Global Dressage Forum 2008

Here are links to various blogs and reports regarding this year's Global Dressage Forum at the Bartels' family home in the Netherlands.

Article from Equisearch
http://www.equisearch.com/horses_riding_training/english/dressage/dressageforum_010505/

Eurodressage.com Coverage
http://www.eurodressage.com/reports/shows/2008/08gdf/pr_recap.html

Karen Robinson's Blog Report on the Forum
http://gaitpost-karen-robinson.blogspot.com/

Report from British rider Laura Bechtolsheimer
http://www.horsehero.com/laura-bechtolsheimer/6070

"My horse isn't quite right..."

Do you have a dressage horse that just isn't quite right? Is your horse lame? Is it just stiff? Is your horse suddenly not his usual self? Check out some of these resources to see if anything might match what is going on for your horse.

Sacro-Iliac Pain : A great blog post with references

Hooves!! : Fran Jurga's blog on hoofcare and lameness.... some of the coolest stuff about horse's feet you'll read anywhere on the web.

Colic, Metabolism, and More : e-Vet online healthcare information

Tying a Stock Tie

The stock tie is an important element of dressage show attire. They come in a variety of styles, with some requiring to be tied while others are pre-tied. Recently there is also a fashionable ruffled European style which does not require tying either.

For the traditionalists however, a stock that must be tied each time it is worn is second to none. Fastened then with a pin that holds sentimental value, is a "good-luck" charm, or is an accent to one's entire outfit the whole look is one of high class.

By following this link you can see an animation of how to tie your stock. How much you 'style' or fluff it up is a matter of personal taste.

http://www.saddleshop.com/extras/stocktie.htm
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Olympic Selection Trials

Tickets are now available for those wishing to watch the USEF Nat'l Dressage Championships which serve as the selection trials for the 2008 Olympic Games.

go to http://www.dressageontheroadtohongkong.com for ticket information.

More Reports from the Global Dressage Forum

Read one journalist's account of the GDF... definitely a take that is not concerned with being politically correct!

Day 1 http://gaitpostgdf2007.blogspot.com/2007_10_30_archive.html
Day 2 http://gaitpostgdf2007.blogspot.com/2007_11_01_archive.html

Coverage of the Global Dressage Forum

Eurodressage has great coverage of the 2007 Global Dressage Forum.

Go HERE. to view the reports. MANY words of wisdom even in their highly summarized abstracts of the symposiums presentations.

Finding the "Kruez"

For Germans, the term Kruez is well understood. For those of us who are not native German speakers, it can get a little lost in translation.

Kruez is pronounced 'kroyts'. It refers to the combined musculature, angle and drive of the pelvis, abs, lowerback and torso used to drive the seatbones in a forward motion in the saddle. This motion happens without leaning in the upper body, either forward or backward, and without the use of the leg aids primarily. Leg aids can back up the use of the Kruez where the horse does not respond. However, a sufficiently suppled horse who is well schooled to the aids should rarely need much reinforcement with the leg.

According to Walter Zettl on pg. 51 of Dressage in Harmony, "the movement [of the Kruez] is like one sitting on a swing, trying to bring the swing forward wihtout moving the legs or upper body." Another way to experience the use of the Kruez as a forward driving aid is to sit on the edge of a rolling office chair on a smooth surface. Sit on your seatbones with your pelvic floor level to the ground and your upper body stacked vertically over your hips (no leaning forward or backward) let your feet rest flat on the floor with your knees slightly open and your heels close to under your hip (in a chair you won't be able to have heel/hip/shoulder alignment) Now, try to roll the chair forward slightly without tilting back on your tailbone or leaning or pumping with your upper body. Your chair will only roll an inch or so, but this is sufficient. You just drove the 'hindlegs' of your horse further under you!

If you don't have a rolling chair you can still experience the movement of the Kruez by sitting in the same manner as above, but instead of rolling the chair, tip the rear legs upward off of the floor. Again, you have "activated" the hind legs!

More Reading on the Subject
This particular book covers in wonderful detail how to find the correct posture and body awareness to coordinate the weight aids. Excellent reading with very good exercises and visuals


Sylvia Loch has an entire series of books dedicated to classical riding, and the classical seat.

The Importance of the Rider's Seat

This was posted by Dr. Ackerman on the New Paradigm list. Wise words from the late Herr Neindorff with an excellent translation by Dr. Thomas Ritter

Enjoy!!!

THE SEAT CONDUCTS - by Egon von Neindorff, translated by Dr. ThomasRitter, 1999.

The equestrian technical jargon has ambiguous terms that have become open to misinterpretations through many different usages. Even basic concepts such as "Relaxation" and "Weight aids" are among them. Their meaning must be explained again and again in order to eradicate misunderstandings in practice. For this purpose, a book from the last turn of the century is lying before me with the title "Natürliche Reitkunst" (Natural art of riding). It was writtenby a man who combined both practical skill and theoretical knowledge uncommonly well: Lieutenant Colonel Otto de la Croix (d. 1908) discusses topics that are as relevant today as they were then. His experiences and thoughts are so present that I shall take the liberty to repeat them in his words as much as possible.

This master and teacher is among those who hold that it is above all the back as an elastic bridge between forehand and hindquarters that determines the movement under the rider's weight, along with the horse's natural crookedness and the activity of the haunches. According to him, the correctly understood relaxation is to be found in "the race horse that is fully extended at the gallop, as well as in the haute école horse that is maximally collected in the levade." The highest tone and activity of all the necessary muscles is an integral part of it, while their complete voluntary surrender precludes any disruption of the impulsion that floods the entire horse from the hind legs to the reins. This means that the horse must refrain from bracing his muscles; and furthermore, no part of his body must be impeded in freely unfolding its natural activity by stiffness, clumsiness, or lack of flexibility or muscle tone...I cannot think of a more accurate or concise way of describing the naturally numerous factors of true relaxation in the horse. In the same clarity, the author says about the natural rhythm of the footfall sequence: Swinging "with the regularity of the pendulum of a clock", the uninterrupted alternation between flexion and relaxation of the muscles results in the regularity of the gaits. This relaxation is tantamount to the complete surrender of all the horse's energies to the currently demanded purpose. "Within this relaxation, we work towards a continuous gradual increase in collection." This requires not only the ability to relax completely, but even more so - and this is even more difficult - the absolute willingness and ability to flex the muscles to the utmost degree, refined to a playful execution in any demand (i.e. at the same time relaxation and constant readiness to flex, the opposite of slackness)!

