Driving Horses, Part 3 of 3

Common misconceptions about driving and the reality behind them
by Kayo Fraser

Driving horses can be fun and challenging. However, there are skills that must be learned and developed first to avoid injury to yourself and your horse.

Misconceptions About Learning to Drive
1. It is easy to learn
Driving is not a skill learned in a few hours. The amount of time it takes varies with each individual, but we recommend at least two weeks of professional lessons to absorb the basics and be able to drive a well trained horse or pair of horses. It takes practice to develop an instinctual response to surprising situations that could be potentially dangerous. The more you know, the better you can avoid mistakes.

2. Any horse can be driven
Some horses do not have the disposition required to be a safe driving horse. It is more challenging to teach older horses to drive, and often they do not appreciate doing something this different from their previous training. Compare it to teaching a teenager to clean his room if he has never had to do it before: rebellion sets in. A mature horse has figured out his lot in life and may not be willing to learn something as frightening as pulling a “monster on wheels” behind him. His rebellion may be devastating. Either start with a well trained horse or train your horse when he is young and receptive.

3. A bomb-proof horse can teach you to drive
There is no such thing as a bomb-proof horse except a dead one. Horses feel safer when their driver knows what he/she is doing. They need to trust the driver to not get them into a troubling situation or to be there for them if they get frightened. All horses have the potential to run.

4. You can learn to drive from books or videos
Wonderful books have been written by great trainers – but a book or video cannot correct bad habits or misuse of the reins, or tell you what to do if your horse refuses the lesson. Hands-on training with a professional instructor is the best way to learn these skills correctly.

5. Anyone can teach a horse to drive
Try teaching a college course in calculus with no background in math. If your horse loves and trusts you, he may be willing to try something new –but how can you teach proper driving techniques if you don’t know the basics yourself?

6. Buy before you try
A lot of money is wasted by people who buy horses, harnesses or vehicles without proper knowledge or advice. Even if you buy from a reputable manufacturer, you may spend money on something that is not suitable for your horse or application.

Common Mistakes Made While Learning
1. Driving with a loose rein/line.
A novice needs to understand the importance of contact with the horse’s mouth instead of driving with a loose line as you would in neck reining. It is the most difficult habit to change. The lines are like telegraph wires sending signals from you to your horse. If you drive with proper contact, you can feel your horse and your horse can feel you.

2. Hollywood-style driving
One of the first mistakes we correct is slapping the lines on the horse’s rump to make him go. It is a learned response from watching western movies and TV shows. Any time you slap the lines, you abuse the horse’s mouth. There are much better ways to ask a horse to move ahead.

3. Staring at the lines to be sure there is no slack
It is surprising how many people believe they need to look at the lines while they drive. When you learn to “feel” the reins, you know you have the right connection to your horse. If you stare at the reins or the horse’s head, you might miss that bear walking out on the trail up ahead or a dog waiting to bark as you pass by or a child running out from the bushes to greet you. You need to be aware of your surroundings, not only to be safe, but to relax and enjoy the experience.

4. Leaning forward in the carriage
Center of balance is as important on the carriage seat as in the saddle. Leaning too far ahead not only looks bad, but it will eventually hurt your back. If the horse lunges forward, you are at risk of being pulled out of the seat and under the carriage.

5. Letting the horse go where he wants
If it were up to most horses, they would go back to the barn for oats and a brush-down. A horse needs his driver to be confident and in control. He may not realize you need to stop at an intersection for his safety and your own. A horse is a creature of habit and may take the same route every day like milk delivery horses did in the past. Driving to new areas for a change of scenery will be fun for everyone.

After a few lessons, most students realize that driving is not as easy as they thought. It takes time and practice to learn and develop new skills. I call it cellular memory or muscle memory when the brain has learned how to make the muscles respond properly to driving a carriage horse in all situations.

The sport of driving is the fastest growing equine activity today. If you decide to give it a try, be sure to have someone who knows what they are doing help you get started. Before you take anyone for a ride on the carriage, please get professional training for yourself. Risking your own life is up to you, but before you risk the lives of other people, there are many techniques and safety issues you need to learn so everyone can have a great time – especially your horse.

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.

