Telemark Skiing as Cosplay

Is Telemark skiing really about “expression” versus “physics”? Hmm… maybe.

Picture this: a group of people skiing in purple Spider-Man suits.
“Whoa! Spider-Man is skiing! Is it cosplay? Quick, take a photo!” people shout. I don’t mind?it looks fun. But… aren’t they cold? Are they wearing Heattech underneath? That’s my bigger concern.

Now, skill aside, the main point is: they are Spider-Man. That’s what matters first. I’ve always thought that Telemark skiers are on the same stage.

That stance, one foot forward, one back, trying to make turns?it’s an effortful movement, a form of expression. Telemark skiing is a form of expression. Style. Heck, you could even call it cosplay in a way.

“Cosplay!?”
Yep. Thinking that way can be surprisingly liberating.

Let’s recall the definition of cosplay:
“To dress up as a character from anime or games and perform that character.”
Makes sense. Spider-Man, Batman, Gundam, Studio Ghibli characters… all fit.

Now, what about Telemark skiing?
“To wear Telemark equipment and perform the Telemark turn.”
Perfect match. No problems. Spot on.

And here’s the kicker: cosplay usually involves an imaginary character?something fictional.

…Wait a second.
So the point of saying “Telemark is cosplay” really is:
“Telemark is imaginary!”

Yes. Exactly. It’s not about physics.

Even in the World Cup, if the Telemark stance isn’t performed, you get a penalty. One gate can add a whole second (imagine that in a race decided by 1/100 of a second!).

So, Telemark skiing is performance.

Once you accept that, everything becomes easier to understand.
Ski schools don’t need to lecture on “physics of the turn”-they can teach how to perform it as an expression. Maybe they already do, but… “stable Telemark position,” you get the idea.

In backcountry, use proper AT skis. But on slopes or mellow terrain, Telemark is fun. Pick slopes and conditions that make the Telemark turn easy to perform.
See? Reality. And fun.

So yes, Telemark skiing can be seen as cosplay-just like Spider-Man.
It’s not about how to shoot webs from your hands. What matters is expression and style.

Good or bad at skiing?
Not the point. Not at all.

That, I think, is how people who also ski alpine perceive Telemark.
I call it A-tele.

P.S.1

This “cosplay mode,” by the way, seems way more pronounced now with NTN bindings than back in the 30-year-old leather-boot era, through the plastic-boot stage.
Back then, putting your feet forward and back felt like one reasonable physical solution-it just made sense.

And speaking of physics, that’s B-tele. It’s the same physics of downhill heel-free skiing that hasn’t changed in 30 years.
Sure, it’s still “physics,” but compared to shooting webs out of your palms… well, that’s a piece of cake!

Refining Technique and the Harmony of “Emotionality”

I refine technique.
By technique, I mean actions and knowledge that are precise and reproducible, independent of whether they are liked or disliked, enjoyable or not.
It is a precision stripped of emotion. This is technique, and its pure essence holds value.

At the same time, there are moments that move the heart deeply.
These moments are not born from the skillfulness of technique itself, but from the harmony between the individual and the surrounding environment or nature.
When conditions align, and one’s actions perfectly resonate with the forces around them,
the heart quietly trembles. That sensation is what I call “emotional.”
And to embody this sensation, I designed my ski lessons,
which uniquely materialize the idea of “refinement.”

The process begins indoors, with a classroom session in front of a whiteboard.
We share the direction and philosophy of the actions, illustrating and demonstrating, even barefoot, how each joint should move.
Most importantly, we carefully choose words and define them clearly.
Conveying one’s own movements accurately to another person through language is surprisingly difficult, due to subtle differences in understanding.
If that alignment is achieved, after skiing, participants can share their results or ask for advice over a beer. Apres-ski is essential, and this too is a distinctive feature of our approach.
I repeat: being able to verbalize your own movement is what I believe it truly means to refine technique.

Refined technique quietly, yet surely, opens the path to emotionality.
It is not emotion itself, but a quiet power that resides within precision.
This power enables harmony with nature and the environment,
giving rise to fleeting yet undeniable emotional experiences.

Ultimately, what people seek as “emotionality” lies at the intersection of technique and harmony.
It is not by moving solely with emotion, but through refined technique,
that the quiet tremor reaches the heart.
As one example of how technique can be refined, I present the style of our ski school.

The “Emo” of Turns and the Aesthetics of Sufficiency

There is a certain charm in skiing turns that words can hardly capture.
Placing your skis on the white slope, surrendering to gravity, and carving a line down the mountain?
this sequence of movements carries a subtle emotional resonance.
I want to call this feeling “emo.”

Emo, in this sense, is that moment when the forces of nature and your body resonate unexpectedly.
The slope, the speed, the snow’s texture, the crisp winter air?
when all of these align with your turn,
the act of turning transcends mere technique and becomes an emotional experience.

Yet on the slopes, I often see “overdone turns.”
Carving too deeply for the slope, edging beyond what the snow demands,
displaying technical prowess at the expense of natural harmony.
This is not emo?it borders on self-indulgence.

Japanese has the concept of hitsuyo jubun (“necessary and sufficient”)
and the aesthetic of taru wo shiru (“knowing sufficiency”).
These ideas come alive in skiing turns.
Tilting your skis just enough for the slope,
applying pressure just enough for the snow-
when what nature requires and what your body delivers match perfectly,the turn becomes at its most beautiful, safest, and most emotionally stirring.

The prevalence of excessive turns comes from the artificiality of groomed slopes.
Manicured terrain dulls feedback from nature.
As a result, the mindset of “the deeper you carve, the better”
or “the sharper you lean, the more impressive”
gets amplified, and self-expression often takes precedence over harmony.

But in the mountains or backcountry, the situation changes completely.
Nature’s voice grows loud and sharp.
Small variations in slope or subtle differences in snow conditions
can determine a skier’s fate.
What is needed then is not flashy technique, but the sense of that “just right intersection”
between yourself and the natural environment.

The core of emo lies in this harmony.
Those who can feel it move safely and fluidly.
Those who ignore it, indulging in self-centered turns, are fragile in the face of nature’s changes.

Ultimately, the allure of a turn comes down to this.
Not technique, confidence, or showiness,
but the fleeting, yet undeniable, emotional resonance
that arises when gravity, snow, and the body align perfectly.

That is what I call “emo.”

Introduction to Light Skiing

Well…
I live right next to a ski resort, and my daily life revolves around Hakuba and Otari. Above all, I’ve spent the past 30 years making skiing the center of my work. I’ve been a ski instructor for 30 years. In reality, I spend more time enjoying backcountry skiing than resort skiing?this makes me quite a rare type of ski instructor. Generally, when people think of a “ski instructor,” they imagine someone working on the slopes, so my case is a bit unusual.

One question I often get is:
“Why have you been doing heel-free Telemark skiing for 30 years?”
And my answer often surprises people.

Here’s what I say:
“I’m not very fond of crowded places. I live a quiet life normally, and I like being alone. With heel-free skis, I can walk away from the crowds and ski back quietly by myself. I just enjoy moving this way. Well… it might sound a bit funny coming from someone who lives right next to a resort! (laughs)”

Yes, for me, the value of heel-free skiing is above all “being able to walk.”
Many people expect an answer about “the joys of the Telemark stance or Telemark turns” over 30 years. Instead, they get the unexpected: “You’re focusing on that!?” In other words, people assume the question “Why Telemark?” is about the thrill of downhill skiing or the turning techniques?but my answer is different.

