POINT OF VIEW
flexibility of the spinal column [as advised by Steinbrecht].” Oliveira’s advice demonstrates his fundamental view:
combine the French and German schools to achieve light- ness, yet never lose the energy that sends the horse to- ward the bit. Work on flexions so the horse can be han- dled without resistance to the aids, yet work with enough energy in all directions to maintain the muscular tonus that helps the horse support himself in the complete range of each gait. Training the horse is like making vin- aigrette: add a bit of this and a bit of that, then taste it and add something again, until the perfect mixture is achieved. There is no absolute recipe, but you will know it is right when you taste it. In a letter to Michel Henriquet, included in 30 Years
with Master Nuno Oliveira, Oliveira said, “The methods are valid through the results they achieve with a large number of different horses. I told you that I have neither invented nor discovered anything, but the techniques I utilize work, for they give me good results with countless horses.” This statement from a master who trained many horses to the highest level is the best explanation of the importance of studying all the resources available in the dressage literature and combining them in the most ef- fective way possible. Each master had his own “hobby horse” that he developed to its maximum, often leading him to disregard other important aspects of training. The whole of dressage is greater than the sum of its parts, as long as each technique is used appropriately. A horse that has not learned flexion will never be com-
pletely trained and will not be light in all phases of his work because, at one point or another, the demands of the rider through the aids will hit a “rough spot” that has not been relaxed adequately. A horse that is being flexed in excess (too much, too often) in certain parts of his body (the lateral flexion of the base of the neck for instance) may lose the muscular tonus necessary to maintain his energy and direction. In the work of flexions, as in any other aspect of dressage, the key is “the good measure.”
Other Flexions Flexions are the yoga of the horse, associating supple- ness with the dynamism of the gaits. Beyond the obvious flexions of the jaw, poll and neck, other exercises are ap- plied to the rest of the body. Examples include: the rein- back flexes the loins, stifles and hocks vertically; the turns around the forehand flex the back and hips laterally; col- lection in place (engaged halts) and piaffe flex everything (flexion of the whole). As the “yoga professor,” the trainer must learn how
to apply flexions and decide which exercises will be most useful to the training process and at what stage.
74 January/February 2018
Their effect must be long lasting and improve not only the immediate response to the aids but also the long term soundness of the horse. This means, at the mini- mum, that he must become upright through symmetri- cal bending and move with an equal range of motion in turns in both directions. When this preparatory work is not done thoroughly, movement becomes asymmetri- cal, weight loading of the legs is uneven, muscles of one limb become shorter (evident by the height difference of the horse’s heels in the majority of horses), tension on tendons and ligaments increases and pressure on one side of the joints increase in the most loaded limb. Lame- ness is eventually the result of this mechanical asymme- try. It is in the slower diagonal gaits which do not benefit from the momentum of speed, such as trot half-passes, piaffe and passage, where we see the greater evidence of unevenness.
The Controversial “Hyper Flexion” This is the name given today to a flexion brought to its limit. It is stamped with the moral disapproval of many in the horse world, but in my opinion their commentaries of- ten lack a solid understanding of horse anatomy or a study of equestrian literature. As far as equine biomechanics are concerned, many horses (partic- ularly stallions) flex themselves deeply quite frequently for a va- riety of reasons. The gray horse shown at right is stretching him- self, as all animals do on occa- sion, just after getting up from a nap in the field. He is lengthen- ing his topline to the maximum, from the point of his shoulder to the tip of his nose. The black Percheron foal pictured is over- bending for a lengthy session of chest scratching, adding the movement of his jaws to the flex- ion of his neck. These positions of the head and neck are totally natural to all horses and com- pletely comfortable, as no horse in his right mind would take a position that hurts his neck or re- stricts his breathing or vision. How does this relate to dres-
sage? From the earliest Cel- tiberian riders of pre-Roman Spain (see photo next page) to Pignatelli (a sixteenth century
Top: JP’s stallion Ori- on showing his own, natural ‘over flexion.’ Bottom: A Percheron foal at Dapplewood Farm scratches his chest demonstrating his flexible neck and topline.
Shelley Giacomini
Courtesy Dapplewood Farm
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