Book Review

Posted on January 7, 2019 by Jerrilee.
Categories: equipment, health, history, riding, training.
Learning Riding Posture

Learning Riding Posture

“Dude! Did You Just Fall Off?” is a delightful kid’s e-book on Amazon’s Kindle that skillfully and humorously attempts to prepare the horse newbie for their first and, hopefully, subsequent encounters.  It boldly asks:  what would you do if you were invited to go horseback riding, had never even been near a horse, but really wanted to go?

Obviously this is not a common invitation for inner-city dwellers, but for the nearly 30% of rural school children, and even higher percentage of suburban students, a recreational weekend just may indeed include a friend’s offer to see their family’s stabled horse. Facing the reality of being near such a big animal and actually sitting on its back can seem adventurous,  but nearly everyone quickly discovers a sudden level of panic once they become face to face with such a large animal.

This is why we picked the “Dude!” book off the shelf of Amazon. This book stands apart from the plethora of previous books by the way it brings horseback riding into your home and helps you practice balance and posture before you even head out to your friend’s barn. The list of straightening and correcting exercises range from simple body adjustments to learning ready-to-use moves while in the saddle. It had such great ideas plus a wallet saving price of only $2.99. Download it to your phone or tablet and refer to it right on the way to the stable. Personally, we found it just as helpful for adults. Enjoy..

Minimalist Horse Training I

Posted on December 5, 2018 by Jerrilee.
Categories: equipment, health, riding, therapy, training.
*Jentry rides her pony round the cones

*Jentry rides her pony round the cones

Minimalist training is exactly what it implies. When circumstances demand our absence from our horse for long periods of time, the moments we spend with him can be highly productive by minimizing and focusing what we try to accomplish with him. Training the horse takes place every time we touch our horse. The horse learns how we prefer him to behave. Minimalist training does not attempt to build muscle on our horse; only daily, vigorous forward riding can do that. But it can produce an obedient, trusting animal in only a minimal amount of time. Well structured, short sessions always produce ample results, and sets the tone for subsequent training sessions.

Whether you have been away from your horse one day or sixty days, it is always best to start an exercise session by either free- lunging your horse, or on the long line before doing anything. This gives you a chance to see how the horse is moving, specifically if he is favoring or limping on a leg or hoof. Even though you were away and and haven’t seen the horse, he could have twisted or stepped on something in his turnout, or paddock time. Once you determine he’s moving fine it’s time to exercise.

If you are able to ride once a week you can actually accomplish a lot with the use of  cones. With just two cones you can address bending, balance, and response time to cues.  Three cones is a luxury where you can set up a spacious triangle, or a straight line, and combine threading and circling to promote bending and re-bending. Cones provide a great short cut to helping your horse learn how to stay on the intended circle; not to change speeds on his own; and to bend both to the right and to the left. As he gets the hang of it at the walk then you can pick up a trot, taking care in keeping him balanced and adjusting his tendency to dip around turns.  Practicing halts, changes of stride from longer to shorter, using transitions between the walk and the trot, these changes keep your horse’s attention by keeping him focused on the work. Remember, you are not developing muscle so much as alertness to cues, and obedience to direction.  If you are able to move to canter work you will find endless options for practicing figure eights, flying changes, and even counter canter.

Ground poles can expand your cone lessons by changing the focus from turning and flexing exercises to lessons on lifting and carrying.  This helps activate your horse’s hind quarters, and subtly addresses ‘dragging toes’, a problem where the horse drags his back feet across the ground which causes stumbling. One of my favorite uses of ground poles is to lay down two parallel poles in three different places in the riding ring, placing a cone at the ends of each group of poles. Then I have the horse step over the center of one set of ground poles, bend right around the end cone, come back and step over the center of the poles again then turn left, (making a figure eight), and as we step back over the center of the ground poles once more then we move into either leg yield/shoulder-in/or half-pass toward the new set of poles where I can repeat my figure eight. None of these activities require extensive muscle strength, but they do address alertness, suppleness in bending, and stepping the hind legs under the horse’s barrel. Remember that minimalist training is for infrequent riding, focusing on building behavior, response, and trust. I have found it fully effective with horses ridden as little as three times a year! Muscle strength and stamina, however, can only be developed through a daily, vigorous riding program.
Next: Minimalist Training II  Scaling it down even further.

