The Finish Line

March 31, 2021

Why are elite athletes able to speed up when they see the finish line?

In 2018, journalist Alex Hutchinson asked this very question: Why are elite athletes able to speed up when they see the finish line? In other words, why can some people finish with strength, and others find ways to avoid end points or lose momentum or simply give up? Hutchinson draws from the research of Dr Martin Paulus who says that elite athletes are trained to ‘accept discomfort without panicking’, as their training builds both tolerance and resilience to endure that which is uncomfortable.


There is no doubt that finish lines, both literal and metaphoric, can be inherently uncomfortable. Even sitting on the sideline of the Year 9/10 Toowoomba Secondary Schools Sports Association Basketball grand final on Friday evening wrought its own discomfort for spectators. Our Fairholme team lost valiantly by one point to an equally determined St Joseph’s team. There was no giving up in sight, and one whistle blow might have turned the final result – but it didn’t. That is the beauty of sport; it keeps us honest right until the end of a match. We are required to keep going. Schools are filled with finish lines, end points and conclusions that have high stakes and some that don’t. Irrespective of the weight of importance, the ability to stay committed and in the present, right until the siren sounds, signifies depth of character.


Close enough to a decade ago, my daughter (never one to approach life in any way than at full pace) commenced her teaching career in Brixton, London, at a school for students with complex educational needs and disabilities. Not surprisingly, my husband and I fielded tearful phone calls about how hard it was for her. From a distance, or even at close range, there was nothing we could do directly do to make her daily finish line any easier to navigate. She recalls that I would say to her, almost with annoying regularity (as parents are wont to do) – ‘You just have to show up. These kids aren’t used to that. They’re used to people giving up, retreating, or finding what they believe to be,a better offer.’ I am proud to say she stuck it out for two years – she kept turning up. Of course, she didn’t just turn up, she turned up with determination and a will to succeed. Unsurprisingly, she didn’t want to leave when her visa finished, she had fallen in love with the school and the students, she had made a difference to them and, in a priceless gift of reciprocity, they made an even greater difference to her. Her mental toughness yielded learning for a lifetime and her character cut its teeth on hard work.


In Hutchinson’s article (2018) he refers to French researcher, Cabanac, whose study published in 1986 described volunteers sitting against a wall with their knees bent and no other support. Different participants were offered different financial rewards for enduring the associated pain, and the money was ‘banked’ at intervals of 20 seconds. Those offered more money lasted longer. What was demonstrated through the study was that the participants’ ability to persist depended on brain factors, rather than just muscle endurance. The researcher’s proposal is that the brain generates the sense of our effort and therefore how we feel; thus, how we approach difficult moments is directly affected by how we think – even in highly physical settings. Behaviourists would concur that how we think leads to how we feel – which is why their work is focused on recognising, reframing and rephrasing our self-talk.


Healthy self-talk doesn’t take all the pain away, unfortunately. There is no silver bullet when it comes to endurance. The gold medal doesn’t, by routine, go automatically to the person who is willing to suffer more (Hutchinson, 2014). In fact, researchers would argue that ‘without the feedback of pain, we can’t pace ourselves’ (Hutchinson, 2014). Where does that leave us then, when we face another conclusion point, reluctantly or otherwise? It leaves us to remember that discomfort is part of the process, but how we view it and talk about it (particularly to ourselves) has a significant effect upon how well we approach and cross finish lines. The mind does need to have the capacity to overcome or manage obstacles and so too do students – without parental or teacher intervention. Life will deal us all Brixton moments – often far more complex than those my daughter addressed. But when we do address them, we also allow ourselves silver-lining possibilities and precious learning that helps us to navigate our worlds more effectively.


It’s why Fairholme girls will continue to hear me talk about finishing well, and why I will unapologetically continue to utilise sporting analogies about third and fourth quarters or the sounds of the final siren … because the ability to address the discomfort of any end point is a life skill. ‘You can’t pace yourself, or win a race, without pain. So, the gold medalist isn’t necessarily the athlete who suffers the most, after all. … She is the one who uses the pain best’ (Hutchinson, 2014) and the one who, over time, develops the capacity to speed up, or develop strength and momentum, when a finish line is looming.


Dr Linda Evans | Principal


References

Hutchinson, A. (2014). ‘Training to live with pain: What we can learn from Olympic athletes.’


Hutchinson, A. (2018). ‘Why are elite athletes able to speed up when they see the finish line?


