This inspiring article appeared in EuroDressage.com January 2,2015.
With compliments to author for her research and storytelling, it is curated herein:
Posts tagged ‘dressage’
This inspiring article appeared in EuroDressage.com January 2,2015.
It remains incredible that any horse and rider partnership can actually attain perfection, but several panels of the most qualified judges in the world have reduced their opinions to numbers and scored this pair, Valegro and Charlotte Dujardin consistently in the 90s during the current cycle of championships.
Here are Valegro and Dujardin at London’s 2014 Olympia performing the GP musical freestyle:
June 19, 2012 Following the Olympic Dressage Team and Individual selection process these recent weeks has been both fascinating and frustrating. Fascinating because it is happening everywhere, all over the world, and have been televised, live-streamed, filmed and web loaded by dedicated videographers. Frustrating because it is nigh on impossible to see all the rides of Olympic aspirants, all over the world. Even more frustrating because dedicated videographers and TV film crews focus, quite understandably, on the test rectangle itself, rather that the warm-up areas. It is the warm-up areas from which there is so much more to learn.
Although Dressage seems so temporal, if not downright urgent in an Olympic, or even World Equestrian Games year, it’s wise to remember that Dressage is timeless; the more things change, the more horses and humans remain the same.
Reiner Kilmke’s(1936-1999) horsemanship is timeless. His 1984 Los Angeles Olympic Gold medal victory, including one tempis, passage, piaffe, and extended trot with Ahlerich is iconic:
The man and horse had so captivated the imaginations of American horsemen, that we wanted more. He was invited to ride for the Madison Square Garden audience of the 1987 National Horse Show, and our good fortune was that he accepted.
Seven years he later he was back in Los Angeles, contesting the WorldCup with Biotop.
And the next year he rode Biotop at Aachen, where he was filmed in trot exercises the day before the Grand Prix. Studying this film illuminates so many aspects of excellence:
Many thanks to Bill Woods for making the effort to digitize his analog films, narrate and web-load Klimke’s and Biotop’s exercises.
In recent months of sizzling summer-extreme heat and drought, here near the Confluence- I’ve watched innumerable videos of 2011 Aachen, The European Dressage Championships, and several other European Dressage shows, and have been inspired by such good riders, more as a matter of ‘who knows, rather than who’s news.’
While the US Young and Developing Dressage Horse Championships and US National Grand Prix and Intermediare Championships were in process the last few weeks, at Wayne and Gladstone, I resorted frequently to usefnetwork.com live stream and a variety of news sources to glean new insight into progress by US competitors toward the ideals of Dressage. For the tests themselves, internet videos provide excellent vantage points, typically better than being there. And when I see one test performance clipped, I seek, and often find, more videos of the same performance, recorded from other vantage points.
What I miss by not actually being there, is that I don’t see the warm-ups preceding the tests, as one can, if situated cleverly at contest venues.
So over time I have surfed avidly for film clips of warm-ups by riders I admire, and who moments thereafter received high marks from FEI Judges. I have found few, alas, very few. My current favorites of warm up clips, is Steffen Peters (US) and Ravel at 2009 Aachen, where they won the Grand Prix, Grand Prix Special, and Grand Prix FreeStyle. warming-up for the Grand Prix Special which is, you may know is THE TEST of shortest duration, requiring the highest degree of collection for sustained for the longest duration of any of the FEI TESTS.
(A new GPS test, written by the FEI, at the behest of the IOC, and much to the chagrin of the International Dressage Riders Club, for the purpose of entertaining network television viewers of London 2012, will be used from October 1, 2011 through December 31, 2012. I just read the new test. Containing all the same movements as the ‘normal’ GPS test, it is even shorter- more compact, and requires more muscular stamina. I think it an unnecessarily difficult means of testing against the ideal. Causing me to wonder, for our horses’ sakes, how to get television production under control. )
A view of Steffen Peters preparing Ravel for their 2009 Aachen Grand Prix Special triumph: ………………………………………………………………………………………………………………………………….
And here’s what I see…from zero to 1:26 Steffen is loosening and promoting Ravel’s engagement by posting vigorously, emphatically rising as vertically as possible, canting forward only by the inclination of his head and the visor or his cap. When he touches the saddle, he barely pats it. But he does pat it, to which the horse reacts by opening his thoracic spines upward. Steffen opens the inside of Ravel by counter flexing and eliciting one stride of counter shoulder fore before riding each corner as a quarter volte. In this posture, for this horse’s degree of development, a quarter volte is three or four strides, rather than two, as in collection. Again counter flexing a stride before beginning a circle, he then ‘drives on,’ forward and down, asking for increased engagement into even contact, including, for the purpose of this exercise, the contact of the rider’s passively tense calf with horse’s latissimus dorsi, through saddle.
