a.i.s.

Study-Horsemanship/1

Yes, we are working on training progressions. For some reason my hope does not die, that there is one simple and conclusive way to capture what matters in equitation. And a manner to communicate it effectively for all who want to learn and make equitation their daily bread.

Part One of our training is a progression of how to deal with the horse's warp. Part Two is a concept, which I had the pleasure to receive from a reader of this site. We adopted the workflow and then discovered that instructions reflect the equitation I learned many moons ago. Since that time, however, after countless rides, testing the rider's body language and the horse's response to it, I am certain there are more immediate way to tune into the horse's body, mind and spirit. And - well, here goes another year...

In this context I am pleased to share this video; pleased for several reasons. The exceptional range of shoulder extension, which - with some patience - may be developed into a three-dimensional movement of the forehand. The quality of ease. The collection. The all-together peaceful performance, demonstrating what horse and rider together can be and do. 

Not that we are anywhere near this performance. Examples, however, like guiding lights, pave the way. Here is another one. And I love this fun interpretation of where equitation is today.

P.S. We have begun to experiment with Al Simon's modern interpretation Tai Chi lessons; learning to go slow, focus and feel good.

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What makes this horse's movements so pleasant? It extends the head in the uppermost joint of the neck. The second cervical rises to the max. The neck is shaped like an S.

This horse by comparison may look dull. Whatever accounts for the difference (place, race, age or gender), it manages to bear balance on deep and uneven ground. It extends the neck, and - keeping it forward and kind of level - minds its steps.

I would like to propose that these two postures of the neck - in variations - are the only postures of the neck, which a horse - given the chance - will use to manage core functions and biodynamics: In liberty and under saddle.  

- The forward motion in the poll connects with the sacrum. It as well opens the joints of the vertebra, all the way to the tail. 

- The second cervical raised to the max assists elevation. 

- The forward-upward extension of the neck stabilizes the body. 

- The S-shaped neck permits fine-tuning of all neck and back muscles and in fact all equine locomotive functions.

The first horse plays. It moves in every direction. The second horse works. It moves in the forward direction only. The first horse displays- in addition to the classical S-shaped neck - every conceivable equine position. The second seems to know just one. 

Wonder, how all of this plays/works out in the saddle. Shouldn't in a new modern equitation the horse be able to command both? Goal-oriented forward locomotion and playful motions in all directions?

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Trakehner Auction. The horse is beautiful. It is well elevated and produces beautiful gaits. The crowd cheers and bids rise. Meanwhile something else, however, is taking place: The horse has difficulties turning. It looses its balance and, to put it in technical terms, falls over the left shoulder. 

To fix the problem the rider shortens the reins. The horse begins to twist and turn neck and poll. It is tortured. It receives a lesson in what will soon be its daily bread: Producing movements not in accord, but in conflict with core functions and biodynamics.

Research participants and students of SomE, School of Modern Equitation use this chart to visualize the horse's warp.

The horse's warp It is easy to see how the horse's middle line is compromises. Students here work on progressions of how to address these warps in the horse's poll, lower neck, flexible middle section and hindquarters. Using the best classical sources and new insights in human/equine body functions.

We join this effort to end hyperflexion, not without making mention that here things only start. A new modern equitation must dig deeper and lay new foundations.

COMMENTS:

A friend responded, 

"... I thought of you when we just saw a long documentary film in Paris:  LaDanse, on nine days of life in the Paris Ballet.  Seeing the marvelous body movements involving both freedom and control of the dancers (in training & rehearsal as well as performance) it reminded me yet again just how awkwardly and artificially many of us move our bodies in daily life.  We so often get into bad habits of standing, sitting, running, etc. Transferring this acquired awkwardness on to the horse cannot have a good effect on either rider or horse, can it?  

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About hands.

Classical German equitation teaches upright, closed and still hands. As if carrying two glasses full of water without spilling it. Hands that provide a basis for the horse's Anlehnung (leaning on the rider's hand), no matter how light, strong or heavy this leaning may be. 

Never mind that for all practical purposes hands are on the withers, most of the time. A position that works well for children and beginners. Wondering why?

Classical French equitation teaches completely different hand functions. Reins pass under the ring finger's second or middle bone. The palm is softly rounded and elastic. Like holding a little bird while keeping it from flying away. Fingers, wrists and elbows are supple. The rider keeps a light contact. Hands, depending on the horse's posture, can be quite high.

The energy that emanates from human hands and palms are featured in Al Simon's newest set of lessons. Hubert Godard emphasizes this energy in rolf-movement classes. Craig Stevens speaks of "... between touch and no touch". Of a point zero between the rider's hand and the horse's TMJ. And there is this historical fact: Christ suffered death from hanging on nails put through the palms of his hands.

Stretching things too far? Maybe. But shouldn't the rider be aware of all this and know the power of his own hands? ... And then one obvious question arises: How keep hands light and let the energy that emanates from them flow?

Don't miss: August Sander, "Studies of Hands," 1930s

COMMENTS:

A friend and member of my family wrote, "... ich habe schon lange nicht mehr so bewundernd vor einem Bild gesessen (wie dem ersten)..." 

My response was, "... these images illustrate two ways the rider may use his hands. Today there is a third way... ."

