Nothing like some deadline to put a fire under my feet. I have a ride coming up, October 4, just 4 days before my birthday - which is always an auspicious time for me. It is the ASPIRE Therapeutic Riding Program Benefit Ride in Waterloo, Iowa. I have a 10 minute slot in which to ride to music of my choosing and do whatever fancies my taste, and it has been requested that I do so using one of my Bashkir Curly horses…
For the interest of safety, and attractive and entertaining outcome, I have chosen my former stallion turned exceptional gelding, *Y.S. Tanjobi. A little bit about Jobi… I bought him back in 2000 as a 2 year old stallion from Trish Rosborough of Yanagi Stables in Ontario, Canada. We stood him as a stallion until 2004 when I opted to get out of breeding horses and focus more closely on riding and training. I entertained thoughts of selling him as a stallion, but in the end couldn’t part ways with him and gelded him for my own riding horse instead. I have never for a moment regretted it!
The original photos from *Tanjobi’s for sale ad as a long yearling which stole my heart.
Jobi sired 9 foals as a stallion. *Y.S. Kinyobi was out of his first foal crop and is now successfully standing stud for Trish Rosborough. I personally held onto his last two foals, *Truman Obi and *Theodore Obi, who are now coming 4 years old this fall.
Jobi also got the chance to spend a year with me in Seattle, WA studying French Classical Dressage. Aside from that, Jobi has been shown at several of the Bashkir Curly breed shows, in a few open shows, and used to help represent the breed at the Midwest Horse Fair every year in Madison, Wisconsin. For the most part over the last couple of years his main responsibility has only been to long-distance trail riding with me and my Paint gelding, Scout. But alas, the ‘performance’ ring calls again!
Preparation
I’ve had to think a lot about what exactly I want to do for this ride. It has been a while since I’ve had to put anything together of this nature, so I have probably taken more weeks to get an idea than I would have hoped to. Now it’s just to pull it together. So let’s look at the skeleton of what I have figured out so far.
Outline Idea
I have 10 minutes approximately in the arena. It might not seem like that much time, but in some ways it can be an eternity when performing in the arena. Not to mention working just the right music into that time frame. Originally I had the idea to swap costumes throughout the ride. Come in as one famous person, and through a clever system of layering costumes I could move through a myriad of different characters by removing those layers. While I still like this idea, the amount of time I have to put together that many costumes and have the act down solid… I’m thinking that I should simplify.
Plan two was to ride in as one famous character - preferably a female, with a long skirt, and have a ‘goody bag’ of sorts tucked under the edge of the skirt that I can pull props out of and play along with the first song I have picked out. I’m liking this idea better, not only because it will take less time to put together props than it will to make costumes, but I will already be in costume for the second song in my play list.
The second half of my ride I am planning to ride to Wild Horses by Alicia Keys & Adam Levine, with me as the lady, and my steed decked out with a chestedo (chest tuxedo).
Practice Makes Perfect
So now, where am I with practice? Well, there are certain elements that I want my pony to perform that I would like to hammer down more solidly. Most notably, a lay down at the second refrain of the second song. Jobi lays down very nice, but I would like for it to become a bit more instantaneous rather than him hanging for a second or two checking out the scenery (or the ‘bed’). There are other portions, including several rears and some tight canter circles in hand, that I would also like to smooth out. They are nice, and one could hardly complain, but I do try to prepare well…
I also like to believe that Mr. Jobi likes to prepare, so with that I though perhaps a nod to his patient preparation and waiting in the tie stalls.
Our first day of practice consisted of working in hand on canter departs and canter to halt transitions into rearing and back to canter. We also laid down several times and then proceeded to some nice canter work under saddle. The majority of the riding portion will be with Jobi at the canter, since much of it will be my acting ’skills’ (or lack thereof… haha), coupled with some spicy tricks on his part.
There are many opportunities we are presented with as riders that can risk us putting the horse’s welfare second, or third, or…
Often it comes to me that difficulties in making decisions about a certain action, aid, cue, pursuing a particular goal, etc, arise when we are uncertain if we are putting the horse first or second. Many times the horse comes second to money, ribbons, trophies, praise, fame, and so on. Can the horse come first in many of these situations and still achieve the goal we are pursuing as riders?
A recent post on a discussion forum that I am a member of caught my attention this week. Relationships are what I deal with every day, think about at almost every turn of my mind, and am involved in constantly. The relationships I have with my horses, co-workers, colleagues, family members, friends, acquaintances, so on and so forth. There isn’t an interaction that we have with other people, or animals (including our four-hooved friends) that doesn’t involve the dynamic of relationship.
It seems to be a common thread, that we are to ‘parent’ our horses. We are to tell them when to move, how to move, what direction to move, what speed to move, what amount of energy to put out or contain, etc. We also provide the horse’s meals, water, accomodations, travel, health care, beauty care and protection. It could certainly look as though the relationship should naturally be one of parent/child. We parent, the child listens to our directives because we know best, and we all live happily ever after.
