Dressage Competition Camp – July 7th & 8th

The popularity of training camps for riders is growing and for good reason. It is a training format that I had never experienced until last week. Although I did not take a horse along to Moulton Equestrian Centre I was made to feel very much a part of the group, which was a lovely experience. I took part in the dismounted sessions and found it to be both thought-provoking and valuable.

Where a camp varies from say a two or three-day clinic is in the scope of the activities that are included; This is where they have particular value. There is scope for both mounted and dismounted learning opportunities, focusing on the mind and body of the rider. Most importantly of all, there is plenty of opportunity for the riders to talk to one another and to the coach in a relaxed and informal setting.

I love to learn from riding in and auditing at clinics. Riders and coaches can learn a massive amount that way, but there are drawbacks. At a clinic there is usually silence prevailing because one or other of the riders is under tuition. When my riding session is coming to an end I have often had questions and invariably the clinician is only too happy to answer them but there is alway the sense of time pressure, sometimes a sense of intruding upon the tiny amount of time a clinician gets to have a drink and momentarily relax between the lessons. If I have four questions then for these reasons I ask only one or two. There have been times that clinics have ended with wonderfully social dinners or even parties, but asking riding related questions at times like that seems downright rude; unless the trainer brings up the subject of my horse or my riding then I am certainly not going to.

Where a camp differs, and certainly where Alison’s camp differed, is that the trainer spends more time with the participants. There are structured sessions and around these there is time where discussions can evolve in a less formal way, questions can be asked and discussions among the group can take place. This is something that, given the right company, I like very much.

Day One – Individual Ridden Sessions

The first day of the camp was dedicated to individual riding sessions, a dismounted session with work on rider mindset, and then a ridden session as a group. There was a positive, inclusive atmosphere from the beginning. The first horse in was Sardra, a beautiful mare who has only recently returned to work, ridden by her owner Tory Dobb. Sardra is in her late teens, but you really wouldn’t know it. Given the rather challenging whether we were having the indoor arena was very hot indeed. All of the horses and riders coped very well and Alison naturally tailored the work to suit the situation. For a horse recently returned to work, I was impressed with Sardra’s willingness. She really seemed to enjoy the work and became much more forward as the session progressed. One of the stepping-stones to this was Alison’s instruction to keep the correct tempo in the walk, not to hurry it and to use the trot to help Sardra think forward.

Let the rhythm come, don’t hurry the tempo!

Encouraging Tory to apply the reins, so that she had a light but more defined contact also helped encourage Sardra to go forward. She made some corrections to Tory’s lower leg position and leg aid application; this helped too. It has a double benefit of improving the rider’s body balance, which encourages a forward mindset in the horse, and it makes the aid delivery quicker and lighter, thus more effective. Tory took this correction on board and the benefit of it stayed in place through the rest of the session.

As Alison pointed out, it was important for Sardra that the gymnastic challenges were kept quite easily achievable. She is clearly a very giving and sweet-tempered horse. When you train an uncomplaining horse it is especially important to keep your demands at a level that will build the horse’s confidence. As they worked between the gaits she encouraged Tory to allow Sardra’s hind legs through into the downward transitions. This is something that we can all do well to think about, in every transition we ride. It encourages us to keep the contact soft and allowing, it encourages us to think forward when we transition down and not block the hocks.

Taking a rider’s focus off of a particular thing is sometimes the first step the coach must take to help them improve it. This was the case with Tory and Sardra’s use of the corners. By asking Tory to initially make easy, blunted corners whilst keeping the bend correct they were able by the end of the session to ride deeper corners in good balance. This doesn’t happen by magic of course and nor simply because of the passage of time. There was a key to the situation and it was all about straightness. Straightness is not simply a matter of travelling along a line that doesn’t wobble, in part it is about the horse using both hind legs correctly, both sides of its body equally, and connecting lightly but evenly to both hands. Early in the session Alison identified that contact was an area for this combination to work on and it was a clear focus through the session.

It was in the canter work that the most obvious changes took place, again due to the influence of straightening the horse and equalising the contact. One of the ways that Alison enabled Tory to achieve the improvement was through judicious use of counter bend. For a few strides prior to the transition she asked Tory to put Sardra into counter flexion and a gentle degree of counter bend. Upon returning to true bend they immediately struck off into the canter. This exercise has a clear gymnastic benefit to the horse and in addition it made the rider more aware of what became her outside rein going into the canter. The result was a clearer moment of suspension, more energy and more ‘jump’ in each stride. This was a great demonstration of the principle that straightness allows impulsion to develop in the mind and body of the horse.

