Tri-athlete Linsey Corbin

Brian D'Ambrosio is a writer/editor living in Missoula.

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When the mind is without clarity it cracks. When the mind lacks stability it quakes. When the mind lacks inspiration it sleeps.

In order for Missoula triathlete Linsey Corbin to succeed, her mind must shine like jade. It needs to elevate her on lowly days and inspire her when she is feeling alone, fatigued, or out-of-sync. If it’s corrupted by fear, self-doubt, or frets about steep terrain or stiff competition, she would stumble.

She hasn’t slipped yet.

In fact, mental tact has pushed Corbin into a top ten finish in more than ninety percent of her races.

“Being a triathlete is almost more of a mental event than a physical one,” says Corbin, who has competed in sixteen Ironman competitions. “Physically, we are all on an even playing field. But, mentally, you would be surprised by what you can do once you can set your mind to it. It helps me to be open to surprise and positive.”

As part of that mental preparedness, Corbin trains, or, well, un-trains, the thinking process. She puts herself in uncomfortable training situations and mentally equips herself to handle all the psychological distractions and discomforts she expects to encounter on race days.

Some of the more challenging items: a healthy dose of pre-race nerves; fickle or extreme
weather patterns; underestimated terrain; and concerns about calories, digestion, and the other competitors.

Her head, her nervous system, her eyes, her senses and her body – these do not encounter the external environment. They are the external environment.

“When I train, I try to focus on the things I can control, like breathing, cadence, hydration,” says Corbin. “I don’t focus on those things not in my control. I try to break (thoughts) down to simple things, and just get to the next mile. I find smaller components work for me. A lot of these lessons I find applicable to life.”

Corbin grew up in Bend, Oregon, with aspirations of winning Olympic Gold as a ski racer. Years ago, however, she realized that her body type and personality were better suited for cross country and track competitions. After hanging up her cleats, she landed at the University of Montana, studying nutrition and exercise physiology. A few years later, she ratcheted up the intensity, and became a professional athlete.

It seems only natural that Missoula has cultivated Corbin’s athleticism, for it provides uniquely natural training environments. From Pattee Canyon to Mount Sentinel, the city slickly balances mental fortitude with top physical fitness. And its 3,500-feet elevation and plethora of surrounding trails, canyons and ridges, are the stuff of great teaching opportunities and sharp regimens.

“I love training and living in Missoula,” says Corbin. “The thing about Missoula is that there is no pretentious limelight and a great balance. The city has a nice identity and no place compares to Missoula.

“From an athletic standpoint, there are lots of humble athletes here, ultra-distance runners and medalists. It has incredible bike riding, and once you leave, you can go one hundred miles and see only one stoplight.”

Corbin’s favorite bike rides take her along the Blackfoot River corridor to Ovando or Seeley Lake, or in the opposite direction to the Bitterroot, often to Lolo Pass. Her primary running trails are the Kim Williams Trail, which she runs at least five times weekly, or a long run in the Rattlesnake. “The landscape of Missoula makes me a better athlete,” says Corbin. “Whether it’s hail storms or a real rocky run, it can be a hardcore environment – missing from places such as Seattle or San Diego.”

Corbin works out physically, whether it’s swimming, biking, or running, between five and seven hours a day. Every workout has a purpose. Tuesdays and Thursdays require higher intensity, higher heart-rate exertion, and overall harder efforts. If there is no struggle in her life, then there is no sense of adventure.

Since it is hard for her to log the necessary miles in Missoula in the wintertime, Corbin trains in warmer climates for big chunks of the year. Her vision is to “transcend the boundaries of my sport” and “represent the importance of a sound mind, body, and diet in achieving dreams.”

Her most memorable experience as a professional, she says, is still her initial Ironman, which took place in Coeur d’Alene, Idaho, in 2006. She was fraught with nervous anticipation and the natural anxiety of the unknown.

“My biggest issue before the race was being worried about pain and suffering,” says Corbin. “But I felt great afterwards and that was pleasantly surprising.”