Ride the Shoulder-In

Learn to ride dressage movements, part 2 of 2
by Jane Savoie

Shoulder-in is the father of the advanced lateral dressage movements. It does many wonderful things for your horse. Here are just some of them:

• Shoulder-in is a suppling exercise because it stretches and loosens the muscles and ligaments of the inside shoulder and forearm. During shoulder-in, your horse passes his inside foreleg in front of his outside foreleg. This motion increases his ability to move his forearm gymnastically in other movements.

• It's also a straightening exercise because you should always straighten your horse by bringing his forehand in front of his hindquarters. Never try to straighten him by leg yielding his hindquarters out behind his shoulders.

• Shoulder-in is also a collecting exercise. It increases your horse's self-carriage because he lowers his inside hip with each step. As a result, his center of gravity shifts back toward his hind legs. His hindquarters carry more weight and his front end elevates.

What Does Shoulder-In Look Like?
The horse flexes to the inside and bends around your inside leg. His forehand comes in 30 degrees off the wall so he's on three tracks. At this angle, his inside hind leg lines up behind his outside foreleg. Sometimes in competition the judge likes to see a hoof's width more than three tracks, but don't bring the forehand in more than that, or you'll lose the bend.

What Are the Aids?
If you're doing left shoulder-in, the aids are:

1. Put your weight on your left seat bone.
2. Keep your left leg on the girth for bend and to ask for engagement of the inside hind leg.
3. Place your right leg behind the girth to prevent the hindquarters from swinging out.
4. Use your left rein to create a +1 flexion at the poll.
5. Keep your right rein steady and supporting to prevent too much bend in the neck.
6. Keep both hands low and equidistant from your body as you move them to the left. Move them to the left enough to place the outside front leg in front of the inside hind leg. Use your inside rein as an opening rein. Bring your outside hand very close to the withers, but never let that hand cross over the withers.

What's the Sequence of Aids?
Always ask for bend before you ask for angle. The formula for the advanced lateral exercises is Bend + Sideways = Engagement. It's not Sideways + Bend = Engagement.)

• Make a 10-meter circle (or ride a corner with a 10-meter arc) to bend your horse.

• You'll know your horse is bending easily when you can soften the contact on the inside rein and he stays bent by himself. He'll also feel like he's "giving" in his rib cage (i.e., if you're circling to the right, his rib cage feels like it's bulging to the left).

• Once he's bending nicely, start a second 10-meter circle.

• Interrupt that circle during the first step, and continue down the long side. To interrupt the circle, look straight down the long side and give a squeeze with your inside leg.

• Bring both hands to the inside to place the forehand 30 degrees away from the wall.

• Make sure you do the shoulder-in with the same amount of bend and angle in both directions. Don't ride on three tracks in one direction and on three and a half tracks in the other.

Marks of a Good Shoulder-In
The quality of the shoulder-in really comes down to bend. You know your horse is bending if his hindquarters are in exactly the same position (i.e., parallel to the wall) in shoulder-in as they are when you're just riding straight down the track. If his hindquarters swing out at an angle to the wall, you're just doing a leg yield in a shoulder-in position.

Driving for Fun

From the students' mouths – how driving can be a great addition to activities with your horse

Article and photo by Kayo Fraser

Racing through water hazards in a marathon vehicle and running tight twists and turns is only part of the attraction to driving horses. It is fun, it is challenging and it is easier on the bones. But rather than me telling you what fun it is, I asked several people why they enjoy driving.

“That's easy! I don't get bucked off, and I can share my horse with a lot more people; even those that don't know squat about horses. Even old Grandma Jones that can't ride a horse can get in the buggy with me and go for a pleasant ride.”

“I've done just about everything there is to do with horses: western, English, barrel racing, fox hunting, roping, dressage, polo, reining, but the folks I've encountered in the driving world are simply the best! That and the thrill/challenge of a CDE are why I drive.”

Horses like to play, too. When they can charge over hills, zip through trees and splash across water with a driver steering the best route, horses can have as much fun as people. Just remember, proper training is necessary for both drivers and horses to be safe.

For people who want to be involved with horses but don’t want to drive, being a groom or navigator on the back of the vehicle can be exciting. These assistants are fondly referred to as “gators,” and their job is to keep the rear wheels on the ground during sharp turns and assist in swaying the carriage around obstacles. One of our students actually prefers it to driving.