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Many riders don’t get to experience riding in a 20 x 60 metre arena on a daily basis and Karen Browne mentioned this at the start of her individual session with Harvey. Riding in the long arena when you usually train in a short arena, can challenge both the stamina of a horse and the spacial awareness of the rider. Harvey, an eighteen year old Welsh section D gelding, has belonged to Karen for nine years and they have explored a variety of activities together. Karen has an interest in biomechanics and is keen to explore dressage in greater depth with Harvey. They have taken part in tests at Prelim level before and also have experience together in endurance riding and jumping. Harvey is a gorgeous horse, with the energy levels and positive attitude that are so often found in Welsh horses. His basic gaits were very good and showed all the promise you could want for future development. What has struck me many times, and did so again with these horses, is how a well cared for horse in its late teens or early twenties often moves better than a poorly trained horse of six or seven.

The main focus for Karen in the early part of the session was a correction to her upper body position. Harvey had initially shown a tendency to fall in. There is a wise old saying that “a crooked rider never made a straight horse” and this applies to us all to some degree or other. We are endlessly correcting our bodies to correct the bodies of our horses. There are those who teach only the effect of hand or leg in cases like these but Alison is of course a far more educated teacher! She made numerous small, relevant changes to the positions of the riders throughout the camp and it was lovely to see that connection in place. Alison corrected Karen’s upper body position relative to the line of travel. She did this skilfully by asking her to bring her outside shoulder around, rather than by asking her to take her inside shoulder back. This has the advantage of avoiding excessive twisting of the upper body and the collapsing that can go along with it. It is also easier for the rider to maintain the outside hand position and rein contact when it is done this way.

It is great to work with riders who have done ‘a bit of everything’ rather than those who have dressage focused tunnel vision. The reason for this is that, like Harvey, their horses often have a lovely unspoilt basis to begin training. There was no incorrect training to undo, no hand imposed tensions in the poll or the back. The flip side, if it can even be called that, is that Harvey had not yet learnt to gather his body under him and explore its full power and gymnastic potential. Even at eighteen you could see that he had plenty of scope for this though. Alison gave Karen an idea, an image to keep in her mind. It was of a big elastic band around Harvey’s whole body, there to encourage spring and elasticity in his movement. It gave Karen the idea of elastic connection. Throughout the session I could see this starting to grow and develop. Like the corrections to a rider’s seat, a transformation like this is gradual and takes an ongoing effort to make sure it takes root.

“I loved this clinic. It was relaxed and everything was broken down so it was easy to understand. Roll on my next Dressage!”  Karen Browne

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A positional correction will usually feel alien to the rider at first. As Karen put it “it feels right and wrong at the same time”.  It is the reward the horse gives the rider that becomes a marker of the change and acts as a motivation to sustain the change. Harvey discovered a more springy, softer way of going through the session and the contact improved. Karen noticed his lower head carriage and Alison described it very appropriately as “a wonderful by-product”; Harvey had in fact begun to noticeably soften and lift his top-line into early stage roundness. It was a lovely transformation, that showed his movement to even greater advantage. Working into the canter transitions Alison gave the following set of instructions:

“Build the trot, engage the outside rein and think canter”.

The result fitted exactly with the imagery that she had suggested to Karen at the start. It was as though Harvey had a big elastic band around him, he had become more elastic in body and mind.

One thing that I noticed throughout the sessions was how the horses all gravitated to Alison when they had the chance; at the start and end of the sessions and when she stopped them to explain something to the rider. This is always a good sign to me. The horse, the rider and the coach are a unit of three and trust has to exist between all parties.

Karen Kendall’s thirteen year old piebald cob Seamus had previously hacked and taken part in endurance rides. Karen is aiming to improve his work in the school, with the goal of taking part in a riding club quadrille this September. Karen has Arthritis in both hips and, because of this, her legs take time to relax into position at the start of every ride. Improving a rider’s seat is as much about ensuring the rider has time for relaxation and comfort as it is about body alignment. Alison made a quick correction to encourage soft bend in Karen’s elbow, with a virtually immediate improvement taking place in the contact. Seamus’ primary issue has been with going forward. From my experience with horses of his type, and no doubt this was the case for Alison too, it is clear that fitness and coordination are the underlying factors, rather than a lack of willingness. Like many horses with substantial bone structures, Seamus will take time to develop the muscle power he requires to work at his absolute best.

