rollkur - The Classical Riding Club

Transcription

The Classical
Riding
Club
SPECIAL EDITION
New Year 2010
ROLLKUR
1
The Classical Riding Club – Rollkur
REMINDER
We would remind readers that the content of CRC literature and its Newsletter is not meant to have particular
application to any individual reader or problem, neither is it intended to be a complete coverage of the subject
under discussion. It is for general guidance only. If you have a particular riding question which you wish solved,
please refer to your instructor or teacher for professional advice. Whilst we endeavour to publish as much
material from CRC Members as possible, please also be aware that the views expressed in articles/reports/letters
etc do not necessarily reflect the views of the Editor. The Editor's decision is final.
Founding Director and Editor :
CRC OFFICE
Sylvia Loch (Mrs R G P Hawkins)
EDEN HALL
Business Consultant :
KELSO
John C Price, FCA
SCOTTISH BORDERS
www.classicalriding.co.uk
TD5 7QD
Email:crc@classicalriding.co.uk
Dear Members,
If you are a committed rider, it is hoped you are also a committed reader. It was for people like you
and me, that I started the CRC – for self improvement, for the sake of the horse. By putting people
in touch with other trainers, other writers, libraries, books - anything designed to help us understand
our horses better – I felt we might make a difference. And isn’t that our aim in life – whatever we
do - to make a difference?
When I first started writing on affairs equestrian, I only wrote about those things which I felt were
not always addressed or made clear, which might help the horse. For example The Classical Seat
arose out of a real lack of understanding concerning what we sit upon and how to help rebalance the
horse. This may seem very odd today, when a plethora of books now exists on that subject, but
sadly I still see many seats which don’t take account of the horse’s needs at the time and where the
horse looks more like a beast of burden than a dancing partner.
There were other issues about which I felt passionate. I wrote Dressage in Lightness not just
because my publishers J A Allen had asked for another book, but because I was determined to get
the message across that over-bending the horse was wrong, that gadgets could be very harmful and
cause pain, and that all our work with horses, starting from scratch should be progressive and never
in conflict with the horse’s own movement. I also felt it important to explain what the horse was
feeling and how conflicting aids such as ‘pull and push’ could imprison the horse, when all he
wanted to do was learn again to be light and balanced – despite our weight on his back.
Invisible Riding was a plea for gentle aids and quietness at all times, but it was Dressage, the Art of
Classical Riding into which I poured my heart for the future of dressage. I seriously believed that
by taking the reader back to Xenophon and then showing the path of enlightened riders and writers
throughout the ages, some sense of understanding might rub off on today’s riders, trainers and
judges. I also hoped that man’s history of brutality to the horse especially in war, might make us all
the more determined to do things right for the future.
And so to Rollkur. Is it worth all the fuss? Have we overdone things by highlighting them for so
long? And again, now? Have all the articles and petitions past and present really made a difference
when the powers-that-be still cannot agree that this is a lasting and damaging practice and will not
recognise the evidence before their eyes without the required scientific proof…. a great delaying
tactic and one, frequently used by dodgy politicians?
Earlier this month as I began writing this Editorial on the London-Edinburgh train after visiting my
husband in St Thomas’s, I had my answer. Allegra, my daughter had taken me out to the theatre for
a birthday treat. We went to see WAR HORSE at the New London Theatre in Drury Lane. I had
heard good reports but nothing prepared me for the powerful emotion drawn up by those
The Classical Riding Club (CRC) is registered in Scotland (no 202645)as a company limited by guarantee
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The Classical Riding Club – November 2009
extraordinary puppeteers. The horses – made of wire and canvas, sticks and paint - breathed and
exuded a tangible energy as they cantered, galloped, trotted and grazed. But, it was in the still
moments – a horse under canvas, a horse poised to go ‘over the top’ - those terrible trenches – that
brought tears to the eyes. Their expressions, the twitching ears, the slightest breath, the soft
groaning of a fallen steed pressed against the scorched earth, that really did it for me.
Although thank God, horses no longer go to war – they still suffer at man’s hands. At least those
cavalry horses had the solace of companionship. They were not kept in gilded cages, in splendid
isolation one from the other and at least they were given their heads when ridden forward. People
may have bounced on their backs, kicked at them with their spurs, but everyone knew that in a
cavalry charge, you allowed with the rein and you all went together. There was comfort in
companionship – if nothing else.
It is the courage and generosity of horses that should motivate us all to improve their lot. Whether
in war or in peace, the horse is unique amongst animals in the way in which he serves us. He offers
us the most incredible gift of all. The gift of partnership – allowing us to merge our bodies with
him – to control his feet, his head, his neck, even his tongue. What trust, what an honour! This is
why we must all keep up the good fight to defend his needs, his equanimity.
Please help us to do that for all riding horses everywhere. By taking the time to see what you can
do – together, we can ALL make a difference.
