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.

None of that equates to the rider having any care about the horse. They do not seem to care that they are yanking on the horse’s most sensitive mouth with a leverage bit. They do not seem to care that they are spurring the horse carelessly and excessively. They do not seem to care that the horse is willing to accept these abuses without striking out violently. These riders generally seem to care only about having their horse’s head flexed to the max, the sliding stop prim and perfect and that the horse feel subjugated at all times.

Craig Schmersal – More widely recognized as being a participant in the atrocities of the FEI reining warm-up ring in Malmo, Sweden.

Rieky Young-Van Osch – is it any surprise that she coaches Anky van Grunsven in her new-found love of reining?

Martin Muehlstaetter – Austrian born and worked under such reining “greats” as Lynda Adlof, Bob Avila, Todd Sommers, and Dell Hendericks.

Tom McCutcheon – NRHA $1 Million Dollar Rider.

Nico Hörmann – German based FEI Reining Competitor/Trainer.

Naturally I expect comments from pro-reiners to argue the fact that these reining horses are, in fact, being abused. Not just physically, but the mental abuse is evident in the horses’ expression and demeanor. They are simply waiting for the chance to get back to their stall and check out. To find reprieve from their rider’s unfair demands.

The point of these reining competitions can be only for the money. What other use is there in training a horse to perform a 20 foot sliding stop, to spin endless circles or lope around with their chin to the chest? There isn’t one, except for the lucrative profits to be made.

And for those who have wondered if Clinton Anderson uses Rollkur aka hyperflexion… I will just leave it at the fact that he has competed heavily in reining. Seems like there is something in the water.

A friend posted the link for a photo gallery supported by St. Georg magazine’s website which shows many unsightly images. I was unable to find it just perusing through their site, but that mostly just means I gave up looking after I had to translate every page just to navigate it. If someone at St. Georg reads this, let me say that it would be spectacular if your webmaster instituted even a rough method of translation right on the site. Although Google probably loves my regular visits to their translation services… [ Note : For what it may be worth, if you want to translate my blog there is a box at the footer of every page - just select your language from the drop down box and it will automatically do the footwork for you. ]

St. Georg 2010 WEG Photo Gallery

What blows my mind about one image in particular in that gallery is the horse whose face is practically parallel with the ground… and yet there is more.

Meandering about the web and all of the promotional videos I’ve managed to find one of Isabell Werth riding Warum Nicht in the warm up arena. The introductory horse whinny on the video sounds more like a cry for help than of a “happy” dressage partner. In the video you see Isabell pulling and tugging on the reins as she rides around with her horse in various degrees of hyperflexion, looking the part of anything but harmonious. His gaits are stilted and remind me of western pleasure horses’ gaits that have been retarded and made unnatural for the show ring. His canter seems more like an amble than a leaping three beat gait.

Video of Isabell Werth riding Warum Nicht in warm up arena at 2010 WEG in Kentucky

But she is not the only one…

Video of Hiroshi Koretsu riding Whisper in warm up arena at 2010 WEG in Kentucky

And then there is this interesting ride by Anabel Balkenhol aboard Diablino. I say that it is interesting because of all of the Grand Prix competitors I’ve watched in the last few years, she is one of the few whose horse you can actually see his abdominals contracting to bring the hind legs under more through most of the ride. He doesn’t really flex a great deal through the hind limbs but I would say he is closer to collecting than most I’ve watched. She seems to have to be very loud in the reins as you can see her tugging on them rather hard at times, but he is not often behind the vertical and when he is it is not from the rider’s wishes it would seem. For the most part he is up and open and one of the more enjoyable horses to watch.

Video of Anabel Balkenhol warming up on Diablino at the 2010 WEG in Kentucky

Also of note is the rider Adelinde Cornelissen who was set to compete aboard the stallion Parzival. Adelinde is a student of Anky van Grunsven and was disqualified from the competition when her horse was found bleeding from the mouth during her ride. Reports from her crew attribute the blood to Parzival having bit his own tongue. Images from the gallery link above show several examples of Cornelissen riding in hyperflexion and also being coached by Sjef Janssen.

