balance – Page 2 – Horse Listening

Listening Corner – The ‘Art’ of Riding

Theme: The 'Art' of Riding

The concept of riding as an 'art' is mentioned in many writings, both recently and historically. When does riding transform from being a purely physical endeavour based on skills and technique, to "sculpting while progressing through space?" (de Kunffy, 1992, p.3)

Many authors have grappled with the topic, explaining from their perspectives how riding can transform the rider and the horse, taking them from mere 'performance' to the higher heights of 'artistic' accomplishments. We know 'art' when we see it - the performance transforms from just plain effortless and technically correct to evoking an emotional response, moving us in the depths of our beings and reminding us why we are so enthralled by the power and magnificence of the horse.

Below are four excerpts from writers and organizations, written as recently as 2006 and dating back to 1967. Although they are sourced from the discipline of dressage, all types riding have the potential to make us admire the horse and rider, giving us the goosebumps reserved only for the awe-inspiring few.

Not for nothing do we speak of the 'art of riding'. Not many riders are skilfull enough to train different horses, with their varied physiological and psychological features, to the highest level of difficulty.

As well as extensive experience, the rider should have a sound understanding and a 'feel' for equine nature and behaviour. He must be constantly 'listening' to the horse and should see training as a joint venture, a collaboration between rider and horse....

A horse which has been trained systematically, logically and consistently, and with the necessary tact and sensitivity will obey the aids willingly; in fact, it will enjoy doing so. It will have confidence in its rider. Novice, excitable, timid or nervous horses improve noticeably, during the course of correct training, in their willingness to accept and allow themselves to be 'framed' by the aids, and they become more and more confident and steady under the rider in unsettling situations.

German National Equestrian Federation, Advanced Techniques of Dressage, Kenilworth Press (Reprinted 2006) p.26-27

"The art of riding", this concept is on everyone's lips, but what exactly is the art of riding? Is it an art to ride horses or an art to train horses to the highest level of education? No, the art of riding lies very much deeper than that. It starts with where I handle my horse and how considerately I handle my horse.

A sign of a talented rider is that he thinks like the horse, he knows the ways a horse thinks and reacts.

The art of riding lies in being able to understand and see through the cause and effect of everything you do. This manifests itself in the correct way of caring for and managing the horse, and the sympathetic way in which a horse should be trained, without generating bad experiences.

The horse as a living being should be a cheerful collaborator and partner, not a disgraced object that is discarded in the corner after use: therein lies the art of managing horses and training them successfully.

If you abide by these rules when you work with your friend the horse, he will in return be a joyful companion that will be eager to do anything for you. What is more, the horse will most probably educate you more than you could ever wish to teach it in return: matters akin to compassionate love, sensitivity and humility. These are the most significant human virtues necessary in order to work with horses for them not to lose their grace and beauty.

Alfons J. Dietz, Training the Horse in Hand: The Classical Iberian Principles, The Lyons Press (2004) p.10

As the artist must know what he wishes to convey by his completed work and the workman must understand how best to use his tools, so must the rider have an exact knowledge of his aim and the ways and means to obtain it.

The object of the classical art of riding is to train a horse not only to be brilliant in the movements and exercises of the High School, but also to be quiet, supple, and obedient, and by his smooth movements to make riding a true pleasure. This clearly shows that in every kind of riding we strive for the same objective. Whether it is a dressage horse, a jumper, a hunter or charger, he should always be quiet, supple and obedient. These qualities are the basis for every kind of riding. Performances of the greatest brilliance can be built up only on this foundation.

A successful teacher must have a thorough knowledge of his pupils. The rider must know his horse physically as well as mentally. He should have not only a thorough knowledge of the horse's anatomy and of the functions of his joints and muscles but also be able to understand his feelings and anticipate his reactions. With this knowlege he will ensure that his horse enjoys his work and does not become sour.

Alois Podhajsky, The Complete Training of Horse and Rider: In the Principles of Classical Horsemanship. Doubleday & Company, Inc. (1967). p. 29

The Portrait of a Well-school Horse

Lifting and putting down his feet in a regular pace, with lightness and steadiness, the horse moves well forward on the track, going freely and willingly without haste or disturbance. His neck arches well in front of the rider with a supple poll. The position of the head is such that the line of the face remains a little in front of a vertical line drawn to the ground. The ears will be at their highest point, neither pricked forward nor laid back, but revealing by their natural position the horse's attention and obedience to the rider's will.