Seamus and Karen have only begun working with Alison very recently and it was clear that they are both building self-confidence thanks to her knowledgable and patient approach. In the two ridden sessions I saw Seamus grow in confidence and offer work willingly that had apparently been something of a battleground in the past. A key factor in this was the rider’s tone of voice. How can something so subtle, that is not a body aid make such a difference? Well, I think it is because tone of voice reveals the rider’s underlying state of mind.  Alison picked up on some underlying mental tension and quietly reassured Karen, asking her to make a very specific change to her tone of voice if she uses it for upward transitions. From that moment on an upbeat, positive, friendly voice aid backed up the leg and it took both horse and rider onto an upward psychological spiral that was lovely to see. Seamus definitely needs a tone that says “you can do this” much more than he needs a tone that says”you will do this”.

 

Seamus offered much more sustained forwardness as the session progressed and many of the improvement that were coming into Seamus’ work were by products of this. Controlling his shoulders on the circles was an area that Alison and Karen focused on. Keeping the shape and dimensions of the circles depends first on controlling the shoulder mass of the horse and only then can consistent bend exist. By the end of the session Karen had a great deal more control of Seamus’ shoulders. He was flowing around the circles in trot better than ever before. The physical change in him was clear and he had a happy look on his face, as did Karen! Looking at Seamus I could clearly see his potential; given time to get stronger and lighter, fitter and even more confident he will make a beautiful quadrille horse or competition horse. There is no such thing as a dressage horse. Dressage is a process that exists to serve the horse and the rider. As they continue to train with Alison I am certain that this process will be the making of Seamus, mentally and physically. He showed a lovely hint of things to come in the free walk towards the end of the session when he stretched down, held the connection, lifted his back and his walk got a rather lovely swing to it.

“I really benefitted from the ridden sessions and then discussing and breaking it down into chunks. I feel positive about our future in dressage and excited to move on”  Karen Kendall

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Mindset Session

We chose to take the dismounted session outside. Once the horses were settled into their stables we found a bench in the shade. I took part in this session and so my impressions are those of a participant as much as an observer. Preliminary 13 was the test Alison had chosen to look at for the session. We began by talking about how we learn tests. For me letters don’t really come into it much because I learn patterns, usually linked together in blocks. Alison asked us to begin learning the test, she then stopped us part way through to focus on one particular movement. Our minds were in a focused state at this point. The movement that we focused on for the visualisation was the section of trot along the wall after the corner and a twenty metre circle halfway down the long side – working trot H to E, with the circle at E. There is a give and retake of the reins on the second half of the circle as you cross the centre line. We used this movement to create a visualisation.

Despite being familiar with visualisations and accustomed to using them in training I did something that surprised me. I set myself up in my mind, trotting down the wall and onto my circle. The sun was warming me, the scent of gently perspiring horse was rising to my nostrils, I could feel the stirrup treads gently under my feet and my seat bones  were moving with the horse, the birds were singing and all was well. The trot tempo was steady, the contact was nice and the bend was rather pleasing. Then I came to the give and retake. I did a quick, token arm gesture totally unlike anything I would normally call a decent give and retake. I need not have moved my arms at all during a visualisation. The phrase “what I should be doing” came up from one of the riders and although I hadn’t said it, I too had thought it. Alison suggested we reframe that as “what I would like to do”. The way we talk about ourselves and to ourselves is critically important; language really matters to mindset. When I went through my visualisation again I made sure that my give and retake was the real thing! In our visualisations we must not mark the movements but fully create them in our mind.

