The Plus Sign Exercise

Use of ground poles and the cavalletti, part 4

by Alice Trindle

February is often not a favorite month for aspiring horsemen and women, as it is hard to become motivated when the snow has drifted into the trailer and through the arena door and it takes five layers of clothing to just make it out to catch your horse. Often, my winter mind has drifted as well, and it takes real dedication to get through the layers to truly think about what I am asking of my horse and where we are headed. Below, I am suggesting one more cavalletti or ground pole exercise that will give us a focus for our winter ground work and riding.

Walking, Trotting and Cantering the Plus Sign

Purpose

Sending or riding your horse over poles set out in the "plus sign" will help promote:

• Attentiveness from the horse to the placement of his feet

• Focus for both horse and rider

• Effective use of your aids without intimidation

• Stretching over the topline as the horse looks where he is going

• Eventual gathered softness, the beginnings of engagement, and rhythmic picking up of the feet.

Equipment Needed

• Eight ground poles, about 6 to 8 feet in length

• Horseman’s halter and lead; when riding, use a snaffle or bosal to begin (note: I am not referring to a mechanical hackamore, as I do not recommend their use)

• Patience, focus and a clear picture of the correct movement

Preparation

Lay out the poles in the design and dimensions as diagramed, in an area with good footing. Insert diagram from PDF

Progression of the Maneuver

Start by sending your horse over the poles on the end of your lunge line, using a horseman’s halter or caveson. Position yourself in the middle of the plus sign and work to develop a flowing rhythm at the walk, trot and canter. The goal is to have no pulling on the lunge line, and the hips and shoulders tracking up straight on the circle. (At the walk, you may need to adjust the width between the poles a bit closer together to accommodate a flowing rhythm.)

After an appropriate gymnastic warm-up, begin riding the exercise at the walk. First, as you track right, ride three-quarters of the school or a large square, then focus your eyes, torso, shoulders and hips in to the center of the first set of poles; cross them and return to the track. Next time around the school, focus on crossing the first two sets of poles, then return to the track. Keep adding pole sets until you are traveling on a circle around the entire plus sign. You are looking for rhythm, balance, flow and the horse picking his feet up over every pole while cluing off your body position and focus.

Try to use very little inside rein to guide the horse, but rather use your focus, keeping your inside leg on at the girth and your outside leg slightly back to ask for forward motion and to keep the hips from swinging out. Shoulders should remain up and balanced, and hips should be driving under and forward.

After completing the exercise at the walk traveling in both directions, move on to the trot and eventually the canter. This progression may be accomplished over the course of several days or even weeks. Don’t rush it! The biomechanics required take some time to develop in both the suppleness and the strengthening of the horse.

Warnings

• Use of the ground poles can be dangerous. Make sure you are using correct distances between poles to facilitate the rhythmic gait for which you are working. It is helpful to have a "worker bee" on the ground to help reposition poles. Using cavelletti stands where the pole is attached is safer to keep the pole from rolling under the horse’s foot.

• Take your time on this exercise. Time is not the factor; finding rhythm, balance, focus and timing are the goals.

The Cattle Guard Exercise

Use of ground poles and the cavalletti, continued

by Alice Trindle

2010 marks another year of opportunity to grow together in our horsemanship skills and knowledge through the pages of The Northwest Horse Source. We have a great progression to explore, starting with two more articles regarding the use of ground poles and cavalletti. After that, we move into a ten-month exploration of starting and bringing a young horse along. The theme for T&T Horsemanship clinics in 2010 is “Observing with Integrity,” and I hope to share some of those observations the horses have shared with me over the years, in a manner that is based on honesty and sincerity, the way it was presented to me—by the horse!

Continuing with Cavalletti

I hope you have been able to use the exercises over the ground poles described in the past two issues (remember, there is always more at www.tnthorsemanship.com/articles). You should be experiencing a new confidence in your horse, a lightness in his step from picking up his feet and becoming more balanced, and a freedom in moving all four corners of his body. Add this new ground pole exercise to your bag of tricks to help you focus and gain balance with the beginnings of engagement in your horse. No matter the discipline you are ultimately pursuing, this exercise will help.

Progressive Cattle Guard Exercise

Purpose: Sending or riding your horse over the "cattle guard" poles will help promote:

• Attentiveness from the horse to the placement of his feet


• Focus for both horse and rider


• Effective use of aids without intimidation


• Stretching over the topline as the horse looks where he is going


• Eventual gathered softness, the beginnings of engagement and rhythmic picking up of the feet

Equipment:

• 6 to 8 ground poles, about 6 to 8 feet long


• Horseman’s halter and lead (when riding use a snaffle or bosal to begin)


• Patience, focus, and a clear picture of the correct movement.

Preparation: Lay out the poles as diagramed in an area with good footing. The first three poles are 4.5 to 5 feet apart, with the last three poles progressively getting closer to a final distance of approximately 2.8 feet apart.

Note: This is a trotting exercise. Be sure to give your horse room to complete the exercise over the poles on a straight line as you approach and depart the poles.

Ground Work

Your horse should easily follow suggestions and positioning of your body as you send him over ground poles at the walk and trot.

Position yourself out from the shoulder of the horse in a "ground riding" posture. Start by practicing your walk to trot transitions, perhaps along the wall, so the horse is marking well with your body posture and intentions. From the trot, in the same position, focus your energy across the poles. It may help for you to mimic the horse in the shortening of his stride by doing the same in your stride as he crosses the progression. You are looking for the energy to be gathered up, with the horse lifting his feet, and a slowing of forward progression. Practice both directions, and once your horse has made several trips over the cattle guard without touching a pole, quit and reward.

Riding Aids

If you have a competent human partner who understands the purpose and procedure of the ground work, you may want to begin your riding over the progressive cattle guard by having your human friend take control of the lunge line.

From a rhythmic working trot, pick up the outside track of the arena. As you approach the cattle guard ground poles, come off the track in a sitting trot, focusing your eyes and core toward the center of the poles. Once you and the horse are lined up with the center of the poles, your focus should be past the cattle guard at a spot located at your eye level. "Feel" the feet over the poles, letting the horse primarily find his own way to picking up his feet in shortening strides. Your balance should be pretty much in the middle of the horse with shoulder blade weight over your seat bones. Don’t hold your breath!

As you progress and the horse begins to pick his feet up rhythmically, think of a slight half-halt as you enter the cattle guard, with the feel of taking the energy a bit back and up. You can experiment at this point with a slight lifting of the reins and a feeling of exchanging the energy through the horse’s ribcage between your calves. These are just slight caresses in your calf muscles that ask the horse to lift his shoulders and drop his hips. Continue a trotting feeling in the small of your back.

As you depart the cattle guard, focus right or left and pick up a raising/posting trot. Remember to reward! This exercise feels really good when you and your horse get it. Don’t drive it into the ground, or you will risk going backward in the benefits.

Planning for 2010 With Alice Trindle

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Ground Pole Exercises

Use of ground poles and the cavalletti, part 2
by Alice Trindle

With the holiday season upon us, it seems we have even less time to spend with our horses. It is a rush everywhere, with every activity in which we partake. So here is a little reminder from the point of view of the horse: slow down! During this very busy time in our human calendar, remember to take that deep breath, recall the wonderful contributions horses make to your life, give them the gift of your patience and forgiveness, and marvel at their grace.

The cavalletti and ground pole exercises you started last month should be producing great results while keeping your horse’s mind and body exercised and happy. Here are more of my favorite ground pole activities to help keep that great attitude in both horse and rider.

Click here to view the full article with exercises and diagrams.

Benefits of Cavalletti Work

Use of ground poles and the cavalletti, part 1
by Alice Trindle

As we embark on the seasons of colder weather, and pictures of bundling up to go out to play with our horses come to mind, I am drawn to practicing exercises that will warm up both horse and human. For many of us who don’t have regular access to indoor riding facilities in the winter months, we are always seeking methods of keeping horses mentally and physically fit and finding exercises that may not involve putting on the saddle or getting the horse too hot. The next two articles will discuss several ways to use ground poles and cavalletti to improve attitude and movement. Most of these exercises can be accomplished on the ground using a lunge-line, 22' ring rope, or on the long lines, making for a great winter activity!