The eyes, full of confidence, are turned in the direction of the movement, the mouth is closed but wet, indicating that the horse is chewing the bit without grinding his teeth...

The rider, by sitting quietly and comfortably, proves how much he feels at home on his horse and how pleasant his movements are, and yet the horse is full of impulsion. Every step and every bound is brought about by the hindlegs springing energetically under the body and bent well in their joints....

Horse and rider seem to be one being. They form a well-balanced entity, a living work of art, showing the beauty of life, with harmony of form, and graceful movements which at the same time are both energetic and precise.

Franz Mairinger, Horses Are Made to Be Horses: A Personal Philosophy of Horsemanship. Howell Book House (1983). p127-128.

Reference:

1. de Kunffy, Charles. (1992). p. 3. The Athletic Development of the Dressage Horse. Howell Book House, New York.

What are your thoughts about the 'art' of riding?

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From A Whisper To A Scream: How loud should your aids really be?

We ask ourselves this question repeatedly. Should we be "loud" in our aids, or should we be working as softly as we can in hopes that our horse can respond to lighter and more refined aids?

The answer is not simple. To determine the strength level of your aids, you need to know several factors that go into making your decision:

What is the educational level of the horse? If you are riding a young or fairly inexperienced horse, the horse will need a lot more "support" from you than a more mature and developed horse.

You need to, in effect, be there for him. He will likely be less balanced and responsive than you would like, and your aids will need to be strong and secure enough to clearly explain to him what you want. You do not need to be "punishing", but the amount of strength you put into the movements may be more than you think you should be using.

How sensitive is your horse? The sensitive horses generally do not do well with a "shouting" aid. They are the ones that often resist the aids. They get tense, unresponsive, or outright demonstrate their displeasure through "disobedience" such as kicking out, bucking or even head shaking.

For this type of horse, you really need to "zone in" to your own body language and be absolutely clear on your expectations. Being sensitive, your horse might be over-reactive to your aids in the first place, so you have to be sure to not be too overbearing yet absolutely clear so as not to confuse. Be careful to be firm and clear, but at the same time, look for every excuse you can to be light and respectful. The trick is that you need to be so balanced as to be "on" with your aids all the time without increasing the volume. Sensitive horses do best when there is consistency and clarity. This can be very challenging for a rider.

Analyze your horse's conformation. Believe it or not, your horse's conformation plays a large part in the use of your aids. If your horse is built "downhill", he will probably always have difficulty lifting up through the forehand, and will likely always need support from your aids to be able to maintain his balance in a way that keeps him moving correctly and staying sound through the years. If you are riding a thicker, larger horse, chances are, you might need to be "louder" in your aids to get the same results that you would from a smaller horse. If the horse is built for his job, you might be amazed at how light you can be to get phenomenal movement.

Analyze your horse's previous training. If you are riding the horse after someone else has ridden him, you may have to adjust your aids to the level that the horse is expecting, or blueprinted at, by the previous rider. You might start with the level that is sufficient to be clear enough for the horse and work toward the lighter level that you want to achieve.

How does your horse feel today? Like people, horses change moods and levels of inspiration from one day to the next. On a windy, fresh day, your horse might be enthusiastic and even a touch over-excited. On a hot, humid day, your horse may not be so inspired and would rather be having a sun bath than working in the heat. In each case, you will need to adjust the strength of your aids.

What is your level of training? This one must be said! If you are a beginner rider, your aids will be executed in a very different manner than those of a more experienced rider. You will have to develop the level of coordination needed to be able to become lighter over time. Lightness does not mean you simply let go of all your aids and hope for the best (in fact, an educated horse might be offended by that)! Light aids are very difficult to acquire and even harder to execute. It all comes down to experience and education.

So to answer the question: it all depends! You have to be the judge, and know how to read in between your horse's lines.

The difficulty here is that on different days, the same horse may require a "different" rider. You must step up to the challenge, and be willing to change your "style" to suit your horse. Many horses sigh with relief when they discover that their rider knows what she wants and is willing to put the work in to be clear and consistent.

In the meantime, you are always seeking the ultimate lightness of aids. You are always seeking the moment when you and your horse "become one", moving in harmony, balance and lightness. It will come sooner with some horses than others. The main goal is for you to enjoy what each horse offers each day, in the best way that you can.

So, how do you decide how "loud" you need to be in your aids?

Horseback Riders Do Nothing Anyway!

Well, at least, that's what "they" say.

But we know differently, don't we?

We know how much time it takes to develop the balance and timing to move as a unit with the horse.