But if it is so simple as to just parent our horse, then why do we have so many horses that rear, buck, kick, bite, strike, bolt, run backwards, flip over, avoid being caught, won’t stand still for mounting, fidget in the cross-ties, and all the other myriad of issues that face horse owners? If we are looking for a simple answer, I would recommend the same simple answer that we depended on to get into this situation - the parent/child relationship.
What kind of relationship is overwhelmingly common between parent/child? It is one of leadership and guidance until the child begins to develop their own set of intellectual, emotional and physical skills in order to then guide them through life. But how often does the parent hold onto being the sole guidance in their child’s life through adolescence, early adulthood, adulthood and on? What happens in the teenage years as the child is beginning to test the ability of their newfound intellectual, emotional and physical skills and abilities? Resistance. The teenager resists the parent and the power struggle begins…
Our relationship with the horse often mimics the way in which we would deal with our child as they go through the adolescent stage and onward, if we were to follow the parent/child relationship model. The horse has an opinion and we block him. The horse makes a mistake and we over react. The horse does something potentially dangerous and we bring it out to hang on the line every time we interact. The horse builds resistance, hesitation, distrust, frustration, anger. He begins to act out on these things.
On the other hand, is the relationship model of best friends. Not the kind of best friends that buy ‘friends forever’ matching bracelets but gossip about the other at the first opportunity of improving their social standing. I’m talking about the best friends who know each other’s secrets, cry with one another, are not afraid to tell the other person when they’ve hurt their feelings, give each other support and feedback, go out of their way to help the other out when possible and so on. The kind of friend that would ditch front row seats to the best concert of their life when their friend’s car breaks down on the side of the road and they need a ride…
What does this offer the horse? When the horse makes a mistake, we help guide him to success and are certain to clarify anything that we might not have been clear on communicating. When the horse does something that is potentially dangerous we let it go but also learn from the event. When the horse resists we ask him if we can come along while he runs away from the problem, and tell him we’ll be there when he is ready.
All in all, we want to build a relationship that the horse is eager to participate in. One where he gets excited and has fun, while also being present mentally and engaged with us. While there are parent/child relationships that amount to this, they are far and few between in our society. Would you rather be right (the parent), or happy (the best friend)?
And a side note, being a best friend also doesn’t mean letting your friend walk all over you. Unfortunately, even parent/child relationships can have this element…
If we were to believe 100% with all of our being that a negative thought could produce a negative action, a negative reaction and a negative outcome… would we continue to have negative thoughts?
It has been well documented by those who experience it firsthand, what we think we create, or we attract, or we become a part of in some way. Yet breaking out of negative thoughts and moving into positive ones that not only support who we want to be, but also what we wanted to be surrounded with and involved in, is not always as easy as knowing we ’should’ do it.
The thought that stays inside of our mind can be the poisonous one. It has ‘magical’ power because it hasn’t been spoken, it hasn’t been made into something outside of thought and tested against reality. That thought often gives way to more thoughts that support its existence and push us further away from what we really want out of life. So how do we stop this downward spiral?
Voice it! Say what you are thinking. I know, we’ve been made to believe that talking to ourselves is a bad thing, but at least we are taking that magical thought out of our heads for a moment. Talking to other people who will not support negative thinking is a great way to break the habit as well. Hanging around with people who share your negative thoughts is an excellent way to keep you stuck in the habit.
Acknowledging Yourself
It is often hard to acknowledge ourselves in a positive light without feeling like we’ve put someone else down, are being selfish or self-centered. Why is it so hard to believe that we could be so fabulous that we are willing to acknowledge the little things we’ve done that may have put a smile on someone’s face or taken care of ourselves.
An acknowledgement is a statement, in the positive, about something that you have done, said, thought, etc. For example, “I acknowledge myself for taking a proactive stand in voicing my opinion on a new project that we are starting at the barn.” You can even add to it to emphasize how it made you feel or what kind of outcome it helped to produce… “As a result, the barn manager jumped at my suggestion and we had a great conversation and worked through some previous tension that I had felt between us.”
Being Grateful
Getting positive means turning those negative days into positive ones by bringing to our attention the things we could be grateful for. In the beginning before we’ve turned this exercise into habit, it can certainly be difficult to think of things we are truly grateful for… but as we practice it gets easier and what was once hard to find 5 grateful items we are running over the page and looking for more space to describe.
The same as acknowledgements, gratitudes are written in a positive light. These are things outside of ourself, something someone did or said, an opportunity that opened up, an event, etc. For example, “I am grateful for the help a fellow boarder offered me when I was having problems calming my horse down this afternoon.” Just as with acknowledgements, add something to bring to light how it made you feel, think, etc. “Although I initially resisted the assistance, she gave me some really great ideas to play with tomorrow, and we set up a time to go for a trail ride next week which I’ve been looking for a riding buddy for months now!”
