15 Excuses for NOT Making Ideas Happen

I don’t know about you, but I am a really great procrastinator and this list seems to just emphasize just how great I can be at rationalizing why later is better than now.

We shall never have more time. We have, and always had, all the time there is. No object is served in waiting until next week or even until tomorrow. Keep going… Concentrate on something useful.

- Arnold Bennett; British novelist, playwright, critic and essayist

I stumbled across this list, there are supposed to be 99 Excuses but unfortunately the link for the remainder is dead. Still, the 15 Excuses presented are enough for me to tackle for this first portion of the year. I have found that planning to accomplish one MAJOR task (i.e. greater than washing the laundry, etc.) each day really helps to kick procrastination in the pants and grease the wheels of motivation.

1. I DON’T HAVE ENOUGH TIME.
Extra time, like money, rarely just materializes out of thin air. We have to work for it. If “finding creative time” is a struggle for you, consider getting proactive about carving it out, and doing the most important work first.

2. I’M AFRAID OF FAILURE.
If we really push ourselves, we will fail more than we’ll succeed. But that’s how we gain experience, how we learn, how we grow. The greater failure is to never risk failure at all. Choreographer Twyla Tharp: “If you do only what you know and do it very, very well, chances are that you won’t fail. You’ll just stagnate, and your work will get less and less interesting, and that’s failure by erosion.”

3. I’M NOT INSPIRED.
Inspiration comes from action, not the other way around. Our friends at Red Lemon Club shared this insightful tidbit from leadership guru John C. Maxwell: “The whole idea of motivation is a trap. Forget motivation. Just do it. Exercise, lose weight, test your blood sugar, or whatever. Do it without motivation. And then, guess what? After you start doing the thing, that’s when the motivation comes and makes it easy for you to keep on doing it.”

Continue Reading Excuses for NOT Making Ideas Happen >>

The Artist’s Way

When I studied French Classical Dressage in the Northwest the most wonderful barn manager I’ve had the pleasure of meeting rounded the small gaggle of us girls at the barn together and walked us through a modified version of The Artist’s Way, a program written and created by Julia Cameron. She personalized it a bit to apply more cleanly to working with horses. One recollection of this 12-week period of time that I have is just how in sync I felt with every aspect of my life for that short period of time.

If you are unaware of what The Artist’s Way is, it is 12 weeks tailored towards inspiring your creativity, no matter what kind of artist you are (even if you wouldn’t label yourself an artist at all). Each week has a different challenge or task to practice, and perhaps my favorite was the week in which I was allowed no outside influences – i.e. no radio, television, newspapers, etc. Julia Cameron (the author) also offers an online course through her website which promises of great value..

Pick Up A Copy of “The Artist’s Way”

Visit Julia Cameron’s Website

Geocaching

Geo-what? Geocaching is a sort of treasure hunt with the help of community. Why treasure hunting, well it is something to inspire my innate curiosity and is a great reason to get out on the trail more often or take my dogs out for a run / hike / exploratory trip. The rules are simple – plug in coordinates to your gps, pay attention to any clues provided, and then start searching once you reach your destination.

To make things simple, there is an app for your phone to make finding potential geocaches simpler – but who doesn’t enjoy a good old fashioned treasure hunt? Exactly.

Visit the Geocaching Website

Haute to Trot Magazine

If you are unfamiliar, it is a horse art magazine that I began in 2009. Following one issue I had to set it down to continue pursuing other ventures in my life that were a bit more pressing. I have not forgotten or forsaken my endeavor towards artistic inspiration for equestrians and it is one of my goals in 2012 to release the second issue of this little gem. If you haven’t yet, I encourage you to check out the first issue and always appreciate feedback!

Read the First Issue of Haute to Trot Magazine

Visit the Haute to Trot Magazine Website

Your 2012 Equestrian Plans

It’s true, I want to know just what you plan to make your 2012 the most memorable year yet as an Equestrian! Will you be trying something new, picking up where you once left off, setting aside what you have been working away at for many years or…? Go on, share with the rest of us just what makes you get out of bed now that you are chasing after the end of 2012!

Ivy – Inspirational Equestrian #1

I read the Classical Dressage yahoo group where Ivy posts frequently asking questions and showing her progress through video. She rides this wonderful Quarter Horse named Jackson and I readily watch every video she sends to the group. In some ways she reminds me of myself, but in all ways she encompasses the spirit that I hope to always approach my horses with. Together they are doing really incredible things, which is why she is on my list of Inspirational Equestrians. This video is a culmination of a year of video clips rolled into one, and at the end the piaffe work is just lovely.