To repeat: the primary reason I’ve continued Telemark skiing for 30 years is because it’s heel-free.
The reason is simple: it allows me to walk. This is really important.

Naturally, if you prioritize ease of walking, leather boots win out over plastic boots. Lighter skis and boots are also preferable for walking compared to heavier gear. Downhill skiing can be fully managed with the necessary skills, anyway.

The gear I often use includes:

• NNN BC (called BC Kurokan in Japan)

• XPLORE

• 75mm soft leather boots with 3-pin bindings

All of these are paired with light skis with step-cut bases. With this setup, you can start walking easily and ski back quickly. I love the moments from pre-dawn to morning when the sky’s colors change, and sunsets are equally spectacular. During the day, I often find myself walking through forests.

I call this combination of ease and lightweight gear “Light Skiing.” Currently, NNN BC, XPLORE, and 3-pin soft leather boots fall into this category. This is my favorite and strongest area in heel-free skiing.

■ School Programs

Our ski school offers two Light Ski programs:

● Light Ski Downhill

Focused on downhill skiing techniques.

● Light Ski Hiking

A hands-on program where you walk into the backcountry and ski back.

If you want to refine your skiing technique, the first is ideal. If you want to experience the whole picture, the second is perfect.
We also have a wide variety of rental gear available, so feel free to use it. Lessons and experiences are offered from November to July within the ski school framework (check out YouTube: telehiro).

■ “Is Telemark skiing part of Light Skiing?”

I’m often asked this, and the answer is “No.”
The reason is simple: Telemark skiing is no longer “light.”

In my own definition,
“Telemark skiing has evolved to focus on downhill performance.”

Thirty years ago, Telemark skis were long and narrow, used with leather boots. Today, they have evolved into the NTN system. Telemark skiing didn’t start as a way to walk heel-free?it started as a way to enjoy the Telemark stance and turns on the slopes. That’s the evolution I see.

For downhill-focused Telemark skiing, our school offers a program called “B-tele”. For those interested, we also have “A-tele.” Details are explained on another page.

It’s a long story, but――
“Heel-free skiing exists for walking.”
This is the core of the Light Ski category.

Naturally, if you start with Light Skiing, you can come to appreciate Telemark skiing positively: “Ah, this is well-designed gear.”
On the other hand, if you start directly with Telemark and your first impression is, “The heel isn’t fixed, so it feels unstable…,” that’s an unfortunate starting point.

If you’re going to step into the world of heel-free skiing,
embrace the fact that your heels are free?and see it as a positive!

The World of Heel-Free Skiing and the Adventure of Changing the Signboard

Lately, I’ve been thinking a lot about how I’ve defined Telemark skiing for myself.
My answer? “A heel-free genre that has evolved toward downhill skiing, now reaching the NTN system.” That’s my definition.

But you know, downhill skiing inevitably leans toward being… macho. Power, speed, competition, carving… can’t avoid it. So if Telemark skiing has evolved in that direction, then being somewhat macho is inevitable.

Just look at YouTube. Tons of people skiing Telemark with all their effort. Makes sense, right?

That brings up the question: how do I reconcile this with my long emphasis on “softness,” “agility,” and “quietness”? Time to sort it out?a concern that’s been on my mind for several years now.

Alpine is Macho, BC is Soft-Touch

So, what about the sign that says “Telemark Ski School”? Does it still fit?
When I’m in the mood to be macho, I hit the slopes with alpine skis. Early morning, quiet slopes, one hour blasting down?pure exhilaration! Alpine skiing is just the best. Ahhh, amazing!

But when I head into quiet, empty mountains?BC?it’s heel-free skiing all the way. Sometimes Telemark, sometimes BC crosscountry ski, sometimes XPLORE. Walking itself is part of the enjoyment, so even if skiing is a bit challenging, I usually choose soft boots for easier walking. Well, I’m good at skiing too (laughs).

And here’s my rule: no macho behavior in BC. Violence is out. Japan’s winter forests, soft snow… that air naturally makes you gentle and calm. Quiet, soft-touch movements are a perfect fit for heel-free skiing. Telemark too.
But only up to the 75mm standard, boots up to T4. That’s the upper limit for achieving soft-touch skiing.

Naming and the Signboard

Now, the tricky part?naming.

Honestly, I’d love to call the 75mm standard “Telemark” and NTN “Macho Telemark.” But that’s probably too much (laughs). Looking at the market, NTN is already considered “Telemark,” while 3-pin and T4 are grouped in the same “Nordic Touring” category as XPLORE and BC crosscountry ski on online stores.

Makes sense. My Mahoroba Club has probably already become a “Nordic Touring Ski School.” That’s where my expertise lies.

After 30 years of running a “Telemark Ski School,” maybe it’s time for a new sign. Take it down, and I’m freed from the “curse of the Telemark turn.” After all, the skiing I show in videos?is it really Telemark turns? Thirty years as an instructor, I say “No,” and call it “B-tele.”1):

How about “Nordic Mahoroba Club”?
I’d love a center house out in the snowfield.
But considering Japan’s terrain, downhill is unavoidable, so maybe “XCD Mahoroba Club” fits better. A bit confusing? Well, who cares (laughs).

Thinking about all this… I can’t help but feel a little excited.

Note

1)B-tele: Customers who installed B-tele from the start never utter words essential to the traditional Telemark skiing method-“front foot,” “back foot,” “Telemark position,” “weight on” or “riding.” Experimentally verified. Simply put, they can ski without needing such ideas at all.

"B-tele" ? Skiing That Isn’t a Turn

You place your skis across the fall line and press the edges against the snow to create resistance.
This is braking on hard snow?what we call “skidding.”

But what about when the snow is deep?
In that case, you “dig” your skis into the snow to create resistance.
In practice, skidding and digging are combined, depending on the situation.

There are three key points to keep in mind.

First, braking is done mainly with the uphill ski?the inside ski.
The downhill ski is only for support or other purposes.

Second, it’s about how you use the joints in your uphill leg.
Extend to brake, contract to release.
In other words, you can intentionally control deceleration and acceleration.
The longer you can maintain acceleration, the faster you can ski.
Trust in your braking is essential?those who brake well can ski faster.

Third, you mainly use the tail of the uphill ski.
Whether skidding or digging, you don’t use the whole ski, just the rear section behind the boot.
You don’t need to use the ski from tip to tail.
This simple movement is the basis of my skiing.

I think it’s fairly straightforward.

That’s why my skiing can be fully copied by anyone.
You don’t need a Telemark position, a Telemark turn, or even equal weight on both feet.
Even so, as shown in the videos, you can enjoy skiing in all kinds of environments, slopes, and seasons.

That is my skiing-telehiro’s skiing.
I call it “B-tele.”

Skiing that isn’t a turn.
I can explain it in detail at my ski school.
If you’re interested, please feel free to get in touch.

The Blade Called Ski

For the past couple of weeks, I’ve been doing something unusual for me ? a part-time job cutting kaya, the tall grass used for thatched roofs.
Out in a wide field of swaying reeds, I work with a single tool: a sickle.
With it, I slice through the stalks, one after another. It’s pure physical labor, and since most of it is done bent over, it’s not exactly kind to the back.

Cut → Gather → Stand.
That’s the rhythm of the day ? from morning till dusk, with only short breaks in between.