Physical Constraints
When it becomes physically difficult to ride, many equestrians don’t want to give up their horses; learning how to drive keeps them active with their equine companions.

“I have been around horses all my life, but it is getting difficult to get into the saddle anymore. I don’t want to give them up, so I’d like to learn how to drive so I can still play with them.”

“I'm an incredibly green driver but have realized, for all my years of riding horses and loving them, my bones are getting creaky, and gravity has made it really difficult to mount a horse. Driving will be a way to still spend all the time I can with my horses. My husband, who has given up riding, can go driving with me, and that’s a great thing!”

Marilyn, a 73-year-old student, says, “It’s a wonderful way for the more mature horse people to stay with horses because as the hips and knees get replaced and spines get fused, we can still drive horses.”

Our daughter married a wonderful man who used to drive the famous Clydesdales and is still driving professionally. She says: “The thing he likes best about driving is that you can get more beer in the cooler located on the seat beside you than in your saddle bags.”

We don’t encourage drinking and driving, and neither does he, but having space in the wagon for a picnic lunch is definitely a plus. Driving horses with a wagon can be useful for hauling firewood, hay, salt, provisions, camping gear, or game, and is welcome in limited access areas where motorized vehicles are not allowed.

Making Dreams Come True
“I have had a dream since I was a little girl of owning a small farm that I could work with a team of draft horses. Do you think I am crazy to start learning how to work horses at this stage in my life?”

The student who said that was in her fifties at the time. We told her she would be crazy if she didn’t. She learned how to mow and rake hay, spread manure and harrow the fields. She eventually bought a small farm and the equipment she needed to work it.

Life is too short not to follow one’s dream.

The Challenges of Learning
Experienced riders often find it a challenge to learn how to drive. Leg aids, neck reining and body postures don’t work when you are sitting in a wagon or carriage with a park bench size seat or wedge seat several feet behind your horse. New ways of communicating with your horse have to be learned and practiced.

If the Combined Driving Events (CDEs) lure you to compete, the next challenge is refining your movements with the driven dressage techniques. Each competition is an opportunity to improve your skills. Yes, there are ribbons to win, but the real challenge is fine tuning your horse to respond to your signals almost as quickly as you think them.

Not everyone wants to compete. Exhibiting is one more way to have fun with your horses. Show dates provide a goal and a reason to drive every day possible.

Again, it is important to learn how to drive horses from a professional instructor. It’s much easier to avoid creating bad habits in the beginning than it is to break them later. This leads us into next month's article on the common driving mistakes people make.

Kayo and Alex Fraser own and operate the Fraser School of Driving in Deer Lodge, Montana. Their web sites are www.drivehorses.com and www.wildhorsebooks.com

Schooling Your Horse

Show pen strategies, part 2 of 3: tune your horse up in the ring
by Allison Trimble

If you show much, there will come a time when you need to change some things about your show experience. The most common way to go about this is with schooling runs. This means that you have walked into the pen with the intention of not caring about your score or to purposely zero. Typically, people school because there is a negative behavior they want to address in their horses, or they are preparing to show in a big event and are going in to practice in a way that tunes the horse up. To school your horse, you usually enter in the least expensive class you are eligible for. In some associations or clubs, there are even schooling sessions you can purchase that are for a set amount of time.

Either way, there are a few things I want you to know about the benefits of schooling your horse:

Practice in a Show Environment
There is no better way to get used to the show pen than to set foot in it. If you approach your class as though you are schooling, it lets you get the majority of the show experience without caring how you score. All of the components--like being alone in the pen in front of the judge and crowd, having to stay on pattern and remember all the parts you are supposed to--can be hard enough without having to worry about how you are scored. Think of it simply as practice, like a pre-season game; no one cares who wins or loses, it is just a starting point.

Make Changes in Your Show Approach
If you have been showing for years, even though you are making growth at home in your horse’s or your training, it can be hard to make those changes transfer into the show pen. When you get in show mode and your head is cloudy and you step out of the arena with no recollection of what you have done, it can be challenging to make the changes in your show approach that you want to make. This is a great opportunity to walk into the pen and think your way through your job as pilot. I think schooling is really the only way to make significant changes in your showing method.