For full article with diagrams, click here.

Spanish Traditions of the Doma Vaquera - Part 2

Using the garrocha to develop your horsemanship
by Alice Trindle

Many of you who have been following my articles in The Northwest Horse Source over the years have come to realize that I am enamored of the Andalusian horse and the traditions of the Doma Vaquera. I have had the good fortune to work with Encantador, a beautiful PRE stallion that lives in Halfway, Oregon; to meet such fine aspiring horsemen as Ami McHugh and her amazing Andalusian stallions; and I have had inspirational conversations with Bettina Drummond about this incredible breed. In all, I have come to realize that I have only scratched the surface of the knowledge to be gained from the Spanish and the Pure Raza Espanol – the Andalusian.

This month I’d like to discuss the use of the garrocha, a 13-foot bullfighting pole, to help all of us with our horsemanship skills. I am by no means an expert regarding the Doma Vaquera traditions, nor their applications. However, I have enjoyed the positive effects of their influence on my horsemanship skills and the fun of trying new things with all of my horses and clients. Seeing six women flowing around a circle, riding Quarter Horses or warmbloods and balancing garrochas on their shoulders is quite a sight! This is perhaps a picture that would turn the stomach of a true garrochista. However, I have found in this ancient art form a wonderful instrument to improve everyone’s horsemanship. No disrespect is intended toward the culture of the Pure Raza Espanol, the art form of using the garrocha, or this amazing source of Spanish horsemanship pride, in suggesting we can use the garrocha to assist all riders in their horsemanship skills.

The traditional garrocha is like a spear or lance, with a metal point on the end. The working Spanish cowboy, or Doma Vaquera, would have used the pole to fend off cattle or as a method of testing the temperament of bulls by pushing on the hip to eventually trip the bull. Today, these traditions are preformed in a beautiful dance (no bull!), using Spanish guitar music, where the horse and rider gracefully flex and canter around and under the garrocha.

Why Use the Garrocha?
Below you’ll find the major horsemanship elements that I have found have improved when using the garrocha.

(Note: The pole we have been practicing with is a 1.75-inch hand rail approximately 13 feet long. You are seeking a pole that is not too flexible and around which you can easily place your hand. A little linseed oil makes for an easy slide without slivers.)

Posture & Focus: Since the pole is always held in your right hand, it requires that you sit up straight in the saddle with shoulders, hips and legs correctly positioned to influence the horse. It seems remarkable that a simple 13-foot pole, placed in your right hand or resting on your right shoulder, could so easily affect how you sit in the saddle, but it does. In addition, use of the garrocha directly influences your ability to focus, which of course influences your posture. Looking where you want to go, around or under the pole, and then visualizing the maneuver will become second nature when you add the element of the garrocha to your routine.

Rhythm & Timing: The master horsemen of old and current times will concur on the importance of rhythm as we develop our horses. The ability to ride a perfect circle with consistent rhythm is perhaps one of the most difficult exercises to achieve. By placing the point of the garrocha on the ground and riding forward around it in a circle, you quickly recognize if your horse’s shoulders are falling in or hips are casting out. Then, when you add elements such as a turn on center or canter pirouette under the garrocha, you definitely begin to recognize the need for timing, multi-tasking your aids, rhythm and focus.

Balance & Use of Aids: Intimately related to good posture, the garrocha requires you to develop an understanding of your balance and pressure aids so you can stay out of the horse's way and yet influence his positive balance. Again, it is amazing that a simple little pole could assist us in easily understanding the balance and aids needed to accomplish maneuvers such as half-pass or leg-yield, but it will! With the pole in your hand, you will quickly see and feel common mistakes, such as using your seat to push the horse sideways. By straightening up and sitting or balancing in the direction you want the horse to move sideways, you maintain an open angle with the pole, inviting the horse to move under your balance.

Confidence & Fun: This may be the biggest benefit. It takes confidence in both horse and rider to work with a 13-foot pole! Riding around, under, away from, and carrying the pole is not easy and more than a little intimidating at first. However, it is amazing how quickly both horse and rider take to the maneuvers. Add a little Spanish guitar music, and even a simple circle at the walk with the garrocha becomes a dance!

Don't stop here, there's more online! See our digital edition for the rest of this article, including strategies for working with the garrocha and further references.

Traditions of the Doma Vaquera, Part 1

The history and horses of the Spanish Doma Vaquera
by Alice Trindle

Over the past several years I have had the great blessing of becoming acquainted with the Andalusian horse. His amazing grace, combined with a willing attitude and loyalty, endears the horse to his human. I have learned a bit about the tradition of the Spanish cowboy, the Doma Vaquera, and the equipment and regalia employed for function and artistry. And I have been enamored of the beautiful dance of a la garrochista with his beautiful Pure Raza Español horse and a 13-foot long pole called a garrocha (ga-roach-a), accompanied by Spanish guitar music, as they accomplished effortless canter pirouettes. This is an art form and a compliment to true horsemanship.

In this next series of articles within The Northwest Horse Source, we will examine these Spanish and Portuguese traditions of the Doma Vaquera and look at suggestions for using these ancient traditions to help us with our horsemanship. From the trail rider to the dressage arena, there are many things we can learn from our Iberian friends! Let’s start by examining the uniqueness of the Andalusian and Lusitano horse, move on to looking at the type of equipment used, and finally consider some exercises to put these traditions to use in our personal pursuit of true horsemanship.

The Horses
As I have researched the history of the Andalusian horse, it appears that, as with many great histories, there is some controversy! In general, it is thought that the Andalusian originated in the Spanish province of Andalusia, and that its ancestors were the Iberian (Spanish) horses, mixed with the Barb horses brought to Spain by the Moors. In the late Middle Ages, the Carthusian Monks played a principal role in the breeding of this Andalusian horse, and in the 1500s it was selected by the King of Spain to become "The Horse of Kings." In the mid-19th century, European warfare combined with a major epidemic that nearly devastated Spain’s horse population. As a result, exportation of the breed became illegal until 1962.

The physical and attitude characteristics of the Andalusian horse place it in a very distinguished class, even as many of our equestrian bloodlines can trace portions of their heritage to this noble breed. They are usually grey, turning white as they age, and they stand about 15 to 16.2 hands. On occasion you will see a beautiful bay or stunning black, as with the stallion Kianto from Jackass Mountain Ranch in the tri-cities area of Washington (www.jackassmtranch.com). Their ears are small, with a rather flat or convex nose, and a substantial neck often hidden by the abundant mane. The more Baroque-style PRE (Pure Raza Española) tends to have a bit shorter back and is proportioned well for the quick movements needed to maneuver around the very aggressive Spanish cattle.

While their heritage was a combination of assertiveness in battle and in the field, the Andalusian was also so easy-going that even the King could ride this horse. With a kind eye and a loyal heart, the Andalusian’s temperament places it as a lovely horse to have the pleasure to train and ride.

The Equipment
The trappings of the true Spanish vaquero (a working horseman who rides on the ranches) and those participating in competitions similar to dressage are quite different, but no less beautiful in their traditions. Actually, many adaptations of the Spanish vaquero equipment have morphed into our Western tack and traditions. From saddles that have a pommel and cantle to the rolled up pant legs to the flat hats of the Southeastern Oregon cowboy, we have adopted equipment that was influenced first by the Spanish. I recently read an interesting article by Sue List: "How to be correct in selecting tack and costume for Spanish ridden classes" (www.thejoyofhorses.com/oct06/how-to-be-correct). There certainly is a dress code, and it is important to try to adhere to these traditions, as many stem from thousands of years of experience.

The working cowboy or vaquera style of equipment includes a saddle that fits close to the horse, allows for great movement in the shoulders and back, and places the rider deep in a very comfortable seat. The rolled blanket on the front of the saddle is called a Manta Estribera, and a crupper runs from the front and through the saddle to be attached around the tail. Stirrups are black metal and run the length of the foot. They were originally made to protect the rider and horse from angry horns. The bit for the vaquero, after training with a covered metal bosal called a sereta, is a simple curb. The bridle brow band have a mosquera, which is made of leather strips, silk, or horsehair. The purpose of the mosquera is twofold: first, to keep flies away; second, to show off the rhythm of the horse’s movements.