For if the driving aids are discontinued, any contact with the rider's hand ceases along with the impulsion from the hindquarters,until the horse "falls apart". Since now the seat and legs are reluctant to drive, while the hand is afraid "to carry anything"...(Apparently even back then relaxation was often confused with slackness - e.g. labeled "English school"). However, the web of muscles can only cooperate elastically when the musculature flexes correctly as a whole, i.e. only when the back is used correctly. For "it is only on the backmover", the horse with strong and elastically swinging back muscles, "that the rider sits softly and quietly". And it is only the effortless coordination of muscle flexion and precisely matching relaxation that turns the large "backspring" into a "gait producing and gait maintaining connection between forehand and hindquarters". Modifying the flexion of this back spring in various ways is true control over the horse's energies and enables their development. The security of the gait as well as the preservation of the horse's legs rests above all upon the use of his back muscles. It is thus not without reason that c.100 years ago riding master von Holleuffer emphasized that the most powerful muscles of the horse's body, the back muscles, determinethe work of the entire horse, resulting in the horse moving quietly under the rider's weight, wasting no energy. It also results in the calming of hot temperaments, waking up sleepy temperaments, a naturally beautiful outline of the horse, the pleasant, safe feeling of the rider in the saddle, and even a horse that appears to be better fed. The rider's seat on the horse's back is the closest connection between both: At first the rider's weight weakens and impedes the back's natural function. It also transmits the seat aids to the horse, however. It is the individual responsibility of everyrider to apply these correctly in order to establish the common balance of horse and rider at every moment in the footfall sequence,i.e. the permanent harmony of the movement. The rider's seat is thus the key for the correct effect of all other aids.

REGULATOR AND MODULATOR

As mentioned in an earlier article, I explain the correct effect ofthe rider's hand to my students by a comparison with a sieve: It must not interrupt the flow of the movement from the hind legs to the chewing mouth, but sift it, as it were. That corresponds to the rider's appropriate seat aids, based on the correct interaction of weight, and "Kreuz" (seat bones, and abdominal and shoulder muscles,TR). The rider's weight determines in particular the position of the common center of gravity depending on where the rider shifts his own center of gravity. The seat bones affect the activity of the back and the hind legs differently depending on how heavily or lightly the rider is sitting. The Kreuz "maintains and enhances the currently induced position of the center of gravity as well as the direction of the pressure of the seat bones on the horse's back". Although all three effects intermingle, the rider can determine each one separately: e.g. the racing seat with the rider's center of gravity shifted far forward is very different from the deep seat of the school rider.

The intensity of the flexion of the rider's Kreuz thus independent of the two other seat effects, and one distinguishes riders with "much" or "little" Kreuz, accordingly. (This says nothing about the rider's individual physique, however, but only about the use of his abdominal, back and shoulder muscles in the saddle). Wilhelm Müseler has illustrated the mechanics of the Kreuz effect effect in his famous "Riding Logic" with the example of a child sitting on a four legged stool and tilting it forward by bracing the Kreuz muscles. Similarly, the rider's Kreuz transforms the gravitational pull of his body into a more or less determined pressure forward,when it is placed forward in the saddle along with his hip joints.The thoroughly educated rider can achieve this effect not only with a vertical upper body position, but also in a forward seat. If his Kreuz is thus working in the same direction as the forward swinging hind legs, it prevents the loss of the achieved degree of collection in the movement.

De la Croix called this function of the forward placement of the rider's hips very aptly "analogue and at the same time correlate of the hand". For the Kreuz determines the degree of flexion for the hindquarters and the position of the center of gravity, as the hand does for the forehand. Both, united in an elastic interplay,maintain the horse in collection. Kreuz and hand willingly absorb the pressure that corresponds to the tempo and the degree of the muscle tone of the horse's back, which means they also reduce their own muscle tone as the horse reduces his. However, the Kreuz is by far the more important aid.

The experienced trainer De la Croix also remarks that as soon as the horse tires of the collection, he will try to evade it by reducingthe flexion of the haunches and by raising the croup. Only theKreuz, "sitting imperturbably through the thrust of the hind legs" can then induce the horse to realize his helplessness. (The hand cannot accomplish this, since the excessive pressure against the forehand emanates from the thrust of the hind legs that is not immediately transformed into carriage to the necessary degree). In all gaits, the Kreuz is, therefore, the rider's most important regulator of rhythm and stride length. This goes especially across country: Unevennesses of the terrain require different placements ofthe hind legs and front legs. This can interrupt the regularity of the movement. The same thing applies when the horse stumbles or spooks in moments of surprise. Here the Kreuz absorbs the changed position of the center of gravity as well by flexing more or less and by following the horse's movement appropriately. "Following the center of gravity's changed position and gently floating back into the old muscle tone and degree of balance"... ensures the beautiful,uninterrupted flow of the movement and thus resembles the valve of a machine that allows excess steam pressure to evaporate harmlessly. Securing the established gait situation is the characteristic feature of the Kreuz.

FROM IMPULSION TO THE HALF HALT

This still highly interesting work on the "Natural art of riding" (last published in 1913), much discussed in the past, but difficult to locate nowadays, corroborates the key function of the Kreuz in the balanced motion: Leg and spur aids remain useless without utilization by the seat. Even an experienced rider would then depend on his horse's good will. The respect that the often indispensable spur can obtain does not replace the main aid from the "midsection"placed forward in the saddle.