During an Ironman event, Corbin consumes approximately 6,500 calories and generally eats about six meals a day. At the 2006 Ironman Hawaii she shed ten pounds. “The heat and humidity were rough,” says Corbin. “My Montana resiliency and stubbornness paid off.”

Indeed, Big Sky qualities are embedded in Corbin’s sense of identity: She picks up a cowboy hat near the end of each race and crosses the finish line wearing one.

“It is a bit of a tradition for me,” says Corbin. “The cowboy hat is symbolic for the fact that I’m having a lot of fun. When I’m not having fun, I’ll stop racing. As long as I enjoy competing, I’ll keep going.”

At 32, she is fully aware that the mid-30’s are the peak years for female athletes in endurance sports. When her mind and body are in harmony, Corbin is inspired. When inspiration flows, her legs and feet move swifter, her muscles strengthen, and her goals are met with a renewed sense of purpose.

“One of the biggest goals for me is to complete the Ironman in less than nine hours, which I’ve done once. Ultimately, I would like to be world champion at Ironman Hawaii (held October 12, 2013).”

When Your Neighbor is a Grizzly

grizzly bearPeople are going to have to accept the big predators as a cohabitant on a limited landscape, the biologists said in a draft conservation plan released this week by the U.S. Fish and Wildlife Service.  MORE>>>

The Missoulian

MSU's Annual Pow-wow

By Jenna Caplette

Jenna Caplette migrated from California to Montana in the early 1970s, first living on the Crow Indian reservation, then moving to Bozeman where she owned a downtown retail anchor for eighteen years. These days she owns Bozeman BodyTalk & Energetic Healthcare, hosts a monthly movie night, teaches and writes about many topics. 

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The weekend of April 12 and 13th brings the Annual Montana State University American Indian Council Pow Wow. It’s free and open to the public. In fact, visitors are welcomed. 

Pow-wow offers an opportunity to celebrate Montana’s heritage. Since my daughter Rose is half Crow-Indian, the MSU pow-wow has been part of her life since I carried her there in a cradle board.

Basically, a pow-wow is a gathering, a time to meet friends, new people, and to have fun. It’s a celebration of dance and music, of native culture and tradition. Many dances emulate a bird of one kind or another. For instance, traditional Crow-style men dancers emulate the Sage Grouse. In the old days, dances used to be particular by tribe or area, like the Crow Tribe, or the Northern Plains, but now dancers choose the style of dance by what they most enjoy. Their choice, and their way of dancing, express who they are. 

When you watch a pow-wow, notice the different styles of outfits. The easiest to pick out might be women’s jingle dress dancers, outfits covered with metal cones. Plains traditional dancers usually wear buckskin outfits. Crow traditional dancers often wear wool dresses decorated with real or imitation elk-teeth. If a woman is carrying a shawl and wearing a dress decorated with ribbon, she’s probably a fancy dancer.  The shawl is a piece of art by itself.

Some dancers are professionals who travel the pow-wow circuit competing for prize money. They will participate in contest dances, working to get points, to demonstrate their skill. Judges watch them for their participation in the inter-tribal dances as well.

When the announcer calls an inter-tribal, everyone dances, mixing styles of dancing together. It is during an inter-tribal that visitors can participate. First watch for awhile to get the feel for how to dance.  It’s not at all like the dancing from old time Hollywood movies. Then, before you join in, you may want to check in with the arena director or assistants and ask if it’s a good time to do so.

If you want to take photographs, the Grand Entry event, held each night at 6 PM, offers a spectacular photographic opportunity. If you want to photograph a particular dancer, ask the person politely to take their picture. As with any other group of people, some don’t want their picture taken, some won’t mind.

This year’s host drum is “Young Spirit” and there is a contest for best drum group. Rose’s dad is a pow-wow singer. She says. “It makes my dad happy to sing from his heart. He has a passion for pow-wow music.”