Visit Ivy’s Website

Anja Beran – Inspirational Equestrian #2

Anja Beran, a student of Marc de Broissia, Manuel Jorge de Oliveira (seen riding with Anja in the many online videos) and Luís Valença, is without a doubt an inspirational equestrian. She has a thorough background in Classical Equitation / Dressage and it shows. What I love a great deal in her work is the obvious relaxation and correctness of work. All things are done in lightness and thus appear seamless.

Visit Anja Beran’s Website

Carl Hester – Inspirational Equestrian #3

Recently I compared Carl Hester’s style of riding to that of Edward Gal, needless to say Edward Gal is not one of my inspirational equestrian references. I quite like a quote of Carl Hester’s - “You can’t blame your family for everything,” which I see as an extraordinary ability to take responsibility for your own life and its direction without blaming every fall or scrape on your upbringing. There are few Dressage Competitors at his level that I can bear to watch ride, but his rides have gone on to make me smile in enjoyment. Carl Hester has a sort of repertoire with his horses that is not commonly seen in the sport, and in doing so has earned a place in my heart as an inspirational equestrian.

Visit Carl Hester’s Website

What inspirational equestrians push you to go out and become a better rider?

I love discovering and adding to my list of Inspirational Equestrians and would enjoy finding out who inspires you!

Classical Dressage has two veins attached to it. One vein leads to the die-hards – the equestrians who study and practice and study and practice and try to perfect based on the teachings of the various Classical Dressage Masters. Some you may be familiar with include François Baucher, Comte d’Aure, François Robichon de la Guérinière, and the recently deceased Nuno Oliveira. Many of these equestrians choose not to compete but instead rigorously pursue the principles of Classical Dressage for no other reason than to be the best they can with their horse.

The other vein is not frequently addressed – and that is the marketing vein. It is every Competitive Dressage rider who realizes they can snag more students or clients by invoking the magic of “Classical Dressage.” Perhaps they studied under a “so and so” who took a lesson or two from someone else who had at some point trained under a Classical Dressage purist. Somehow they will find a way to prove they have an inkling of education linked to a Classical Dressage Master’s teachings. The truth is that every Dressage rider – whether Classical or Competitive – has some connection to those old dead guys. This is where the lines cross a bit.

Classical Dressage principles are what Competitive Dressage is built upon, it is merely the nature of competition and money that has turned it sour and removed from the art it was once meant to be. The two are intrinsically connected, but the motivations will always be different. I like to compare it to buying an original piece of art vs. buying a mickey mouse poster.

Competitive Dressage riders may wish to invoke the power of “Classical Dressage” because the image of the competition rider today is not what it once was. Dressage riders no matter their background were once considered elite, perfectionists, the die-hards who practiced the most mundane of arena figures for years on end and somehow never grew tired of it. And then along came Anky. No, she was not the first, and now is not even the most prominent, rider to use Rollkur and hyperflexion – she was just the one who made it scandalously popular and publicly acknowledged / promoted / sold it. Competitive Dressage riders were taken down off their high horse and the sport is no longer regarded by all as a sport of the elite. Perhaps a sport for those with deep pockets or numerous sponsorships… but the image of the faultless rider is no longer status quo.

The difference between Classical Dressage and Competitive Dressage.

Does Competitive Dressage need an overhaul? It does according to Dominique Barbier -

From New Zealand Horse & Pony :

To French classical dressage master, Dominique Barbier, the problems faced by modern dressage run so deep they are virtually insurmountable, and he’s suggesting a radical overhaul of the sport.

- Jean Llewellyn, July 2009 ‘It’s Anti-Dressage’

It would take more effort than there presently is from individuals who practice the art of Classical Dressage to invest in competing. There are too few making that effort, but as someone who has competed before and since given it up I sympathize with a disinterest in that world. Making Classical Dressage more readily available for people to see does not mean one has to do it through the competition scene, and trying to do so may not actually be as beneficial as one would imagine. Most people involved in Competitive Dressage hold tightly to their methods and do not wish to see or try anything different, anything that could take longer to succeed or even mean compromising their success in the show ring. Judges are no longer rewarding the most correct Dressage Competitors (according to the FEI rules) as it turns out anyhow.