In other words, only correct seat aids guarantee the success of the leg aids and their amplifications by whip and spurs. The hand must remain passive! It is not a lever to be applied actively, as De laCroix emphasizes. He uses a comparison similar to the sieve: The hand should be "merely a barrier that restrains the horse's excessive thrust (in cooperation with the seat and legs)". Its stillness ("steadiness") with the appropriate rein length abnegates any active backward work with the hand. However, it must "absorb diligently what the impulsion from the hind legs places into it"! This is the only way to maintain the necessary tension in the backspring.

The hindquarters find the corresponding support in the ground as well as in the rider's adhesive Kreuz in the saddle: The more the Kreuz absorbs the impulsion from the hind legs, the more the horse flexes his back muscle through the thrust of the hind legs, and the less pressure arrives in the rider's hand (provided the back and hind legs are strong). Horses with "weak muscle texture", on the other hand, often cannot produce the flexion and hence impulsion necessary for the demanded tempo merely by stepping far underneath.These horses need a point outside their own body to help them flex their muscles. The hand must provide it. But even here it is not the hand that does the real work: "It is the Kreuz here as well!"The hand is attached to the Kreuz via shoulders and arms, and when a horse pulls, the difficulty is not to set the hand, but to keep the Kreuz "imperturbably imperturbably still". If it successfully curbs attempts of the hind legs to free themselves, the horse will temporarily lean onto the hand, but only to recognize his own helplessness against the Kreuz - "If the Kreuz gives out , the handgives out - without a good Kreuz a good hand is simply unthinkable!"

This is his most relevant argument and shall conclude the quotes from Otto de la Croix as a witness for hundreds of experiences cross country and in the arena. This perspective also makes it obvious why effortless half halts and full halts in any gait are only possible with increased absorption from the Kreuz. This goes all the more for the compensation of defectively conformed backs of horses that are less generously endowed by nature. Only the constantly toned Kreuz,which is justifiably called "driving", makes it possible.

If one wanted to take the time to train an especially well conformed horse without leg aids, merely with the Kreuz effect, one could do this, as the Old Masters certainly did with great time effort. But any less than perfectly conformed horse - i.e. the majority - will require the cooperation of all honest aids. If the training is done correctly, these horses as well will require smaller and smaller leg aids toward the end of their gymnastic development. Only the road there varies in length from horse to horse. Finding the right measurement remains a matter of the correct instruction of the young rider and experience for the old rider.

THE URGENT TASK

As practice shows, learning to sit is the foundation for the equestrian beginner regarding his later Kreuz effects. Every student learns today as in the past: The Kreuz is the connecting link between the rider's aids. But anything that requires time and effort is not popular nowadays. In the teaching practice, the Kreuz effect is therefore often neglected, and all the student receives is a theoretical explanation. Maybe it is simply the lack of role models who can show the young equestrians horses that are truly tuned tothe Kreuz and who can train these horses themselves. I am thinking here of horses that would piaffe and passage with deeply flexed haunches and very light rein contact - almost with a slack rein, but without ever sucking back, finally horses that would perform levades in this manner. We only need to think of engravings by Ridinger and his contemporaries that portray the school movements without any legaids in the greatest suppleness and in absolute obedience. The old French style of riding that Guérinière refined, the stretched seat that the great riding masters demonstrated at the end of the 18th century, can unfortunately be found only in very few places today. Instead of the horse in front of the rider - only achievable through correct Kreuz effects - we see short necks and tense movements with a rigid back that throws the rider uncomfortably that are mistaken for impulsion all too often nowadays. Instead of downward transitions and half halts without pulling on the reins, crude effects of the rein hand appear even in the show ring.

There is therefore not only a practical task here. The transmission of better knowledge must be accompanied by an acceptance of discipline on behalf of the teacher as well as the student. So far, young riders have generally responded well to correct instruction and the convincing example of the teacher. The sacrifices in spare time, often also in hard earned money, always deserve careful instruction! Seat and Kreuz effect as the key to secure control over the horse and to a preservative increase of the demands merit the first rank in the training plan.

Unfortunately, the reality is often a rushed training of the horse and superficial knowledge of many riders nowadays. The disappointing consequences become especially clear in the example of the Kreuz effect, as Otto de la Croix puts it: "The truth is always brutally simple. However, it lies deeper, hidden from the superficial glance."

.... Tune in for an upcoming article detailing the "Kreuz"!

Great Reading on Training Horses

"The Nature of the Sport" by Jeff Ashton-Moore
http://www.todayshorse.com/Articles/NatureoftheSport.htm

"The Nature of the Horse" by Jeff Ashton-Moore
http://www.todayshorse.com/Articles/NatureoftheHorse.htm

"The Learning Process of the Horse" by Jeff Ashton-Moore
http://www.todayshorse.com/Articles/LearningProcessoftheHorse.htm


