitive. Only, however, since Somegoro san relieved my worries by telling me, âTakahashi san, you are OK not to make out a role, but be as yourselfâ, I felt that I could make a totally new picture of Yoshitsune away from the images already made in the history or in the stories. In this âBasaraâ story, the characters are from different time periods in the history and this particular Yoshitsune is supposed to be a âsymbol of justiceâ, so I think the answer for this role is to dedicate to that and build a positive image of the persona. Vogue Japan is in charge of the hair styling, and I expected that it was going to be somewhat modern. I have never performed in such a hair or make-up and this excites me a lot (LOL). It was my first time to jump with such a long hair style of course, and I enjoy challenging an unknown experience like that.
I got a lot to learn this time on how I present âspaceâ as well. To us, skaters, we âexpressâ moving and skating, not remaining still. So it is important to adjust the size of movement according to the extent of the rink space. Kabuki, on the other hand, has the beauty to fascinate you by only a slight movement as well as large, flashy motions. In this show, we have the same size of the stage as regular skating shows while we adopt motions in Kabuki style, so we have to think about the balance in managing the space. Â And moreover, we do not just use the surface of the ice but the space far above in the air, and it must be a key factor that how we make good use of such different layers of spaces.
In those senses above and more, I believe that Hyoen expands new possibilities of ice shows. If we make this show a great success, I expect the next one would come as a fusion with an art of a genre we could never imagine. And above all, I am happy to feel that we could think that âskaters can do such thingsâ ourselves, and that would give us a push to have a next dream, concept and idea for sure.
âThe answer to what is asked in professional figure skaters will be found in this showâ
Now figure skating as a sport enjoys receiving the unprecedented attention from the people. And yet, while the skaters have more chances to have their names known, it is still the reality that building a second career is simply difficult. The period of time one can be a competitive skater is not long, and the time to be active in the front lines as a professional skater is limited as well. However, as âHyoenâ suggests, with the support of the style to tell a story, or groundbreaking forms of presentation, possibilities for skaters are greatly expanded. That is, possibilities for skaters to be able to have different kind of careers by obtaining a new form of expressing, âacting a characterâ, not jumps or skating itself. Even though the abilities to perform elements such as jumps go off their highest level, skaters would keep developing in representing what they want to express through their experiences. And that quality is exactly what is demanded by the type of shows such as âHyoenâ. I think if this style of shows spread in Japan and in the world, surely more people can work in figure skating for a longer time. And if more skaters can actively perform in shows, it would boost the entire level of performances of skating population, and even some may aim for this trade â some skaters may seek for performing on this kind of stages, not being the top in competitions. I feel that it is the mission of our generation to find how new careers for skaters are created.
I am feeling very lucky myself that I could be in this show, as I have already had a lot of new discoveries. Every single one of them should be valuable for what I do in the future.
I have a feeling that the answer to what people want from us, professional figure skaters, is found in the âHyoenâ performances as well. I have been thinking for some time now what are supposed to be the things pros only can do, instead of the skating as a competitive sport to compete on the defined elements such as jumps and spins and show the tricks continuously evolving. It is considered that what the audience expect from professionals is a visual âappealâ as rounded and polished entertainment. And although I understand that that is the only quality for pro skaters to be able to surpass the fiery battles of competitive skaters, to be honest, I was still blindly seeking myself what is the attraction only pros hold.
However, as I got to participate in this grand project, now I could reach a conviction. It is the luxury, such as, a generous amount of time the pros only can spend for preparation, great means and vehicles the pros only have access to express through, and high level and innovative tricks only pros can challenge to obtain â this time, such as, Kabuki movements or dancing. That is the privilege allowed only to the professionals. I think the fact that the cast is trying desperately to obtain the new âtricksâ and exhibiting them along with the finest staging should give deep fierceness to the show, and that creates an entertainment that gives you thrills different from competitive skating.
In other words, I feel that I am tested here if I can show something only a pro can. And if I am, I will definitely show you I achieve that.
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Article: Sunday Club (Nichiyo Kurabu) from Mainichi Shimbun Newspaper April 23, 2017
âMy Happinessâ
 -Figure Skater Daisuke Takahashi
 I love the time I can soak myself in the world of fantasy. On my day off I watch drama and anime films on and on from 10am into the late night till 2-3 am. I have a desire to be something else, so if it is on a battle having a different strength of each of the characters, I would imagine being one of them and fight together.  With a glass of some alcohol in my dining room. Munching something? No, I donât eat between meals.
I donât like the realistic world. The real world is too much. I get to think too hard over the things so I am happier with something I donât have to think. I prefer something I can watch in a passive way.