The Masters used to perform in the Circus if they wished to publicize their talents, perhaps it will be by seeking alternative outlets to bring Classical Dressage to more people that it will gain some measure of widespread popularity. Then again, like breeding dogs because it is a fad this could sour that avenue of Dressage as well.

Without having attended Burning Man myself, I have friends who have gone and have heard tales galore of the many wonders to be found at this yearly event. An entire city is created, in the middle of the desert no-less, from nearly zero framework or preexisting structure. Not only that, but rules are not present but merely guidelines to help make everyone’s experience pleasant. What I see is this amazing network of people who are motivated to both individual and common causes who are willing to put forth the energy (and personal investment) while knowing they will receive zero monetary gain.

And participants flock to this event with trepidation!

Sounds too much like a utopian fantasy? Perhaps not. This is something I strive for in relation to working with horses. There is minimal structure and what is present is merely that which is necessary – nothing extra, the absolute bare bones and simplest base. From this an entire education can be built with the horse – a language, curriculum, exercises, etc.

Rules which are hard and fast are ONLY those in which injury can be directly inflicted – i.e. no biting, kicking, striking. Of course the causes of those types of reactions are what interests me more than saying the horse cannot do them; he is after all trying to communicate SOMETHING useful to me if I only take the time to listen.

I want to make the horse’s experience pleasant and therefore I do not intentionally create situations which are painful, frustrating or impossible. I want him to succeed and therefore I make sure that I do all I can to help him do just that rather than getting in his way to prove he will do what I ask no matter how difficult (or complain later that he is stubborn, stupid, a jerk, etc when he gives up from the difficulty).

There is an interesting remark made in the article about what truly motivates creativity. I want my horse to interact with me from a place of creativity – from wanting to be involved with me. From that place we can continue to inspire each other back and forth and the quality of the relationship is next to none! I remember having people remark from time to time about horses they had bought from me, that they were so keyed into people. They were not dull, they did not ignore a single signal given and were very fast to respond. That is the creative spirit in them!

Creativity is not merely painting a picture, sculpting a statue or composing a musical piece. Creativity is a part of intelligence, a morphing of thought with desire and energy or motivation. Those are all traits I want in myself, and I want in my horse.

Although most people can identify someone implementing Dressage in their program based on the saddle they are riding in and the outline of their horse, pinpointing the actual elements which ought to be present in those riders isn’t always at the forefront of everyone’s consciousness. I want to look a little closer at what is known as “The Training Scale” or the “Dressage Pyramid” and its importance.

Before I talk about how Dressage can benefit riders of every discipline and riding style, I want to go into the scale/pyramid and look at each individual element. After that I think the benefits will be more obvious. It is comprised of 6 elements.

1. Rhythm
2. Relaxation
3. Contact
4. Impulsion
5. Straightness
6. Collection

Each of these elements is built one upon the other, which is why it is often referred to as a pyramid. Think of the food pyramid, the food groups which make up the largest portions of our diet lie at the base of the pyramid. Unlike the food pyramid however you cannot simply exclude one element and still gain the others. You can produce an external appearance of these other elements, for example a rider can produce a horse who appears to be straight and collected but has no rhythm, relaxation, collection or impulsion. The problem with developing the horse in this way is that he will suffer in some other area. Many dressage horses develop joint and muscle problems at an earlier age, hit a wall in training where they cannot advance beyond second or third level and so on.

The beauty of such a system as the training scale/pyramid is that if you are having problems with one element you know to look back at those which are at its foundation to see where holes exist or improvements are needed. In my opinion this is a fantastic way to implement critical thinking skills and also eliminates a lot of guess work.

It is common now to see riders who compete based on the appearance of their horse vs. the horse’s actual development along the training scale/pyramid, which can account for many of the reasons riders are turning to other methods including rollkur/hyperflexion/LDR in order to improve the appearance of the horse’s gaits and secure higher scores in competition. Riders whose horses are solidly developed along the training scale however will always shine and stand out even without the extreme leg movement that is popularized right now.

Rhythm

The value of rhythm is without question. Not only does it develop a baseline upon with the horse’s physical development can be judged but also makes relaxation possible. I like to think of it like a metronome – the regular tick, tick, tick, tick, tick can almost bring autonomous hypnotism as your thoughts and actions fall into regularity. There is a reason that pianists practice with a metronome, the continuous rhythm assists them in reaching the same rhythm in their playing.

