It is important to understand the distinction between the board performances of tilt and pressure. Increasing tilt throughout the turn also increases pressure because the surface area is decreased and the board bends (decambers). However, in the purest form, flexion and extension movements for tilt are intended to move the snowboard laterally onto the toe edge or heel edge, creating space between the snowboard and the snow. Tis distinction is based on deconstructing board performance into two individual acts – tilt and pressure – to gain a basic level of understanding. Te reality is that riders blend all the actions and movements to create performance. Riding exercises for experiencing pressure:
■ While sliding, move your CM forward toward the nose of the board, then backward toward its tail.
■ While sliding, move the snowboard back and forth under a stable CM. ■ While sliding, flex and extend vertically to experience changing forces on the deck. To further the experience, jump and land either loudly or quietly.
■ While doing a fast-moving garland across a wide slope, quickly extend the feet away from the CM increasing tilt and pressure, and then pull the feet back under the CM.
■ While stationary, create pop using ollie, nollie, and two-footed movements.
BOARD PERFORMANCE AND MOVEMENT BLENDING Regardless of the desired riding outcome, the forces acting on the body via the board change constantly. Tese dynamic forces require the rider to apply an array of movements to create snowboard performance. Some movements begin from long levers (such as the entire body), which have lots of range and help counteract larger forces (like a closed carved turn on blue or black terrain), but are slower to respond. Other movements originate from small levers (such as the ankles) with comparatively less range – which are quick to respond, but lack the strength to deal with larger forces. By means of movement blends, students can attain a riding outcome by using more than one movement to increase or decrease a single board performance. Tis can happen simultaneously or over a specific period of time (e.g., throughout a turn or during the approach, takeoff, maneuver, and landing of a trick). For example, a rider can start a turn with a movement of the ankles to tilt the snowboard. As the forces in the turn increase, the rider may add knee movement, then hip movement to tilt the board higher on edge and match the increasing forces in the turn.
Students can also use a combination of movements (again, simultaneously or over the course of a turn or maneuver) to affect two or more board performances. For instance, a rider can start a turn with a movement of the ankles to tilt the snowboard but as the forces in the turn increase, he or she may add a knee movement, and then a hip movement to tilt the board. Over the same period of time in the same turn, the rider can start to steer the board with a scissoring movement of the knees and, as the forces in the turn increase, finish shaping the turn with a scissoring movement of the femurs to add pivot.
To be truly versatile, a rider needs to be able to make each of the movements in isolation, plus know how to adjust and blend them for different situations.
54 AASI SNOWBOARD TECHNICAL MANUAL
TheSnowPros.org
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