  On a vacation, I love to stay in a ryokan (Japanese style inn with two meals). Put a Yukata bathrobe and eat good foodâŠ. I used to hate that before.  I thought, âwhatâs with you having a vacation and get settled in?? Donât you want to go out and look for some fun things to do?â I would like to go to Ine in Kyoto or Beppu,.. Niigata would be nice as well. I donât like traveling alone but itâs hard to schedule the time off with somebody else.
  After I retired from competing, no matter what I did I didnât get ignited.  I took part in ice shows but they didnât set me on fire as the competitions did. Thatâs why I placed all my hope in the dancing show âLOVE ON THE FLOORâ I performed in last year. Before I knew it the look on my face returned, the same as when I was competing. I tried it as serious as that and therefore I felt happy when it received good reviews. It made me want to keep having time like this always. This year I can spend more time to practice and I would like to show surely better quality performances compared to the last time.
  Now for the first time I am experiencing what âstressedâ means. I realize what people talk about âpains in the stomachâ. When I talk on TV aired live I still get so nervous that I canât have any strength in my legs. But I believe it is good to do things I am not quite willing to for my experience. I also found what a happy life I had walked all those years. All including that I am now feeling fulfilled.
 With the skaters I was competing with in our time, we always talk to each other; âIt would be nice to make an elaborate ice show togetherâ. Something with a story, and something that can be rerun like a stage production⊠Once I get more settled, then it might beâŠ..
Interviewer: Sakiko Takahashi
Photo: Ai Nakamura
Daisuke Takahashiâs Article âSTEP STEP STEPâ English translation
http://www.nikkei.com/article/DGXMZO11075430W6A221C1000000/
 (the original article)
Nihon Keizai Shimbun (Nikkei Newspaper)
STEP STEP STEP(Daisuke Takahashi)
 The representatives for the Worlds, these three can do itÂ
 2016/12/28 2:00
 To the Japanese figure skaters Christmas simply means National Championships. This event has decided the representatives of Japan for the World Championships (Mar 29 â Apr 2 2017) that will determine the number of the spots for the Winter Olympic Games in Pyeongchang in 2018. I saw the games from outside the rink for the first time and found âaww, this nice and tense feelingsâ with a sense of nostalgia. The moment right before the performance skaters would get nervous and scared. They must be sandwiched between hope and dread, and I imagine I was like them, fully lively in those days and I envied them, although I have no intention to go back there...
The third consecutive victory for Miyahara (center), Higuchi, finished in second place (left) and Mihara, third place (right) -- photo provided by Kyodo
 â The tradition continues and Ladies show their toughness in the Nationals
 Ladies were smashing. For some reason ladies skate better than men in the Nationals since way back. This season, except Mai Mihara (Kobe Port Island Club) who finished in third place the rest of them in the final group each had only one mistake or so but really skated well without many flaws. The ladies stay strong beyond generations.
 Nowadays we have more ladies having skating with speed. All in all, one looks more distinguished skating fast. Among those, Mihara, Marin Honda (Kansai University Middle/High School Skating Club) who finished in fourth place and Kaori Sakamoto (Kobe Port Island Club), 7th place, had great speed that alone can attract attention. Especially Mihara had it perfect paired with stability of her jumps. Her expressions give away that she has just moved up to the senior level, but she has room and potential to improve that aspect.
 âI believe this time again more people wanted to see Mao than any other skaterâ -- Photo provided by Kyodo
 It was hard to predict for the ladies. Satoko Miyahara (Kansai University) the Champion and Wakaba Higuchi (Tokyo Nihonbashi Jogakukan High School) stood out above others. They put bits and pieces of difficult elements for the transitions, that fill between the major elements, instead of simple gliding. Satoko, who did the toughest of those, has improved this season not to lose speed while doing difficult things. She has strong advantage to gain points here and there for those. Higuchi had good quality jumps while having hard transitions as well. However, I had an impression that she lost speed in her Free Skating. Â
 I am not so much concerned about securing the Japanâs spots for the Pyeongchang Olympics in the coming Worlds to which these three teenagers, Miyahara, Higuchi and Mihara will go. Neither of the three gives me the fear of breaking down largely. I imagine if they make it to be in the final group of six in the Free Skating, even the first timer Higuchi and Mihara should be able to pull it together reasonably well. To get the largest possible number of spots to send three skaters to Pyeongchang, the sum of the placement of the top two skaters of Japanâs must be 13 or under. Their rivals are predicted to be primarily Russians, followed by Americans and Canadians. I am willing to believe that these three can do it.
 Daisuke Takahashi, -- Photo by Seitaro Tanaka
 I cannot see what Mao Asada (Chukyo University) felt after finishing in 12th place. After having been in the top for years she had the first experience not to be able to go to the Worlds and that must be a damaging blow to her. But I would look what stance she takes in competing. In my case I decided to retire when I could no longer win, but if Mao feels âI like challenges of competingâ âI want to do until I get fully satisfiedâ then she might as well continue so that she would not have any regret in her competing life. She herself must know that it is hard to compete while having troubles with jumps. And yet I want to see her fighting the battle.