Let this by our New Year’s Resolution for 2010…..
Peace and blessings,
Sylvia
Useful Links
CRC on Facebook
www.facebook.com/home.php?filter=lf#/group.php?gid=160480889204&ref=ts
Horsehero
Tracking Up
www.horsehero.com
www.tracking-up.com
Rollkur Petition
www.ipetitions.com/petition/antihf/
CRC Anti Rollkur Posters
http://www.classicalriding.co.uk/index.php?option=com_content&task=view&id=283&Itemid=290
Sustainable Dressage
www.sustainabledressage.com
International Society for Equitation Science
Johanna Macarthur
www.equitationscience.com
www.nhtec.org
Enlightened Equitation
www.enlightedequitation.com
Allege Ideal
www.allege-ideal.com
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The Classical Riding Club - Rollkur
Why Should The Poll Be The Highest Point?
Sylvia Loch Article first published in Scottish Equestrian July 2003.
Whilst the increasingly popularity of dressage is very encouraging, it also has its downsides. Too
many ‘normal’ riders think they are employing sound dressage principles by copying what they see
at a random moment rather than finding out •
•
•
•
•
what is appropriate for their discipline
what is appropriate at their horse’s level of training
what will help him and in what way .....
what may hinder him and in what way.......
the reasons why we do (or don’t do) this or that
Unfortunately, it is all too easy to assume that because a certain winning rider does a particular
thing with their horse it will be okay to try this on any horse. Often, no account is taken of the type,
size, age or general conformation of the horse in question. What works for one, may not always
work for another. Sadly, such riders, with the best will in the world, may end up not only confusing
their own horse but even doing irreparable damage to his muscle system and joints. We all know
that the path to hell is paved with good intentions!
Take for example the current fad for drawreins. The idea is that prolonged use will place the horse
in a good outline for dressage - as though good outline was the starting point of good schooling. In
fact the opposite is true - good outline is the result of good schooling. It is a symptom of the work,
not the cause. And for this reason we should be concentrating on the horse’s hind end, long before
we worry about the front end.
Of course there are exercises that involve influencing the outline. Working ‘deep’ as shown in this
photo is a case in point. Here, my student is working her horse
in a lower than usual outline, to help stretch the muscles of the
quarters, back, wither and neck whilst her leg encourages
engagement from behind. This particular horse, quite a sensitive
type, used to hollow a great deal and tense upward from her
gullet muscle. By working her for a couple of circuits in this
way at the beginning of work, she is helped to unwind by being
asked to lower and stretch her topline muscles. What is not
shown in this fleeting moment is the hours and hours we also
spent in walk on the long rein!
It is also worth noting we could never achieve such good results in draw reins. One gets a much
better feel for the balance of the horse through soft fingers acting on a normal rein simply held
lower than usual. Since it is counterproductive to work the horse in an unnatural outline for more
than about 2 minutes at the most, just think how many times one would have to leap on and off to
remove or refix if certain other gadgets were used!
So what is ‘natural’? Well, look to any horse freely moving in the field and it will be plain to see.
An animated horse walks, trots, canters and gallops with his back up, his quarters pushing him
forward, his forehand light and the head just in front of the vertical with the poll the highest point.
10
When we ride we should be trying to replicate Nature, not do the opposite!
But don’t just take my word for it. The equestrian body’s own rulebook gives us excellent
guidelines.
The horse can only be on the bit when • the hocks are correctly placed
• the neck is moreorless raised and arched - according to the stage of training
• the head remains in a steady position... slightly in front of the vertical
• with a supple poll at the highest point of the neck
(BD Rules)
In other words, everything starts with the engagement and correct placing of the hocks from which
everything else should emanate. Of course educated riders recognise that all this will be
progressive. There is no point the poll being the highest point if the horse is hollow and
disengaged. In such a case we should allow the horse to relax and stretch in front, as we encourage
him to step more under from behind.
With the more laidback horse, particularly one that is already on his forehand, the approach will be
different. This horse must not be made to work more ‘downhill’ - quite the opposite! Until we can
teach him to lift his back and free his shoulders, he will never develop good carriage. General
gymnastic work, stretch and bend, transitions and later lateral work should gradually help him to
transfer weight from the forehand to the hindlegs and the rest should follow.
Of course, the moment we sit on the young horse’s back, we begin to interfere with Nature and most
horses will drop the back, leave the hindlegs out behind and feel pretty unbalanced as they try to
come to terms with our weight. This is to be expected. In the early days, we should sit quiet and
interfere as little as possible so that the horse can work things out for himself. Early on, he will
require a positive but allowing rein as he uses the head and neck rather like a rudder. However,
once he gets stronger behind - helped by the rider’s legs - his head carriage should become quieter
and steadier.