I’m not surprised but I guess hopeful that perhaps all of the bad publicity surrounding Patrik Kittel and the Blue Tongue incident, the lawsuit filed by Anky van Grunsven and so on would make these riders a little less out in the open about using such methods in public competitions. Obviously they care not one lick if the great horse community feels they are abusing their horses for the sake of competition. What are your thoughts? Were you expecting to see this at the World Equestrian Games?

What is Rollkur?

Let’s take a bit deeper look into this.

#1 — PUBLIC OUTCRY

“Because equestrians are protesting hyperflexion through means which do not motivate abusers to change – i.e. silent protests at competitions, speaking out through niche internet, signing of petitions, etc.”

Hyperflexion is in some way connected to the abuses given to African American slaves, women prior to the feminist movement, many lab animals. Certainly it is not a human suffering, but it is a living being on this plant none-the-less and in the same way the horse is suffering for the sake of money and power. It took the violent sweep of the anti-slavery movement to see African Americans move out of the ‘public opinion’ of being less than and even animalistic and to appreciate the same rights and humanities of other Americans. Women were seen as weak and in need of men’s guidance and care, even if at times violent and sadistic. The feminist movement and women’s sufferage was not a gentle journey won by quiet voices. Many companies will not seek to right things which are dangerous to their customers until threat of public media involvement is made in a widespread manner.

Making hyperflexion an outcry to the PUBLIC – not just the equestrian community – may help raise the hairs on the neck of those who use it and support it including sponsors who fund it’s continued use. Many equestrians are still in the dark even about what hyperflexion is, why it is bad for the horse and what can be done to stop it.

Many have a notion that keeping the resolution of hyperflexion somewhat out of the public eye will help keep PETA and other animal rights activists from gaining a foothold towards removing all rights of equestrians in the use of horses. Is the fear of losing your own right greater than the present knowledge the the horse has lost his?! I can think of no more selfish thought than this. Secondarily, if this argument is to be made I can think of no better supportive argument than to take the side of PETA, etc because it is obvious that the selfishness of the equestrian community has grown to such an extent that it can no longer be entrusted to put the horse’s needs and welfare above it’s own interests be they emotionally or commercially driven.

#2 — MONEY

“Hyperflexion is money motivated and those who are making the most money are using the technique.”

You’ve heard of the golden rule before? Those with the most gold make the rules? Words to live by in this society, unfortunately. Take away the money and the well will dry up and move on to greener pastures. Just as energy efficient means will not lead the globe until they can make more money than traditional fossil fuels, top equestrians will not stop using hyperflexion until it proves to no longer be profitable.

#3 — CULT SUPPORT

“Riders who are impressed by abusers are willing to move in packs and use loud voices in support of hyperflexion and the ‘success’ it brings.”

Beware the person with too much confidence, fanfare and a loud voice – for they are surely the most foolish. If this isn’t a quote perhaps it should be. When I was a younger rider I always thought I knew exactly what was right and what was wrong, the best methods and what should be avoided. I had all the answers and if I didn’t it was because they didn’t exist. I’ve grown up a bit and in the years between then and now the greatest thing I have learned is that the quietest voice is often the most informed, or at the very least the one who is observing the most. Perhaps they are just asleep in class. Whatever the case may be… I tend to avoid people who always know the answers when it comes to horses.

That being said, I have also observed that equestrians who do well in competition often use shortcuts – both intentionally and unintentionally. And that competitors who are doing well often have a following of not as advanced of competitor equestrians or hopeful competitors. And those followers *love* the person they are following – of course if they didn’t why would they be following them? So in order to be correct in following this person they will defend them tooth and nail to the death in support of every action and intention of said followed equestrian competitor. They are unafraid to voice their opinion loudly because what they have to lose is their own belief that the person they are learning from and likely hold in very high esteem is flawless and perfect. And if they happen to lose this belief their whole world could be in a tailspin. Do you want to be right or do you want to be happy I have to wonder? Often people prefer to be right in just such a case…

As a result, louder voices are heard above quieter voices.

#4 — FEI ENDORSES THE ABUSE

“The FEI endorses hyperflexion.”