Fix Bad Habits
It is extremely common for horses to learn that the show pen is a place where you are going to let them get away with an inch, and it almost always turns into them taking a mile. If your horse anticipates the lead change, you can counter canter him through the center and change on the other circle. If your horse wants to get strong in your rundowns, you can pull him into the ground; if he doesn't want to run down, you can run him to the fence. If your horse is not turning around well, or is shutting down in the turn-around, you can spin him as much as you need to. The same goes for bad habits you may have in the pen. If you catch yourself doing something you want to break yourself of doing, you can always repeat that maneuver until you have accomplished it in a way that satisfies you.

Decrease Your Horse's Anxiety
After running hard patterns and gunning at prizes, it is not uncommon for horses to get hyped up when they go through the gate. When you school your horse, you have the opportunity to slow down and let him know that not every run is the big run. You can start to lope off, and then just walk your horse a quarter or half circle. If he is getting too excitable, just break him down and let him walk a bit. You can put the pressure on him in a maneuver, and then let him stand for an extended period and settle before moving on.

Help the Horse Focus on You
When we show for points or money, we really hang our horses out there to show what they can do. This often means that we are really trusting them to stay connected, but it also means that they have the temptation of all the things out there, like umbrellas and kids on scooters, to distract them. To get the big score on the current run, we may ride through some things that can cause problems down the road. I like to school my horses pretty often just to make sure they remember I am up there. I may give them a little rope to hang themselves with when schooling, but I am right there to snatch them up if they disconnect. This helps build a pattern in which horses feel like they are still working even though they are being shown.

Go In With a Game Plan
I like to have a plan of something in particular I want to work on before I go in to school. I will generally bait my horse into doing whatever negative behavior I am working on, and then correct it. I don’t usually get after my horses hard when I am schooling because I believe that if you make a horse hate to go into the show ring, that particular problem is something you are unlikely to fix. I generally just coolly correct him and move on to the next thing. I also like to pet my horses when they are good in the pen, just to reaffirm their positive behavior and make it seem as though it is no different from when we are training at home.

So take a moment and think about what you could change or fix if you were to school your horse and what you can do in a schooling run to fix it.

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.

Learn How to Ride Dressage Movements, Part 1 of 2

The 20-meter circle at Training Level
by Jane Savoie

A 20-meter circle at Training Level is the first dressage movement that you'll do to make your dressage horse more athletic. The goal of riding a 20-meter circle is to create flexibility.

Flexibility refers to your dressage horse's ability to bend laterally through his side. Here's what you should know about the lateral bend:
• The bend through your horse's side should be equal from poll to tail.

• Your goal is to help your horse become ambidextrous. In other words, he can bend as easily to the right as he does to the left.

• As a dressage movement, correctly ridden circles teach baby engagement (the bending of the joints of the hind legs).

• Circles also develop straightness. A straight horse is straight on lines and bent along the arc of a circle.

As a dressage movement, why is it so important to ride 20-meter circles accurately?

• Physically, accurate circles help develop lateral flexibility and engagement of the inside hind leg.

• Mentally, riding accurate circles develops obedience.

Always keep in mind that horses are herd animals. When you ride, you're part of a two-animal herd. Your horse is happy to be a follower if you're a leader, but he'll take over if you aren't. If you don't ride accurate circles, you're letting your horse take over and make decisions. Once your horse learns to take over on a circle, eventually he'll make more and more decisions on his own. Letting him make his own decisions can escalate into disobedience.

You always need to be the leader of the herd. It's up to you to tell your horse where to go, how to go, and when to go there.

To make an accurate 20-meter circle, you need to do two things:
1. Bend your horse.
2. Ride to specific reference points.

If you're circling to the left, the bending aids are as follows:
• Weight your inside seat bone (left) to encourage your horse to engage his inside hind leg.

• Place your inside leg (left) on the girth. It acts as a pole for your horse to bend around and also maintains the activity of his inside hind leg.

• Put your outside leg (right) behind the girth to help bend your horse's body around your inside leg and prevent his hindquarters from swinging out. For a 20-meter circle, place your outside leg one to two inches behind the girth.

• Ask for flexion to the inside with your inside (left) rein. You should just see your horse's inside eye and nostril.

• Keep your outside (right) rein steady and supporting. Think of it as a side rein that limits the degree of bend in his neck. It also functions as your turning rein to bring your horse's shoulders around the curve.