When we begin working with the horse it is important to develop them in a way that allows their body to carry a rider without undue stress and burden. When they are not yet physically fit the rhythm to which they move will be irregular, just as a persons’ movements are when they lack the physical fitness to perform certain actions. So in monitoring the horse’s rhythm you can begin to understand their physical strength and preparedness for the work you are asking of them.

Sometimes it helps for me to think of rhythm in terms of how it works with entrainment. If you’ve never heard of entrainment I encourage you to do a little research on it. I thought I had already written up a post about it but alas it looks like I will have to put that on my “to do” list for the moment.

Relaxation

The next building block is relaxation. Some will refer to it as suppleness but I really prefer to call it relaxation as I feel that is a more clear definition. In order to reach physical relaxation the horse’s body must be strong enough to work without strain. You cannot ask a person to be relaxed while jogging if it has been ten years since they have moved faster than a walk. Their muscles will be strained to perform what is being asked of them and as a result relaxation cannot be present. If however you were to ask a marathon runner to go for a jog it would be a simple task for their body and as a result they could do it in quite a relaxed manner.

Following a relaxed body the mind will follow. The horse’s mind will fret and stress if they are not physically capable of performing what you are asking. They will be out of balance – something that no prey animal likes to be faced with.

Contact

Following relaxation comes contact, an element which I believe is introduced far too early in the horse’s training – or perhaps expected too early on. Many look at contact as being the connection between the rider’s hands and the horse’s mouth through the reins. I prefer to view contact in a slightly different way though. I imagine it as the ability to communicate with all of the area’s of the horse’s body – not just the mouth. It means that I can influence the front legs, hind legs, the mouth, the back, the belly, the horse’s mind, and not just through the reins but through all of the aids in their simplest forms.

In the simplest forms the aids are singular. One rein alone. One leg alone. The seat alone. Often the aids are combined however to access all the areas of the horse but I feel that if combining the aids is necessary to influence the horse then there is another element missing which may be rhythm or relaxation.

Impulsion

Perhaps grossly misunderstood, and with good reason, is impulsion. I’ve heard people describe it as forward, speed, extension of the gaits, push from the hind limbs and so on. Sometimes it reminds me of the various descriptions I’ve heard over the Half Halt – many surrounded in vague wording. The Art of Riding website describes it as, “Free-flowing energy initiated by the rider, causing the horse’s back to swing, his quarters to engage, and his forelegs to articulate is impulsion.” According to Classical Dressage Notebook (by Sue Morris), “A horse is said to have impulsion when the energy created by the hind legs is being transmitted into the gait and into every aspect of the forward movement.”

For me it helps to think about where impulsion originates. It follows rhythm, relaxation and contact. It is also a form of energy. So impulsion is the element that comes when the horse movements rhythmically, is relaxed in body and mind, and every part of his body can be communicated with clearly through any of the aids acting on their own. Impulsion then is the rider accessing the horse’s energy in the simplest form of communication without hesitation or tension while the horse is physically capable of responding rhythmically.

Straightness

Once the horse is in rhythm, relaxed, able to be communicated with clearly and the rider can influence his energy, the next level of the pyramid can be achieved – straightness. If we are unable to influence the horse’s energy then all we are able to do is block, push and pull the horse into something that might appear straight. Being able to access the energy directly however requires far less physical effort on the part of the rider, does not result in degenerative or damaging physical results in the horse, and also produces a much more harmonious and attractive picture.

Straightness simply cannot exist without the base elements below it. Without rhythm the horse will be moving irregularly and one part of the body will have to work harder to make up for the other, weaker, areas. In a horse which lacks relaxation there will be a more pronounced presence of one-sidedness. Just as people generally have a stronger side so does the horse and with tension this imbalance grows. If the rider cannot communicate with all the areas of the horse’s body he also cannot directly and simply influence an area which interferes with developing the horse’s straightness. And finally, without impulsion the horse’s energy can also be out of balance with no means for the rider to channel it back into harmony and thus develop true straightness.

Straightness is not something which the rider creates, but rather it is the result of all the foundation below it having been developed systematically, patiently and correctly.