Self carriage is where the horse no longer needs to support himself on our rein, but works through
from behind on a light elastic contact. Riding with no rein at all would be similar to free-wheeling
in a car; we need to harness energy if we are to store some in reserve.
Of course all this will take time, but finally we should have a horse who moves lightly forward with
well engaged hocks and supple shoulders, a rounded soft back, a proudly arching neck, and the
head held in a flexed manner from a supple poll - just as Nature prescribed!
Clearly, this does not happen by magic, but there are plenty of books and videos around which will
help you get there. The Spanish Riding School of Vienna always says it takes roughly seven to
eight years to school a horse for dressage from start to finish, so perhaps this will deter you from
thinking the latest gadget will get you there sooner. At the end of the day, taking time and doing
things correctly and without force will pay off. Your horse will last much longer, he will grow fitter
and more beautiful with the passage of time and he will be a joy to ride.
So don’t copy - learn! Learn how your horse ticks biomechanically as well as mentally and become
informed. Go to a teacher who takes time, is not prepared to compromise and who treats you and
your horse like an individual. Join the Classical Riding Club and network with likeminded people.
Your horse deserves it!
11
What Do We Mean By Flexion?
And Why Must We Treat It With Care?
An excerpt from a further edition of Sylvia's series in Scottish Equestrian 2003.
In the dictionary, the meaning of the word ‘flexion’ is very clear; it involves* ‘bending, being in a bent
state, especially of a joint or limb’ . In equitation this word is very important; how often have you read
that without bending there can be no straightness? This is very true and I’ve always liked the description
by one classical author of how a horse without bend would be ...”like a fishing rod made of solid
wood!”.... in other words, pretty inefficient!
However, as in all these things, there has to be moderation. Could it be that some of us might be in
danger of over-flexing our horses? To avoid confusion, let’s look at what is involved: In schooling, the
good rider will be looking for two states of flexion
• longitudinal flexion – and • lateral flexion
LONGITUDINAL FLEXION refers to the natural rounding of the whole length of the horse’s spine
from nose to tail, looking down as it were from above. When we ride, we should appreciate that every
joint, every vetebra has its place and that if any articulation of the spine is overworked or forced out of
place, it will affect the whole. In the same way that a slipped disc in the human spine creates pain and
resistance all the way along the back, so it is with horses. Unfortunately, the horse himself cannot always
tell us when he has a sore back, so the best way of protecting that back which so generously carries us, is
to ride with understanding and consideration.
I have always stressed how important it is to allow the horse’s neck to rise up naturally in front of him in a
nice rounded arch with the poll roughly the highest point except obviously when he is stretching on a long
rein or working 'deep'. When the horse drops his chin and bridles or flexes, it should involve a
progressive bending of the joints between the top of the spine and the skull. This process takes time to
develop and should not be rushed. What should never happen is an overbending halfway down the neck.
Gadgets which force the head down so that the crest becomes the highest point can do untold damage
since it opens the wrong veterbrae. Try forcing your own chin towards your chest and see how painfully
it reacts on the back of your neck as well as the lumbar spine!
Once we understand about not overstraining our own bodies, we should be much more aware of how
much or how little flexion to demand of our horse. Only in the mature horse can we expect perfect
rounding. This brings us to lateral flexion. In the same way that we can bend or turn our bodies to
manoeuvre sideways, so can the horse.
LATERAL FLEXION is all about how the horse bends and stretches through both sides of his body.
When working in a manege, we generally refer to the inside and outside of the horse, particularly when
riding on the track, through a corner or making a circle.
Whilst most people are aware that the inside has to bend and slightly shorten on a curve, many forget that
the outside of the horse has to stretch. Several pairs of muscles are involved, and again we can remind
ourselves of the signficance of these simply by bending our elbow (flexion) and raising the forearm. As
one set of muscles flexes, shortens or bulges, their opposite number has to stretch or lengthen. Thus it is
with horses.
On the circle therefore we need to encourage this natural process by supporting the bending of the horse’s
body to the inside, whilst encouraging and accommodating the outward stretch. One of the first lessons, I
therefore give pupils new to dressage is the importance of the correct aids for bend.
4
•
•
•
•
•
•
•
•
rider looks into the bend (involving gentle downward/ lateral flexion of our ‘poll’!)
inside leg acts at the girth
outside leg acts a little back
inside seatbone is slightly weighted and advanced
outside seatbone is slightly lighter and ‘opens’ back
inside hand is soft and ‘asks’
outside hand gently supports
body never turns more than the horse - i.e. the rider stays square to axis at all times
As regards the different ‘feels’ on the rein. Some instructors insist that there is always an even pressure in
the reins when we ride; this is absolutely correct for straight, forward riding. What is not always
explained is that if the horse is truly bending to the inside on a circle - particularly a small circle - he
should feel fractionally lighter on the inside rein since the inside of his body is shortening and flexing that
way. By the same token, as he stretches to the outside, he should take up a little more elastic reach or
contact into the outside rein. However, these are finer points.