It’s hard work. That’s the honest truth.
And yet, the next morning, there I am again, cutting away.

It’s tough, but I don’t hate it.
Maybe… I even like it.

So I stop for a moment and think:
What exactly is it that I find enjoyable about this?

Perhaps it’s the simple satisfaction of seeing progress ? the field gradually opening up before my eyes. It’s the same feeling I get when shoveling snow in midwinter. Maybe that’s it.

But no, I think it’s something else.
It’s the sheer pleasure of using a blade as a blade ? the direct, honest sensation of cutting.

I sharpen the edge every time I take a break, and that moment when it slices cleanly again ? that’s the best part.
It’s the same with a chainsaw. Any work that involves a blade has its own rhythm: to cut, to touch, to pull.

That’s the world I enjoy maybe that’s why I keep going, even while rubbing my aching back.

The same thing can be said about skiing.
Skis have edges - blades that bite into the snow. By angling them just right, you can smear or slice your turns, shaping your movement as you please.

“Pulling” that’s where free-heel skiing truly shines.
It’s like drawing a sashimi knife through the fish ? a delicate, gliding touch on the snow.

Yes, ski is a blade.
Maybe that’s why I don’t care for those overly wide skis that dull the feeling.

A Perspective on “Leaving Telemark Behind”

― How XPLORE and NNNBC Show a New Form of Heel-Free Skiing ―

A ski shop staff stopped by, and we had a brief conversation about sales.
They carry Telemark, NNNBC, and XPLORE. Right off the bat, they asked, “What do you think about XPLORE?”

Perhaps it’s because the set I took to Tateyama the other day was still sitting by my entrance.
This kind of discussion isn’t exactly difficult to answer, but explaining it so that others really understand can take a bit of effort.

That said, the conclusion is actually very simple.
In short?if a product only sells to people who already do Telemark skiing, then that’s all there is to it.
In other words, if only those who want to perform a Telemark turn on the slopes with XPLORE will buy it, the market is extremely small.

As for Telemark skiing itself, once boots became plastic, the focus naturally shifted toward downhill skiing.
As a result, the main stage moved from the BC (backcountry) to groomed slopes.
I think this was a natural progression.

On the other hand, leather boots before that were designed for walking.
With heel-free boots, you could walk?and there was the feeling of, “I can walk on skis! I can go into the mountains!”
NNNBC and XPLORE truly shine in that kind of “walking-focused” environment, and I don’t think they are really suited to groomed slopes.

Furthermore, NNNBC and XPLORE are not called “Telemark skis” by name.
Because of that, they aren’t bound to Telemark turns and, in a sense, can escape that restriction.
I think there’s room here to expand the market?what you might call a form of “leaving Telemark behind.”

Now, Telemark skiing itself isn’t bad.
But using heel-free boots solely for downhill, combined with Telemark turns that are not very stylish and come across as somewhat narcissistic, has, over time, cast a negative image.
If the emergence of heel-free similar products now brings that image to light and encourages a reassessment, it could actually become an opportunity for Telemark skiing.

I hope my YouTube videos might provide some hints or insights along these lines.

Why and How ? The “Why” and “How” of Telemark Skiing

“Why?” and “How?”
How living organisms evolved is explained by the theory of evolution.

But how did the very first life originate? Or why did it originate at all?
We still don’t have an answer to this question.
It’s because we cannot rule out the possibility that it was created by God!

Now, let’s bring the story back to skiing?chaotic telemark skiing.

Suppose you enroll in a ski school. What do you do there?
It’s probably about figuring out how to stabilize the Telemark position within a turn.
In other words, it’s a “How” question.

However, students also want to ask:
“Why do we need the Telemark position?”
This is, in other words, the “Why” question.

So how would an instructor answer this initial question?
If you search YouTube, you’ll find a few examples:

Example 1: “Telemark skis are unstable because, unlike alpine, the heel is free. That’s why you put your feet fore and aft, lower your center of gravity, and try to stabilize yourself. This is the Telemark position!”
Example 2: “The landing from jumps?yeah, that.”

Hmm…
Anyone might think, “If it’s so unstable, why not just do alpine?”
And a slightly sharper student might ask, “In a slippery environment, does putting your feet fore and aft really make you more stable?”

Now, refining a Telemark turn that incorporates the Telemark position?that’s the ski school’s specialty.
But can an instructor give a convincing answer as to why this foundational Telemark position is necessary?

By the way, I’ve been a Telemark ski instructor for 25 years. How would I answer this “Why”?

Q: Why do we need the Telemark position?
A: It’s not for a physical reason?it’s cosplay. It’s a performance.
Enjoying this performance and expression is what Telemark skiing is all about.

Q: Is Telemark unstable?
A: No, it’s actually easy to move. Isn’t being easy to move a good thing?
Who decided that “stability” is the goal anyway?
Being heel-free, freely moving and interacting with the snow while descending?that’s wonderful.
On the other hand, alpine skiing restricts movement, so you have to turn while compressing the snow?it feels like that, anyway.

Q: So, in the end?
A: That’s right. The “I’m glad it’s heel-free” feeling is B-tele (laughs).
For the Why, check out the B-tele icon.
For the How, it’s mostly copyable through three hours of indoor lessons and YouTube videos.
Since it’s an explanation based on physics, not expression, anyone can copy it perfectly?that’s the point.

Definition of the Telemark Turn

At our ski school (Mahoroba Club), we have, for reference, put the Telemark turn into words. Here it is:

A Telemark turn is the act of expressing, or attempting to express, a mastered Telemark position during the course of a turn.

The "Telemark position" refers to a stance with one foot forward, one foot back, hips lowered, and the heel of the back foot lifted off the ski.

In short,
"A Telemark position expressed through the sequence of a turn"
is what we call a Telemark turn.

In other words, a Telemark turn is an expression.
That is why we hear phrases like "there are many kinds of Telemark" or "it's fine to have different Telemark styles."

The quality of this expression is what is evaluated and graded in a "technical examination."
At the first stage, it is enough if the intention to express the position can be seen.
At the next stage, stability of expression is required.
At higher stages, expression is evaluated along with speed and sharpness.

In my view, this is the process of the technical examinations conducted by TAJ (Telemark Ski Association of JAPAN).

However, TAJ itself does not have a definition of "Telemark turn."
Did you know that?
It is remarkable, without irony, that they can conduct an examination without a definition.
Truly a technical examination without the roots of a definition.

The fact that this can exist as it does is something that those promoting Telemark skiing, whether at the association or elsewhere, should reflect upon.

As a side note, all of the above would be categorized at our ski school as "A-tele," and we distinguish it from "B-tele." B-tele is not an expression but practical technique. Since it is a skill, anyone can achieve it.

“Telemark Skiing ? Is It Really a Sport?”

Let’s start by asking a simple question: what is a sport, really?
Generally speaking, it’s something physical ? where you use your body, display skill and strength, and face competition or challenge.
Sports test both physical and mental power, and they tend to celebrate youth, muscle, and performance.

Now, looking back at the world of telemark skiing ? in the leather-boot days some 30 years ago ? it wasn’t really a “sport” in that sense.
It was more like free movement, an open-ended way to play on snow.
It wasn’t about winning or records; it was about feel, self-expression, and a sense of play.
Both physically and mentally, it was soft and fluid.

