PIAFFE in ENGLISH the Four Big Classical Riding Schools Visit Paris

PIAFFE IN ENGLISH magazine translation for the international reader 2008/1

magazine page 1 The four big classical riding Schools visit Paris

A world premiere

By Juergen Kemmler la Frontera and the Cadre Noir in Sau- mur/France. On the following pages the four November 23rd to November 25th, 2007 in schools are presented on one page each. Paris - 45.000 people were able to experience a hippological magic moment live on a No- vember’s weekend in Paris. Which means even more, as it is still written in the stars whether Spanish Riding School Vienna it will be repeated in the future. For a true expert of equine culture this event was like a Year of foundation: 1572 the art of riding’s history in retrospect and a Breed: Lipizzaner moving meeting with the "old masters" in the Horses: 70 saddle. Past became present. But it also was a "Power lies in tranquillity" hommage to Robichon de la Guérinière, the royal chief ecuyer of Louis XIV., the most im- As if they were cast from one mold the Lipiz- portant riding master in history. As is generally zaner-stallions trot through the arena with known, he was the first to put the principles of their black bridle and the golden buckles but horsemanship into written words which are without the elsewhere often used throatlash. still valid today. In combination with the fasci- The riders on their traditional white suede nating music which was played the four saddle, all of them Austrians, wear a brown schools" show was an experience of a special swallowtail, suede riding trousers and high nature - time seemed to be standing still for black boots, their typical hat and a long birch- one evening. tree whip.

The photos on the following pages try to con- The ‘spanish" is throughout rightfully famous vey the art and beauty of some classical lec- all over the world. For 4 centuries it has tions. The photos show extracts from the pro- shown thousands of visitors breathtaking gram, on this double page (left to right, please beautiful shows. The audience admires the look inside your Piaffe, first article) the dep- literal harmony between human and horse, loyment of the Royal Portuguese Riding School melted together through years of patient in Lisboa, the Spanish Riding School in Vienna, training. Elegance, control and perfection in the Royal Andalusian Riding School in Jerez de lections like Piaffe, Passage, work at the long

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reins and the "airs above the ground". The The riders of the Cadre Noir demonstrate evening’s highlight is the big school quadrille, French riding in their school quadrille with 8 riders in an unforgettable horse-ballet. their traditional black tight uniforms, their golden epaulettes and the famous Lampion- hat with the tricolour on brilliantly shown horses under the direction of the Ecuyer en Portuguese Riding School Chef. Almost all horses are Selle Francais, which also has a lot of success in international Year of foundation: 1979 competition. These horses" versatility is im- Breed: Alter Real pressive. The rising ‘sauters" in the Levade and Horses: 60 the airs ridden without stirrups, where riders "Elegant, powerful and in natural balance" prove their sit in the saddle, are legendary. They demonstrate their horses" will, courage The Portuguese School of the art and obedience with famous of riding, founded in 1979, jumps over a table, a bench represents the classical Iberian IMPRINT and a pillar - an incredible equitation’s tradition which is show. based on the riding master Mar- Piaffe in English is published by Wu Wei Verlag e.K. quis de Marialva (1713-1789), Isabella Sonntag whose student was De Andrade. Seestr. 54 His teachings had big influence on D-86938 Schondorf am Ammersee Royal Andalusian Riding the training of the horse in Por- GERMANY School tugal and has been vivid until Telefon +49/8192/934192 today. Developed from bullfight- Telefax +49/8192/934257 [email protected] Year of foundation: 1973 riding, perfect movability and Breed: Pura Raza Espanola Légèreté, easiness, are the ALL RIGHTS RESERVED. No reprint or Horses: 130 trademarks of this school. distribution without prior permission. "A dancer’s easiness combined Chief Editor with powerful elegance" The training was adjusted to the Jürgen Kemmler jkemmler @ web.de Portuguese horse, the Lusitano, The Royal Andalusian Riding here in the appearance of the Tel. +49/8807/206839 School’s shows demonstrate genetically brown "Alter-Real- Advertisement Manager classical dressage lections as type", which is especially remark- Karin Wiesner Karin.Wiesner @ wu-wei-verlag.com well as the horses" training in able. His breeding goes back to Tel. +49/8192/934192 the Doma Vaquera. The Anda- 1748 when this breed was bred lusian horse completes its especially for the royal stables. Subscriptions Manager Christina Wunderlich tasks thanks to its character The Alter-Real is made for haute info @ wu-wei-verlag.com and its courage in stock- Tel. +49/8192/934192 école and shows his class in airs farming and bullfight still to- like Croupade, Ballotade and Ca- day. Always riding one- priole in perfect easiness. They are easily col- handed, the riders show extracts of working lected in Piaffe and Passage and explode un- equitation in an impressive show. But also der control in airs above the ground. Piaffe, Passage, Pirouetts or Spanish Walk belong to the basic work. The compact Anda-

lusian horse’s ability for Levades, Caprioles and Courbettes goes back to baroque times. Le Cadre Noir de Saumur At this time, in the 16th century, Philipp II, King of Spain, founded a stable in Cordoba and Year of foundation: 1825 fixed the principles for breeding. He wanted to Breed: Selle Francais, Anglo-Arabians, Tho- breed the noblest, most beautiful and most roughbreds deployable horse. The Andalusian still embo- Horses: 350 dies the "Royal Horse" with its harmonic pro- "Artful elegance and majestic school airs" portions today.

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magazine page 8 Legendary horses and riders: Ahlerich

Series by Arnim Basche "I have always trained my horses myself. But never did a horse challenge me like AHLERICH "Dressage in equitation is nothing else than did. Genius and insanity where very close to higher gymnastics of the horse and a careful one another with this horse. Everyone knows training based on natural gaits. We never what this means. Furthermore, he had a want it to become a show spectacle by train- strong personality and was very hard to ride. ing it to complete artificial movements, but But exactly this was why it never got boring rather make the horse become more beautiful with him. Above all, I was impressed by his by training its individual abilities systematical- brains. This is why there was never a limit for ly. The rightly trained dressage horse should him regarding performance", Dr. Klimke de- move freely and without being forced and scribed his dressage-ace. should melt with its rider to true unity in years of trustful work. It should show its whole personality and complete the different lections with easiness, joy and expression. Therefore, a The attorney from Münster was a early called good dressage show is a piece of art which and early completed. Already in 1956, he was also the layman responds to - up to enthu- at the peak of the German dressage-scene as siasm, the more mature and beautiful the 20year-old. Still he was only called as a back- show is." up rider for the Olympic team which competed in the same year at the Olympic Games These remarks about dressage which make it in Stockholm - but they did not take him with clear that it has nothing to do with drilling or them to the Swedish capital! This made Rainer circus shows were said by Rainer Klimke - a Klimke furious so that he changed to eventing. man, who was not only intelligent in the head Success stayed with the highly gifted man. As but also in the part of the body which is nor- already in 1959 he became European Cham- mally used for sitting. If it was not like that, he pion with FORTUNAT and the German team in would not have a record as sportsman in swal- British Harwood and in 1960 national cham- lowtail and top hat which makes him the most pion. This was also the year of his debut at the successful in the industry. His career started Olympic Games. Then, he made 18th in Rome with AAR and ARCADIUS, followed by DUX and in one of the most difficult eventing competi- MEHMED - and culminated with AHLERICH at tions ever held with WINZERIN who had not a heigth where the air is too thin for most yet reached her performance peak. But fate dressage riders. Even more: They stayed there meant him for dressage. So, he put the swal- - similar to a fixed star by which you could lowtail back on soon after the Olympic Games orientate yourself - longer than everyone else in Rome and has ridden only in the quadrangle before them. from this time on. And with results which made him the most successful rider in tour- Dr. Klimke rode AHLERICH to Olympic victo- naments" history. Nine German Champion- ries, World and European Championships. ships, eleven European Championships, six With him, he collected seven German titles World Championship titles - as well as half a and made it to 129 dressage competitions, dozen Olympic gold medals and two bronze including 77 Grand Prix and Grand Prix Special, ones - are proof for this. AHLERICH was a huge with this ingenious horse. part of this unique balance.

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The Westphalian was a son of the thorough- was 35,000DM, Dr. Klimke left the arena. But bred ANGELO xx, who served for the Land- his patron went on bidding until the horse was gestüt Warendorf. The slightly heavy stallion’s sold at 42,000DM. Later, it became clear that great upper outline and brilliantly placed this was the best price achieved in the auc- withers as well as the long and exemplary tion. But Dr. Klimke’s doubts stayed - even bevel shoulder caught everyone’s eye imme- though prices like this were usually not paid diately. When moving, he showed his very for bad horses. It was AHLERICH’s bad show in good basic gaits which made him a riding the Münsterland arena which did not leave his horse of extraordinary talent in combination head. Was he really mistaken when judging with his good character. AHLERICH was from the horse? Or was the bad show only an ex- ANGELO’s fourth year of breeding and a Sun- pression of the gelding’s fatigue? As prepara- day child, as this was the day the calendar tion for the auction surely had affected the showed when his mother, DODONA, gave horse’s body and mind. Therfore, AHLERICH birth to him on May 20th, 1971 at 6.30am in was ridden only little and very carefully. Final- Westphalian Hamminkeln. ly, he had to work more, gained in action and developed from a small and slender horse to a "Already at his birth, AHLERICH was a huge powerful athlete. But it was only thanks to Dr. horse - but well and harmonically propor- Klimke’s experience, patience, creativity and tioned. Furthermore, his striking markings riding skills that the sensitive, intelligent and with the blaze and the two white socks caught self confident horse, which was subject to your eye", his breeder, farmer Herbert de extravagance from time to time, became a Baey, remembers. "As a foal he already acted dressage star of a special class - which im- self-consciously and was convinced of himself. pressed more by power and dynamics than by However, I always had the impression that he easiness and elegance. wanted to show everyone else that he was the future champion." Of course, this should take a while. But the high opinion which Dr. Klimke had when he first met AHLERICH was soon "Dressage horses need as much condition as met by heavy doubts. eventing horses do. The more they have the easier they can complete the lections. Without AHLERICH and his future rider met in summer power they become tired quickly in the mus- of 1975 for the first time. The gelding be- cles. This is why they have to be best trained longed to a lot of auction horses from which athletes. As it is the power of a horse which one was meant to be purchased for Dr. Klimke gives dignity and expression to a show", said so that he could ride an Westphalian horse. Dr. Klimke in an interview. It is to be added When he tried him, he immediately felt his that the former eventing rider was really fine reactions in trot. In gallop, he finally had meant for dosing and choosing the right train- the feeling to only rarely have ridden a horse ing. which took the rider with him so well at this gait. Shortly - Dr. Klimke was convinced to On this basis, AHLERICH was formed according have found a rough diamond in AHLERICH and to the classical principles to be an exceptional wanted to have him purchased by auction horse. As he had high IQ he learned quickly with the financial support of the Westphalian and won an L-Dressage under Ruth Klimke in Horse Stud book. The limit was 30,000 DM. May 1976, then competed in M-Dressage and won his first S-Dressage in July 1977. He com- Two weeks later, Dr. Klimke saw AHLERICH peted in his first Grand Prix in 1978 in Bremen again, ridden by a auction rider, and was dis- and left the arena with an exceptional victory. appointed. He only showed little trot and his In the same year, AHLERICH won his first Ger- dreamlike gallop was not to be seen. Was he man championship under Dr. Klimke. Now, mistaken? Or did AHLERICH only put on a success after success followed - but also they show? When the auction began, the bids had to put up with losses and little or bigger quickly raised up to 30,000DM. But this money illnesses. But AHLERICH showed his ability for was offered by the competition! When the bid big tasks stronger and stronger. In 1980, he

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won the Dressage-Festival in Goodwood with European Championship in Kopenhagen. In the German team, in 1981 he won the Euro- the following year, AHLERICH was hurt shortly pean Championship in Laxenburg with the before the world championship and had to team. In the individual rating he only was miss the competition in Toronto. Now, Dr. fourth, which Dr. Klimke thought of as a loss Klimke anted to reduce the gelding’s work and despite the bad ground which made AHLERICH end his career slowly. ALI was already 15 years move only suspiciously and carefully. old at that time. But he became great again and showed in the Olympic Games in 1988 for But he delivered a great performance at the the second time. Who had thought that an old World Championship in Lausanne in 1982. At learned professor would do his performance the same time a changing of the guard took in Seoul was wrong. In the Grand Prix he did a place there - with the popular victory over Lancade at the beginning of the lead changes, Christine Stücklberger and GRANAT, who had ran to the center line and took him and his been ruling the scene for years, Dr. Klimke and rider through this out of the Grand Prix Spe- Ahlerich became top of dressage. A year later cial. But they still got a gold medal in the team however, everything had changed. In the fight rating. It was the pair’s last title. In autumn of for the European Championship, the Dutch the same year, AHLERICH was said good bye MARZOG delivered such a great, supple and to at a competition in Stuttgart. There, he was easy performance under Anne Grethe Jensen, accompanied by two other great horses - that he won rightfully and everyone spoke GAU-GUIN DE LULLY and CORLANDIUS. about a new age in Dressage. For four years, AHLERICH had led a calm pen- In Los Angeles, the conditions in dressage sioneer life with a little work under the saddle. were made right again. MARZOG had lost a lot On Sept. 21st, 1992, the end came for him. In of his freshness and naturality in the winter - the morning, he was already weak then had a above all he lost his great walk - and was lost colic. The veterinarian tried for six hours, but in the Olympic arena in 1984. AHLERICH won could not help him. As AHLERICH was suffer- despite the heat with 1797 points not only the ing, Dr. Klimke decided to put him down. But Grand Prix and with the German team the in the dressage fan’s memory AHLERICH lives gold medal, but also the Grand Prix Special - on as a horse which was able to catch the which added another gram to Dr. Klimke’s stars from the sky one day - and turn around dreams. The wage was 1504 points, 62 more the whole program the other day because of than MARZOG and Anne Grethe Jensen. It was his temper. a ride which was dominated by athletic power, a show where AHLERICH demonstrated his Dr. Klimke only lived 7 years longer than his strenghts with his strong basic gaits and ener- ingenious gelding. On Aug. 17th, 1999, he getic Piaffes and Passages. At the end, you died, 63-years old, in Münster because of a could also tell the immense effort at 30° in the heart stroke. In our memory he will always be shadows with this powerful athlete. The au- a complete, skilled rider who did not only ride dience was enthusiastic when Dr. Klimke to win prizes but because he found joy in it - showed 167 one step lead changes, the top as well as a rider who always tried to make the hat in the right hand and without spurs - and horse more beautiful. And dressage a piece of without mistakes. art!

In 1985 the double Olympic winners won over Anne Grethe Jensen and MARZOG again at the

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magazine page 23 Sonntag’s Thoughts

By Isabella Sonntag But every rider can contribute in his or her own way that horses will be treated with full I start my thought chips in the second issue of respect in the future - of course more brains is PIAFFE with a big thank you to you, dear read- needed for this than just wanting to subject ers. the horse - educating the mind and the character belong to this - but shouldn"t most of You met our message for the horses" good us fulfill this before handling those noble crea- with open arms; every day, a lot of people tures? send us their subscription-orders which make our work easier and show us that we are al- This could be your contribution: lowed to keep piaffeing. Not in the saddle, but figuratively to travel and visit the real horse- • question yourself again and again, read men. I was at David de Wispelaere’s (see also professional literature page 94) in rider’s kingdom in Aachen; my journey led me further to Nizza to Bernard • inspire your own environment with your Chiris, a student of Nuno Oliveira’s (portrait in own new ideas which seem to be useful for this issue); the idea came from a Piaffe-reader giving the horse its dignity back and seems to be quite interesting (more about this in the next issue). Therefore, I really want • throw away your draw reins etc finally to animate you again to tell me your equine secrets. The world’s good trainers have to • name the really good trainers to Piaffe, so become known, so that dressage can be seen that we can offer you a platform as love made visible for everyone who is look- • Do not watch without saying anything ing for it (and there are many of them) more when horses are being tortured in the often again. Yes - "Dressage understood in the preparation arenas at the big tournaments right way is love made visible" (quote Fredy and judges do not interfere Knie) • KNOWING when to clap your hands and Doesn"t this sentence include a dimension when it is better to leave at every equine which literally invites the viewer’s heart to tournament dance? It is out of question: In this dimension alone we can save man’s greatest achieve- So, start piaffeing with us and leave a little ment - the horse’s friendship - from destruc- piece of love made visible as a rider every day. tion. Until autumn and PIAFFE’s third issue I remain Everyone who wants to stand up for this is with an equine salute invited to co-piaffe with me. Above many there are two persons to name who have the Yours, courage to ask even the highest official institu- tions the most uncomfortable questions: Phi- Isabella Sonntag lippe Karl and Dr. med. vet. Gerhard Heusch- mann. (We publish an "open letter" on page 59)

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magazine page 24 The training scale

Guideline or religion?

By Jürgen Kemmler way of riding." And he goes on: "It must be the big fallibillity of man that a riding system, as The idea was good, but it did not get us any good as it may be, suffers from inadequate further - from the horses" view. At best, some and poor representatives." In PIAFFE’s third thought-provoking impulses for the planned issue we will publish the article "The principles rewriting of the guidelines and with it an im- of classical horsemanship". proved training scale concerning understanding. I am talking about the discussion led by Activator of the whole discussion was the pub- the magazine "Dressurstudien" of autumn lishing of Philippe Karl’s book provocatively 2007 between the well known french hippolo- titled "Meanders in modern dressage" (Cad- gist Philippe Karl and the German FN training mos Publishing House). Every serious rider director Christoph Hess. should have read this critical but still constructive book if he wants to take part in the dis- The discussion’s topic: "Classical cussion. The "moot" and also practical dem- against classique" onstrations in the riding arena are available on DVD (see page 114). Linguistically seen, this pun does not make Unfortunately, the contrasts could not be sense - and as regards content it makes even solved. So, misunderstandings concerning the less sense, because representatives of differ- interpretation and practical realisation of the ent equestrian cultures met who claim to have training scale stay. The experts know how to the same background (Robichon de la Guéri- handle them, the "half-intelligent", above all nière), but the original comes from France. To with the recreational riders, question them stress their common ground instead of ce- often. menting the contrasts would have been wiser in my opinion. This way, the old clichés were The scale must not be understood as a stiff, used again and the word "classical" was dogmatic system. (Kurd Alrecht von Ziegner, abused. cavallerist, competitor, trainer, coworker on In the "großer Brockhaus" (an encyclopedia) the first FN-guideline and advocate for classic- the definition for "classical" is "excellent, ex- al horsemanship) emplary". Both words do not give enough consideration to the meaning in the hippologi- Philippe Karl’s opinion is: "In fact, the training cal sense. In fact, this was about a confronta- scale seems to be rather random. If you look at tion between the Romanic and the Germanic it with good human sense, you will find chro- equitation, like Alois Podhajski, director of the nological mistakes, wrong mixtures and miss- Spanish riding school, once said rightly. I like ing basic elements (school of aids, balance)." to quote this true classic at this point from a (Quote from the book, page 143). speech he made at a anniversary event of the Christoph Hess says: "The scale was not only German Association of Judges: "It seems to developed for judges and trainers but for eve- me that also only historically seen there is no ryone. We have a training scale and so every- right to talk about a Romanic and a Germanic

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one knows what a correctly trained horse has question which has to be answered concern- to be able to do. Next to this, the training scale ing the training scale is about its use for eve- is not a religion, as it did not come from the ryday life and about conveying a clear orienta- heavens but has been developed over decades. tion of its use in practice for all those who do There are interpretations who lead the wrong something wrong. So, how can you realise the way - the "Rollkur" belongs to them." (Quote training scale in equestrian everyday life? from "Dressurstudien"). Most basically, the training scale is to be seen PIAFFE wants to contribute with this and the as an offer, a guideline, never as an instruction following articles about the training scale to or manual. On the way to our goal, namely solve the always upcoming misunderstand- harmony in the saddle and a supple horse, the ings, which got into focus again because of the topics are rather direction signs, in order to international discussion about the so called prevent you from ending up in a dead end "hyperflexion" in dressage. My opinion is: because of bad navigation. This means, that Everything has already been there. Already in the training scale is not a curriculum which the 90s, Kurt Albrecht, who had been director starts with tact and ends with collection, of the Spanish Riding School from 1974 to moreover, the topics should be understood as 1985 and popular judge, said that competition little building blocks in the horse’s gymnastics. dressage moves further and further away Knowledge and means have to be used func- from the classical principles. So, this problem tionally, as recreational riders and competitors has been known for a long time. The reason is have totally different goals. And lets not forget likely more the fact that every rider who that the horse horse has also something to say works with his horses every day is a little in the training’s planning in its own special horse whisperer. The much more important individuality.