As if hyperflexion needed a booster seat, the FEI – the international governing body of olympic sports – steps up to the plate and gives it the green light and a get out of jail free card. What ‘professional’ can be made liable for abusing a horse when they are only using a method that their sporting association, which just so happens to hold as president the Princess of Jordan, says can do no harm if used by said professional? Exactly.

Of course this shouldn’t come as a surprise when they are also renegotiating ideas which would allow fewer restrictions on the doping and drugging of horses in competition. There is a reason that rules are in place to limit things that dull the horse’s ability to voice it is in pain or breaking down – because he cannot do it with words and is at the mercy of those gaining profit through exploitation. Yep, I said it – exploitation.

#5 – VETERINARIANS ENDORSE THE ABUSE

“Veterinarians publicly support the use/abuse of hyperflexion.”

How do you bring a strong man down? Cut him off at the knees and strap lead to his back. As if the above reasons were not enough weight to tow behind the half-dead pick up truck, lead veterinarians have publicly stated that hyperflexion is not physically harmful to the horse. Those bulges we see at the 3rd cervical vertebrae are now “normal” side effects of competition horse training. The unusual muscle development of the neck is standard.

It has been my personal experience that veterinarians are human, which means that not only are the subject to making mistakes and lacking knowledge in their so called area of ‘expertise’… they are also easily intimidated and or convinced to support a cause if they are in the right social circles. I tend to be a bit suspicious of allopathic medical ‘professionals’ be they human doctors or animal, and the supporting documents for hyperflexion only adds fuel to my fire.

#6 — EXTRAVAGANT MOVEMENT

“Hyperflexion creates more exciting movement from the horse to please an uneducated crowd, making hyperflexion a tool to market a sport once seen as boring drivel to those uninitiated.”

Think of hyperflexion what soring is to Tennessee Walking horse big lick shows. It is what creates the flash and boom and draws the crowds of uninformed and potentially horse-illiterate spectators. The TWH Celebration annually draws thousands, when is that last time you saw a national dressage show perform in the same way?  In the following video take a look at the sheer crowd in the stands at the 2007 NYPD Walking Horse Celebration.

I remember the first dressage shows I attended, they really were boring. Why? I liken it to watching someone meditate, or that is what it should be like – two beings meditating together to form a partnership of invisible communication. Now that meditation has to be marketable it is being spiced up. A bit like turning tai chi into MMA death matches.

#7 — MAKES WINNERS IN THE SPORT

“Hyperflexion creates Olympic gold medalists and ‘partnerships’ who score the highest test % ever awarded.”

Anky van Grunsven was the top rider for many years. She has only allowed this title to slip a bit by making room for others who now use hyperflexion as well. The last Olympic games I watched in China made me want to throw up as horses who were not forward, on the forehand, behind the bit, crooked, constant tail swishing, etc were the norm and being praised and glorified by thousands of adoring fans. I had to turn off my tv, go outside and praise be to my horses that I have not bought into such disgust. Mostly my horses just snorted and munched at grass.

Recently Edward Gal riding Moorlands Totilas scored a 92.30% in London. This is the highest score ever recorded for a competition, let alone of the caliber – a World Cup Qualifier. The horse’s movement is reminiscent of Anky van Grunsven’s Salinero if you ask me, complete with the horse behind the bit at the halt, tail swishing, leg mover, etc etc etc. The list goes on.

#8 — SHORTENS TRAINING TIME

“Hyperflexion creates an Internationally competitive Grand Prix horse in 3-4 years.”

Andreas Helgestrand rode to victory in 2006 on Blue Horse Matine – a 9 year old mare.

Of course Blue Hors Matine also died unexpectedly by breaking her leg when she was 13 years old, one last injury in a long line of them that began just after this competition.

#9 — BEHIND THE VERTICAL IS NORMAL / COMMON

“Horses behind the vertical and overbent about in pictures, video and in person in all corners of the world, making Hyperflexion “just a little bit more” of the same…”

Pretty self-explanatory. Do a google search for something rather inert in connection to horses and you will find a plethora of images showing riders with horses whose noses are behind the vertical. Behind the vertical is behind the vertical, period. End of sentence and argument. I’ve heard it all before and people will likely continue to argue the point that ‘it was only one moment captured in time’ or that their horse is always like that, etc. Horses ridden forward as they ought to be are not behind the vertical with their nose. If the horse is behind the vertical, he is NOT forward – maybe fast, but not forward. One moment captured in time 10+ times over is not ‘one moment captured in time’.