When she was small, she used to sit on his lap and drum with him. For her,  “Pow-wow is being the rhythm, the beat of the drums. You dance and you can feel it in your feet and you dance and you’re so proud of yourself.”

We take our best shawls, get ready for the inter-tribal.

  

 

Missoula Art Beat: Shalene Valenzuela’s Patterns

Brian D'Ambrosio is a writer/editor living in Missoula.

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Shalene Valenzuela’s ceramic and porcelain art provides much to ponder.

For starters, within her pieces lurks a mild – and at times not so lenient – criticism of
consumption modes, consumerism, societal expectations, etiquette, and delineated
gender roles.

In addition to these themes, her sculptures prod fun at our society’s pervasive
construction of nostalgia as yet another form of relentless consumption.

“A lot of the imagery I’ve pulled from dated sources,” says Valenzuela. “It comes
from the era my mother and grandparents grew up in, from old photos, magazines
and yearbooks, and the advertising of the social, political events of their days. It all
seems so innocent, but that is so far from the truth.”

Through the hand-painting or screen-pressing of symbols, faces, and imagery on
thin, fragile objects, Valenzuela exposes contradictions in advertising, culture, and
society. Beneath the shiny veneer we see that the world is a perpetual caricature
of itself; every moment discloses the contradiction of what we pretend to be. She
understands that the world is a charming inconsistency and that every time we
take a step forward that we, in truth, revert back to the same primitive habits and
patterns. We are programmed that way, we are not only constructed to stand in
opposition to our own selves, but to philosophize our daily conflicts.

What Shalene’s art does so well is to rein in that ambiguity and repetition, or, at very
least, sleekly push those forces out into the open. Indeed, the action taking place in
her narratives relates to “a pattern,” says Valenzuela, “a rut in life,” something we
replicate on a daily basis and do so unquestioningly.

Since much of her imagery is culled from “dated” sources, we see “an idealized
time” in society and advertising. We see fashionable clothing, cookbooks, trendy
hair styles, the latest cosmetics and appliances, the staid pursuit of the inanimate;
the decadent swamp of consumerism bogging citizens down; cosmetics covering
up self-hatred. Valenzuela’s eschews the notion that we must be forced to equate
products and services with our human well-being. And she exposes the roots,
origins, and perhaps (hopefully) the zenith of this madness.

Jabbing holes at fairytales and urban myths through the faces of smiley, yet unhappy
ladies from a Time magazine Tupperware ad may seem a bit brusque to some eyes.
But, in actuality, a variety of women’s issues are executed with a jokey, often ironic
tone.

“It has more to do with the expression and glances on the faces of those painted and
what’s being implied by the actions,” says Valenzuela, who currently serves as the
director at the Clay Studio of Missoula and teaches at Flathead Valley Community
College. “I hope that the imagery of that old advertising captivates, but I would also
like the viewer to investigate more, to investigate those things that you can’t tell or
know from afar.”
 

Shalene’s work is aesthetically beautiful– pretty telephones, seemingly delicate
clay hammers and boards, but it also has a lot of depth, for her pieces explore the
interaction of humanity, nature, and mystery. Everything we see hides another
thing, and we want to see what is hidden by what we see.

While the issues she explores generally delve into the very tangible psychology of
self-esteem and self-perception, she knows full well that true art evokes a feeling of
mystery – a mystery without which the world as a collective entity would not exist.
Her illustrations and their sense of seriousness are real; the attitude or identity of
the subject is guesswork.

To Shalene, art is the practice of supplying content and thought, a method of
provoking a substantive discussion of earlier times and a way to better comprehend
the generally accepted behaviors of the present. It is her way of halting what never
stays still, of pinning down the elusive foe called time.

Valenzuela says, “Really, the art you see comes down to a moment in time, a moment
in time with an implied past and an implied future, which gives the viewer a hint
into the patterns of life. I hope there is more to it than at first glance. In the end, I
hope my art evokes questions about those patterns of life.”