But over time, things changed.
Boots got stiffer. Designs began to favor stability and power.
The market started optimizing gear for younger, stronger bodies.
And that’s what I call the sportification of telemark skiing.

As a result, the NTN system came to embody precision, speed, and competitiveness ? a kind of macho setup.
And that older, gentler sense of telemark gradually faded to the margins.

So when the veterans say, “That’s not telemark,” it’s actually quite natural.
Sometimes it’s just that their bodies no longer match the equipment.
But often it’s something deeper ? a kind of resistance to a world that’s been reshaped around sport and performance.
In the end, gear, body, and culture all drifted toward that optimized, sport-oriented axis.

Seen this way, those nostalgic voices aren’t just about the past.
They’re responses to a structural shift ? to telemark becoming a sport.

As for me, I’d say the telemark I fell in love with wasn’t really a sport at all.
Maybe that’s exactly why it hooked me so deeply.
Even now, I still choose my gear and environment carefully, trying to keep that tone alive ? the one that’s a little freer, a little softer.

That’s the telemark I enjoy today ? the one that stands a little apart from sport.
Yeah… I think I finally get it.

If I want sport, I’ll just go alpine skiing at the resort.
And I’ll go full macho while I’m at it!

Two Worlds of Heel-Free Skiing

About 30 years ago, telemark skiing was all about leather boots.
The skis were narrow, much like cross-country skis, but with edges.

Coming from an alpine skiing background, I was struck by the lightness of having a free heel,
and above all, by the fact that you could walk on skis.

Of course, you couldn’t just walk backward on a groomed slope.
So naturally, we started exploring the foothills, and eventually, higher mountains.
The sheer act of stepping into unknown terrain on skis was thrilling.

Sometimes we climbed with skins, sometimes we walked using step-cut skis (scaled skis).
As for downhill, as long as you could get down, that was enough.
The unique telemark turn was considered more of a “trick” than a necessity.

At that time, in my circle, telemark skiing was seen as a tool for those who went into the mountains.
Alpine skiing = slopes. Telemark skiing = mountains. That was the mindset.
The equipment itself looked completely different from alpine skis.

By the 2000s, plastic boots became common.
Compared to leather boots, the sense of lightness and uniqueness was reduced.
They were walkable, but not necessarily easy to walk in.
However, the increased stiffness allowed for enjoyable downhill skiing on groomed slopes.

Today, with the introduction of the NTN system, the gear is almost indistinguishable from alpine skis.

With NTN, the impression is: “Can I really walk in this? No, this muscular setup is meant for downhill?it’s really for the slopes.”
In this way, telemark skiing has changed a lot over time.

And now, those who are starting telemark skiing naturally choose NTN, following market trends.
This leads them naturally toward a slope/downhill focus.
They learn the telemark position, master the telemark turn, and aim for a more muscular style of skiing?quite similar to alpine skiing.

But here’s the question I keep asking myself:

Thirty years ago, we were thrilled by the idea that we could walk on skis,
and we stepped beyond the slopes into the snow-covered wilderness.
Will that version of telemark skiing simply disappear?

If modern telemark skiing, while heel-free, becomes specialized for downhill, that’s fine.
Telemark skiing can remain as a heel-free downhill ski.

At the same time, the world that values lightness and the freedom to walk could be reborn with a new identity.
So I deliberately distanced myself from the name “telemark” and called it BC Kurokan (a Japanese coined term, referring to NNNBC).
It is another heel-free world?walking, skiing, and interacting with the snow in the backcountry.
Of course, there is no telemark position or telemark turn here.

Recently, systems like XPLORE have emerged, following the same principle.
All of these go back to the origin: heel-free means walkable.

In short:

• If heel-free telemark skiing pursues “freedom of downhill skiing,”

• BC Kurokan (and XPLORE) enjoy “freedom of movement on snow.”

• Both are heel-free,

• Yet their purposes and cultures differ.

• And it is precisely because these two coexist that the snow-covered world becomes richer and deeper.

When I look back at my old YouTube videos, I can really see how my skiing style has changed over time. The clips I shared are from about 15-16 years ago, around 2010. Back then, I was aiming for what I called a kind of “powerless carving turn” made possible only with a free heel.

It’s obvious when you watch. There’s none of the typical “up-and-down” movement you see in alpine skiing?no rhythm coming from flexing and extending. I’m just sliding smoothly down through uneven terrain, and you can see the outside ski tracing a clean arc.

At the time, I often talked about the “X-axis and Y-axis.”

• The Y-axis means vertical movement. Alpine skiing is basically built around that?pushing and releasing force perpendicular to the ski.

• The X-axis is more like horizontal movement, from the tail to the tip of the ski. In alpine gear, it’s structurally almost impossible.

With free heels, though, your heel is released, so stepping forward becomes an X-axis move. Think of it like this: chopping straight down on a cutting board is the Y-axis, while slicing sashimi by pulling the knife is the X-axis. Both work together, but with free heels you can actually make the X-axis the main focus.

In those videos, the outside ski’s arc wasn’t something I was consciously steering. It was almost “automatic.” The real driver was the inside ski. If you slow down the last part of the video, you’ll see it: at the end of the turn, the outside ski ankle is extended. Then it contracts, while the inside ski rotates first. That movement pulls the outside ski into a smooth arc.

And here’s the key: the big toe edge of the outside foot stays in contact the whole time?it never lifts. That’s why the ski draws such a clean curve, both into the fall line and back out of it. Honestly, alpine skis just can’t do that. Hehehe.

Why? Because in alpine skiing, the outside ski ankle never actually extends at the end of the turn. That’s the crucial point. That’s exactly why I wear low-cut boots. Ha-ha.

The video focuses on skidding. The skis are positioned perpendicular to the fall line, and from this position, sliding down along the fall line is called “sideways skidding,” while moving diagonally is called “diagonal skidding.” Let’s clarify the terminology first.

On the slope, start with the skis sideways to the fall line and the body upright. The legs are positioned on the uphill and downhill sides, with the uphill leg usually more flexed. The edge angle of the uphill ski is relaxed and lightly pushed in the desired direction. Here, “pushing” does not mean putting body weight on the ski?it refers to extending the flexed leg. Since the uphill leg is already flexed, it can be extended. Relax the edge and push in the chosen direction, which can be along the fall line, forward, or backward. The orientation of the body or gaze does not matter.

This sideways skidding is a braking element, performed on groomed or firm snow, where the skier adjusts the braking force while skidding. To illustrate the subtleties of this pushing motion, I often use the analogy of spreading cream on a cake (“napper”) on a rotating stand with a stainless steel spatula?the spatula represents the ski. The delicate pressure and angle are what give the sense of skidding. It’s not a brute-force action. In short, skidding primarily uses the outside edge of the uphill ski, leaning it and pushing, not standing on it. Imagine spreading cream on a cake.

At the beginning of the video, both alpine and telemark stances demonstrate skidding. Both share the visual appearance of the body being bent, with weight on the downhill ski. This is perhaps the most common form.

In contrast, with B-tele skidding, the body remains upright because the uphill leg is being extended. This upright body posture leads to the later elements of twisting, untwisting, and the rotation axis.

In the latter part, the video shows turning (spinning) from skidding in both alpine and telemark stances. Compared to the alpine stance, the telemark stance twists the whole body more strongly relative to the fall line. As a result, the energy released during the untwisting produces stronger force, allowing the skis to spin faster. Although either stance can achieve the spin, the telemark stance is preferred to generate greater twisting and untwisting power, enabling the skis to spin more than 90 degrees almost automatically. This is an advantage of heel-free or low-cut boots.