#10 — EXCUSES

“Hyperflexion abusers will continue to claim proof to be attributed to a “one time event” and not part of the normal routine or used for long periods of time.”

Can anyone else hear in this statement “WIFE BEATER“? See above – if it has happened more than once it is not a one time event. If it has been captured for more than a split moment, it is more than a split moment. Fairly black and white. Abusers often argue this point, of it was a one time thing, it isn’t as bad as it looks, it doesn’t last as long as it seems, blah blah blah. They are excuses, manipulative excuses. Why? Because if they can get away with it they will, they have not changed and likely will not change. Why are abusers and users of hyperflexion allowed to continue telling us what limits should be allowed in regards to abuse? Seems a bit like an alcoholic saying what the legal blood-alcohol limit should be for drunk driving.

#11 (BONUS) — CROSS-DISCIPLINE

“Hyperflexion is cross-discipline and has infiltrated horsemanship for longer than most would likely want to admit, even the Classical Dressage groupies (of which I cannot be completely excluded from).”

You can find it in jumpers, hunters, western riders, english riders, saddleseat, hunt, etc. While it is more prevalent in some disciplines over others the truth of the matter is that the majority of equestrians believe that control of the horse is gained largely by manipulating the neck. Yes, control can be had in this way but it is also mistakenly referred to as building a relationship, communication, a partnership, etc. Plain and simple it is a physical way to control the horse and avoiding communication and removing choice from the horse’s options.

Classical Dressage is often pitched as a ‘faultless’ practice and following that deviates from the intentions of competitive Dressage. This is like saying that because you call yourself a Christian you love your neighbor, honor your mother and father, and never sin or think impure thoughts. A name does not prove and action.

I wouldn’t call myself a groupie, per se, I enjoy the thoughts behind Classical Dressage while also acknowledging the fact that CD Masters or ODGs (Old Dead Guys for short) were human as well and because they are dead we cannot see with our own eyes as to the purity of their actions or truth behind their words. The internet should prove well enough that written words will never equate to spoken words just as pictures will never do justice to watching the same in person. There have been hints that Francoise de la Gueriniere may have used hyperflexion, largely in part of the images in some of his books. The Duke of Newcastle may have been suspect. Francoise Baucher has been touted as using hyperflexion heavily and is the one that Sjef Janssen ‘blames’ for imparting and inspiring the use of it with Anky van Grunsven. Reiner Klimke has been accused by a few small voices in the background. The Spanish Riding School has also been implicated among other national schools. No one is safe from the accusations. The truth of the matter is that whether Masters or ODGs used hyperflexion is irrelevant. As mentioned above, it only matters if a follower of one method or man over another wishes to be right rather than to be happy.

There is still hope in the world — you just have to look more closely for it.

If you want to read more in-depth into rollkur there are some wonderful resources (unfortunate that they are necessary, but none-the-less available) on the web and I provide links to them at the bottom of this post.

Q : What is Rollkur?

A : The word Rollkur was coined for what is now frequently referred to as hyperflexion of the neck. The term in german refers to a cure for stomach aches in which the patient rolls periodically in order to thoroughly coat the stomach with medicine.

Rollkur itself is a method in which neck flexion is taken to an extreme for a period of time. Often promoted as being a fix-all for suppling and stretching the horse’s neck it has also gained popularity as being able to raise and strengthen the back. Because of the way in which Rollkur changes the horses balance it will help to promote very flashy knee action, and is also used as a method of control because it limits the horse’s oxygen supply, eye sight, and puts the horse off balance – essentially rendering the horse helpless to the rider’s whims.

Q : Isn’t Rollkur necessary in the sport of Dressage?

A : Rollkur’s use and abuse has not been limited only to the sport of Dressage. Many western trainers and riders also utilize Rollkur however its use in other disciplines has not gained as much exposure and publicity to become widely known.

