(© Text content John Richard Young. First published in Arabian Horse Express, 1991. Engraving credit Jean Daullé 1753: Louis de Cazaux-Laran de Nestier (1684-1754), premier écuyer cavalcadour of King Louis XV riding Le Florido in school walk exercise. Le Florido was a fine Spanish stallion given to Louis XV by the King of Spain. More about M. de Nestier at the end of this article.)
“Try to steal from a walk to a trot to a canter as gradually as the sun rises.” – Colonel M.F. McTaggart
“Good transitions are signs of accomplished riders with ‘feel’,” begins John Richard Young…
(© Paul Belasik 2017. First published in www.horsemagazine.com. Reprinted with the permission of the author. Photographs courtesy of Paul Belasik.)
After working with, and observing the work of so many up-and-coming modern riders, it is perplexing to see that there are still so many fundamental faults in the performances. At first I thought it was endemic to a particular national style that had proliferated through the exaggerated effect of certain teachers. Although this may not have been the case initially, I believe these problems are now universal among many modern dressage riders, regardless of country. I have chosen three areas of concern that, if addressed, could make a huge difference in the overall performance of dressage. In this series of articles, I will discuss 1. bend, 2. hollowness, and 3. the inattention to deviations in limb patterns.
(© John Richard Young. First published in Arabian Horse Express September 1990. Thanks to Yvonne Welz and her archives at www.thehorseshoof.com. Image of François Robichon de La Guérinière and student, “L’Epaule en Dedans” (Shoulder-in) by Charles Parrocel.)
Last month I expressed my negative opinion of the shoulder-in as an efficient schooling exercise, particularly when attempted by the average, semi-skilled rider. I gave reasons for my opinion and quoted other horsemen who agree with me.
However, I do not expect everybody else to agree with me, nor would I presume to force my views on those who prefer to think differently. I would rather help them, if I can, in pursuing the way they wish to go with their horses. Therefore, the following remarks about the shoulder-in are addressed to fledgling trainers who, for whatever reasons, elect to follow in the footsteps of tradition regardless of what I think.
(Copyright © 2008 Sherry Ackerman. Published by New World Library. Used with permission of the author. Image by Anthony van Dyck, detail of Equestrian Portrait of Prince Tommaso Francesco of Savoy-Carignano.)
Any path is only a path, and there is no affront, to oneself or to others, in dropping it if that is what your heart tells you…Look at every path closely and deliberately. Try it as many times as you think necessary. Then ask yourself, and yourself alone, one question…Does this path have a heart? If it does, the path is good; if it doesn’t, it is of no use. ~ Carlos Castaneda, The Teachings of Don Juan
Western social norms, so strongly influenced by the Puritan ethic, have traditionally offered a distorted view of sensuality and body communication. Nudity is regarded with suspicion, touching is associated with lust, and sharing sensual experience is considered inappropriate. In general, appreciation for the body has been considered pornographic. I recently entered some of my artwork in a gallery show. In an attempt to decide which pieces might find favor with the jury, I called the show organizer and asked some questions. I told her that I had a couple of “risky” new works that I would like to enter but was uncertain how the jury would receive them. She asked me what I meant by “risky,” and I told her they were abstracts with extremely bold colors and lines. “Oh,” she replied, “as long as they’re not nudes, I don’t think there will be any problems.”