The garrocha (see above) was used by the Spanish cowboy to fend off and trip the bulls. Today, it is part of a beautiful dance with the horse, rider, Spanish guitar music, and the instrument of the garrocha. In Spain, the honor of being called a “Garrachista” is a lifelong--and lifestyle--pursuit limited to a few who seek the true traditions. This artistic dance is accomplished at the highest levels with the reins attached to the belt of the rider. The garrocha is carried always in the right hand, and all movements are accomplished at either the walk or canter--no trotting! Imagine lyrical Spanish guitar music playing while the rider, dressed in traditional Doma Vaquera trappings, guides her horse in lightness in a canter pirouette, under the garrocha. Amazing…artistic…awe inspiring!

If you have not seen a performance with the garrocha, try these searches:
• www.youtube.com/watch?v=SlXX5lMhEw4
• www.andalusiandressagehorse.com/andalusian_horse_traditions_garrocha.htm
• www.vaquerogold.com/dvlist.html
• www.johnsaintryan.com
• www.tnthorsemanship.com/articles
• http://horsemanshipjourney.blogspot.com

The Bridle Horse

Developing contact: the theory and practical use of bits, part 4

by Alice Trindle

These past few months have been a great opportunity for me to further my understanding of the horse and my role in developing a relationship that is soft, willing, and light. I hope that as you have been following this series regarding contact and how bits and bosals play a role, that you have reaffirmed the principle, “Developing our horsemanship skills takes time!” The true aspiring horseman is committed to creating a relationship that is built on respect, understanding, education, patience, and hours of mindful practice. We are truly honored that these horses allow us to interact with them, and in the process, they ultimately finesse and mold who we become.

Mindful Progression

I start part four of this series with these thoughts because nowhere in your horsemanship journey is it more important to slow down, understand the principles, and give yourself and your horse time to develop than with the final step of making a bridle horse. For the traditional Vaquero style development from the bosal to the double rein to straight up in the bridle, the commitment may well take four to seven years! For the classical dressage double bridle horse, which may be finally ridden on only the curb rein, it is a similar time commitment. In these pursuits, the well-being of the horse, both mental and physical, through mindful gymnastic development and experiences, creates an athlete that is truly a dancer and, moreover, a life partner. I highly recommend reading the book Tug of War: Classical Versus “Modern” Dressage by Dr. Gerd Heuschmann and watching the video “If Horses Could Speak.” They will most likely open your eyes to the importance of understanding the anatomy and muscular makeup of the horse, particularly as we move forward in our discussion of contact, bits, and making a bridle horse.

For many people today, the time it takes to bring along a true bridle horse and provide him with experiences that will not only teach him how to move to accomplish a job, but carry us in a light, happy manner, is not attainable. While we may wish that we could purchase a bridle horse, the fact is that most of us simply do not have the skills to control our bodies, hands, and minds. The bit used in this classical situation has nothing to do with controlling the horse, but rather the honor of utilizing the equipment in the lightest of manners. So what are we mere mortals to do if we want to develop our horses gymnastically, but simply do not have the time nor skill to develop a prima ballerina?

I have found great success in bringing my horses through the Vaquero style double bridle progression (in my case, snaffle bit to hackamore, to hackamore with the low-ported broken shank and riding with two reins, to finally working with just the low-ported bit and a bosalita for leading.) I understand that this system is not truly traditional, but the nature of a low ported-broken bit, such as the Myler brand 5” model, allows for human mistakes much more than a true bit. I may still ride for a year primarily using the hackamore rein for lateral communication, but I pick up on the reins attached to the broken bit earlier than if the horse were carrying a true bit. This progression allows me to condition the muscles, ligaments, and joints of the neck, head and ribcage that so greatly affect the free movement of the back muscles. By the time my body balances are ready to put the horse in a true Vaquero style bit with hackamore reins and bridle reins, my hands have been educated to assist the horse to carry himself effortlessly.

The Art of Bits

The types of “true” bits I am discussing range in styles of mouthpiece from half-breeds to Salinas bits to spades, with various types of shank and cheek designs. They typically are not broken in the mouthpiece, and usually have a roller or “cricket” for the horse to play with using his tongue. (If his mouth is loose, so his is his jaw, and most likely, so are all the muscles in his body.)

These bits are pieces of art, and the true working cowboy or aspiring horseman not only is proud of the honor in bringing his horse along as a bridle horse, but is also proud of this trappings and the artist who made them. We have a number of fine Vaquero style bit makers here in the Northwest, such as Ernie Marsh from eastern Oregon. Most often, bit designs and skills are passed down through generations by mentors, which gives the true bit its functionality (in the right hands!) in addition to being a beautiful work of art.

The honor of bringing your horse along in the classical dressage double bridle should be no less than that of the Vaquero. Unfortunately, in both instances, time and ego--fostered by a lack of understanding of and commitment to the horse--seem to be the norm. In cases where horses are ridden and shown moving over-flexed, behind the bit, and carrying themselves in a non-rhythmic fashion, the finesse of the double bridle in enhancing the movement of a gymnastically conditioned horse is lost.

Function and Form

The function of the double bridle, whether in a classical dressage setup (i.e., a loose ring bridoon (snaffle) bit combined on the same headstall with a curb bit), or in the Vaquero setup (i.e., a light bosal/hackamore under a separate headstall with a true bit) is basically the same. The bridoon and hackamore reins function to remind the horse of supple flexing through the ribcage combined with the neck and head muscles and ligaments. The curb bit and true bit reins ask for lengthening and gathering over the topline with balance in the neck and head muscles and ligaments. The feel of contact should have been established years earlier in the progression, and now the double bridle serves to enhance and finesse that contact with freedom in the back muscles, engagement of the hindquarters, and ultimately, collection of all the elements.

If the horse has been mindfully brought along in the progression to the double bridle, he should be a pleasure to watch, lightly and happily carrying out his job, whether that job is separating a steer from a bunch of heifers, or riding a dressage test. In both cases, it is not the bit that makes the difference. Rather, it is the long-term commitment of the human to study and understand the nature and anatomy of the horse, combined with contact–mentally, physically, emotionally, and spiritually–to develop a connection for life. Now that’s the picture of an aspiring horseman!

References and Resources

Reinsman of the West by Ed Connell

Making of a Bridle Horse (video series) by Buck Brannaman

“Developing a Bridle Horse” (Clinic Series) with Alice Trindle in Haines, OR

www.martinblack.net/videos.php - Bridle Horse Series with Martin Black

www.eclectic-horseman.com - Articles and Mercantile

www.houlihanhorsegear.com - Merchandise for the Vaquero Traditions

www.gomersallsaddlery.com - Quality Vaquero-type Tack

www.spanishspade.com - Marsh Bros. Oregon Silver

The Bosal

Developing contact: the theory and practical use of bits, part 3

by Alice Trindle

I hope you have had a chance to spend some quality time thinking about developing contact with your horse, both physically and emotionally. Over the course of the past two articles, it has become clear that in order to achieve this key component in developing our relationship with our horses, we must return to the basics. This critical foundation includes a willing attitude, combined with freedom of movement, adhering to rhythm and balance in both the horse and the rider. So as we progress this month in talking about the use of the bosal in developing a “feel” or finding contact, it becomes even more important that you go back to review the basics, give yourself and the horse time, and become re-committed to truly studying the art form of horsemanship.

I remind us all of these requirements: be observant, be consistent, and develop clarity in what, why, and how we are asking our horses to perform. All of these are prerequisites if you desire to bring your horse along in the bosal. The instrument I am referring to is the Californio-style leather or rawhide bosal, used by hackamore (jaquima) reinsmen. It has a marvelous history that goes back to the Moors, the Spanish Doma Vaquera, the Mexican vaquero, and now to a handful of aspiring horsemen who study the traditions of the use of the hackamore. Please, in no way see in your mind’s eye any number of bitless bridle set-ups, such as the mechanical hackamore, that operate on leverage, pinching, fear, and intimidation.