Collection

For as much as it is talked about, collection is the top tier of the pyramid which is rarely achieved in its truest form. That being after all of the other elements of the scale/pyramid having been developed correctly. Everyone wants to be a billionaire and no one wants to have to break a sweat doing it or go out of their comfort zone. The same happens with collection – we all want to ride a horse which is collected and beautiful but the time and effort involved in developing everything necessary to its actualization can get in the way. We’d rather inherit the cash from a rich distant relative who kicked the bucket.

To honestly ride a horse in true collection is vastly different from riding a horse which appears collected. The reason for this is a truly collected horse has an amazing amount of energy simply at the disposal of the rider to direct, and all of that energy is focused in one direction – that is through straightness. I think of it like if you are walking a pack of dogs and all are pulling in opposite directions, they will help keep you in one place. If however they were to all align in one direction you would be overpowered by their combined energy. The horse is the same way, there is no wasted energy. He is physically capable of performing the tasks that are being asked in such a way that he is also relaxed. He is no longer a run down sedan but instead a powerful sports car.

In Other Disciplines

If these elements were implemented in other disciplines the horse’s power grows exponentially. You do not have to ride your horse in a dressage saddle, in a snaffle bit, in an arena even, to develop these characteristics. That is the beauty that lies in Dressage. It has been transformed in the public’s eye as being a competitive sport but the truest qualities of Dressage can exist in any discipline including those just ‘hacking’ around in their backyard. And that, in essence, is why I love Dressage.

Perhaps the only question to go along with this piece is to ask yourself if you as a rider have all of these elements. Are you in rhythm by having the physical strength to perform? Are you then able to do the work in a relaxed state both physically and mentally? Can the horse communicate with you clearly through the aids and vice versa (remember, it’s a conversation and not dictation.. *wink*)? Is your energy able to be channeled at will? Can your energy not only be channeled but also be aligned into straightness?

Despite my initial “wow, I like this guy” reaction to seeing photos of him riding, reading about clinic experiences and even tracking down videos of him riding and working horses at clinics, I haven’t been able to dig up enough dirt to discredit my positive thoughts about this man. Unusual, I know.

Don’t get me wrong, there are usually positive points I can find in many equestrian trainers and clinicians, but to be without a large enough mar to make me veer slightly in the opposite direction over time is not nearly as common.

Perhaps I will have to eat my own words in the future, but for now it stands to reason in my little brain that all the signals I’m picking up on this horseman are great. I’m plugging in what I could scrounge up around the web to share with you – I like saving leg work when possible..

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What I found fascinating in particular was the history lesson on the Lusitano breed, how it came to be developed in the manner it has (with bulls, etc) as well as how he contrasts their speed/flexibility to other breeds and what that means in their training and handling.

As he is working with the horses keep a close eye because the habits he has are descended from many of the great masters which are talked about in Classical Dressage circles. What a wonderful opportunity that is not always common place!

Part I -

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Part II -

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Don’t have an answer to these questions? You aren’t alone. The term “on the bit” doesn’t have an origin in the long-time history of Dressage, but according to Bettina Drummond it is an orphan that is only causing chaos, confusion and much of the demise of Dressage.

I found this great article at Eclectic Horseman written by Dr. Max Gahwyler and Bettina Drummond which talks about the origins of “on the bit” :

There is no other statement used so often in Dressage riding as the horse should accept the bit, be on the bit, etc. And very often when you go to clinics or shows, it’s the predominant preoccupation of riders, trainers and, unfortunately, often also the judges. It is the foundation of Dressage riding in our country, and this should be just the reason why we should step back and have an unbiased look at what it does to Dressage riding (and why so many of our horses and riders get stuck or break down in the 1st or 2nd Level.)
So our next step is to go back to the countries where our present day Dressage originated 500 years ago, such as Portugal, Italy, France, Germany, Austria and Sweden, and scrutinize the literature in the original language and meaning, and not in the English translations, which are all very recent. Even the Federation Equestre Internationale (FEI) and later the American Horse Show Association (AHSA) Dressage Rulebook were only put into English in the 1920s. But, no matter how hard you look, even going back to the 15th and 16th century, you do not find any expression equivalent to “On the Bit.”
This expression, if you like it or not, fixes the attention of riders, trainers and judges on the head carriage and frame in front as the symbol and hallmark and primary objective of Dressage and training. Instead, the frame in front should express the engagement and throughness from behind and the rider in harmony with the horse on the aids; the frame in front should not be the result of hanging on the reins. It is well expressed in the German Federation statement that the horse seeks the contact and the rider provides it, not the other way around, since pulling the horse into a vertical head position has nothing to do with collection. On the contrary, it prevents engagement and develops nothing but an insensitive, unresponsive horse on the forehand and does not allow for an expressive movement in self-carriage.