For riders who might not have worked with visualisation before, the main surprise and the main challenge too is that they must be in real-time. It must take you as long to ride your movement in your visualisation as it would to ride it on your horse. The second thing is that they are multi sensory. Alison encouraged the riders to think about what they could see, hear and feel through the visualisation. For the exercise to work it is vital to make the experience as real as possible. We all jotted down what we had been aware of. Because I have been trained to soften my eyes, look up and, on a circle I take my outside eye line to the inside ear tip of the horse, the view for me was a wide-angle, soft focus, constantly moving panorama of my current home arena. I was aware of hearing birdsong and the footfalls of the horse. The perceived sensation of movement revolved around my hips and seat bones primarily, with the pleasant rein contact and the stirrup tread contact being part of my awareness too. Overall I was aware of my body positioning for the circle. My thinking felt clear and calm because of the soft focus and the steady tempo. My state of mind could have been categorised as calmly alert. That is probably the ideal state to ride and also to compete in. This is one of the ways in which repeated visualisations really do help riders.

We were then asked to choose a movement in the test which we would find challenging. I thought of a particular horse I know and decided that the free walk would be our greatest challenge in that test. It is a quietly challenging movement and not to be underestimated. In Prelim 13 it carries a double score and that in itself says something about the challenges and importance of that movement as an indicator of quality training. One of my teachers used to say to us

“Remember it is free walk on a long rein, not long walk on a free rein!”

Whilst there will be less contact than in an extended walk, there is still a connection to preserve through the stretch. With a horse that is nervous and who can be inattentive it is often easier to ride an extended walk, where the horse remains on a more defined contact and therefore is more easily kept on the aids, than it is to ride a free walk. That was what I jotted down for my “issue” with the movement. I was asked to make a second column for what I wanted in the movement and it looked like this:

  • Staying focused, taking the contact down, moving freely into a good over-track, with the back lifting and swinging under me.
  • Remaining focused and on the aids for as long as I want the stretch to last.

Exploring the things I wanted gave me the blueprint for how to change the issue into the things I wanted. I was able to come up with a plan. I decided that I would not try initially to go for gold in that movement. In training I would ride it progressively from a smaller stretch, keeping the connection between horse and I, to a greater stretch as time went on. In a very spooky environment I would ride for a modestly respectable mark, so as not to wreck the movement altogether. I have always believed in knowing when to ride for a modest gain, a solid confidence building result. Showjumping taught me that. There is definitely a dressage version of the slow careful clear round and it is a valuable thing. Like all of the participants I had, through this exercise, found my own solutions. Therein lies one of the differences between coaching and teaching. An exercise like this helps riders to draw on their own reserves and that is something every rider can benefit from. It really creates confidence.

“I love the inclusivity of the session and the opportunity to discuss and process the ridden sessions. It was really helpful to share experiences and have the chance to learn from each other”  Tory Dobb

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The Group Ridden Session

We were all back indoors for the group ridden session. This was designed to have some shared objectives and some individual ones. Some of the shared objectives were about using the space and getting used to sharing the space. Sooner or later we all come up against others who warm up in a less than friendly fashion. Alison had some great, constructive advice for dealing with this. It involved positive body language and making a polite personal connection with the rider in question. A confident smile or a compliment can go a long way. It enables you to feel pro active rather than reactive to that person. Many riders don’t get the opportunity to ride in with others on a day-to-day basis and warming up arenas can come as a shock to the system. Having a group session built into the camp was a very good idea for this reason alone.

When it came to deciding the individual objectives it was clear how much confidence all of the riders had gained throughout the day. Rather than focusing on more of the same from their earlier session, they wanted to explore some lateral work with their horses. These choices were very appropriate extensions of what they had already been working on. There is nothing like shoulder in or quarter walk pirouettes to help gain control of the horse’s shoulders and increase straightness. For some horses it was the very beginning of their work in these movements and others had already made a start. By the end of the session all of the riders were more at home with the aids, more relaxed in their bodies and the horses showed some very nice responses. All through the session Alison built upon the basics that had been put in place earlier, keeping the riders aligned correctly and the horses on an even contact through both sides of their bodies. The work was approached very correctly and the horses all showed better walk, trot and canter as a result. That is the mark of correct lateral work, that it improves the forwards locomotion on a single track. You can’t ask for more after a day’s work than for greater longitudinal balance, better lateral balance and a marked increase in the beauty of  a horse’s movement.

