Shoma Uno: 2014-2024 | Page 539 | Golden Skate

Shoma Uno: 2014-2024

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Of Shoma’s latest programs:

His Ladies in lavender program was all in curves and fluidity to fit the pathos of the whiny violins whereas Winter’s moves were angular, linear and brusque to evoke the roughness of winter.

Even though it’s not finished, his moonlight sonata concept seems to be minimalism with clean and concise moves to match the soulful reflective quality of the piece in complete contrast with the assertive and dominant interpretation in the Turandot, that in his own words is a story of total and complete victory.

His Loco tango program showcased a kind of machismo, pride and combative aggression (bulldozer after all) that doesn’t seem to be present in the stairway to heaven flamenco. The peacock factor is still there don’t get me wrong but the approach is a lot more openly sensual and seductive.

Of all those, I don’t get a sense of similarity either in programs, concept or delivery just because the music is “classical” or latin or a sense of comfort zone. Funnily enough people talk of a lack of interpretation when every move he does is dictated by the music and associated concept. I guess that all those nuances go lost when your approach to choreography is counting how many crossovers there are in a program or how many counters with no relation to anything one can do before a jump.
 
daphenaxa said:
Of Shoma’s latest programs:

His Ladies in lavender program was all in curves and fluidity to fit the pathos of the whiny violins whereas Winter’s moves were angular, linear and brusque to evoke the roughness of winter.

Even though it’s not finished, his moonlight sonata concept seems to be minimalism with clean and concise moves to match the soulful reflective quality of the piece in complete contrast with the assertive and dominant interpretation in the Turandot, that in his own words is a story of total and complete victory.

His Loco tango program showcased a kind of machismo, pride and combative aggression (bulldozer after all) that doesn’t seem to be present in the stairway to heaven flamenco. The peacock factor is still there don’t get me wrong but the approach is a lot more openly sensual and seductive.

Of all those, I don’t get a sense of similarity either in programs, concept or delivery just because the music is “classical” or latin or a sense of comfort zone. Funnily enough people talk of a lack of interpretation when every move he does is dictated by the music and associated concept. I guess that all those nuances go lost when your approach to choreography is counting how many crossovers there are in a program or how many counters with no relation to anything one can do before a jump.
Click to expand...

Amen to that! :agree::clapper:
 
daphenaxa said:
Of Shoma’s latest programs:

His Ladies in lavender program was all in curves and fluidity to fit the pathos of the whiny violins whereas Winter’s moves were angular, linear and brusque to evoke the roughness of winter.

Even though it’s not finished, his moonlight sonata concept seems to be minimalism with clean and concise moves to match the soulful reflective quality of the piece in complete contrast with the assertive and dominant interpretation in the Turandot, that in his own words is a story of total and complete victory.

His Loco tango program showcased a kind of machismo, pride and combative aggression (bulldozer after all) that doesn’t seem to be present in the stairway to heaven flamenco. The peacock factor is still there don’t get me wrong but the approach is a lot more openly sensual and seductive.

Of all those, I don’t get a sense of similarity either in programs, concept or delivery just because the music is “classical” or latin or a sense of comfort zone. Funnily enough people talk of a lack of interpretation when every move he does is dictated by the music and associated concept. I guess that all those nuances go lost when your approach to choreography is counting how many crossovers there are in a program or how many counters with no relation to anything one can do before a jump.
Click to expand...

I call it nitpicking. :biggrin:
 
I am not here much. (so I am sure there are more!) But these 2 are my favourite posts that I found and very similar to my experience and impression. Thank you for posting!!

yyyskate said:
about Shoma's free Moonlight Sonata choreo. it seems a bit simple at first glance, but for some reason, it attracted me to watch it many times.
maybe Shoma is just doing simpler edges/in-betweens e.g. cross-over in the first half of the program, but Shoma's simpler edges are done in such a supreme quality it really matched Moonlight Sonata's simple yet classic music chords, if you read the music sheet of Moonlight Sonata, you will find out, it is composed of nothing fancy but simple chord. https://www.youtube.com/watch?v=SkXfYCkQkqg Shoma's classic but supreme quality edge work is a perfect match, is it?
Suddenly understand the genius concept(secret) behind all this. simpler edges are not fillers but purposely choreoed to the music.
also, Shoma's jump smooth landing, Shoma's spin speed, watch how those subtle, not so obvious things matches to the music, no less, no more, just has to be there.