Hard to Keep Up On
It is easy to get started on a habit and then let it fade into the dark… and that is where a partner helps out. Get together with a friend and both commit to emailing each other Acknowledgements and Gratitudes on a daily basis, or call them in over the phone or in person with one another. Have someone who will hold you to your commitment and vice versa! It is a bit like working out - easy to go to the gym by yourself for a week and then watch that commitment fall away, but a lot easier to workout regularly and reach your goals throughout the year with a buddy who holds you accountable!
A Proposal
For a limited time, I am going to offer my inbox for those who would like a partner for accountability. If you want to get on the wagon to positive thinking, lets start with 5 Acknowledgements and 5 Gratitudes on a daily basis. Send me a note and let me know that you want to partner up and I will bug you daily for your Acknowledgements and Gratitudes. I will also send notes to help keep you on track if your email doesn’t support positive thinking or is taking you off course.
So go ahead, what are you waiting for? Get positive and start creating the world around you in a positive light today!
Email Me At ericafrei at ericafrei.com (replace the at with @).
I have two more video clips to post from this weekend’s Core Workshop held in Milton, Wisconsin at Awareness In Riding. Thanks again for those who participated!
We are still running through lots and lots of video taken over this weekend from The Core Workshop, which was put on at Awareness In Riding in Milton, Wisconsin. Many thanks to those who showed up, it wouldn’t be a workshop without participants! I also want to thank my wonderful camera ‘man’ (my mom).
This clip shows some excerpts from Saturday, talking a bit about clarifying words, the meaning behind natural horsemanship, the predator/prey relationship, communication and so on.
It became my ultimate goal this spring, to successfully capture two of my horses as they play against one another down a stretch of open field at a beautiful canter… and that is just what I succeeded to do this week!
So, of course we must start out with some introductory photos. We head out on the trail starting at Palmyra’s Horsemen’s Park. The we involved is comprised of myself (Erica K. Frei), and two of my horses - Scout Sweet Dynasty (Paint gelding) and *Tanjobi (Bashkir Curly gelding). I prefer to take two out at one time, not just because we can cover more ground, but it also takes me less time to ‘work’ both horses.
Usually I start out aboard Scout, for the very reason that he is more seasoned at the moment than Jobi…
And he seems to enjoy the trails thoroughly…
These two make a pretty good pair. Jobi is quite respectful about being ponied. If given the line he’ll hold rank evenly with Scout, and is attentive enough to know just the right moment to trot or canter to keep up with us.
Every once in a while Jobi veers wide to get the best footing, according to him. Neither of these guys are shod, so we take it at their pace. They hold up nicely on the rocky footing and are great about picking where they put their feet.
Jobi never stays away for long however, and is definitely sure to voice his opinions about the matter. I think today he would prefer to lead…
We take a quick break for some re-hydration and a mouthful or two of grass before we take our canter across the field. Jobi also gets a scratch on the forehead and extra attention…
From my vantage point, you would never know just how fast we are traveling. For some reason, the image I had in my mind of these pictures was vastly different from the reality I could achieve from being so close to the action. Still aboard Scout!
Did I mention that Jobi is usually the instigator for some playful antics? He likes to pretend like he is still the stallion and take charge of the situation…
And in my attempt to show we are running, an interesting leg shot…
Jobi is still next to us… and we’re still cantering…
Look at that beautiful curly mane!
One last shot before we take it back down to a walk and mosey our way down the rest of the trail…
I hadn’t originally intended to take on 25 miles on this particular ride. I like to make my way up to doing two 25 mile rides a week in the summer, that is on a good week when time permits.. but we were just getting close to reaching the goal of 25 miles once a week. So, as we got to our normal half-way point, I opted to just keep on going. Not to mention the fact that the next stop has a portable toilet and I did have to pee. So the boys got some nice grazing time in after a great workout.
We also spent a little time checking out the bulletins posted at our rest point… and the boys wanted to read them too.
And it wouldn’t quite be a break without Scout using Jobi as a scratching post…
Before I could put myself back in the saddle and head back home, who do we run into but my favorite student, Miss Julie! Her and her gelding, Hollywood, accompanied us back down the trail for a stretch and it was enjoyable company indeed!
Of course, Jobi gets to take over the lead on the return trip. It’s a nice change of scenery…
Jobi isn’t too excited about Scout working his way to the lead…
What a fistful! I’m lucky enough to have these wonderful horses who make it easy to wander down the trail in pairs. Riding in a dressage saddle down the trail means I don’t have the handy ability to tie off my ponied horse when I want an extra hand, so instead it all gets consolidated and shoved into one hand - lead rope, reins and riding whip. Just so I can get to my camera or a bottle of water I’m satisfied…
And one last one at the end of the ride. Mr. Scout can be seen to my left. I think we were all happy to load back up in the trailer and head home for some grub after this ride!
