Originally Posted by TomB
So can somebody explain what skiing with your pelvis means?
On the other hand, skiing skeletally does make sense, especially for those who are less fit or older. But I would hardly aspire to it as a way to avoid fatigue. One does "stack" against a strong force, but as a temporary means to deal with the force. As terrain changes, the body has to be able to absorb, extend, react, move forward/back, push legs into snow, rotate them, pull them, etc. In other words, it seems silly to talk about stacking and skiing skeletally in very rough conditions or bumps - unless one completely extends the meaning of stacking beyond what it really means.
My interpretation is to ski skeletally when needed and remain flexible, dynamic and ready to anticipate terrain changes otherwise. If you have to rely on stacking to make it through the day and avoid being sore, get in shape. I bet 50% of people who take stacking at heart, are static, park-and-ride types.
An example is I work a lot with my students is use and feel of their feet and ankles and they usually know subconsciously that the (pun here) "Foot bone is connected to the knee bone, the knee bone is connected to the hip bone" and so on. If I can get them to find a sensation in their feet everything above (if they let it, that is) will move in harmony with the lower extremity to get the desired result (in this case early edge engagement at the top of turn).
Funny story. I was working with one of my mid-level students, a little older racer. I was working on the foot thing and for some reason he thought that I was suggesting he take the knees, hips, torso, inclination, everything out and just turn with his feet. I was watching him and finally asked him what he was doing and he told me "making turns with just my feet", with some further questions I discovered that he had a disconnect in his mind from his feet to the rest of his body. Never seen it happen before. Once I told him the little "Foot bone to the knee bone" bit (and I was half kidding) he started turning naturally with everything once again moving in harmony and engaging his edges earlier and higher.
I'm really getting hung up on context, it seems so important when discussing movement patterns, technical concepts without visual images to support what is being said.
Damn, I wonder what "Sweeping across flat edges in mountainous dance" would say about this