Is dressage facing an identity crisis?
Section 1 – Written by Paul Blasik
A new Grand Prix dressage test is on the way, and in my opinion, the design of its movements is hardly understandable.
At the end of the test, after a difficult series of movements and just before the extended trot, the rider is asked to release the reins in the trot and lower the horse's neck on a 20-meter circle; thus, the horse heavily leans on the hand in the "stretching circle."
Then, very quickly, within just a few seconds, the rider must gather the horse again to restore its balance and execute the extended trot.
This is not about releasing one rein, or even both reins for a step or two just to prove that the horse is not heavily reliant on the reins to maintain balance; something that seems much more logical.
No, the issue of lowering the neck is the same as seen in the old cavalry training.
I have written extensively about this topic in my latest book titled "Long and Low: A Revolution in Modern Dressage."
I don't know how much more scientific evidence the supporters of the "Long and Low" school need to understand that when the horse takes this body form, it puts more weight on the front section and reduces the load on the back section.
Physically, maintaining complete balance on four legs in this position is impossible.
By definition, you are putting extra pressure on the front leg, which naturally bears more weight from the front.
If the neck is even slightly collected, the horse is not simply in a state of relaxing rest; rather, it is just using different muscles in the lower neck.
This position still requires physical effort.
Photo credit: Gerrit Schabel von Gordon, the last survivor of the Hanover school and a supporter of riding in the Long and Low style, from his book titled "Practical Training in Classical Dressage Based on H. D. V. 12."
Elizabeth DiAnthony's translation of Steinbrecht's response to the Long and Low methods in the cavalry school was: "I have had horses whose front legs were completely worn out, but nature had given them a strong back section; and by bending the croup, I gave such complete freedom to their shoulders and such a reliable quality to their strides that they could compete with the best and most valuable horses of their kind.
In the eyes of previous riders, the strong back of these horses only helped to drive all the weight forward with great force, and this extra load quickly wore out their front legs.
By removing the load from the front legs, these horses gradually regained their natural elasticity and agility.
Raising the neck also gave them more movement from the shoulder."
If you want to see a good example of the release of tension, just look at 99.9% of horses and riders after the final salute.
They pet the horse, release the reins, and sometimes, under the enthusiastic applause of the audience, almost always exit the competition arena calmly.
The reins are loose, and the horse stretches its body.
If this is not the case, one might need to question their mental state; whether nervousness has become ingrained in their training process or not.
Now, let's take a moment away from the Grand Prix and go to a jumping competition with a horse at the Grand Prix level.
Imagine following the horse and rider through various combinations and lines of movement; jumping, collecting, opening strides.
The spectators are spellbound.
The last obstacle is a heavy oxer that requires significant effort to clear.
But just before the oxer, the rider must enter a 20-meter circle, sit-stand in a canter, and release the reins to lower the horse's neck.
Then, within a few seconds, they must gather the reins and the horse's neck again and jump the oxer.
Now, what if we were watching a figure skating performance?
The skater or skaters are bringing the performance to a climax, but at the last moment, they slow down and perform a simple circle, similar to the old compulsory figures, and then return to the grand finale.
From a market and audience appeal perspective, this is completely illogical.
What will the audience's reaction be to such a performance design?
Dressage is already struggling with the reputation of being a boring discipline.
Now, what if we examine this stretching circle in the Grand Prix dressage test from the perspective of testing or practice?
In the design of a jumping course, there is a fine line between a challenging combination and a trap.
The trap can be an impossible distance or line, or a line and distance that forces a well-trained horse and rider into poor technique.
They are led into a position where the only way out may be an effort born of desperation.
This does not seem fair to the horse and rider; it feels like you intended to deceive them, rather than challenge their best technique, but to see which horses find a way to escape.
Designing a long, low circle with stretching in the Grand Prix dressage test, just before the extended and powerful canter, is a trap.
This movement attempts to deceive the horse into relaxing as if the test is over, but suddenly around the corner, the oxer of the extended canter awaits.
This goes to the brink of being dangerous.
If the judges do not like a heavy hand, they should not give scores of 8 and 9 to horses that are too collected and have their heads too far in.
Or simply, they should continue scoring until the riders exit the arena.
After the last halt and salute, the rider releases the reins and walks out of the arena, and until the moment they leave, calmness and relaxation are scored.
Years ago, when dressage was just starting to promote freestyle programs, I remember talking to Dr. H.L.M. van Schaik.
Van Schaik himself was a judge in dressage and riding who also had an Olympic medal in his record.
He was dissatisfied with all the requirements that were constantly being added to the freestyle programs.
He felt that there was no longer room for true creativity.
He told me that all these riders have proven they can perform at the Grand Prix level; therefore, when they reach the freestyle, let them do their own thing.
Let them be creative.
Of course, it is natural to have a few simple requirements, but overall he said, "Let them do their own thing."
I think this stretching circle is somewhat insulting to the Grand Prix riders and horses; because it asks them to demonstrate their commitment to a training system that has both a controversial background and questionable results.
By the time riders and horses reach the level of Grand Prix competitions, they have gone through countless tests and qualifying stages to be able to compete at that level.
They present different styles: soft and delicate, powerful and athletic, conservative, cautious, or riskier; and part of the appeal of the adventure is just that.
Trust your judgment to see these differences and let the spectators have their favorite horse and rider.
The most important principle is respect; respect for other riders and that everyone respects the horse.
It seems that competitive dressage is currently in the midst of an identity crisis.
Is it a performing art where equestrian competitions can be a stage or space to watch these performances?
Or is it a sport where there is a winner and clear rules defined for victory?
Or is it a test where your knowledge and skill are assessed; similar to a bar exam for a lawyer?
It seems that the new Grand Prix test itself has not yet clarified its own position.
What has caused all this confusion?
Where does this situation come from?
We all know where.
This issue stems from growing concerns about horse welfare.
In my next article, I want to address some of these concerns.
Source: The Horse Magazine