What is more important is that the rider tries at all times to ride both circles and straight lines with the
hands held opposite each other as a pair. Any give or take with the rein should be through the fingers;
easing or allowing through the joints of the elbows. It is a bad mistake to collapse the wrist or move the
outside hand forward and the inside back to ask the horse to turn. Such an action may cause the horse to
jack-knife onto the shoulder.
Too often in showjumping circles, we see people overbending their horse’s neck from one side to the
other. This is really damaging. However, in dressage it is almost as bad when we see the rider pulling
back to turn. The turn should be made from the horse’s centre of balance never from his neck so that
lateral bending starts at the girth and spreads evenly to the extremities. If we keep pulling on the inside
rein, we are not only putting the horse on the forehand but we are encouraging him to disengage and
throw the quarters out.
In riding, it definitely helps to have some knowledge of the horse’s anatomy before we start trying to
improve on Nature! We should recognise that as a creature of flight, the horse’s back is wonderfully
engineered for locomotion. He relies on his quarters and hocks to push the forehand forward. In
schooling, the worst thing we can do is to destroy the connective tissue that allows the energy from the
‘engine’ of the horse, to transmit itself to the forehand. The area around the withers involving the
trapezius and scalenius muscles is particularly vulnerable since it houses the junction - for want of a better
word - connecting the base of the neck to the back.
Unfortunately, this is the very area that some riders seem intent on changing. By placing the horse in
drawreins, these muscles may be stretched (in longitudinal flexion) beyond their natural limit which will
weaken them for ever. Prolonged sideways pulling (lateral flexion) - is as bad. Both forms of overflexion can result in a limp neck and a horse that can no longer work together as ‘one piece’. Engagement
is lost and it is as though one is sitting on two horses. With a weak connection the horse often works in
real pain.
So when you ride, be aware that flexion should help the horse - never hinder. Never try to separate the
horse from his own body and disdain practices which encourage this - there is a lot of ignorance out
there! Protect your horse and allow things to develop naturally, without stress. Good bend must be even
throughout, from nose to tail. It comes from small, gentle aids and progressive schooling. Always stretch
as much as you bend. Let the school exercises work the horse, never pulling hands or gadgets. And
remember, Nature knows best!
Obviously, all the above advice for what we shouldn't be doing to our beautiful horses includes
Rollkur. It was just this word hadn't been invented in those days!
5
I am writing in response to an article published in Horse and Hound titled
“Classical Dressage” Who Cares? The Rollkur Debate
Letter by Georges Dewez published in the CRC Newsletter Spring 2006
The debate regarding the merits of classical versus modern dressage methods was initiated by the
German dressage press, approximately 6 months ago, when articles criticising some modern
dressage training methods were published. The criticism was particularly directed towards the use
of Rollkür; the practice of working horses in extreme overbending or “hyperflexion”. Some of the
photographs, which accompanied this article, showed the current Olympic Champion during warm
up for competition, creating much comment.
As a result the FEI called a meeting of trainers, riders and vets in Lausanne on February 1st 2006 to
discuss the issues arising from the allegations made by the press. The meeting concluded that
although potentially damaging in inexperienced hands these methods were acceptable in the hands
of experts. There is no doubt that extreme methods are and will probably always be used behind
closed doors. It is however shocking for these techniques to be officially condoned by the
recognised regulatory body the FEI.
The issue at hand is not what it is classical or not but rather is it ethical to use any means to achieve
your goal, in this case a winning Grand Prix test. Many well known modern riders and trainers seem
to justify what has now been officially described as hyperflexion of the neck as a necessary tool to
produce the modern dressage athletes, whose power and athleticism they so admire. That the
modern dressage horse is in many ways superior to the horses competing in the 50s and
60s is in no doubt but this has much more to do with the considerable skill of the continental
breeders than any change in training.
They do show extravagant paces but extravagance does not always equate with being correct. The
extended trot of some GP horses is often more similar to what in the circus used to be called
“Spanish trot”. The reason I mention the circus is not for the sake of provocation but because this is
where this “new” and modern method of training comes from.
In the mid 1800s the brilliant circus trainer François Baucher described in great detail a method he
used occasionally which he called ramener outré which translates exactly as extreme overbending
or hyperflexion of the neck. He explained that its great advantage was that it gave complete control
over the neck structure and provoked an extreme submission of the horse. He excused his
techniques by explaining that as a circus rider he needed such methods to produce the evermore
spectacular movements which kept his public entertained. Baucher suffered a tremendous amount
of criticism from the German press and leading German trainers of the time.
So, do we really need to train horses using methods where the horse is so overbent that it cannot
physically see beyond its front feet and in some cases not even that far? To most outsiders I would
think this would be considered a form of abuse whether or not it is performed by experts. The rules
of the FEI require : The harmonious development of the physique and ability of the horse.