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Take this article. On one hand one man single-handedly rallies against obvious ills. 

On the other hand a group of so call experts responds. Both sides do not point to the anatomical reality, which underpins their argument. Facts, however, are easily found out. The current best-seller on equine anatomy by John and Peter Goody for instance, on page 20, illustrates that which the one omits all together and the others only hint at. 

There are four abdominals muscle groups in the horse. The rectus abdominis in the horse's lower line, reaching from  the sternum between the front legs to the pelvis between the hind legs, balances the long back muscle. The external abdominal oblique connects ribs four to eighteen and the lower line. It monitors breathing. The internal abdominal oblique reaches from the bottom of the belly's lower line to a ligament, which runs along-side the pelvis connecting hip bones and hip joint. This muscle quite obviously has something to do with the closing of the croup. And there is the transversus abdominus, which - analog to its function in the human -most likely has something to do with posture.

So, here we are. Isn't the question at hand what these muscle do when the horse moves. Out there in the field; under the saddle; over the jump... ? And how the rider uses corresponding muscles in his own body to communicate with the horse?

This is how it began, in 2001. Study-horsemanship's first project:  The horse's postures

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Humans have a funny way to communicate. 

Take Tai Chi. A classical quote describes it as gentle technique, which - while improving balance and posture - sharpens focus. Take Rolf-Movement, Feldenkrais, Alexander, Zen, Yoga or any recent movement and awareness technique: All claim the same. They promise to improve balance and posture, to sharpen focus and improve a sense of purpose and well being.

So why discuss the very nature of things in special terms? Interesting as each of these techniques may be individually, the true significance here is the thing itself. The body readily responds to movements that take into consideration gravity, breath and awareness. This comes as no surprise. The incessant pull of gravity, the energy, which marks life and human awareness are parameters of practically all that moves on earth. And yet this simple realization seems light years removed from the body's cultural identity, certainly in the West, which - on the other hand - produced the schools of equitation which are prevalent today.

Equally in equitation we speak of flat work, jumping, dressage, endurance, racing and so on. We do not address the issues, which all share: Balance, posture and energy, leave alone focus and well-being. Even if a completely different orientation in gravity and a distinct skeleton sets the horse apart. Psoas, longissimus dorsi and any of the horse's many muscles share but the name. Their function is different.

This said, wouldn't it make sense to speak of equitation in terms of human and equine muscular-skeletal functions, energy and balance. And add such central themes as focus, sympathy and leadership? Hasn't the time come to address all important questions, such as when, where and how, for instance, can and should the horse bend? How to make the horse straight? How to produce a new generation of professionals who ride and teach equitation according to the very nature of the human being and the horse. In other words, isn't it time to come up with a school of modern equitation? 

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Major implication of those Elgin Marble horses (as seen in London or in Athens where they promise soon to be represented again) often go unnoticed in today's contemporary commentary. For one thing,  horses carry neck and sometimes heads well above the shoulders, not before them.    

Xenophon comments, "...the neck that way protects the rider and the eyes see (the horse's or the rider's I wonder) what lies before the feet". 

He continues, " The neck should not be thrown out from the chest like a boar's, but, like a cock's, should rise straight up to the poll and be slim at the bend. ... A horse thus shaped could do the least harm, even if he were very high-spirited; for it is not by arching the neck and head, but by stretching them out, that horses try their powers and violence."

French authors like Baucher, Kerbrecht and Beudant confirm Xenophon, certainly as concerns the position of head and neck. As a German rider of German horses, however, to me low out-stretched heads and necks speak of a refusal/lacking fitness to be at the rider's disposal, whereas high necks and heads speak of looming disobedience. Only a freely balanced head, which - without restraint - may seek its proper position according to the task at hand, does the job. 

Do all riders agree on this? And, if you do not, - why? Please keep comments brief. One sentence does it. C.S.

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One thing equestrian writers of all ages seem to agree upon: The horse must be on the hindquarters. It must support the majority of its weight with the hind legs. Only thus can it be useful and remain healthy. 

Just how to get the horse to do this no one seems to quite agree upon. 

In the process Gerhard Kapritzke in a recent Piaffe article is quick to assume that the Elgin Marbles indeed represent Xenophon. A look into Xenophon's text reveals another story. 

All seem to agree that the modern horse must be straight before it can elevate. Isn't it time the equestrian community came up with conclusive answers on how to ride the modern horse.

Xenophon's Bits

Markets

Sunday morning. Breakfast. A time to feature fashions from the flat lands. This year's faintly pink €1 sweater, produced in Italy when Benneton's merchandise was still made to last. And a long slender €3 (do I want to spend that much money or try to barter?) 100% wool coat, which - since I purchased it two years ago at a monthly vide grenier in Molay-Littry, just minutes from La Boulaye - has accompanied me in life's victories and defeats. Only recently I hit upon a colorful 70s €2 100% polyester dress. This tacky dress I wore in an unbearably hot late summer night for the August Sander opening at the Henri Cartier-Bresson Foundation in Paris, not so long ago.

What has happened to our markets? Clothing items purchased in inner cities' crystal shopping palaces reappear on private sales tables in the green fields. Their quality - limited as it is -, purchased for less than a token, far surpasses the items offered for sale in those shopping palaces today. Continues how...? C.S.