About the Author ~

International Judge, and international dressage, jumping and vaulting clinician - J. Ashton Moore is the Co-Founder and Executive Director of the Dutch Warmblood Registry in North America as well as the Co-Founder of the American Vaulting Association.
A noted breeder of Dutch Warmbloods, Danish Oldenbourgs, and Holsteiners, he has bred many successful national and international competition horses. He owns the successful Dutch Grand Prix Dressage stallions Taxateur, Rubinstein, and Vosmaer. He has also been a successful breeder of Hannoverian and Trakehner sport horses. A former hunter, jumper and 3-day event competitor, Mr. Moore now concentrates on dressage and vaulting. He trains horses thru the FEI Grand Prix (Olympic) level at the private training facility "Osierlea", which he owns with dressage luminary Elizabeth Searle in historic San Juan Bautista, California. He coaches national and international level dressage and vaulting competitors at Osierlea and at clinics throughout the USA and abroad.
Mr. Moore trains judges in several equestrian disciplines, and works to promote a better understanding of equine and human biomechanics among judges and trainers. He says "A better understanding of how horses and humans function - independently, and as centaur - encourages more insightful, more systematic, and kinder training methods, as well as more knowledgeable judging." He gives seminars on related subjects: "Horse Biomechanics", "Rider Biomechanics", "The Learning Process of the Horse", "From the Ground Up" (a training system that prepares the horse for stress-free breaking and ongoing training), "Training for Competition Riding", "Training and Showing the Sporthorse in Hand".
When not dealing with horses, Mr. Moore breeds threatened species of parrots, and runs a cattle ranch and experimental fruit plantation on the Caribbean island of Bocas del Toro.
Mr. Moore's additional credentials and accomplishments include:
AHSA Senior Dressage Judge
AHSA Sporthorse Breeding Judge
FEI Official Vaulting Judge (Judge of 5 World Championships and World Equestrian Games)
FEI Training Judge for vaulting
Director of AHSA National Dressage Judges' Forum
Director of National and International Vaulting Judges' Forums
Judge Trainer & Examiner of the US Dressage Federation Learner Judges' Program
Compiler/editor of "Glossary of Dressage Judging Terms" (USDF publication)
Editor of "Dressage Judge's Handbook" (USDF publication)
Editor of "Dressage Judge's Checklist" (USDF publication)
Producer of the training video "Showing Your Sporthorse in Hand" (USDF production)
Graduate "A" of the US Pony Club
AHSA Hunter Judge (retired)
AHSA Jumper Judge (retired)
AHSA Equitation Judge (retired)

How do I ride shoulder-in: Part I

featured rider is Stacie Moyle aboard Ernst August- top image and Philipe- lower two images

There are really only two lateral movements in dressage and they are cornerstones of collection and upper level work: Shoulder-in and haunches-in. These are the foundation for half-pass and pirouettes, and build the ingredients for the athleticism needed to perform the range of paces from collected to extended and the flying changes at the canter.

Both, shoulder-in (SI) pictured at right and haunches-in or HI (also known as travers when the haunches are "IN" on the line or renvers when they are "OUT") are based on the same concept, bend. The first troubles with SI and travers are a sign that you do not have your horse bending correctly. Either your aids are not well executed, or the horse lacks understanding. Regardless, go back and address the issue with bend. This is where you have to be sure your horse is tracking straight, meaning his hind feet are stepping into the same line of his front feet. Very often a horse bends in the neck, but not through the whole body, or has the hips too far to the inside or the shoulder ‘falling’ out over the outside.

The two images at right show the same horse:

Left is the horse bent and proceeding through a corner

Right is the horse bent and taking that bend down the longside in shoulder-in

** There is an obvious degree of improved collection in the shoulder-in image. Not only does the movement promote it, but the horse has progressed from 2nd level in the left hand picture to 3rd level in the right hand picture.

Lets take a moment to review the training scale before we proceed further:

Rhythm/tempo: Rhythm denotes the specific sequence and regularity of footfalls within a gait and the tempo is the speed at which those footfalls occur. The “prime directive” of dressage is not to disrupt the purity or regularity of the rhythm of the gaits. In other words, we don’t create artificial gaits in our horses, or make a gait overly spectacular at the expense of its purity. This would be a violation of the horse’s natural balance- and balance is what we are cultivating. Each horse has a tempo at which he is best able to maintain his balance.

Relaxation/Looseness: Some also call this suppleness. It is a state of “letting go” where the horse is able to both stretch himself longitudinally, and flex himself laterally without loss of the fundamental rhythm, tempo and balance. The horse should become increasingly freer of tension both physically and mentally in this stage of training.

Connection/Contact: Too often people think of contact as merely the tactile sense of reins, bit and the horse’s mouth in their hand. It is more than that. It is the entire contact of the rider with the horse developed by the rider’s ability to ‘connect’ the horse’s haunches with his forehand. Through this connection it is the horse that makes contact with the rider by lifting his back into the rider’s seat and reaching through his neck towards the rider’s receiving hand.

Impulsion/Schwung: Thrust! A connected horse that is moving in a steady tempo with regularity and relaxation will ably accept the driving aids of the rider and rather than rush forwards, he will begin to propel himself off the ground gaining ‘air time’ and thus “swing” time. Impulsion has impulse to it… a harmonic surge of energy that can further be “collected”

Straightness: First, that impulsion has to be channeled. Since the horse’s forehand is narrower than his hindquarter, when traveling along a wall, the forehand must be brought slightly to the inside in order for it to be centered over the pushing haunches. Without this straightness, the impulsion generated will “leak” towards one side (often the right shoulder) and preclude one from collecting the energy. Straightness is not “ruler straight” it is a horse whose body conforms to the line of travel… ruler straight when on a straight line, but bent to follow the curve of a circle, or corner.

Collection: The harnessing of all the horse’s propulsive power being expressed with balance, in regularity, with a loose top line allowing complete range and freedom of movement as well as ‘straight’ so that no amount is lost or tension created by the subsequent lack of balance therein.

A very quick review, but back to our discussion at hand… the shoulder-in and later haunches-in/travers.

If a problem exists with the SI, a task of straightness (the ability to put the FQ and HQ simultaneously on either the same line or two particular lines), then the problem may exist in any of the prior stages of the training scale. It is common in dressage training to feel that all the pre-requisites are in place only to find out they are not when attempting a more difficult movement. The movements are there precisely for this reason. They can help you to diagnose holes or weak places in the training. Forcing the movement to happen however is not likely to fix the problem in the training, only going back to find the missing element will do the trick.