The question to debate is not classical versus modern but whether we wish to allow the fashion for
extravagant show paces to overide any ethics in training. Is it still relevant to strive to maintain the
previous standard of purity of pace and correct execution of all movements?
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Does the FEI intend to promote show business by any means or is it still going to try and maintain
the art of riding? Harmony is not just for show it must be maintained throughout the whole training.
It is interesting to note that François Baucher abandoned the methods he once used and in later life
chose to concentrate on lightness and the purity of the paces.
There has indeed been great progress in some aspects of modern training, in particular, a much
better understanding of the functioning of the horse’s back and, yes, more power and elasticity ,but
the ethical stance which is at the core of classical training must be maintained if we are to keep the
art of riding. Georges Dewez, Carreg Dressage, Machynlleth, Powys, Wales SY20 8NW
ooo000ooo
Be Proactive – Your Role in Rollkur?
WHAT YOU CAN DO
Make sure you understand the difference between Rollkur – riding a horse with its head pulled into
its chest and severely behind the vertical – on a taut, short rein - OR acceptable deep work where
the neck arches forward and down - on a soft, asking rein.
Voice your disapproval of Rollkur wherever you go and wherever you see it.
Stare hard at anyone you see practising this form of training and if possible take photographs.
(People need to be made to feel uncomfortable if they are doing this).
Ask questions of any trainer or instructor seen to promote this. Public demos with question time
provide an excellent opportunity.
Write firm but polite letters to Horse & Hound, Horse & Rider, Your Horse – and any magazine in
your country which features dressage articles and reports and state your viewpoint and why.
Write to BD, the BHS, the WHW, the FEI and suggest a Dialogue with The Classical Riding Club.
Point out that for over a decade, CRC has had an alternative and proven programme in place for the
judging of Dressage which would ‘kill off’ the practice of Rollkur very quickly.
OUR AIM
With the help and support of our Welfare in Training Liason Member, Johanna MacArthur, and
including many of our members e.g. Dr Andrew Maclean MRCVS and other prominent trainers, we
strongly believe IT IS POSSIBLE to change and improve Dressage Judge Practice and Training
worldwide to the benefit of horses everywhere. The FEI have the Rules and the infrastructure in
place already. Good judges will follow these, but there are many who do not. Our aim is simply to
improve upon its interpretation to all judges especially at grassroots level. It should not take rocket
science to do this but it will require some open minds.
Please write, email or lobby the authorities to request:
A complete Ban of Rollkur as an exercise in public places (this should not be hard to define
– as some authorities would have us believe)
• Changes to the Dressage Mark System to put more emphasis on Rider Marks and How the
Test is Ridden, e.g. (separate marks for use of hands, seat and legs as per CRC Rules)
• Open dialogue with other authorities who have the welfare of the riding horse at heart
Please act as soon as possible. The Rollkur debate is still open and alive, but without positive
action from you, may well lose its fire and vigour. SL
•
7
Sylvia's Monthly Column – From The Heart
First published in Horse & Rider May 1996
I know I am not alone in condemning the use of draw-reins in whatever sphere; have a whole file
of letters on the subject from readers, and many of you have expressed feelings of impotent rage
when you see supposedly top riders using and even recommending these and similar gadgets to the
general riding public who often have little understanding of their effects.
And if these riders are so good, why do they need to resort to gadgetry in the first place? It is an
established fact of life that if drawreins are applied and worn for too long, their use can cause
irrevocable damage to the horse's muscular system, breaking down the ligaments around the wither,
shoulder, neck and back by stretching them to such an extent that they can never be repaired. I
know of at least two young horses that became chronically unsound due to damage of the trapezius
muscles as a direct result of drawreins. Horses ridden permanently in drawreins may have a total
absence of muscle tone under the saddle; often they will wince in pain if you run your hand from
the withers backward.
Statistics show that there are now more back problems and back injuries in horses than ever before.
All too often, veterinary surgeons recognise the cause to be tack related. "Balance" has done much
to make people aware of badly fitting saddles; classical trainers have addressed the problem of
encouraging people to sit in the right part of the saddle; but sadly insufficient emphasis is being
placed in educating the public on the dangers of these restrictive 'aids" to outline. Since true
rounding can only come from behind, the use of any device which fixes the head and neck into a
shape should be condemned out of hand.
The other day out hacking, I was sickened to see a horse and rider from a local yard come trotting
towards us with the unfortunate animal's head fixed almost between its knees. With an air of great
bonhomie, I heard the the rider cry 'Good boy! Good boy!' as he sailed by as though he and his
horse were having a lovely time. Yet his horse was clearly not having a lovely time but so stricken
was I - that I regret I said nothing. And what good would it have done when everyone around these
days is using them and sees no reason not to? Sadly, these gadgets have become the fashion.