The sport of dressage was originally based off of cavalry riding which had been adapted from Classical Dressage principles. Unfortunately over time and evolution many practices change – some for better, some for worse – and the nature of judging and training has created an environment in which Rollkur is not only be accepted based on the marks given to riders using the method, but is inching towards the standard protocol based on those leading the sport in Grand Prix and Olympic level competition.

Rollkur is not necessary to being successful in Dressage, but is often resorted to because it promises results which many riders feel they cannot accomplish without it.

Q : How long is the horse held in a Rollkur position?

A : I have watched videos in which horses were placed in Rollkur throughout a 10 minute ride, others held in Rollkur for minutes at a time.

Q : Does Rollkur stretch the neck muscles?

A : It is important to understand the principles involved in stretching muscles, becase there is such a thing as over-stretching. Too much of a good thing quickly turns into a bad thing, and too much of a bad thing goes sour even faster.

Rollkur will indeed stretch certain muscles in the neck because of the position it places the horse in for an extended period of time. Just muscle fatigue alone will have set in. I looked for a solid answer on how much the average horse’s head weighs, some sources say 12lbs while others say 6lbs. Either way, the horse’s neck is not designed to contract in the way that Rollkur requires for long periods of time.. but getting back to the stretch of the horse’s neck muscles. Overstretching can cause microscopic muscle tears, and can actually lead to more inflexibility over time as the muscle is constantly trying to repair itself.

Q : What are the physical risks of using Rollkur?

A : Outside of risking muscle damage due to overstretching and muscle fatigue, long term muscle tension can also lead to bone spurs (osteophytes) as well as bone degeneration due to the position of the cervical vertebrae (neck bones) when placed in a position they are not designed for.

Q : Can Rollkur lift my horses back?

A : The neck plays a very miniscule role in the elevation of the back in motion. Think of your own body for example, Rollkur to lift the back is a little like bringing your chin to your chest trying to flatten your low back. What happens when you pull your chin to your chest is you round your shoulders, leading to a posture that tips forwards – in a horse this would place him on the forehand. On the other hand, if you want to flatten your low back effectively you achieve it by rotating your pelvis – which in a horse is what collection is, the horse’s pelvis rotates bringing the hind legs further under the body which creates strength and support in the back and allows the horse to carry his weight more efficiently.

Q : If Rollkur is so bad, then why are the professionals using it?

A : The answer to this question may be more tricky. The individual motivations I cannot say, but I would be willing to guess that the amount of money involved in high level equestrian sports is enough to motivate a large number of individuals to using whatever legal tactics necessary to win. For example :

• Exquis World Dressage Masters Palm Beach 2009 Prize : $135,000
• Rolex FEI World Cup Dressage Final 2009 Prize : $100,000
• Dressage At Hickstead Prize : €100,000 (roughly $145,600 US)
• 79th German Jumping & Dressage Grand Prix Total Prize : €500,000 ($727,802 US) / Grand Prix Dressage Prize : €300,000 ($436,681 US)

In Closing…

I think that it is important to remember that the term “professional” only means that a person is getting paid for what they do. You can be a professional con-artist just the same as being a professional human aid worker. Being a professional does not immediately guarantee that someone is basing their actions on the welfare of their horse, or clients for that matter. How many professional riding instructors have you ever witness berate their students?

Another key is that often our eyes are not trained to see past the beautifully groomed horse that has been perfectly turned out in the most expensive tack, ridden by a rider whose clothing is impeccably expensive. How many Americans were trained to see the collapse of our economy even while many signs were standing right in front of us? Just because we do not recognize it at the moment does not mean it doesn’t exist.

The element of prize money is another factor that I believe has led, not only to the use but, to the continued use of a method in which no one can logically argue it is beneficial to and in the best interest of the horse.

More Resources

• Sustainable Dressage Blog on Rollkur by Theresa Sandin
• Horses For Life Special Edition on Rollkur

Your Opinion Matters

What are your thoughts? Do you believe that Rollkur’s continued use is driven by success, fame, money? Are there elite equestrians you believe are using Rollkur to train but have not gained as much publicity as Anky Van Grunsven and Isabell Werth?  What about Rollkur do you find appealing or repulsive?

