Western Pleasure to Classical Dressage
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Official Rules for All Brc Competitions
OFFICIAL RULES FOR ALL BRC COMPETITIONS Including 2016 Area Competitions for the following Championships: Novice Winter Championships Intermediate Winter Championships Festival of the Horse Horse Trials Championships National Championships Dressage to Music & Quadrille Recommended for use at affiliated club events LIFE VICE PRESIDENTS David Briggs Peter Felgate John Holt Grizel Sackville Hamilton Tony Vaughan-France It is the responsibility of competitors, team managers, stewards and officials to ensure they are fully conversant with these rules. The following abbreviations are used in this Rule Book: BRC: British Riding Clubs BHS: British Horse Society BD: British Dressage EI: Eventing Ireland BE: British Eventing BS: British Show Jumping DI: Dressage Ireland SJAI: Show jumping Association of Ireland BEF: British Equestrian Federation FEI: Fédération Equestre Internationale Effective from 1 January 2016 © British Riding Clubs Issued by BRC 1 CONTENTS SECTION G: GENERAL RULES .............................................................................................3 SECTION C: CODES OF CONDUCT ....................................................................................23 SECTION D: DRESSAGE D1: Dressage ....................................................................................................25 D2: Team of Six Dressage ................................................................................30 D3: Team of Four Dressage ..............................................................................31 D4: Riding -
Pyramid of Training – Rhythm
Chapter 9 PYRAMID OF TRaining – RHYTHM Energy and Tempo Rhythm is the term used for the characteristic sequence of footfalls and timing of a pure walk, pure trot, and pure canter. The rhythm should be expressed with energy and in a suitable and consistent tempo, with the horse remaining in the bal- ance and self-carriage appropriate to its individual conformation and level of training. “The object of correct dressage is not to teach the horse to perform the exercises of the High School in the collected gaits at the expense of the elementary gaits. The classical school, on the contrary, demands that as well as teaching the difficult exercises, the natural gaits of the horse should not only be preserved but should also be improved by the fact that the horse has been strengthened by gymnastics. Therefore, if during the course of training the natural paces are not improved, it would be proof that the training was incorrect.” [The Complete Training of Horse and Rider, p 161] One important function of basic training is to preserve and refine the purity and regularity of the natural gaits. It is there- fore essential that the trainer knows exactly how the horse moves in each of the three basic gaits, because only then will he be in a position to take the appropriate action to correct or improve them. When establishing rhythm, “the horse should be ridden in the basic pace best suited to it.” [Principles of Riding, p. 160] The rhythm must be maintained in each of the basic gaits, and in each form of the gait, i.e. -
Kaspian Equestrian DRESSAGE COLLAGE AEF Wild Rose Schooling Shows June 23, July 14, August 11, 2018
Kaspian Equestrian DRESSAGE COLLAGE AEF Wild Rose Schooling Shows June 23, July 14, August 11, 2018 Classical Horse Dressage Trials Working Western Equitation Dressage Bringing together the disciplines with a foundation in the principals of Dressage to provide an opportunity to learn, share, compete, and have some fun together in the pursuit of effective horsemanship. Classes offered Registration June 23 July 14 August 11 Show Date: AEF #: required Walk Trot A Walk Trot B Walk Trot C Rider name: Walk Trot TOC Walk Trot TOC Walk Trot TOC Phone #: Age if <18: Training Test 1 Training Test 2 Training Test 3 Address: Training TOC Training TOC Training