 I believe this time again more people wanted to see Mao than any other skater. It proves that she has âan auraâ to draw you that many instructors keep saying that it is the most difficult to teach. I think Honda has one too. Mao is a skater from another dimension in this regard as well, giving off the fairylike charms in the past and present days. No one can copy that.
 The skaters of menâs single, that include some intriguing middle school youths, had a big gap between the top and the middle layer or under in this event. Now it is an era that one is required to have something else on top of having quad jumps under his belt to compete at a world level. Especially in the menâs senior level one needs compelling skating skills to compete. It is a must-have component for which Patrick Chan (Canada) is the top in the world. The skaters who showed such skating are the top three, Shoma Uno (Chukyo University), Keiji Tanaka (Kurashiki University of Science and the Arts) and Takahito Mura (Hirota co, Ltd.).
 â Uno might have had his peak a little too early
âThe strength of Uno is continuity of the flow of the programâ -- Photo Provided by Kyodo
  I would say Shoma had his peak a little too early. He said, âI was in a good condition during the practice before I came (to Osaka).â He might have lost his momentum a little when he came to the venue. It may have an influence on his frame of mind that Yuzuru Hanyu (ANA) had withdrawn from the competition and he had got all the attentions to him. He might have said it had given him âno difference at allâ but the people around must have treated him differently so there is a great chance that he had felt the change at the unconscious level. He looked out of gear during the official practice. He was out of rhythm with other skaters, such as, in choosing his paths to enter jumps and he did not seem to be in a good flow probably because of the strain. In a case like that you might not be able to fully focus.
 Shomaâs strength is continuity of the flow of the program. He couldnât land clean quads in this event but he didnât allow that to interrupt the flow of the performance. It sounds easy but it is very difficult. He can do it because he devotes his attention to every detail of the program. Thatâs how he gets high score even with mistakes in jumps.
 Those who just come up from the junior level to the senior often have great results first off with their momentum and then have a time to falter at around third year. I have a feeling that Shoma is going to be spared from that. Because he got Yuzuru. It is huge to have someone to chase after. He doesnât have to worry over unnecessary matters. To face a competition oneâs mental burden is very different between âI want to beat XXXâ and âI should not lose to XXXâ. Viewed in this light, you can see how hard Yuzuruâs work, canât you?
 In the Four Continents Championships and the World Championships next year I want you to give your close attention to Kana Muramoto and Chris Reed of Ice Dancing (Kinoshita Club) as well. Chris is a two-time Olympian and Kana was originally a single skater. She only had troubles with jumps but she has been a wonderful dancer, and she has a decent touch of mature charm. I wish them to have a great pursuit to the upper placement.
 This competition brought me home to a quiet but deep rediscovery that having good skills and expressions that can earn the points and the performance that would grab a heart are two different things. There are many great performances with their jumps not their forte. Mao and Kanako Murakami (Chukyo University) had them and I also liked performances of Higuchi, Miyahara, Rika Hongo (Chukyo University), and Shomaâs Short program as well. It is a way of watching figure skating to enjoy the parts that scores do not reflect.
(the Bronze medalist of Winter Olympics in Vancouver)
Sending messages to NHK Radio #1 on the page âLove â Figure Skating Music!â with Daisuke Takahashi (Aired on Monday, Oct 10 10:10pm JPN time)
Following is the translation (with some suggestions) of the page,
https://www.nhk.or.jp/radiosp/lfm/letter.html
that is a message submit form to be sent to the program and given to Mr. Daisuke Takahashi himself.
<the page top> Â Â
LOVE â Figure Skating Music!
--- Sparkles on ice brought to you ---
 We are waiting for your thoughts on the program, or messages to Mr. Daisuke Takahashi. Your messages to Mr. Takahashi are not shared on the program but we will pass them on to him.
 (On the left side of the form)
1)
Your name or listener name:
2)
Name in Japanese Kana-alphabet:
(â Just repeat the name above with regular alphabet)
3)
Prefecture:
(You have to select one in the drop-down options to submit even sent from overseas. Pick any one and you may add your real area in the comment.)
4)
Age:
5)
Sex:
(Drop-down selection again. The top one is Male and the bottom Female.)
(On the right side of the form)
6
Your comment/message (400 characters or less):
 7
Notes
(Announced that they still may use some of the comments in the program or staff may contact you regarding them which may not apply to this particular program, followed by the links of rules and regulations and handling private issues for users to agree.)
8
Put a check mark in the box to agree with the notes.
<End of the form>
make me choose: daisuke takahashi or takahiko kozuka