Day Two – BD Competition at Moulton EC

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The second day of the camp was dedicated to the competition itself. Not all of the riders from the previous day were planning to compete and two new horses joined the group. The beautiful Stella, who belongs to Diane Underwood, totally lived up to her name. I watched Alison work with this combination at the start of the day and again through their warm up. Stella worked with great consistency and focus. She has the ride-ability factor and seemed, admittedly on short acquaintance, to be an absolute sweetheart. Her movement clearly had the potential to be big and I really liked that Diane and Alison kept her in good tempo and good balance throughout. Stella’s movement is cadenced, but soft, which shows that she habitually works in a state of relaxation.

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Stella clearly has a high level of confidence in Diane. She worked in a strange arena just as though she’d been there forever. That attitude to life is a wonderful thing to work with; it means you can focus on the technical aspects of training rather than on managing behaviours. I suspected that she might, at some point in her life, have been ridden in a way that had destabilised the base of her neck. This usually leaves a mark on the horse’s way of going that takes skill and determination to correct. As Alison put it “she is learning that we are not at home to wiggling the neck”! Stella was showing very sound Elementary level work with lots of promise for reaching the higher levels. Keeping the focus on straightness and balance is certainly the way to do exactly that! Diane and Stella produced a really lovely test to take second place in the BD Elementary Freestyle to Music.

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I also got to meet the very handsome Beau, who belongs to Tamasine Thompson. It is clear that Beau is a horse with a lot of personality. He and Tamasine clearly have a very strong bond. I can totally understand why someone would fall for this horse. Something that seems paradoxical in horses applies to him; I realised I had met yet another example of the brave but spooky horse. Beau had quite a career as an event horse and his courageous, idiosyncratic nature is written in every line of him and every gesture. His eyes have a powerful look I’ve seen in great racehorses. On the other hand he clearly finds the world a spooky place to live in. This paradox is familiar to me and I have ridden several horses who exhibited similar behaviours of high courage and high reactivity. My conclusion is that they are the ones most determined to remain alive, the successful ones in survival terms. When asked to do a job other horses would balk at, they get on and do it, but if a leaf blows off a tree then you’d better fasten your seatbelt!  That Beau showed some tension in his test was no surprise. From observing him outside of the arena I was pretty much expecting it. He’s the kind of horse that can give you fireworks, of the sort you want and the sort you don’t!

There were some issues with the sound system and before the test got going Beau was met with a screeching noise that would have put the wind up many horses! He dealt with that really rather well but I don’t think it increased his general happiness level with that particular environment. Each time Beau had a spook Tamasine handled it tactfully and effectively; encouraging him to relax and listen. You cannot force relaxation, it is impossible. If the tension comes from the mind of the horse then all you can do is ride correctly, confidently and reassuringly whilst you wait for it to pass. Of course the tension levels will have a domino impact on other factors in the horse’s way of going. It would be my hope that as Beau advances in his training he will offer more of his best and exhibit less of the tensions. I say this because when Beau settles he shows movement that is eye-catching, athletic, and cadenced. He has all of the presence you could ever want, but of course it tends to be the challenging horses who do.

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Sardra’s test in the BD Preliminary Freestyle to Music was absolutely lovely to watch. In spite of being recently back in work, having travelled on both days of the weekend and having worked fairly hard on the first day, she was if anything more forward. Her canter work was enthusiastic and she looked like she was really enjoying herself. Some horses just come alive to music and I wonder if she is one of them. All of the improvements that Alison and Tory had worked on through Saturday were visible in the test and it was great to see everything fall into place. Not only was the test a pleasure to watch, it had a very successful outcome; a good score and a red rosette, but most importantly of all a happy horse and rider!

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The level of support that Alison gave each of the riders was wonderful. Having a coach on hand to help you warm up is something that many riders don’t get to experience very often. Knowing that they will be there to talk through their impressions of your test is valuable too. What a rider remembers of a test is often a little at odds with what an observer sees. The judge has no context on you or your horse, they must comment and mark within fixed parameters. Your coach knows the background and context and can offer vital input as well. It is ironic that the riders with the most experience, who may well be coaches themselves, are the ones most likely to have coaches of their own in attendance when they compete. This particular camp format gave the riders a taste of what it is like to have the support system that some, though by no means all, professional riders experience.