TOC Email: First Test 1 First Test 2 First Test 3 Horse name: Sex: First TOC First TOC First TOC Breed: Age: Second Test 1 Second Test 2 Second Test 3 Office Fee per Horse/Rider combination $20.00 Second TOC Second TOC Second TOC ($25) test $25.00 Third Test 1 Third Test 2 Third Test 3 ($25) test Third TOC Third TOC Third TOC ($25) test Fourth level or FEI Test Of Choice (x2) ($25) test Eventing Test of Choice (x2) ($25) test Western Dressage Test Of Choice (x2) Day stall with bedding ($20) Prix-Caprilli Test Of Choice (x2) Day paddock outdoor ($10) Working Equitation Dressage Test of Choice (x2) Overnight stall with bedding ($35) Working Equitation Ease Of Handling TOC (x2) Overnight paddock outdoor ($15) Working Equitation Speed trial TOC (x2) Late entry fee ($15) "Up the Creek" Hunter Derby Total fees June 18 July 9 August 6 Entries close Registration, payment can be Emailed / E-trans Rebecca Cade Wendy Clark Kim Vos Judge or mailed in. -
ODRC-Show-Schedule-2021
ODRC Show Schedule 2021 1 Contents Page Title 2 Contents 3 Introduction 3 Equine Flu Policy 4 2021 Show & Event Diary 5 Committee Members & Event Organisers 5 Membership 6 Sponsored Ride 7 Members Only Novice Show 8 - 13 In-Hand, Ridden & Working Hunter Shows 14 - 15 Dressage Shows 16 - 17 Showjumping Show 18 Mini One Day Event 19 - 20 Pony Party & STARS Gala Points Show 21 Winter Dressage 21 Helping Out at Shows 21 - 23 ODRC Rules 23 Calculating Points 24 Northern Liaison Group 24 BRC Grass Roots 25 Bridleways 25 ODRC Social Events 25 Safeguarding 25 Committee Meetings 25 - 26 Friezland Arena 26 ODRC Website 26 Data Collection and Privacy 26 Retraining of Racehorses 26 Qualifiers 26 Disabled Riders 27 Photography at Shows 27 Catering at Shows 27 Teams and Team Competitions/Qualifiers 27 Instruction & Training 2 Introduction Welcome to Oldham & District riding Club schedule for 2021. This document contains all the information you will need to get the most from your membership. Once again, we will have three shows in each of the four disciplines of Dressage, Showjumping, Ridden & In-Hand and Working Hunter. The Mini One Day event and the Winter Dressage are included in the schedule once again along with the Sponsored Ride, and this year we are running a Pony Party fundraiser in aid of Friezland Arena alongside the STARS Gala Point Show. Instruction will continue to be provided. Dressage clinics and ShowJumping clinics and practises may also feature in this year's activities (check the club website, the clubs Facebook page and your email inbox for updates). -
4/1 Can You Have a Ranch Horse and a Dressage Horse?
Eclectic Horseman Issue #79 Sept/Oct- 4/1 Can you have a Ranch Horse and a Dressage Horse? Over the course of the last ten to fifteen years I have had the amazing good fortune to get to know and study with one our current Master Horsemen, Ms. Bettina Drummond. As a student of Nuno Oliveria, a scholar in the subject of Classical Dressage, and a perpetual seeker of a deep relationship with her horses, Bettina’s knowledge is unequalled. In 2012 she came out West with her Quarterhorse stallion to acquaint him with his “Western” heritage and to further her study of the comparisons between Classical Dressage and true Vaquero traditions and training. I had a marvelous time riding the mountains of eastern Oregon, playing with cows, and having long discussions with Bettina in comparing our western horsemanship jobs and relationships with our horses with her background in true Classical Dressage. One of my over-arching goals was to seek an answer to the question of whether or not I could bring along my horses to accomplish the jobs necessary on the ranch, but still adhere to the principles of the Classical Dressage training scale. (i.e. Note these aspects vary slightly in order and have different interpretations given differences in languages: Rhythm, Suppleness/Relaxation, Contact, Straightness, Engagement/Impulsion, and Collection) See articles regarding use of the Training Scale at: www.tnthorsemanship.com/articles Now I am by no means a scholar regarding the bio-mechanics required of the horse/human team to accomplish any job on the ranch or on the dressage court. -