magazine page 26 The training scale: The thread

By Jürgen Kemmler In his book "The Dressage Horse" (Edition Haberbeck) Harry Boldt writes: "These words Controlled and harmonic riding at all three are the criteria for a correct completion of gaits, connected with fine aids and a correct each dressage lection. Tact and suppleness are basic training of the horse is, in a manner of the foundation of each training. From supple- speaking, your ticket to further training, no ness, a secure dependance will develop. When matter which discipline you prefer, dressage, you have got an easy dependance to the jumping or recreational riding. The aim of all horse’s mouth, you can improve its drive. training is suppleness. Training, but also each When riding your horse forward with drive training session is based on the so called you will be able to get your horse straight. And training scale which you can find in every only the straight horse allows us the highest dressage work, like a thread. The six points of possible collection. Who is interested in dres- the training scale are: sage has to understand this theoretical system as only then he will be able to judge the dres- ♦ Tact sage work’s worth in gymnastics." ♦ Suppleness ♦ Dependance Tact ♦ Drive ♦ Straightness This means an even pace of the movements ♦ Collection and is a basic condition of the pure gait. You

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call it an impure gait if this condition is not The horse’s ability to collect itself grows in in fulfilled. the course of its training, the haunches (knee and hip joints) are bent more and more and Suppleness the horse’s frame becomes shorter, its erection changes according to the level of collec- The horse’s movements should be natural, tion. The rider feels like going uphill. The more smooth and without being tense or cramping. the hind legs can carry the more freedom the The horse’s back, a bridge between the hind shoulder will have. quarters and the forehand, should swing up and down elasticly and allow the rider to sit smoothly which makes him able to aid with weight, back and legs. Only a physically and Explanation of the drawing on page 27: psychologically supple horse can develop its red circle: Tact full potential (inner suppleness). orange circle: suppleness yellow circle: dependance Dependance green circle: drive It means a constant and fine connection be- light blue circle: straightness tween the rider’s hand and the horse’s mouth. dark blue circle: collection The correctly trained horse should be looking for this dependance, the rider should be sitting independent from the rein. The depen- Tact + suppleness + dependance = phase of dance’s level changes depending on what the getting used to work, becoming easy rider asks of the horse. The rider should always try to strengthen the dependance only suppleness + dependance + drive + straight- shortly and go back to a fine dependance im- ness = development of the driving power and mediately. A horse which moves in correct the horse’s potential at the gaits dependance is supple, in balance and carries itself. Only a horse in constant dependance dependance + drive + straightness = working allows the rider to determine the necessary and exercising phase frame - closer or wider . drive + straightness + collection = develop- Drive ment of the carrying and elastic power

It is the result from full suppleness, an swing- collection = recreational phase ing back and elastic hind quarters and can only be developed from the hind quarters. If a horse has drive, you can clearly see the moment when all four hooves are in the air at The circle comes to an end like that trot and gallop. Drive shows in extensions and collection. The classical way - the principle of the training scale: This is the only way the dressage horse Straightness can be supported. Only through fundamental gymnastics, a horse can stay healthy through- Only a horse which is straight can be made to out its training. Role model for perfect gym- develop its whole potential. A straight horse nastics are the Lipizzaner stallions of the Span- moves on one track, at the walk, the trot, the ish Riding School in Vienna which are still gallop and backwards. This is valid on straight healthy and can still be worked, ridden and and bent lines. shown at the age of 25.

Collection

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Permeability The dressage training A horse is permeable, if it willingly allows half and full aids at well working hind quarters at Principles in training a dressage horse: From all gaits with the back of its neck smooth. The basic coordination to finest coordination horse’s head gives in to both sides willingly. A horse which is fully permeable, allows the Precondition: Basic training of the horse rider to use the fine aids he wishes for which contributes to the picture’s beauty. Above all, the rider just feels better on a permeable horse and comes very close to the famous First level of training: harmony between human and horse. In order Basic coordination to be able to judge the permeability, the level of collection and whether the training scale’s The Horse requests were met it is good to ask the following questions: 1. Check the horse’s pureness in tact at the gaits, the drive and the permeability. • Does the horse move in time and does it step in even time frames no matter at 2. Reaching and keeping a certain level of col- which gait? lection over a longer period of time in daily • Is the horse supple and with a correct de- work. pendance? 3. Aim: Drive, collection, permeability. • Is the head in front or in the vertical and the back of its neck the highest point? The rider • Is the horse’s mouth at the horizontal’s heigth which goes through the hips at the First level of learning: basic training collected gaits? 1. Constant interaction to secure the horse’s • Does the horse move with drive and do the collection over a longer period of time. steps cover the right distance in relation to the gait? 2. Improving the way the rider gives his aids. • Is the horse straight? Lections • Does the level of collection fit the horse’s training level? Minimising and maximising the circle, Travers, Renvers, Traversal, Reversing, flying lead change The most important question of all is whether the horse is supple, which influences the other Repetition points of the training scale the most - negatively as well as positively. A devil’s circle: Relaxing exercises, speed changes, transitions, Tense blocks the back’s action and provokes aids, backing up, roll back, counter canter mistakes in dependance, the drive and the straightness. Permanent tense affects tact and the gaits" pureness. Therefore, if this is seen, mistakes have to be corrected immediately.

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Second level of training: Third level of training: fine coordination Finest coordination

The Horse The Horse

1. The horses hind legs should step more and 1. Checking and correcting given weaknesses. more under its body - flexing of the haunches - leading to increasing erection. 2. Perfecting and improving of each lection of class S until Piaffe (included). 2. Getting to know the lections of the classes M and S. 3. Aim: Completion of a full pattern (dressage class S) in succession. 3. Aim: Exact completion of school figures and relating lections. The rider

The rider Third level of learning: Finest training

Second level of learning: Fine training 1. Learning and correcting the mistakes in seat and aids.

2. Being able to give aids in the finest possible 1. Getting to know new lections. way.

2. Practising the use of the necessary aids. 3. In order to reach highest perfection it is necessary to have a feeling for the horse’s Lections movement and the cooperation of each aid with the other. Traversal-variations (trot-canter), Flying lead changes until two-step changes, half pi- Lections rouettes, full pirouettes, working at the hand Reaching complete permeability, flying lead Repetition changes one step, zigzag-traversal (canter), Piaffe, Passage Shoulder-In, Travers, Renvers, speed changes, transitions, aids Repetition

Speed changes, transitions, working at the hand, flying lead change, Pirouette

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magazine page 29 Tact and suppleness

Classic meets Sport

Two interviews by Jessica Kaup What is the point in discussing whether tact comes before or after suppleness? “Speaking about equitation, I feel good with the training scale and its For pracitce, this is not really important! Or the fields driving force and carrying power, aims." they influence each other. You always have to see that every point is connected to the other Dolf-Dietram Keller is écuyer and has a re- - in every direction. Every point is connection, nowned training stable near Lüneburg togeth- condition and support for the other. er with his wife Manuela. The former trainer of the German federal young riders who also With every step which I ride I basically ask the competed in show jumping, won the Dressage whole package, summed up in the training Derby of Hamburg with the stallion De Niro. scale. From the beginning of the training on. With every step I ask, how far am I? Am I on the right way? Did I already make it to get a permeable horse? I check this with half aids. ►How strong do you have to hold on to the training scale in order to train classically correctly? ►Does the training scale have to be adjusted Dolf Keller: "We do not have to reinvent the to nowadays" horses in its order and stress? bicycle. No matter how old the books about Horses have become more high quality and horse training are - and this goes much further offer better preconditions concerning their back than the much talked about HDV 12 - the movements. essence is always the same. The essence is exactly what is written down in the training Dolf Keller: "Of course, horses have become scale. Probably the word scale is misleading - better but this is no reason to redefine or re- its content isn"t. Of course you should not structure the training scale. I really don"t imagine the scale as a ladder with some steps know what critics have in mind when discuss- which you climb up one after the other. ing the scale. You can make the improved, natural material, for example the better I think that the order of the points was se- movements" quality, finer in the training lected very well. But we could also add some scale’s frame." subjects everywhere. We could replace the word scale by circle, pyramid or tree. But this does not lead us anywhere. Big parts of the many discussions about the training scale are ►Is tact really step one of the scale or is this rather theoretical and should not influence not possible (biomechanically and psychologi- our daily correct horse training. cally - "inner suppleness")?

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Dolf Keller: "Whether you regard tact as fun- horse steps in time on straight lines, it can still damental, first basic element depends on the loose balance and tact on bent lines. The horse’s type. One horse has more, the other whole physical constitution also plays a big less problems with tact. It’s similar to stu- role. Does the horse have to hold on to its dents. One first-grader is more into sports, the back to be able to carry the rider or is it al- other is not, but is able to concentrate really ready strong enough to balance the rider’s well. You have to work with both and train weight swingingly?" them. But as I already said, as you cannot im- itate the training scale step by step, some points naturally have to be added which primarily make the horse physically and mentally ►Tact is given by nature - how can it actually able to move with pure tact." be an aim in training?

Dolf Keller: "What is given by nature looses balance because of saddle, bit, the rider’s ►Which preconditions does tact need? weight and the lections. This means, tact is lost on a certain level depending on the Dolf Keller: "The first precondition is, of horse’s type. This tact is retrieved in the course, a healthy horse. It is only then that the course of training and stabilised. And even if a horse can move properly and areally and tem- horse is not affected in its natural gaits, porally evenly. The horse has to let go of itself theaim of all our training is to keep, cultivate (physically and mentally) and swing through and give more expression to what is given by the back. It has to accept the bit, allow a con- nature." stant dependance, otherwise the horse steps short-long. A horse can only move with pure tact if it is in balance." ►Are there "ways of training" for tact?

Dolf Keller: "All lections and possibilities in ►Which parameters restrict a horse from equitation through training are basically also moving with pure tact? supporting tact. But: I have to ask in every lection, is the horse able to keep tact or not? If Dolf Keller: "Lacking suppleness, tense, hold- tact is lost, I analyse this and try to eliminate ing on to its back, inconstant dependance, the reason. Was the turn too tight? Is this a overstraining in movements or exaggerated lection which requires stronger hind quarters speed." than my horse has? I correct this and retrieve even tact. Then I practise consequently to make the horse keep tact even if I ask more of it. The much said motto: "Ride your horse ►Does the normally in step moving young forward and make it straight" is always the horse loose balance and tact because of the best correction to resecure tact and take it rider’s weight? with you as a foundation for the further chal- lenges." Dolf Keller: "A horse moves - basically - naturally in step. But only if it is healthy and not tense. Some react more to tact restricting influences and loose tact easier than others ►Are there differences in judging and the who seem to have an in-built metronome, importance of tact between dressage sport they hardly loose tact. It is the same thing and baroque riding? when the rider’s weight is added. It depends on how the horse balances the rider’s weight, Dolf Keller: "I don"t think that the work is which is related to the rider’s skills and his or completely different, but rather that it is only her seat’s smoothness. The lections" difficulty practised on another type of horse. Breeding and their order influences tact, too. If the depends on what is asked for in competition.

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Therefore, our sport horses have more easy interested, is very important for concentrating and tactful, spacious movements than in for- on the rider and his requests and of course a mer times. supple, well swinging back. But: There has to be positive tense so that the horse is able to Because in our dressage competitions, tact is carry the rider and completes the lections taken very seriously and is looked upon fa- motivatedly and with expression. The best vourably by the judges already in basic shows. possibility to check on suppleness is walking The pure tact in the basic gaits is an important with loose reins." judging criteria and the riders try to look after it. Otherwise, they are not able to win."

►Why is it important to have suppleness as a foundation? ►If tact is the foundation of the training scale, why is it purposely lost in the course of Dolf Keller: "Postion and flexing are only poss- training (especially in higher dressage compe- ible if the muscles are supple. But supple does titions) - especially in walk (bumbling) and in not mean tired. It means that the horse must canter (four stroke)? not hold on to its muscles or use them to stem against the rider. Also tact and swing can only Dolf Keller: "Of course, the criteria tact can be develop from suppleness." difficult in higher dressage competitions. But this does not necessarily mean that it was neglected through training. It can also be because of the horses" overeagerness that walk ►How can you support suppleness in the is endangered in high-level dressage. Sport course of training? horses are ambitious, they want to work, always waiting for the next lection. The outer Dolf Keller: "Riding in the elongation position, conditions at tournaments are also affecting giving the reins slowly to the horse and take the horse’s ability to show a calm walk at four them again, big curved lines, transitions be- stroke. In canter, it may be a too high level of tween trot and canter, those are lections collection which blocks the three stroke. No which make supple. Longing, free jumping and rider is perfect, this is why the dream mark 10 working at cavalettis are also possibilities to is rare. There is always room for improve- support suppleness. For some horses riding in ment. The difficult lections can also be the the country is a good way to relax and become reason for loosing tact. In training, I correct supple - others are so nervous that they can- this by reducing the demands for a short pe- not relax. Then you should not do it." riod of time. In competition, you cannot do that as lections are required in a certain order." ►Does suppleness still play a role in highest- class dressage (Grand Prix)?

►Speaking about suppleness: Is a horse sup- Dolf Keller: "For me, it plays a role - but we do ple by nature? not always succeed. If I ride into a boiling pot like Aachen, then suppleness can be affected. Dolf Keller: ‘suppleness depends on the cir- But you have to retrieve this in judgment so cumstances. If a horse is in its home stable or that the criteria suppleness stays an aim. I feel in paddock it knows, it is usually supple. And good about the training scale and its aims also in its existing herd in which it grows up it concerning equitation. When other people should be supple - aside from a few moments think that luck is to ride a tense horse like with of stress. The horse should also be supple the American Saddlebreds - or as complete under the rider: a mental suppleness which contrast- to ride western horses which are shows through being free from fear and being relaxed to the full and have the erection of a

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vacuum cleaner, then this is not my kind of Basic ideas from my view: equitation." "The guidelines are a generally meant assistance, but not a full riding doctrine. Often, it is accused of not being qualified for being riding ►If suppleness is already one of the basic doctrine - but they don"t claim to be one. The tasks in horse training, why is it missing - the reason for these discussions is a misunders- higher the dressage level rises? tanding."

Dolf Keller: "It is very hard to reach the balancing act between the necessary tense for highest cadence and the still necessary supple- ►How strong do you have to hold on to the ness. Power can only be developed from training scale in order to train classically cor- tense. For Passage, Piaffe or Pirouettes, the rectly? horses need extremely much power. But I also think that also in lower dressage the lections Richard Hinrichs: "In my opinion the training should be ridden with good expression and scale is not meant to restrict the rider’s crea- drive." tivity, but only to assist.

I see the guidelines as a notional framework which is meant to prevent you from ending up ►Are there different talents for being supple in a dead end in training. This especially occurs among the horses? if the trainer’s temper is bigger than his reason in some situations." Dolf Keller: "Of course. Every horse is different from the other. Even with silblings you will experience different characters. As breeds are bred according to nowadays" tournament ►Does the training scale have to be adjusted tasks, horses are selected in this direction to nowadays" horses in its order and stress? where suppleness and looseness is required." Horses have become more high quality and offer better preconditions concerning their movements.

Richard Hinrichs: "The scale’s points are closely connected and must not be seen individual- "The horses" talent does not free the ly. The trainer always has to ask himself which point he has to prioritise at a certain moment. trainer of a logical and constructive If one of the scale’s steps is working without training structure" problems he can turn to the next, but has to be ready to step back down if the horse is Richard Hinrichs overstrained. The horses" talent does not free the trainer from a logic and constructive train- The attorney who now works in the Lower ing structure, which is made easier by the Saxon ministry for environment was a student training scale." of Egon von Neindorff’s, Arthur Kottas- Heldenberg’s and Kurt Albrecht’s. Today’s baroque riding can hardly be imagined without the écuyer from Wedemark. 8 years ago, ►Is tact really step one of the scale or is this Hinrichs founded the "Institute for Classical not possible (biomechanically and psychologi- Equitation Hannover" with the aim of reviving cally - "inner suppleness")? the ideas of classical horsemanship and distri- buting it as part of nature and culture related Richard Hinrichs: "A precondition for getting a life quality in our engineered era. horse into tact is a precise imagination, a clear inner image,of how the horse should move. A

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rider who does not have the necessary tact Richard Hinrichs: "Tact is more or less given by inside himself cannot convey it convincingly. nature, with the horse as well as with the hu- Indeed, the steps of training are closely con- man. The human’s sense for tact can be va- nected, but if you don"t have an inner image riedly distinct in different situations: a good of tact you cannot reach it. Speaking about musician is not always also a good dancer. this I"d like to quote Nuno Oliveira: ‘The mo- Feeling for tact can be more distinct in making ment you loose tact and swinging of the music than in dancing. If the rider always re- horse, the horse will take over.’ All objections members to create the horse’s tact and to of tact being connected to a row of precondi- keep it, he meets the danger of trivialising this tions may be right. But seeing Oliveira’s know- training aim and not utilising his horse’s abili- ledge it is apropriate to put tact first." ties fully. The horse’s tact can be variedly ac- cident-sensitive in different situations. There- fore, the rider has to keep an eye on tact as a training aim if he wants an harmonic picture." ►Which preconditions does tact need?

Richard Hinrichs: "The easiest way to get tact is when horse and rider are in physical and ►Are there "ways of training" tact? mental balance. It is imperative to create these preconditions." Richard Hinrichs: "The most important method is to leave out the rider’s mistakes. Beyond this, there are many aids I can think of. For example using music or a metronome. ►Which parameters restrict a horse from This way, the rider can see how only slightly moving with pure tact? changed aids influence tact."

Richard Hinrichs: "Physical and mental distur- bances." ►Are there differences in judging and the importance of tact between dressage sport and baroque riding? ►Does the normally in step moving young horse loose balance and tact because of the Richard Hinrichs: "Basically, no. But there is a rider’s weight? speciality to the horses of some baroque breeds in canter. Baroque horses, which can- Richard Hinrichs: "Yes. This especially is the ter at four stroke by nature, can only be case if the rider affects the horse improperly. strenghtened at the three stroke after long A good example is the unbalanced seat. Many and systematic work. For some tasks in baro- riders are not straight themselves by nature que riding, four stroke at canter is not taken and strain the horse on one side more than on as a mistake. In some situations for example the other. Difficulties of the rider to move the Redopp (four stroke canter) is desired as a with the horse are preassigned. Many young preparation for the airs above the ground." horses react by loosing tact. Their riders say that they are not balanced yet. But coming back into balance can only happen in these cases if the horse becomes dull to the rider’s ►If tact is the foundation of the training influence." scale, why is it purposely lost in the course of training (especially in higher dressage competitions) - especially in walk (bumbling) and in canter (four stroke)? ►Tact is given by nature - how can it actually be an aim in training? Richard Hinrichs: "The horse is easier disturbed, the more it becomes more guidable in balance. A horse, moving in high collection,

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which reacts to the finest aids to change its Richard Hinrichs: "In olympic dressage as well expression at a second’s obedience, is more as in baroque equitation the tense in harmony disturbed by improper aids. This is especially is important like in every form of art. For every clear at the walk. If the horse has learned to rider - also at the highest level - it stays a chal- complete every possible transition at absolute lenge to vary tense usefully and not allow it to immediate obedience from the walk, it will become hardening." become more eager and easier disturbed in the order of step and tact awaiting new tasks.

This can already occur if the rider only already ►If suppleness is already one of the basic thinks of trot, canter or piaffe as the next ex- tasks in horse training, why is it missing - the ercise at the walk." higher the dressage level rises?

Richard Hinrichs: "The more sensitive the horses get the easier they can be disturbed. ►Speaking about suppleness: Is a horse sup- Being able to express suppleness even in the ple by nature? most difficult lections stays an aim in classical dressage." Richard Hinrichs: "This is not true for every horse as well as it is not true for every human." ►Are there different talents for being supple among the horses?

►Why is it important to have suppleness as a Richard Hinrichs: "Yes. There are horses, as foundation? well as humans who are living under constant tense. Others, by contrast, are hard to get into Richard Hinrichs: "Because suppleness is a the necessary tense which makes perfor- decisive precondition for physical and mental mance possible. balance." Representatives of both types can be found in all breeds more or less often. Depending on the breeding aim, some characteristics are ►How can you support suppleness in the more distinct among certain types and breeds. course of training? A Lusitano, which has been bred to survive in bullfight by reacting quickly, usually shows less Richard Hinrichs: ‘supporting the rider’s and calmly swinging movements than a German the horse’s well-being. In the classical horse- competition horse. The bullfight horse, which manship’s system many methods can be used is brilliant in the arena is still valuable for its to support suppleness. They don"t have to rider if it does not seem supple in dangerous exclude each other, but can complement each situation with the bull. At some moments in other. A skilled rider can for example support life you reprioritise!" suppleness by moving forward with the horse’s head stretching downward. Another supports suppleness by combining diagonal movements." Interview by Jessica Kaup

To be continued in the third issue with dependance and drive. ►Does suppleness still play a role in highest- class dressage?