The next step is the moment when the body “snaps” from being extended during skidding to a slightly contracted stance. This characteristic posture is called the B-tele icon stance.

The icon stance occurs the instant the body contracts after being extended, with the following features:

• The upper body is upright, and both feet are positioned directly under it.

• Both knees are pointed forward and flexed (a stance only possible with heel-free or low-cut boots).

An analogy is lying on your back with knees bent; the back, hips, and feet are aligned on a straight line. This straight line becomes the rotation axis.

The twisting energy accumulated in the telemark stance during skidding is released by contracting in the icon stance, generating powerful untwisting force. With the rotation axis straight, the skis spin nearly in place. Furthermore, since the movement is a contraction rather than a squat, the skis momentarily lift off the snow, accelerating the spin.

The continuous B-tele turn combines the pushing/extension during skidding (braking element), the contracted icon stance (acceleration element), the extension twist and contraction untwist, and the straight rotation axis. This sequence of braking, acceleration, twisting, and untwisting is what the video demonstrates.

B-tele Icon Stance Explanation

The B-tele icon stance represents the posture in which the body (and legs), previously extended during skidding, has been compressed and returned to a neutral position.

Visual characteristics:

• In the icon stance, both feet are positioned directly under the body

• Both knees point forward (possible due to heel-free bindings or low-cut boots, not achievable with alpine skis)

Functional principle:

• The starting point of movement is what we call the center of mass, roughly located at the core of the skeletal structure, around the solar plexus

• From this point, you can extend to apply pressure / skid, and return to it to release pressure / perform aerial spins

Body sensation / imagery:

• Visualizing this while standing can be misleading

• A closer approximation is lying on your back on the floor with knees bent

• When the knees are bent, they move toward the hips relative to the original foot position

• This movement represents decompression of what was previously under pressure, and if performed rapidly in a vertical context, it lifts the skis into the air

Summary:

• The starting point of motion is the center of mass, which serves as the reference for extending and compressing the body

• Whether the icon stance is a high posture or a compressed posture depends on the environmental requirements

Have you ever taken a video of your own skiing and really studied it?The truth is, while we’re skiing, very few of us can actually see what our skis are doing. I’m the same?most of the time my skis aren’t in my field of vision, so I’m really operating based on feel and imagination.

Let me share a recent insight I gained from filming myself. I was skiing NTN bindings with step-in plates, in slightly sticky snow. Right after starting, my inside ski (the rear ski in Telemark) began to wobble, and after a few turns it actually popped off. While skiing, all I noticed was a strange feeling?“something’s off.” But watching the video, I could clearly see what was happening.

Here’s the key point: my control comes from using the inside ski’s tail as a brake. On hardpack, that means smearing; in powder, it means burying the tail. The action is the same. I move the tail through a sequence?1 → 2 → 3 → 4?and that movement leaves its trace as a turn, a line in the snow.

Now, with low-cut boots, this movement is smooth and natural. But with NTN, the point of leverage shifts, making it harder to execute. That’s why my inside ski became unstable. In other words, much of my braking happens behind me, at the tail of the inside ski. It’s almost like applying the brakes from the backside?an unusual but fascinating perspective. And I would never have understood it without the video.

In alpine skiing, we often use the terms short turns and long turns. For Japanese skiers and instructors, these expressions feel completely natural. “Let’s try some short turns next.” “Now let’s make some big, round turns.” In other words, in alpine skiing, the skier consciously chooses the turn size.

So, how about Telemark? Saying “Let’s make short Telemark turns” or “Let’s try long Telemark turns” also works, of course.

But in the video I’m showing here, what I’m doing is B-tele. By appearance alone, you could classify it as short turns. But here’s the important part: I’m not actually intending to make them short. They’re almost automatic, or passive. On a steep slope, if you just let gravity do its work and apply braking alternately left and right, the rhythm naturally becomes short-turn-like.

So why do the skis snap around so quickly?It comes down to two things: braking and the rotation axis. With a free heel?especially in a low-cut boot?you can keep that axis straight. Combine that with stored energy and a bit of torsion, and the skis will turn quickly and smoothly.

To summarize:

• Alpine short turns → an intentional movement pattern.

• Telemark short turns → a rhythm created naturally by slope and gravity.

When you think of it that way, isn’t Telemark an incredibly useful tool on steep slopes?

Let me explain some key points about my skiing style.
I don’t raise my arms. I don’t push my elbows forward. My elbows don’t flap or jerk. Why not? Because I don’t throw my shoulders forward.

Now, think of the typical silhouette we often see: shoulders forward, face forward, arms reaching out. You’ve seen that before, right? It shows up in both alpine and Telemark skiing, especially when someone is working hard to make a turn.

So why does this happen?
Because the hips and pelvis drop backward. To counterbalance, the skier throws the shoulders forward, reaches out with the arms, and even pushes the face forward. It’s an attempt to compensate.

And why do the hips move backward in the first place?
Because of boots with little ankle flex, and bindings that fix the heel?the standard alpine setup of the past few decades. As the skier compresses, the hips naturally shift back.

Now, why do skiers compress in that way?
Often it’s because they are “bending the knees while applying pressure.” Personally, I don’t really understand the logic behind that movement, so I simply don’t do it.

In my video, though, you’ll notice that I also get smaller at times?for example, riding over a roller at the start. But notice: my shoulders don’t push forward, my arms don’t move, and my upper body stays upright.

Why?
Because my knees move forward. With low-cut boots (T4), the ankle can flex, and with Telemark the heel can rise. This allows the knees to come forward, keeping the feet right under the hips and pelvis. Even when compressed, the line from the upper body through the hips to the feet stays straight. That’s impossible in alpine, because the knees can’t come forward. Hence the “typical silhouette” I described earlier.

Let’s summarize:

• Getting smaller is not about adding pressure. It’s about absorbing pressure.

• If you keep a straight line through your body when compressed, you can use that moment as a rotation axis.

• That’s why I can pivot cleanly, upright, without flaring my elbows or jutting my face forward.

The pressure that bends the skis is managed by extending the joints. That’s B-tele.
On the other hand, there’s A-tele: even though the fore-aft stance is “Telemark,” the actual movements are essentially alpine.

Which approach you prefer is up to you.

Everyone, I want to share a memorable lesson I learned when I earned my cross-country ski instructor certification in New Zealand, from a Norwegian instructor.

“Walk on your ski, not on snow.”
He said, “Don’t walk on the snow with your skis?walk on the skis with your boots.” The moment I heard this, I was shocked…and deeply impressed.

Think about it. On hard asphalt, even if you’re a little tipsy, you can walk, right? Walking on hard ground with sneakers is essentially the same as walking on the hard surface of a ski with a flexible classic boot. Isn’t that a brilliant idea?

In daily life, we sense “hard” or “soft” through our soles. That’s exactly why cross-country skis have bindings. No matter how far you walk, the boot sole is always on a hard ski surface. You can feel the firmness underfoot, so walking feels natural?just like in everyday life. You can enjoy the scenery, chat with your neighbor, and still move comfortably.

In Japan, we often hear, “Equipment is part of your body.” In that case, the boundary we think about is usually between the ski and the snow. But the Norwegian instructor taught me a different perspective: the boundary is between your boot sole and the ski (or binding).