Create a marriage between your inside and outside aids. You need both sets of aids to bend your horse while you turn him along a prescribed line. Your inside aids bend your horse, and your outside aids turn him.

Reference Points
To make an accurate circle in a large arena at Training Level, you need four reference points.
• Start your circle at A or C. This is your first reference point.

• Your second reference point is four meters past the corner letter (this is ten meters from the corner). The biggest mistake riders make when starting a circle is that they aim for the corner letter. If you do this, you'll end up with an oval. So aim for four meters beyond the corner letter.

• Your third reference point is the spot where you cross the centerline. If you draw a line between M and H (or F and K), that line is six meters from the short side. The imaginary line between the next set of letters (R and S or P and V) is an additional 12 meters. When you add 6 + 12 meters, you get 18 meters, so in order to make a 20-meter circle, cross the centerline two meters above the line that runs between R and S or P and V.

• Your fourth reference point is on the other long side. Touch the long side four meters before the corner letter (ten meters from the corner).

Important: The key to learning how to ride a round 20-meter circle is to look two points ahead and "connect the dots."

Remember that all of the dressage movements are not an end in themselves; they're a means to an end. That end, for a 20-meter circle at Training Level, is developing flexibility in your dressage horse.

This article originally appeared at www.ezinearticles.com.

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
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Progression from Training to First Level

Look ahead to prepare your dressage horse to move to the next level
by Jane Savoie


Riders often ask me, "How do I know it's the right time to move my Training Level dressage horse up to First Level? In this article, I'll give you a way to come up with a logical plan for introducing new work at Training Level.

First, I just want to make a general comment. All training should be a systematic progression toward a desired end result. You need to be able to see the big picture.

For example, even at Training Level, the quality of your 20-meter circles is going to make it possible to collect later down the road. Circles show your horse's ability to bend equally to the left and to the right. His ability to bend on a large circle makes it easier for him to progressively increase his bend from 20 meters to 18, to 15, to 12, to 10. As he becomes flexible enough to bend along a tighter arc, you're laying a foundation for advanced lateral work such as shoulder-in, haunches-in, and half pass.

Planned Progression
A lot of times people say to me, "Oh well, I am only working at Training Level." You need to understand that the work that is done at Training Level, such as correctly bending on a 20-meter circle, is essential for your horse's systematic progression to the more advanced work.

So let's look at one way you can plan your program. Here's what I did: back in the early 70s, I had to work a lot on my own, so I used the USDF tests as my guideline. I knew those tests were designed with the systematic progression of the dressage horse in mind. I thought, "Well, this is a good place to start since I don't have anybody around to tell me what to do."

I'd work on whatever was at Training Level. And even if my horse wasn't ready for the next level, I'd always look ahead and read what was in the First Level tests. That way I'd have an idea of what was coming up next.

Let's say my dressage horse is at Training Level. I polish my 20-meter circles, my basic transitions from gait to gait, and the stretchy circle. That's all great, but I also look ahead. I see that I'll need to do serpentines, where I have the complication of changing the bend from left to right.

I'd also begin to add smaller circles because eventually, at First Level, I need to do 10-meter circles in the trot and 15-meter circles in the canter. That doesn't mean I'm suddenly going to go from 20-meter circles in the trot to 10-meter circles. Instead, knowing that my horse will have to do 10-meter circles down the road, when he can comfortably do 20-meter circles, I'd do some 18-meter circles. And then, in a few weeks or months, when he can comfortably do 18-meter circles, I'd do 16-meter circles.

Because I look ahead and I know what is required at First Level, I plan a program where I progressively make the arc of my circle tighter and tighter until eventually I can do 10-meter circles easily in the trot. And what I mean by "easily" is that my horse can handle the arc of that curve without having to find an evasion such as swinging the hindquarters in or out from his line of travel.

Getting Ready for the Next Step
I'd also see that there are leg yields in the First Level tests. So I think, "My horse has to learn how to move away from a leg that's behind the girth. Maybe I should incorporate some turns on the forehand into my work at Training Level so that I'll be ready to do some leg yields when the time comes."

At First Level, I also have to show lengthenings in the trot and in the canter. So I work on developing elasticity by lengthening and shortening. Even at Training Level, I start to do rubber band exercises. I go a little more forward for three or four strides and then come back for three or four strides. Then I repeat that--three or four strides a little more forward and three or four strides a little bit back. While doing that, I really focus on maintaining the same rhythm and the same tempo in both "gears." (Editor's note: see last month's article for more on rhythm and tempo.)