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magazine page 36 Horses have to eat mud

By Hans-Eberhard Schneider horse, located right and left of the spinal column, are allowed to relax more or less tho- The first thing we, being amateur riders, had roughly, the horse carries the rider’s weight to learn from our teachers was: "The horse’s with its spinal column which is arched upward nose needs to go to the bottom!" One of our and the connected skeleton. old écuyers put it like that: "Horses need to eat mud (the riding arena’s sand)." Without You can see the arching upward of the horse’s knowing a good reason for this instruction we back in full forward extension of the head- worked according to it the best we could. This neck-party when the horse is grazing. After way, the riding lesson was divided into two having watched many horses during all kinds parts: first, the relaxation phase and second, of phases of equestrian work the following the lection or collection phase. Today, 71 conclusions seem to be made: years old, I try to pass on what I have learned, worked for and experienced to young riders in Picture on page 37: The forward extended neck lifts, various lessons and clinics. through the nuchal ligament, the back into the required position, so that the long back muscle is able to work relaxedly and stays free. In my opinion, the best explanation for requir- ing downwards extension of the horse during 1. If the neck is only extended forward, the the relaxation phase at all three basic gaits I back can not arch upward, because a pulling got because of my anatomy studies at the effect of the nuchal ligament cannot develop. higher school of farming in Michelstadt (Dr. H. By contrast: The back tends to sink, as the Franke) and the agricultural faculty of the horse falls out of place and does not step un- university of Gießen (Prof. Dr. E. Krüger). der the weight.

Like it is depicted in the book "Tug of War" by 2. Also letting the horse’s head "fall" down to Dr. Heuschmann (Wu Wei Verlag), the long the point of shoulder, which is propagated by nuchal ligament - connected to the first 15 some authors, does not support the arching spinous processes of vertebrae of thethoracic upward of the back and an easier carriage of spine which lean back - erects these when the the rider’s weight because the long nuchal horse lets its head-neck-party fall down and ligament’s effect does not work with partly extends it. The same happens to the leaned extension. forward spinous processes of vertebrae after the 16th thoracic vertebra by the hind liga- 3. You have to be careful with forward exten- ment when the hind quarters of the horse sion, if you place to much stress on the word have to step more under the weight, to be forward. If the horse’s head stretches too little able to carry the whole which is heavier in downward, the nuchal ligament does not pull. front. 4. To secure the back’s arching at all gaits in So, if the horse extends forward with its head the relaxation phase, the horse’s head should and neck and steps more under the weight go down by the horse’s lower lip going down with its hind quarters, the middle back - close to its forearm, front tarsal bones, front where the saddle lies - is lifted slightly. Be- tubular bones and fetlock. The forces acting cause of that, the big back muscles of the here are known from physics and are compa-

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rable to a rope lifting weight which is led over required arching upward of the back and the a spool to the pulling force (withers cap). connected muscle relaxation.

5. Arching the back of the horse upward to Horses kept in paddocks as well as free wild make the horse carry the rider’s weight easier horses only extend totally downward for graz- is not only important to get suppleness, but ing if they feel like not being in danger, scien- also to make the spinal column swing despite tists know. In addition, ethological tests the pressing rider’s weight. This swinging is showed that eating time of free allied equids allowed to the horse’s back during the relaxa- is 17 to 19 hours a day. tion phase, which should be long, with consequent forward extension and at moderate Those eating habits only during lack of danger speed and has positive effects on the competi- is also valid in situations where the horse’s tional horse’s training up to the highest environment is changed in fact - like in pres- classes. ence of other animals or also humans - but these changes are known and do not lead to Picture on page 38: Giving the reins to the horse with situations of fear and stress and fleeing. Eating stress on extending forward-downward. One of the most through grazing with total let fallen neck and important lections to reach suppleness during the relaxation phase. head is evenly the expression of complete inner and outer suppleness and being free of By experience, horses learn quickly if you han- stress. Therefore, only extending downward dle this "giving the reins to the horse" conse- and not extending forward has the required quently at all three basic gaits and it is easily effect on reducing stress and reaching com- recalled. If a horse constantly resists a total plete suppleness and trust in the rider. downward extension, it seems to me that thinking about the horse being fix and/or stiff In contrast, what is really happening is that in the back is legitimate. When the horses the back "falls through" when the horse’s neck have learned this consequent downward exis extended with the rider’s weight pressing tension at the walk, the trot and the canter down additionally and the hind quarters work and the rider is able to to require it at all times and step behind the centre of gravity and the on a fully balanced horse, you should not ex- weight. During the rest of the work the exten- tend this riding with the head and neck hang- sion of the horse to the rider’s hand (easy ing relaxedly in front of the shoulders too dependance) is to be created constantly and long, so that the forehand, which is affected be kept by aiding constantly. more at this exercise, is not affected concerning health reasons. Independently from this, in the relaxation phase, you should - and also in a break - al- I also want to inspire the FN to define the ways seek extension downward (forward- question of the depth of the forward- downward) without allowing the horse to lean downward extension during the relaxation on the reins. From this, we have to extract for phase of the horse clearer than it is done to- the rider’s training that the trust potential the day. Unfortunately, the term of forward- horse gives to the rider comes to a climax in downward extension in relation to the aim of the total downward-extension of the neck- reaching full suppleness in the horse’s body of head-party during the relaxation phase at all big muscle groups is defined only imprecisely. three basic gaits at the beginning. So, the Everyone can think of what is enough and horse is totally focussed on its rider, does not right and what he is able to with his aids on care about the environment and creates a the horse. trust relationship at its best, which is the indispensible precondition for successful work With the background of my theses, also the on new lections and/or collection. rider who does not read too many riding theo- ries understands that a horse which extends With the slightest dependance on the rider’s too much forwardly and too little downwardly hand and no leaning on the bit, the horse can cannot or can only insufficiently reach the extend its neck without limits downwards in

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my opinion. This is the only way to make it or without spurs - depending on the horse’s possible for the long back muscle to swing and sensiblity). move and so, giving the precondition for suppleness at all three basic gaits, which you can Picture on page 40: Every rider should know, that the take with you into the timely limited erection suppleness of a horse is noticeable to the outside through a horse which chews the reins from the rider’s for competitions by slowly and carefully work- hand willingly, chewing and snuffling. ing on the relative erection. The closer connection between horse and Monty Roberts describes a component of the rider - namely from one heel over the lower downward extension caused in the "interieur" back to the other heel - creates a certain phys- when explaining the Join-Up. Here, the run- ical unity which allows the rider to establish a ning free horse shows through licking and dependance which becomes slighter and sligh- chewing with head and neck down that it is ter with the reins independent from the seat cooperative regarding negotiations about the and the horse’s movement. This is the founda- further work together. Aren"t this two ex- tion and precondition for the lection "letting tremely important sides of the same medal? the horse chew the reins from the rider’s hand" with stressed extension downward. As Letting the horse chew the reins well, the lection - if ridden at the end of a from the hand training session or between other lections - makes the extension of the neck and the head Like I described in detail above, the unlimited possible for the horse. If this forward- down- downward extension of the horse in the relax- ward exentension should lead to a relaxation ation phase is one of the important trade- of the big back muscles and suppleness in the marks of riding justly regarding to the horse’s whole, it has to be directed unconditionedly body. How the horse can be made to let its and unlimitedly downward, because this is the neck and head fall because of the rider’s influ- only way the back spinal column arches up- ence (aids) is meant to be the following lines" ward (like described before) - also called back content. bridge - which makes it easier for the horse to carry the rider’s weight. One of our old écuy- It sure is clear and easily understandable that ers put it like this: they (the horses) have to it is necessary for the success of the described eat mud (the riding arena’s sand) - which aids that the horse and the rider fulfill certain means that the nose/mouth touches the requirements, such as a certain level of train- ground. Because of the urge forward without ing. For example, if the rider aids slightly with haste by the rider’s lower legs and at the same the one hand (like using and giving in) with time using and giving in of the reins the constant dependance (connection between horse’s neck will round up and the forehead- the rider’s hand and the horse’s mouth) of the nose-line will come closer to the vertical. With other hand, the horse should give in in its back this neck and head position, every horse of the neck. This should have the effect, that shows a more or less obvious wish for opening the horse carries its head itself and does not up. The rider feels this with more pressure of lean on the rider’s hand. the reins on the fists and understands the horse’s wish for extension. At the same time - and this is of great importance for reaching our goal - the rider’s lower The rider allows this extension with still play- leg must lie calmly at the horse’s back rip, so ing hand influence through slowly letting the that (looked at from the side) head, shoulder, horse chew the reins from the hand only in lower back and middle foot of the rider lie on direction downward - not in front/upward. a vertical. During above said action of the This way, the horse will start to extend down- hands the lower leg of the rider should invite ward with its lower lip close to the front legs the horse’s hind leg to step more energetically after some time of getting used to it, without and more under the weight by pressing calmly the rider changing his seat also only slightly. or constantly slightly changing pressure (with This lection is the most effective, if it is required at the walk at the beginning of the

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relaxation phase. Here, the horse is put to the usually - thanks to the only that way possible aids already shortly after mounting and the and best arching upward of the back. The connected unnatural load of the rider’s knowing rider uses this already with young weight, to extend downward immediately by horses to get further stepping under which letting the horse chew the reins from the rid- makes training easier and has a worthier ef- er’s hands. fect.

Of course, the horse will want to lift the front The easier the horse accepts this gymanstic again - also to keep an eye on its environment. exercise and realises it quickly and again and This "front lifting up" restarts the above de- again at all three basic gaits, the shorter this scribed order of actions: shorten the reins, put exercise should be ridden during daily work. the horse to the aids, then by playing with An overstraining of the front legs is not to be your hands" influence and the pressure of expected if the horse does not lean on the bit, your lower legs letting the horse chew the but finds its balance also with the rider and reins from your hands until total downward downward extension. The most important is extension. If the horse has understood this at to repeat this exercise in different time spans the walk and did it well, the same is required in daily work in order to keep the vertical ac- at a rather moderate trot - eagerly but with- tion of the back - not only to keep our horses out haste. Then the same at the canter, which healthy as long as possible. is the most difficult of the horse due to balance difficulties, but cannot be let out because of gymnastic training. The Author: Hans-Eberhard Schneider, In contrast to other opinions expressed about agriculturist, horse breeder and member of the German this downward extension at all three basic Judges Association has dedicated himself for decades to gaits during the relaxation phase, the horses breeding, bringing up and training modern sport horses. steps respectively jumps with totally "hang- On his own breeding and riding centre St. Stephan in ing" head and neck in front of the breast much Framersheim talented young horses are trained accord- more in front and under the weight than ing to classical principles and shown in dressage up to Grand Prix by his successful daughter Dorothee.

magazine page 43 Tilted Pelvis and its consequences

Why horse AND rider have to be treated

By Jürgen Hellwig A tilted pelvis has great effects on the way of sitting on the horse. The body’s trying to give Little has been talked about and discussed as the eyes an horizontal view leads to balancing much lately as the rider’s seat. It is the foun- swingings in the spinal column which do not dation for harmonic riding. An independent only have a strong effect on back and lower seat is independent which offers all possibli- back, but also on the general posture of the ties of influence and does not handicap the rider. Because of the balancing swinging the horse. The way of the seat depends on the sacral and the iliac bone are tilted. This causes anatomic situation of the rider above all. If a general misstrain of the horse’s back and is those are not given, the rider will be trying connected with stron head- and backaches for unsuccessfully for all his riding life. the rider.

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In our modern working world a tilted pelvis is of one stirrup gives you away. This is proof for a common ill. The reasons have to be looked an uneven distribution of weight respectively at differentiately, because tilted is not the an uneven impact by the two legs. same as tilted. Researches proove that depending to weight, Mispostures can be: heigth and the degree of the malposition, there is a difference in impact of 10 to 35 kg 1. caused anatomically; this is called a leg on the respective side of the horse’s body. The shortening, effects on the horse are extreme. The horse 2. caused by a change or disturb in the sacroi- has to balance this difference in weight and liac joint, the aslant seat and reregulate its own balance. At first, this regulation takes part undetected- 3. caused by scoliosis, which you can ether ly, because the rider on the one hand believes have been born with or caused by an acci- his body feeling seated as well as standing dent. completely normal and on the other hand the Because of the rotation in the spinal column horse creates a balance through its strong caused by this, the pelvis is tilted and a seem- muscles. This condition can last for several ing leg shortening occurs. The causes have to weeks or months depending on the horse’s be detected and treated by a medical special- constitution. The effects on the rider can be ist in every case. In these cases a simple ma- on the same level depending on his sensitivity nual correction by a physiotherapist is not and pre-existing problems. With the arching possible, but he will play an important roll in sideways of the spinal column because of the the further treatment. tilted pelvis, damage to the spinal disks is preassigned. Problem circle malposition: What Horses often use, like humans, too, a so-called can you do about it? relieving posture which hides an overstraining, no matter where in the body. This is the start Mostly, our every day life is to blame for the of a vicious circle. Often, the rider only realises situation. This already starts at school, where that his partner has problems with bending on you sit all the time. Also the elegant crossing one side. This is often explained with the nat- of one’s legs or long and frequent car drives ural askew of the horse or the famous good can lead to this. Yes, also riding itself can have side, ..."right has always been his bad side!". created or provoked a malposition. Only if the problems become massive, the first problems in tact appear and the horse is not Often, a regular alternate exercise which able to be guided straight, many riders start to changes the movements" pattern is missing. think. Riding alone cannot bring this about, as we adopt a malposition according to our body The consequences of such a long misstraining feeling. Also having a really good mirror in the reach from vertebra blockades over skin ag- arena cannot help this, as you only see your- glutinations to massive hardenings in the self from the front or from the side. The view muscles or their degeneration in some areas. from the side is completely irrelevant for this With recreational ridden horses which are form of correction and the view from the front worked only little this process takes more is often contorted because of the balance time. With sport horses and regularly and swinging of the spinal column named above intensely ridden horses, the named problems and a head and body position according to it. appear already after a short time. Exactly at A checking view to the back and the lower this point horse and rider should be treated. back of the rider as well as checking the stirrups is unmasking. Here, the malpositions of I want to make this clear by using an example the spinal column become obvious. But the from my practice: length of the stirrups does not necessarily have to be different. Often, always sliding out

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A Welsh Partbred gelding competed success- muscular hardenings in the back were treated fully until L-Dressage after a solid basic dres- by a physiotherapist. The Dorn-therapy bal- sage training. At 8 years of age, he was sold ances the leg length difference, but does also and from then on shown by a 14 year old girl provoke a change in the back muscles. Ex- with a weight of 47 kg at dressage competi- plained the easy way, the muscles are short- tions class A successfully. At the beginning of ened on one side and extended on the other. 2007, the pair won several A-competitions and But soft parts do not usually stay in the posi- got placed in April again. From this point on, tion you put them in, they want to get back the problems described above appeared with into their old position. This causes backaches the horse massively. The gelding was not able after some hours after the treatment, but the to bend his neck to the right and also had fade after a short period of time. I suggest problems at the canter to jump through on further treatment and post treatment with the right side. massages.

Furthermore, the horse was nervous and un- Something about the Dorn-Therapy: It was cooperative. When examining the horse, I also developed by the agriculturist Dieter Dorn in found out, that the gelding did not like to be the 70s. It is a manual method which can be longed and that it was hard to lead him by complemented by certain exercises the pa- other horses. Partly, they said he was evil. tient can do on his own. The Dorn-therapy is When testing him on the longe, which was not adequate for the anatomic or born ano- only possible using a cavesson, the horse was malies I talked about at the beginning and it is not even able to carry its own weight with its not without controversy. In every case, it is right hind leg. Despite best ground situation in very important to keep an eye on the whole the arena, the horse slid and fell. Stepping picture and also use conventional medicine under the weight with the right hind leg was methods. completely impossible: it fled in an uncon- trolled movement and always lost footing. On In fact, all medical and alternative treatment the left hand, the gelding was able to balance methods can be summed up in one point: the upcoming centrifugal forces. "Those who heal, are right!"

Although the young girl always took good But what happens when you are riding and riding lessons, nobody saw that her right stir- how do the health problems develop? In the rup was much longer than er left. What also case I talked about, there was a totally uneven stroke me was that she always lifted the coun- situation in the back muscles of the rider. The ter shoulder and she had a slightly shifted right side of the muscles was extended, the seat. The rider tried hard to balance this by left stayed or shortened. The difference in leg erecting and extending her back extremely. length is developed by the life situations I When I asked her, she explained to me that mentioned at the top which we all know, on she had been suffering from headaches and the other hand it can also develop because of backaches for some years. When she lay on a weaknesses of the ligaments in the pelvis her back, I detected a difference in length of area. If you say it simply, the ball of the joint the two legs of five centimetres. For an active slides a little out of the joint link pan in the young girl of this age this is a huge difference. pelvis. With a slight hip dysplasia, which can The young rider has been living with this dif- appear more often with females for anatomic ference for many years now. It was completely reasons, this situation even gets worse. Pain in normal to her and her body got used to the the head and back area do not have to appear situation, apart from the unregularly appear- necessarily, by the way. ing pain and a certain sensitivity for little illnesses. I could exclude that she was born with Measurements show that on average, a quar- or had an anatomic anomaly. ter of the body weight additionally affects the respective side of the horse’s body depending So, through the Dorn-therapy, the leg length on the leg length difference. In our example, difference was shortened in two steps and the this is already 12kg which the horse has to put

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away and balance on the right side over a long success in treatment with the horse is ex- period of time, in training as well as in compe- cluded this way. The on going malstraining by tition. While the longer leg carries more the rider will delete the result of the treat- weight because of the twisted scaroiliac joint, ment. Basically, there is no doubt, of course, the left leg likes to clasp to the horse. The that with riders who do not have a tilted pel- gelding suffered from blockades in the neck vis, treating the horse is completely sufficient. spinal column and had muscles completely hardened over his whole left side. All of the After the described treatment of horse and muscles of the croup, above all the biceps, rider, which expanded to a period of time of 4 showed a level of hardening which did not weeks with treatments twice a week , the two start to come back to normal until the third have been winning L-Dressages again and treatment. The hind quarters, with a lot of were placed manifoldly. For 2008, they have muscles, lacked every elasticity, stress points been accepted to their regional team. had developed into stress areas which had to be treated by frictions and deeply smoothed out, which is expensive and costs lots of pow- The Author: Jürgen Hellwig er. By additional extending of the muscles of the hind quarters, it could be brought back to born in 1963 in Landshut, until 2006 international project a useful state. director for Siemens, training for becoming a physiother- pist for animals 2006, study of the anatomy of pets 2006 Some colleagues" opinion that treating the to 2007, 1 year of assistance to Dr. Uwe Heidebrink in the rider is not necessary and that it is only about horse hospital Aschheim, specialty: Physical adjustment of horse and rider, rehabilitiation for horses, physical a supple horse and a good training of the therapy. horse, I cannot approve of, because a lasting

magazine page 47 Where do horses come from?