*photo from Jennifer Buxton; Braymere Custom Saddlery

Twist vs Bend

Posted on November 26, 2018 by Jerrilee.
Categories: breed, riding, therapy, training.

from: Science of Motion. Author Jean Luc Cornille
Question- Chazot looks beautiful in both these pictures, but you said there was a problem with his position. Can you explain what is wrong and how to fix it?

-Question by Helyn

Jean Luc’s response:

Jean Luc Cornille training Chazot

Jean Luc Cornille training Chazot

Well, the problem starts at the first picture. I am asking him to bend the thoracic spine to the left. Chazot is not then optimally ready for such bending. He starts to bend left but does not really bend the thoracic spine. Instead, he is contracting the middle of the neck on the left side. The neck contraction is only the visible part of the iceberg. It is due to the fact that he is not properly coordinating lateral bending and transversal rotation. The neck contraction is barely apparent and the picture still looks good.

Meda by Science of Motion

Media by Science of Motion

The next frame shows the evolution of the wrong vertebral column’s coordination. Chazot could have corrected himself. Instead, he does increases the contraction of the middle of the neck and is now twisting the cervical vertebrae. This torsion is placing his nose to the right and is shifting is thoracic spine to the right. This torsion also disconnects the proper coordination of the main back muscles and Chazot is slightly extending the thoracic spine. His reactions demonstrate that he is not bending the thoracic spine properly. He is in fact combining lateral bending and inverted rotation. The solution is to go back straight on shoulder fore until proper lateral bending of the thoracic spine is recreated and then try again the shoulder in. This reaction exposes one of the major side effects of the outside rein concept. Quite often, acting on the outside rein does turn the horse’s nose toward the outside. This abnormality shifts the thoracic spine to the right and therefore shifts the weight on the outside shoulder. In such case, the outside rein is creating the problem that it is supposed to fix.

Due to the fact that feedback corrections are relatively slow, this series of event is happening too fast to be corrected through the usual process of feedback correction. The two frames are 100 of a second apart. The horse nervous system is using predictions, allowing it to deal with event occurring faster than the speed of normal feedback correction. Prediction means that the horse’s brain predicts the coordination for the upcoming effort. This equine neurological capacity underlines the inefficiency of an equitation based on correction and submission. Instead, clever riding is using the privilege of the human intelligence, which is the capacity to use past experience for better future. Instead of punishing the horse for the error, which is obsolete since the error is already in the past, the rider needs to register the error, analyzes it and use the information to better prepare the horse for the next strides.

See you in a few strides.

Jean Luc

 

Positioning of the Head

Posted on November 1, 2018 by Jerrilee.
Categories: health, history, riding, therapy, training.
photo:informedfarmers.com

photo:informedfarmers.com

 

There are so many training and lesson terms referring to the positioning of the horse’s head when it is being ridden that it can become difficult to know which is best when riding. For example: “on the bit/up to the bit/over the bit” are descriptions describing the horse’s head placement from the way the rider is holding the reins. In fact, some instructors will substitute the word ‘rein’ rather than bit:  “on the rein/behind the rein/cue the rein/supple the rein” to indicate the rider’s influence on the horse via the reins held in the hands. With all this obsession on where the horse’s head should be positioned when riding and how the rider affects this positioning, how can a rider know just which position of the head is correct?

I have yet to see a horse out to pasture who didn’t know how to put his head down to eat grass. Yet under saddle the common perception is that the horse will not keep his head forward and low without gadgets and bits. Why can’t we connect the grazing stretch from the pasture to the head carriage of the horse under saddle?

Studies show that the horse’s reaction to rider weight is to push its spine downward toward the ground. He will also lift his neck and head upward toward the sky to accommodate his dropped back.  This means he bends upside down with his head high and his back sagging. Since his back is no longer supporting the rider, the horse will have to hop from his hip and shoulder to trot forward, creating a jolt and bounce to the rider in the saddle. The common method of pulling back on the reins to adjust the high head position of the horse just brings the horse’s head up higher than it was before, creating more bounce.

To fix the head position and produce a pleasant riding horse we need to fix the source of imbalance:  the dropped spinal vertebrae. Once the horse lifts the spinal vertebrae upward then the head and neck automatically reach outward and downward similarly to what we see when they are out grazing. The test of our horsemanship is not in how cleverly we can pull back the horse’s nose but how quickly we can convince the horse to lift its back upward. When his back lifts upward and carries the weight of the rider, rather than ducking down away from it, the horse discovers the relief of reconnecting his back to his tail and head. His balance returns,and his movement becomes smoother and easier to ride. The reins in the rider’s hands become simply a tool to maintain the horse’s posture while guiding it in which way to turn.