I think I really like this program.
Click to expand...
 
daphenaxa said:
Of Shoma’s latest programs:

His Ladies in lavender program was all in curves and fluidity to fit the pathos of the whiny violins whereas Winter’s moves were angular, linear and brusque to evoke the roughness of winter.

Even though it’s not finished, his moonlight sonata concept seems to be minimalism with clean and concise moves to match the soulful reflective quality of the piece in complete contrast with the assertive and dominant interpretation in the Turandot, that in his own words is a story of total and complete victory.

His Loco tango program showcased a kind of machismo, pride and combative aggression (bulldozer after all) that doesn’t seem to be present in the stairway to heaven flamenco. The peacock factor is still there don’t get me wrong but the approach is a lot more openly sensual and seductive.

Of all those, I don’t get a sense of similarity either in programs, concept or delivery just because the music is “classical” or latin or a sense of comfort zone. Funnily enough people talk of a lack of interpretation when every move he does is dictated by the music and associated concept. I guess that all those nuances go lost when your approach to choreography is counting how many crossovers there are in a program or how many counters with no relation to anything one can do before a jump.
Click to expand...

His interpretations are one of the unique qualities he has of course, among other qualities! Thank you for posting!
 
Hello everyone,
I am Sayaka, a Japanese figure skate fan in love with Shoma, and have been stalking this thread for several months now.

First of all, thank you for this wonderful thread, I love the warm atmosphere and the wonderful posts!
They just brighten my day.

My two cents about Shoma’s programs.
Having seen Shoma’s past programs... when he reveals them in ice shows, they look totally different from what they are in competitions, especially the LP.

As everyone knows Mihoko Higuchi sensei choreographs all his competition programs, because it is Shoma’s wish to “win in the world with Mihoko Sensei programs”. He would never have another choreographer. That might be why some feel his choreography is “similar” across programs, although I don’t feel that way.:)
I love his expression and how he puts his heart and soul into his programs. He is his worst critic and is determined to constantly improve, another reason why I love him so much.:love:

Higuchi sensei has had co-choreographers, like (as I understand) Stephane Lambiel. My impression is that Stairway to Heaven” had another choreographers input.

As for the music.... Shoma says in his website that he has challenged himself with this classic that many Legends, including his idol Daisuke Takahashi has skated to, he is aware of what he is getting into so why should I complain? :coffee:

Shoma’s programs always develop wonderfully throughout the season, and I can’t wait to see the transformation!
 
Welcome Sayaka! So glad you decided to participate and started with such a nice post! :)

I can't wait for the season to start and see how Shomita's programs develop (and to enjoy his artistry too, of course)!
 
Daphenaxa, well said. Excellent observations. [emoji1]
sayaka1030 said:
Hello everyone,
I am Sayaka, a Japanese figure skate fan in love with Shoma, and have been stalking this thread for several months now.

First of all, thank you for this wonderful thread, I love the warm atmosphere and the wonderful posts!
They just brighten my day.

My two cents about Shoma’s programs.
Having seen Shoma’s past programs... when he reveals them in ice shows, they look different from what they are in competitions, especially the LP.

As everyone knows Mihoko Higuchi sensei choreographs all his competition programs, because it is Shoma’s wish to “win in the world with Mihoko Sensei programs”. He would never have another choreographer. That might be why some feel his choreography is “similar” across programs, although I don’t feel that way.:)
I love his expression and how he puts his heart and soul into his programs. He is his worst critic and is determined to constantly improve, another reason why I love him so much.:love:

Higuchi sensei has had co-choreographers, like (as I understand) Stephane Lambiel. My impression is that Stairway to Heaven” had another choreographers input.