Rhythm is critical because it allows you to time your aids more effectively. It acts like a metronome and hypnotizes the horse/rider into a 'zen' state. A lack of rhythm signifies tension. A horse could be rushing because it is nervous, has fallen onto the forehand, is simply being over ridden, or is in pain. Same can be true if the horse is dragging along to slowly.

A loose horse is soft and yielding longitudinally through his top line, and laterally through his body from poll to tail. A loose horse will softly chew the bit and flex his head laterally if you squeeze a rein, he will step his hind end away from your leg, and if you restrain a little with seat/rein, he slows without getting stiff in the neck/jaw/poll. If you close both legs, he steps bigger without rushing. You can combine these responses into a soft bend from poll to tail.

Weight to the inside seat bone, leg and stirrup encourage the horse to step into the new direction. Just like having a toddler on your shoulders who leans to one side making you compelled to step into that direction in order to maintain your collective balance, so does your horse step into the direction in which you step into your seat bone and stirrup. This is done without leaning by elongating your waist on that side so that your shoulders stay level with the ground.

Inside leg is responsible for maintaining the energy and forward thrust of the inside hind leg. Through its positioning at the girth and rhythmic pressure applied in time with the lifting of the corresponding hind leg, the horse molds is body around it by bringing that inside hind leg further under his center of mass… or “engaging” it.

The outside leg, guards the haunches from falling/swinging to the outside, and by increased pressure, shapes the horse more around the inside leg if the body needs to bend more because the arc of travel is steeper.

The inside rein is responsible for keeping the horse soft in the poll/jaw flexed to the inside.

The outside rein, regulates the bending action of the neck to be sure the body bends, and talks to the horse longitudinally when half-halts are needed to correct rushing or falling on the forehand.

To check that these are in order, I have this sequence of exercises to be ridden a 15m circle, making sure that it is truly round and that it does not touch any wall or rail of the arena. In other words, for this exercise, stay off of the rail. This is important so that you can be sure the rail/wall is not doing some of the work for you.

Exercise 1 (teach him to activate to your inside leg) = At the trot (rising or sitting), establish an even tempo. Ask for a slightly quicker tempo for 1/4 to 1/2 of the circle by energizing your inside leg as the inside hind comes off the ground... so if you are posting the trot that's when you go up. Do not keep the pressure on as you sit even if the horse did not respond. Simply repeat in the next step at slightly greater leg pressure. If you get the response you want, leave the horse alone and allow him to glide. If he manages a step or two, then repeat. If at the second beat of request, he still didn't respond, in the next beat, don't get firmer with the leg, but add a tap with your whip. Think of riding a skateboard- you give pushes to get the board up to speed, but then you leave it alone until you need a little push again. I think you get the idea.

Exercise 2 (teach him to flex and soften in his poll) = Allow the horse to come back into his normal tempo. Still trotting on the circle, have your fingers on the reins, but very softly on them. With your inside rein, close the 3 fingers more firmly on the rein one at a time slowly- hopefully this will get enough response from your horse, but if not, you can flex in your wrist by pushing the wrist towards the bit keeping your thumb on top. At any point the horse flexes in the poll (so that you see the top of his eyebrow and the top of his nostril and no more) go back to the soft quiet fingers holding the rein. Repeat a few times and see if your horse starts to maintain some flexion. To make sure your horse flexes only in the jaw/poll, you have to keep a consistent and steady feel on the outside rein. Be careful not to throw it away. When a horse bends correctly, you have the sensation that the horse fills up that rein- he comes to it, but should not push through it. If you throw that rein away, thinking your allowing him room to bend, he will bend in the lower part of his neck and pop his shoulder to the outside. The neck coming out of the shoulder should be straight, and any bend you see in it should be up just behind the poll. This so SOOOOO important for shoulder-in. If the neck is flexible at the point where it connects with the shoulder, the messages don’t get to the shoulder. Your reins eventually channel the energy of the shoulders into the track. Your outside rein then is critical and must be passive and supportive, hence the name supporting rein!

At any time while doing exercise 2, if the horse loses his rhythm, re-establish with exercise 1.

For exercise 3 (check his hindquarters)= you have to remember #'s 1 and 2. Keep the tempo, and soften the horse's jaw/poll. Now you will add your outside leg. You don't need to add energy, so be sure the leg does not bump or change pressures. You simply change its position, about a hands width behind the girth and press the hair. No more, no less and not changing. It’s in neutral, but the hind end should step a little more around the inside leg – or if it was drifting outward in the previous exercises, you should feel it come back onto the line of travel with his forehand. You should feel that the hind end is definitely under the horse. If it does not, don't press harder, this tightens you up. Add your whip: not punitively, encouragingly… I like to do double or triple taps, a soft “touch, touch” when reinforcing something I’m asking or teaching vs. a quick pop for a disobedience or consequence to something my horse clearly already knows. Let the horse have a chance to try to respond before asking again, or getting firmer. Then stay neutral and allow the horse to go along this way himself. He may try to rush away when you tap for the outside leg response. Stretch tall, keep your rhythm and add a half-halt if needed.

What commonly happens is that as the outside leg, comes on and positions the horse truly in a bend, he either falls onto the inside rein and gets heavy, pushes or gets upset in his mouth, stalls out, or otherwise resist because he feels claustrophobic with that rein. He does not know how to reposition his body to accommodate those feels. But, you've already shown him how to soften there, and flex. This releases the outside muscles and makes room for his inside hind leg that is now very well under his body. So, if you feel that heaviness, or tension in the neck/mouth, do exercise two and flex. Over time, he will do this more and more on his own. Keeping your outside leg though so he doesn't negotiate with you "I'll give this if you give up that.." If your horse has gotten so stiff as to lose rhythm, re-establish it, first, then flex, and then when he has accomplished both while yielding to the outside leg, leave him alone, soften the aids, but keep their position so that he can self-carry for a few strides before rewarding.