Absolute Elevation: The Sister to Rolkur

Posted on October 15, 2018 by Jerrilee.
Categories: health, history, riding, training.

excerpts from an article by Bonnie Walker

versusThe controversy of rollkur within the world of dressage is not a new one. Also called hyperflexion, it is the practice of forcefully pulling a horse’s head into an extreme low, deep and round position. Many have seen photographs of horses being pulled into such a headset, inspiring anti-rollkur websites, publications and Facebook pages. But this is not an article about the evils of rollkur, but rather the less publicly sensational but no less harmful practice of absolute elevation.

No horse is meant to have their head and neck in any extreme position for an extended period of time and there will be repercussions physically if they are forced to do so. Rollkur is an extreme deep and low position, absolute elevation is an extreme high and back position. Since this is an article on absolute elevation, I will discuss mainly this, though you see in the nifty picture I drew, both absolute elevation, rollkur and relative elevation, which is the proper way of doing things.

collectiondiagram4So how does this thing called collection work? Let’s start with your horse’s hindquarters and work our way forward. The idea of “getting the hindleg under” and “lowering the croup” are two concepts that are commonly bandied about in the dressage world. What happens to create and more importantly, sustain, this way of moving is actually a full body experience.

While the sacrum of the horse does not have the ability to rotate, a horse’s lumbosacral joint does. This joint acts to ‘roll’ the horse’s pelvis under themselves, aiding in the compression of the hind legs (aka engagement). It might just be a little (for example in training level to achieve level balance) or it might be more extreme (for example the piaffe). This rotation of the pelvis and compression of the hind leg joints also allows the horse’s center of gravity to draw further back and away from his forehand. These mechanism do not work in a vacuum however and that full body experience we were referring to now must include to the horse’s back and abdominal muscles. Think of them as the platforms that link the horse’s front and back ends. If a horse does not have sufficient muscular strength within his midsection then there is NO WAY we can build a horse with the ability to truly collect.  In addition to supporting our weight, a horse’s midsection also supports and connects the mechanisms of collection in the forehand and hindquarters.  A horse does not have a collar bone as we humans do. Instead they have a muscular “girdle” of sorts that runs near wear the girth lays. When toned, this series of muscles, called the thoracic sling, acts along with the musculature of the neck and chest to elevate the front half of the horse. When these muscles are engaged the front limbs of the horse act to aid in his or her overall balance, pushing upward to maintain the elevated front end and encourage a rotated and engaged hind end. Just as the hind leg must rotate and compress more as collection increases, so must the front end elevate and push upward more to maintain its end of the bargain. All of these body actions to combine to create a phenomenon called “relative elevation”, which is the right and proper way to strength build and collect a horse.
There is no such thing as putting the horse in the headset and then waiting for the muscles to develop afterward. The muscles develop INTO the balance that supports a certain headset. Both extreme headsets (rollkur and absolute elevation) will force the horse to have issues breathing, as that tightly compressed throat latch area can impede airflow.

A swaybacked horse is an extreme example of what happens when the back drops.

A swaybacked horse is an extreme example of what happens when the back drops.

If the head is brought too high, too fast, then the front end does not have the muscular strength to elevate upward, the core musculature is too weak to follow it up and the hind legs cannot maintain the rotation and compression. So, the front end drops, the back sinks and the horse’s pelvis rolls outward instead of under. An array of tendon and joint injuries occur from this, not least of which is a phenomenon called “kissing spine”. This happens when the vertebrae of the spine are compressed together and rub on one another, bone on bone, which is extremely painful.
What you want to get comfortable with is watching how the horse’s body works, and knowing how it should correctly work. If done right, dressage will add to the strength and longevity of a horse. They will become beautiful old geldings and mares. If done incorrectly you will have a ten year old horse than rides like an old man.

About the author: Bonnie Walker,USDF Bronze and Silver Medalist, in San Diego, Ca, rides and shows in dressage. Her profound articles on riding and training are public on her blog DressageDifferent.com

Understanding the Mounted Police Horse

Posted on October 3, 2018 by Jerrilee.
Categories: equipment, history, riding, training.

