“To start with, every part was novel, and nearly something went,” mentioned Pfeiffer, now 94. Crowds got here to see rising stars invent new daredevil strikes. “The carry folks would complain that no person was driving the lifts,” Pfeiffer mentioned, “as a result of everybody needed to see the freestyle skiers get it on.”
Over time, freestyle developed three distinct varieties: aerials, wherein skiers carried out big twisting jumps; moguls, wherein they bounced over a sequence of small humps; and ballet, which highlighted extra intricate tips and footwork. At first, skiers would carry out all three kinds in a single wild experience down the mountain. Ultimately, every type acquired its personal run, although opponents had been anticipated to do all three. By the late Seventies, every kind had its specialists.
Of the freestyle classes, ballet snowboarding, with its 360-degree strategy to the mountain slope, supplied essentially the most room for interpretation. Some skiers explored its athletic facet, creating a spread of jumps and pole flips. Howard, who had a background in different sports activities, mentioned, “For me, it was rock ’n’ roll, go as exhausting as you’ll be able to go, blast out as many tips as you’ll be able to.”
Others noticed potential for a distinct sort of expression. Suzy Chaffee, who made it to the 1968 Olympics as an alpine racer earlier than changing into a glamorous face of freestyle snowboarding, launched music to freestyle competitors. Chaffee, now 75, had studied ballet as a baby. “In the back of my thoughts, I’d at all times fantasized about dancing down a mountain,” she mentioned. Sleek and versatile, she grew to become recognized for her elegant traces. Fuller, who had a background in determine skating, additionally emphasised musicality and fluidity in her ballet runs.
https://www.nytimes.com/2022/02/11/arts/dance/ski-ballet-internet.html When Ballet Snowboarding Pushed on the Porous Boundary Between Artwork and Sport