Guide to Dressage
remember to be courteous and follow the rules by Rider Seat and Position 6. staying about 15 meters (45 feet) back from the The rider should sit upright quietly and U competition ring and remaining as quiet as possible SDF SPEC not depend on his whip, spurs or voice to TA during rides. If you have any questions about T have a nice test. Riders who use their where you may stand or sit, check with the ring O voice have points deducted off their R steward. GUID test score for that movement. E ’S For more information, go to the 7. Whipped Cream Lips United States Dressage Federation’s Web site at When a horse is relaxed in his jaw and poll (the www.usdf.org and click the “New to Dressage” area just behind his ears), he releases saliva, button or call USDF at (859) 971-2277. TO DRESSAGE and you might see white foam around his lips and mouth. That is a good sign as it means he is attentively chewing on his bit and comfortable in his work. The amount of white foam varies from horse to horse. 8. Freestyles Most of the classes use set tests, but there are also musical freestyles levels where riders perform freestyle movements with choreography and music of their own choosing. This can be especially fun to watch for people who aren’t yet familiar with dressage shows. 9. Scary Stuff Dressage shows tend to be very quiet, so the horses will notice things and react suddenly more so than they will in a busier atmosphere. -
Dressage School Dressage Reference
Schöffmann THE ULTIMATE SCHOOL DRESSAGE DRESSAGE REFERENCE Explanations and definitions in seconds that will last a lifetime of rides. Photographs demonstrating how dressage movements should look. M R B P F Descriptions of correct aids for each movement or exercise and how to apply them. DRESSAGE SCHOOL C A Sourcebook of Movements and Tips A Summaries of the most Britta Schöffmann common mistakes made by A Sourcebook of Movements and Tips Movements of A Sourcebook riders and horses and how to H S E V K fix them. Lists of fast facts, training goals, and benefits of school figures. Thoughts on how it all fits together in the continued growth of the dressage horse and rider. $24.95 USD ISBN: 9781570769238 5 2 4 9 5 www.horseandriderbooks.com 9 7 8 1 5 7 0 7 6 9 2 3 8 “Clear dressage advice, sans fluff.” —HORSEMAN’S YANKEE PEDLAR “A great reference book for all levels.” —USDF CONNECTION TSB Dressage School NE PLC FULL COVER.indd 1 9/19/18 10:04 AM DUPLICATION PROHIBITED by copyright holder V Contents vii Alphabetical Index ix Endorsements x Preface 1 Turning 3 Figure Eight 4 Canter Depart 7 Walking Off 9 Trotting Off 12 Working Pirouette 14 Working Gaits 16 Working Trot 19 Working Canter 20 Changing Rein Out of the Circle 22 Half-Volte in the Corner with Return to the Track 24 Counter-Canter 27 Sitting Trot Note for the Reader 29 Changing Rein through the Circle Please see the Important Note 30 Changing Rein Across the Long Diagonal from the Publisher on p. -
Change of Canter Lead Through Trot on the Diagonal
Chapter 19 CHANGES OF LEAD AND FLYING CHANGE OF LEAD Definition Change of Lead Through Trot “This is a change of lead where the horse is brought back to the trot and after a few trot strides, is restarted into a canter with the other leg leading.” [USEF Rule Book DR105] Simple Change of Lead “This is a change of lead where the horse is brought back immediately into walk and, after a few steps, is restarted im- mediately into a canter on the opposite lead, with no steps at the trot.” [USEF Rule Book DR105] Gymnastic Purpose The gymnastic purposes of changes of lead are to help develop, as well as test, the horse’s collection, coordination and balance, and to improve the quality of the canter. Qualities Desired The qualities desired in ‘Changes of Lead through Trot,’ are that the horse maintains his