Craftsmanship and Care

The bosal is typically made by a craftsman who uses either rawhide or latigo leather braided over a core of metal, rope, or in many cases, rawhide. The core is an important component, allowing the bosal to shape around the nose of the horse while retaining a soft, forgiving nature. Proper storage of the bosal includes taking your mecate (the rein portion) off the bosal after each use and storing it in a place away from hungry dogs or gnawing mice.

The diameter of the bosal will range from 5/8-inch down to the pencil-thin bosalita for the finished bridle horse. The “plats” are the number of rawhide strips used in an intricate braided pattern worked over the core. In a fine bosal, the mark of a true craftsman is indicated in the number of plats. Most working bosals will have 16 plys in the nose portion, and perhaps a few less on the side; at times the edges will be beveled to create a nice, smooth surface against the horse’s face. Usually the bosal is attached to the head by a simple hanger, with perhaps a shoestring leather throat-latch to keep the hanger away from the eyes. At times there is a fiador attached for this purpose, and also attached to the heel knot on the bosal. In most cases, except when using a really heavy bosal, the fiador is not needed with a properly fitting bosal and educated hands.

The last piece of the hackamore picture is the mecate. Traditionally, the mecate is about 22 to 24 feet long and made of horsehair or mohair. This length allows the aspiring horseman to adjust the fit of the bosal and still have the loop rein portion and a handy “get-down” strap with which to lead or ground school the horse. The diameter will vary as you bring your horse along, but should never exceed the size of the bosal.

Getting Started

The final question many people have regarding developing a hackamore horse—beyond the how, when and why—is “How much will it cost?” A quality bosal will probably start at around $170, and a nice mane-hair mecate will easily be $80. As you can see, to acquire several diameter bosals and mecates to accommodate your progression can get quite expensive. You may want to find someone to share the burden, or perhaps borrow (and treat carefully, on threat of life and limb!) from another aspiring horseman. You can learn how to tie and fit the hackamore by taking a clinic or watching videos (see recommendations below).

If at this point you are still interested in pursuing the development of a true hackamore horse—one that softly carries himself with lateral and longitudinal suppleness—then let’s talk about how to develop that softness into contact.

Proper Use

Generally speaking, if your horse is soft and giving to the horseman’s halter, then he may be a good candidate for the bosal. Keep in mind that the bosal is not a leverage device, and if you end up making the jaw bones or nose sore, then your bosal is not properly fitted and your hands are not working in an educated manner.

The bosal works primarily on these pressure points:

1) The nose button that asks the horse to give at his poll, balance with his neck muscles, and carry himself over the topline from the hindquarters up through the shoulders and neck, back to a softness in the rider’s hands;

2) The two buttons on either side of the face that ask the horse to give laterally through his ribcage and follow the focus of the rider.

To ask for longitudinal softness and prepare the horse to accomplish a job, the contact is made first by taking a breath, picturing and focusing in your mind’s eye (which prepares the human’s posture), and a slight shortening and “feel” on the loop reins. If, at this point, the horse has missed the signals to prepare his body, then apply a slight bump on the nose button until he finds a more vertical face and arranges his body to be able to move. As with developing contact while using the snaffle bit, what is most important is what happens before the desired reaction. This is what truly prepares the horse and rider team for this all-important connection.

The first few times you ask for this contact with movement, you may only want to ask the horse to carry this posture for a few steps and then release the aids. As you progress, this picture will be the preparatory signal for everything you are going to ask of the horse.

The traditions of the true hackamore reinsmen and women are ancient and honorable. As with any worthwhile journey, it takes time, patience, understanding and study to achieve the beautiful picture of a light hackamore horse. The concept of developing contact is as apropos to the use of bosal as it is to the use of the snaffle, and eventually to the double bridle or two-rein or straight-up in the bridle picture. Contact is the connection between horse and rider that occurs before what happens actually happens. It creates self-carriage, self-confidence, and ultimately, lightness. What a marvelous picture!

References and Resources:

Reinsman of the West & Hackamore Reinsman by Ed Connell

Understanding the Hackamore (video) by Mike Bridges

Making of a Bridle Horse (video series) by Buck Brannaman

The Hackamore with Martin Black (video)

www.eclectic-horseman.com (Articles & mercantile)

www.houlihanhorsegear.com (Merchandise for the vaquero traditions)

Developing a Bridle Horse (Clinic series with Alice Trindle in Haines, OR)

www.gomersallsaddlery.com (Saddlemaker and quality vaquero-type tack)

The Snaffle Bit, Part 2

Developing contact: theory and practical use of bits

by Alice Trindle

Last month we embarked on the study of contact and examined how that picture related to the ideas behind the use of various bits. I hope you were able to give some of the visual aids a try in attempting to picture and feel contact. Finding that all-important handshake, with a connection somewhere between a gorilla grip and a clammy wimp, is not easy! Then to combine that feel with good posture, rhythm, timing, balance, and clear intention just adds to the complexity of developing this art form called horsemanship. Let’s see if we can take it one step at a time and examine how to develop contact by using the snaffle bit.

The Snaffle Bit & Contact

As we discussed in the previous article, the snaffle bit is an excellent choice for most horses in schooling the development of contact in that it is both a lateral and longitudinal communication tool. I also cautioned that in the wrong hands the snaffle bit can be very harsh, so don’t be fooled by its simplicity of design.

If it were a perfect world, where we all had the time to truly study the horse and ride every day to further enhance our abilities at communication, we would most likely follow the training progression of our Spanish and Mexican friends. In these traditions, the horse is schooled in a bosal, or sereta, to develop self-carriage, self-confidence, and yes, contact. Unfortunately, most of us don’t have the time, nor the understanding of these tools, to effectively use them as instruments to develop a connection from the back of the horse, up through the poll, and back to our sensitive hands. Consequently, we humans pull, the horse resists, and we tumble into a downward spiral regarding communication. (Note: I will talk about the use of the bosal in the next issue, for those who can invest the time!)

What all of us can learn from the Vaquero traditions is that the snaffle bit can be used by those of us who are mere mortals, but to develop true contact, the prerequisites of good attitude, rhythm, balance, timing, and focus must be adhered to by both horse and human! Much has been written about being “on the bit” or “on the aids,” also called “contact of the aids” or “developing a soft feel.” All authors seem to agree on one factor: you must have a strong foundation in the basics. So before we begin to talk about how to develop contact by utilizing the snaffle bit, let me offer three reminders:

1. Remember that attitude (a willingness to yield in a respectful manner) plus movement (the better the horse goes forward, backward, sideways, and crosses the hindquarters, the better he will do everything else) equals positive communication.
2. Recall your Horseman’s Protocol before every transition. (Breathe and become present; think-picture-focus, which sets up your posture; allow; and reward just before it happens!)
3. Use the Dressage Training Scale as a development tool for the horse and for you.

Let’s start with some specifics of developing contact by using the snaffle bit in combination with your other aids.

It is absolutely critical that your horse understand the basics of positive attitude and rhythmic movement before you start fiddling with his mouth. There needs to be some understanding of the driving power coming from the hindquarters, not being dragged along on the front end. It is not so much a question of "When do I start to ask for contact?" but rather, "What have I prepared for prior to asking?"

I can ask for a softness at the poll early in the development, as evidenced by one or two wrinkles in the jowl area, accompanied by a slight raising of the poll and re-balancing of the horse’s weight to the hindquarters. As we continue on, this will develop into true contact and one day being "on the bit." (See Jane Savoie’s recent article here.)

Begin on the Ground

I begin to develop contact in all my horses by executing some work-in-hand exercises. In other words, I start on the ground. It is important to remember that you are communicating to a very delicate and sensitive spot on the horse. The corners of the mouth, bars, tongue and palate are all affected when we ask the horse to give at his poll, grow his neck upwards from his shoulders, and shift his balance slightly to the hindquarters. Can you just imagine how that snaffle bit would feel in your mouth?