We know about the frustration and tears we expend when we work so hard to achieve something and still it does not arrive.

We know the pain we must go through - literally and figuratively - to develop enough "saddle time" to feel even the beginnings of unity and harmony with the horse.

It's like a picture.

Every time you watch a horse and rider, you are seeing where they are in their development as a partnership at that moment in time. Their strengths as well as their weaknesses are but a snapshot of their progress, a simple moment in time after where they have been and before where they are going.

The trick is to know that the picture they currently present is malleable and ever moving onward, like a flowing river. The challenges they have right now are going to drift away with practice and new ones will take their places.

The unlimited potential for learning and self-development is the never-ending call of horseback riding.

To those of you who insist that the rider does nothing

When you see the rider that looks like she is "doing nothing", please be aware that:

her timing is so well-developed that she is riding "in" the movement of the horse, intimately intertwined within his gait so as to dance into his rhythm.
she is incredibly fit and strong through her core muscles, as well as self-aware of the balance and positioning of every cell of her body from tip of the head to the toes, so that the horse's movements do not lurch her out of the saddle.
she knows when and how to allow the expression of the horse to come through and then capably rides along with him.
she has developed a level of communication with her horse so sophisticated that it rivals the best, most successful social media platform known in existence to humankind!
she has more dedication and self-discipline than many who are watching her

In fact, us horseback riders are always in the hunt for looking like we are doing nothing at all! Because we know that an effortless, free-flowing, lighter-than-air ride truly is what we're aiming for...

...and we do not really mind if those onlookers think we are just being passengers on a magnificent animal who is willing to share his talents with us!

Buy the book!

Horse Listening – Book 4: 20-Minute Exercises To Add Variety To Your Riding Routine

Stop wandering round and round aimlessly!

Horse Listening Book 4 is a compilation of the best patterns that have been shared on the Horse Listening Blog. The book is divided into five sections: Warm-Ups, Left and Right, Straightness, Suppleness and Collection. Each section has specific exercises and theory based on its topic.

But there's more!

There is a Special Center Section dedicated to only Transitions - something that we can all work on throughout our riding careers. And finally, scattered throughout the book are chapters that clearly explain theory, technique and skills that can help improve the featured exercises of teach Section.

Use these 20-minute exercises!

Available as an eBook or paperback.

Listening Corner – Studying the circle

Theme: Studying the Circle

How many times have you caught yourself pulling on an already tight inside rein? Have you ever noticed your horse swing his neck to the inside, while you find yourself drifting out toward the rail (thank goodness for that rail, since without it, you would probably drift to oblivion!)? We've all been there and done that (and I have the T-shirt)!

The circle is used so frequently, not only in dressage, but in almost all disciplines, that we would be remiss to not include it in our "studies" about riding and training. The quotes below come from dressage sources, but you can surely find similar information in writing from any discipline.

"Every [dressage] test contains circles: large ones, small ones, some placed in difficult spots, some very easy ones, and some placed before or after a transition into the next movement. But all of them have a number of requirements:

- Circles must be round and executed exactly as stated in the test. This means the rider has to know where the "points" are. The rider must touch these points for one stride only.

- They must be ridden on one track. This means that the horse must be able to bend and have sufficient freedom of the shoulders and hips to accomodate the requested size of the circle without the hanuches falling out or the horse 'popping' his shoulder.

- The regularity of the rhythm must be the same throughout the circle, including engaggement and impulsion, while the horse stays on the bit. As a matter of fact, the horse should be in a better frame coming out of the circle than going into it."

Max Gahwyler, The Competitive Edge: Improving Your Dressage Scores in the Lower Levels, 1989, p. 58

Riding a circle is not just following the path of the circle (although that can be difficult enough) - it is more about helping the horse improve the use of his hind end, teach him about flexion and bend, and to enable the outside aids to become more effective. The aids for the circle come not only from the rein and leg aids, but even more importantly, from the seat and balance of the rider. Your shoulders and hips should be aligned with the horse's shoulders, while your weight is distributed slightly to the inside. Other things to be aware of:

- your inside seat bone is slightly more weighted than the outside, and is moving within the movement to encourage the horse to use his back.

- your horse is "filling" the outside rein (rather than you shortening the rein or leaving it loopy).

- the outside hind is as engaged as the inside, because the outside has further to travel!

- the inside rein is softly maintaining flexion but that is all - don't let it interfere with the horse's movement.

- half-halts at every "point" of the circle help the horse to improve his balance and become more round and free-moving.