Providence Mounted Patrol

Providence Mounted Patrol

Thanks to Delfin Vigil for his following article:
Officially founded in San Francisco, California, in 1872 (two years after New York City’s), the mounted patrol unit has been trotting through the city’s streets fighting and preventing crime in three centuries. While in its — ahem — heyday, there were upward of 30 badge-wearing horses, and although at one point every substation in the city had horses, there are only 13 on-duty patrol ponies left at the department’s stables in Golden Gate Park. Although some critics write off the mounted patrol as a chance for police officers to joyride through the park, many don’t realize that the horses are putting their lives at risk.
During one of the initial and largest protests against the current war in Iraq, the mounted patrol unit was brought in to help the first officers on the scene, who were being backed in and surrounded by protesters near Third and Market streets.
“Eleven horses were brought in to save the officers,” remembers Sgt Downs. “We were able to part the sea of protesters without hitting, stepping on or even touching a single person. That’s the beauty of the horse.”
Aggressive dogs are probably the biggest danger to the four-legged officers.
In November 2003, a woman was walking Nettie, a pit bull mix, in Golden Gate Park when she decided to take off the dog’s leash to let it play with other dogs. But instead it went after police horse AAA Andy.
AAA, who is not in the insurance business but was given to the department by the company, was bitten several times in the belly and legs by the dog, which continued to chase him for about a half mile as AAA Andy tried to find his way back to the stables. The officer was thrown to the ground during the frenzy. Another officer had to shoot the dog (who survived) to stop the attack.
AAA Andy went on disability for a couple of months. Within weeks of being back on the job he was in the news again for galloping down the “Spider-Man” burglar who had a record of more than 60 acrobatic burglaries through skylights and ventilation shafts in Sunset District buildings. This time, “Spider-Man,” a.k.a. 27-year-old Kristian Kwon Marine, was on the run after snatching a purse at a cafe on Ninth Avenue and Irving Street. With only a good old-fashioned “he went thataway,” tip, AAA and Officer Kaan Chin chased the burglar down in a field in Golden Gate Park.
“What people don’t always understand is that most of what all police officers do involves crime prevention,” says Kaan, who rode AAA Andy. “But these horses are very capable of fighting crime in heat-of-the-moment ways as well. Once that saddle is put on, their personalities change and they are ready to work.”

Dressage: Sport Technique or Art Form?

Posted on August 10, 2018 by Jerrilee.
Categories: health, history, riding, training.

 

Nuno Oliveira in passage

The following is a feature commentary:

Dressage Commentary by Charles de Kunffy

The fashionable dressage terminology has recently increased by the word “technique.” It is just the word I would not welcome. There are references of various riders’ techniques for the improvement of everything, including the horse, his piaffe, his flying changes, his extensions, his attention, his contact and everything else under the sun. None of these are improvable by any techniques for the simple reason that riding is not a technology. Horses are not a triumph of mechanical inventions. Horses are living, complex individuals. They cannot be understood from an instruction booklet, even if it were written by Dante, Shakespeare, Moliere or Goethe, and they cannot be schooled by techniques. In fact, riding is a complex art. That positions it most decidedly opposite technology. Technology is predictable and based on instant and predictable responses of machinery to predictable mechanical actions

If riding would be a technology, it would come with an “instructional booklet” or a “recipe book” similar to those that are tormenting anyone who buys a gadget.  Not all horses produce predictable, or identical reactions to riders’ communications. Nothing more needs to be said than this: Horses are complex living individuals, not a piece of technology. Riding them is done by knowledge leading to understanding and wisdom. Instead of techniques, suitable to technology and machines, we need to develop the correct skills for communication in harmony with the horse’s nature.

Egon Von Neindorff

Had horsemanship ever benefitted from techniques, we would have long ago produced the necessary guide booklets and recipe books. However, as in fact none of that would suffice, we learned that riding is an art. Therefore riding, as all art involves the mind, the character, the virtues and the skills necessary to deal with a living partner in an artistic endeavor.  Practicing an art, mastering its principles is multi-dimensional and is based on inspirational mentoring and instruction by a master from whom we learn. It is a coaching art. It is acquired by diligent apprenticeship. And it is practiced by skills and not techniques.

Great masters mentored all great artists. Michelangelo was apprenticed to Domenico Ghirlandaio. Andrea del Verrocchio mentored Leonardo da Vinci. All art survives by the genius of its practitioners. One generation derailed can damage or destroy art. Especially, performing art!