The concept of collection and elevation in front. The lines behind the horse show the progressive flexion and engaging of the hindquarters. Wilhelm Museler from Reit Lehre 1928.

That brings up the subject of maintaining a sensitive and soft mouth, which goes back to the school of Naples. It was then clearly realized that in training a young horse, harsh rein action would occur, either inflicted by the rider, or the self-defense of a young horse, and the sensitivity of the bars would be progressively damaged. Let’s face it, a piece of steel in the mouth that is pulled on unilaterally or on both sides with the connection of the snaffle joint pushing against the palette is no treat. Also for about 6,000 years all snaffle bits had cheek pieces, so when using one rein, the cheekpiece of the other side prevented the bit from slipping through the mouth and pushed the head in the desired direction. More recently invented loose ring snaffles are not a step in the right direction.
So when you read the book of Johan Batista Galiberti, written in 1610 and translated into German in 1660, Galiberti, a pupil of Grisone and Piniatelli, recommends the training of the horses first in a caveson or hackamore until the basics are established and only then progressively introducing a bit. In addition, the reins to the bit are held in the left hand, which is always softer, and never used. Training continues with the caveson in the right hand until the horse is made light and in self-carriage. At this time, the caveson is progressively dropped and the connection established through the reins to the bit. But since the bit was never used for the training, the sensitivity and lightness was maintained and the principle of the Descente de Main evolved as used in the Ecole de Versailles and later became beautifully described by Robichon de la Guérinière and DuPaty de Clam.
Interestingly, a few years ago, the riding manuals of 1720 of the Royal Spanish Riding School, which were believed lost, were rediscovered in Vienna. And here again, the training of the young Lippizzaners was done in a caveson without a bit, which was only introduced after they had reached a secure level of training.
The remainder of this concept can still be seen in some lunging cavesons from Europe, having in addition an adjustable snaffle bit. These cavesons were common 50 years ago in Europe, but were never available in the United States where the concept of preserving a sensitive mouth was never a primary objective of Dressage training. However, in a young horse trained like this neither the lunge line or initially the side-reins were attached to the bit, so the introduction of the steel bit was a process of slow, gradual acceptance without any pressure. Later in the training, long side reins were attached to the snaffle, but never the lunge line, which only pulls the bit up or out of the mouth. Doing this is an abuse of the horse and only done by uneducated and insensitive horsemen.

Very few people have ever made or experienced a horse with a truly sensitive mouth, as neither trainers nor riders are concerned with this, as it is not part of the present culture of “On the Bit” in the U.S. In addition, the early introduction of the double bridle, not to speak about draw reins and other devices we see so often, is the hallmark of incompetence as well described by Udo Burger.
So how did the English term “On the Bit” appear in our terminology? To the best of my knowledge, it started with the creation of the FEI, which took place in 1921, initiated by General DeCarpentry with the assistance of Dr. Rau and the German General Halsing Bersett.
General DeCarpentry wrote the FEI rules and definitions in French as we see them today in the FEI rulebook using the sophisticated French Dressage vocabulary with its infinite nuances and meanings. But nowhere do we find any expression even remotely resembling our notation of “On the Bit.” which would translate in French as “Sur le Mors,” an expression which simply does not exist.
The Germans never translated the French FEI text, understanding most French and having an eloquent and well-established equestrian vocabulary of their own as demonstrated in their rule book and the publication of Basic Principles of Riding and Advanced Techniques of Riding by the German Equestrian Federation. Nowhere do we find anything in the original German version close to our statement of “On the Bit,” which is only occasionally used in the English translation for lack of any other expression. So why does this definition of “On the Bit” come up in the English FEI version which became today’s AHSA Dressage Rules and definitions in the official rule book?
Since there was hardly any Dressage in the early 1900s in England or in the United States, nor any English books on Dressage or magazines, there were simply no real equivalent terms for the statements of DeCarpentry, not to speak of reflecting the nuances of meaning of the French Dressage terms. I do not know who translated in the 1920s to ‘30s the French FEI text into English. It is eminently clear that the translator had a fairly good grasp of French but not of the French equestrian terminology, and the term “On the Bit” was created without really understanding what was meant in French or how this newly created definition would affect riding in English-speaking countries.
Lacking any other source of information, this FEI text was taken over by the AHSA and is still the official version which we see today in our rulebook, including the statement “On the Bit” without any futher explanation. Also, our AHSA rules reflect primarily FEI requirements, movements and gaits with no really meaningful statement from Training Level to 4th Level. Even recently introduced new movements such as chewing the reins out of the hands are neither referred to nor defined after they were put into our tests six years ago.