By Dr. Ines von Butler-Wemken had started 5000 or 6000 years ago in the Asian steppe and the tamed horses had been All horses are believed to descend from the distributed from there. By contrast, in America primal horses from the Asian steppe. But new horses had been extinct already 10000 years researches shed new light on the horses" ori- ago. It was only in the 16th century that they gin. At many different places on earth, hu- returned with the Spanish conquerers. If our mans must have started to tame wild horses horses really did descend from only a limited independent from oneanother. amount of shared ancestors, molecularly genetic analysises would show this still today. For over 6000 years, the horse has been close- Comparable works with other animals con- ly connected to the human. Many breeds and firmed exactly this. Derivation anlysises are characters, mostly depending on their main usually done with the motherly inherited ma- use and the natural feed basis, have devel- terial, which is internationally also called mt- oped since then. But at first, the horse was an DNA. At the Swedish university Uppsala, scien- important food source to the human, too. But tists have analysed mt-DNA not only from about the beginning of taming them and them different horse breeds, but also from very old becoming pets, has been speculated and dis- equine bones, years ago. 10 breeds were in- cussed controversially. Above all, it was not cluded (Russian Gotlander, Icelander, Shetland clear how and where the domestication of Pony, Connemara, Fjord, Arabian Thorough- today’s pet horses started. The main school bred, English Thoroughbred, Trotter, Ardenne opinion has been until now that domestication and Exmoor Pony) and the Przewalski horse,

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our last preserved wild horse breed. Included Berber, the Andalusian and Lusitano. But the also were motherly genes from eight equine Przewalskis are a genetic line of their own. skeletons from Alaska. Those had been con- Such differences between the breed groups served by the constant frost for over 12000 to cannot be explained by genetical change 28000 years and thus, long before the domes- through evolution. They indicate that domestication of the horse, near Fairbanks in Alaska. tication began at many places independently. Additionally, genes could be generated from What Japanese scientists had already detected 1000 to 2000 year old equine bones from years ago is now definitely confirmed, the Sweden and Russia. A German-British work Przewalski horse is not the origin of all our group now extended the spectrum. More horse breeds. In fact, this had already been breeds from Europe, Asia, the Orient and doubted long before, because the Przewalskis Mustangs from America were included in ge- have 32 chromosome-pairs, whereas our netic analysises. Today, you can generate horse breeds today only have 31. genes from all cells with a core, thus, when collecting those all over the world, mostly So, our horses did not develop only from a mane hair with roots was used. limited wild basis and not from the Przewals- kis. At many different places on earth, people In the whole, the research results showed must have started to keep wild horses inde- unexpected differences between the horses. pendent from oneanother. Still, archaeologists Many genetically different mother lines with- assume that the first horse tamings took place out direct connection were detected. Tho- 6000 years ago in the European-Asian steppe, roughbred horses and other breed groups not least, the first horse wagon was used could be followed back to shared pedigrees, there. The analysises shed a new light on the like expected. For example, the horses from origin and the blood relationship of today’s Iceland are closely connected to the Viking’s horse breeds. Like it already seems to be now, pony, the Exmoor, the Fjord and the British horses have had many ur-mothers at different Highland Pony. The American Mustang show places on earth. close connections to the Northern African

magazine page 48 Caught in the system

Rider and horse as a closed system in motion

By Kerstin Diacont least effort. Shortly: The horse’s and the rider’s suppleness has to be kept or restored where it It is important for understanding the way of was lost under all circumstances. For this, it is equitation with least tension (riding in the necessary to balance the horse-rider-system in perception-seat) introduced in this article, that a way that suppleness becomes possible and the rider comprehends himself and the horse the horse’s natural urge forward is preserved. as a closed system in motion. Every action of Logic tells us that pressure and force on the the rider and also of the horse affects the one side and suppleness on the other contra- whole system. Every unnecessary tension in dict oneanother already in the words" mean- the rider’s seat, every fixing of the back, every ing. Despite this, many ride with a lot of pres- aid lasting for too long provokes resistance or sure and neglect the horse’s sensibility for only tension in the horse. light signals.

Therefore, the indisputably necessary gymnastics of the horse should be reached with the

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Picture page 48: There are also pictures in classical hangs, the hind quarters do not carry weight, the joints sports photography which are most classical depicting are stiff, the horse is leaning on the forehand. the favour of the hour for years and decades - like this unique picture of the Olympic winner of the Great Dres- 3. Horse drawn tight and rider out of balance because of sage Tournament 1936 in Berlin, first lieutenant Heinz the back having been tight for too long. Polley riding the East Prussian Kronos. (Photo taken from Kavallerieschule Hannover, FN-Verlag) 4. Horse drawn tight and rider out of balance because of he presses his hand down and has a hollow back and sits in the slit seat.

Create the scope to act in seat and aids

Reducing pressure in your signals does not Caught in the system only lead to more suppleness, but also creates a ‘scope of action" and energy reserves for the Many riders have learned a certain equitation rider when problems occur. If you play out system, mostly on the basis of the "German your whole repertoire of possibilities when Equitation", and have not understood it in the simply going straight, you won"t have to won- right way or it has been wrongly taught years der why you do not have anything left for ago; they do not know alternatives and there- correcting or collecting your horse. fore, are caught in their system. They have not learned to listen to the horse when it tells Find concepts - change habits them it cannot complete certain tasks that easily because the rider hinders or blocks it. It is helpful for reducing pressure long term to have a concept which makes sense. What do I They mistake the horse for a car, where you want to achieve? Which possibilities do I have can change gear always in the same way and to get there? What are the alternatives? which does not react to the driver’s situation. The phrases we all know come from this: This But it is difficult with the concept: I have met does not work with my horse! I have to ride many riders throughout the years who really him with spurs, curb bit, or, worst case, with did notice that something was wrong, that the draw reins to collect him and make him round. horse became tougher and less manageable each ride and had less and less fun working. This four-part series of articles about the per- But they did not know where they wanted to ception seat is about right, this means the go; they had never sat on a fine horse and did most effective for the signals, position of the not believe you could ride their own horse in a rider and about how various mistakes in posi- fine way - until I had proven to them that their tion and hand affect the horse’s freedom of own horse had not been tough and phlegmat- movement and the lections. ic by nature, but rather that it had only reacted to wrong aids and their rider’s unba- This first part introduces thoughts and con- lanced seat - with too much and too long last- cepts, parts 2 to 4 are about every single func- ing pressure. tion circle of the rider.

The second part is about the head, spinal column, pelvis movement, suppleness, mistakes Pictures pages 49/50 from left to right: in seat and their effect on the horse’s freedom of movement. 1. Rider in balance with the iliac crest in the middle. Right erection: The back is up, the neck is long, the horse The third part is about the rider’s legs and carries weight and bends in the joints. how clammering, lifting the heels and poking For comparison, the standing horse "without position" in with the spurs as well as mechanic continuous behind. pushing affect the seat and the rest of the system. 2. Rider out of balance because of leaning too much backwards and his back is too tight (iliac crest tipped back). Wrong erection: The neck is shortened, the back

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The fourth part is about the rider’s arms and rider affects the whole system. Basically, the how a stiff shoulder, a straight arm, pressing horse is responsible for forward movement the hands down and continuously twisting the and supplying energy. It has to generate all hand affect the rein connection and the con- motion energy for rider and horse by using the tact to the horse as well as the supple seat. "engine" hind quarters. The rider is responsible for balance, conception, guiding and orientation in the environment. He allows the horse to move him and must not try to move the Thoughts and concepts for the start horse, i.e. by pushing with his seat. He only gives impulses and direction. He takes care You cannot hold on to movement that he himself and the horse does not loose balance; he hast to phase the exercises in Holding is movement, this means it can never lections so that both are able to complete be static and cannot be held fast. But many them. Additionally, he is responsible for the riders try to freeze the horse’s position and joint work’s goal. Therefore, he also has to be make their horse and themselves hard and clear about the concepts he wants to use to stiff. A basic rule in equitation: Every part of reach this goal. Last but not least, he is re- the horse-rider-system is in continuous swing- sponsible for the orientation in the environ- ing movement without "fluttering" (i.e. nerv- ment and has to tell the horse which way to ous shank). go.

Every unspoilt horse moves forward willingly Sitting in the movement - in-feeling and influencing If this is not the case, the rider made moving forward uncomfortable or impossible for the In order to let the horse’s energy flow through horse. the whole energy circle, the rider has to feel, accept and translate the horse’s presettings in Tension, hardening and suppleness movement with his flexible pelvis so that he is able to sit the horse’s movement on the one Rhythmic tension and relaxation of the muscu- hand without disturbing it and that he is able lar counter parts in the body guide a move- to guide and control this movement on the ment of the rider as well as of the horse (= other hand if necessary. alternating tension). If a muscle is blocked from relaxation, it starts to cramp and the In order to sit "in the movement", several movement becomes unround: Rider and/or turning and tilting movements of the pelvis horse - in the end both - are uptight. Harden- are necessary, to absorb the impulses from ing means muscles held fast continuously; the the horse’s swinging back which are directed extension phase of the muscle is missing. laterally and vertically. Those will be described Right body tension of the rider is created by more exactly in the second part. The movabili- erection of the upper part of the body and ty of the pelvis and the rider’s balance are of being resilient downwards in all joints. The highest value for an independent seat and horse’s right tension is created by a correct precise influence. tension curve with swinging, supple back. Both are not static, but live by the alternating ten- The rider should not formally sit straight, but sion, the respective alternating extending and has to learn to balance himself well in every contracting of the muscles. Only in alternating situation. Riding primarily means feeling and tension suppleness can develop. then influencing: first feeling the horse’s presettings in movement and its state at the mo- Responsibilities in the energy circle ment (sore muscles, stiffness, blockades?) and then influencing carefully (start a connec- In the whole, rider and horse form a closed tion/contact, question what is possible...). For energy circle in motion (see picture page 49), this reason, I differentiate between the per- in which every change at any place by horse or ception- and the action-seat - between pas-

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sively feeling and actively influencing. While Sitting still - Stopping influence to affirm the riding, you have to switch between the two, if horse control is necessary on the one hand but on the other unnecessary hardenings are to be It is important to come back to the perception taken out of the system. seat again and again, even if it is only the shortest period of time and simply sit still and Perception-seat let the horse do its work. Still in the sense, that the rider does not bombard the horse Too high or too long tension in the rider’s with superfluos signals all the time, to which it body blocks sensitively perceiving what is won"t react anymore in the end, because they going on in the horse’s body. Influence and also do not stop after its reaction. correction by the riders are not effective, because he just does not realise the horse’s in- Only then the rider can take unnecessary ten- tentions quickly enough, if his muscles are sion off himself as well as feel what the horse hardened or he holds on to his pelvis. The is doing beneath him. And he can reward the supple perception-seat keeps the joints and horse for a right reaction by stopping the sig- receptors open and resilient and allows a soft nals and taking pressure away. If he always rein contact with little rein pressure. In the rides in the action-seat, he keeps the system perception-seat, the rider concentrates on the horse-rider continually under high voltage. presettings in movement made by the horse With constant action, the rider takes the feel- without influencing actively. He alignes each ing of being one with the horse away and does body part over oneanother, so that he can not realise the horse’s offers to do something keep the balance almost without any muscle voluntarily. power. He listens to his horse, feels its body tension (and so its intentions) and tries to The action-seat build a connection and stay in contact. He also concentrates on what is going on in his own The action-seat occurs always when the rider body and its interaction with the horse’s pre- gives a signal or wants to block a jink of the settings; on the joints being supple, on his horse (influence and correction). Many riders pelvis absorbing the horse’s pelvis’s impulses only know the action-seat, always push for- without blockades, on feeling his ischiums, on wards, even if the horse shows enough activity the leg being resilient down to the foot joint from behind, they annoy the horse with "blind and on holding slight contact to the horse’s actionism", intensify pressure at each possible stomach, on the head being free. And he tries spot without taking it away now and then. having a "rubber-band like" rein to stay con- One rider does this unintentionally, because nected to the horse’s mouth, which is only for example he cannot control his bouncing possible with elbow and hand joints in middle leg. Others misunderstand the claim "the position as well as a "falling" shoulder and the horse should be on the aids permanently" and elbows hanging from the shoulders. chuck the poor animal between back and hand like a bench vise. But this perception seat cannot be held for long in dressage work. It is replaced by an And what will the horse do about it? One action-seat in which the rider requests active- horse seals itself off and becomes tougher and ly, i.e. starting a lection or correction an un- tougher in its reactions, because it is tor- wanted action of the horse. mented with signals no matter what it does. The other does not know how to help itself and runs away from pressure, or it explodes and bucks the tension created by the rider out Picture on page 52: Wrong erection with the neck short- of its back. In both cases, the rider is to blame ened leads to hardenings in the horse. Despite the erec- (and most riding instructors with him, who do tion of the neck, the horse is moving downhill; the rider blocks the horse’s back by tightening his back too much; not see the reason for the problem). the horse’s hind quarters show tense steps.

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The principle of laziness - handle the rider’s sion off the reins to reward the horse: If you and the horse’s powers economically give in, I give in.

Seat and influence with the goal of "minimum Every leg signal has to stop, if the horse does force and maximum harmony" are best de- what the rider intended with it and the leg has fined by the principle of laziness - laziness in to come back to the waiting position (perceiv- the positive sense: Neither the rider’s nor the ing, passive position). The tight back has to be horse’s powers should be strained unnecessa- let go, if a horse accepted the signal. rily. Especially not by horse and rider working against or past oneanother. They are working Using the horse’s urge forward - letting against each other, if the horse blocks the movement out instead of pushing actively energy from the hind quarters somewhere in its body (mostly in the back), or does not want Basically, extensions are easier to achieve if to produce any energy, because the rider re- you do not push them out, but just let them presses the energy flow. They work past out. The horse has to want to go forward of its oneanother, if the horse resigned and came to own will and the rider only has to control the terms with the rider’s conceptional mistakes . back of the neck, that the horse does not just Such horse-rider pairs seem often spiritless, become long and runs away. Thus, right ex- never fully supple. tensions need a already more or less collected horse, which works from the bent hind leg to Horse rider work well together, if the horse upwards forwards and does not "drill itself pays attention to the rider 100% (the actual into the ground". meaning of being on the aids), if it is set into gear by indicated signals of the rider and can be rewarded by stopping the signals. In doing so, the rider has to pay the same concentrated Tension curve - body tension - attention, which he asks of the horse, to the switch points in the energy circle horse. Tension curve of the horse Don"t waste energy in the normal mode The tension curve reaches from the dock to Many riders need so much power to keep the the horse’s back of the neck. It stretches horse running in the normal work mode, that through the hind quarters well stepping under they have no energy left for increasing influ- the weight and a carefully limiting rider’s ence (i.e. before or after a signal etc.) and hand, which controls the horse’s back of the respectively for tension peaks for corrections neck over the horse’s mouth. The tension at short notice. It is a fact that every horse, curve must not show any interruptions, as the even the dull ridden horse, is glad if the rider energy from the engine hind quarters gets leaves them alone now and then and can be stuck at every interruption. Guiding is more convinced that it runs on its own at working difficult or not possible at all, if there is too speed without a knocking leg or a poking spur little energy and respectively the horse blocks disturbing it and without the permanently it in the back or in the neck (i.e. holding on to tight back of the rider blocking its back the back) or interrupts it (i.e. wrong bend). movement. Body tension of the rider Every action (=signal) has to stop after having reached its goal Next to the horse’s tension curve, the rider’s body tension is important. As controlling the Every "right" signal is as short as possible. An system horse-rider is the rider’s responsibility, increasement in rein pressure (signal) lasts the right body tension/position of the rider is only for a split second, before the tension is precondition for achieving the horse’s tension taken away again. With the first sign of the curve. It is created by erecting and positioning horse giving in, the rider has to take the ten- of the upper body functionally. Only with the

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right tension, the rider is able to create the qualified to carry the rider. Rider and horse have maxi- right tension curve in the horse. The rider can mum freedom of movement and action. also interrupt his body tension or block parts Collection: Rider in balance, the nuchal ligament is tight of his body (because of various position and with a long neck, the back of the neck is the highest seat mistakes, which will be discussed in parts point, the back is arched up, the hind quarters are bent 2-4). and carries weight, tension curve and energy circle are intact. Suppleness in the closed energy circle Stopping: Rider has the right position, but the horse is "without position", it could not carry the rider’s weight The two separate body tensions of horse and in movement like this for a long time without getting rider do only unite themselves to one energy hurt, the nuchal ligament is limp, tension curve and the circle, if everything is okay at the switch points whole energy circle are interrupted respectively not reins-horse’s mouth and rider’s lower back- there. horse’s back. Okay means: Horse and rider are supple for the energy created by the horse and are connected over the switch points Connecting and keeping contact to the horse without any hardenings. Thus, not only the at the switch points horse has to be supple, but also the rider. If he blocks the energy given by the horse’s hind The two individually tense systems horse and quarters by wrongly holding on to the seat, he rider are connected at two main switch points. blocks the whole movement: The horse will For one, it is the switch point "horse’s back- slow down. rider’s lower back/seat bones-rider’s pelvis". Here, the biggest energy-exchange takes The same happens if the horse blocks itself place. Movement impulses from the horse’s somewhere - often in the back but probably back are absorbed by the rider’s pelvis and are also in a hurting joint. The energy gets stuck. cushioned to a minor degree by the spinal And nothing arrives at the front (the reins), column and the joints. The rider’s pelvis is which the rider could guide. something like a movement converter. It converts the complex up, down and forward Always one after the other movement of the horse’s back in an also complex turning-swinging of the rider’s spinal col- Existing problems in the energy circle can rare- umn with combined turning and tilting move- ly be solved at once. First, you always have to ments. The balancing movements of the pelvis achieve that the horse supplies the system finally lead to the rider’s seat bones always with energy from its hind quarters voluntarily, having contact to the horse’s back. At this without the rider having to push all the time. switch point, it is about letting the horse’s Only in the second step, the horse can be rid- movement impulses through and not blocking den roundly, which means over the back, so them by holding fast to the back (fixed back). that a tension curve through controlling the back of the neck can be achieved. For creating At the switch point "back-rider’s lower back" the tension curve, various lections can be energy is guided, too. By shifting his weight, helpful. the rider baits the horse to come after his weight. The horse moves under the rider’s

weight, tries to rebalance itself, if the rider Pictures pages 54/55 makes it loose balance by shifting his weight. This is why it is so important that the rider is Extending the trot: The rider sits straight without leaning truely balanced in the normal case (when he back, the upper line of the horse is extended, the nuchal does not want to give signals), lets go of the ligament is tight, the nose is in front of the vertical, the pelvis and weights both seat bones evenly. lower jaw and the shoulders are free, tension curve and energy circle are ok. The second switch point is the connection Canter: Rider in balance, the upper line of the horse is "horse’s mouth-reins-rider’s hand" extended and the nuchal ligament tight: this position is

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Here, the energy of the whole system is addi- manage to hold the energy circle closed, but tionally guided and limited in front. At this under minimum tension. switchpoint the tension curve is thightened more or less. This is done with the famous and notorious half signals. The rider gives a short impulse with the leg to animate the hind legs Balance and equilibration as basis of to step further forwards. Now, he uses the successful riding rein as shortly as possible and then leaves it to the horse to rebalance itself by stepping more Balance (and resulting from this suppleness of under the weight with the hind legs, to carry horse and rider) is the nuts and bolts of good itself. If he uses the rein for too long, he gives riding. The main problem with the seat, espe- the horse the possibility to lean on the rider’s cially in more difficult lections, is balance. hand. It becomes top-heavy and hangs on the Many riders start choking or pressing if they rider’s hand. This happens especially if too should do a complicated lection, thus block little energy comes from the hind quarters" their movability of the pelvis and bring them- motor to the front, because either the rider or selves and the horse out of equilibration. It is the horse holds on to his back (is not supple). important, that the rider calls himself to order again and again and comes back to the per- The independent, supple seat makes the ceiving equilibration seat (without force). If closed energy circle possible necessary, he has to stop a lection and start new again and again as soon as he notices that In order to be able to act quickly (and softly) he is loosing the equilibration seat. Only in with the rein, it is indispensible that all joints balance, the rider’s seat is stable without be- in the rider’s arm, including the shoulder joint, ing stiff. Only in balance, he is free to move all are loose. Otherwise, the rider’s hand be- his extremities and use his weight for signals. comes hard and slow. But the joints can only And only in balance (in the perception-seat) be loose, if the free to move pelvis absorbs he can feel actions of the horse early enough the swingings of the horse’s back and converts and react quickley enough. it into a movement of the rider’s spinal column, without the extremities taking part, es- Every aberration from the normal seat makes pecially not the shoulder (= independent seat). the seat instabler. The rider needs more force The connection between horse’s mouth and for riding, because he has to compensate for reins can only work, if the contact at the his lack of balance with muscle force in arms switch point horse’s back-rider’s lower back is and legs (loosing equilibration is the reason okay and if the horse creates energy in the for hardenings, clamping with the legs and all hind quarters - thus, going forward enough. other mistakes in seat). A too tense rider nev- Here, the energy circle of the whole system is er sits in balance! This is why it is first priority closed. for the rider to get into balance himself before he can do the same for the horse. Functionally right instead of formally right Problems in equilibration of horse and rider The "right seat" depends on the training level cause and increase oneanother and on the exterior of the horse (on young horses, you sit differently compared to fully Horses who fix themselves or tilt over the trained ones), on the rider’s body and on the shoulders respectively step short, have prob- lection. lems in equilibration in most cases and respectively fear loosing equilibration. A rider who is There is no formally right seat. The rider’s too tense and holds on too much and is not position always has to be according to the straight on the horse increases these prob- situation. It has to allow precise communica- lems. The horse then tries to lean on the rid- tion with the horse. The difference between er’s hand and starts to hold fast. ‘sitting beautifully" and "riding funcionally well" lies therein, how good the rider can Inner balance of the rider

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In connection to balance, fear and "mental is not blocked by the rider (without knowing) hardenings" of the rider are a subject, too. are the preconditions for the right head-neck The rider’s inner balance is at least as impor- position of the horse. tant as the outer, often it only makes the lat- ter possible. Muscle chains and function connections