Remember as you practice your work-in-hand exercises, and then apply them up into the saddle, that it is important to keep these thoughts in mind:

1. First, the reins should act as an extension of you. They are somewhat elastic, with your fingers willing to hold and release; they are not part of your tug-of-war human mentality. No pulling allowed!

2. Second, recognize that you have an active rein and a supportive rein. They have different functions and feelings for the horse, particularly when accompanied by your other aids.

o The supportive rein is typically on the outside of the bend; it suggests to the horse to carry himself longitudinally from back to front, and it captures the balance when moving laterally. For example, in a leg-yield, balance moves from the inside hind to the outside rein; in a half-pass, balance moves from the outside hind to the inside fore.

o The active rein is usually on the inside of the bend, and mainly serves the purpose of keeping the proper bend. In younger horses, it provides direction. There are many other combinations and functions if we really want to get technical, but for developing beginning contact, let’s just keep it simple. (For review, read Riding Essentials by Francois Lemaire de Ruffieu.)

Once your horse can carry himself with a softness in his poll, moving with a small measure of back to front energy, and accomplishing the beginning work-in-hand exercises, you are well prepared to start asking for contact while in the saddle.

Use Your Aids

Always start with forward motion and think of your aids in this order: seat, legs, then hands. My seat asks the horse to prepare for a little half-halt; in my mind, I hear, “Get ready…get prepared…listen up.” My legs encompass the horse like a bow-legged cowboy, gathering the horse's belly up into his back. And finally, my hands squeeze the reins, talking to the tongue with my ring finger having the supportive rein in a more constant caress and the active rein sponging more actively. In the beginning, I will carry this contact only a few steps, and then reward by releasing both ring fingers. As we progress, I will continue in the same manner, using the half-halt, but ask the horse to carry this contact primarily through the supportive rein.

In the end, developing contact is critical to every discipline for riders who truly wish to athletically prepare their horses and keep them as fit, balanced partners into their later years. The snaffle bit can allow us to find that initial connection, which, combined with other aids and applied with focus, can create a beautiful picture. Start slow, reward often, and feel for the contact – the connection!

Contact and the Snaffle Bit

Developing contact: theory and practical use of bits, Part 1  

by Alice Trindle  

In this next series of articles, we will discuss the broad concept of developing "contact," or what some refer to as a "soft feel."  I will endeavor to relay my understanding of the use and theory behind such tools as the snaffle, the bosal, the double bridle, and true bits such as the spade, half-breed, curb, and Salinas. It is important to stress that these are my thoughts based on personal experiences, observations, and my teachers, both human and horse. As I researched this series, it became evident that there are a wide variety of opinions, many stated as fact, on the subject of developing contact and relating that to use of the bit. The bottom line is always the same: do your own reading, observation and listening, and then ask your horse what makes sense and feels right. 

 

What is Contact?

For me, contact is the connection, both mentally and physically, that enables the horse and rider team to feel for one another in self-carriage and with self-confidence. It is more than the horse giving in the jowl; it includes driving the energy up from the hindquarters, in a circular fashion, to a soft feel in the hands that accepts and caresses that energy. I want to feel for the horse's tongue by starting at the hind end and visualizing the wave of energy coming from the back up through the neck and resting with lightness in my hands. Here are some concepts that help me identify the feeling of contact:

•  A Good Dancing Partner is one who does not hold you so close that you cannot move, nor is he one who provides very little guidance. I want to dance with someone who is polite, thinks of me before we get to the dance floor, suggests the direction we may start, and then gently guides me with a supportive feel at the waist and a posture that says he is proud to dance with me. There is contact between us: feeling of, for, and with one another.

•  A Wise Sailor is one who does not pull on the lines to try to control the direction of the boat, nor does a sailor try to let nature take its course by allowing the wind to hit the sails while he maintains no feel on the lines. Rather, a thoughtful sailor will prepare ahead of time, check out the wind direction and place the sail by little manipulations on the lines so that as the wind comes up he can capture the energy and guide the boat effortlessly.

Why is Contact Important?  

Simply put, if I do not have contact, I probably do not have a connection! Think about the last time a friend you hadn’t spoken to for a while called you on the phone. Because of the phone line and shared memories, you have an immediate connection: contact! As you chat for a while, she makes a suggestion to get together: connection with a positive suggestion. As a result of the phone conversation, the two of you go to a fabulous event: the ultimate in contact! Why is contact important?  Because without your friend making the phone call and connecting, you would have never attended the event.

How to Develop Contact

What you do before you place a feel on the reins is critical to your success in truly developing contact. First, go through the Horseman’s Protocol and make sure you are present, have a clear picture in mind, and are willing with a positive attitude. Next, warm up using the gymnastic exercises (see previous article series at www.nwhorsesource.com or www.tnthorsemanship.com/articles). Last, depending on the development of your horse (i.e., age, physical preparation, attitude, and perhaps the jobs you will be asking him to perform), ask him to develop a measure of self-carriage, balance, and rhythm while gathering the energy from behind as you put a feel on the reins.

Ideally, the horse lengthens his neck, softens in the jowl, keeps his poll as the highest point (as if pushing up a feather), and drives from the hindquarters. The reins have a connection to the tongue, and the rider's fingers act, if needed, in slight sponging squeezes to massage away bracing. The rider’s elbows are heavy and legs are approached or connected to the horse but not kicking or bumping him forward into the contact. You are providing a place for the horse to drive up to and to begin to collect his balance underneath. 

The Snaffle Bit 

It has been said that the snaffle bit can be the best bit in the world or it can be the most severe. For too many humans, the bit they choose has more to do with show standards and perceptions rather than having the comfort and progression of the horse at heart. The best bit any of us can invest in is the bit of knowledge, caring, compassion, and grace.

For developing contact, the snaffle bit is an excellent tool. In thoughtful hands, it provides a nice connection to the horse's tongue, bars, and palate to enhance lateral flexion. When combined with balanced and rhythmic aids, the snaffle is a wonderful teaching tool for longitudinal flexion as well.

I am referring to snaffle bits as a general category of bits that are hinged in the middle, sometimes with one or two breaks or a floating roller or frog, and all of which have no shank. Typical shapes are egg-butt or loose-ring on the side portions of the bit. The curb strap is attached loosely and exists primarily to keep the egg-butt or ring from being drawn into the horse’s mouth. Reins are attached directly or through slobber straps, which act as a way to politely attach the mecate, as well as aiding the feel of the fingers. Materials vary from sweet iron to copper inlays to steel and aluminum. Avoid the aluminum or chrome bits, as they cause dryness in the horse’s mouth and are not healthy materials. 

When choosing a snaffle bit, I highly recommend consulting with a veterinarian who specializes in equine dentistry. They can prepare your horse so the bit fits comfortably, remove wolf teeth, and tell you about width, tongue thickness, and other details that will help you find the right fit.

Next month, we will talk about developing contact with both the snaffle and the bosal. Until then, give someone you haven’t spoken to for a while a call. Reconnect! Then try the same principles with your horse: get him "on the phone," create a clear picture for him of where you’d like to go, then go with him–together, with connection and contact!

Riding the Whole Horse

Gymnastic exercises for horse and Rider – part 4

by Alice Trindle

With spring knocking at the door, I am ever so anxious to get outside…with my horse, with my mind, and with my attitudes! Relaxation, release, forgiveness, forgetting, and letting go are feelings for which I yearn. With these exercises we have been practicing, I am set up to put them to practical use in working with the cows, riding the hills, and just enjoying the relationship I have gained with my horse over the winter months. I am prepared to ride the whole horse mind, body, and spirit, with great joy because we now have jobs to do! The art to which we aspired now has purpose.

In this article–the final portion of our gymnastic exercise series–we will examine an exercise that helps me a lot with ranch-type jobs. Opening and closing gates from atop the horse, backing up for various purposes...these are jobs that, when accomplished effortlessly, illustrate great communication between horse and rider and are the mark of a true aspiring horseman.