Just to show you a quick example of the first few pages of the AHSA rulebook and how this can lead to complete misinterpretation of the original French text of DeCarpentry, article 401-3 states “The horse gives the impression to execute of his own accord what is required of him, etc.” But in article 401-6, it states “In all his work, even at the halt, the horse must be on the bit”-which obviously includes training levels and introductory levels, since there is no distinction made. This in no way represents the finesse of the French Dans la Main (“on the aids”). But in article 403-3, it states that at the walk the horse should not be asked to walk on the bit, and in article 403-4.2, it states that at the medium walk the horse must be on the bit. This makes absolutely no sense, and if you want, you can go through the entire rulebook as far as riding is concerned and find contradictory statements like this one after the other.
If in our English translation we would say in article 401-6 that the horse in all its work even at the halt remains obediently under the influence of the rider’s aids, this would be closer to the true French meaning and removes the fixation to the hands, the bit and the front of the horse, and leads to a more integrated approach of all aids applicable to this movement.
Using this expression “On the Aids,” we could approach the variability of the French terminology with expressions like “teaching the young horse the progressive acceptance of the aids” up to the FEI levels where it should be on the aids. This includes lightness and self-carriage: not pulled into an artificial frame in front, the emphasis placed on the seat, position, weight, harmony between horse and rider and correct timing and coordination of all the aids. An artificial frame in front does not allow for expressive movement in self-carriage.
But to replace the expression “On the Bit” and banish it forever to oblivion is really no problem, since over the past 50 years we have established a vocabulary of Dressage in America. Terms such as “Acceptance of the Aids,” “On the Aids,” “Throughness,” “Connection,” “Lightness,” “Self-Carriage,” “Swinging Back,” “Relaxation,” “Balance,” and “Engagement,” just to name a few, would much better demonstrate what we really mean and which are really the objectives of Dressage.

Then we achieve what the FEI and DeCarpentry said originally; namely, that the horse gives the impression of doing on his own what is required of him, and not pulled together behind the vertical and consistently on the forehand and never truly through. Unfortunately, we see this all the time from Training Level up to a lot of poor piaffes, passages, piourettes and awful transitions.
Allowing the horse to seek the aids as the older Germans said, or the coordinated aids, aids coming through the back, non-interfering aids, weight aids, seat aids, supporting aids, leg aids, etc. with the horse determining the contact would probably better represent what we really should aim for in Dressage.
Also, what further seems to justify to pull together the front of the horse, and often behind the vertical and call it Dressage, are photos shown in European and in American Dressage magazines of winning teams with an incorrect, pulled together, short frame in front. Even though we always speak of Classical Dressage, nobody seems to go back to the original drawings and photos of the past. Interestingly enough, this concept of having a horse in front of you and with a head carriage more in front of the vertical the more it is collected is clearly depicted in the pictures of Müseler, (see diagram on facing page), which were adopted as correct by the FEI as long as Niggli was its chief but have pretty much fallen by the wayside as of now.
On the one hand magazines print the statements of Harry Boldt, Klaus Balkenhol, Christine Stuckelberger, Cindy Sydor, etc, condemning pulling the horse together in front and then publish dozens of pictures showing exactly the opposite, with horses pulled behind the vertical winning competitions. Take a look in one of the many Dressage publications available in the U.S. and judge for yourself. A clear policy and message to the Dressage community could not hurt.

In a more recent example in an article with Christine Stuckelberger said, “Today you see the horses pulled together. This is a mistake. A judge should penalize a horse that is tense and always goes behind the vertical.”
Harry Bolt said, “Regarding horses’ necks, I think judges should be more careful that horses’ noses are in front of the vertical.”
Snydor echoes the comments of many colleagues in adding that an overemphasis on the front end of the horse is another threat posed by poorly trained and performed exhibition work. “If it’s too much about the head, neck and front legs, it’s bad,” she says. “It may be more spectacular to the uninitiated, but there is already too much emphasis on the front end in regular dressage. We don’t need to be promoting that emphasis any further.”
Another reason the scores are so high today is because of the gaits our top horses show, not because of the quality of the execution of the difficult dressage movements. Just look at the horses’ mediocre piaffes, passages, flying changes and transitions, etc., we see in all the shows. But the German warmblood has a habit of going forward no matter what kind of head position the rider puts him in, even though this does not represent correct training and pulls him on the forehand.