"One can say that a horse is on the aids and correctly bent on the large circle when he applies an even tension to both reins, when both hind feet tread in the tracks of the forefeet, when the crest tips over to the inside, and when the horse maintains the bend when the rider surrenders the contact with the inside rein.

One should not, however, expect the horse to maintain the bend on his own for any length of time. To keep him precisely on the line of the circle, the rider must remain extremely attentive and continuously though imperceptibly, alternate between shoulder-in and travers-like aids according to the tendency of the horse to fall in or out from the prescribed line."

By Alfred Knopfhart, Dressage: A Guidebook for the Road to Success, 1996, p.34

They say that the greatest riders look like they are doing nothing at all. The more you ride and you begin to feel the success that comes with the refinement of the aids, the more you will know this to be true. The secret to looking like you are doing nothing is to do a lot in tiny little increments. Once you get used to the subtle movements that are required, it will feel like you are doing nothing - but in fact, your body is making constant minute adjustments to ensure that it is either following the horse or helping the horse to maintain balance.

__________________________

"Excessive bend is wrong and creates tension rather than making the horse more supple. Another common fault, especially in lateral work, is excessiv flexion. Too much bend in the head and neck prevents the horse from bending through the ribs as required, and therefore also makes it impossible for the horse to be evenly bent throughout its length. The horse's neck is 'broken' just in front of the withers.

Exaggerated bend can also result in the horse falling sideways instead of answering the rider's inside leg. This defeats the object of the exercise, which is to bend the horse."

German National Equestrian Federation, Advanced Techniques of Dressage, p.32

We know we should not be pulling on that inside rein, yet we continue to do it all the time. The trick to "unlearning" the reliance on the inside rein is to take a look at the neck. Just look down! I know everyone says not to - when you look, just don't tilt your head downward, so you can maintain your balance. But take a glance and actually see where that neck is. Learn how the "cranked" neck appears from above - it looks like the neck is disconnected at the withers area. The body seems to go one way while the neck is headed toward the middle of the circle.

When you see that, lighten the inside rein. Work on using a more active inside leg, use your seat to help rebalance the horse to the outside, and take up the (very likely) loop in the outside rein. Then allow the neck to straighten (note: don't just pull on the outside rein!). Straighten the horse's body, and start the circle again and see if you can continue on the circle without pulling on the rein.

And that's all there is to the circle! 🙂

What other tips do you have for us about riding the circle?

Horse Listening Book Collection - beautiful paperbacks with all the excellence of the blog - in your hands! Click on the image for more information.

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More Listening Corner posts:

Contact And "On The Bit": I've tried to pick out the most relevant sections for today's quotes, but please go to the original books to get a much more in-depth analysis. Enjoy!

Riding Goals Defined: At some point, you're going to find yourself wondering: why am I riding? No two answers are going to be the same, and your own answer might change as time goes on.

The Rider: Although the world around the horse has changed over the years, the horse itself remains essentially the same, and therefore the requirements of riding are essentially unchanged.

The "Art" Of Riding: . We know 'art' when we see it - the performance transforms from just plain effortless and technically correct to evoking an emotional response, moving us in the depths of our beings and reminding us why we are so enthralled by the power and magnificence of the horse.

6 Ways to Unleash the Power of Your Riding Seat

Horse Listening - Horses riding life — Photo Credit: NBanaszak Photography

First, there are hands and legs. When we learn to ride, we tend to guide the horse primarily through the use of our hands, then through our legs. Rein aids and leg aids reign supreme (pun intended!): left rein here, right rein there, inside leg, outside leg... you know the routine.

And without a doubt, it is essential to learn the use of hands and legs to achieve a basic sense of control of the horse - it is not always a pleasant experience to have a spirited equine expressing his enthusiasm while you hang on for dear life!

As you become more subtle in the aiding process, you will begin to discover just how powerful the seat can be.

As time goes on, however, you begin to develop a sense for the horse's balance, for the energy that moves through the body, and for the 'release' that the horse can achieve given the opportunity. You begin to develop 'feel' through your seat.

When is the horse lifting/dropping his back? When are the hind legs underneath the body? How much energy is needed to allow just enough 'forward' for the horse to reach but not so much that he will fall to the forehand? As you become more subtle in the aiding process, you will begin to discover just how powerful the seat can be in guiding the horse without disturbing and interfering in his movement.

1. Find Your Seat.

Get yourself a good instructor that knows how to teach the finer points of using the seat during riding. There are a lot of people who use their seat effectively but for one reason or another, cannot seem to be able to explain well enough to break it down into achievable skills. You must learn how to activate your seat bones, and differentiate between using the seat versus weight aids.