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Reflecting on the experience of the camp in general I would absolutely recommend it. I did so beforehand because I firmly believe in Alison’s capability as a coach. Now, my conviction is even stronger. Although I was there as an observer I felt very included. The company was great. I realised that it did me a lot of good to sit and chat with other riders. Had I been planning to compete on that Sunday I would have felt like part of a team. Camps offer us a chance to be open, to share, to support one another. One of the things I wanted to do when I began writing was to show the connections and common ground that exists between all riders. The two days of the camp were full of opportunities to learn, to build confidence and to have fun. I won’t be able to be at the next one, but I really wish I could. I will look forward to hearing how all of the horses and riders are getting on though and hope to meet them again before too long!

There was a lovely goodie bag for each of the riders and one for me too! A big thank you to Alison and to Equissimo, Laura Mary Art and Equilibrium Products for putting this together; it made a great weekend even more memorable!

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Somerford Park Premier League 2018

Why the Prix St Georges is essential viewing!

You will always see some very interesting dressage at a Premier League competition. I usually gravitate to the arena where the Prix St Georges class is taking place. This is always the most interesting class to me because it is where the equine stars of the future are to be seen; horses that have been on my radar for a few years in some cases, and sometimes horses who have been more or less kept under wraps. PSG reveals a lot about the future potential of a horse. All of the building blocks for the future are shown at this level.

I was looking out for the horses with the balance, the suppleness, the strength to go higher through the FEI levels and to do it well.

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Aside from Young Horse classes, there are two key competitive levels for me – Elementary and PSG. Each is an important milestone in the training and I have a personal theory that you can see the PSG horse in the Elementary horse and you can see the future Grand Prix horse in the horse at PSG.

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Premier league competitions are an inherently interesting mix because of the riders that they are designed to appeal to. There are many motives for riders to attend these prestigious shows, but some of the main reasons to be there are

  • To showcase horses with international potential
  • To help horses with that international potential gain exposure and experience
  • To gain direct qualification to the National Championships

I saw a lot of lovely horses and some very nice riding yesterday but there were those who stood out from the crowd. Deliberately setting aside the matter of fame or prior accomplishment, I will say this:

The best work was, in every case, produced by the riders with the best seats, the riders who’s aiding was both subtle and precisely controlled.

They had the most engagement, the most suppleness, the power in balance; they produced the best dressage.

What you need to be looking for in a dressage horse at Prix St Georges.

  • Strength combined with suppleness – a flexible but well-developed physique.
  • Power in balance – more power and slower tempo. More lifting, less pushing.
  • Confident connections – a calm, prompt response to the leg. Happy with the hand and settled in the mouth. If there are any persistent contact issues at this level they absolutely must be resolved otherwise they will return to haunt you later!
  • Lightness – all of the above combine to produce the marked cadence and brilliance that tells me I’m looking at a potentially good future Grand Prix horse. Put simply we are looking for airtime!

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One indicator that a horse is developing along the right lines is the ability to flex the hock joint and bend the knee more. Engagement that comes almost entirely from articulating the stifle, where the hock is not bending so much, is often seen when a horse is travelling too quickly and is offering a the type of movement that one of my coaches used to call swan paddling! To succeed through from PSG to GP the horse will need to flex the hock and sit.

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If you look at the front of the hock joint you will see that these horses are closing the joint well and if you look at the degree of knee bend you will see that it gives a soft, suspended impression. Horses that are pushing from behind and not lifting enough through the shoulder will rarely if ever show this quality.

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In extended gaits this quality of suspension can give the (false) impression that there is a lack of power. Good power, that is to say balanced power often looks quite different to how it feels! The wrong kind of power, rapid motion and excessive pushing from the hind legs will feel tiring and produce tension in the horse and in you. Soft, balanced power is a wonderful feeling, exciting for the rider and soothing to the spectator! The skilled eye will always know which horse is travelling powerfully in slow tempo and which horse simply lacks impulsion.

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There is nothing so necessary at higher levels as this balanced power; it is the foundation of all of your work in higher collection. The lack of it is why many combinations get to PSG and hit a ceiling. As we develop higher collection and greater extension in the gaits there is more airtime at every step so one thing to keep in mind is this:

Air time takes time!

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Several horses showed strong indications of future talent for the higher levels. River Rise Escarla is confident, strong and admirably supple. Her work was consistently lovely. This mare has an expressive face and she looked utterly happy and positive about her work, very enthusiastic and focused. A horse like that in the hands of Charlotte Dujardin is bound to be quite something! Quentano 2 ridden by Emile Faurie, was my favourite though. This horse had moments of insecurity and in less tactful hands I think things could have gone wrong. Emile provided the horse with mental space and the lightest hands at just the right moments and together they produced a stunning test to take second place. This horse showed a more developed ability than any other in the class to sit and elevate the forehand. The balance was consistent and the cadence breathtaking. If he progresses in training, as I imagine he will, then he will really shine at Grand Prix.