So how can it be that something our parents would never have dreamed of using on their horses has
become so normal, so accepted? Is it simply that every catalogue that features them uses the most
beguiling photographs? Is it the promise that your horse will immediately go in a nice natural
outline as well as encouraging wonderful hands in the rider? Are people really taken in by such
salesmanship? Or have we reduced equestrians to the level of gullible housewives buying a new
brand of washing powder?
But perhaps there is something we can all do to change this misguided fashion. Perhaps a national
informed campaign could be started to express the real concerns of those who care to make others
aware of the damage caused by these punitive devices. As yet, the problem is too widespread to
tackle throughout the whole spectrum, but surely the time has come to review the use of such
restrictive 'aids' at least in dressage? Since the BHS rules rightly prevent any competitor using draw
reins both in the competition or the warm-up arena, why should people, particularly dressage
trainers persist in using them at home?
8
On impulse, I decided to telephone the manufacturer of one popular brand recommended by a
well known dressage personality. A most helpful female voice answered my query as to how such a
device could be used appropriately with the young horse who in normal circumstances, will need to
spend plenty of time stretching his frame down on a long rein. The voice was surprisingly honest.
"Oh it does makes young horses very stiff to start with," I was cheerfully informed (surprise,
surprise) ..." so one should only use it for about ten minutes or so - then let them go long and low."
So would one have to dismount, to undo everything? "In theory, yes. After he's worked long and
low, of course, you can always put it back on again!" Hmmm, I thought - more dismounting...
How many people would really want to unsettle their young horse by getting on and off in this
way? Human nature being what it is - many people might feel inclined to leave the thing on, for the
duration - like the little horse I had seen.
I shall never forget the look on the face of that poor horse. I learned later he was always ridden this
way with his head below his chest, for an hour at a time. That horse had been in pain... obedient,
silent pain, and he and others like him, deserve better. It has always been recognised as one of
Nature's terrible ironies that the horse cannot vocalise his pain as a dog, cat or even a rabbit can.
But we, the public can vocalise and I believe the time has come to change this current cruel
fashion.
So, how, can Horse and Rider readers do something to help? Why not, set up your own personal
petition? It only needs a page of A4 headed up Petition Against the Use of Draw Reins in
Dressage, and something to the effect: 'We the undersigned, wish to express our disapproval of the
use of draw-reins in the preparation of horses for dressage and would like to see them banned in all
dressage yards." Just 25 signatures on a page would help, even better of course would be l00 and
preferably 1000! Don't forget that each petition should be dated and signed by the organiser whose
address should also be included, proving it is bona fide. This is a fashion which thankfully all
educated authorities disdain, and I know your feelings will be taken seriously at the highest level.
If you send your petition to me at Horse and Rider Magazine, I promise to submit them to the BHS
Training and Education Department at Stoneleigh when I feel the response has been sufficient.
With the best will in the world, it will be difficult for any authority effectively to stop people using
drawreins behind the scenes but if dressage riders and riding schools where dressage is taught is
seen to take a stand, then at least public awareness will be heightened. Eventually, it would be
considered rather bad form to be seen riding your horse in drawreins - almost as bad as going out on
the road without a hat - and this would be excellent.
As my husband says 'Who ever said it would be impossible to prevent smoking in the lecture hall?
It is now fact because enough people cared to take a stand."
© 1996 Sylvia Loch
This article produced such a response that CRC went from a small group of mainly friends to a
worldwide organisation which has stood the test of time – thanks to you.
9
IF HORSES COULD SPEAK
How incorrect “modern” riding negatively affects horses’ health
By Dr. med. vet. Gerd Heuschmann (www.carmenschuler.de)
DVD Review by Suzanne Morgan
In the light of recent media releases highlighting the disgraceful state of
too frequently accepted training methods (namely hyperflexion), this
frank and emotive DVD, based on the bestselling book Tug of War by Dr
Gerd Heuschmann, could not have found its’ way onto the shelves at a
better time. In a quest to bring competition dressage back towards
classical training methods, this production appears to have three
approaches; to shock, to educate and to motivate: In that order. Certainly,
after the delightful, reminiscent, prologue by Hans-Heinrich Isenbart, the
subsequent series of images are shocking indeed. I found them quite
disturbing, but is this what we need to get the message through to certain
quarters?
A detailed commentary is provided on how a horse moves naturally and
how classical training methods do not disturb this “natural flow of movement”, allowing the horse to
work in an “unconstrained bodily posture”. Brilliant 3-D animations show the horses’ musculoskeletal
system in action, with a particularly good section on the muscles of the back. For anyone who has read
Tug of War, the anatomical information is similar in matter but of a far greater depth as with ‘moving
illustrations’ it really comes together. You do have to concentrate – lock yourself in a darkened room as
I did – because in many places the information is delivered at great speed!
