ON THEWIRE “T

Trial Magazine - - CYCLE -

he mo­ment my

wheel touched the ac­tual slack­line for the very first time, af­ter months of train­ing and prepa­ra­tion and whilst be­ing com­pletely self­con­fi­dent the only thing I could think was: this is im­pos­si­ble!” says Be­laey.

“But with proper be­lief in my abil­i­ties, not to men­tion sheer fo­cus and de­ter­mi­na­tion I man­aged to suc­ceed. This was with­out a doubt the hard­est chal­lenge I’ve ever faced.”

The hard­est but most prob­a­bly not the last, as the Bel­gian re­mains ever so am­bi­tious: “I want to be the first per­son to ride a bike on the moon. Wouldn’t that be sweet?” In 2012, when Kenny was pro­duc­ing a clip in Paradiski per­form­ing tricks on a ca­ble lift, he was asked if there was any­thing left for him to do. Rid­ing a slack­line from one rock to an­other, he said — Kenny Be­laey ‘Bal­ance’ was born. It took an­other two years be­fore the project really took shape.

More than a year was spent on the ac­tual re­al­i­sa­tion, as well as six months of in­ten­sive train­ing with his trial bike on a slack­line. At first on a low­line — one me­tre above the ground — but grad­u­ally go­ing higher, up to nine me­tres.

Once train­ing was com­pleted the crew headed back to Paradiski, the sum­mer and win­ter re­sort in the French Alps that groups Peisey Val­landry, Les Arcs and La Plagne to­gether. When, af­ter a few days of hik­ing, the crew fi­nally spot­ted La Roche Fen­due, ev­ery­one im­me­di­ately knew this was the spot — ev­ery­one, that is, ex­cept Kenny.

“Look­ing at it only one thing crossed my mind: hell no”, says Be­laey. “That rock was 120m high above the ground. I didn’t even dare stand on the ridge so how on earth would I ride my bike on a slack­line over that gap within the next thirty days?” But the project was on so there was no choice but to go for it, dif­fi­cult as it might be.

“Ev­ery sec­ond on that slack­line was a night­mare” Kenny ex­plains. “Ev­ery inch gives a dif­fer­ent feel­ing be­cause the slack­line con­stantly moves, chang­ing the sur­round­ings and making my ori­en­ta­tion points

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