This is a view shaped by a long history of using skis as a means of transportation. I felt it deeply?it really touched my heart.

Everyone, today let’s think about speed control.
First, let’s take cross-country skiing as an example. When you ski on a course, you increase your speed by pushing with your own power, right? And to slow down, you need to use braking. Think of it like a car: accelerator and brake. Or a bicycle: pedaling and brake. The concept is the same.

Now, what about downhill skiing?
How do you speed up? How do you slow down? Here’s the key:

• Slow down → apply the brake

• Speed up → release the brake you’ve been applying

That’s right, everyone. Speeding up is also part of brake control. You’re not producing extra power; you’re controlling your speed by adjusting how and when you release the brake.

So when people say, “Speed control is crucial in downhill skiing,” it really means the same thing as how well you can use the brake.

Try this in your practice: pay attention to the brake not only when slowing down, but also when speeding up. You’ll notice your skiing becomes much more stable.

This is why I always say, “Skiing is all about the brake!”

Everyone, today let’s think about the question: “What is a Telemark turn?”

My answer is this:

“It’s a mark that shows you belong to the same tribe, or like a tattoo.”

A bit of a funny expression, isn’t it? Let me explain what I mean.
When you put on Telemark gear and stand on the snow, first try spreading your feet front and back. Can you do it? Great?that’s how you know you’re part of the same tribe. Then, if you can execute that posture sharply while going downhill, you earn points! Your status within the tribe goes up.

Now, here’s an important point: It’s hard to shake the assumption that “a Telemark turn is natural just because you have heel-free equipment.” That’s why I described it as a “tattoo.” And you can also think of it as “a formal practice or etiquette.”

A Telemark turn is an intentional movement. It’s not something that appears spontaneously, like a child simply trying it for the first time. That’s why the word “practice” fits perfectly here. Skill level is just part of the etiquette.

Another interesting thing: people who ski Telemark naturally notice others doing Telemark turns. “Ah, a Telemarker!” In my case, that feeling brings joy. Lucky! Positive emotions!

On the other hand, when I see someone using Telemark gear but only doing alpine turns, I feel a little sad, a bit disappointed. But it’s not about skill. The root of that emotion is, “They’re in the same tribe, but…” I understand it well, having spent many years in A-tele myself.

Next time, we’ll discuss: “Is B-tele a Telemark turn?” Stay tuned… maybe!

Good morning, everyone. Today, I was out for my morning jog thinking about a question: “What is Telemark skiing?”

I’ve always liked thinking about something while walking or cycling, even as a kid (Anne of Green Gables, anyone?). It feels more constructive?and somehow slimming?than just sitting in a chair pondering.

So, how would we explain Telemark skiing? Let’s organize it in this order:

1. Visuals

2. Characteristics

3. What it allows you to do

4. My personal experience

5. Current situation

Summarizing all that, here’s my conclusion:

“It’s a heel-free genre that evolved toward downhill skiing?and today, it has reached the NTN system.”

Pretty neat, right? Maybe jogging helps clear your mind! The pattern is: start with a concise statement, then expand with explanation.

Now, what do I mean by the “heel-free genre”?
Snowshoes, cross-country skis, BC X-C, XPLORE, 75mm leather boots, 75mm plastic boots, NTN… Basically, the names of the equipment. Among all of these, Telemark skiing is what evolved especially for downhill.

When I started Telemark, it was leather boots. Then plastic boots, 75mm standard, and now the NTN system. Looking back over 30 years of changes, I’d say: “It was a straight path toward more rigid gear.”

However, for someone starting Telemark today, this is their first experience. They don’t have the sense of “it’s gotten harder.” Telemark skiing happens on the same slopes as alpine skiing?downhill skiing, Telemark style.

Incidentally, if you check the Rottefella website from a few years ago, 3-pin bindings no longer appear on the Telemark page?they’ve been moved to backcountry. BC X-C, XPLORE, and 3-pin are now backcountry. NTN is Telemark.

Seeing this, I sometimes wonder: “Are we really running a proper Telemark ski school?” or “Should we rethink the sign that says ‘Easy Telemark’?” That’s the kind of reflective mood I’m in these days.

If all goes well, next time we’ll continue with: “What is a Telemark turn?” (Fingers crossed!)

Everyone, today let’s think about what it really means to be “good at skiing.”

For me, I focus on three main points:

1. Speed ? skiing fast

2. Being able to ski down steep slopes

3. Being quiet ? smooth, controlled movements

If someone meets all three of these criteria, I consider them good at skiing.

Interestingly, turning isn’t included in these criteria. And the same goes for Telemark skiing.
In other words, in my view, being good at skiing and being good at turning are separate things.

Of course, this is just my personal standard, but it can be fun to think about your own definition of what it means to be “good” at skiing.

Everyone, many people think that skiing is all about drawing continuous turn arcs.
But today, let’s consider a slightly different perspective.

In fact, skiing is a combination of braking and turning.
If you watch my videos on YouTube, that’s exactly how I ski.

Let’s start with braking.
Braking isn’t controlled by the turn arc itself?it’s done by drawing a banana shape on the slope.

• On hard snow, drawing the banana is called “skidding”

• In deep snow, drawing it is called “digging”

Both use mainly the inside ski’s outside edge, and especially the back half of the ski.
The key point: braking works best with the inside ski, not the outside ski.

Next, let’s talk about turning. There are three types:

1. Kick Turn ? performed from a stationary position

2. Wedge Turn ? performed while moving

3. Aerial Spin ? a full rotation in the air

Note: The aerial spin is possible thanks to heel-free systems or low-cut boots. You cannot do this with alpine skis?even small turns remain turn-arcs.

To summarize, here’s what you should practice:

• Braking: “skidding” and “digging” → in practice, these are the same, so just remember skidding = digging

• Turning: “kick turn,” “wedge turn,” and “aerial spin”

Master these, and you’ll be able to ski not only on the slopes but also down mountain ridges?regardless of snow conditions.
And remember, always with a smile!

About B-tele
Thank you for watching. Most of the videos showing B-tele skiing are from 2020 onwards.
Earlier videos are positioned as A-tele or A+.

It’s always me skiing?whether in a video from over 10 years ago or in yesterday’s clip?but what I focus on or challenge myself with changes over time. That way, when you look back, you can see it as a record of evolution.

When talking about B-tele, please refer mainly to the more recent videos. Above all, I believe the illustrations are the clearest guide.

Everyone, today let’s talk about the differences between A-tele and B-tele.

First, let’s look at the basic approach:

• A-tele: Skiing is all about the turn

• B-tele: Skiing starts with braking

In A-tele, braking is included in the turn itself.
In B-tele, braking and turning are independent actions.

How you enter the turn also differs:

• A-tele: You wait for the brakes to engage before starting the next turn

• B-tele: You can operate the brakes independently of the turn, so there’s no need to wait

This also affects the turn radius:

• A-tele: Turns tend to be larger

• B-tele: Turns can be either small or large, freely

And the slope steepness?

• A-tele: Steep slopes are challenging

• B-tele: Braking is actually easier on steeper slopes than on gentle ones

How you apply pressure to the skis is different as well:

• A-tele: You load your weight onto the skis

• B-tele: You push and pull on the skis to control them

Up to this point, these concepts apply to both alpine and Telemark skiing.