Weight signals Mistakes in seat and hands often cannot be corrected on the spot where they are visible The rider shifting weight is the easiest and because they emerge at a different spot and most natural way of influence (giving signals) are passed on to the visible spot by muscle and finally the most elegant in the course of chains. For example, there are two huge training. Basically: The horse goes under the blocks of chains in the arms and legs of the rider’s weight. In order to be able to influence rider. Both blocks are related to the erection a horse with weight signals, the centres of of the upper body and the pelvis’s position. A gravity of both have to lie above oneanother hardened shoulder is continued to the rider’s 100% before each action (supple normal seat). hand, but has its origin mostly in a stiff pelvis; Every aberration from this normal seat - with the other way around a extremely pressed fist vertically erect upper body, iliac crest in mid- has effects in the shoulder and finally in the dle position, evenly load of weight on the two rider’s pelvis. A very important function con- seat bones, the leg being resilient down nection which many riders are not conscious through the foot joint and supple, falling rid- about is the following: Tightening the back er’s shoulder - has to be made consciously. If (counter sitting) and holding the reins against the aberration takes place unconsciously, the this are condition for oneanother. The same horse gets signals which it does not under- with letting go of the rein and in the seat. One stand. Many riders do not seat in the centre is not possible without the other. If you hold without knowing and taught their horse with on to the reins in front permanently you also this to stem against the thought-to-be weight have to sit with a tight back all the time. If you signal or ignoring it. let go of the rein or reduce the tension to a controlled minimum, you can also let go in the The basic idea of a movement back. Especially in your signals this connections shows negatively: The horse slows down For giving signals effectively, he rider has to in the signals because the rider does not let go have the idea, the picture, of a movement in neither back nor reins quickly enough. his head to give the horse the right impulses. Let’s take the turn on the hind quarters as an Avoid conceptional mistakes example: Turning on the hind quarters basically is a forward movement (related to Travers) Mental preparation, right evaluation of your and no static "Clamping-on-the-spot". Thus, it own abilities (especially of your body feeling) has to be developed from forward movement. and of the horse’s limits of performance as well as right concepts help avoiding logic mis- Reason and effect takes and unnecessary conflicts with the horse - and therefore to eliminate superfluous ten- Some riders mistake reason for cause and the sions from the whole system. other way around when riding and look for the reason of problems in the horse. In fact, Avoid contradictory signals, ride according to the solution almost always has to start in the the problems and situations rider, especially in his balance. Many riders give contradictory signals because The rider’s balance is a precondition for the they do not know what their body is actually horse’s balance and therefore: The suppleness doing and how their believed-to-be-right sig- of the rider is precondition for the suppleness nal arrive at the horse (this will be discussed of the horse. Good work in the hind quarters more detailedly in parts 2-4). Others do this and a freely swinging back of the horse, which because they do not consider the horse’s pre-

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conditions. What is natural for a rightly and The Author: well trained horse can lead to mistakes with young or spoilt horses. Here, it is sometimes Kerstin Diacont works as author, graphic designer and photographer. She has universal equestrian experience - good to separate: "Leg without rein" (pushing from western to dressage to ground exercises she is signal without limiting signal) and also "reins successful in all saddles of training. As a trainer, she without leg", to avoid the horse getting con- stresses using the kinetics practically and gymnastics in fused. the whole of horse and rider.

magazine page 59 open letter

Warendorf, September 23rd, 2007

Dear FN, dear FEI, dear German Judges’ Association, where is the journey about to go?

A very impressing, maybe the most impressing world championship of the riders is over. Wonderful horses, expressive rides where rewarded with the highest marks and titles. As those impression are now more than a year, I want to ask our Association Bosses and opinion creators if what has been shown and rewarded with titles back then was what you really wanted to see? Is it what you can connect with the term classical horse training with a clear conscience? Are you content with our highest judges" work?

At this point, I want to remind you of a wonderful horse, which had ought to be world champion in the opinion of 50,000 spectators. The team of specialists in the judges" house was extremely excited and had almost fulfilled the wish of many!

For me - and I am not alone with this - some question marks stay. This sensational horse did not fulfill any of the criteria of classial horsemanship! It did not keep tact at any gait - there was no suppleness - dependance in classical horsemanship’s sense was not to be seen - as well as drive from the hind legs - every moment of suspension was developed only from a held fast back. There never was a round footing in Passage - there only were hind legs pulled under the stomach, which were put back to the ground after a moment of nodding. I only saw stretching and suspension steps which will wear the bones etc out.

The Piaffe shown in Grand Prix as the highest level of collection is almost identically commented by Udo Bürger in "Perfect art of riding" as pseudo Piaffe:

Nodding head, a wagging tail in a position of tension, tilting croupe and broad stepping.

We saw a spectacular horse which made a huge show out of its appearance. The rating of this appearance is a declaration of bankruptcy to the FEI’s judging in my opinion.

How can professionals on this level be deceived like this? Or is this a new wanted direction of our interpretation of classical horsemanship? Who will have the courage and the competence to finally

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leave this meander? Even critical magazines who know the facts of life reported about the new su- perstar!

Dear FN, dear FEI, dear German Judges" Association, where is the journey about to go? Please send your dear answer to the publishing house. Of course, it will be published in the next edition to make it accessible for publicity.

Best regards, Gerd Heuschmann

Picture page 59: A sensational horse: Matiné under An- dreas Helgstrand. Supple or tense, this is the question?

Picture page 60: The white mare Matiné was the most striking horse at the World Equestrian Games. Her gait performance, especially in Piaffe and Passage, enthused spectators all over the world.

Notes

Bet on the wrong horse... high performance sports as a special ability of the neuromuscular system. In equitation, Dear Dr. Heuschmann, reactive movements, especially in Piaffe and Passage, are a special form of the excentric- I have great respect for your clearing work concentric speed strength at the shortest about the effects of wrong training. (keyword possible connection of the two working phas- strait jacket riding). I also consent that you es, thus respectively in the extending- have to hold the judges more responsible. You shortening-cycle. I admit, that it is a fine line are talking about a wonderful horse and a big between "harmony kept in tension" (see page show - and then you paste it. This does not fit 34, left side at the bottom/Interview with for me. Despite this, I had wished that you Richard Hínrichs) and "hardening". I hope you named horse and rider in an open letter. I also did not bet on the wrong horse in the whole. was, like 50,000 more or less professional In order to judge judging, there would have spectators and some World Championship been better bad appearances at the World judges, enthused by the movements of this Equestrian Games. I would like to discuss this spectacular mare. What could distinguish this matter with you, but I also want to encourage horse from all the other top dressage horses is you to continue your clearing work. the so called "reactive tension ability", a cha- racteristic, which is also requested in human By Jürgen Kemmler

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magazine page 61 The perfect Passage

The game goes on… from the Piaffe or has to be erected from the collected trot, so that it is forced to do some This edition is about the perfect Passage, a grand steps which cover only little space. You lection which is closely connected to the Piaffe have to look for the moment the horse starts in training. The classical way is, of course, to one or two cadenced steps full of swing and develop the Passage from the Piaffe. The un- accomplishes those. In this moment, you have trained Passage is a movement which the to reward it immediately and interrupt the horse, not broken in yet, shows in nature work, to make clear to the horse that this is when particularly excited. Regarding the eval- what you want it to do." uation and the ideal we let Richard L. Wätjen speak again, a master of equitation, who has By Jürgen Kemmler influenced the development of dressage riding lastingly.

Picture page 61: Richard Wätjen on Burgsdorff in an exemplary Passage. A Passage done correctly is the most beautiful and grandest gait in the high school of equita- Sweepstake: Who shows the best tion. Passage? "The Passage is a floating trot movement in highest collection and erection with diagonal Some innocent readers may not yet have an stepping, where the highest propulsive force is idea what a good Passage looks like. There- developed in the lowered, more stepping un- fore, we want to sharpen your view for the der the weight hind quarters. Drive is directed essential with our potpourri of Passages (pag- upwards instead of forwards, so that despite es 62-63) where we present 23 Passages to full development of energy only little progress you. Passages done by "old masters", Olympic is made. Dressage winners and medal winners, famous international equitation stars and other riders. Because of the diagonal pair of legs cushioning We do not say the name of horse and rider on powerfully from the ground and is kept up in purpose. Now you, dear readers, can play the air, this unique, beautiful dance-like judge. We are looking for the best three of the movement emerges, which belongs to the 23 Passages. Look carefully at the pictures, most graceful airs. If the hind legs step to the compare and think about which three pictures side or unevenly, this has to be seen as a mis- (please name the numbers) fit the ideal de- take. The higher the horse lifts its legs and scribed by Richard L. Wätjen on page 61. An swings rythmically in the movement with bent independent jury with one representative of joints, the more beautiful is the Passage. classical horsemanship, a dressage judge and a trainer will give its judgement. Name your The Passage can be developed from trot or three "best" and send them on a postcard to: from the Piaffe, which depends, of course, on the horse’s abilities. In Passage, the horse has Wu Wei Verlag e.K., Isabella Sonntag to erect itself more and the hind legs have to Seestr. 54 step more under the weight. This is why the D-86938 Schondorf a. A. horse has to be driven forward energetically Germany

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Entry deadline is July 31st, 2008. it). You will watch for the whole day. You will have lunch together and be able to ask a All right postcards take part in a prize draw. whole bunch of questions... The first prize is a day with the master of Piaffe and Passage, Anja Beran at Gut Rosen- This is the first prize - but EVERYONE (!) who hof in the German Allgaeu. You get a one-hour guesses the three best Passages receives a lesson on your own horse (if you cannot bring subscription for free for four issues. an own horse, we recommend to pass this special prize on to a person who appreciates Piaffe is looking forward to many of our readers taking part.

magazine page 64 The three best Piaffes

Sweepstake from Piaffe issue 1/2007:

The three best Piaffes are numbers 6, 24, 37

In many rider’s café riders discussed and de- dressage winner 1972) and no. 37 (Heinz Pol- bated, but also experts exchanged opinions, lay with Kronos, Olympic dressage winner who demonstrated the three best Piaffes. We 1936). have received over 100 postcards - but only one had the right guess! In the whole, 16 readers got two of three numbers right. But also for the jury it was not easy to decide, as The individual members of the jury’s "in positive as well as in negative many pic- opinions: tures are similar and the decision on the single case is really difficult" (Martin Plewa). Dr. Dieter Schüle Dr. Dieter Schüle sums up from the judge’s point of view: "You have to consider that the (international dressage judge): In evaluating pictures are snapshots. For a final decision of a the Piaffes I come to the following order: judge, you also have to think about some cri- Best Piaffe is picture no. 6. This horse steps teria which are about the movement’s fluidity: under and carries the weight exceptionally - The Piaffe has to be in tact and in even rythm with its hind quarters, the carrying hind leg - The horse has to stay straight, it should not stands vertically underneath the hip bone. The fluctuate and the hind quarters should not joints are working energetically and bend elas- evade. tically, the horse erects itself in the neck at a - The Piaffe has to be on the spot. It is allowed soft, content dependance. The back of the to have only minimum forward tendency. neck is the highest point, the croup obviously - The number of steps has to be kept." lowered. The rider’s seat is extended and balanced.

Second place is for me no. 20: A horse which In the jury’s opinion, the three best Piaffes are steps energetically in the hind leg, the joints no. 6 (Guenther Seidel with Aragon, USA), no. are well bent, the front leg is almost ideal. 24 (Liselott Linsenhoff with Piaff, Olympic Also here it is noticeable that the horse erects itself and that the back of the neck stays the

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highest point. What disturbs me a little is that I also wished I could place more than one pic- the rider’s lower leg is positioned this far back. ture third. If I have to decide for one picture, I take no. 24, where almost the same argu- Third place I think is no. 24: A Piaffe which ments as for the first two places are valid. expresses a certain easiness with willing dependance and good carriage. The hind quar- Manuel Jorge de Oliveira ters step correctly under the weight, the horse seems to be closed, the front legs lead expres- (for 39 years professional in bull fighting, for sively. 25 years dressage trainer in Portugal and other European countries, student of Nuno Olivei- In all three pictures, the appeal lies in the fact ra’s): that all three horses carry their weight well with a lowered croupe and the back of the My evaluation: neck as the highest point. The dependance is soft, the horses seem to be content, do not I think that no. 1 is the perfect Piaffe. For me, show hardenings and no fixed back. it looks perfect, the seat of the rider, but also the horse’s action, I like that. I like Iberian Martin Plewa horses. I like the attitude, the calmnitiy of how she does the Piaffe. If you ask me whether the (écuyer and director of the Westphalian riding Piaffe is 100%, I would say no. But the round- and driving school in Muenster): ness and the bending of the haunches of the horse, the rider’s way to ride, the tension of I decided the best picture to be no. 6, rider the horse are very important to me. and horse come formally very close to the ideal (Question: Is there something like this?) After this, I choose no. 24, I believe it also to on the one hand, on the other hand this pic- be a perfect Piaffe; and what is important to ture expresses much implicity, suppleness me, is to see the rider’s behaviour on the (even with all physical effort) and easiness. horse; she is completely calmn. She knows The rider sits balanced and gives the impres- exactly what she is doing and the horse’s an- sion that he wants to make it easy for the swer is perfect in my opinion. horse and that the horse does this exercise with the slightest of signals. The communica- And the rider of no. 37 is a brilliant rider to tion between horse and rider seems to be me. This would also not be a 100% Piaffe, but harmonic, the connection to the horse’s 99,98%. His correct seat is striking and above mouth seems to be light but secure, as well as all the way the rider bears himself on the the contact between the legs and the horse’s horse. These three pictures are good examples stomach respectively the rider’s lower back how to ride a horse in Piaffe. and the horse’s back. The horse seems to be content, ears and position of the tail do not Klaus Krzisch show reluctance or tension. (first chief écuyer at the Spanish Riding School It was already very difficult for me to choose in Vienna): the next places. But I decide for the picture no. 37, which shows much easiness of rider It is difficult to choose the three best from all and horse and a fleet-footed, dynamic horse. I these good Piaffes. But I think I found three also like the position, balance and correctness which I think show the best in the moment of of the rider (the leg could be a little more the taking of the photograph. back) but also the perfect position, dependance and balance of the horse, as well as I judge the Piaffes looking at the rider, at the good coordination between forehand and bending in longitude and the connection of hind quarters. the rider to the horse’s mouth (which is essential for a good Piaffe), which makes the horse’s suppleness visible.

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My top three are: The experts’ judgement 1. Place: No. 6 1 2 3 A very beautifully composed, Piaffe, the horse steps in the center of gravity, the erection of M. Plewa 6 37 24 the neck is obvious. 2. Place: No. 12 M. Oliveira 1 24 37 This Piaffe is similar to no. 6, you see the ex- K. Krzisch 6 12 14 pression and the calmness of the horse. 3. Place: No. 14 Dr. Schüle 6 20 24 This piaffe looks composed and supple from this perspective. Thus, all postcards with numbers 6, 24 and 37 take part in the prize draw.

magazine page 67 The rider’s impacts and their timer

Riding transitions with signals at the appropriate time

The basics of classical European horsemanship There is no other field in equitation which are based on knowledge conveyed by nature. tests the whole system of communication Among others, they are mirrored in the signals between rider and horse as relentless as riding for transitions from one gait to another. The correct transitions on the spot. movement of the horse’s torso and back are the timer for every appropriate, fine signal, which creates hard-working, joyful horses. The task The basics For a transition from one gait to another or For this view per flying lead change from canter on the right hand to canter on the left (or the other way • mainly recommendations based on expe- around), the rider wants to change the horse’s rience for our signals in transitions from order of step with his signal. our riding concepts • and important knowledge, mainly which •This signal is a combination between signals was learned with the support of modern from the seat, the legs and the hands. techniques • about the order of steps in the basic gaits Seat means here: of the horse The rider has to... • about the movements of the horse’s back and torso • come to his centre again and again (reba- • and about the rules which say how a horse lancing) can go from one gait to another, • position his hips and shoulders according to are consulted. the task at hand horizontally (hips parallel to

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the hips, shoulders parallel to the shoulders of • strenghthen the elasticity of their spinal the horse) column

• and position his legs according to the rest • extend and loosen their thigh muscles (both legs at or one leg at, the other a hand behind the girth). • make their foot joints movable

Young riders (beginners) cannot use the sig- • better their general coordination nals for correct transitions, because they are not yet able to sit independently from the by doing gymnastics to create the precondi- reins and cannot use the movements of the tions for riding finely and cultured. To young horse’s back and torso as timer for their leg horses, you give the signal for the transition signal. from one gait to another first with the voice or a little whip and leaves it to them to find the If long time riders have to do without the ti- right moment for execution. These signals are mer of the horse’s back and torso given to also given already now despite the fact that them by creation, they should (according to the young horse is not able to realise them in their lack) a second’s obedience.

Diagrams page 68-69 (only text, for the diagram please look inside your Piaffe): These statements about the horse’s toso and back were deduced from the order of step in the basic gaits and confirmed by video shoots.

Diagram 1: Horse’s torso and back - moving foundation for balance seat and leg signal /walk

Phase 0 (5) Phase 1 (6) Phase 3 (7) Phase 5 (8) Phase 6 (1) Phase 7 (2) Phase 9 (3) Phase 11 (4)

Contact to the ground (top view)

left hind (red)

left front (blue) left front (blue)

right front (blue) right front (blue)

right hind (red) right hind (red)

Antidromic, alternating up and down of the right (black)/left (green) side of the horse’s back (saddle’s spot, lateral view)

right side of the horse’s back is lowered left side of the horse’s back is lowered

Lateral movement of the torso (legs" spot, bird’s eye view) left left centre centre right right

Diagram 2: Horse’s torso and back - moving foundation for balance seat and leg signal /trot

Phase 0 (2) Phase 2 Phase 3 Phase 4 (<3) Phase 5 (>3) Phase 6 (4) Phase 8 Phase 9 Phase 10 (<1) Phase 11 (>1)

Contact to the ground (hind leg (red)/front leg (blue) - top view) left left

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right right

Up and down movement of the horse’s back (saddle’s spot, lateral view)

up up down down

Antidromic up and down of the right (black)/left (green) side of the horse’s back (saddle’s spot, lateral view) right side of the horse’s back is lowered left side of the horse’s back is lowered

Lateral movment of the torso (legs" spot, bird’s eye view) left left middle middle right right

Diagram 3: Horse’s torso and back - moving foundation for balance seat and leg signal/canter

Phase 1 (6) Phase 3 (1) Phase 7 (2) Phase 8 (3) Phase 9 (<4) Phase 10 (5)

Contact to the ground (top view) left hind (red)

left front (blue)

right front (blue)

right hind (red)

Up and down of the horse’s back(black) (saddle’s spot) and antidromic up and down of withers(blue) and croupe(red) (lateral view)

up down

Antidromic, alternating up and down of the right (black)/left (green) side of the horse’s back (saddle’s spot, lateral view)

right side of the horse’s back is lowered left side of the horse’s back is lowered

Lateral movement of the torso (legs" spot, bird’s eye view) left left centre centre right right

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For the horse, a successful learning progress is The miniature plates premised by To help you in your studies, the coherences • the signals being clear, without room for between misunderstandings the respective moment of the movement se- • the signals of the rider never contradicting quence and the movement of the horse’s tor- each other so and back on the one

• patiently and consequently practising the and the reasonable influence of the rider on realisation of the rider’s signals by the horse. the other hand

With fully trained older horses, reactions to are depicted here in 4 sketches of a miniature the rider’s influence go on in a split second plate for all decisive step sequence phases of automatically like reflexes. the original and the aim gait.

Why pushing leg signals or the swinging to the Plate No. 2: Walk Phase 7 (-) front of a hind leg on the same side, shortening influence of the hands in transitions can These miniature plates are self-explaining, but only be given and realised like reflexes if you are explained in the beginning. Sketches in the want to be successful? stickman-style created in relation to Ludwig Koch: Equestrian Art in Pictures, make the A complete (!) movement sequence at the step sequence phases clear. Koch, who Wal- walk lasts for about 1,2s, at the trot for about demar Seunig said of that he was "as practis- 0,75s and at the canter only about 0,5s. Only ing rider as mediocre as he was brilliant as a to give you a feeling for this time: you need artist, designer and hippologist", created the about a full second to say the word "twen- probably first complete and trustworthy De- tyone" in German calmly ("einundzwanzig"). pictions of the step sequencees of the horse’s Additionally, transitions are - like we could basic gaits and of the transitions from one gait learn from Ludwig Koch - only possible in a to another. The other drawings were taken certain phase of the movement sequence into from Huebener: Coaxing seat, breathing leg, a certain phase of the movement sequence of whispering rein or were created according to the other gait. drawings contained therein.