Taking the time to develop correct bend is crucial. Lateral movements flow easily out of a correctly bent horse. The most significant development of engagement, thrust, and stretch of the top line are developed through riding correctly executed bending lines and figures. When you feel that you can sink weight into the inside stirrup, bring the outside leg back and your horse starts to turn and puts some lightness into that inside rein on his own, shoulder-in will be a piece of cake.

Care of the Dressage Horse

All of the following information falls under the category, of 'good for all horses', however, dressage riders will find that certain things require more regular and detailed attention!

Diet
Every horse needs a balanced diet comprised of mostly forage, clean water that he should have access to at all times, adequate minerals, and supplements as needed given his level of work and the types of forage he receives. Not all hay is created equally, and so its always advisable to talk with ones veterinarian about what your particular horse may need.

Dressage horses, can have anywhere from a light workload (lower level horses, or mainly pleasure dressage horses) to a heavy workload as in and FEI horse with a rigorous competition schedule. Hay alone often does not have the calorie make-up to provide enough energy for horses in a higher level of work. Consultations with your vet or an equine nutritionist can help you decide how much "grain" or sweet feed supplementation your horse may need.

Minerals and vitamins may also come into play, but again care needs to be taken before running out and buying any topical feed dressing as commercially prepared 'sweet feeds' often have a mineral/vitamin component and you have to be careful not to overdose the horse or create imbalances.

Nutrecuticals
Primarily in the form of joint supplements, these popular items have some scientific backing as to their efficiency or lack thereof. When looking for a joint supplement, its best to assess any current joint issues your horse may have or whether your goal is a "legacy" program attempting to stave off degenerative conditions in a younger sound animal.

Microbials in the forms of Pro and Pre- Biotics can also have benefit for horses whose digestive systems may be compromised or stressed by travel, stabling conditions, or temperment.

Dental Care
Not only does tooth care optimise a horse's ability to utilize the food stuffs that he is ingesting, for a dressage horse who is ridden with contact on the reins and must respond to subtle and delicate signals given by the rider through the reins and to the bit, its critically important that his teeth be checked for sharp points which would cause pain, waves or ramps in the alignment of his upper and lower teeth that affect bite and jaw mobility, and other conditions that would affect the horse's over all comfort in the mouth while carrying the bit or bits.

Young horses beginning their riding lives, should be prepared to carry the bit by having the veterinarian check that there are no abnormalities in the teeth or bite, and he can also file a "bit seat" in the first molars that somewhat smooths or rounds them off to allow the bit to be unimpeeded in its motion in the mouth.

Hoof Care
Dressage horses should move soundly on all four limbs with freedom and regularity. All horses should do so, but animals with impurities can function soundly while remaining suitable for other activities. Dressage horses cannot have any impurity to the rhythm or footfall of the gait. Imbalances in the hoof, structural deformations, and improper trimming/shoeing can all cause problems. A skilled farrier cannot work wonders, but they can and should be able to trim and shoe a horse without creating imbalances. Some horses are able to go without shoes, but the additional weight of a rider (who is often not perfectly balanced even when working to do so!) on abrasive surfaces such as sand arenas, will wear down a hoof unevenly due to being ridden off balance (happens to the best of them to some degree) or conformational flaws that cause the horse to wear the foot in an uneven way. Therefore, its almost always necessary to shoe a ridden horse in order to protect the balanced trim. This also keeps the bony column of the limb in correct alignment so that it does not create unnecessary torque on the joints contributing to degeneration.

Shoeing and trimming should happen with regularity. Generally, every 5-8 weeks, although 8 weeks is a long time for most horses. The old adage "No hoof, No Horse" is very true. You are riding on his four feet. They need scrupulous attention!

Chiropractic and Massage
Dressage horses are athletes. Even in the most conscientious training programs, they will become sore. Sore muscles can lead to compensetory movements that create misalignments. Very serious riders who wish to give their horses every advantage and ensure the animals well-being often employ body workers for their horses. These professionals should be licensed and have appropriate credentials. Get references and even watch a person work first! I once was given a recommendation to use a woman for massage who was not comfortable around the horses. She insisted they be sedated, but in their sedated state the horses were not as reactive to her harsh hands making it impossible for her to recognize that she was actually causing bruising to the horses.

Proper Fit of Tack
Just as someone would not ask you to run a marathon in the wrong sized shoe or an ill-fitting one... say high arch when you don't need it etc. you would not ask your horse to carry the weight of a rider in a saddle that is too small, too wide, or not shaped adequately to his back. There are literally hundreds of saddles to choose from with every sort of inovation you can imagine. Simple and effective rules still apply to finding a properly fitted saddle. Unless your horse is extremely rare in its conformation, its best to stay away from fringe fads. Find a saddle fitter who is NOT a rep or dealer of one company. Get an open minded opinion from someone who at least deals in several brands of saddle or best yet, no particular brand! Ride in it several times before you purchase it. If you cannot ride in it, look elsewhere. Most companies recognize that you have to actually ride in it and now offer that possibility. If a company won't allow it, there are other saddles on the racks.

Likewise, bridle and bit should fit well too. Do check the USDF rulebook for what is legal in bits- keeping in mind that the mildest you can possibly find that fits the shape of your horse's mouth is the best place to start.

The Best Rider and Trainer Money Can Buy
Your horse needs to be ridden well- by you and your trainer. There is no substitute for direct instruction with a knowledgeable professional. Audit clinics, watch at shows, interview potential instructors by watching them ride several horses, give lessons and see who fits your style. They do not need to ride Grand Prix with a super fancy horse. If you are trying to make it to second level, then your instructor should be successful at that level and at least one level higher. Likewise, if your horse is less than traditional with very average gaits and you have no intention of getting a different horse, make sure to find an instructor that is both willing to work with what you have AND has experience in that department. Even if they accept your horse, if the instructor keeps trying to make your horse move like the latest greatest warmbloods from Europe, you and mostly your horse won't be happy.