All in all, a decisively enjoyable ride. It is always nice to run into friends and acquaintances. I also spotted a friend of mine driving past as we were on our way to Horsemen’s Park. Had a great conversation with another woman at the park just before we went home.
It always excites me to get feedback on what I’ve written or am teaching, not so much to stroke the ego, but to know that it is making a difference in people’s lives - that I am connecting with them. With that said, I got this wonderful review on my book “Centered Self, Centered Horse” just before Memorial Day weekend.
“Hi Everyone,
I just wanted to tell you all that I bought a copy of Erica’s new book, and I loved it. I don’t know how she got 60 years of insight in so few years. It’s an awesome book about horses, but just as awesome about people.
It’s not a training or instructional book. It’s more like a Bill Dorrance or Ray Hunt book about feel. That’s why I think it’s so extraordinary that it’s written by someone so young.
Anyway, it gets my highest recommendation. If you want to read a really cool book (that you really do need to read over and over again to remind yourself about what’s important about horses and yourself in living with horses and
people), order a copy. yesterday!!!!!
Terry”
Thank you Terry! You can order your very own copy today through my Online Store, or through Amazon.com.
What can be said about one of the most prized elements of a well trained horse, that of a well-executed, light, balanced and beautifully collected piaffe? The stepping stone from basic gaits to airs above the ground, and while it is so sought after it also continues to be one movement that is considered difficult to train or ride well, and for many people simply a complete befuddlement over where to start.
Breaking It Down
What exactly is the piaffe? It has often been mistaken for or compared to the horse trotting in place. While this can give the lay-person a good visual, to those seeking to ride or train the piaffe it leaves much to be desired. The piaffe combines two elements - forward and half halt, in order to create a new movement borne out of the two. The forward gives the horse the trot steps in just the right dose, which is to be regular and even in timing, and without disruption in the diagonal steps (i.e. two beat changing to a four beat trot). The half halt provides the collection and lack of forward acceleration in the piaffe.
Both forward, and the half halt, are widely misunderstood and this in and of itself sets the stage for a degradation in the quality and ability to ride and train piaffe. Forward does not refer to the speed with which the horse is moving its legs or at which it covers ground. Forward can be used in reference to the horse’s tracking, but more specifically it is applied to the amount of energy that is being channeled into movement by the horse. A horse that is well forward, is not necessarily moving fast, and a fast horse is not necessarily moving forward correctly.
On the flip side of the coin is the half halt. Often given a measure of mysticism in the employ, and exact outcome of this all-important aid, the half halt sets the stage for channeling the energy given by the horse when he is moving forward correctly. The half halt, in summation, tells the horse to change his posture in such a way to give more weight-bearing on the haunches, elevate the base of the neck, bring the base of support (i.e. the legs) closer together, while increasing the height of the legs during motion. The half halt is not done as a means of blocking the energy of the hind legs and trapping it to increase the elevation of the horse, but rather in a motion so as to recycle the energy coming forwards, upwards and to the haunches.
Forced vs Relaxed
We can work and work and work for the piaffe, and get the horse to make movements that resemble the piaffe from the outside. This is often what is done and promoted, not because it is the best, but because it is quick and seen as an efficient method of training the piaffe. It depends upon your goals and motivations. If you have placed a time limit on teaching the horse the piaffe, then this model might work best for you. If on the other hand you are striving for a correctly balanced, even, light and relaxed piaffe, you will want to let go of time constraints.
The piaffe does not take long to train, in fact it can take no time at all. Why I say this, is because the piaffe is a natural progression in the horse’s training. As he is developed physically, emotionally and mentally in a conscious manner that uses correct balancing of half halt and forward, the piaffe will come along on its own course without ’special’ training sessions. The piaffe requires the use of muscles that take a greater time to develop, such as the loin. It also requires suppleness in the hindquarters to enable the horse to flex the hind legs, reduce the area of support by the legs (bringing them closer together), and carrying a larger weight on the hind legs.
Finding Balance
The half halt does nothing without forward energy. Forward energy can be culminated into nothing but just that without the help of the half halt. One without the other is simply that element on its own. The piaffe is not directly in the center of these two elements however. What lies between them is halt, a beautifully collected and balanced halt. When you have two equally opposing forces against one another they both cancel themselves out and create zero. That is the balance point. Because half halt can create the reinback, it is the opposing ‘force’ in comparison with forward energy.
The piaffe therefore has a greater amount of forward energy in the equation than half halt. We want the horse to move forwards in his progression, while emphasizing the upwards rather than straight ahead.