Backing or Rein Back

In Circles, Zig-Zags, Squares and Half-Pass Postures

What: This exercise asks your horse to carry his energy backward in balanced, rhythmic cadence, without resistance and with the feet working in energetic, light, diagonal pairs (the same foot pattern as the trot going forward).

Why: This exercise will:

• Engage and strengthen the hind legs, hips, and hocks

• Flex the ribcage and topline

• Soften the jowl and lower hips

• Help both horse and rider understand precise use of aids

• Develop the ability to subtly change and flow between postures. 

This is not an exercise limited to those pursuing ranch-type work. These backing exercises are great preparation for soft canter departs, correct turn-on-the-haunch, and confirmation of the aids. 

When: I use these backing exercises after I have established a great forward. Poorly executed backing through use of pulling on the reins, pushing on the stirrups and excessive bumping with the legs will achieve nothing but a dead, dull, stiff relationship. On young horses, or ones I am re-starting, I start very slowly with the request to back up, and then I reward quickly. 

I try to work on just one thing at a time: 

• First, I work for the softness in the jowl and giving to the bit. 

• Next, I search for a shift of balance from the front to the hindquarters without stiffness in the top line. 

• Finally, I reward the slightest movement of the feet in a diagonal pattern. 

The idea is to build on these elements, asking the horse to hold them longer, then carrying this softness on specific patterns with a backward energy. I also use these exercises with horses that may have become heavy on their front quarters, are pushing on the bit, or horses that lack confidence. Learning to trust that I have eyes on my back can be a wonderful feeling for a horse!

 

How: With rein back exercises, it is extremely important that you visualize the geometry of the pattern you will be backing prior to starting. I start, as always, by taking a deep breath, becoming present, finding good posture, and then visualizing the backing exercise. Next, I ask for a "soft feel," giving in to the bit or bosal, and a wrinkle or two in the jowl. These are the “get ready” signals for my horse; they tell him that we are about to accomplish an exercise together. 

When backing, it is very helpful to visualize that you have an eye in the small of your back. By using this "horseman’s eye," you will automatically develop good posture, which does not lean too far forward (your eye would be looking into the sky), nor backward (your eye would be looking into the ground), but positions you perfectly centered and balanced. Using your horseman's eye, you will also position your hips, shoulders, and leg cues correctly, and stay out of the way of your horse’s energy as you move backward in whatever pattern you have envisioned. As always, I highly recommend backing these patterns on your two-leg horse first to feel the balance and rhythm of the diagonal pairs and to assist you with using your horseman’s eye. 

Exercise Patterns

Here are the patterns I suggest you back to prepare your horse for a brilliant forward:

Backing a Straight Line – This is more difficult than it sounds. It will help to focus on an object about twenty feet in front of you. Then, using your horseman’s eye in the small of your back, rein back away from the object with flow, rhythm, and energy. Picture your horse’s feet picking up as if he were backing in a foot of snow.

Backing a Circle – In this pattern, your horseman’s eye will really play a role. Start with big circles, and reward after you have backed 1/8th of the circle. Build on that until you can fluidly back the entire circle without resistance. As you progress, try backing a circle in a half-pass posture (i.e., with the nose to the inside of the circle).

Backing Squares, Serpentines and Figure-8s – Again, the eye in the middle of your back is really important. Take time to half-halt or take a deep breath to prepare between each change of the bend.

Ground School Patterns – Don’t forget to practice backing with rhythm and flow in your ground school exercises!

Cautions

The biggest caution with rein back exercises requires you to check your humanness at the gate: try not to fall into a mindset of making your horse back up. Rather, set it up so he wants to move backward--gracefully, with rhythm--and see that there are many purposes for these backing maneuvers. No pulling, no bracing, no force. Relax, breathe, and picture, which will set it up for you to wait for the correct response, and then reward! 

It has been great fun writing about these gymnastic exercises. I know that if you practice them, they will make a world of difference in your relationship with your horse.

As always, there's more to be found at tnthorsemanship.com/articles!

References:

Gymnastic Exercises for Horses by Eleanor Russell

Reflections on Equestrian Art by Nuno Oliveira

Combining Exercises

Gymnastic Exercises for Horse and Rider, Part 3

by Alice Trindle

If you have been following this series on gymnastic exercises and have been applying them with your partner, the horse, then you should be feeling an improved balance, softer shoulders, and hips that move more freely. 

All of the previous exercises in this series help to strengthen and supple the horse. They also assist with understanding subtle communications through the use of your aids. Through combining your balance aids (focus, shoulders, arms, elbows, tummy and hips influencing your seat) with the pressure aids (leg, calf and inner thigh) and politely making suggestions with your hands through a feel on the reins, you will be to execute these exercises with minimal effort. (See review section below for links to past articles on balance and pressure aids.)

Now, let’s combine these maneuvers to develop a flow between postures that creates rhythm, enhances our timing and use of the aids, and prepares both horse and rider for such jobs as flying lead changes, canter pirouettes, and correct spins. 

Balanced Circle to Shoulder-in to Half-pass

What: Riding the long side of the arena or from the center line, pick up a 10-meter circle, move into a few steps of shoulder-in, then into a half-pass on the diagonal with shoulders leading.

Why: The intent of this exercise is to engage and strengthen the inside hind legs, hips, and hocks; flex the ribcage; soften the jowl; and prepare for correct positioning and balance of half-pass postures. It will also help the horse and rider understand precise use of aids and develop the ability to subtly change and flow between postures. This is not an exercise limited to those pursuing classical dressage! This combination is wonderful preparation for balanced lead changes, correct turn-on-the-haunch, and, in short, communication to all four corners of the horse. 

When:  I use this combination after I have established a balanced circle, a flow for the shoulder-in, and a beginning understanding of the half-pass. These elements need to be in place first or you will risk attempting this combination with poor rhythm, shoulders casting, hips leading, and an overall lack of balance. This combination of postures and movements requires both horse and rider to become more vigilant of their aids, geometry, balance and timing.

How: As in previous gymnastic exercises, it is important that you visualize the geometry prior to starting. I highly recommend riding this combination on your two-leg horse first to feel the balance and rhythm at the walk and trot. It will also assist you with your focus. 

1. As you ride out of the corner, pick up a straight, balanced 10-meter circle, where the inside pair of feet track up on the circle and  the outside pair track up on the outside of the "railroad track" (a parallel track along the circle). 

2. Just prior to departing the circle, keep a slight inside bend (to the right in this illustration). Bring your balance slightly to the left, relax your left leg and caress slightly with your right calf.

3. Accomplish a few steps of shoulder-in. This will position the shoulders to lead in the half-pass rather than starting from a haunches-in posture, which would cause the hips to lead and the shoulders to drag behind in the half-pass--not good!

4. Visualize your half-pass on the diagonal. Shift your balance to the right (or the inside of the bend). Place your left leg back to secure the haunches, put a little feel in the right rein and leave a slight feel in your right calf to invite the horse to step into it, keeping the bend to the right. I feel for the change in flow of energy from the right hind leg to left rein in the shoulder-in, to the exchange from left hind to right foreleg and/or rein in the half-pass.

Cautions: Once again, this is an exercise that is easy to try too hard to accomplish. That just ends up creating bracing in both yourself and the horse. Relax, visualize, see the geometry, and ride for the balance and feel. The biggest note I can reiterate is that a proper, balanced half-pass starts from the outside hind and flows to the inside fore, keeping the shoulders positioned ahead of the hips. 

Since we practiced the haunches-in posture out of the circle in last month’s exercises, your horse may want to depart the circle with his hips to the inside of the track. Don’t let him! Start your half-pass with the shoulders-in, then change your aids to request the half-pass. Your forward/sideways movement will remain balanced, rhythmic, and ready for you to ask for another maneuver. 

See www.tnthorsemanship.com/articles for further combination exercises.

It's time to combine exercises to supple, flex, and prepare you and your horse for a magnificent dance! Make it a dance in which both partners have positive attitudes with bodies ready for anything life throws at them.