As for the music.... Shoma says in his website that he has challenged himself with this classic that many Legends, including his idol Daisuke Takahashi has skated to, he is aware of what he is getting into so why should I complain? :coffee:

Shoma’s programs always develop wonderfully throughout the season, and I can’t wait to see the transformation!
Click to expand...

Thank you for your thoughts, Sayaka, and welcome to the Sho Fanfest! I think you have nicely summarized a lot of our thoughts about Shoma, and his programs too. Post long and often!!
 
Welcome Sayaka!

Thank you for your post, I agree with your observations. :)

Also, thanks daphenaxa for your post, it's a very thorough insights into Shoma's programs.
 
daphenaxa said:
Of Shoma’s latest programs:

His Ladies in lavender program was all in curves and fluidity to fit the pathos of the whiny violins whereas Winter’s moves were angular, linear and brusque to evoke the roughness of winter.

Even though it’s not finished, his moonlight sonata concept seems to be minimalism with clean and concise moves to match the soulful reflective quality of the piece in complete contrast with the assertive and dominant interpretation in the Turandot, that in his own words is a story of total and complete victory.

His Loco tango program showcased a kind of machismo, pride and combative aggression (bulldozer after all) that doesn’t seem to be present in the stairway to heaven flamenco. The peacock factor is still there don’t get me wrong but the approach is a lot more openly sensual and seductive.

Of all those, I don’t get a sense of similarity either in programs, concept or delivery just because the music is “classical” or latin or a sense of comfort zone. Funnily enough people talk of a lack of interpretation when every move he does is dictated by the music and associated concept. I guess that all those nuances go lost when your approach to choreography is counting how many crossovers there are in a program or how many counters with no relation to anything one can do before a jump.
Click to expand...

Brilliant! :clapper:
 
I love visiting Shoma's FF and seeing heartfelt posts by lovely people here. Shoma's FF is my favorite, although I don't post that often. Call me dramatic but this thread feels a little more special to me :laugh:
 
iorii said:
I love visiting Shoma's FF and seeing heartfelt posts by lovely people here. Shoma's FF is my favorite, although I don't post that often. Call me dramatic but this thread feels a little more special to me :laugh:
Click to expand...

Same here! This thread is special to me because Shoma himself holds a very special place in my heart. He's the first skater whom I've followed ever since juniors so I feel an extra sense of attachment.
 
I enjoyed so much reading the last couple of pages, thanks to everyone for putting into words exactly my thoughts :bow:

daphenaxa said:
Shoma at Chukyo drinking sprite from his brother's twitter https://twitter.com/jumokuno0108/status/1030259428732297218
Click to expand...

This is such a beautiful photo, the angle is 10/10...also for some reason it looks like a Sprite commercial (sponsor him Sprite)

I just noticed the bandage on his hand, hope it's nothing serious
 
Thank you so much for the warm welcome :luv17:

I also enjoyed the deep insights into Shoma’s programs. I always go for artistry and passion rather than technique (although Shoma is great at both!)

I have one question... about “crossovers”. I never gave them a thought until recently when people talked about them regarding Shos Moonlight Sonata, here and in other sites. So I looked closely.

I thought they were a skating technique, not too typical of Shoma but used it in that performance because the ice show rink was small (Japanese gymnasiums are tiny!) and he needed to change directions more and check his position to jump. I assumed this would change as the program developed and he skated in competition arenas.


If I am mistaken could someone please kindly point me to a place I can go to learn more? Thank you!
 
c3zara said:
I just noticed the bandage on his hand, hope it's nothing serious
Click to expand...

He hurt / cut his hand last Sunday (while off ice). Not sure of too many details, but I think it was bothering him a little on Monday.
 
Hronop said:
Shoma 'the most complemented skater ever' Uno. :party2:
Click to expand...

Doesn't surprise me one bit. If you just give him a chance you will find out why. His determination, work ethic and strength (both mental and physical) are an inspiration. My respect for him have only grown since I first got to know him. And on top of that he's a genuine, humble and caring man who just spreads positivity in to the world. What goes around comes around :ghug:
 
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