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A strong Grand Prix class & why I have yet another reason to admire Carl Hester!

The stand out combinations in the Grand Prix class reflected the same principle I mentioned earlier, that a good riding style leads to a superior way of going in the horse. It was a competitive class with some superb riding. I am often rather disinterested in the results of a competition, watching it more for the key skills and general impressions rather than for the sake of the competitive outcome, but in this class the placings reflected very clearly the quality of the skills in question. Matt Frost, Isobel Wessels  and Michael Eilberg all rode superbly but it was Carl Hester that really surprised me. I have seen him develop as a rider over a couple of decades but it has been almost two years since I have seen Carl ride in person. Many riders rest on their laurels well before they reach his level of excellence but Carl Hester just keeps on improving.

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There was a memorable moment during his test when Hawtins Delicato surged out of the canter pirouette to the right with more power than he had gone into the movement with. That in itself is impressive. The movement was beautifully executed and as the horse lifted out of it and cantered straight forward Carl reached down and rubbed the horse’s neck in a gesture of reward and thanks. It was a private moment between horse and rider, blink and you’d have missed it, but it is indicative of the kindness and the intelligence which Carl brings to the training of his horses.

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Dressage as a sport can accidentally encourage the mindset that we measure success by what a rider wins. Another measure of success is how we sit and how we communicate with the horse. There are dressage riders who sit well enough to do the job, then there are riders with very good seats and then there is Carl Hester! He had the basis of this seat at nineteen years old and it has just got better with time. That was what struck me as he rode into the arena, before the test even began.  It is not only that he produces one fabulous horse after another, he has continuously improved as a rider as well. If I had to choose two factors which set Carl Hester apart I would say that

  1. He has a seat that is the equal of any great rider, past or present.
  2. His horses work forward, but in the slower tempo than enables superior balance.

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FEI Pony Tests

Before I went over to watch the Prix St Georges tests I made some time to watch the FEI Pony Team Test. For those who are not familiar with this test it is a moderately challenging one, with elements from Elementary and Medium levels in it. For riders between twelve and sixteen years old, many of them on ponies they have trained themselves, this is a challenging prospect.

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The arena in which the ponies were competing was closest to the trade stands and at one corner of it there were several flag poles, complete with flags whipping in the wind. Some of the ponies were more disturbed by this than others but I noticed how calmly and kindly their young riders dealt with the situation. One rider in particular impressed me because, when the tension became too much and the work deteriorated as a result she simply patted her pony on the shoulder and withdrew from the test. She did the best thing to conserve the trust and confidence of her pony and handled what was no doubt a disappointing situation with professionalism that a rider of any age would be proud of!

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There was one pony rider whose test I knew I simply couldn’t miss and that was Mollie Whitham! Mollie has a massive following on social media and I have seen her progression as a rider over the last few years through her Twitter account @poniemadmollie.  She is a very dedicated young rider and has owned and brought on her young pony DZL Royal Sunrise from backing.

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I understand that last year Mollie watched this event at Somerford Park and declared the intention to ride there the following year. I am delighted to have watched her do just that!

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Seeing riders who are right at the start of their dressage careers is a positive thing and also thought-provoking. I saw some beautiful ponies and some very promising young riders. If those riders are to fulfill their considerable promise and make their dreams come true I would advise all of them to look very carefully at the best available role models. On a day like yesterday they need to look at Emile Faurie, at Matt Frost, at Carl and Charlotte, at the Eilbergs and decide clearly what kind of rider they want to become. Look at how those riders sit, look at how they aid, and at the quality of the connection they develop with their horses. There is nothing more important than that and it is never too early in a rider’s career to begin honing those key skills.

That thought has brought us full circle, back to the idea that how we sit and how we use our legs, seat and hands, will ultimately come to define the quality of work we create with our horses and ponies. Excellence in those areas will often lead us to success in competition but it will always earn us the respect and affection of our horses.

Christine xx

All of the above images are my own and are subject to copyright.

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