Shun Sato | Page 11 | Golden Skate

Shun Sato

A really great article / interview with Shun by Asahi, gifted by this fan on Twitter. Shun talked about his DOI injury and recovery since, working with Guillaume who has returned competing, and new EX choreographed by Satoko Miyahara!



Machine translation:

Shun Sato Enhancing Expressiveness Through "Firebird" — The Key is Eye Contact
August 6, 2025 – 7:00 AM JST

Column: Shun Sato’s Ice Challenge

At the end of June, during the finale of Dream on Ice, I sprained my right ankle. It seems there was a hole in the ice when I attempted a flip jump, and my toe pick got caught, causing a severe twist.

As a result, I couldn’t practice on the ice for about a month. Thanks to care from my trainer, including ultrasound treatments, my condition has greatly improved. I finally returned to on-ice practice just last week. I’m currently preparing to compete in an event later in August. At the time of the injury, it felt serious, but looking back, I’m relieved it didn’t happen right before the season began.

At Dream on Ice, I was able to perform my new free program Firebird for the first time in front of an audience.

Before choreographing it in Canada, Guillaume Cizeron advised me to watch ballet performances to help form an image. He began building the choreography from the opening and step sequences. I think I was able to skate with emotion at DOI.

That said, there are still parts, such as transitions, that feel lacking. I’d like to refine those with Guillaume when our schedules align. I know he's busy with his own return to competition, but I hope we can work together, even online.

I heard from some spectators that it seemed like I was making more eye contact during my performance. I was surprised they noticed, that made me happy. I’ve been trying to improve my expressiveness, and while it might sound odd to say I'm trying to appeal to the judges and fans, I’ve consciously been raising my gaze to better convey emotion. This is something I’ve only started doing this season, so I’m glad it’s getting through.

I’ve also been studying Tatsuki Machida’s performance of Firebird from the 2014 Sochi Olympics. His expressiveness is incredibly moving, especially in scenes where the bird takes flight. There’s still a long way for me to go, but I think his performance aligns with the kind of ideal I’m aiming for, though of course I’m not trying to copy it entirely.

My short program remains Ladies in Lavender from last season. There are no major changes since Guillaume already helped polish it before Worlds last year, but I want to keep improving its overall quality.

For fans curious about my exhibition program: it's Senbonzakura (Thousand Cherry Blossoms). It was choreographed by Satoko Miyahara in June. It's about the same length as a short program, but incredibly tough. At first, I thought I was going to die from exhaustion (laughs). I’m grateful to Satoko for also teaching me aspects of skating technique during choreography.

If I get the chance to perform Senbonzakura at the Milan Olympics, that would truly make me happy.
 
Last edited:
rabidline said:
A really great article / interview with Shun by Asahi, gifted by this fan on Twitter. Shun talked about his DOI injury and recovery since, working with Guillaume who has returned competing, and new EX choreographed by Satoko Miyahara!



Machine translation:

Shun Sato Enhancing Expressiveness Through "Firebird" — The Key is Eye Contact
August 6, 2025 – 7:00 AM JST

Column: Shun Sato’s Ice Challenge

At the end of June, during the finale of Dream on Ice, I sprained my right ankle. It seems there was a hole in the ice when I attempted a flip jump, and my toe pick got caught, causing a severe twist.

As a result, I couldn’t practice on the ice for about a month. Thanks to care from my trainer, including ultrasound treatments, my condition has greatly improved. I finally returned to on-ice practice just last week. I’m currently preparing to compete in an event later in August. At the time of the injury, it felt serious, but looking back, I’m relieved it didn’t happen right before the season began.

At Dream on Ice, I was able to perform my new free program Firebird for the first time in front of an audience.

Before choreographing it in Canada, Guillaume Cizeron advised me to watch ballet performances to help form an image. He began building the choreography from the opening and step sequences. I think I was able to skate with emotion at DOI.

That said, there are still parts, such as transitions, that feel lacking. I’d like to refine those with Guillaume when our schedules align. I know he's busy with his own return to competition, but I hope we can work together, even online.

I heard from some spectators that it seemed like I was making more eye contact during my performance. I was surprised they noticed, that made me happy. I’ve been trying to improve my expressiveness, and while it might sound odd to say I'm trying to appeal to the judges and fans, I’ve consciously been raising my gaze to better convey emotion. This is something I’ve only started doing this season, so I’m glad it’s getting through.

I’ve also been studying Tatsuki Machida’s performance of Firebird from the 2014 Sochi Olympics. His expressiveness is incredibly moving, especially in scenes where the bird takes flight. There’s still a long way for me to go, but I think his performance aligns with the kind of ideal I’m aiming for, though of course I’m not trying to copy it entirely.

My short program remains Ladies in Lavender from last season. There are no major changes since Guillaume already helped polish it before Worlds last year, but I want to keep improving its overall quality.

For fans curious about my exhibition progra: it's Senbonzakura (Thousand Cherry Blossoms). It was choreographed by Satoko Miyahara in June. It's about the same length as a short program, but incredibly tough. At first, I thought I was going to die from exhaustion (laughs). I’m grateful to Satoko for also teaching me aspects of skating technique during choreography.

If I get the chance to perform Senbonzakura at the Milan Olympics, that would truly make me happy.
Click to expand...

Good article, I am glad that he is feeling better and back on the ice now. I like that he is taking such a careful approach to his training and also working on expressiveness. I wish him all the best with his programs and the season!
 
I really thought/hoped that Shun Sato was pretty much healed now, but his Short Program at the Lombardia Trophy doesn't speak this way. I'm so sorry, and I so hope that he's going to "skate safe" in his Free and get much better back home but...
 
teddycat said:
The program has improved since he debuted it, great effort here! I think he was scored a little low and hope that he will be healthy.
Click to expand...
I didn't watch very closely yet, anyway I can't see much without slow motion, and didn't even see the score sheets; but at other competitions I've found his scores to be correct, for what I can see. The problem usually comes from the fact that some other skaters have their errors ignored and their components assessed in an way that can't correspond to any common grid, to the point that they look far above Shun Sato (and not only him!) while they're at best at the same level; which of course, gives the impression that Shun Sato was underscored.
 
DizzyFrenchie said:
I didn't watch very closely yet, anyway I can't see much without slow motion, and didn't even see the score sheets; but at other competitions I've found his scores to be correct, for what I can see. The problem usually comes from the fact that some other skaters have their errors ignored and their components assessed in an way that can't correspond to any common grid, to the point that they look far above Shun Sato (and not only him!) while they're at best at the same level; which of course, gives the impression that Shun Sato was underscored.
Click to expand...
Maybe the scores were fair, especially since Shun made mistakes in the short. I did think that his FS was much better than Memola's (both in choreography and execution), so the gap between them should have been less in my view.
 
teddycat said:
Maybe the scores were fair, especially since Shun made mistakes in the short. I did think that his FS was much better than Memola's (both in choreography and execution), so the gap between them should have been less in my view.
Click to expand...
I think I understand what you mean and to some extant, I'd say that Shun Sato's program is well more matured than Nikolaj Memola's at this stage, and scores should reflect it. Yet the backbone is there which isn't the general case among Men.
 
 
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