If you are unaware of what is termed “Rollkur” or hyperflexion of the neck, it is time you knew what has been plaguing much of Dressage and has been the subject of controversy since its inception.

Horse Talk.co.nz published a new story which talks about a new study that was performed showing that horses not only choose normal poll flexion when given a choice while maneuvering, their physiological reaction to stressful stimulation is comparatively lower when compared to their reaction while in hyperflexion.

Link : Rollkur : Researchers Explore Neck Hyperflection in Horses

Much has been written on the subject of hyperflexion of late. It seems that since the initial public outcry for it’s abusive effects, a multitude of evidence has since been designed to prove just that in every media – web, print, video and audio. There are seminars, there are lectures, books and so on. They are based on several strong points, including for example:

1. Physical Ramifications – proving the structural and muscular damage that occurs from the use of hyperflexion in training and riding the horse, from temporary to permanent, though the emphasis is on permanence.
2. Psychological Effects – the comparison has been made, that the use of hyperflexion (extreme) develops two types of horses, those that becomes mentally unstable and perhaps will not stand up to this kind of training for one reason or several, and those that have popularized the term “learned helplessness” in the horse world.
3. The use of hyperflexion by Classical masters, wholly those unpopular by riders adhering to the Gueriniere model of dressage. In particular Baucher and the Duke of Newcastle.

It often seems to require that such an extreme form of any of our riding habits come to light before we recognize in any way that we too have been participating in the same methods we now despise, but it has not yet become popular to despise all forms of hyperflexion aside from those which are extreme…

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Hyperflexion has found it’s way into almost every barn and stable, through the simple lack of awareness to it’s presence. From english to western, and even the ‘classicists’ of dressage. It is a loss of the horse’s posture. Why is that? Because correct posture is what dictates our ability of balance, strength, coordination and health. When we lose our posture, we lose one or many of those elements. The same goes for the horse. His loss of posture may show up as him being on the forehand, or being less coordinated in his movement. High level dressage horses are commonly seen losing their coordination in the basic gaits – broken trot diagonals, four beat canters, lateralized walks. When they move up to perform the collected movements it is often seen them almost falling over their own feet. Of course the splendor of tense energy often blinds us to these components, instead we see the legs lifted almost to the ceiling and the stark comparison of slow (almost dead energy) piaffes transitioning into explosive ‘extended trot’.

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We fail to understand even what our own posture looks like when it is correct or incorrect most of the time, unless we’ve been specifically educated in that area. What is viewed as correct has fallen to what is most appealing to our eyes and pleasing to our senses, rather than what functions most efficiently to keep us healthy and capable.

As riders, our posture in the saddle frequently mimics that which we have disposed our horses to taking. We lean, we hunch, we have no balance, no center. We have no strength, though that is the very means we rely upon to direct the horse, and we have little coordination of our limbs without dependence upon the others. We have created in our horses the things we struggle with ourselves.

The use of the horse’s neck as a means of leverage and control has been a long standing tradition in the world of equestrians. When we fail to understand the depths of communication, we then resort to physical means of accomplishing our goal. We can be strong, or we can be precise. We cannot be precise without strength, and we cannot be strong without precision. When we rely on strength solely, we lose our precision, our ability to sense pressure becomes dulled. It is through the release of pressure and the relinquishing of our strength that we once again find precision. They both support each other, and they both deter the other – to find the balance is to perfect them both.

International Rider, Coby Van Baalen’s Power & Paint

The issue of hyperflexion continues to arise and stir the emotions of equestrians, and still it has been allowed. It has been given support to be utilized by ‘professionals’. A privilege also given to the users of draw reins and other gadgets, which have long been purported to only be effectively used by the highly skilled, and by the same token unnecessary tools to the highly skilled. A double edged sword. Some rules, often not followed in competition only serve to support the breaking of more rules and subsequently the misunderstanding and abuse of the horse. For example:

“The head should remain in a steady position, as a rule slightly in front of the vertical, with a supple poll as the highest point of the neck, and no resistance should be offered to the rider.” FEI

“The neck should be raised, the poll high and the head slightly in front of the vertical.” FEI (on the Halt)