Now, specifically for Telemark:

• A-tele focuses on the Telemark stance itself, almost like a show or cosplay

• B-tele focuses on using the advantages of the equipment?heel-free bindings or low-cut boots

The “showpiece” of each style is different:

• A-tele: The distinctive Telemark stance at the end of a turn. Bold movements look cool.

• B-tele: The brief transition and subtle braking. Quiet, controlled movements also look cool.

However, when skiing in complex mountain conditions, I personally stick with B-tele mode?it’s safer, more stable, and makes full use of the gear’s advantages.

Alright everyone, today we’re going to talk about how to generate power in skiing using your body.

Let’s start with the center of mass?but not the center of gravity. Here, I mean the center of the skeleton.
The place that moves the least when you sway your body?most likely just below the lungs, around the solar plexus.

From this center of mass, joints at the same distance tend to move in paired patterns. Imagine this:

• Shoulder bones and pelvis

• Elbows and knees

• Wrists and ankles

For example, bending both your elbows and knees at the same time is easy. But bending your elbows while extending your knees? That creates a slight moment of hesitation.

Also, the closer a bone is to the center of mass, the bigger and stronger it is; the further away, the smaller and more intricate. Same with muscles and tendons.
The center of the body has large bones and big muscles, the extremities have many small bones and tendons.

Now, here’s the key point:

• Power comes from the center of your body?the big bones and muscles

• Sensing, adjusting, and controlling comes from your hands and feet

Can you picture it?

Now let’s go a step further. When improving your skiing, many people focus on hip or shoulder alignment. But honestly, this isn’t the most effective. Why? Because hips and shoulders are “dumb”?they’re hard to move precisely on command. Even if an instructor tells you, you can’t instantly fix it.

Hands and feet, on the other hand? Simple. “Raise your index finger”?everyone does it immediately and correctly. That’s what I mean by smart, responsive parts of the body.

Here’s the conclusion:

Downhill skiing requires big power. That power comes from the center of the body.
Trying to consciously move the center directly is extremely difficult.

The trick is this: use your hands and feet as the “switches” or “dials” for output.
Focus on smart hands and feet, let them lead, and control the output from the center.

This is my B-tele concept.
Specifically, it focuses on how you move your feet. In Japanese, I express it as “CHU♪”.
Unfortunately, this part can only be fully demonstrated in person.

Everyone, let’s think about this for a moment. Telemark skiers often seem not very comfortable talking about technique, right?
Why do you think that is? I have a hypothesis: it’s because there isn’t a clear skiing goal to aim for.

So, what is the goal for someone starting Telemark skiing? Let’s not call it the ultimate “goal” yet?let’s say an immediate achievement. It’s probably to complete stable Telemark turns in the Telemark position. Yes, that stance with one foot forward and one back.

Here’s the key: that immediate goal is often a dead-end. Even after ten or more years, there may be little growth beyond it.
Now, think about this question:

“Have you just been performing the Telemark position?”

You’ve probably sensed it too: the goal of skiing itself is not the same as the goal of performing a stance.

If that forward-backward foot stance aligned perfectly with the true goal of skiing, skiers could confidently discuss technique with one another. But in reality, looking at YouTube and elsewhere, it’s like this: 50% of people are working hard just to “perform” the stance. Of the remaining half, half try to approach the power of Alpine skiing, while the other half go back to “performing” with weaker equipment. That’s my observation.

So, what is the real goal in skiing? I think we can explain it like this:

“It’s what comes from fully leveraging the advantages of your equipment.”

For example, fully fixed high-cut Alpine boots have a goal only Alpine skiing can reach. On the other hand, heel-free Telemark systems have their own goal. Light, agile XCD gear has its own goal too.

I like to think about capturing the essence of each goal in a single, catchy word.
For Alpine skiing: “strength” or “power.”
For Telemark skiing: “dexterity” or “softness.”

Isn’t that a beautiful way to divide things?
And this is why trying to make Telemark skiing more like Alpine skiing is actually… a little misguided.

One more point: in Telemark, spreading your feet forward and back is possible, and often treated as an icon of the technique. But unfortunately, it’s not necessarily an advantage in downhill skiing.
The advantage only appears when both feet are together.
Think back to my “B-tele” icon.

Now, I want you to consider this: if we set “dexterity” and “softness” as the goal, how do we develop from there?
Take a moment and think about it.

Now, everyone, there are two elements to braking: skidding and digging.

On hard slopes, we use skidding, while in conditions with deeper snow, we use digging. The key point here is that in either case, you primarily use the uphill ski. You extend your joints to flex the ski and push your weight into it. One important detail: only the rear half of the ski is flexed?you don’t flex the ski from tip to tail. I’ll explain the finer points of the technique another time.

After completing the braking action, you contract your joints to return. When you contract and return, the ski briefly lifts off the snow, and your speed increases. If you have pre-twisted your body, you can also rotate instantly at that moment. In other words, if you push and extend the uphill ski in the direction you want to twist, the ski naturally rotates when you return?in the air and quickly.

After that, you gradually apply force to the later part of the opposite side’s outside edge and repeat the same motion. This is the basic pattern of my skiing.

Everyone, when it comes to downhill skiing, people often talk a lot about turns?specifically, the shape of your turn. Sure, making turns is fun and exciting?I get that, too. But if we look at it from an instructor’s perspective, the most important thing is not how to perfect your turn shape, but how you control your speed while going down.

You might be surprised, but the shape of your turns and speed control are actually unrelated. So let’s focus on the core of speed control: braking. The key is whether your brakes work properly and whether you can adjust the pressure as you like. If you do this right, speed naturally comes along. On a slope, physics does the work?you’re going to accelerate anyway?so speed control really means controlling deceleration.

There are two ways to use brakes. One is to wait for your speed to drop naturally, and the other is to actively control your speed at will. The first one is common among skiers who think skiing is mainly about turns?they wait for the speed to drop before starting the next turn. In Japanese, this “waiting” state is sometimes called ‘riding’. It works fine on intermediate slopes, but on steep terrain it becomes difficult. After all, do you really make turns on a 40-degree slope? Most likely, you’ll just slide sideways.

This is where universal braking techniques come in. On hard slopes, we use skidding. That works well even on groomed runs. But when there’s deeper snow?powder, crust, or anything thick?your skis sink and skidding becomes difficult. So what do you do? You dig your skis. When the ski sinks, it slows you down. Many of you may have experienced sudden stops and falls?that usually happens for two reasons.

The first reason is that the entire ski sinks. More specifically, the front part of the ski creates resistance and suddenly stops you?hence the “uh-oh” moment. That’s why, when burying skis, you only need to use the back half from the boots back, not the whole ski. You use this as your brake pressure control.

The second reason is ‘riding’, meaning your weight is constant. That doesn’t give you real control. So instead, convert your weight into pressure. Think of it as push and pull. This lets you adjust how much the ski sinks, which directly controls your speed. In short: dig to slow down, lift to speed up. The same idea applies to skidding: skid the tail to brake, then release to accelerate.

Here’s something that might surprise you: the leg that mainly performs this braking is your uphill ski, not the downhill ski. Specifically, the outside edge of the uphill ski, and the back half. The downhill ski has other functions, which we’ll cover separately.