A Starting Point
In the basic schooling of the horse, we begin with teaching forward which can be done with focus on the correct tracking on the lunge, as well as the horse moving energetically forward under saddle. The half halt is used to re-balance the horse momentarily - which will frequently inspire the loss of forward, so we ask for half halt and then reignite the forward energy. This can be done as needed, when the horse falls out of balance, and it can also be graduated to a set pattern. For example, half halts on the short side of the arena or for so many strides to encourage a shortening of the stride and lifting at the base of the neck while maintaining the same rhythm of the gait; followed by an increase in forward energy on the long side of the arena or for a certain number of strides. We want to skirt the extreme opposites of the gait - from the slowest we can get while maintaining rhythm and gait, to the fastest we can get while maintaining rhythm and gait. If the horse breaks gait we want to either add forward energy or use the half halt.
So we practice this at the walk, trot and canter. It builds a sliding scale between the two opposites of half halt and forward energy. Where we run into problems with the piaffe is when we lack a sliding scale, or a sufficient sliding scale. If we have too little room to play with forward or half halt we will likewise find it hard to refine the balance or energy of the horse in the piaffe.
Overview
Start your horse on the lunge with work to develop the half halt and forward. Monitor his tracking to observe whether he has balance both laterally and longitudinally. From there, begin playing with increasing and adjusting the forward energy through the half halt. Shortening the gait with the half halt while maintaining its integrity, then lengthening or increasing the forward energy. Use the walls of the arena or pen you are working in to help with either the half halt or when increasing the forward energy.
Next, under saddle, carry over the work you’ve done on the lunge line. Short wall is for shortening, long wall is for lengthening. Remember that shortening does not mean that the horse’s steps are slower, just shorter. They should maintain the same rhythm as the lengthened gait, and of the working or ‘medium’ gait.
As the horse builds strength, balance, coordination, and work with lateral movements are developed, the piaffe will begin to make itself into a reality. The shortening will become more heightened with less forward advancement. The lengthening will have more power behind it and begin to develop into the medium and extended gaits. And, between the piaffe and the lengthened trot you will find the passage. Voila!
I talk considerably about movement, dance, rhythm and harmony in my book, “Centered Self, Centered Horse,” and cannot emphasize it quite enough so thought I would once again write about it. Why is the presence of ‘dance’ so vital to our interaction with the horse? To sum it up, we cannot expect from the horse that which we cannot do ourselves. What I mean by that, is if we cannot hold a rhythm and beat, how can our horse? Certainly, as in most every aspect of life, there will be exceptions. There will be the horse which takes up the slack for his otherwise ‘two-left-footed’ owner, but for the rest of us our left-footedness will show up with a horse who is awkward, clumsy and not as balanced as we would like. Perhaps it is manifest by poor canter departs, sloppy or delayed stops, difficulties in collection, the inability to piaffe without breaking rhythm and so on.
So often I hear, “yes, but I don’t dance.” This is a very common remark, and one that is similar along the lines of, “I don’t sing.” The word don’t is not synonymous with ‘can’t’ and that is the decisive factor. If you have a body that is capably under your control, you can dance. Even if you don’t, you can bring that dance, that beat, into your mind, into the inside of your body. If if you are unable to express it as fluidly as you would like, if you can manifest it in the mind you have grasped it.
Now that we have dusted off the dancing shoes and hauled out the old record player, let’s get some basics. First is the timing. Timing is a good place to start, because without it you can get pulled into all sorts of directions and find yourself foot-loose and fancy free in a completely different room and with the wrong dancing partner without realizing it. With timing it helps to set a count, less than 8, to repeat in a consistent manner. 1, 2, 3, 4, 1, 2, 3, 4, etc. How timing plays is it gives a consistency to your actions. One will find that they begin making movements in correlation to the timing. For example - 1, walk, 2, walk, 3 walk, 4, canter depart. Or, 1, canter left lead, 2, canter left lead, 3, flying lead change, 4, canter right lead.
Next is your dance step. You have the timing, now you need to find where you will place your feet. Two steps forward and one back can be good with a count of three. You could also take a count of four and for example - 1, 2, 3, 4 (shoulder in), 1, 2, 3, 4 (turn on the forehand), 1, 2, 3, 4 (shoulder in), 1, 2, 3, 4 (turn on the forehand). Your dance partner (the horse) will come to recognize the timing and the dance step and work to harmonize himself to you. This lets you be present, mindless (or thoughtless, letting go of thinking about what to do in order to get the horse to respond in a specific way), and find success.
