riders who cultivate inner strength


trians have lost sight of the fact that inner growth is fundamen- tal to becoming a competent rider. Therefore, at Hacienda Tres Aguilas, Ltd. / Academia Clásico we have returned to the long-standing tradition of Xenophon. We help riders ad- vance by giving them a well rounded education. We teach much more than proper equita- tion, we teach the classics. This includes equestrian theory, practice and self development. A mind/body approach not only gives equestrians the skills to succeed but the inner strength to do so.


to feel subtle shifts in the mind and body of the horse and adapt accordingly. One must learn to ride the horse with skill and creative strategies not by rote or recipes. Sadly, riding today typically focuses on the physical mechanics of horse and rider. Many treat riding like it is a form of calisthenics instead of music or art. As a result, people are becoming passengers not riders. To ascertain one from the other is based upon a simple criterion. A passenger cannot tell you ‘why’ he or she is doing something with a horse, a rider can.


discipline for a lifetime however without developing their own inner nature their performance will often remain flat and their mastery with horses flimsy. To become a truly capable indepen-


Riders can practice a A rider must be able


dent rider in any breed or dis- cipline requires psychological development. The components of Inner Strength are academic knowledge, wisdom and self awareness and control. It is these qualities that set riders apart, not technical skill. By gaining personal and intellectual acumen your riding will not only transform but so will every aspect of your life. While visiting a ranch


two different riders were asked to ride the same stallion. The first rider, Susan, had taken dres- sage lessons for years however she had always shied away from academic theory and self devel- opment. She had a good seat and a wonderful position however she lacked communication and sensitivity with the horse. The horse began to feel as if he had been abandoned however Susan was unaware. She was ‘riding by numbers.’ In a short span of time she began to flounder, not knowing what to do. Susan had exhausted her repertoire. Consequently she was unable to give this young horse the kind of direction, leadership and mental support he required. The stallion began to fall apart. His movement became irregular, he lacked any semblance of collec- tion and he became increasingly angry.


Elizabeth, had an obvious sense of ‘inner authority’ which is the mark of authentic leadership. She did not use a recipe but drew upon a wealth of knowl-


training what is the dressage judge looking for? Training without force


By Mary Rose, FBHS © 2010 Most judges start out


with the intention to be fair. They will try to judge the differ- ent riding styles the same way. They have to develop the eye of the movie maker and look at the flow of the movement while taking in the whole picture. The horse should be a happy ATHLETE - really working but with a good connection and not being forced or contorted. The judge will analyze the general carriage - is the neck being shortened? Is the poll the highest point? Is the hind end engaged? And above all the quality of the movement as well as the correct exercise. A good judge will


remember the FEI rules and forget anything he knows about the rider and horse in front of him. If a judge has taught a competitor once in the last six months or three times in the last year, they should not judge that pair in competition. The best judges judge


positively. If they miss seeing the whole of some movement they will judge in favor of the rider. Any comments should be phrased in the positive, e.g., “the pace was good - we would


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just like a little more” to en- courage the rider, instead of the negative “not enough” and real criticism should be sandwiched between a nice comment first, then the filling, then an encour- aging remark. The good judge will


look at the whole picture with a soft eye, then ask himself questions and look with an eagle eye, and then again with a soft eye. He will always be looking to see if the hind legs are out behind or if the horse is traveling wide behind (an in- dication of lack of engagement and absolutely unacceptable), if the back is stiff and maybe the pace is irregular. The rhythm of the


movement should be correct - regular and symmetrical - the same both ways. With movements like a turn on the haunches the judge will often watch both turns before giv- ing a mark to either because they should be the same both ways. The length of the steps is important and the difference between collected, medium and extended gaits. Obviously there should be much more


overtracking in the medium and extended gaits. In assessing impul-


sion the judge will look for freedom of the shoulders and the activity and articulation of the joints. In canter the horse must show three clear beats when on the straight. Four beats will indicate he is on the forehand and is not ac- ceptable.


Harmony is the re-


lationship between the horse and rider and is seen in the contact with seat and legs and mouth and in the body of the horse. The tail should be re- laxed; the bend and transitions prove suppleness. The horse’s breathing and sweating patters, his eyes, ears and tail will also indicate to the judge harmony, or lack of it. The correct line for


each exercise and the straight- ness of the horse are important but good quality movement and not an exactly precise exercise will still give you a good mark. For more information


call Mary at 512-894-4536 or visit www.maryrosedressage.com.


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The second rider,


THE HORSE GAZETTE


By Adele von Rűst McCormick, Ph.D and Deborah McCormick, Ph.D., Hacienda Tres Aguilas, Ltd.-Academia Clásico Many modern eques-


edge and wisdom. She was following an inner compass. Instead, of riding aimlessly she felt the horse and assessed what he needed both physically and mentally. Elizabeth deliberately and quietly stopped the horse and helped him coordinate his body, shorten his frame and gather his thoughts together. While at a halt Elizabeth put the stallion in the proper balance and from this deliberate posi- tion the pair moved ahead in a graceful and poetic way. Within a matter of minutes the horse became collected and not only executed beautiful movements and cadence, but he was happy. This rider was able to adjust in- stantaneously to the immediate needs of the stallion and change her strategy.


ing the first rider became restless and inattentive. The same audi- ence observing the second rider was silent and spellbound. What kind of rider do


you want to be? We are happy to an-


swer any questions or take your suggestions on topics that may be of interest to you. For more information,


The audience watch-


Saddle Fitting & Reflocking


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contact us: (830)980-8453 or email: thomasm@gvtc.com. Authors of: “Horses


and the Mystical Path: The Celtic Way of Expanding the Human Soul” and “Horse Sense and the Human Heart: What Horses Can Teach Us About Trust, Bonding, Creativity and Spirituality.”


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