The rest was easy: Max Lundberg and his gang of 10 instructors incorporated the wide stance into each of their movements and added other dimensions—independent leg action, a feel for the terrain, an awareness of the body's assimilation of bumps and ruts. The wide stance provides stability and balance. Lundberg says, "Our concern is less with the perfection of maneuvers and more with the development of the basic skills required to adequately perform them."
Here are a few fundamentals from the American technique. Stepping around in a circle on skis is a Walking Pie Turn and serves, says Lundberg, "as the first learning phase of stepping on edges and a crude form of unweighting." On the hill, one can step around a turn much the same way; carving is for advanced skiers and something beginners do only to roast beef. The oldtime snowplow no longer exists. Instead Lundberg refers to a "wedge." "In the past," he says, "we drummed the snowplow into students so thoroughly that they could never get out of it. Now we slide into a wedge and avoid hard stemming. The legs work independently, the way they're supposed to work. Now we allow the downhill and the uphill ski to slip a little bit, and they just ease into the fall line anyway."
From the wedge, the American demonstrators progressed to wide-track long-radius Christies with both simultaneous leg rotation and independent leg action. Both ways work. In their closing show, the U.S. skiers poured it on by taking off in all directions, performing all kinds of turns at varying speeds, even displaying a Royal Christie borrowed from ballet skiing and adding a touch of racing with a giant slalom. And there wasn't a stylish wiggle in the works. It was a convincing show of basic skills carried to all levels.
However young, Lundberg's instructors were all teaching veterans. And they embraced the new program wholeheartedly. "In the old days," says Bill Duddy, senior supervisor of the Vail ski school, "we had the snowplow turn and the stem turns, and a beginner had to stay with these until he had perfected them. We are no longer confined to this type of slow teaching process." Chris Ryman of Alta, Utah says, "We have gotten away from the static parallel turn and we finally can enjoy total motion, freedom, versatility. It's what I call getting rid of the paralysis of the parallel."