Using the basic gaits of walk, trot and canter as a central focus, emphasis is placed on the purity of the
gaits with detail on each to deepen understanding when training, such as how the walk reveals the
quality of the training (and how judges should take note) and how a flashy show trot is developed only
through tension and represents unnatural movement. Examples are shown of horses being worked in
both correct and incorrect methods. The negative examples are very good and clear in that they really
show when something is wrong and why; this is of particular value where the errors are less obvious,
making clearer where the boundaries lie for anyone who may be unsure. Unfortunately, I fear that the
people who most need to watch this film will not be those who buy it!
Quality advice for riders accompanies the biomechanical explanations, such as sensitivity, careful use of
the reins and not blaming the horse when he simply cannot do as you ask (and recognising when this is
the case). Modern training misconceptions are tackled in depth and judges get a good airing – not
always in a negative way! It is stressed that judges need the support of the associations if change is to
happen. Responsibility falls upon riders, as Johann Riegler says; “Every grand prix rider sets an
example”, and on audiences who need to be educated not to applaud the extravagant, unnatural displays.
There is a wonderful line up of horsemen who sit before the camera and speak heartfelt truths of the
horse world as they see it, including Johann Riegler and Professor Heinz Meyer. If I were to criticize
one thing about this film, it would be that these men get little introduction – some of them were new
names to me and I would have liked to have been provided with some background information about
them in order to fully appreciate their views.
The film finishes with Gerd Heuschmann describing the ideal – correct training as commonplace in
competition, and he sombrely states: “It is inconceivable that we will never see such a sight in our most
prestigious sporting events again”. He closes by asking for “courageous” and “energetic” action by
those who know what is right and who want to see change. A thoroughly inspiring DVD: Buy it, watch
it. Invite everyone you know round to watch it… It really hits the message home.
12
Overbending And Other Practices
Sylvia Loch Article First Published in CRC Newsletter Spring 2006
The current debate on the Rollkur (see Georges Dewez Letter) reminds me of a tour back in the mid
l990s where I had the good fortune to share a platform with the late great Rheiner Klimke for a
book signing at Equitana, USA.
Later that day, he was nice enough to invite me to join him for lunch – I’d just started CRC and he
was genuinely interested. He also suggested I watch an afternoon of individual training sessions he
would be conducting with a number of the country’s top competition riders in the main arena. There
was one particular combination he warned me to look out for.
What happened next was fascinating. The rider came into the ring on a very hyped up, extravagant
horse. Hardly condescending to acknowledge her trainer, we saw some impressive extended trot
and a little (rather hollow in my opinion) passage during the so-called ‘warm-up’. Dr Klimke
watched all this quietly and waited for the person to have the courtesy to see what he required them
to do. Finally, the penny dropped. Having at last secured the rider’s attention, he said the first thing
he needed to do was to assess the natural gaits of the horse. He would therefore like to start with
walk.
The rider in question was asked to drop the reins and walk the horse on a free rein. They dropped
their shoulders forward, but the rein remained taut. “Loose rein,” called the good doctor. “Loose
rein.” Still no reaction, the horse’s head veered a little more towards its chest, but the hands did not
give an inch. It became embarrassing. Finally, after many entreaties when the three times Olympiad
was forced to ask if the rider did not understand his English …. some slack in the rein was obtained.
The rider’s face was crimson. But where had the horse’s head gone? It had basically fallen into its
chest. I will never forget it. One may laugh at such sights, but actually the tragedy was this horse
was out there competing and presumably being accepted (it had after all been chosen for the Demo)
and the rider was getting away with it- at a very high level. The memory of that horse whose neck
muscles had been so weakened by years of incorrect training that it had become incapable of taking
the bit forward and into a given contact, will remain with me always.
That is just another reason why I have such a very jaundiced view of training gadgets and any
method which forces the horse with a weight on his back a) to take a fixed position of the head
which is unnatural and b) to sustain it for any length of time over a minute or so.
Enter the FEI Workshop to discuss the Rollkür (shown in the drawing above) headed by Mariette
Withages in Lausanne, Switzerland. The FEI are to be congratulated on their openness over this
issue and to have brought in some of most highly respected experts around Europe to discuss it.
At first sight this latest ‘technique certainly appears to fall outside the traditional remit… and one
would not expect to see this being practised by the Classical Schools of Vienna, Saumur, Lisbon or
Andalucia – at least not today, hopefully never. Yet this method is greatly favoured in some
competition quarters, not least showjumping. So, should it be accepted in dressage? – the discipline
which is supposed to be squeaky clean, that gives guidance to all the other disciplines and upholds
the natural movement of the horse?
