THE FLAT SKIING TECHNIC OR SNAKE FOOTPRINT

 

(Extreme and recreational skiing does not consist of descending gaining speed, but of being able to reduce speed in every unexpected risk situation).

 

You should consider this appreciation: two styles coexist in skiing:

 

1º The competition mode, whose turn is adjusted CONDITIONED TO EACH FLAG OF A TRACE.

 

2º The style of UNCONDITIONAL TURN, in which each curve is made at the whim of the skier.

 

If you identify with this "style of recreation", the importance of sharpening the edges becomes irrelevant. This speciality has no obligation to adjust to a flag turn. However, it is "creating" a personal path in relation to the mood of the skier. So, the skier tends to make the turn whenever THE FLOOR IS MORE FAVORABLE or more unconfortable (it depends of the artist).

 

When we say that the edge does not have "all the relevance" is because in this case it is better to skid, to dance, to let us go sideways to reach the next hollow or jump or next "our occurrence", etc. There are many advantages in "letting go" ... One "IMPROVES the route" on the fly. Is not this strange but suggestive? What we explain here is similar to the FREE STYLE.

 

The result? A Singular Footprint That Identifies The Individual. With discontinuous rhythm you infuses the escape with an electric, a musical nuance: now a series of short turns, followed by soft or energetic jumps or eternal curves etc.

 

You know, "bic bic writes thin and bic bic writes normal". You draw the melody from your heart ... It's like "that music" that you can feel, but you can not hear, and it explodes "throwing sparks" inside you. You fly like a bird and you do not feel pressure under your feet. You're free! The "flat skiing technique" is like electricity: the spirit, the ardor, the blast THAT USES A SNAKE TO ACCELERATE ... OR STOP.

 

On the ice you have to adopt an exaggeratedly flexed position, then the weight centered on the two almost flat and opened skis. Energically the acrobat performs shaking turns, insistently crossing the skis over against the máximun slope, again and again sidesliping, while still "scraping the surface".

 

Dealing with the situation, you remain the speed against that impossible ice. And it's more elegant! Would we not agree with the stubborn ice, without fighting against its inhuman mirror, as if challenging it in equilibrium? When the ski is conceived with the minimun sharpeness of the edge –and minimun effort-, it shows that you feel like a passionate and devote Self Sufficient Ski Technical Equilibrist All Over The Snows.

 

The ski Carver (another artifice of the manufacturers ") grabs less on the ice, unlike the conventional one, that's why this model does not work for this technique.

 

The ski "carving or radical" forces the athlete to always march on the edge, which is boring and unusefull. That's what motorcycles are for ...! The AustrianSki Schools never believed the "Tale of Carving", except for the

 

Competition. At present the skis are manufactured without almost any level of "carving", facilitating the technique that we expose here.

 

It should also be noted that the "effectiveness" of edges depends on the type of boot that you are skiing with. So it is not necessary to sharp the edges of the skis as if "cutting Iberian ham".

 

What is important in all cases is the hardness and comfort of the boots. If this original revelation has seemed logical and interesting, ask us more things.

 

nly some classical teachers can develop what we are talking about here and can help you.

 

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