I also notice that at First Level there is a little counter canter. So I think about incorporating some counter canter into my work. I come one meter off the rail by the time I'm across from B or E. Then, by the end of the long side, I'm back onto the track. I do this pattern so gradually that my horse doesn't even know I'm asking for a couple of counter canter steps. Little by little I come off the rail a bit more. My next step is to come one and a half meters off the rail. We're one and a half meters off the rail when we're across from B or E, and then we arc back to the last letter.

I keep polishing the movements at Training Level with my dressage horse, but I always have an eye on what's at First Level and start to incorporate a little bit of that work as well. That way, the transition from Training to First Level will be easier on me and the horse.

Teaching Ground Manners

Use “horse thinking” to establish respect on the ground

by Randy Byers

Editor’s Note: The following article is based on a question submitted through our online “Ask the Experts” feature at www.nwhorsesource.com. You can ask Randy or one of our other experts your own question by clicking “Ask the Experts” under Online Resources in the menu on the left side of the page.

Question:

I’m training a 2-year old mare and she does not know her ground manners. What do I do, and how do I teach her good ground manners?

Answer:

Thank you for asking these questions. This is a very widely researched topic; there are many books, videos, DVDs and other educational products in the marketplace today that focus on ground manners, and you can use these to help you along with your mare.

There are two reasons why you want ground manners:

1. You want to be an effective leader and gain respect from your horse.

2. You want to use this stage to develop transitional cues to help with your introduction to saddle work in the near future.

In order to gain respect, you need to gain control of your horse’s feet. That is the short answer to the first part of your question, “…what do I do?” If you get control of her feet, you automatically establish yourself as the leader and achieve respect from your horse.

In answer to the second part of your question, “…how do I teach her good ground manners?” you will need to learn and execute techniques that help you gain control of your horse’s feet. There are a variety of detailed exercises and maneuvers you can use to achieve this. You also will need to know how she thinks, and you will need to think like her.

First, It is critical that you define your view of what acceptable ground manners are and establish a daily lesson plan detailing how to achieve them. Before a person begins training of any kind, they need to define the objective. Clear communication is a basic component of any training program.

The Horse’s Thoughts

Most horses think the same way, regardless of their age. Your mare was born with good ground manners. At birth, horses have all their instinctive behaviors, are fully developed (precocial), and are fully physical and ready to learn neurally. If the baby gets out of line, the mother or the herd will put her back in line, but she does not know what you know, nor does she know what is right or wrong in your world.

The problem you have is that your concept of good ground manners is different from her concept of good ground manners. As an example, in many lands it is customary to belch at the dinner table following a meal to show your satisfaction with the meal; however, to most people in western society, this is rude behavior. Likewise, when a horse pushes you out of the way or steps on your foot, she is being a horse and showing leadership by controlling your feet. Remember this: leadership is a fundamental behavior in horses, and it requires a leader and a subordinate. In their world, the one standing is the leader and the one moving is the subordinate.

Developing Control

Teaching your mare what is acceptable in human society is all about how to control her feet. Your job is to out-think her. She can outweigh you by 4-5 times, so you cannot physically show her what is acceptable. The simple concept to gain a horse’s respect is to not just move her feet, but to have control over her feet at will. To simplify this, break the horse up into five body parts--head, neck, shoulders, ribs, and hips--then work out of a round pen or on a lead line.

Many people start using the round pen to get the horse moving forward at liberty and for getting inside and outside turns. If you are working off of a lead line, find a starting point such as disengaging the hips around the forehand without the horse moving forward. Once you can do this on both sides, start working on moving the shoulders around the haunches. Forward impulsion comes from the hips and turning comes from the shoulders. Once you have gained control of hips and shoulders you have control of impulsion and turning.

This is just a basic overview of what is required to gain respect from your horse - one of the key elements in teaching good ground manners. Now, you are ready to buy videos to watch and/or books to read to see exactly how to get the different body parts to move correctly and softly without getting into a fight with your horse.