Contact with the rider’s hands, held wide apart as the rider’s hips, well below the horse’s withers, and therefore sensed by the horse from the rider’s hips, rather than from the rider’s elbows as when the riders hands but a hand’s width apart and just above the horse’s withers, is through the snaffle rein to the corner of the horse’s mouth and through the curb rein only by the weight of the curb rein and bit felt by the horse at its poll. The “drive on” is effected by the rider’s posting momentum including the projection of his center forward and the flexion of the rider’s calf each time rider rises with the horse’s inside leg. The rider’s hand senses to coming of throughness from behind and gives to permit forward energy flow, effecting repeated ‘half-forwards’ The horse’s posture is horizontal, weight distributed evenly fore and aft. Tail swinging indicates lack of spinal tension. Neck long, open and low, to poll below withers, flopping ears! Facial profile inside the vertical and moving toward the vertical as the exercise proceeds. Corner of horses mouth between point of horse’s shoulder and horse’s elbow.
Steffen executes the exercise as I find it is written in classical literature. This is how it is done. The first 86 seconds of this tape is the answer not only to “what is long and low?” but the current probe “How long and low is TOO long and low?” This tape exemplifies the limits.
In the very next seconds, and onward, Steffen administers exercises he has programmed to ready for the soon to be performed test. And there is vastly more to be learned, not the least of which is the relationship between half-pass and passage, by and for those who have moved closer to this level of development. About the rest of the tape I may write later, if only for the crystallization of my own thoughts. I chose to not edit, to not curtail, the tape because I did not want to remove any available context.
But back to long and low, everyday long and low:
What we don’t see in this clip is what preceded the administration of the exercise. Reasonable surmise is that he enjoyed a 10 minute walk ‘trail ride,’ mounted, from stable to the group warm up ring, where among other contestants, he continued to loosen with longitudinal and lateral exercises at trot and canter, awaiting his ten minutes of exclusive use of the private warm-up court penultimate to entrance to the test arena. And may have entered the private court at collected canter, just before the video starts. Such sequential build-up to performance is rarely, if ever afforded at lesser than International Championships venues. Nonetheless, the first 1:26 of this clip is relevant to the work of all of our horses, at every stage of their progressions. Large circles, with the best possible contact, long and low, emphasizing maintenance of rhythm and tempo and promoting engagement, is, early on, the lesson itself, for a horse in field school. It is valuable therapy for a horse coming out of rehabilitation. And it is essential preparation for a day’s lesson, or for test performance.
For advancing medium level horses, and further developing advanced horses, this exercise is included not only in warm-up, but also warm-down. As such horses tend to become too strong, it is best to leave the day on a soft, light note, making it easier to resume the next ride with softness and lightness.
Oh, almost forgot! I couldn’t find a clip of Ravel’s 2009 Aachen GPS, but here’s one of his triumph in the Freestyle, preceded, I imagine by a similar, if not identical warm-up.
So who invented the dadgum Dressage Training Scale, anyway? Where did this pyramid of concepts come from?
Equestrian literary academics note that the Training Scale originated in turn-of-the-20th century Germany, and was first recorded in a 1912 German army training manual, refined in later editions, and adopted and incorporated into the German National Federation’s guidelines for riding and driving. Now the Training Scale is the foundation of every national federation’s educational endeavors.
As Dressage becomes increasingly popular around the globe, wee (sic!) practitioners continue to attempt to demystify it. For decades, Americans have grappled with understanding of German words that have no English equivalents, often blaming our misunderstandings on having read ‘bad translations.’ When verbalizing my own understanding of the Training Scale, I find it easiest to rely on definitions published by horsemen far more learned than myself, whom I will quote ad infinitum when, eventually, I flesh out the outline of my own fascinations.
Subconsciously contemplating that timeline-less project an early morn surfing the net, it dawned on me who really invented the Training Scale. Striding out before my very eyes came THE inventor of the Training Scale, exemplified here in the first 45 seconds of this excerpt from “Welcome to Flyinge,” youtubed by FlyingeStud (SWE):
Even an untrained eye will recognize the intrinsic beauty of this spectacle. Rhythm, elasticity, unconstraint, balance, self-carriage, an ebullient desire to move forward, engagement, throughness, straightness, and elevation of motion are the expression of celebration of the day by this three week old foal.
This is the ideal to which is compared, 10 or 15 years later, a mature riding horse when it is judged in the sporting rectangle. This is the everyday Olympic ideal to which we compare our progress in the process of conserving each horse’s spirit and developing each horse’s innate locomotive abilities and qualities.
It is our horses who invented the Training Scale, and who teach it to us.
There are not many horses in the world whose sponsors will commission arrangement or original composition of music for Freestyle performance. Anticipating the spectacular extravaganza that will be London 2012, I am as much interested in the preparation process as the eventual performances. So I wanted to embed these vimeos, which I found on Eurodressage recently. The first is about making of a score by Cees Slings for Tinne Vilhelmson Silfven and Favourit (SWE) owned by Antonia Axel Johnson
And the second is MA Rath visualizing his ride on Sterntaler UNICEF to Gershwin’s Rhapsody in Blue arranged by Cees Slings.
Of course, in the realm of Dressage for the rest of us, we’re not hiring Cees Slings to accompany us. But we are resourceful, are we not? Let our lives mimic art, eh? Strike up the band!