Now, for those who are raising the eyebrows and saying, “yes, but I DON’T dance…” like everything new it takes time and practice. Because I have never flown a plane doesn’t mean that I can’t. It just means that I haven’t yet. There might be some hesitation, some thoughts that hold me back from running out and taking instruction in flying a plane at this very moment. Those same hesitations could be what holds you back from not dancing, with yourself, with your spouse or significant other, with the horse. Perhaps you feel uncoordinated, or foolish, or like someone will see you and you will feel uncomfortable that they found you dancing with your horse. Perhaps you are afraid that you will fail. Beneath all of these reasons and explanations as to why you “don’t dance” are just that, reasons and excuses. Dancing doesn’t mean that you must do it well. Just like riding, it isn’t just the experts who ride horses, everyone can enjoy it and do it. If you waited until you could dance well to actually dance, you would never do it. If you waited until you were an Olympic Gold Medalist Equestrian to ride, you would never enjoy sitting on the back of a horse.
From timing and a dance step, as you get more comfortable with the movement and the consistency, you can play more. Bring focus and attention into creating more fluidity. Experiment with what it feels like to move your arms softly like petals of a flower lilting in the breeze while you dance. To bring a sense of sway into your whole body and core while you move. To put such subtle emphasis into your legs as they move that it is only perceptible to you. Play with the different things you can do with timing, from three-count to eight-count.
And remember, it is your dance! You’ve invented it, it is between you and the horse.. and if you should feel so inclined you can even provide the musical accompaniment as well by way of your vocal chords. Enjoy!
Come swiftly, or slowly. Come towards me when you are ready. I will stand, I will wait, I will be ready in every moment.
Turn left or turn right, stay straight ahead if you like. I am centered, I am balanced, I am ready in every moment.
Jump ahead or turn around, step straight forward, step straight back. I care little which way you should go, for I will be ready in this moment.
The horse in his infinite patience has but to ask us for ours in return, but do we listen? That is the meditation, we listen, we become still and silent. We leave the door open for the wind to tousle, or the curtains drawn for the sun to shine inward. Meditation is not the thought, but leaving the thought behind. Isn’t that what we long for in our time with the horse? To leave the thoughts behind of tomorrow, of yesterday, of the stresses, of the worries, of all those fears that keep us locked to the ground or stuck in our own path? That the horse could set us free, and yet we find new problems arise in that hope.
We find fears with the horse. He moves too fast or too slowly. He turns the wrong way or doesn’t turn at all. We want him to be caught easily, when he runs away rampantly. He bucks when we want an easy ride, or pulls back in the cross-ties. Perhaps we want to be successful in competition, while our horse refuses to polish just the way we want?
So today, let’s take just a moment for Meditation Upon the Horse. Let’s take this one time we have with our horse today to listen, to be still in our mind and set aside all of the thoughts outside of the arena. To let go of those that are not connected to the horse, and then let go of those connected to the horse. To be truly in the moment, without thought, with only action as needed. To find a sense of curiosity - not borne out of theories, ideas, concepts, logic or any other thought-based origin, but simply out the desire to try it and observe what happens.
When we catch our horse, what happens when we stop and count to ten, when we resume walking towards him we move slower - in half speed. As though time has slowed to a crawl and we can move no faster than a snail. Not out of hesitation in the step, but out of controlled slowness, intentional. What happens when we speak softly, not out of concern that we may spook the horse with our voice, but rather to establish the connection with him, to begin the relationship. To ring the telephone and then listen for the response on the other line. To listen.
When we groom, to be so involved in every small step. The curiosity of a child in the way the brush must feel upon his coat, or the curry against the grain. The hoof pick as it picks at every nook and cranny. The way the saddle sets upon the horse’s back, to be present with every step. To take what has become automatic and turn it to manual. To relearn what we’ve learned. To find the nuances in the ordinary.
When we ride the horse, discover what it is to move to and from, left and right, up and down, like a dance. One step forward and two back, turn slightly, one step forward and two back. To pick a rhythm, a beat, a dance step of sorts and play with it. Pick a rhythm in four-time, or perhaps a waltz in three-time. Feel your seat in the saddle, your legs how they hang beneath, the touch of your calf to the side of the horse. The gentle swing with each step, or the up and forwards movement in the trot. The lovely flow in canter. To be present, to listen, to be curious, to rediscover. To ultimately be thoughtless, to observe.
That is the meditation. To be present. To honor every step. We can meditate while seated on the ground in a quiet field, and we can meditate upon the horse while cantering through the same field. Meditation can be taken with us, it is not a ritual but a state of mind, or mindlessness. Of leaving thought behind and in that thoughtlessness moving beyond the very thought you’ve let go of.
Meditation also takes practice. It is not gained all at once. You could escape to a monastery in the mountains and find meditation there, but you can also practice it every day in small ways without giving up your life and commitments. Washing dishes with presence, being consumed by the rag against the plates, forks, etc, without thoughts bound up in the action. It will come in small pieces, which over time create periods of thoughtless meditation. This can grow into continuous meditation, with a presence of mind to every action and interaction you have.