And don't skimp on the lessons or the training. Skimp somewhere else. Don't go to as many shows, or stick with schooling shows.... or don't show at all for a while.... don't get the extra fancy bridle with the bling, or the matching pad and polos. Invest in putting your horse into training for as long as you possibly can. Its an investment in your future happiness and that of your horse. If its FUN... you will be able to find the FUNDS!

Dressage is Horsemanship

Posted from http://piaffedreams.blogspot.com/2007/07/dressage-is-horsemanship.html

As I am willing to take on clients whose primary aspirations are not to compete in the dressage arena, there are then a number of students who come to me having been "told" this is what they need or even simply having an intuitive sense of it without yet actually understanding what dressage IS or is NOT. One of these days I am determined to find the time to organize and put on a mini-symposium of sorts for riders in our area with just these sorts of questions, desires and trepidations. Because for many dressage is viewed as an elitest sport full of people fascinated with endless circles while cranking the horses heads down. Just about every equine endeavor has its 'stereotypes' and therefore detractors. (In some cases quite well deserved as we all are aware of the Big Lick world of gaited horses, and western pleasure horses)



I am excited to help people see the beauty, the discipline, and the reverence for the horse that is classical horsemanship..... or dressage. No one though can explain it his as well as the master himself, Mr. Charles De Kunffy. His published works I consider to be 'sacred texts,' for he clarifies and indeed illuminates the messages of the 'old dead guys' so remarkably well. He can put into a modern context the visions and aspirations, physical, mental, and spiritual of the riders who put to print what they knew so long ago. In our modern era, with our very different and always changing global perspectives and widely diverse philosophies, it is quite intriguing that the horse who is just a horse and has remained a horse for so many thousands of years, makes us all come to some point of commonality.



So, tonight before I sat down, I went to my library (and for those who have seen my room of books and videos on horses/riding/dressage/etc. it is a library!) and pulled off of its shelf what is Mr. De Kunffy's "signature" work "The Ethics and Passions of Dressage". Published in 1993 by Mr. De Kunffy himself.



Right from the first chapter, he clearly focuses the reader to the primary definition of good horsemanship - art. Good horsemanship is the elevation of the horse as a representation of nature in its raw and random form into his most cultivated and amplified form- all his inborn potential realized. Taking a horse with all his potential for athleticism, collection, extension, cadence and suspension, power and suppleness, tension and relaxation, and convincing him to express them willingly without any perversion.



For as he says, "A horse 'held in shape' by his rider is only posturing in a seemingly correct form, usually for the benefit of inexperienced observers." Riders in such cases, ride only for a trick or maneuver without understanding the two fundamental skills a rider must posess 1. to know how to energize a horse, and 2. how to control it for the benefit of the horse.



There is where the ethics come in. The horse is a product of nature and thus lives by natural laws of physics, biomechanics, and the natural instincts of his species. When we as a rider mount the horse, we immediately and profoundly impact him with a burden of weight and the burden of our character flaws, our physical deficits, and our mental cognition. Truth be told, we impact him in such a way the moment we step into his stall or pasture. Every step a horse takes with tension or impedence of his natural energies and locomotion breaks the horse down. Not only does he wear on his legs that pound more heavily against the ground, his bracing neck and back against a harsh hand causes further physical damage, not to mention the mental anguish that a creature of flight feels when trapped between a gripping leg and grabbing hand.



It is then the primary and fundamental goal "to reestablish the horse's natural balance under the added weight of the rider and tack." Furthermore, the rider having restored the horse's natural balance, must provide the horse with theraputic riding to supple the back, even out his musculature and the function of the horse's limbs before the rider can embark on atheltically developing the horse. He emplores that pursuits of horsemanship that do "not remain at all times attentive to the therapeutic and restorative needs of the horse will fail in the attainment of the athletic ones. Only knowledgeable equestrians can address this task."



Riders should then be ever in search of this knowledge and the skills required to be able to address the above task. Namely the correct seat and aids which can then energize the horse correctly and shape those energies in ways that restore the balance and straighten and supple the horse. "When all the basics are in place, the now 'unselfconscious' rider is liberated to become a 'brilliant' performer. Brilliance cannot be planned or contrived because it must be born of perfected technique."



In just this first chapter, I am reminded again of the daily pursuits with our horses and the responsibility I have as an instructor to continue to push this rather urgent message. Anyone can hang out a shingle to be considered a horseman. A great many will fool those 'unknowledgeable' eyes with fancy tricks, stunts, and postured maneuvers some will be so lacking in knowledge as to even be impressed by those who can merely hang on until the horse gives up or "fight it out". Those who have a great passion and love for horses will volunteer the long and dedicated hours to learning to see a horse moving relaxed, supple, and elastically - to see his whole body and thereby know the whole horse and the whole effect of ones training.



Ultimately, the essence of dressage is that natural movement should continue to permeate the entire horse even when he is encumbered by a rider who via dressage ultimately provides the horse with the means to be unencumbered with his burden. The beauty of the horse is then restored, perfected and his potential unleashed into a majestic and beautiful work of art.

Get to Know the Arena

The Dressage arena is a measured symmetrical space for training a horse with very specific dimensions that serve a valuable purpose. First off, the court as its called is 60 meters long and 20 meters wide. Mathematically its 3 times longer than its width which creates a space for 3 evenly sized circles to be ridden down its length. These are 20 meter circles- the first size of circle where a horse must begin to bend. Anything larger and the horse can negotiate it in balance without having to bend or thus gymnasticize himself. Since the primary aim of dressage is to gymnasticize the horse, its only logically that a dressage court is sized to begin t his process.

Circles ridden from the center line to the wall are then half the width in diameter, or 10 meter circles. 10 meter circles really begin to test a horse's capacity to bend. Lateral movements such as shoulder-in, haunches-in and half-pass require the same bend as a 10m circle.

