FWIW, quite athletic skiing and a number of nice linked recoveries! If I were coaching you, I'd like to see you ski a rounder line through the bumps... The classic slow line, and for a few runs, let's ski the pitch slow, and while keeping your head level, really work at pulling your feet back/heels up and under your rear end as you crest each bump. This will start to get you the shin contact you need to be able to shape connected 'S's' rather than pivoting linked 'Z's' that leave you relying on a muscled 'pivot' originating from twisting your upper and lower body into counter and slamming into the next trough for speed control with pole plants in reserve as a 're-centering' and 'recovery' tool. Yes, I appreciate that you're most likely playing with a more zipper line tactical approach, but IMHO, you'd be better served initially by slowing down, skiing rounder, and then really working through the joint chain for more range of motion, particularly through your ankles and knees. This will help you ski from your feet and have better pressure management of your skis through the entire arc of your turns. Once this starts feeling better, then we can begin skiing the 'slow' line 'faster' and up the tempo while connecting all the dots*. While it's probably not fair, I do think there's much to learn in these clips of Michel Sebastien and Eric Lipton... Look at the range of motion in their flexion and extension, and where it's happening in their turns compared to yours:
And this one of Eric Lipton for an example of round 'slow line fast' bumps paying attention turn shape and what shin contact can do for steering below the fall line as his CoM passes over his feet. Hope this helps a bit.
(One interesting thing you'll notice Eric doing is sometimes lifting the tail of his new inside ski slightly with the tip maintaining contact with the snow... It keeps him honest and pressure directed to the new outside ski through the arc. You can almost 'feel' his feet connected to the snow while appropriate counter is built from the feet up rather than forced from the torso, down. )
( * There are more 'dots' in circular travel than in zig zag line segments .
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