Another interview with Shoma, this time by Satoko Sawada (love her figure skating work) for AERA DIGITAL. Will go through the whole thing later, but I loved that she asked Shoma his thoughts about all the choreographers he worked with throughout his competitive career:
「Ice Brave」は、プロスケーターとなった宇野昌磨が表現を追求するアイスショーだ。
dot.asahi.com
On Mihoko Higuchi:
"I think she's a teacher who incorporates movements I can perform the best. Since I started learning from Higuchi-sensei when I was young, I didn't learn the fundamentals of expression but only focused on skating. So, I believe that the expressions Higuchi-sensei demanded became my standard. She's the teacher who creates the most "me-like" programs.
We trained together for a very long time, had many conversations, and she was the kind of teacher who made me think, "I want to work hard for this person." Especially in the past, there was a tendency that you wouldn't get points unless your choreography was done by a globally renowned choreographer, and I was also told, "It would be better to have such people create for you." But I always believed that Higuchi-sensei's choreography was absolutely not inferior. So I thought, "I want to become someone who can compete with the world through programs created by this person."
On Shae-Lynn Bourne (and Great Spirit):
"The first time Bourne choreographed for me was for "Great Spirit," and until then, I had never performed to fast-paced, powerful music. So, at first, I felt very shy and wondered, "Is it okay to present this to everyone?" However, I now think that this style of performance is probably my strongest. I really love Bourne's choreography for making me realize that."
(Was the upbeat song "Great Spirit" suggested by Bourne?)
"Yes, it was. While I was working on it, I kept thinking, "Seriously?" but I realized that sometimes even I don't know what I'm really good at. I often tell young kids, "It's important to try different experiences," and it's true. I thought, "There might be something out there, in unfamiliar territory, that suits me perfectly."
On David Wilson:
"I realized that even with the same skater, a different choreographer can completely change the impression. I requested choreography from David three times—2016–17, 2017–18, and 2019–20 exhibition programs (EX): 'This Town'; and the 2018–19 EX programs 'Time After Time' and 'Dancing On My Own.' He created deeply moving programs for me. As I transitioned from junior to senior and continued to grow older, there came a point where I needed to start expressing a more mature side. It was an incredibly valuable experience."
On Stephane Lambiel:
"The programs Stephane creates are wonderful when he performs them himself, but honestly, I always felt that my own skills couldn't quite catch up to them. He choreographed a Michael Jackson program (2021–22 season, EX), and when I finished skating it, he said, "So funny program," while laughing out loud."
(That's quite strict...)
"He's kind, but he’s also surprisingly strict in his own way. He makes it very clear—what's not good is simply not good, and what’s good is good. He has been very supportive of my jumps, but as an expressive performer, he's never praised me. Both Stephane and I probably thought, "You can do more, right?" There was likely a feeling we shared that "Since jumps are my strength, there might be parts we have to compromise on." Regarding the ideal vision for my competitive career, I think Stephane and I share a very similar perspective."
On Kenji Miyamoto:
"For "Ice Brave," I have also entrusted Miyamoto-sensei as the main choreographer. Even during my competitive career, I thought he was incredibly skilled at creating programs that not only made it easier to compete but also incorporated musical expression into the choreography. As I worked on creating this ice show and had to think about choreography myself, I once again realized how amazing Miyamoto-sensei is. Whether it’s a solo program or one involving multiple skaters, he has an exceptional sense of presentation, music, timing, and use of people—right from the conceptual stage. Miyamoto-sensei has always had the ability to bring out the very best in each skater in competitions, and he creates programs that showcase the very best even in shows."
Fascinating to read- and what do you guys think? I thought every choreographer definitely meant different things to Shoma, and they are also the reason why his competitive portfolio is quite varied, not just in terms of style but also perspective. His resolve to compete at the top of the World with Mihoko's choreo will never not move my heart- and it reminds me of when commentators like Ted Barton and Mark Hanretty started recognizing and appreciating Mihoko's artistry on her own right with her current students.
I still think it's a missed opportunity not to vlog that first lesson of the choreography though- I can see it being a very chaotic choreography session, and thank god Shoma had Oboe in his pocket for the SP option 
