The Movement
The Most Insignificant Significant Thing:
The Movement’s Creative Nexus, 25 Years Later
Portland, OR, fall of ’93: Snowboarding needs to outgrow neon, world titles and the ski industry. Skateboarding’s influence hasn’t even entered the scene. The stage is set for a surge of raw creativity to shock snowboarding’s culture. Matt Donahue and crew overlook the yet-to-explode city from Mount Tabor. Portland’s book and coffee shops, its punk venues, skate spots, and intellectual hangouts stretch west toward the coast and east toward Mt. Hood. Donahue and The Movement’s other two riders, Dan Peterka and Mark Hibdon, walk across the leafy ground. The late Chris Brunkhart opens the shutter of his Leica, framing only their feet, in black and white. A blitzkrieg of full-volume artistic creation would follow, called The Movement. It was a burst of expression in snowboarding, which evolved, inspired and disintegrated.
“We answered the call of an anti-commercialist approach to a sport that needed some soul injected into it desperately,” Donahue says. “We just wanted to give the sport some fuckin’ soul.”...
Subscribe for access to this article plus the entire archive of The Snowboarder's Journal content—and receive a discount on all products. Subscribe Now