straightness, makes a balanced transition to two to three steps of trot, and strikes off clearly to the new canter lead. The qualities desired in a ‘Simple Change of lead’ are basically the same as the change through the trot except that the transition from canter should go directly to two to three walk steps, and to the new canter lead with no trot steps. The transition to walk must be immediate without any intervening vaguely trot-like strides, but also smooth. The steps must be determined and the four footfalls of the gait must be distinct. The transition to the new canter must also be im- mediate. The horse must canter straight and must constantly remain on the bit.” [Dressage, A Guidebook for the Road to Success, p 103] Aids The aids for changes of lead are the same as the aids for the canter. -
LIGHTNESS TOURNAMENT Exercises of Test No. 5A Level 5-A
LIGHTNESS TOURNAMENT Exercises of Test No. 5A Level 5-A Max Time 7min. Participant # Rider: Horse Judge: Movement Requirements Remarks Coef Appr Total 1 Presentation rider- Attire, tack, horse cleanliness 2 Enter at the Terre-à- Salute - All 3 Terre or Haunches-in reins in the left at very collected hand. right lead canter → Halt – Salute 3 Circle Haunches-in in Passage 4 Extensions at the 2 Trot 5 Pirouette in Piaffe Both hands 3 6 20m square at the (alternate in a 2 Canter 20m square Shoulder-in (Shoulder-in (first side) → ..Haunches-in) Flying change Haunches-in (second side) → Flying change Shoulder-in (Third side) → Flying change Haunches- in (fourth side) 7 Pirouette in Canter 2 8 Counter-changes at Minimum 4 Canter with Flying At the canter changes Half-Pass – Flying change – Half-Pass – Flying change – Half Pass – Flying change – Half Pass – Flying change 9 Flying changes 2 decreasing tempi (5-4-3-2) 10 Present one air above 3 the ground 11 Free exercise Show an impressive free exercise 12 Spanish Walk → In a straight line 2 Half Pirouette in 3 legs → Spanish Walk → Half Pirouette in 3 13 Halt – Free Salute Bow or Kneel 14 Exit the arena at the All reins in the Passage left hand - - - 250 - Total Technical Composition Coef Appr Total Trot (Collection, regularity, cadence, balance, elasticity) Piaffe (Collection, impulsion, regularity, cadence, balance, lightness) 2 Passage (Collection, impulsion, regularity, cadence, balance, lightness) 2 Canter (Collection, impulsion, regularity, cadence, balance, lightness) 2 Impulsion and regularity of the horse 2 Submission and enjoyment of the horse 3 Balance and lightness of the horse 3 Self carriage 3 Lightness and discretion of the rider´s aids 3 Descent of aids 3 240 - Total Artistic Presentation Coef Appr Total Rhythm, selection of the music 3 Interpretation of the music 3 Choreography and use of the arena. -
Why We Play: an Anthropological Study (Enlarged Edition)
ROBERTE HAMAYON WHY WE PLAY An Anthropological Study translated by damien simon foreword by michael puett ON KINGS DAVID GRAEBER & MARSHALL SAHLINS WHY WE PLAY Hau BOOKS Executive Editor Giovanni da Col Managing Editor Sean M. Dowdy Editorial Board Anne-Christine Taylor Carlos Fausto Danilyn Rutherford Ilana Gershon Jason Troop Joel Robbins Jonathan Parry Michael Lempert Stephan Palmié www.haubooks.com WHY WE PLAY AN ANTHROPOLOGICAL STUDY Roberte Hamayon Enlarged Edition Translated by Damien Simon Foreword by Michael Puett Hau Books Chicago English Translation © 2016 Hau Books and Roberte Hamayon Original French Edition, Jouer: Une Étude Anthropologique, © 2012 Éditions La Découverte Cover Image: Detail of M. C. Escher’s (1898–1972), “Te Encounter,” © May 1944, 13 7/16 x 18 5/16 in. (34.1 x 46.5 cm) sheet: 16 x 21 7/8 in. (40.6 x 55.6 cm), Lithograph. Cover and layout design: Sheehan Moore Typesetting: Prepress Plus (www.prepressplus.in) ISBN: 978-0-9861325-6-8 LCCN: 2016902726 Hau Books Chicago Distribution Center 11030 S. Langley Chicago, IL 60628 www.haubooks.com Hau Books is marketed and distributed by Te University of Chicago Press. www.press.uchicago.edu Printed in the United States of America on acid-free paper. Table of Contents Acknowledgments xiii Foreword: “In praise of play” by Michael Puett xv Introduction: “Playing”: A bundle of paradoxes 1 Chronicle of evidence 2 Outline of my approach 6 PART I: FROM GAMES TO PLAY 1. Can play be an object of research? 13 Contemporary anthropology’s curious lack of interest 15 Upstream and downstream 18 Transversal notions 18 First axis: Sport as a regulated activity 18 Second axis: Ritual as an interactional structure 20 Toward cognitive studies 23 From child psychology as a cognitive structure 24 . -