In conclusion, since we now have a terminology in the United States correctly expressing the objectives of Dressage, maybe the time has come to upgrade our definition and rulebook statements and get rid of terms that not only make no sense but also are detrimental to the future of our sport.
It would be a nice beginning of the new century.

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As a Massage Therapist and NeuroMuscular Therapist, the alignment and focus on the horse’s pelvis makes much more sense to me than focusing in the position of the head and neck, although the two do influence one another and are inter-dependent. The state of modern horsemanship is short-sighted, looking only at what is in front of us when riding, than looking at what is underneath us. But, as a bodyworker, I am also reminded frequently that this is not common knowledge and unfortunately is not widely known among the public – yet. :)

I love the visual in the second image shown above, which illustrates the relationship of the horse’s pelvis to his balance point and center of gravity, as well as how it affects the horse’s neck posture. In humans there is a similar correlation. If our pelvis is rotated one direction or the other our neck vertebrae will likewise have more or less curvature.

I don’t know about you, but when I read things like the above article it gets my blood moving and makes me want to become fluent in french, german and portuguese just so I can pore over the classic literature…

“On The Bit” image © Emmy Pimlada

What this means for us as riders is that the legs become quiet and are used primarily as a balance point, but please don’t misunderstand and think I mean balance through squeezing or holding on with the legs. There is a large issue of overusing the legs as it compromises your balance, creates tension upwards into your seat, can radiate into your hands and promote pulling on the reins not to mention add confusion and complication to your communication with the horse. The less that we have to use in order to let the horse know what we want, the better.

Contact on the reins can only be appropriate if the horse is pushing/propelling himself forward from the hind legs calmly, while also maintaining the proper bend. Without these our ability to communicate through the reins is compromised at best, though often worse – disconnected.

The magic happens quite brilliantly however when these elements are all in concert with one another, as you can orchestrate collection in the horse, gait transitions and spectacular lateral work that is forward, light and graceful primarily through the reins. The legs working secondary to the hand in providing support. On the other hand, to rely upon the legs primarily the hands are left to working in excess to either contain the anxious energy created by the overuse of the legs and force position to create second rate lateral work and dull transitions.

Simplicity, it is something I keep drumming on about. The more complicated, complex and difficult something becomes, the further from attaining it we get. I just wanted to write a quick ditty to inspire my readers to get back to basics, back to the simple. So here are some quotes I found just for you…

Truth is ever to be found in simplicity, and not in the multiplicity and confusion of things.”
Isaac Newton

Simplicity is the ultimate sophistication.
Leonardo da Vinci

Simplicity and repose are the qualities that measure the true value of any work of art.
Frank Lloyd Wright

Simplicity is the key to brilliance.
Bruce Lee

and

In building a statue, a sculptor doesn’t keep adding clay to his subject. Actually, he keeps chiseling away at the inessentials until the truth of its creation is revealed without obstructions.
Bruce Lee

Beauty of style and harmony and grace and good rhythm depend on simplicity – I mean the true simplicity of a rightly and nobly ordered mind and character, not that other simplicity which is only a euphemism for folly.
Plato

Simplicity of life, even the barest, is not a misery, but the very foundation of refinement; a sanded floor and whitewashed walls and the green trees, and flowery meads, and living waters outside.
William Morris

Simplicity is the glory of expression.
Walt Whitman

The evolution of knowledge is toward simplicity, not complexity.
L. Ron Hubbard

All of these just give me goosebumps, how true they are… but also makes me think of another quote.

There are three classes of people: those who see. Those who see when they are shown. Those who do not see.
Leonardo da Vinci

I believe that as equestrians, if we are always told that things are done a certain way it is naturally difficult to believe that there is something simpler, even easier, than what we have become accustomed to. Especially given all the gadgets, gimmicks, quick fixes and so on that we are being sold every day. For that reason, often we have to start by first being shown before we can move forward into “those who see.”