Clearly its prevalence in the training scene was causing considerable disquiet amongst people who
might be deemed to know rather better than most. The good thing about this Workshop was to allow
13
reasoned debate not only amongst the sport i.e. riders, trainers and judges but also those involved
with animal welfare - particularly in the field of equine orthopaedics. Horse & Hound who
produced a very good report of the proceedings (February 9th) has kindly allowed us to reproduce
some of the opinions expressed below:
Dr Sue Dyson FRCVS Animal Health Trust, Newmarket… “There is an absence of factual
evidence [that Rollkür causes harm]. I have not recognised any injury related to this technique.”
Dr Eric van Breda of Maastricth University, Netherlands… “There is a fine line between training
and overtraining. Rollkür does not induce stress or pose a threat, but it may do so in unskilled
hands.”
Professor Frank Odberg, Ghent University… “Measures should be taken not against Rollkür, but to
protect horses from a violent way of riding and lack of lightness…”.
Sjef Janssen (husband and trainer of Anky van Grunsven) comments that his method of training
“long, deep and round” … “helps the whole-body training of the elite athlete within a highperformance environment…. I accept there is a danger that it can be copied by unskilled trainers
and riders.”
However, others were not so sure. Questions, I would have liked answered (had I been a fly on the
wall) might have been –
Why do people need to do this when ……..
a) it is unnatural to the way the horse moves in nature?
b) it prevents him from seeing where he is going?
c) it may overstretch (to the point of breaking down) the vulnerable trapezius and other ligaments
which connect the withers to the back?
d) it can cause mental and physical stress in unskilled – or unfeeling – hands?
e) it may have more to do with forcing submission than suppling?
f) biomechanically, the neck is not designed to be pulled downward- it’s role is for balance and to
help raise the forehand to facilitate freedom of movement….
Furthermore, there were just as many warning voice as there were positive. Dr Andrew McLean
from the University of Sydney said: “Cervical (neck) flexion as a result of sustained bit pressure
has a lot more to do with compliance and pain avoidance than suppleness…”
Dr Jean-Marie Denoix, equine anatomy specialist, France said: “Rollkür won’t cause lesion of the
cervical spine but may cause pain in horses with preexising lesions [often caused by over-use of
draw-reins – Ed]”
Dr Gerd Heuschmann, veterinarian at Warendorf, Germany, said: “Tension is the enemy of correct
training.”
Of course each rider, trainer has to make up his own mind. There is a place for suppling the poll –
which I fully endorse when gently and knowledgeably done. However I have always understood
that to supple the base of the neck is a dangerous, illogical practice. Can we really afford to turn our
back on the received wisdom of the past? Speaking for myself, it’s at this point I turn back to my
books. Not to be academic and dreary but simply to remind myself of warnings past and present.
14
Too many people think the work of the Masters is cumbersome, but the language here could not be
clearer or more simply put Consider these useful tips mainly from the French School:
Decarpentry: … “If the horse over-bends his neck when the head is drawn back towards the body,
the flexibility of the loin diminishes in the opposite direction, and it remains somewhat hollow….
The hindquarters will then lose some of their suppleness.”
Jousseaume: … “Do not forget that the horse, and the young horse in particular, needs great
freedom of the neck each time he has to modify his equilibrium”… Have a soft contact with the
hand without pulling…. accustom him to come honestly to the hand which must remain low. In this
way, the neck will become muscled and the trainer will avoid making it ‘rubbery’ which is very
harmful to future dressage training.
Paillard: … “We know that the head and neck play the role of a balancing pole… It is thus very
clear that any constriction affecting the natural play of the neck muscles…necessarily leads to a
corresponding constriction in the play of the horse’s equilibrium and of its locomotive mechanism.
Klimke (God rest his soul…) “We must be careful when making the horse straight not to bend it in
front of the withers. We must not loosen the muscles in front of the withers for we need to build up
either side of the neck so it is steady in front of the withers. We need a steady feel in our reins so if
we take the right rein the horse flexes and goes right and does not simply bend in front of the
withers which lets the shoulder fall out.
For me the work of the masters provides a guide and a confirmation of all our work to date with
many, many different types of horse. We all need support – we can all make mistakes – but for the
sake of the horse, it’s good to be kept on the right track. That is why I believe in Classical Riding,
past, present and future. And I am very glad that you do too. The work must go on. SL
In conclusion – taking into account all our joint efforts over the past 10 years, plus the
enormous outpouring of outrage and disdain for the now discredited use of Rollkur – the
authorities who control dressage are still unwilling to take real action. As we approach 2010 it
seems more effort will be needed to persuade those authorities and certain experts to make
the necessary changes within the dressage discipline.
The welfare agencies are not necessarily going to be convinced without further scientific
proof, so I believe it is up to all of us who ride and “know” our horses to continue to lobby in
their defence.
For this reason CRC has designed and published a series of posters to help you all do your bit.
15

rollkur - The Classical Riding Club

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