- skiing for precision, power and freedom
I’ve always had trouble categorizing myself as a skier: was I more of a racer, a moguler, big mountain freak, trickster or speed demon? Yes to each, but only to a degree. However, with the arrival of the thicker, shorter and deeper sidecut skis that started production in the late 90′s, and the heart-centered skiing approach that I developed in response to them, I realized above anything else I was a carver: a heartcarver. This in turn improved those other aspects of my skiing significantly.
Contemplating the heart in Whistler 2008.
Heartcarving is about harnessing gravitational and centripetal forces enacting on a skier’s body in a more intelligent way by using the heart as one’s focal point (instead of say one’s poles or knees) because the heart is a skier’s center of mass, or a very close representation of it. With this as a focus, these forces are then utilized by having different muscle groups tense up and relax to alter bodily feedback points and subsequently a skier’s path down a run. The end result yields smaller movements yielding larger changes in sensation and trajectory than a more conventional skiing style with planting, swinging and spraying.
For me, heartcarving has meant virtually no falls, higher speeds, far less bodily and mental stress and more accuracy. Furthermore, more endorphins and less adrenaline.

The first step toward heartcarving is recognizing the yaw, roll and pitch that the heart can take whilst skiing.
It was about 10 years ago that I realized by focusing on the heart I could relinquish my ski poles. Ski racers at the time were adapting to these new skis. I felt that poles weren’t needed anymore to be counterweights to work alongside the long, straight-edged skis of yesteryear. However, the heart is not a muscle that can be moved at will like one’s arms, it is passive, so I realized I’d have to do more than just recognize the heart, I’d have to recognize patterns that the heart could and would follow during turn sequences and then build a muscle memory around those patterns with the goal of running the feedback loop in reverse: use the heart to alter my skiing via the patterns I’d already determined.

6 ski style patterns were identified based around the 6 movements that the heart can take whilst skiing: the first 3 movements are up/down, forward/back, right/left (as with an aircraft’s travel through space.) The second 3 movements are pitch, yaw and roll (as with an aircraft’s tilt axes.) Any of these movements can be taken individually and oscillated to create a turn sequence down a ski run (each point in the oscillation corresponds to a different point in the turn); or they can be mixed and matched for different effect. Ultimately, no pattern needs to be applied to create a turn sequence: only very slight muscular relaxations with the body remaining essentially straight and upright above the skis. Even still, these patterns are how heartcarving was born and gives carving massive variety.
Presently I am gearing up for a ski trip to further push the boundaries of heartcarving. I will be using the 2012 Summit Marauders, 125cm (14.7, 11.7, 14.7). Previously, I was skiing on the Nordica Dobmerman Pro SC model, 158cm (116, 64, 104 / 11m) which are already a short, shallow, and highly parabolic ski with a carbon wrapped wood core. I’ve found that skis play a very important role in the overall experience of heartcarving as they interact so strongly with another focal point: the feet, which could act as a counterpoint to the heart because so much force is transferred to and from the body via the feet, a force which is heavily affected by one’s ski choice, with its flex, length and sidecut. Interestingly, forces can also travel through the boot and bypass the feet to some extent so boot choice is also important. I am planning to shoot some instructional video and posting it here.
With the heartcarving paradigm in place, things such as touching the snow, aiming for a certain radius turn, dodging moguls or trees, sitting back or standing forward, high speed cruising, holding grip on ice, feet together or apart, or maintaining a precise line become products of one’s learning, functioning and choices. They are not ends in and of themselves: the end is the feeling of elation, relaxation, fun and a spiritual high.

Mastery of heartcarving comes in seeing what the heart is doing at any one time according to heartcarving’s 6 patterns, and then choosing to continue with that pattern, change it, or mix in another pattern. The choice depends on many things including where one wants to go, the precise line desired, feedback from one’s body, and what leverage point is tweaked to create that result: ie which muscle groups will be used to execute what pattern. Heartcarving is eventually integrated into the subconscious.