This essay discusses Rika Kihira’s extraordinary talent, the beauty of her triple Axel, and the true meaning of controlling the ice, while arguing that the Japan Skating Federation bears a historic responsibility.
It emphasizes the need for choreography that removes unnecessary pauses before jumps, the selection of coaches and choreographers worthy of Kihira’s physical gifts and artistic qualities, and a training system that does not waste a once-in-a-generation talent.
Referring also to the experiences of Mao Asada and Yuzuru Hanyu, it argues that Japan should lead the world of figure skating.

March 27, 2019.
The skating federation, for the sake of Japan and the world.
And in order to meet the expectations that all fans who love figure skating place on Kihira.

The chapter I published on March 25, 2019 titled “Because They Have Been Raised in What May Be Called the Worst Anti-Japan Education in Human History, a Form of Nazism” has entered the official hashtag ranking at No. 15 under Russia.

The chapter I published on March 23, 2019 titled “They Do Not Understand at All Why Rika Kihira Shocked the World” has ranked No. 8 under Mao Asada in the official hashtag ranking.

In figure skating, the one who controls the rink becomes the champion.
Arakawa won the gold medal in Turin because at that moment it was she who controlled the rink.
Tara Lipinski won the gold medal in Nagano by defeating Michelle Kwan, who at that time was the best in the world at controlling the rink, because Lipinski kept springing from start to finish like a rubber ball and controlled the rink with a performance of speed that clearly surpassed Kwan.
Kihira Rika’s coaching team should realize that among all figure skaters so far she possesses the greatest athletic ability and an exceptionally well-balanced beautiful body, and that her beauty as an athlete is the greatest in history, and they should coach her in a way that always enables her to control the rink.
They should understand that Rika Kihira is the greatest figure skater in history, and mere Spartan coaching is out of the question.
From practice onward, successful jumps and failed jumps should be recorded on a smartphone and shown to her during training.
In this, they should follow Yamagata, who now is the fastest and strongest man in the men’s 100 meters and continues practicing alone using only a smartphone as his sole tool.
Incidentally, if anyone is to surpass Yamagata, I think it will be Abdul Hakim Sani Brown.
What does Kihira possess.
Once, I happened to pass Ando Miki at extremely close range in the concourse of Shin-Osaka Station, and I felt an aura from her that I could never have imagined from merely watching her performances on television.
Part of that may have been the strength that appeared in her because she had become a mother after giving birth.
But her gaze was extraordinary.
Her comment on Rika Kihira, who had entered senior competition and was winning one international event after another, was exactly the same as my own.
“She was born in every way to do figure skating, in terms of her body type and her athletic ability.”
Ando Miki probably knew that her own body shape was, so to speak, a little too curvaceous.
Her femininity had predominated.
By contrast, Kihira’s body does not merely overflow with the highest femininity, but also possesses the perfect form and shape as an athlete.
Ando had seen through that.
That is why Ando saw through the fact that Kihira was the absolute queen.
This was also reflected in Patrick Chan’s comment after watching her Grand Prix performance in Canada, that her skating was supremely beautiful and he had become captivated by it.
There was once a view that Japanese professional baseball players practiced too much and exhausted their energy before games.
But to return to the main subject.
There is a recurring pattern when Kihira fails her triple Axel.
There are also certain characteristics when her triple Axel succeeds.
The time before entering the triple Axel is shorter than that of several other triple Axel jumpers.
In other words, without thinking about unnecessary things, she naturally enters and jumps within the flow of the performance.
When she fails, there is especially a fixed pattern.
The time before entering takeoff becomes longer.
That means there is a problem in the flow of the performance.
When there is even a slight unnecessary pause before entering the triple Axel, she fails almost without exception.
Her body sinks more deeply, and the angle of the left foot used for takeoff becomes deeper.
This is exactly the same as when Mao Asada failed.
When there is an unnecessary pause solely for the purpose of jumping the triple Axel, even a genius becomes tense.
Therefore, I think there are two methods for Kihira to succeed with the triple Axel in the short program.
Instead of making it a solo triple Axel, she should make it a two-jump combination with a triple, or a three-jump combination with a triple.
It should become a flow of a two-jump or three-jump combination, not only a triple Axel by itself.
If that is done, there will be no extra flow or pause caused by overthinking only the triple Axel, and no needless tension.
Kihira is a naturally gifted skater blessed with a body of the finest spring, so there is absolutely no need for her to tense up before jumping.
If she sinks unnecessarily and the angle of the left foot becomes deeper, she kills the rare spring of her body, which is itself a heaven-sent talent.
With the current kind of short program, she will make mistakes again and again.
Its level of completion will become lower.
From the start of the music to the triple Axel, there must be no strange pause.
The Axel should not be solo, but should be made into a two-jump or three-jump combination.
That is the necessary condition for making Kihira the overwhelming absolute queen through the Beijing Olympics.
Even if girls with acrobat-like body types jump quadruples, they cannot surpass the beauty of Kihira’s triple Axel.
Even if girls with acrobat-like body types use their almost sickly thin physiques to jump quadruples, that will absolutely never become the equivalent of Yuzuru Hanyu’s quadruples.
Only Yuzuru Hanyu can rival the beauty of Kihira’s triple Axel.
That is how absolute a queen Kihira is.
I know it, Ando Miki knows it, Patrick Chan knows it, the Russian insiders know it, and that foreign coach who had received her autograph knows it.
The only one who does not know it is that choreographer Dixon.
I truly think he is the height of incompetence.
He persistently demands that Kihira put on a fake smile before entering the triple Axel and says foolish things like she can absolutely do it.