More News…

By Sarah Richardson May 22, 2025
From the moment she could walk, Grace Andersen was dancing. At just two years old, she took her first ballet class, not quite knowing that her tiny feet were stepping onto the path of a lifelong passion. ‘I didn’t always love it,’ she admits, ‘but I did it anyway.’ It wasn’t until a change of schools in Year 1, moving to JE Dance , that Grace fell in love with dance in a whole new way. She thought ballet was the only style out there, until she discovered contemporary, jazz, and more. But ballet always held her heart. ‘There’s just something about it,’ Grace says. ‘I like the structure. With ballet, you need the right technique, it’s disciplined. That’s what I love.’ Now, ballet is more than a hobby; it’s a central part of Grace’s daily life. She trains nearly every day. Monday through Friday at JE, and on Thursdays she leaves school early to travel to Brisbane for coaching with Classical Coaching Australia. ‘It started this year,’ she says, ‘and I’ve already learned so much.’ This dedication recently led Grace to one of the most exciting moments of her young career - being cast in Queensland Ballet’s Coppélia during its regional performance in Toowoomba. ‘At first, Mum and I thought it would be like any other show,’ Grace recalls. ‘But then we had to fill out forms with bank account details, that’s when we realised it was something more.’ And it was. Grace was cast in not one, but two roles: the opening dancer as Little Coppélia, and a Smith sister in the village scene. ‘It was such a big surprise. When the curtain went up, I was the first dancer on stage. It was amazing.’ Performing with Queensland Ballet offered Grace more than just a moment in the spotlight, it gave her a glimpse into the world she dreams of joining. ‘Just seeing everyone there… it showed me what it would be like to be a professional dancer, which is what I’ve wanted since I was really little.’ Her ultimate dream? To dance with the Paris Opera Ballet, and one day become a ballet mistress, coaching and mentoring future dancers in a top company. ‘But first, I want to get into a good ballet school or academy,’ she says. ‘It takes a lot of practice. On weekends, I bring my ballet ball out to the living room and stretch or do rises while watching TV.’ Grace doesn’t just talk about hard work, she lives it. Her weeks are full, her schedule demanding, but her love for ballet never wavers. ‘You definitely have to be strong and fit and flexible, but most of all, you have to love it.’ While she doesn’t have a famous ballerina idol, she finds inspiration closer to home. ‘My mum was a dancer. She went on pointe and everything. She didn’t perform in shows like I do, but she helps me, and I really look up to her.’ Up next, Grace is preparing for her role in The Fairy Queen with Brisbane City Youth Ballet this winter. It’s her third time with the company, and she’s already setting her sights on what comes next. Because for Grace, ballet isn’t just a series of steps, it’s the rhythm of her future.
By Sarah Richardson May 22, 2025
School mates cast in lead roles for the Empire Theatre’s 2025 Junior Impact Production When Phoebe Hohn and Sammy Cheetham auditioned for this year’s Junior Impact Production, Soul Trading, they had no idea they’d be cast opposite each other in two of the show’s leading roles. Set in the year 2079, Soul Trading is a futuristic play that explores a world where every child’s future is shaped by their personal learning robot – except for one. Phoebe plays Geri, a quirky and fiercely independent girl who refuses to follow the AI-dominated path everyone else is on. ‘Geri doesn’t have a bot like the others. She’s different, and she’s proud of it,’ says Phoebe. ‘I love playing someone who questions everything and isn’t afraid to go her own way.’ Her co-star, Sammy, takes on the complex role of Neutron, a clever and rebellious robot who doesn’t quite fit the mould. ‘Neutron is actually an illegal robot that Geri secretly 3D printed,’ Sammy explains. ‘She’s bright, ambitious, and wants to live a free life – but Geri tricks her into thinking she’ll die if she leaves.’ Throughout the show, Neutron cleverly manipulates both humans and bots to bend the rules and follow her lead. For Sammy, this is her second year involved in the Junior Impact Ensemble. ‘Last year, I was part of Our Egg Named Larry, and I absolutely fell in love with the program,’ she says. ‘That experience made me want to audition again this year, and I was thrilled to receive one of the main roles.’ Phoebe and Sammy, who are also speech and drama partners, supported each other through the audition process and have relished the opportunity to bring this fast-paced, futuristic story to life together. Their characters’ dynamic is central to the narrative, and their real-life friendship brings depth and energy to every rehearsal. With the production set to hit the Armitage Centre stage this July, both students say the experience has pushed them creatively and helped them grow in confidence. ‘Performing in a space like the Armitage is a dream,’ Phoebe says. ‘It’s exciting and a little bit surreal.’ We can’t wait to see Phoebe and Sammy shine on stage as Geri and Neutron – two bold characters in a brave new world.
By Sarah Richardson May 22, 2025
10 minutes with Ebbeny Williams-Cherry, 2025 Fairholme College Prefect for the Arts and lead character in Midnight: The Cinderella Musical.
All News