REGLAMENTO DE TITULACIONES GALOPES Version 2011 VISTO EN
REGLAMENTO DEL PROGRAMA DE TITULACIONES DE JINETES Versión 2011 REGLAMENTO DEL PROGRAMA DE TITULACIONES DE JINETES Y AMAZONAS PROGRAMA DE GALOPES REAL FEDERACIÓN HÍPICA ESPAÑOLA Versión 2011 REGLAMENTO DEL PROGRAMA DE TITULACIONES DE JINETES LAS MODIFICACIONES QUE SE RECOGEN EN ESTA VERSIÓN 2011 DEFINITIVA DEL REGLAMENTO DE TITULACIONES DE JINETES Y AMAZONAS, SE DEBEN A LAS APORTACIONES, SUGERENCIAS Y PROPUESTAS SURGIDAS EN LOS DIFERENTES SEMINARIOS DE ACTUALIZACIÓN DE TÉCNICOS REALIZADOS EN LOS PASADOS MESES DE MAYO Y JUNIO. A TODOS LES AGRADECEMOS ESPECIALMENTE LA COLABORACIÓN PRESTADA La Comisión de Enseñanza y Titulaciones de la RFHE Versión 2011 2 REGLAMENTO DEL PROGRAMA DE TITULACIONES DE JINETES FE DE ERRATAS, ACLARACIONES Y COMENTARIOS A continuación se informa de las erratas que aparecen en la redacción del texto del Reglamento, así como se comentan algunos contenidos de su articulado con el fin de clarificar algunos conceptos que han dado lugar a diferentes interpretaciones en el momento de su aplicación. Se recogen y adaptan las modificaciones que se han producido en los Reglamentos específicos de las diferentes disciplinas y que afectan a los niveles de competición. A petición de algunas Federaciones Autonómicas se ha incorporado una nueva disposición transitoria que permitirá a los centros que hayan solicitado la homologación y esta esté en tramitación, convocar exámenes. Por último se han actualizado los criterios para la realización de las equivalencias y adaptado cada una de las disciplinas. TODO LO QUE SE HA INCLUIDO EN EL TEXTO ORIGINAL COMO CONSECUENCIA DE LO EXPUESTO, APARECE EN COLOR ROJO EN CADA UNO DE LOS ARTÍCULOS O DISPOSICIONES RESPECTIVOS. -
The Art of Classical Dressage Riding: the Trot
THETHE ARTART OFOF CLASSICALCLASSICAL DRESSAGEDRESSAGE RIDINGRIDING THE TROT DEFINED A “TWO Beat” GAIT WHERE diagonal LEG PAIRS MOVE SIMUltaneoUSLY FOLLOWED BY A MOMENT OF SUSPENSION. THERE ARE FOUR MAIN TYPES OF trot: THE WORKING trot, THE MEDIUM trot, THE EXTENDED trot, AND THE COLLECTED trot. THETHE TROTTROT HOW TO EXECUTE THE TROT: The horse lacks energy. yet trained and ready for collected movements shows himself properly Start in the walk, tighten abdominals The horse’s step is more vertical in balanced and, remaining on the bit, Compiled by Emmad Eldin Zaghloul and deepen the seat, keep upper nature illustrating tension in the back goes forward with even, elastic steps Jacques Toffi Jacques body straight, close both calves on and neck. and good hock action. The expression the horse’s side, maintain rein contact ‘good hock action’ does not mean but yield slightly and finally relax seat The rider becomes tense in the sitting that collection is a required quality and calves. trot consequently bouncing and of working trot. It only underlines the making the horse tense. importance of an impulsion originated NOTES: from the activity of the hindquarters. FREEDOM AND REGULARITY OF There are 2 ways for the rider to ride THE TROT 4.3 Medium Trot. This is a pace the trot - rising or sitting. between the working and the 1. The trot is a pace of ‘two-time’ extended trot but more ‘round’ than The rising trot is performed when the on alternate diagonal legs (near the latter. The horse goes forward rider rises and falls in time with the left fore and right hind leg and vice with clear and moderately lengthened horse’s legs.