• Only if the rider gives his aids like reflexes in The horse-rider-cooperation in transition from split seconds at the right moment one gait to another (the horse gives you the timer and is therefore placed first) accompa- • and the horse realises them at a second’s nies one sequence of 9 such plates at a time obedience automatically or like reflexes, through nine step sequence phases of the horse. The respective phase is set in the mi- transitions from one pure gait (without steps niature plate below right. inbetween) into another pure gait are on the spot (this means close to exact in the preset In those drawings, based on Koch, in stickman- spot in the dressage arena) are possible. (Only style the legs turned to the viewer (here al- "close" to exact, as the horse can only realise ways the right legs) are black, the horse’s legs the change- like we are going to see later - in away from the viewer are grey (here always certain phases of the movement.) the left pair of legs). The stickhorse-depiction reduces the horse to the respective phase of At the latest then it is good for the rider to the forward movement, which all movements think about what should be done with the of the horse’s torso and back can be deduced several influences, which the signal consists from. It suits the icon-like plates. of, when and in which order theoretically. Effects of the step sequence phases on the movements of the horse’s torso and back are

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depicted by the back view of horse and rider, which can be depicted only limitedly in the placed top left in each miniature plate. lateral views (beacuse one hand is sometimes covered) I recommend the top views of the In plate 2 on page 70, the left hind leg of the rider. The top view (in the miniature plate horse swings to the front (look at the stick- below left) shows the seat in riding straight on horse). Because of this, the left back of the a straightly positioned horse in all new plates horse is lowered, the right is lifted, the torso of this plate series. Top views of later chapters swings for weight balancing to the side of the also show the seat for left and right position- supporting leg, here to the right (back view). ing and bending of the horse. In the top views The left half of the pelvis ring of the rider ac- you can see the hands" influences best: companies the horse’s lowering. Thus, the left leg of the rider follows the torso which swings For example, in plate 4 a pull of the left hand, away. Now, the reader should look at the in plate 6 both hands giving in. plate top right. In the plate walk-trot no.3 the left hind leg which swings to the front has As in the plate series only the phases essential reached the supporting right hind leg (stick- for the transition are depicted, some readers horse). At this moment - in the back view may want to look up what is missing. This shown by bold arrows for the movement of should be easier with the phase numbers at the horse’s back and torso - the leg of the the bottom of the plates. rider wants to fall to the horse’s torso swinging away on its own. If the rider allows this like in plate 6 - there when the right hind leg swings to the front - and pushes it, the arrow The transition from trot to walk showing the movement of the leg is also bold. For a transition from trot to walk with a young In the plates no. 1, 4, 7 and 9 the movements horse, you just stop pushing, say "waaaaalk" of the horse’s back and torso die away. Both and supports it with little rein movements and sides of the horse’s back are on one level, the let the trot fade to a walk. torso is in the centre. Let’s go back to plate no. 1: walk phase, one front leg supports ver- The young rider is confronted with an unsolv- tically, therefore, the horse’s back is lifted at able task if he does not yet sit independently whithers" side. This is shown in the lateral from the reins. The instructor will have to help view of the rider (always top right in the plates him there with his "waaaaaalk" for the group. and always a female rider). The rider would tilt (The best help for a young rider is training his back if she did not counterbalance this move- seat at the longe line on an appopriate horse). ment with her upper body unconsciously. In the walk phase of plate no. 2 whithers and For an advanced rider, pulling once on the croup are on one level, upper body and legs of side where the hind leg swings to the front the rider therefore are not led away. should be enough to delay the swinging and thus, it causes the transition to the walk. This In the walk phase of plate 3, one hind leg is pulling may be clear and definite at the begin- supporting vertically, the horse’s back lifts on ning, it will be easier the better the horse is croupe’s side. In the lateral view of the rider it prepared for the transition with half signals becomes clear, that she would tilt to the front and is made finer each time. if she did not counterbalance the movement with her upper body unconsciously. The course of action, dictated by the movements of the horse’s back and torso, of a rider Drawing the hips to the front and the shoulder who gives his signals like reflexes, is demon- on the same side back which gives the horse strated by the plate series (on the right, page position and bending are not depicted as it 75): would take much more artistic effort but would not contribute so much to your studies. The rider prepares his horse with half signals About this, and about the hands" influences (growing up and down) for the upcoming task.

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The self-moving leg falling to the horse does • Growing and self-centering, when the inner not push forward, but only claims attention leg wants to fall on the horse on its own (tapping). (plate 3)

The actual signal for the transition is given in • light rein pull on the outside when the out- only half a signal (from one leg becoming self- er leg starts becoming self-acting (plate 5) moving to the other leg becoming self- moving): • supporting the now fully self-acting outer leg (plate 7) In plate no. 5, the right rein pulled only once delays the swinging forward of the right hind leg (which is used as a timer for this). This pull causes the transition to the walk at an espe- Plate series trot-walk cially long way of the right hind leg. Trot phase 2 (plate5) and walk phase 1 (plate 6) melt No. 1: trot-phase 3 (<<3) together. In plate 7, the rider reminds his No. 2: trot-phase 6 (4) horse of work, it is not yet allowed to dawdle and relax at a long rein. In this, the self- No. 3: trot-phase 9 (<<1) moving (here right) leg can be enforced for No. 4: trot-phase 0 (2) the claim (picture). No. 5: trot-phase 2 (>>2) For using this in the saddle in a transition from No. 6: walk-phase 1 (6) trot to walk, the rider only memorizes a short formula. No. 7: walk-phase 3 (7) No. 8: walk-phase 4 (<8) No. 9: walk-phase 6 (-)

magazine page 76 Nuno Oliveira

A genius in the saddle and worshiped all over the world

Portugal’s most famous écuyer Nuno Oliveira him who had been spending more time with (1924-1989) was a genius in the saddle and him. To diginify his life’s work hippologically, belongs to the most worshiped classic riders of you need many, many pages of a book. In our time. Two contemporary witnesses learned order to give you a little impression of his per- from him and talk about their very personal sonality, we have two "Oliveira-pupils" tell impressions. their stories in PIAFFE - Manuel Jorge de Oli- veira and Alastair Gordon Scott (for Alastair’s From all over the world his students pilgri- story, please read his article "Working for maged to his place in Portugal to understand Maestro Nuno Oliveira" on www.piaffe.eu). and learn the art of dressage riding - and many returned year after year. On many tra- The Portuguese horse trainer and bull fight vels he showed his elegant and fine art of rid- professional Manuel Jorge de Oliveira begins. ing and fascinated his audience on his Lusita- Manuel is 48 years old and started riding at nos trained to haute école. There is only a the age of 6. As a bull fight professional, he small amount of contemporary witnesses of has won all competitions existing in the world. the "mestre" left, like his students used to call He was also successful in some eventing com-

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petitions in Portugal. As a trainer of classical It is said, that Nuno Oliveira represented the horsemanship, he conveyed his way of riding last connection to the great classical masters and his knowledge, which carry Nuno Olivei- of the 17th, 18th and 19th century. Which ra’s stamp, to his students in various European riding tradition is the "Portuguese school countries. based on"?

He had spent the last three years of Nuno As far as I recall what he told me, he valuated Oliveira’s life with the master and had ridden the French rider Baucher highly; he also liked with him every day, which helped him a lot in to read books by Francois Robichon de la his development. Today, he says about this: Guérinière. I believe, that he took in a little of "When I saw how Nuno Oliveira rode his all great French riders of the epoque and was horses, I understood that riding a horse is no inspired by their light way of riding. I am con- sporty business, but rather a real art. It is an vinced that he put all good pieces of this his- art and needs fantasy to make every individual toric time of equitation. With help from his horse shine in its movement expression. I intellect, he adapted something from every learned this at Nuno Oliveira’s. And it is also style and made a very positive mix from it, what I tried to bring into Portuguese bull which, I think, contained everything you need fight." to train a horse. In my opinion, this is exactly what Nuno Oliveira did. He was a man with a Nuno Oliveira is said to be a genius in handling cultural view, with extraordinary culture. I horses among the lovers of classical horse- believe he read the works of all great riders. I manship. What was his art - in sit and influ- think he mixed everything to a good, balanced ence - what characteristics distinguished him receipt and then presented this to today’s and how did he come to worldwide populari- world, as what the real essential of good dres- ty? sage is.

Nuno Oliveira was a genius, because he had One has to discover that the European royal- the ability to ride every horse, interpret every ties all had the same spirit of equitation. I horse’s behaviour and estimate what the believe that good riding is still internationally physical, mental, psychological and philosoph- universal today. But one can say that the Por- ic problem of the horse was. His unique ability tuguese school is strongly influenced by the was to interpret the weaknesses of a horse French school of that epoque. Therefore, by F. quickly. This is, what Nuno Oliveira - a really Baucher as well as by J. Fillis, so, the riders important person for the international riders" who influenced today’s Portuguese riders community - did. strongly.

Nuno Oliveira also was a rider whose position Which influence does the connection between on the horse was extraordinary with a fantas- equitation and bull fight have - in former times tic seat. His signals were always hidden, you and today? were never able to see them. The balance he had always fit the horse’s, he was a rider who There has been bull fight in Portugal for over made it possible for the horse to bring in its 4000 years. I want to say with this, that before whole fantasy; he had the ability to make it the big wars, man already hunted bulls on his possible for the horse to be happy with his horse. The whole of today’s equitation has way of riding. He let the rider in him step back developed from the equitation of the riders of to let the horse play the main part. He was a those times, who fought with bulls and hunted man who had lived his whole life for the them for food. In fact, this is commonly horses, for giving the horses a better quality of known; from these times, rock paintings are life and a life in health. still preserved which show exactly this. What did bull fight do? It is very important for performing bull fight that the horse is in balance. And in today’s dressage, balance is what is worked on daily. In order to do a real bull

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fight, the horse has to be in balance. If you ask Pictures page 77: me now what I think of this, then I"d say that in Portugal, 4000 years ago, there already was above: Nuno Oliveira’s lifework was published in German language in 5 books in the series "Documenta Hippologi- a Nuno Oliveira, a Baucher. Already then, ca" (Georg Olms Verlag, Hildesheim) there were riders who did that well. beneath: Manuel Jorge de Oliveira in Piaffe - almost a Mestre Miranda is said to have been his copy of his famous instructor and role model. teacher. He was in service of the Portuguese royal family and instructed Nuno Oliveira ac- Book page 80: Manoel Carlos de Andrade - The cording to Guérinière’s and Marialva’s prin- noble art of riding, Explanations for a reason- ciples. Nuno Oliveira prefered riding Portu- able practice, ISBN 987-3-487-08452-7 guese horses, Lusitanos. What are the breed specific differences between Lusitano and Manoel Carlos de Andrade (1755-1817) was Altér Real? écuyer at the Portuguese royal riding school, when it was under the direction of Dom Pedro Lusitano and Altér Real or Altér Real and Lusi- de Alcântara e Meneses, Marquis of Marialva, tano: The difference, which you can speak of who is often called the "La Guérinière of the today, is the fact that today’s Lusitanos are Iberian peninsula" and reached its shining descended from two important breeds: Veiga climax. His text, published in 1790, which was and Andrade. It is the mixture of both types inspired, or, as some people say, written by which characterises the Lusitano of today. Marquis of Marialva, eternalises the essential Altér Real is a horse, which was bred especial- of the Portuguese way of classic Iberian ly for the Portuguese royal family. It is not horsemanship. The working methods are dis- influenced by Veiga or Andrade; it is a Lusita- tinguished by psychological finess of the logic no horse next to today’s Lusitano. training scheme, sensibility in performing and understanding for the horse’s nature. From Who is accepted as Nuno Oliveira’s successor Iberia to South America and today on to in Portugal today and which institution is re- northern Europe, this Portuguese way of rid- sponsible for classical horsemanship in Por- ing, dedicated to the aestethic creation and tugal? the horse’s interests, has survived despite all cross currents. This book, correctly called "ex- Nuno Oliveira was a genius and unique. In planation" but conceived as enlightenment, is Portugal, you could not speak of a replace- one of the very great works of European riding ment for Nuno Oliveira; this is simply impossi- culture. It is a detailed, deep going working ble. There are many great and good Portu- handbook and far more than a reference work: guese riders, students of Nuno Oliveira’s, who It is really a book of inspiration, published in respect him and ride in a way very similar to Georg Olms Verlag, Hildesheim. his, but in the end there is no replacement for Nuno Oliveira, this is simply impossible. Piaffe thinks: This broad handbook, which was published in Georg Olms Verlag, Hildesheim, offers Which role does modern dressage sport play in a unique competence regarding a complete depic- national equitation in Portugal? tion of the manifold subjects in former horse practice. A real jewel in every horse book library. You are, I think, speaking of dressage in competition. If you mistake the equitation of tour- The DVD about the life and work of Nuno Oliveira is exclusively available in the Wu Wei Verlag. At the naments for good riding, then this is a huge moment in French language, soon in German. problem. The lobby, which preserves classic dressage riding, is very strong, marketing is Length of the movie: 60 min with many biographic extremely important. But I think that at the elements and riding sequences. - Price: 34 € moment, people all over the world think that you ride a horse well if you ride like you see Please order at [email protected] or Tel.: the winners in dressage competitions riding. 0049 - (0)8192 – 934192 And this is the bad problem.

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magazine page 83 Emil Volkers

The German horse painter and Europe’s breeds

By Manfred W. Graf, picture page 83: The Lipizzaner - the famous Edited for Piaffe by Jürgen Kemmler horse of the Spanish Riding school. The horses of this royal riding school still grow up in the On the occasion of the 125th jubilee of the stud farm Piber in Styria without exceptions edition "Exquisite Horse Breeds" by Emil Volk- today. ers a remake of the 34 lithographs of the original lithographic prints was published in a jubilee edition, limited to 500 copies in 1994. The art file, very nobly designed, contained next to His life and work the lithographs a book, which the editor Man- fred W. Graf dignifies not only the life and It is the fate of many artists that they expe- work of the artist Emil Volkers at length in but rience just dignification of their creations and also describes the individual horse breeds re- work only after their death. Emil Volkers is no garding type and use, exterior, mechanics, exception. His documentation of the European breeding fields and stud farms as well as his- horse breeds and the exerior and character toric details hippologically competent. From studies were and are indispensible for many every line of his text, the horse-passion of the works about art and horse breeding. rider is obvious and his great love of the horse in detail. This and the equally important inter- The horse painter Emil Volkers was born Janu- est in art history led Manfred Graf to making ary 4th, 1831 in Birkenfeld near today’s Rhi- the horse painter Emil Volkers known to the neland-Palatinate. Emil Volkers experienced a world with his work. The main motive of his very happy and balanced childhood in Birken- paintings, the horse, is the element whose feld. He was born as second child and eldest environment he grew up in and which woke son. Three sisters and his younger brother the seed of painting in his childhood and had Carl, who Emil Volkers was especially con- fascinated him from then on. Near his parents" nected with, followed. The meaning of the city house, horse markets took place from time to Birkenfeld for the horse painter Emil Volkers time. There, the artist to be could sharpen his was not only a happy childhood. Like he has eye for the horse and learn to judge it, namely: stressed later again and again, Birkenfeld gave ‘standing, moving, for health, character and him the desicive impressions and impulses for anatomy." the motive which has been fascinating him for his whole life: "horse". His paintings are vivid and his self-contained, conventional style, expressive, but at the same His parents" appartment in the old baroque time harmonic characterises Emil Volkers as house offered the best view of the vivid stage one of the best horse painters in the 19th cen- coach traffic at the "Hotel zur Post" on the tury. other side of the street. The business in a post office, the putting to, the unhitching of the Jürgen Kemmler horses, feeding, caring, harvesting and everything about it, had obviously woken the seed of painting in him and had been fascinating

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him eversince. The stables there always acco- and his sons, of which he was especially con- modated over 40 relais horses, as in one week nected with Franz Adam (1815-1886), in 1852. about 40 four-in-hand stage coaches, four Already Albrecht Adam had painted horses curricle stage coaches and three messenger not in the traditional, idealistic, mythisising posts stayed there. Birkenfeld was famous for way. In Mecklenburg, Wuerttemberg (Ara- its "first class post expedition". Near his par- bians) and Schleswig-Holstein, Volkers had ents" house, horse markets took place from made very natural horse studies and accepted time to time, which made an intenser study of portrait orders and therefore became more the animals possible. There, the artist to be horse painter than battle painter. He followed could sharpen his eye for the horse, learn to his role model with conviction and won such a evaluate it, namely: ‘standing, moving, for support, that he was granted a studio in the health, character and anatomy." attic in 1853 in the "Adamei", the living, studying and studio area of the artist family Adam. Emil Volkers had to leave the child’s paradise So, it is not amazing, that Emil Volkers is listed in 1842, when his father accepted a new job as "Adam-Student" in a renowned artist index. as the director of the higher daughter’s school. Anyhow, the children met widely rami- A sketchbook of the year 1852 shows, how fied relatives there. For his further artistic strongly the motive horse occupied Emil Volk- development, the move was surely beneficial, ers then. Of 60 sketches, 50 are dedicated to as painful as the good bye from his horse rich the horse, only 10 are depictions of humans. environment was. In 1852, Emil Volkers also painted his first horse painting for the court of Oldenburg, The state of Lower Saxony, which Oldenburg which was followed by many more. From this belongs to today, bears the horse in its crest, time, he was not lacking jobs obviously. The which shows that Emil Volkers seemed to be portraits of 22 stallions of Hanover’s stud farm at the right place. For the young Emil Volkers, in Celle for the king of Hanover, which he li- there were greater artistic inspirations than in thographed later, especially cemented his Birkenfeld, where they were limited to his reputation as one of the most important horse father. Above all, his aunt, Wilhelmine Me- painters in Germany. In 1857, his stay in Mu- hrens (1811-1875), known portrait painter of nich ended. Oldenburg’s bourgeoisie and drawing teacher, taught him personally with a lot of love and From 1857 on, Emil Volkers had settled down patience. in Duesseldorf almost half a century, where he created the most of his works. After some After his school years, he started an appren- years, he became member of the renowned ticeship in Dresden at a porcelain painter’s, artists" association "Malkasten", which is still which obviously was not his great passion. The existing today. In Duesseldorf, he exhibited favour of the grand duke allowed him to at- mostly in the artists" club for Rhineland and tend Dresden’s academy under Rietschel and Westphalia. Furthermore, he was occupied Schnorr von Carolsfeld, where the most of with painting exceptional horses, i.e. at the Oldenburg’s artists were educated and sup- private stud farm of the king of Wuerttem- ported. His drawing art surely improved in his berg, who bred Arabians. time at the academy. The theatric historic paintings like Schnorr von Carolsfeld and his In 1869, he painted pictures to 34 colour li- students did, were obviously not fully accord- thographs "Exquisite Horse Breeds". When ing to his affections. At all events, you cannot working on it, Volkers looked far beyond the find anything of this in his later creations. The borders of Germany and painted the horse historic painters of that time in Dresden did breeds of Europe and the Arabian countries. not like to paint realistic and individual depic- So, he created a very important documenta- tions of horses. So, Emil Volkers started look- tion of the horse breeding of our continent. ing for new teachers and supporters. He found Furthermore, he created some important illu- them in Munich with the artist dynasty Adam, strations for Oldenburg’s stud book of 1863. the progenitor Albrecht Adam (1786-1862)

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Also the Prussian stud farms in Trakehnen, horses, the equine stars of the biggest stud Graditz (Saxonia) and Beberbeck (Hessen) farms, gave him the sobriquet "the horse were visited by Emil Volkers, to paint the best painter". Unfortunately, Volkers only expe- and most beautiful horses. Therefore it is not rienced the dignification he earned now bit by amazing, that Emil Volkers was awarded and bit. Like I already said, horse painting is one of honoured with the gold medal at the first the oldest themes in art. general German horse exhibition. This award was one of the great highlights in his career as It is noteworthy, that Volkers does not only go a horse painter and made him famous beyond into details of the horse individually in every German borders. On May 30th, 1905, Emil depiction of his main work "Exquisite Horse Volkers dies of heart paralysis and entombed Breeds", but also paints the respective land- on June 2nd in Duesseldorf. scape and depicts persons in their typical cos- tume/uniform. The edition documents in an Still harder than the depiction of his path of impressive way the breeding of the 19th cen- life is the art historical classification and artis- tury, and shows how breeding has changed in tic judgement of his complete works. The least the course of years, some breeds have va- you can classify him as part of the Dresden’s nished completely. With this, he did not only school, more he was part of the more impor- build a monument for the German, but for the tant Munich school. But Duesseldorf, where whole European horse breeding and even the he worked the most of his life and exhibited Brockhaus encyclopedia of 1887 shows eleven and was long term member of the artist asso- different depictions by Emil Volkers under the ciation "Malkasten", seems to have influenced entry "horse breeds". Emil Volkers" works are him the most in the end, therefore, he must very close to nature. be classified as part of Duesseldorf’s school. The reason for the regional attachment of the In his paintings, the wish is vivid to document artist is obvious, as Volkers worked where he breedings and point out the "points" of the could paint the most beautiful horses and different horse breeds clearly. A wish which around Duesseldorf, he often had the chance. expresses itself again and again in an engaging Volker’s style is without a doubt to be classi- and convincing way. fied as Realism, even if Biedermeier characteristics become very obvious, which make him seem related to Franz Krueger’s pictorially charming dispassion (1797 - 1857, also called The bridle "Horse-Krueger"). (Picture: Neapolitan bridle) As it is commonly known, the artistic depiction of a horse is one of the oldes motives existing. Emil Volkers did not only study the horse’s Even before the human form, you find horse anatomy, but also their bridles and harnesses. pictures in the stoneage, like i.e. in the cave The purpose of a bridle is to transfer the im- paintings of Lascaux, France. Also in historic or pulse of the signals by the rider’s back and battle pictures, hunting scenes or in landscape legs to his hands, so that he can use it as an painting, the horse is represented not for its indicator for his horse’s suppleness and for own sake: it just belongs to the human, near dosing his further pushing signals. So, the him. A special horse painting starts only in more or less strong dependance over bit and modern horse sports, like it spread in England reins on the rider’s hand determines the level in the 17th and 18th century. Emil Volkers" of collection. special contribution and credit in German horse painting is to be seen more externally in The easiest and at the same time most harm- the extend and volume of his creations. I do less bit is the snaffle. It is suitable for every not know any other horse painter who created horse and every way of riding. However, it is so many horse paintings as Emil Volkers did. replaced by the curb in higher dressage The amount of pictures of the national and classes, which serves to make the lections international breeds, the most successful race learned with the snaffle bit finer.