The horse and rider begin to develop the skills for full 10m circles each time they come through the end of the ring and turn down the centerline. On a young horse, this turn can be ridden as a half of a circle rather than two corners with a brief straight period. In this way, the young horse gets his first introductions to the degree of bend he'll need for lateral movements.

As horses gain strength and suppleness and the riders better control and timing of their aids, they can traverse the corners of the arena as if they were quarters of 8 and even 6m circles. This takes a great deal of sophistication in ones horsemanship and training. Paying close attention to the dimensions of the ring and the size of figures ridden with good balance tells the rider a great deal about how the horse is or is not developing. Tighter figures should become gradually easier to ride in a balanced way.

The letters of the dressage arena have an uncertain origination, but they are extremely important. They are markers to guide the rider into precise figures and accurate transitions. Riders should be looking ahead and planning where they are going, not staring down at their hands, or their horse as so many do. Focusing ahead with a plan in mind immediately makes it evident when and where the horse listens, cooperates, or the rider miscues or misguides. Only then can fair and accurate corrections be made. Too often riders can be seen blaming and even punishing their horses for falling through a turn when it was never clear to the onlooker where the rider had planned on going. The rider wandered aimlessly and blamed it on the horse. Likewise a rider who plans well seems to never have to say anything to the horse. One can hardly see what they do for they can feel so quickly the slightest deviation as to communicate soflty and quickly to the horse where they intend to go. Horses ridden in this way are confident, calm and content.

Standard dressage tests are written so that they are presented in an arena this size. The US Equestrian Federation designs tests every 4 years that progress through levels and give a set pattern, movements, and transitions to be ridden at each level in a standard arena. Riders, even non-competitive riders can and should learn/practice riding these tests to advance their skills, find weaknesses in their training, and set new goals of achievment for themselves.

Friends can even gather to video each others rides and then discuss them. They do not NEED to be competitive. But, if that is to your desires, go for it! Riding a test several times in a season in front of a judge is exciting and rewarding. Learning to boost ones score makes each days training have purpose and a goal, but it also gives one a great sense of accomplishment.

Until then, happy riding!

Dressage Show Turnout

The dressage test is a demonstration of one's achievments in training. To present themselves and their horses with pride, riders turn their horses out in fine style. This style is partly for good looks and partly to show off the lines and development of the horse. So, not only should the rider be impeccably dressed in brilliant clean whites, polished boots, clean tack, and a tailored coat, the horse should be a sight to behold as well.

Braiding the horse is part of this. While it is technically not required for a dressage horse to be braided in USEF competition, you would almost never see a rider come in on a horse that is not braided. It would be considered disrespectful to the judge to do so. Horses with short manes go with a line of small braids pulled up tight against the top of the neck. A few styles are common, with "button" braids being the most popular.

http://dressage-connection.com/dressage-braid-article.html

This link shows a method of sewing in button braids.

For horses with a very nice neck conformation AND a good steady contact it can be accentuated by braiding down in "plaits" or skinny flat braids that lay close to the neck and then wrapping them with a piece of white tape made especially for the purpose. The picture above shows my 5yr Hanoverian going with white tape on his plaited braids. Not many horses have a nice enough neck or a steady enough contact on the bit to go this way as any deviation or flaw is highlighted by the flash of white! Its even more critical that the braids be evenly sized and spaced!

On some occasions, I would replace the white tape with metallic silver bands. These in combination with his silver chain browband has a very striking effect that set us apart from the rest of the crowd.

Breeds who traditionally wear a long mane, PRE's, Andalusians, Lusitanos, Lipizzans, Friesians, Arabians, etc. all have the option to either pull the mane short and do short braids or to keep the long hairs and braid them down into a french braid. When the mane is particularly thick as it is on some Iberian stallions, the mane may be parted down the middle of the length of the neck and a french braid done down each side.

For all types of braids its possible to use rubber bands, however they damage the hair and just don't give the polished look that yarn or thread sewn braids do.

Tails

For horses going with a short mane it is proper to square off the end of the tail and trim the long hairs at each side of the dock. How short one trims the base of the tail is partly a matter of preference and what shows off or "doesn't show off" a horse's strengths/weaknesses. A horse with flashy movement behind particularly if its not so flashy in front may be more striking with a shorter tail that doesn't hide the action. A horse whose tail is naturally very full may look more elegant showing off as much of that hair as possible by leaving the tail long. In general, most horses look very sharp with the tail squared off just at the base of the fetlock joint, or an inch above. Be aware that as the horse moves he raises his tail slightly so you may want to watch him move to get an idea of how far he lifts it (arabians tend to lift their tails quite a lot so you would not want to start too short) Thinner tails look a tad thicker when they are slightly shorter. Andalusians and other breeds who value a very long tail should still have the very base of the tail squared off. Not only does dragging hair get damaged in the footing and break off at the ends, it can actually be pulled out from the roots thereby thinning what would be a luxurious tail. For these breeds I typically square the tail just above the heel bulbs and then ask the horse to back up. If it comes too close to getting stepped on in the rein-back, I'll trim it another half and inch or the minimum necessary to take away that risk while leaving as much length as possible.

Muzzles, Ears, etc.

Muzzles and ears do not need to be clipped and for horses that go on regular turnout, it is not recommended unless they wear face protection in the form of a flymask. I've personally found a few of my horses have better ear hygiene however during turnout when I clip the ears while others get eaten alive if I do. Typically American horses have clipped muzzles and ears more than their European counterparts, but this is very much a matter of preference. Horses like Friesians who have feathers will typically be left with the feathers. I've found it helpful however to take a pair of thinning shears and trim at the longest hairs that tangle the most in wet or muddy footing. The thinning shears allow me to make the trim job look natural.

Want more information on grooming and presenting a horse for dressage shows?

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