Charles de Kunffy is an international dressage judge, author, and educator. You can follow him on Facebook.

Horses and Plains Indians; R.E. Moore

Posted on July 22, 2018 by Jerrilee.
Categories: breed, equipment, history, riding, training.
scene from movie: Dances With Woves

scene from movie: Dances With Woves

The Indians got their first horses from the Spanish. When the Spanish explorers Coronado and DeSoto came into America they brought horses with them. This was in the year of 1540. Some horses got away and went wild. But, the Indians did not seem to have done much with these wild horses. They did not start to ride or use horses until much later.

In the 1600s there were a lot of Spanish missions and settlers in New Mexico just to the west of Texas. This is where the Pueblo and Navaho Indians live. The Spanish in New Mexico used Indians as slaves and workers. These Indian slaves and workers learned about horses working on the Spanish ranches. The Spanish had a law that made it a crime for an Indian to own a horse or a gun. Still these Indians learned how to train a horse and they learned how to ride a horse. They also learned how to use horses to carry packs.

In the year of 1680 the Pueblo Indians revolted against the Spanish and drove the Spanish out of their land and back down into Old Mexico. The Spanish were forced to leave so fast they left behind many horses. The Pueblo Indians took these horses and used them. The Spanish did not come back until the year of 1694. While the Spanish were gone the Pueblo Indians raised large herds of horses. They began selling and trading them to other Indians such as the Kiowa and Comanche. The Pueblo Indians also taught the other Indian tribes how to ride and how to raise horses.

Horses spread across the Southern Plains pretty quickly. French traders reported that the Cheyenne Indians in Kansas got their first horses in the year of 1745. Horses changed life for the plains Indians.
To read more of our guest article click :  R.E.Moore

Horses for Healing

Posted on July 18, 2018 by Jerrilee.
Categories: equipment, handicap, health, military, riding, therapy, training.

Combat veteran Rick Iannucci with Cowboy Up!

Photo:Melanie Stetson Freeman

On June 8,2018 the U.S. House of Representatives passed bill: HR 5895, (the Military Construction and Veterans Affairs Appropriations Act of 2018), which included an amendment to increase funding for the Veterans Affairs’ Adaptive Sports Grant Program for equine-assisted therapy. The amendment, introduced by U.S. Rep. Andy Barr (R-KY) increases funding by $5 million for fiscal year 2019. The funding will enable an expansion of services that use equine-assisted therapy in conjunction with mental health care treatment and services to veterans.

excerpts from article by April Reese in Christian Science Monitor:

For 2-1/2 years, a stream of Iraqi and Afghan war veterans – many carrying both physical and psychological scars of combat – have found their way to Mr. Iannucci’s Crossed Arrows Ranch, about 15 miles south of Santa Fe, N.M. After first learning to groom and walk the specially trained quarter horses, the vets work their way up to mounting and riding them around the arena. As the veterans bond with the horses and learn how to “read” them, they begin to heal and feel connected with the civilian world again, Iannucci says.  “Horses are so in tune with you – if you’re uptight, they’ll know,” he explains. “They coax a certain level of contemplation out of you. They demand for you to be in the now. When the vets start working with the horses, they immediately start calming down.”

Some arrive with physical disabilities, such as limited use of arms or legs wounded in combat. Others are dealing with traumatic brain injuries, a result of roadside bombs or sniper attacks. Many have been diagnosed with post-traumatic stress disorder (PTSD). “We call it ‘post-traumatic spiritual disorder,’ because we think the thing that happens to people in war is a wounding of the spirit,” Iannucci says. “Our goal is to find that [wound] and start working on it.”

Iannucci, a compact man with a purposeful demeanor and a walrus mustache, grew up in horse-racing country in southeastern Pennsylvania. From about age 12, Iannucci trained and rode quarter horses his family kept at his cousin’s farm. After retiring from his job as a US marshal working in Colombia, he moved to New Mexico and returned to horsemanship in earnest. He bought the ranch and built a horse arena, initially to provide a place for children to ride. A few years later he started inviting veterans to come and work with the horses. Word about Cowboy Up! began to spread. Brig. Gen. Loree K. Sutton, former director of the Defense Centers of Excellence for Psychological Health and Traumatic Brain Injury, visited the ranch last year. Rep. Ben Ray Lujan (D) of New Mexico has also paid a visit. “Rick doesn’t hesitate to take on a challenge, but he’s also a very humble and patient person,” Mr. Lujan says. “The program is truly impressive. Just to see the faith these men and women have is incredible.”