About the Author:

Randy has had a passion for horse his entire life, and genuinely takes pleasure in teaching other people how to experience that same enjoyment with their horses. This is why he strives to communicate his training methods as clearly as possible. Over the years, he has learned that the more complicated you make horse training, the harder it is on both horse and owner to learn. He believes in the need for continued education through reputable sources and the application of sound principles.

Good training results in increased safety around horses, so whether you ride in competition or just for your own pleasure, the goal is to help you gain control and confidence with your horsemanship in an enjoyable way. Trust is also very important in the equine industry; that is why Randy proudly conveys the name of “Lyon’s Legacy,” the most trusted horseman. Find out more www.RandyByersHorsemanship.com

Break Bad Habits

Common bad riding habits and how to overcome them

by Allison Trimble

A common topic of conversation in my barn is how to change bad habits that have taken hold over years of riding. It is surprising how similar a lot of people’s problems are. In a sport as specific as reining or cow horse, these habits can cause immeasurable problems in your horse’s training and in his ability to perform maneuvers. I asked a group of regulars at my barn what they feel I harp on them about the most, and after being barraged by suggestions, we settled on the following as the most common problems across the broadest group of people.

Leaning

Whether in your circles, spins or when working a cow, leaning gets in the way of your horse completing a maneuver at speed. In your circles it can cause your horse to pop out of lead or drop his shoulder into the circle, and it can definitely affect your steering. In spins, it is common for people to lean out and shoot their inside leg forward when asking the horse to turn. You may be able to get away with this when your horse is turning slowly, but when he starts to speed up, you aren’t centered enough to go with him. On a cow, riders can have a tendency to lean in toward the cow when it changes direction. This puts you off balance and puts your body in the way of your horse coming through the turn and staying with the cow. Balanced and centered riding is the key to successful maneuvers.

Broken Wrists

Any time you take the slack out of your reins by “breaking” your wrists (bending them out of line with your arm) when you are riding two-handed, you are making a weak and difficult-to-control motion. Imagine that your arm, from your elbow to your knuckles, is on the same plane. When you handle the reins, wrist-breaking changes that angle in your wrist joint. There is no strength or control in this motion; you are putting all of the weight and pull on a very small and weak joint. What you should be doing is keeping your elbows bent and drawing your whole arm back using your shoulders, back and abdominals to accomplish the motion.

Busy Hands

I truly believe that to maintain a horse’s softness in the face, you have to be very consistent in the way you handle his face. When people are learning new things or working on maneuvers, they can become extra busy with their hands. Similar things happen in the show pen when nerves set in. Horses do not respond well to the bit being rattled around in their mouths for no reason. Try very hard to only take hold of your horse’s face when you are being thoughtful. When you are trotting or loping, try to absorb the movement of the horse in your shoulders, and do not let the movement of the horse--or your body--travel down your hands to his mouth.

Pulling Yourself Forward

This is a really common mistake that people don’t often know they do. When riding two-handed, most people have a tendency to pull themselves up to the horse’s face when they take hold of the reins, rather than sitting back and driving with their bodies, drawing the horse back to themselves. This puts you out of position, encourages hanging on the horse’s face, and generally does nothing but speed the horse up. It is such a simple thing, but causes so many problems; so if you choose only one of the bad habits on this list to get rid of, this should be it.

Throwing Yourself Into Your Stop

Whether you are teaching a green horse to stop, or running and stopping a finished show horse, you do not want to say “whoa” and then throw your shoulders back and reach for your stirrups. A stop is a powerful maneuver that requires you to be centered and supple in your body. The motion of your horse lifting his shoulders and running down the pen is what helps you lift your shoulders and be prepared to stop. Overdoing this position will put you out of sync with your horse and behind his motion when he goes to the ground. Think about elevating your chest and looking up in your rundowns, saying “whoa,” and then tipping your pelvis and going to the ground with your horse, not before him. A rigid body or throwing your shoulders back can lead to the kind of stops where everyone goes “OUCH” when they see it.

My broadest suggestion for you if you are maintaining your own horse is to use common sense. Know what you are trying to accomplish, and analyze whether or not what you are doing is working toward that or away from it. Videotape yourself and look at the video objectively. You will be surprised how many problems you can solve by watching yourself. You want to be able to identify your bad habits and then recognize them when you do them in real time. It will help you tighten up the distance between the rider you are now and the rider you want to be.

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