Why this impacts the horse is that often our thoughts can interfere with what we ultimately want with the horse - a connection which bring joy and happiness. Anything we attach on top of that is extra - i.e. winning a blue ribbon, gaining a certain level of skill, performing a difficult maneuver, going for a trail ride, etc. Underneath all of that, we are driven by the pursuit of happiness. If we thought the outcome of riding horses would bring us pain, injury, unhappiness, frustration, sadness, fear, etc - we would move on to another activity. We can become distracted in our thoughts from finding this joy and happiness, and by letting go of the thoughts we are able to move back to our original intent, making every interaction with the horse not only a success, but one with un-contained enthusiasm along with it!
What are the purposes of enclosing the horse’s mouth in Dressage or English riding? The employ of a tightened caveson, or flash, or other arrangement of noseband in the riding of the horse has long been purported as necessary to help the horse accept the pressure on the bit. To help develop the horse’s mouth. But what does it truly support?
This leads me to think of an action talked about recently about stopping the horse in a way not necessarily understood as to it’s working but that it does in fact work. To raise one rein upwards and taking the other directly back. It has been rolling through my thoughts unable to pin down exactly what I know it’s usefulness derived from, until yesterday. I was working with my lovely gelding, Tanjobi, when I thought I would experiment with it some. Not using it in quite the same way, while the direction of the reins was the same, the pressure was that of experimental value (read - very light). The action opens the horse’s mouth. It breaks the clenching resistance that comes when a horse attempts to run away with the rider. When the horse locks the mouth, grabs the bit, and runs. It also combines the elevation element inherent to the half halt.
So, Baucher then. Françoise Baucher prescribed a series of suppling exercises for the horse’s mouth while standing still, but primarily what they involve is the softening of the jaw. They emphasize opening of the mouth by the bits position.
I continued to run it through my mind then, the combination of the open mouth with a form of suppling, its connection with the use of a tightened noseband/flash/etc, and also how it can be witnessed that the horse can still run away with the rider and an open mouth.
Dressage horses, for as often as they are emphasized to be light and soft in the mouth, I have found often to be quite heavy. They take a very firm contact on the reins, which supports the use of physical force to then influence them. Could the noseband have an effect on this? Is it that traditionally taught Dressage looks for a horse to take that heavy/firm contact and it is best obtained with a tight noseband, which also hides the open/chewing mouth?
It isn’t uncommon for riders to see-saw the reins, that is pull left to right in an effort to soften the horse’s response to their aids, bring about a more ‘appealing’ head set, and gain some measure of control. This action ‘opens’ the horse’s mouth, whether it can be seen physically or not.
And then the horse who can still bolt and run with a wide open mouth… but is the difference really at the base of the neck? So a horse with an open mouth who has not elevated the base of the neck, is still enabled to run wildly on the forehand and thus subject to the forces of momentum? And a horse with an open mouth and elevation at the base of the neck will find themselves more at liberty to respond at the whim of the rider as their weight becomes more balanced? Very good questions that are still floating in mind.
While at the Midwest Horse Fair this weekend in Madison, Wisconsin, I was asked about correcting a gaited horse who would no longer gait. My first horse was a Paso Fino, and over the years I’ve played with a variety of gaited horses. To me, they are intriguing and fun, playful and energetic, and at the same token widely misunderstood in developing the gait. I was happy to offer to play with the mare, rarely wanting to pass up the opportunity to learn something from the horse itself.
I want to reflect that, it wasn’t the gait which was at fault. The mare was perfectly capable of gaiting, given the right conditions. This is normally the case, and it is then left up to us as the rider to know how to enable the right conditions for that gait to not only occur but to flourish.
This particular mare, from the get go, lacked any understanding of proper bend, or a sense of any elevation at the base of the neck from the inquiry of the reins. I messed with her in her stall for a short time before heading out to the arena. In the arena I worked her in hand for some time, setting up the foundation for elevation at the base of the neck, and establishing a sense of bend. She lacked forward quite severely, and with every change in her mental attention followed a slowing or stopping of her feet. Bend cannot follow in a horse whose energy is not correctly forward. Why I refer to it as energy rather than feet moving forward, because a horse whose energy is aligned with forward can maintain the proper bend while at the halt or backing, whereas a horse whose energy is not aligned with forward will not maintain the proper bend while moving briskly at any gait.
Touch is an intimate thing, and somewhere in the course of this mare’s training, she had learned to accept touch like an annoying friend - enjoyed only when her ’sweet spots’ were being scratched, and otherwise ignored unless aggravated enough to push the friend away. Establishing touch with a horse like this is a process not won immediately, it takes time, but more importantly it takes focus on your own actions, energy and mental focus. It is easy to get distracted with the inconsistent movements of the head, but if the mind can be focused on something consistent, your actions will follow and so will the horse.