References

Gymnastic Exercises for Horses by Eleanor Russell

The Gymnasium of the Horse by Gustav Steinbrecht

For Review

Find past articles and exercises in this series online:

On Alice's website (July – Sept. 2007 Beyond the Basics are articles on balance aids)

Here at NWHS

Free Up the Hips

Gymnastic Exercises for Horse and Rider, Part 2

by Alice Trindle

Use haunches-in maneuvers to free up the hips

Last month we began a series of articles on gymnastic exercises to help flex and supple both the horse and rider. This month, let us focus our attention on the hips and hindquarters of the horse.

Here are some reminders regarding definitions of terms commonly used in almost every equine discipline. However, sometimes these terms have different meanings or mental pictures attached to the maneuver, based on culture, geographic location, and inadequacies of translating from one language to another. Below are the Alice Trindle versions, so at least within this series of articles we are all on the same page!

Basic Terms

Bend: The slight arc in the horse's body to the right or left, just enough to see the eyelash in most cases, unless accomplishing suppling and flexing exercises.

Inside or Active Rein: The rein on the inside of the bend (i.e., in a bend to the left, the left rein is inside). The rider's fingers act in a hold-and-release or "sponge" fashion.

Outside or Supportive Rein: The rein on the outside of the bend (i.e., in a bend to the left, the right rein is outside); fingers act in a support or "suggestive" hold or feel.

Movement Terms

Shoulder-in: A maneuver in which the shoulders come slightly off the line, toward the inside of the arena, and ultimately three hoof prints are left (a three-track); the balance of the movement starts with the inside hind foot and flows to the outside shoulder and outside rein. The rider's weight/balance sits slightly in the direction of travel.

Haunches-in or Travers: A maneuver in which the hindquarters come slightly off the line, toward the inside of the arena, and hoof prints are a three-track; the balance of the movement begins with the outside hind foot and flows to the inside shoulder. The rider's balance sits in the direction of travel, to the inside of the bend

Half-pass: Traditionally accomplished on the diagonal line, bend and movement are sideways, both in the same direction (i.e., bend to the left and movement forward and sideways to the left). The rider's balance is to the inside of the bend, in the direction of travel, with the energy flowing from the outside hind foot to the inside shoulder.

Leg-yield: Traditionally accomplished on the diagonal line with the movement sideways opposite the bend (i.e., bend to the left and movement forward and sideways to the right). The rider sits or balances in the direction of travel or to the outside of the bend.

Reverse or Counter-bend: Posture and movement is similar to the leg-yield, but with less forward movement and the shoulders reaching more than the haunches.

This Month's Exercise

Haunches-in to Haunches-in on Circle (see online edition for article with original layout and diagram)

What: For this exercise, you'll be riding the long side of the arena with haunches to the inside, keeping this posture as you ride a large circle, then continuing down the long side in a haunches-in maneuver.

Why: To engage and strengthen inside hind leg, hip, and hock; flex the ribcage; soften the jowl; prepare for half-pass postures; and help horse and rider understand precise use of aids. 

When:  I use the haunches-in postures with horses at all stages of development, as soon as I have established willing movement forward with rhythm and balance. Normally, I begin schooling the hindquarters-in from the ground as a work-in-hand exercise. For the young horse, it helps to establish patience, listening to your aids, and connecting your focus and positioning to the feet. For the advancing horse that has a good grasp of the aids and free hips, I rarely use the haunches-in, but instead more half-pass exercises. 

How: Here again I use the square corner to help me visualize the geometry of this exercise. As I ride into the corner, tracking right, I double-check that I can see the horse’s right eye and a wrinkle or two in his jowl, keeping soft and a little gathered. As we progress through the corner, I picture his hips staying to the inside of the track as my focus picks up the new line and my balance shifts slightly from center to the right. I put a little "feel" in the right rein and place my left leg back slightly to encourage the hip to step to the right. I feel for the movement or energy flowing from the left hip to the right shoulder and rein. The bend stays to the right. As I approach the middle of the long side, I picture a large circle, then ride the horse's shoulders on that circle with his haunches slightly to the inside. When I reach the track again, I flow off in the same posture (haunches-in) for a few steps, then straighten and reward.

Cautions: Boy, this exercise is a big one for trying too hard, but that is just setting it up for frustration in both horse and rider. Relax, visualize, try it first on your two-leg horse, and then in ground school. By the time you attempt under saddle, the horse will be there!  Remember, too, that you are not pushing the hips away with your outside leg, but rather inviting him to come into your inside leg, following the balance of the movement. In the beginning, reward the first steps and build on that, holding the haunches-in posture longer and longer.

As always, more exercises and information are available at www.tnthorsemanship.com/articles.

Now it's time to move up the scale and free up those hips!  This month, start combining the January "Square Corner" exercises with this haunches-in maneuver. Your horse will become more supple, responsive, and I bet happier!

References:

Gymnastic Exercises for Horses by Eleanor Russell

Riding Essentials by Francois Lemaire de Ruffieu

The Use of Corners

Gymnastic exercises for horse and rider – Part 1
by Alice Trindle

What a fun ride this has been over the past five years, writing for Northwest Horse Source! As I reflect upon the beginning humble conversations regarding the desire to bring the discussions, skills, and exercises of the clinic situation to the readership of the magazine, and now look back over the volume of thoughts, maneuvers, and principles we have expressed through these articles, it is impressive! Our desire these past few years has been to present specific topics that inspire readers to go "Beyond the Basics" to increase their awareness and observation skills and encourage thoughtful practice of specific maneuvers.

It's going to be another fun year of reading here in NWHS's "Beyond the Basics" series, so let’s get started with some great January exercises to warm up both horse and rider.

Warm it Up
Every true master horseman I have read, or had the good fortune to listen to or watch, has referred to the importance of developing a supple, flexible, strong and athletic horse. In fact, most animals--including humans--seem to be happier, and in the end more relaxed, when they are in shape. In almost every athletic pursuit, we humans are beginning to recognize the importance of not only learning the skills and building strength, but also adding other exercises to gymnastically supple, lengthen and flex. Predatory yoga postures should be commonplace in the gym and in the arena.

Previous articles have mentioned good habits to develop in warm-up routines that elastically limber both horse and rider (see www.tnthorsemanship.com/articles - NWHS ‘06 June, August, and September or visit the www.nwhorsesource.com article archives). It is important that we start any routine that gymnastically develops our horse with a mindfulness toward the ultimate goal. For example, if I am looking to perfect my half-pass, I need to select gymnastic skills that supple the ribcage, strengthen the back and hindquarters, and encourage balance in the shoulders with extension in the forelegs. With a clear picture of the goal in mind, I can select from a menu of gymnastic exercises to help my horse perform that maneuver. It does not matter what discipline or jobs I want to accomplish with my horse. This attentiveness to understanding the reason for selecting a certain set of gymnastic exercises is critical.

Let’s look at two of my favorite gymnastic exercises and thoughtfully examine each one regarding purpose and benefits. (Note: Find diagrams, more exercises and the rest of the story online at: www.tnthorsemanship.com/articles.)

Square Corners
What: Geometrically ride your horse in a square pattern or 90-degree turn.

Why: Engage and strengthen the inside hind leg, hip, and hock; flex ribcage, soften jowl, establish outside rein, balance shoulders and prepare for shoulder-in postures.

When: I use the Square Corner geometry with horses at all stages of development. For the young horse, it helps to establish patience, get him listening to your aids, and connect both of you to your focus, positioning, and use of the rein right down to his feet. For the advancing horse, I use the Square Corner for a warm-up and reminder prior to shoulder-in postures and exercises.

How: Initially, I use the corner of the arena to help me and my horse focus. I ride on the track (let’s say traveling to the right) until I am about three horse-lengths from the wall. At this point, I will ask for a softness in the jowl, a slight bend in the neck to the right (only enough to see the horse’s eyelash!) and begin to start a circle to the right. My balance is ever so slightly in the direction of travel to the right and my shoulders and torso are starting the turn as well. As the front feet begin to align on the new line, I will half-halt or put a bit of suggestion in the outside rein and simultaneously caress with my right lower leg, inviting the horse to step under with his inside right hind foot. At this point my balance is right down the middle of the horse and my outside (left) elbow is just a little heavy. As my horse progresses, I can build this "feel" (riding inside leg to outside rein) into many maneuvers. From sideways or shoulder-in on a circle to actual shoulder-in exercises, Square Corners are a great place to start.