“The walk is a marching pace in a regular four time beat.” and “When the fore leg and the hind leg on the same side move almost on the same beat, the walk tends to become an almost lateral movement. This irregularity, which might become an ambling movement, is a serious deterioration of the pace.” FEI (on the Walk)

“Irregular steps with the hind or front legs, swinging the forehand or the hindquarters from one side to the other, as well as jerky movements of the forelegs or the hind legs, dragging the hind legs in the moment of suspension or double beat are serious faults.” FEI (on the Passage)

“The hindquarters are lowered; the haunches with active hocks are well engaged, giving great freedom, lightness and mobility to the shoulders and forehand. Each diagonal pair of legs is raised and returned to the ground alternately, with spring and an even cadence.” and “The neck should be raised and gracefully arched, with the poll as the
highest point.” and, especially… “Moving even slightly backwards, irregular or jerky steps with the hind or front legs, no clear diagonal steps, crossing either the fore or hind legs, or swinging either the forehand or the hindquarters from one side to the other, getting wide behind or in front, moving too much forward or double beat rhythm are serious faults.
A movement with hurried, unlevel or irregular steps, without cadence or spring cannot be called a true piaffe.” FEI (on the Piaffe)

More from the FEI… “Submission (original bold) does not mean subordination, but an obedience revealing its
presence by a constant attention, willingness and confidence in the whole behaviour of the horse as well as by the harmony, lightness and ease it is displaying in the execution of the different movements. The degree of submission is also manifested by the way the horse accepts the bridle, with a light and soft contact and a supple poll, or with resistance to or evasion of the rider’s hand, being either “above the bit” or “behind the bit” respectively.
“Putting out the tongue, keeping it above the bit or drawing it up altogether, as well as grinding the teeth and swishing the tail are mostly signs of nervousness, tension or resistance on the part of the horse and must be taken into account by the judges in their marks for the movement concerned as well as in the collective mark for “submission”.”

“The heels should be the lowest point.” (on the Rider)

“Article 419 OBJECT OF INTERNATIONAL DRESSAGE EVENTS
The FEI instituted an International Dressage Event in 1929 in order to preserve the Equestrian Art from the abuses to which it can be exposed and to preserve it in the purity of its principles, so that it could be handed on intact to
generations of riders to come.”

Complete FEI Rules

How have we traveled so far from these ideals? That the very simply stated rules of the FEI have been pushed to the side, and those being rewarded are guilty of breaking nearly every one of these rules. Poll high, head in front of the vertical, is sacrificed for false submission and the use of force.

One of the most popular of recent rides, that of Andreas Helgestrand with his very young, 9 year old mare, shows many of these broken rules. Though not including rollkur/hyperflexion, it is still a prime example of how the slow breakdown of rules leads to the fast breakdown to abuse. Easily caught on tape, but glaringly present in photos…

Note the raised heel of the rider. The horse’s face is behind the vertical, swishing tail, mis-shapened lip and excessive foaming of the mouth. The horse is far from collection with hind legs trailing behind her. This is the horse who won the competition…

If we have allowed the laxity of even the basic elements involved in Dressage, it becomes no wonder that we would then turn a cheek to the presence and growing popularity of hyperflexion. Any means possible to win, to become a star, to create the movements that require an artist’s touch to perfect. Get involved, speak out, make this unpopular. Why are we afraid to protect our horse from abusive training methods, to save face from those who are popular at the moment. Have we never left high-school and the cliques and peer pressure? The horse must come first!

Links of Interest :

USDF Statement of Animal Welfare

Rollkur Comments from USDF Region 4 News

Sustainable Dressage’s Explanation of Rollkur

News Release – Power & Paint

Sjef Janssen – His Method

Horses For Life – A Rollkur Pictogram

Walter Zettl on Rollkur

“Learned Helplessness” with Ulrike Thiel

**English Translation of “Dressur Pervers”**

The piaffe, whether forced or encouraged with lightness, is not a difficult task to teach. The piaffe is a natural occurance when the aids are correct – it simply happens when the horse is physically conditioned and able to perform it. The piaffe can also be beaten into the horse’s understanding. It is afterall a balancing of stop and go, acceleration and braking. It is the ability to inspire energy while containing it from escaping forwards.