 

Music of the Peers

Posted on July 12, 2018 by Jerrilee.
Categories: breed, history, riding, therapy, training.
USEF photo of Stefen Peters & Ravel (2012 Olympic Freestyle)

The dressage industry was one of the last disciplines to add the element of music to competition. The freestyle ride was long debated and denied as a performance class mostly because performance judges feared the option given to riders to create their own programs would initiate a trend toward circus-like presentations. In their opinion, over a period of years, the aberration of dressage movements could leave the classical principles of dressage in the shadows of  history. In the 1970’s, however, came a more immediate threat for the dressage industry: the financial burden of its horse events. Rising costs of stabling, insurance, maintenance of the ring footing, required such an excess of cash that the backing of corporate sponsors was essential. As they came on board, these sponsors began to encourage show organizers to consider more  ‘entertainment’ in the dressage field since it lacked both spectators and public appeal. To them, the musical freestyle seemed to perfectly fit that need.

The United States Dressage Federation and the Federation Equestre Internationale (FEI) met individually to decide on restrictions to set in place to protect the historical and classical nature of dressage in musical competition. Judging sheets were designed to include technical and creative scores. Freestyle riding forums were set up worldwide in order to publicly define acceptable performance movements and also to somewhat direct the quality of music expected. During the 1980’s, most freestyle riding refrained from extravagance with presentations almost exclusively relying on classical music. In addition, these original musical rides, constrained by rigid adherence to traditional movements, were only modestly artful in scope. Even so, dressage lovers were thrilled with the new classes. While spectators still yawned, the concept of dressage as a living, spontaneous “art form” was now dawning on its devotees. It gained even more momentum the moment it was finally allowed into the Olympic Ring in 1996.

With the new millennium came new riders with fresh ideas. New talent pushed toward the impossible in freestyle riding. No longer did Beethoven and Bach rule the freestyle ring. Hand-picked music picked up the beat with modern tunes. Daring riders heated up the competition through their innovative uses of mandatory movements. Overnight it seemed that empty bleachers became standing-room-only. The new phenomenon of the freestyle dressage class had commenced. Audiences cheered and applauded their favorites in the classes. Sponsors were elated. Judges were thrilled. Spectators left competitions with GPS directions to find the next up-coming freestyle event. Dressage became known as the ‘ballet of horseback riding’. Eager to keep competition classes fully attended, riders were generously rewarded in their scores.

However, some conservatives squirmed. The dark side of freestyle, so long ago feared, was beginning to emerge. Observers who set up alongside warm-up rings chronicled the use of controversial training methods bordering cruelty to defenseless mounts. Not only did Grand Prix riders lack common horsemanship, their brutality was heartily encouraged as the new, productive training method.

So-called ‘Roll-Kur’ technique seen in 2008 Olympic warm-up 

It was the shock wave that blackened the freestyle classes. In the 2008 Olympics the division widened between dressage camps as infuriated classicists revealed the barbarism of the new “Roll Kur”, a training technique that forced the horses to move briskly forward with their heads pulled into their chests, or all the way onto their knees. In addition, they pointed out that the  Individual Dressage Champion of the Olympic Games never performed the required full-stop at halt at any time during the test. Nor did its extravagant leg movement ever co-ordinate with the horse’s torso movement. The pressure of the bit in the horse’s mouth was so severe that it created a ‘blue-tongue’, proving lack of circulation, something never acceptable in correct dressage. It was demanded that the FEI, an organization long considered the protectorate of equestrian sports, meet to resolve the issue before the next Olympics. By the time of the 2012 Olympics,  stringent qualifications, ensuring that horses were more humanely prepared for show events, were put to the test. These corrections are still being evaluated and re-written to improve the public representation of classical dressage within both standard and freestyle Grand Prix classes. It is evident that the state of global dressage will always require keen scrutiny to maintain the classical principles. But the true highlight of the dressage freestyle is its breakout from the obscure timidity of its earlier days. It is finally acknowledged as a beautiful and accomplished art form. It has pranced forward to prove that both quality and musical entertainment are possible in the dressage industry.

Same horse in 2012 Olympics.Corrections to use of bit show a more classical ride
equi-works

equi-works