Cautions: The most common error we all make in riding is trying too hard! Remember to relax, breathe and keep a positive tension in your body. If you get stiff and rigid, your horse will also. Go back and try baby steps, remembering to reward the slightest try, particularly in the beginning stages.

Reverse Bend or Counter-bend Corners
What: Geometrically ride your horse in a 90-degree change of direction with the nose slightly away from the direction of travel.

Why: Free up the shoulders while remaining in balance; flex ribcage, soften jowl, establish outside rein, and strengthen hip and hocks.

When: I use the Counter-bend at the same time in my progression as the Square Corner exercise.

How: Tracking right as I approach the corner, I will ask for a soft feel in the jowl and slightly tip the nose and eye to the left or toward the outside wall. Next, I will bring my balance slightly to the right and put a ‘feel’ or caress in the right rein. Simultaneously caress with the lower left leg and focus on the right ear of your horse. Once the shoulders have aligned with the new direction--in other words, followed the 90-degree turn--change your aids back to riding a straight line to the right with a slight bend to the right (no more than an eyelash).

Cautions: Remember, you are not pushing the shoulders sideways, rather balancing your weight in the direction of travel, inviting the horse to flow into the suggestion of the outside rein. Another pitfall is looking too far in the direction of travel. This tends to put you out of balance with a tip in your shoulders or stiffness in your neck. It will cause the same reaction in the horse. Keep your shoulders parallel to the ground, keep an eye on your horse’s ear, and enjoy the flow.

This January as you head out to the arena, try riding both of these gymnastic exercises on your two-leg horse. This will allow you to become flexible and balanced, maybe even rhythmic, before you reach your horse. Once on board, try starting your lesson plan for this entire month with these routines. I will guarantee a better ride with a softer, more flexible and happy horse.

Training Your Own Horse – Part 6 of a 6-part series

Use of the Whip
by Alice Trindle

For those of us who most often ride in Western tack, the concept of riding with a whip may be foreign. As I heard Curt Pate describe once, "It is difficult to hold a dressage whip when you are roping!" However, as we study horsemanship and listen to the masters from many continents, we discover that the whip--when used mindfully--has many benefits for every discipline.

By "whip" I mean a family of extensions of our arms, ranging in length from approximately one to two meters. Unfortunately, this tool has been characterized as a torture device for horses. In the right hands, with clear purpose, it can have many useful and honorable attributes.

Purposes of the Whip
Artificial Aid
The natural aids include seat, leg, hands, and focus. Artificial aids, such as the whip, spur, and rommel, should be used as reminders of the clear intentions we first establish through the natural aids. I don’t want to create a situation in which my horse only moves due to the tap of the whip. Rather, I will use the whip to remind him to move after my focus, seat, legs, and hands say “Go!” The whip should not become a crutch.

Extension of Your Arm or Leg
For those of us who are vertically challenged, (i.e., a little short and riding a rather large horses or rather tall and riding a smaller horse), the whip can be an excellent way to communicate to specific body parts without negatively affecting our body position or giving mixed, confusing signals with our legs. Being on the short side myself, and often riding rather large horses, I have to be very careful about the use of my leg pressure, particularly if I am wearing spurs to enhance the movement. I cannot get my leg back to influence the hip or some lateral movements without touching the horse too high on his ribcage. The dressage whip can allow me to keep my seat, hands, and focus in the correct position while using the whip to point and talk directly to the body part that needs to move.

Enhance Movement & Balance
In your groundwork, round or square penning, work-in-hand, developing high school maneuvers, and in riding, the whip can be a wonderful tool to help enhance movement, balance and clear communication of your intentions. Exercises using two whips can greatly help your balance and posture in the saddle, as well as enhance the balance of your horse.

Develop Your Multi-tasking Skills
Combining clear leadership, focus, balance, rhythm, timing, and feel together with another living, thinking, feeling creature is not easy. Any time I can further advance my multi-tasking skills, I know I am on the right track.

Use as a Reprimand
Schooling and learning require some measure of discipline:
• The discipline of providing good leadership for our horses
• The requirement to care for our animals
• The appropriate demand of a response from our horses

The word discipline should first relate to the human’s role of instructing, guiding, and educating both our horses and ourselves. Using the whip to correct should always happen with mindful intentions, in which you clearly have pictured the correct response and are ready to reward the slightest try in that direction. The use of the whip to discipline the horse must be u

sed in that mindful sequence, and never used as punishment.

Tradition & Honor
A final purpose of the whip is related to the traditions of riding schools and the honor one earns after many years of study. To ride with a willow stick is one of the highest honors afforded in many riding schools across the globe. Similar to our true vaquero tradition of earning the honor to ride straight up in the bridle with the rommel reins attached with one horse hair to a beautiful spade bit, you only earn the right to carry a willow stick as a whip after many years working with and studying horses.

Cautions for Using the Whip
• The whip is not to be used for punishment. There is no room for that type of aggression with horses.
• Avoid using the whip in a nagging or nit-picking manner, particularly without clear intentions of the desired outcome.
• Do not use the whip for trailer loading education. The whip has a bite to it, and this can distract from the desired intention of sending the horse into the trailer. In frustration, the horse will often kick up at the whip and not focus on the right answer of flowing into the trailer. Instead, I use a whirl of the end of the lead rope or an extension of my arm like a fiberglass/carrot stic

k, or team up with another knowledgeable human.
• Be vigilant about the end of the whip when it is around the horse’s eyes. In particular, the popper end of the lunge whip can cause serious injury to the eye. Be Careful!

Exercises
For a review of general work in hand exercises and liberty work, visit www.tnthorsemanship.com/articles. You can also review last month's article on liberty work, either there or at www.nwhorsesource.com.

Ski Poles and Swords
This is one of my favorite riding games that uses either a whip or a fiberglass stick. The basic principle is to use the whip as a visual aid to get the human to free up the upper and lower body, focus, and allow the horse to accomplish more with less.
While holding the whip as if it were a ski pole, put a slight twist in your torso and bring the ski pole back toward your horse's flank, as if you were planting the pole vertically. This movement and positioning will affect the horse's hindquarters. If accompanied by getting the inside eye and a little inside rein, you will affect the horse’s inside hip and hind leg to cross under the belly. 

Next, switch to holding the whip as if it were a sword, and place it in your outside hand. As you direct the inside eye for a change of direction using the inside rein, extend the sword forward, as if to reach around the outside arc of the circle in the direction of travel. This movement and position will affect the forequarters of the horse. 

To begin with, I use the whip in this exercise on a series of half turns, or changes of direction with forward motion. For example:
• Start tracking to the left with the whip in your left hand as if it were a ski pole.
• Now think of changing directions around your left leg and flowing back off to track right. Your left hand will have the left rein and your ski pole.
• Put that twist in your torso, opening your shoulders by drawing back on your left hip and bringing your right shoulder forward. The whip is placed perpendicular to the ground (ski pole position), near the flank. Don’t dip your shoulders!
• Once you have accomplished the change of direction by stepping the left hind foot under the belly and you are riding off to the right, you are ready for the sword.
• Change the whip to a sword position. See in your mind's eye a half turn change of direction around your right leg. Look right, slightly guide the right eye with your rein, and extend the sword out in an arc to affect the left eye until you have changed directions.

Advance this exercise by riding with two whips – the inside of the bend contains the ski pole, and the outside of the bend holds the sword. Soon you will be riding with little or no rein and experiencing the joy of your horse following your natural aids with the help of the whip!


Author's Note
It has certainly been my pleasure over the past 12 months to write these articles for the readers of Northwest Horse Source. To share what the horses have been teaching me is truly a gift from the Creator. In this month of spiritual celebrations, let’s remember how fortunate we are to have horses in our lives!

~Alice