I worked with the mare on basic bending, elevation, half halt. Worked on developing a pattern of rhythm, like dancing, like dancing with someone who has two left feet and is slightly inebriated… haha. On her back, I began by explaining to my human companions what I like to do at the beginning of every ride, before I ever ask for a single step forward from the horse. I establish the half halt and the bend, which can result in a step or two backwards, naturally occurring from a correct half halt. From there, I have set the foundation for engagement in the first steps of walk under saddle.
It can be easy to get the horse to lift their head, to make the ‘appearance’ of the first step of half halt, but it isn’t so much the elevation of the head, as the elevation of the base of the neck. That proves the connection of the whole body. How this happens is that the lifting of the base of the neck will inspire flexion of the cervical vertebrae, directly translating to the thoracic, and creating space for the flexion of the horse’s pelvis - leading to a narrowing of the base of support by bring the hind legs closer to the front - collection.
First steps of walk with this mare were slow, needing much more forward. So we worked on forward, establishing and maintaining the bend, and half halting where necessary. She began to carry herself more freely, her gait relaxed and her stride lengthened. She also calmed considerably from the first minutes in the arena which were met with her nervousness and distraction at all the surroundings.
Overall, her gait was not an issue, but rather the necessary communication needed to ask for that gait. And in summarizing, forward, bend, half halt, forward, bend, half halt. Three necessary ingredients..
I’ve posted a new video on YouTube which talks briefly about the seat and one of its exercises. This is my first video, and am looking to critique it and create more!
I’ve written about the importance of bend in previous posts, but I would like to once again emphasize its use, as well as expand upon and explore the benefits of correct bend further.
The bend that I am referring to in the horse, is the from nose to tail. It encompasses the whole of the horse’s body and as a result it connects him into a single unit, allowing all of the parts to work in harmony and in balance. This also supports the development of collection and increases the efficiency and efficacy of subtle aids.
Naturally, the horse will have a stronger side, just as we do. This can complement or contradict the rider’s own preferences, but either way the horse needs to be strengthened on one side and suppled on the other. He will naturally stretch and allow the bend to one direction, and naturally contract to the other. The contracted side will carry the bend with ease, while the stretched side will struggle to balance out the strength of it’s opposite.
Largely, the way in which bend is established is through force. To understand how best to approach strengthening and stretching however, we must first look at the ‘mechanics’ of muscles. Like anything of a biological nature, when force is applied, it will be met with resistance. Secondly, less is often more. In order to encourage the contracted muscles to relax and allow the weak side to take the bend, we must induce relaxation. We cannot tell the horse to relax, and even if we could it often creates the opposite in people. Most often we are tense without being conscious of that tension, and relaxation cannot be forced, it can only be allowed. We must gain the horse’s mental trust, before the physical can change. Just as we would struggle to induce relaxation in a person who is mistrustful of us, the horse is no different.
This is where the quality of our touch comes in. Using touch to influence the horse is much like learning to master a fine musical instrument. There are plenty of people who are good, lots of people who are awful, and very few who have honed it to an art. How we take this touch to art, is with lots of reflection, consciousness, and listening. The horse will naturally begin to relax when we listen with our whole being in his presence, half of the task has already been accomplished at that point.
Let’s look more at what a correct bend supports and strengthens…
A largely popular, and perhaps even more greatly misunderstood, topic is that of the half halt. The action to produce the half halt is very simple in and of itself, but without the proper positioning of the horse (the bend), the half halt’s effectiveness relies solely on the horse’s mental decision and good graces. While our goal is to have the horse functioning off of his mental training, in the process of establishing that training it is helpful to know how to physically enable the horse to move properly. The bend plays an important role here. From head to tail, the horse’s bend connects the front to the back and allows the half halt to be used in such a subtle manner that it *is* imperceptible to any onlookers. It becomes an intention on the part of the rider without conscious physical effort.
Bend also supports more precise directional control. It enables us to switch smoothly between lateral movements, shifting the weight from one leg to the next, to change from a turn on the haunches to a turn on the forehand seamlessly. We can pick where the horse puts his feet, leading to the next benefit.
Gait transitions. With the bend working to connect the front with the back, we gain balanced and smooth gait transitions up and down. We are also able to rebalance the horse where necessary without complicated and complex figures or exercises.
All in all, bend is vital to the advanced training of the horse. Even while working the basics, encouraging the correct bend creates a positive foundation for the horse to build upon. And with that, a closing tip when working on the bend. Make certain that your outside rein is soft, the horse cannot relax into the bend if the outside rein is taught…
It is the ASPIRE Therapeutic Riding Program Benefit Ride in Waterloo, Iowa. I have a 10 minute slot in which to ride to music of my choosing and do whatever fancies my taste, and it has been requested that I do so using one of my Bashkir Curly horses…