To sum up: in downhill skiing, the most important thing is braking, not turn shape. Braking is mainly done with the back half of the outside edge of your uphill ski. On hard snow, slide it to brake; on thicker snow, bury it to create resistance. Brakes aren’t something you wait for?they’re something you actively operate. Adjust pressure: extend and push, contract and pull. This push-and-pull motion is where heel-free skiing really shows its advantage.

Alright everyone, compared to alpine skiing, heel-free skis allow you to make turns with a smaller radius. Why? Because you can create a straighter rotation axis.

For example, when you shorten or compress your body, your heels lift, allowing your knees to move forward. This keeps both feet directly under your upper body. The line connecting your upper body and feet becomes your rotation axis. A straight rotation axis naturally creates the smallest turn radius?like spinning almost in place.

Important note: compressing your body is different from squatting down. The moment you compress, the skis lift slightly off the snow. In the air, your skis rotate most freely. From the outside, this might look like a short turn. But if you slow down this motion, you can easily turn it into a medium or long radius turn.

Also, before you compress, you must extend your body. As I mentioned before, extending the body is how you apply a brake. By extending the joints of the uphill leg, power is transmitted from your ankles to the skis, causing the tails to skid?and that acts as a brake. In deeper snow, sinking the tails does the same thing.

So to summarize: extend your body to brake, compress your body to turn. That’s the fundamental movement in heel-free skiing.

First of all, I want to clarify that the way I categorize A-tele and B-tele is just my own framework. It’s not a standard way of thinking in Japan.

The important point is that B-tele is my original concept. It took me about 25 years as a telemark ski instructor to develop this idea. I’ve attached some reference material above, which I hope will help you understand it.

Now, let’s talk about A-tele. What is A-tele? Simply put, it’s all telemark skiing techniques other than B-tele. In other words, general telemark skiing falls under A-tele, including technical theories and teaching methods. I didn’t reject A to create B; my position is simply that both A and B exist.

A has been around for a long time, and its existence has reasons. There’s a purpose to dropping your hips and spreading your feet front-to-back. That purpose could be physical, or it could relate to the inner experience: maybe it’s fun, exciting, challenging, or gives you that “I’m really skiing” feeling compared to alpine skiing. I myself spent years operating entirely within A?trying to figure out how to stabilize the telemark position within a turn, or what meaning there might be in spreading the feet front-to-back. Back then, turns came first, and the telemark position was something to fit into that turn. That was basically my role as an instructor up until around 2008.

The trigger for creating B-tele came from a question: “Right below the ridge, on this extremely steep slope, do I really want to turn? Isn’t it dangerous?” On icy, steep slopes, we first slide sideways. In such situations, does it even make sense to teach turns? If you spread your feet front-to-back here, it could be disastrous. Do you raise the heel of your uphill ski? What is a turn? Is the telemark position even necessary? These questions came from skiing in the mountains, not on resort slopes.

What became clear is that what you really need in downhill skiing is brake control. People who are good at braking are good at controlling speed. I focused on braking itself and developed B-tele. To summarize: A is about turn shape, B is about braking. B works in any slope or condition. With B, you can safely get down.

Developing B also revealed a gift: in many ways, telemark skiing can be superior to alpine skiing. A demonstrates its value in conditions where you can enjoy turn shape?resort slopes, comfortable angles, safe environments?where you can move actively, enjoy bold turns, and even the physicality of the skiing.

On the other hand, the world of B-tele emphasizes skiing more quietly, softly, and lightly. Both A and B have their place, and understanding both allows you to choose the right approach for the situation.

So in summary:

• A-tele: techniques to enjoy turn shape

• B-tele: techniques focused on braking, adaptable to any slope or condition

Understanding both and using them appropriately is how I suggest approaching telemark skiing.

Everyone, today I want to talk about Lead Change.

To be clear, in B-tele, there is no such term and no intentional movement that corresponds to it. You might watch a video and see that the skis clearly swap front and back each turn, and think, “That’s a Lead Change, right?” I understand why you would say that. But in my system, there is no intentionally executed Lead Change.

Why? Because in B-tele, we don’t base our skiing around the shape of the turn. As I’ve mentioned before, the focus in B-tele is on braking. On hard slopes, this means skidding; in thicker snow, it means digging the ski. That is the concrete action we use to control speed.

Now, what appears to be the Lead Change within a turn? In my perspective, it’s better described as a spin?a quick directional change in the air, using both feet simultaneously. After that, we use the uphill ski to brake and adjust speed with a mix of skidding and burying. During this, we press diagonally with the ankle of the uphill foot. That’s why in high-cut boots, the heel looks like it rises, and in loose low-cut boots, the heel may barely rise showing the motion closer to what’s really happening at the ankle. Whether the heel appears to rise or not depends on the boot, not your stance width or foot placement.

So that covers the role of the uphill ski for braking. What about the downhill ski? It simply gets pushed forward. The front position of the downhill ski results from the push created by extending the uphill ski in the air after the spin. By extending the uphill leg, the downhill leg naturally moves forward.

Here, the sense of “forward” is crucial. Your foot can position itself in front of your body, which is easier if your boots allow ankle extension?again, low-cut boots help. And you do this while moving, while applying the necessary pressure, guiding the ski forward smoothly?like slicing sashimi with a sharp Japanese knife.

To summarize:

• Uphill ski: brakes with the ankle directed toward the downhill side

• Downhill ski: simply follows the forward path

• The aerial directional change, whether you call it Lead Change or not, I think of as “returning to zero”

• Then extend to brake again, repeat, and descend the slope

In short, I am just repeating spins and brakes in straight downhill skiing. This is why the thinking is not turn-arc based, and why I separated B from A.

Everyone, today I’m going to explain using the terms A and B. This is just for clarity and easier understanding.

First, A-tele. The key point in A-tele is that the main force used to flex the skis comes from your own body weight. There are debates about weight distribution?“70% on the front ski” or “80% on the back ski”?but in any case, body weight is the main factor. The underlying image is still very much about the turn shape.

On the other hand, in B-tele, we focus only on the uphill ski. The source of force comes from pushing, and the key is how much you push, how much you skid, or how much you bury?using only the tail of the ski. Importantly, this is done without leaning back, and the purpose is braking.

This B-tele technique works better with low-cut boots rather than high-cut boots, because the greater the ankle mobility, the easier it is to control the push, skid, and bury actions. The idea behind B-tele relies on having this freedom of movement.

In summary:

• A-tele: flexing the skis primarily with body weight

• B-tele: braking using pushing force through the tail of the uphill ski, leveraging ankle mobility

Everyone, think about bicycles and cars for a moment. They both have brakes. When you pick up speed, you apply the brakes to slow down. Sometimes you even apply a gentle, continuous brake while going downhill.

Skiing works the same way. In B-tele, we apply a gentle, continuous braking force while feeling out the snow conditions as we descend.

So what is braking on skis? It’s all about how you orient and use the skis to create resistance. On hard slopes, I create friction by skidding the skis sideways, which acts as a brake. We call this "skidding." In deep snow, I dig the skis into the snow to slow down, which we call "digging." Depending on the conditions, we combine these two techniques.

Here’s the key point: bicycles and cars don’t slow down by turning left and right repeatedly. They slow down using the brake itself. Skiing works the same way. Deceleration comes from braking, not from turn shape.

In my terms, on hard slopes we use skidding, in deep snow we use digging. That’s braking. Not the arc of the turn. And honestly, this might be a revolutionary way to look at skiing.