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The thick snaffle bit is the best bit for begin- should and must be judged is not the shape ners, for the young horse as well as for the but in every horse what we call quality. Many riding student. so called mistakes are no mistakes; even serious lacks in the exterior are balanced and are overcome by what we call blood, energy, nerves and quality." The exterior There is no horse without lacks in exterior, this The known English horse painter George is why it is about looking at and judging the Stubbs studied the horse’s anatomy and only interior. Often, a good inner disposition can with detailed anatomic knowledge, a painter compensate for outer lacks. The contrary is is able to paint horses lifelike. Like the follow- not possible! The expression of the eyes, the ing exterior studies proove, Emil Volkers laid game of the ears, the reaction of the horse to great importance on that knowledge, too. its environment, its taking part in what is tak- What you claim of a horse’s body, is different ing place around it, its way of moving, reveal according to the purpose of use. When you the mental constitution of our horse to us, its look at the whole picture, it should embody a character, its temper, its intelligence and its certain breed type and at the same time a readiness to learn and perform. The most certain performance type. A horse which is beautiful exterior, the most power and the typical for its breed, prooves that it is bred most robust constitution are of no use if the through and owns the breed specifics of its horse does not want to be ridden. breed. Obviously drawn contours, dry texture, solid fundament, striking points, nobility in the Again Gustav Rau: "We can make our horses" whole picture allow conclusions about its training easier for us in the future, if we re- energy, its nerves, its firmity, its capacity. spond more to mind, character and memory, generally the mental characteristics of the As frame, you understand the single body horse and use this deeper knowledge of those parts in relation to oneanother: forehand to characteristics in dressage. We should not see hind quarters and length to heigth. the horse as a tool without will with which we have no other connection than a mechanic You usually say that head and tail do not make one, but as a companion, whose mental a horse. And the shape of the head does not strengths we explore and have to connect to if seem to have a meaningful influence on the we want to reach optimum performance." horse’s capacities. But looking at the head more closely pays off, as its shape and size tell you a lot about nobility, breed, temper, character and constitution. You should be able to The Trakehnen breed read the sex of a stallion or a mare of its face. Picture page 88 below

Among the German horse breeds, the Tra- The character kehner is placed in front. In Eastern Prussia, horse breedings already existed before coloni- Picture page 87 right below: angry, page 88 sation through the German order of the above left: scared, page 88 above centre: intel- knights. In 1732, the stud farm Trakehnen was ligent, page 88 above right: proud founded by Friedrich Wilhelm I. Since 1786, systematic breeding on the basis of the East A very important element of horse painting is Prussian horses with strong use of Arabian studying the character, which played a big role and English Thoroughbred. Progenitors of in the works of Emil Volkers. today’s East Prussian stallions are mostly Eng- lish Thoroughbreds. The most important For a start, a phrase by Gustav Rau: "We have among them is "Perfectionist XX", above all to ban formalism from judging horses. What because of his sons "Jagdheld" and "Tem-

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pelhüter". Until the end of the second World George II. of England, who was elector of Ha- War, the horse supply of the German army nover at the same time, mixed it with English was mostly taken from the East Prussian Thoroughbred. Up to this time, the Hanover breeding. After the loss of Eastern Prussia as Horses had mainly been used as a wagon and well as most of its horse stock, various dis- working horse. The English Thoroughbreds placed Eastern Prussians founded the Tra- were lithographed by E. Volkers and are still kehner Association of Western Germany with an important document of the Hanover breed- their Trakehner horses. ing (Celler-Stallions).

Beginning stock of mares was about 800 mares in Germany in 1946. There, a new boom in Trakehner breeding started, which In 1735, George II. founded the state stud you can find all over Europe and America to- farm Celle near Hanover. There, they ma- day and enjoys much popularity. naged to breed a lighter, quicker horse, an excellent coach horse, which had been used as draught horse for the royal state coaches until the reign time of George V. With starting mo- The East Prussian torisation and the fast development in trans- portation, also the Hanover Horse was forced Picture page 89 below left to adapt to the new situation. With this, the rebreeding process by using Thoroughbreds The German order of the knights had influ- and Trakehners started. As a jumping and enced the original form of the East Prussian dressage horse, the Hanover Horse is today strongly. Breeding horses was already far de- very popular with its first class performances. veloped with the Baltics and Prussians. Breed- ing the East Prussian has a long tradition and goes back to the time before the colonisation by the German order of the knights. By im- The Neapolitan porting oriental stallions of the later landlords - the German order of the knights - the horse Picture page 90 was ennobled. They started very early with keeping horses in stud farms, and already in The horses used by high Italian clergy are coal 1732, Friedrich Wilhelm I. founded the stud black with long manes and beautiful tails. farm Trakehnen. In the Prussian state stud Since the early 16th century, the aimed breed- farm Trakehnen, they bred stallions for the ing of the Neapolitan has started. The com- state stud farms and Remontes for their own mander Consalvo di Cordova wanted to military. The foals by the royal studs in East reform equitation. He needed a light, quick Prussia were signed with the brand below. horse, than the heavy war horse. For this purpose, Andalusian horses were brought to Naples. The city of Naples was the centre of horse breeding and the riding world at this The Hanover Horse time. Ecuyers like Federigo Griso, Claudio Conte die Pavia, Pasquale Caracciolo taught in Picture page 89 above right the riding schools, and we owe the first text- books about the art of high school to them. In the breeding area Hanover, breeding horses They all consented that the Neapolitan was to mainly lies in the hands of rural breeders, who be preferred above all other breeds when it always want to improve the breeding by came to high school. Max Fugger says about choosing good stallions and mares. The Ha- those horses: "These horses are good war nover Horse is one of the oldest Warmblood horses. But you have to give them time, as breeds in Germany. Since the start of the 18th they are late horses by nature, and you have century, it has been changing its appearance to be careful when training them, as there are by mixing with other breeds constantly. King some odd wild heads among them." The 17th

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century was the Neapolitan’s heyday. The In order to fulfill the specifications of the courts of Austria even had white horses. Their modern riding horse type, Thoroughbred stal- Spanish walk was especially striking. lions, Anglo-Normans and Anglo-Arabians (Furioso II, Futuro, Inschallah etc) were used. Now, they also use Hanover, Trakehner and Holsteiner horses. The result is a multiply usa- The Arabian mare ble, noble riding horse with excellent jumping and dressage potentials. from the stud farm Bábolna, picture page 91 above left

Bábolna’s horses were unusually huge for The Spanish horse oriental horses, but broad and strong. The Hungarian, respectively k. and k., stud farm of Picture page 91 below right Bábolna was a centre of horse breeding in the 19th century. The stud horse bred there had a The Spanish horse was bred as a military horse good reputation inside the borders of the k. and was then used, because of its incredible and k. empire and was popular as a riding or agility and courage, in bull fight. It developed light wagon horse. It was also used as a light from a mixture between Spanish Arabian cavalry horse at the military. Very well known mares and Thoroughbred stallions. Therefore, is and was the breeding of Arabian horses at it carries the main characteristics of an Anglo- the stud farm Bábolna. It was also continued Arabian. It is an outstanding, very agile event- during the communist reign. Still today, horse ing horse, which is used in Spain in almost all breeding at Bábolna has a good reputation parts of equitation. In former times, Spain was and its horses are sold easily also due to their rich with horses and home to many quick good training. horses. In the middle ages, Andalusia was the cradle of the noble knight horse. Max Fugger reports about the Spanish breeding: "The Spanish are very beautiful noble horses, not The Oldenburger very huge, but shaped well in chest, back and every extremity, erect in head and neck, so picture page 91 below left that I do not know whether you could paint or make a horse more beautiful." These horses had such a good reputation in the 17th century, that emperor Leopold I. rode into Vienna on a proud black Oldenburg- er after his wedding. The Oldenburger origi- The Thoroughbred nates from the Frisian breed. Under Count Anton Guenther of Oldenburg (1603-1667), Picture page 92 above left this breeding became known. To ennoble it, he imported Spanish and Neapolitan stallions The foundation of the thoroughbred breeding to Oldenburg. was ground breaking in England as the embo- diment of all good characteristics: Nobility, In 1820, the English stallion Cleveland Bay was character, health and endurance! imported, founder of the most important stallion line of Oldenburg. The newer breeding The English Thoroughbred developed by con- had been based on the Norman-Rubico-Line stant, systematic selection on the basis of until 1960, furthermore on the lines Emigrant, hardest selection. The progenitors of this Lupus XX and Condor. Since then, breeders breeding are said to be the oriental stallions: have been working to breed a multiply usable, The Byerly Turk, The Darley Arabian and The modern riding horse. Godolphin Arabian, which were imported in the late 17th and early 18th century to Eng- land and were mixed with the mares of the

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English breeds. Part of these mares already Staewish stallion, Duke of Cleveland, Lucks All had oriental blood; their ancestry and origin is and Astonishment had big successes in Olden- mainly not clear today. Since its genesis, the burg. Thoroughbred’s heights has increased from 150 to 160 and partly even to 170 cm.

Every horse is seen as a Thoroughbred which The Anglo-Norman can be traced back to the General Stud Book in 8 generations on the mother’s as well as on Picture page 93 above the father’s side. English Thoroughbreds founded as progenitors almost all German and Breeding the Anglo-Norman mainly was in the many foreign Warmblood horse breeds. It departments ORNE, CAVALDOS, EURE and gained great influenced on German MARCHE. It is the actual heir of the "Race Warmblood horse breeds. Normand", which is said to go back to a very old breed and had its day in the time of the Moors reign in Southern France. At the time of the crusades, Arabian blood was added, in the The Cleveland 19th century the stallion "Young Rattler" (1811), imported from England, had decisive Picture page 92 above centre influence on this breed. "Young Rattler" was a son of the English Thoroughbred "Rattler" and The Cleveland-Bay had been a popular ad- is seen as the progenitor of the Anglo- mired wagon horse until the first half of the Normans; "Normand", one of the fathers of 19th century. It originated from an old English French trotter breeding, is descended from breed. In the 18th and 19th century, it was him. mixed with oriental pure bred and English Thoroughbred. The Cleveland was mainly in- The Anglo-Norman was replaced by the fluenced by the stallions Old Traveller and French riding horse and today only exists as Jalap. Since the foundation of the "Cleveland the Cob, a strong, calm horse type which is Bay Horse Society" in 1884, the pure breeding suitable for light agricultural works. Since the has started. It separated from the "Yorkshire 50s, there has been the mare’s book, where Coach Horse" breeding, as they continued selected, also not wholly pure bred mares, using Thoroughbreds. In the 50s, they started Thoroughbreds, Arabians, Anglo-Arabians and again mixing with Thoroughbreds to get a French Trotters are embraced, which all con- noble, quick riding and jumping horse, the tributed to the formation of the today existing hunter. Great influence on German breed. Known stallions are: CONQUERANT, Warmblood breeding, with the stallions: Bur- NORMAND, LAVATER and last but not least lington Turk, Owstwick and Brilliant. The PHAETON.

magazine page 94 David De Wispelaere

By Juergen Kemmler and David does not let anything disconcert him in the relaxation phase at the walk. " The Calm and fully relaxed, but at the saim time horse is only supple if I feel good in the sad- determined, the nine year old white stallion dle", he says, and he is not disturbed by other strides in correct school figures under David riders working their horses at the same time in De Wisplaere through the arena. The compact the arena. Lusitano-stallion is bandaged at all four legs

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We, Isabella Sonntag and me, have a hippolog- He just has to give this time to the horse, and ical date with David and have taken our seats hands it over after about 30 minutes to its on the long side of the stand in the meantime. caretaker, to reappear in the saddle of a 12 The scene is the Brander-Hof of the RV Aa- year old, big frame, Hanover gelding. A totally chen, a traditional club at the outskirts of Aa- broken, draw reins horse, named "Wetten chen, where David has been securing his exis- dass" (I bet). When David got this gelding for tence by training horses for the last 1,5 years. training, trained to class M, it presented itself as a rearing horse, did all tricks to work Like we already announced and realised in the against its rider. "It is the hardest thing, if the last issue of Piaffe, we want to portrait anoth- horse has physical problems or does not un- er trainer and dressage-expert in the section derstand me", to solve problems. "Wetten "Horsemanship live" in the second issue of dass" can think itself lucky that it came for Piaffe, who has dedicated himself to the prin- correction in David’s training, as his aim is ciples of classical horsemanship. real, harmonic riding - without tricks. David could demonstrate first steps in this direction While David has started trotting in the mean- in the course of his show. time, we wrapped ourselves in five horse blankets to keep the freezing shivering down. A little later, with a good glass of red wine, David starts by riding the stallion forward- when he told us about his equitational becom- downward, always interrupted by rising trot, ing and we talked about the most influencing so that the horse’s back can come up and he is persons, his perception of dressage in the constantly trying to balance the horse with his classical sense was confirmed. His indispensi- smoothe seat and sensitive hands. In the ble training credo is, no matter which level of background, hard to overhear, music jingle- training, real, harmonic riding. "My horse jangle in the radio, interrupted by news. Hard- should not be my slave, but my dancing partly to overlook and naturally disturbing the ner", this is David’s motto. Therefore, he con- harmonic picture, a rider trots as if fleeing centrates on five focal points: from something with a face like stone round and round the arena. A scene which no script 1. Warming up, in a long relaxation phase, could have written better: Here, a merciless with little bending work, but many transitions "power rider" and there a sensitive "ballett at all three gaits. rider" - perverse world... 2. Supple and in tact walking with a swinging When we ask him about this later, David says: back. "With many riders, the horses have nothing to say." 3. Motivating the horse for cooperation, to achieve more and more inner suppleness. Meanwhile, the Lusitano-stallion, which already went through many hands, demon- 4. Never argueing with a horse, rather the strates his potential in various M- and S- horse first has to understand what I want to lections and that he has strikingly good basic demand. You have to get to talk to the horse. gaits. Then David decides that it is enough. 5. Always trying to gain the horse’s attention The next horse presented by David is a whole and trust. "I always try to find the best possi- other type of horse - a very agile and "electric" ble way, so that the horse has joy working. If 3 year old chestnut gelding (breeding area the horse is scared, then I must not push it. Westphalia) with a brilliant pedigree. The With drilling, you cannot achieve lightness gelding is only at the beginning of its training. with the horse." David tries to get the sensitive horse used to the rider’s signals with a lot of feeling in fine If a horse trainer puts his focus on harmony dosage. "First, the horse has to learn to un- and fine riding today, thinks himself obliged to derstand what I can request of it at this level the principles of classical horsemanship, and is of training." a through and through educated Horseman

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like David de Wispelaere, then he is a worthy 2007. The central topic is "finer dressage" and "Piaffe-classic", who will be awarded with the it is about "riding with feeling". special stable sign. We will report about this in one of our next issues. So that you, dear Piaffe The interview opens our eyes how unimpor- readers, can learn more about David’s riding tant a ribbon won in the dressage arena really philosophy, we want to recommend you the is. But also how important the trust in a part- following interview, which was published in nership between human and horse is - on the the Dutch pro magazine BIT in September long way to harmony in the saddle.

magazine page 96 Riding with feeling

Making dressage finer

The book "Riding with feeling" by David de Already once, David agreed to an interview Wispelaere will be published in German Lan- with BIT. Already then, there was a certain guage by the Wu Wei Verlag. In it, Grand Prix matter which was and is very important to rider and trainer David de Wispelaere answers him. all questions about making dressage finer.

What became of invisible signals? Every Wednesday evening, David talked to BIT editor Tessa van Daalen in order to write the If you define dressage in the classical sense, book "Riding with feeling": you come to the conclusion, that horse and rider should appear as a unity. Dressage Every time, they talked about a question should look as if it is just happening without which could concern an active rider. The book big effort. Dressage is mainly about making is structured in this sense; enriched with prac- control finer. Control over yourself! "The bet- tical answers to problems concerning equita- ter you can control your body and move- tion. One basic point was always there; so ments, the better you will be able to ride." David says: "You always come back the the rider’s seat. The seat has enormous influence It takes a long time becoming a good rider. on riding. A good attitude does not only look You have to develop technique and feeling. good if you are sitting on your horse, but is Five years ago, I myself had not been that far. also effective in riding. If I sit on a horse, I Now, I am at this point. Despite this, I work naturally want it to look beautiful. Horses are everyday to improve myself. If you are looking elegant creatures, who earn a rider on their for a hobby, where you can be successful in a back who tries to equal them. My horse few years, look for something else than dres- should not be my slave but my dancing part- sage riding. There trainers, who think that you ner. A horse, which takes its part, carries itself have to transpirate well as a rider. Only then and allows me to sit without clinging to the you rode well. But wether you transpirate or reins. not depends on the temperature. It should never come from fighting with your horse. For this, there is a little test: Can I relax my Ballett dancers also sweat, but what they do arms and legs in trot and still keep to the sad- looks light and elegant. You should dance with dle with my seat? This is only possible if my your horse, not fight! Arthur Kottas Helden- upper body is balanced and I sit centredly." berg always says: "If it looks easy, then it is good. If it does not look easy, then we have

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work to do." It is work without a doubt, but it some time ago: ‘sit your horse on to the bit". If must look uncomplicated. you sit correctly on your horse, the horse’s back arches upward and it looks for depen- You manage harmony, if you listen to your dance on its own. horse. Feel how it reacts. If you do not get the reaction which you expected, perhaps you What does not work above all, is trying to get should change the way you ask. Often it is like your horse to the reins with force. If you try to that that if something does not work, the pull the head down, you only achieve that the same question is repeated over and over horse tightens its back. It will just try to get its again. But what do you question then? More head back up again. You can see if a horse has chaos? You have to want more of the positive been trained that way. The lower neck usually and must not make more confusion. Riding has more muscles than the upper line. Riding also has to do with intelligence. Not only with also means responsibility; that you think well yours, but also with the horse’s. Finally, it is about what you are doing to the horse’s body. the brain which controls the body and this is Also David has moments when riding does not where your influence has to go. run like it should. He may increase his signals, but: "Only if the horse really understands what I demand of it and it does not want to follow. Therefore, I always have to question When does it go wrong with riding? why the horse does not want to do something. Does it not understand me? Is it physically not Often when you think: I soon have to go to a able? Does it hurt somewhere? Or does it competition and it has to look like this or that. simply not want to?" Anger never arises with David. "Where force starts, wisdom ends". He From this moment on lections are drilled. You also has the reason why it cannot work that should never train the pattern all the time, but way. "A horse which does not know what you always go back to the basis. If you don"t do demand of it with force, will fight it. A fight this, stress and frustration are transferred to against hurt! The longer I have to do with the horse. Riding should never feel like stress horses, the more I try to listen to them. Not or frustration, not for the horse and not for every horse is able to reach Grand-Prix level. the rider. It can be that you ride a competition And sure enough, not every horse can do it in in this style and the judges say "too boring!". the correct, self-carrying way. Then you decide to ride with more pressure. You push more with your legs and hold on What can make me sad are riders who punish tighter to the reins. You get more weight in their horses, despite the fact that they them- the hands. The horse than moves more ex- selves are not able to sit balanced. A horse pressively with the front legs, but works less which moves well carries itself. It carries itself with the hind quarters. For a spectator, this with its hind quarters, its abdominals are may look spectacular. But you yourself are not tense and it swings in its back. Sitting on a well able to sit, without holding on with your hands running horse is like being carried on a throne. and legs, because the horse is tight in the back Not because it is forced, but rather because it now." si physically and mentally able to do it.