There are hundreds of thousands of horses who perform piaffe which is not classically correct for one reason or several. There are few who perform a classically correct piaffe. Of the incorrect piaffe, it is often resulting from an imbalance in the aids – not enough energy or not enough posture to contain that energy from escaping forwards, or both. How this translates in the piaffe is that the horse becomes overbent and the hindlegs trail out too far. The horse loses his collection, he falls onto the forehand. He loses tempo, his feet become sticky to the ground, the hindquarters bounce while the forehand is still. The front legs travel further under the horse’s body to assist in balancing. For example…

Anky Van Grunsven

This is a great video to show the loss of balance, sticky feet, overbending and trailing hind legs. Often piaffe is shown only from the side, which discounts any ability to judge the horse’s lateral balance. In the beginning of this video you can see AVG move into piaffe and her horse bobbling from side to side as he constantly attempts to regain his balance during the piaffe. His feet swing side to side and rather than him lifting them upwards there is more lateral displacement of them – that is of him moving his whole body in an effort to move his limbs more effectively. He falls behind the vertical often, the hind legs do not provide any carrying power and the front legs are the major support as the fall in under the horse’s body. There are frequent breaks in the horse’s tempo as well and faltering between transition of movements.

Escola Portuguesa de Arte Equstre

This is an improved showing of piaffe. The horse is taking more weight onto the hindquarters, the front limbs are more upright. There are moments when the horse is behind the vertical and the front limbs are also trailing under the body a bit for support. The cadence and tempo of the horse’s piaffe is broken as well. His posture is much improved, as is necessary for the rear that follows the first piaffe. There also appears to be less side to side lateral imbalance during the second piaffe which cannot be judged in the first.

P.S. Lusitano Pirueta Piaffe

An interesting display not often seen, the piaffe pirouette. This starts out showing promise as the horse’s posture is not easily judged from the front. As he moved around and we are able to see a lateral view, you find the horse’s posture ducking down and behind the vertical. His hindquarters bounce more at times than others, which is masked a bit by the slow motion. It is difficult to tell if he would have sticky hooves, but it is certain to tell that he lacks some mark of consistency as his posture changes along with the bounce of his hindquarters. His front hooves stay beautifully aligned upright from the start, and he has wonderful lateral balance which is evident to see as we get a good view from the hindquarters. It does appear as the video continues that the horse begins to degrade in the piaffe over time, lending to the conclusion that he is tiring.

Matt McLaughlin

This video showing the first in-hand work of piaffe with an 11yr old Andalusian mare shows a good foundation. It is clear to see the energy MM is able to inspire in the mare and he buffers it by containing through postural control. This allows the mare to ‘sit’, dropping her hindquarters into the steps of piaffe. This is one of the first sessions of piaffe work according to the video’s description. She shows loss of tempo at times, as does MM in the application of the aids, however she displays no loss of balance through hyperflexion, or trailing hind and fore legs. The video moves on to show piaffe steps under saddle and some passage. I won’t comment on the passage right now…

Spanish Stallion Condor

A lovely piaffe shown in the pillars. Truly magnificent to watch, despite the surroundings. This horse displays balance, tempo and posture in one package. He maintains his piaffe for an extraordinary amount of time and begins to show some tiring by the end. His front legs maintain erectness, his hind hooves are placed so near the center of balance that any further forward and he would be standing. The moments that he attempts to drop his posture you’ll notice he loses balance, only to regain it once again by correcting his posture.

Young Horse Training

Another video showing piaffe started in hand. This is lovely – light and correct. The young horse has energy without the constant nagging from the handler. He shows beautiful posture to support the balance of the piaffe. The hind limbs are stepping under, he is light of foot and maintains erect front hooves. Just lovely.

“El Gordo Dancing His Horse”

One last video, which I hesitated to put on, but illustrates an important point. It does not take skill or tact to teach a horse to ‘trot in place’, or to even trot in place with a measurable amount of collection and balance.  Here it is done with nothing more than a curb bit, spurs, dual purpose ‘whipping reins’ and a rider who just wants his horse to dance…