Any second-rate or third-rate skater can put on a fake smile, not only Kihira.
That man understands nothing at all.
He does not understand at all why Rika Kihira shocked the world.
He is not worthy of coaching Rika Kihira.
The skaters he has coached have probably been, by and large, second-rate and third-rate skaters.
The skating federation, for the sake of Japan and the world.
And in order to meet the expectations that all fans who love figure skating place on Kihira.
That coach should be dismissed.
What the world wants to see is the highest beauty that has at last appeared in the world, and its perfection.
No one wants to watch a second-rate or third-rate technique such as a fake smile.
It is Dixon’s coaching that interrupts the flow of the performance and creates the unnecessary pauses that lead to failure.
We absolutely must avoid the folly of spoiling the greatest talent the world had been waiting for through this man’s self-satisfied and foolish coaching.
Probably Dixon does not understand at all what Japanese civilization and culture are.
A coach must be found who deeply knows that she is the greatest talent in history, and at the same time knows that what Kihira embodies is the depth and beauty of Japanese culture, and who has the highest respect for her as the embodiment of that beauty, and who will keep attracting sports lovers throughout the world every year while she remains active as the world’s overwhelming absolute queen.
Selecting such a coach is the urgent task imposed upon the Japan Skating Federation.
There must be no unnecessary pause before jumps including the triple Axel.
There must be music suited to Kihira’s charm, and a program structure that keeps controlling the rink and continues to flow.
It must be the finest performance that captivates every spectator in the world.
That must be achieved every year.
They must choose choreographers and program designers who can deliver the greatest moments to fans around the world and answer the world’s expectations and dreams.
The people of the Japan Skating Federation must recognize that achieving this is their responsibility and duty in responding to a gift from God.
Japan is a country where “The Turntable of Civilization” is turning, a country that must lead the world for the next 170 years.
Since long ago, as represented by Murasaki Shikibu and Sei Shonagon, Japan has been the country in the world where women have been valued the most, and as the essence and flower of that Japan, they must respond to the greatest gift God has given to Japan and the world.
That is their duty.
When she succeeds with the triple Axel, she really jumps it casually and effortlessly.
That is precisely why it is all the more wonderful, and why she captivated figure skating fans across the world with overwhelming beauty.
In order for Kihira never to fail again.
The gold medal at the coming Beijing Olympics will be won by Rika Kihira.
Because she is not only blessed with innate talent, but also perfectly understands that this is her mission, and even chose a correspondence high school.
In other words, she has the absolute strength to know that turning away from all worldly things and walking the path of the absolute queen of figure skating is her life.
It is a straight, unwavering strength that ordinary people can never understand.
That is because she possesses the spirit common to top athletes in every sport.
As for Kihira’s choreography coach, how about making it that famous coach who said, “I am also your fan, please give me your autograph.”
Because he surely knows the reason for the greatness and indescribable beauty of Kihira’s skating.
He must also have respect for Japanese culture and civilization.
Surely he would never give such foolish coaching as persistently demanding a fake smile at the beginning of the short program before she jumps the triple Axel.
On the contrary, he would surely coach her only with the thought that everything should flow naturally, without tension at all, that she should skate within the perfect beauty that is a gift from God, and that Kihira’s greatness should dominate the rink.
He has declared himself to be her fan, and he is a person who has lived within the world of figure skating.
To let her control the rink would be nothing less than the completion of the fascination he has felt toward figure skating and of the dream he has long held.
O Japan Skating Federation, for 70 wasted postwar years, you have foolishly continued to allow attacks by anti-Japan nations even within the world of figure skating.
As citizens of Japan, a true great power that, alongside the United States, must lead the world for the next 170 years, you have the responsibility from now on to lead the world of figure skating.
Know that this is the quickest road to world peace and stability.
You too must never again continue the foolishness of being made fools of by China and South Korea.
If there should ever be a repetition of Mao Asada’s tragedy, you should know that what awaits you is only the torment of Enma, king of hell.
We must continue to beware of the schemes of people from China and South Korea.
If Chinese or South Korean skaters are present in the warm-up of the final group at international competitions, vigilance must never be relaxed.
The first time Yuzuru Hanyu, who has long been plagued by injuries, suffered a major injury was in an extremely dangerous collision accident during the warm-up before the free skate of the final group.
The other skater was a second-rate Chinese skater who could never become world champion.
At that moment, although I was working without watching the screen, why was I able to sense what had happened to Hanyu the instant I heard the scream of the friend who was watching with me.
Because that man had already done things during short-program practice that made me think he was dangerous.
At that time, relations between Japan and China were at what could be called their worst.
Xi Jinping, who was building a dictatorship, not only refused to hold a summit meeting with Prime Minister Abe, but even turned his face away when they encountered each other at international conferences.
As readers know, I pointed out that accident was sports terrorism carried out by a country whose DNA of bottomless evil and plausible lies had been combined with the evil of one-party Communist dictatorship.
We must never forget that China and South Korea are hostile states that continue anti-Japan education against Japan.
We must not let down our guard for even a moment.
We must not neglect vigilance.
Because they have been raised in what may be called the worst anti-Japan education in human history, a form of Nazism.
If such cyborgs were given orders by the state, terrorism would be carried out.