Why is this so important for David? Why is this so important for the rider?

Because as little control as possible should Because it is important to control the energy come from your hands. You have to ride with level in your horse. This needs explanation: your seat! Good riding means to melt together "For a Passage, you need more energy than with your horse. for a walk at the long rein. It is really difficult for the horse to make the transition from the David’s string of thought can also be found in Passage to walking at the long rein. The walk the article by Richard Weis which he had read

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has to be completely relaxed. As the level of and turn the disk. Then, you feel whether to difficulty is very high here, this exercise be- much pressure develops on the right or on the came part of the lections for Grand Prix. If left side. If you feel too much pressure on the your ride is tense, this is mirrored in a bad right, you press more with your right hand. If walk. Or for example in a bad halt (or a not the clay presses rather against your left hand, completed halt). Riding is a relationship to you increase pressure with the left hand. This your horse and this relationship is based on can also be very, very little. You repeat this trust. Let’s take Satchmo of Isabell Werth in until the clay is centered, until it does not Aachen 2007. It was not spectacular, but it press against one of your hands but rather showed itself really correct and her ride erects in the middle. looked harmonic and elastic in dependance. Dependance has to be elastic so that the rider can loosen the reins, bring his hand forward without changing speed or the horse loosing How is this connected to equitation? balance. You shape the horse as well as you shape the Sitting well demands a good motor ability, so clay. Like you have to get in position in front of that you can follow your horse’s movements, the disk behind the clay, you have to sit complete the movements together. David can straight and centered on your horse. For ex- do this like no other. Not a for a single mo- ample, if there is too much pressure on the ment he sits against his horse. When he is right rein, you use your right leg and push the riding, everything looks easy and comfortable, horse gently to the left rein. Then you imme- also when he is completing a lection. However diately take the pressure away from your leg hard the lection may be. The motor ability, of and do nothing as long as your horse moves course, is inborn: "It would be great!" Do you beautifully, evenly and balancedly under you. remember gymnastics in school? Two teams selected by the class mates? I was always Mostly, you want to bend your horse to the called last. David says that you can develop inside. Then, it should be bent around your motor skills. How? ‘since I was little I have inner leg and run on the outer rein. But in been playing Percussions and piano. Feeling extending, like in extended trot, it has to be for rythm is important for riding, for your mo- totally straight. You keep the same tension in tor skills." both reins and your weight is shared evenly between your two seatbones." And there is something else which influences David’s riding enormously. It is funny, but he David has a simple instruction to make riding recommends it to everybody. Pottery! more comfortable and easier: "Visualise! Fo- cus, think about the straight seat and keep a "I have always been fascinated by pottery and picture of what it should look like. have learned the following doing it. You get a hard block of clay, which you have to work on. Soon, your horse will run according to this. If First, you have to get it smooth. This is the you lean forward, then your horse also feels same with the horse. For warming up, you you like a question mark. You can ride har- start by making the muscles smooth. monically in all divisions, also in jumping. In former times, the jumping riders in the USA For an example, let’s take a highly tense only rode thoroughbreds. On such horse, you horse. The horse is close to exploding and learn riding with fine signals quickly. There closed itself for everything, like a tank. Such a were Joe Fargis on "Touch of Class" and Con- horse has to be soft, to be able to ride it." rad Homfeld on "Abdullah". "Touch of Class" Back to the clay. When you made it soft, you was a thoroughbred and Abdullah a Trakehn- have to centre it on a turntable right in front er. And how beautifully those horses were of you. Centreing means placing the clay right ridden! With Conrad, a 1,50m Parcours looked on the centre of the disk, to shape a round pot like a L-jumping class (easy), with so much from it. You place your hands around the clay style! Elbows at the body and chin up..."

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How do you work with a young horse? whether it should stay a little longer in the paddock or on the grass. It is very important, "Use your voice. Teach it the commands at the that horses also have a social life and there- longe line: Walk, Trot, Canter and Stop. Most- fore, I let them go outside together in a group ly, the learn this in about 15 min. Also when as often as possible." longeing, think about your body’s position, about what you eradiate. Adjust your tone to "Of course, a horse does not come out of his the position of your body." box for daily training saying "Hurrah, now we work!". Without discipline, it won"t work. For example, David says with a calm voice: Despite this, use reward, not punishment! Hoooooooooooo. "After this, sit on your horse "Good" for everything it did well. This makes and connect also in the seat your voice to the riding so much friendlier for our horses and signals of your body." David always adjusts his keeps them motivated. If your horse comes training to his horse’s mood. "I always look back from training then it should feel and whether it needs a little ride in the country, or think: I did it well again today."

David de Wispelaere was born in New York State, USA, in 1961. As he loved animals, he purchased a pony at the age of 14, although his father had not allowed it. As he had already played piano and organ very intensely at the age of 12, which he later gave up for riding, he started at the riding school with Hunter-competitions in the pony club. At the age of 16, he bought a 2 year old thoroughbred for 2000$, which he trained and sold after two years, because he wanted to have a break from riding. Back then, he did not ride almost a year. After a relapse to horses, he wanted to learn more about riding. The basis was the American "Hunter-School", but because of meeting the German Dressage school at a clinic of Dr. Rainer Klimke in the USA, he wanted to go to Germany. Together with the American Dressage rider Robert Dover, who he has worked together with for four years, he went to Germany to Gabriele Grillo’s to improve his dressage and show in competitions. His aim has always been harmonic riding and being successful in international tournaments with the horses he bred. To- day, David de Wispelaere is a popular and highly estimated trainer, who does clinics all over Europe and the USA.

FACTS

Name: David William de Wispelaere Age: 46 years Location: Aachen Profession: Dressage trainer Strengths: Patience and endurance Weaknesses: Sometimes too much into details Loveliest experience: Riding through the pristine wilderness of Lake Placid on my horse Atilla Favourite meal: Italian Pasta, French cheese, Spanish red wine Favourite music: Baroque music, Trance, R"n"B Favourite movie: "The Color Purple" by Steven Spielberg Favourite destination: Italy Favourite horse: "Florentin", my 3 year old stallion I bred myself Role models in equitation: Herbert Rehbein, Dr. Rainer Klimke, Alois Podhajsky Most important trainers: Tom Poulin, Robert Dover, Gabriella Grillo, Arthur Kottas-Heldenberg Mentor today: Arthur Kottas-Heldenberg More information: www.dwdewispelaere.com

Picture page 98: David de Wispelaere with Figaro in a Pirouette at canter. His aim has always been being successful in international tournaments. Dr. Rainer Klimke has been his great role model (on the right).

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magazine page 101 Circus - the birthplace of dressage

By Anja Beran Picture page 101: At the "Chateau de Chantilly", north of Paris, the "Musée Vivant du Cheval" was created by Yves Thinking about circus, you also always think Bienaime in the "Grandes Ecuries", the great stables. Those stables really are a masterpiece of architecture of about horses in the manege. These are ani- the 18th century. Next to hipplogical shows the museum mals which were originally shown in circus. is frequented by thousands of visitors every year. In Today, it is often talked about disparagingly as 1994, the "Portuguese Year" was celebrated in Chantilly, "circus dressage" and the modern tournament where also shows of the centuries-old Portuguese equitation culture on Portuguese horses took place in the rider rather does not want to have anything to arena: The motive is from the invitation card of that do with it, but researches in the past show time. that our modern dressage is strongly connected to the art of riding in the circus. A glance back can help us reevaluating our pre- judices and learning more about the tradition The word "circus" was above all created by of the circus. the famous Cirque Olimpique and the events by Antoine Franconi (1737-1836) in Paris. The The Englishman Philip Astley (1742-1814) is word "circus" was a word for the shape of the said to be the father of modern circus. Since building as well as for the kind of shows. Ex- the mid 18th century, the art of riding has pensive stages, pompous costumes and up to developed in England and so called artistic 600 actors were these programmes" charate- riders did their shows on fenced-in open-air ristics. areas. Slowly, the round shape of the manege developed, whose diameter is still today Although acrobatic shows were a fixed part of 13metres. This is said to be the perfect meas- the events, they slowly became less meaning- ure to let a horse run in a circle. The centri- ful and the horse shows became the founda- fugal force, which develops when the horses tion of the circus again. The total climax was run fast, was said to be helpful for the acro- the "HIGH SCHOOL". batic performances on the horses" backs. In 1769, Philip Astley purchased a tract of land In the early 19th century, the wars and actions for his riding school at Westminster Bridge. He of Napoleon were the main part of the circus started building a roof over the spectators" in Paris. In the show "The lions of Mysore" stands and engaged riders, acrobats and a (1831) drilled lions were displayed for the first clown. The "Hippodrama" developed. It was time in the manege. The ground breaking suc- the name for plays with horses, which little cess of this show created more animal dres- words were used in and were understandable sages, which still belong tho the classic circus for everyone. Important battles and up to today. date news were depicted here, i.e. the attack of the Bastille one month after the event on William Frederic Cody (1846-1917) influenced July 14th, 1789. This kind of theater was ac- a circus with the Wild-West-Myth and artistic cepted by the people enthusiastically. shooters became part of the programme. Next to classic dressage, bold trick riding came to the manege, predator shows were estab- lished and sensational shows have been enriching the programmes from this time on.

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In circus, you mainly distinguish four types of format and were admired by society. The au- horse shows: dience, no matter if Moscow, (Russia had the most important circus), Paris or Turin, was 1. The high school, which should be according professional regarding horses and they to classic dressage wanted to see lections. The Piaffe, Passage or 2. The liberty dressage, where a group of free Levade had to be done correctly to get ap- running horse shows some figures plause. Some of the riders were especially creative and added some exercises to the re- 3. The Hungarian Post, this is standing on one pertoire which were not classic, but spectacu- or two horses, while guiding more horses with lar. James Fillis (1834-1913) showed i.e. a the reins. backwards canter and Francois Baucher (1796- 4. Vaulting, which is acrobatic gymastics on 1873) the one step lead changes, which were the loping horse. not known at that time, but today are requested in every Grand Prix. Here, you know Today, only traditional, famous circus compa- the influence which the so called circus riding nies like in Germany the Circus Krone or the had on our modern dressage. The phrase: Swiss Circus Knie, have their own big stables. "The walk is the pattern of all gaits" is also With liberty horses, vaulting horses and riding from Baucher and has gained more meaning horses, this is a huge amount of horses, whose now. Also Steinbrecht, who had his own dres- livelihood and training is of course very ex- sage school in Dessau, sold many horses to the pensive. The classic ‘schoolrider" who trains Russian circus. Much later, in 1967, the Portu- horses for high school in the manege and guese écuyer Nuno Oliveira (1924-1989) shows them there does not exist anymore. showed the Lusitano stallion at the Parisian Also the so called school horses, horses which Winter circus. Although the horse had never are trained up to the highes class, not renting been ridden in a manege, the shows were horses for riding students, almost do not exist brilliant and it showed, that correctly trained in modern circus anymore, as their training horses are able to do all lections on circle 13m takes 6-8 years and therefore is very expen- in diameter. sive. In order to make the shows of high dressage attractive for the spectators, who are Fillis was considered the most brilliant school mostly laymen, you teach the school horses rider of all times. He himself said about his spectacular obedience exercises (like kneeling audience: "In Paris, I have been riding in front on the front leg) or lying down. Those circus of the elite of the artistic and literary society lections have found many fans in the recrea- for 25 years, who watches very attentively and tional sector in the meantime, as they allow does not applaud tomorrow if you are not the modern horse owner a totally different, better than today and whose clear and merci- trustful horse handling and bring variety into less criticism for the one who tries to develop the rider’s every day life. a science or art, is release and incentive at the same time." The then existing pressure to The circus rider was a highly estimated person perform is surely comparable to the one of in former times, and it was a great honor to be our highest competitors of today. Fillis be- allowed to demonstrate one’s abilities in the came colonel because of his achievements manege. The acknowledged masters of classic and finally taught the Russian cavallery. dressage therefore had almost without excep- People say that the Russians owe their success tions to do with the circus. Steinbrecht, Fillis, at the Olympic Games of the 60s to him. The Baucher, but also Nuno Oliveira trained horses circle is closed in this case from the circus to for the circus and even showed themselves military to modern competition, which shows there. As there were no dressage competi- once again that there are not more types of tions yet, in those times, the circus was the dressage, like i.e. Iberic, classic, baroque etc., stage to show your work. The riders had big but rather that there is only ONE dressage - the GOOD one!

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magazine page 106 Piaffe News

Piaffe Talk ing about the horse, will always depend on the horse's nature. All the whishes about renew- Discussions about the subject riding and horse ments will always experience the natural lim- at the invitation of Piaffe’s publisher. its. "Regarding this, you have chosen a very modern profession, a profession, which is If you like Piaffe, if you like to meet like- especially subject to constant learning, your minded people, if you like to discuss. Every personal further education. You have to find a two months, a Piaffe Talk takes place. We will balance between keeping well proven things start near Munich. The motto is: we should be and being open for new ideas. The horse's open and learn from oneanother. nature will always show us safe limits in this." Sticking to those limits will not always be easy. Please call 0049-(0)8192-934192 or email to Economic forces, new ideas, trends do not [email protected] if you make this concern easier, so Mueller. Even if are interested. We will inform you about the you are only at the beginning of your profes- first date. sional experience, you will have to face this pressure. "Good show results strengthen your position, they make it easier," Mueller pointed out the meaning of a good professional education. At the same time, he appealed the honoured professional riders for "not messing up Stensbeck and Count of Lehndorff this beginning credit, standing still and resting event: "There is no alternative to on their laurels". Learning meant getting in- classic training" volved with changes. "And one thing is especially suspensive around jobs with horses: You never stop learning." The best stablehand graduates of 2008 were honoured at the ‘stensbeck and Count of The two awards should remind of two famous Lehndorff event". 47 stablehands of a few hippologists. The Stensbeck sign is named hours' standing and 13 stablehand masters after the écuyer Oskar Maria Stensbeck (1858- with main subject equitation received the 1939), who was one of the most famous Ger- stensbeck sign in bronze respectively silber, as man trainers at his time. It has been given to they did their tests with a GPA of 2,49 or bet- professional riders since 1983. The Count of ter. 47 stablehands (bronze) and 8 stablehand Lehndorff sign bears the name of the Prussian masters (silber) with main focus on breeding chief state equerry Georg Count of Lehndorff and handling were awarded with the Count of (1833-1914). It has been given to stablehands Lehndorff sign, who did their tests with a GPA and stablehand masters with focus on breed- of 2,0 or better. ing and handling since 1988. "For classical training, which is influenced by Warendorf (fn-press) the horse's nature and is subject to the anatomic, physical limits, there is no alternative", said Hannes Mueller (Warendorf), chief trainer of the German Riding School, in his com- memorative speech. Handling the horse, car-

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Letter to the editor - representative- My horse, Lucero, was and is my teacher. I owe the whole change and opening eyes and heart to him. ly for many of similar content and He is a strong character and when I got him, he statements was in a very bad condition. He became very ill after a short time so that we had to fight for his life Dear Madam or Sir, for nine months. Nobody gave him a chance, but Lucero and I knew that we wanted to win. My vet is it literally took a load off my mind when I discov- (thank God) a real vet with body and soul. And also ered the magazine PIAFFE and read it. Finally a he helped us every day. magazine, which contains everything which is important and I am really interested in. Basic, funda- And this was how it came! People said bad things mental stories about "Classic Dressage", its origin, about me. A very difficult time, but today exactly its principles and what is real in my opinion, too. the same people stand at the fence and are Plus, I think it is written with a lot of love for details stunned and do not say anything anymore. and finally puts the right being, namely the horse, into the spotlight and not the humans searching for So, dear PIAFFE-team, now I have written a lot, but a profile. The quote by H. Frhr. v. Sehr-Thoss almost it is important for me not to mention the prizes and made me cry. I only thought by myself, ...yes, this is medals but rather making clear that living beings the way it should actually be! This is what we can have great strength if you only believe. should always pursuit. The love they give us, we have to return it and I was really happy about the report about the when we take responsibility we also have to face it Spanish riding school and R. Hinrichs, as I own a in difficult situations. The thanks is unspeakable PRE horse and I could find parallels here. Further- and there are no words to describe the connected more, the differences between FN-training and experiences. classic training pointed out were super. There were some things where I could find my own opinion, Please go on like this and I am really looking for- which I have not dared to speak aloud yet. ward to the next issue! Every tip, every advice, every honesty is important. I was also very impressed by the introduction by Isabella Sonntag. A great and very likeable woman. Very best regards and a strong compliment to the Straight and the most important, harmony be- whole team. tween rider and horse, which is lest pursuit in the most places. Verena Hannemann & Lucero

I also belong to the type which will overcome people laughing at you who try to shine with dangerous semi-knowledge. My success is a content, History of classical horsemanship - happy horse which works with me because of love and joy. I do not discuss anything with those people the most important names and anymore who do not want to understand. Mostly, dates of history every word is unnecessary when they see the loving contact between my horse and me. And at the The poster in the formate 40x60cm offers a latest then they ask: how do you do this? historic summary of the development of classical horsemanship in tabular style. Now, I have experiencing horses for over 25 years and had to state that I do no know anything yet. Price: 7.50€ Almost three years ago, my whole knowledge was restructured and now I am living on a new course. Buy at: Wu Wei Verlag e.K., Seestr. 54, 86938 Horsemanship, Horse's mind, fine aids, ground Schondorf a.A., or www.wu-wei-verlag.com work, Reiki with animals, kinesiology with animals, Bioresonance, Bach flowers and many more came one after the other to my conscience.

Meanwhile, out of pure enthusiasm, I study alternative animal practitioner, and to come closer to my horse equitationally, I take part in clinics by Horst Becker.

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Meggle Champions - A new dressage 16th) was the first station of the MEGGLE series with special standards champions and the finals 2009 will take place there after ten more qualifications. The further stations are Bad Salzuflen, Wiesbaden, Dressage enthuses - every horse fan has Aachen, Warendorf, Donaueschingen, Olden- known this at the latest since the World burg, Stuttgart, Frankfurt, Muenster and Bre- Equestrian Games Aachen 2006. Over 40,000 men - competitions of highest quality and spectators cheered for their stars in tailcoat exceptional reputation in the dressage world. and top hat after their impressive shows and The final show in Dortmund, a Grand Prix Spe- allowed the sport to shine in a new light with cial, will take place in the impressive arena 1 this. of the Westphalia arenas in front of a profes- The jumping sport knows euphoria in packed sional audience - the prize is 50,000 € for this arenas - because of the many series and tours excellent series. the sportive and economic situation has been With MEGGLE champions, the riders should be developing futher and further. offered another season aim next to the re- Toni Meggle now aims at positioning and spective championship and the world cup, the therefore improving the dressage sport and audience will have the chance to enjoy the has created a dressage series at its best to- harmony between rider and horse, the grace gether with his successful trainer Dieter and discipline of this dressage sport at that Laugks and ESCON-marketing director Dr. high a level. Kaspar Funke. The dairy Meggle Wasserburg For more information: has been supporter of dressage for years and www.meggle-champions.de Toni and Marina Meggle own a dreamlike stable with highly successful dressage horses - for example Weltall VA, who was successful at the Olympic Games 2004, is now at the Meg- gles' stable. Marina and Toni Meggle are horse people through and through - both have been successful in jumping, eventing and dressage. Clinics by the "Ecole de Légèreté" - an instructive weekend with Mon- Meggle Champions 2008/2009 will be a sieur Philippe Karl unique series with eleven stations in Germany and will offer the topstars of the scene a first Dates 2008: class possibility for competition. The Modus of June 27th - 29th the Meggle Champions is fair and well ar- October 31st - November 2nd ranged: The best three pairs of the Grand Prix at: 37619 Pegestorf near Bodenwerder, stable Special are in the finals. If there is now Special Hellwig and Matthes at the competitions, the freestyle-tour counts. At the stations in Donaueschingen and Olden- burg, only the winner gets a ticket to the fi- Specators are welcome after previous regis- nals. At the federal championship in Waren- tration! dorf, the finals of the HKM-junior horses- Grand Prix are the qualification - the winner Registration under: will show in the Westphalia arena. If pairs Sabine Mosen Tel. 05044-881248 qualify twice, the respective fourth or seconds [email protected] with the highest percentage results qualify. www.sabine-mosen-legerete.de

The international equitation tournament Westphalia arenas Dortmund (March 13th-

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