Getting control of the "inner" components of the seat will take time and perseverance as this is likely not a typical movement that you're used to. Look at it as a 2-year goal - one that takes thousands of repetitions to master. Lunging on a reliable, rhythmical school horse might be on the menu in order to allow you to free your lower back, hips and thighs enough to begin to feel the physical requirements of using your seat.

Know that it is extremely worthwhile to put that much effort into the skill acquisition, as everything, including your balance, revolves around an effective use of the seat.

2. Develop Effective Half-halts.

The seat is a key component to a half-halt. Without the seat, your half-halt is about as effective as a pull from your hand, or a kick from the leg. Neither aids really help the horse in rebalancing, which is the ideal result desired from the half-halt. Use your seat to keep your horse "with" you - brace your lower back to rebalance the horse's momentum and weight to the hind end.

Use your seat bones laterally to allow half-halts to effect one side only (horse leaning on one side, or drifting through a shoulder) and alternately, use diagonal half-halts (inside seat bone to outside supporting rein) to encourage better use of the hind end by the horse.

3. Free Your Seat to Free the Horse's Back.

Encourage your horse to move 'forward' - rather than use your legs to kick a horse onward, use your seat to encourage the more balanced sense of being 'forward'. In the trot, you can follow along with the horse in a more giving way through your entire seat, opening on the "up" phase of the posting trot (without actually posting). Your seat has the power to encourage the horse to "step through" with his hind legs and develop a lovely rhythmical swinging of the back that will allow for a willing and supple response to your aids.

4. Transition From the Seat.

Rather than using your hands for a downward transition, or your legs for an upward transition, use your seat as the "root" to the transition - either upward or downward. Move your seat into the next gait (even if it is a downward transition) and expect the horse to respond almost entirely off your seat aid. Use hands/legs only if absolutely necessary, after you applied the seat aid.

5. Change Directions.

Did you know that you can allow a horse to turn smoothly and in balance simply from a seat aid? Your hands work on keeping the horse straight through the turn, and your seat works to turn the horse from his middle. Soon you will be free from "steering" the horse with your hands. Eventually, the horse will appear to read your mind because the aids will become incredibly subtle and shared only between you and your horse. The only visible result will be the lack of fuss and a total unison in movement.

6. Stop! (No Hands Needed!)

After a series of half-halts, it will only take your seat to stop the horse's legs. Simply stop moving and "halt" with your seat. Remember to keep your legs on as the horse still needs to complete the halt by bringing his legs underneath him. Your thought process could go like this: "bring your (hind) legs under, bring your legs under, bring your legs under, halt." It will work every time, guaranteed!

The above ideas are just the beginning. Use your seat to do lateral work, half-passes, flying changes and even pirouettes. The more you learn about and activate your seat, the more you will discover about the incredible power of the seat.

Buy the book for many more riding tips! Horse Listening – The Book: Stepping Forward to Effective Riding

Would you like to be the rider that all horses dream of?

By following simple, useful exercises, you will be able to develop a better understanding about many topics including:

- the rider’s aids

- the use of the seat

- the half-halt

- accurate turns and circles

- transitions

- horse ownership and horse care

- goal setting for the rider

- rein lameness

… and much more!

Available as an eBook or paperback.

Horses. Riding. Life.

Tag: balance

Listening Corner – The ‘Art’ of Riding

Theme: The 'Art' of Riding

Horse Listening Book Collection - beautiful paperbacks with all the excellence of the blog - in your hands! Click on the image for more information.

From A Whisper To A Scream: How loud should your aids really be?

Finally! The Ultimate Rider-Centered Program!

Buy the book for many more riding tips! Horse Listening – The Book: Stepping Forward to Effective Riding

Horseback Riders Do Nothing Anyway!

Well, at least, that's what "they" say.

Finally! The Ultimate Rider-Centered Program!

Buy the book!

Horse Listening – Book 4: 20-Minute Exercises To Add Variety To Your Riding Routine

Listening Corner – Studying the circle

Theme: Studying the Circle

Horse Listening Book Collection - beautiful paperbacks with all the excellence of the blog - in your hands! Click on the image for more information.

6 Ways to Unleash the Power of Your Riding Seat

As you become more subtle in the aiding process, you will begin to discover just how powerful the seat can be.

Finally! The Ultimate Rider-Centered Program!

Buy the book for many more riding tips! Horse Listening – The Book: Stepping Forward to Effective Riding