On our Classical Dressage Discussion List I seem to have started a little controversy with my remarks that riding hurts sometimes. Some of you, especially those of you who ride with me, understood what I meant. Others misunderstood me, so I will try to clarify.

First of all, when I say that riding hurts, I don’t mean that it hurts all the time, obviously, but that occasional (physical as well as mental) growing pains are an integral part of growth. (Cf. Sherry Ackerman, Dressage in the 4th Dimension, p. 28: “There is no gnosis without pain”).

Nobody can have good performances all the time. Each high quality performance has to be earned by many practice sessions that bring us face to face with our limits and our current shortcomings. C.A.Huang & J.Lynch quote the Buddhist proverb “The arrow that hits the bull’s eye is the result of a hundred misses” in their book “Thinking body, dancing mind” (1992, 93). This captures very well the essence of what I am trying to say. Every correctly executed half halt, e.g. is the result of many others in which the timing, coordination, and intensity of the aids was incorrect, which led to completely different results than we had intended.”

P.T. SUDO talks about the same phenomenon in his book “Zen Guitar”, 1998, 44: “Frustration results when the body will not perform as the mind directs, or the mind becomes confused about what it wants the body to do. These confrontations are an integral part of training. They bring us face to face with our motivations and limitations: Why are we putting in all these hours of practice? Why do we desire what we desire? Are we willing to make the sacrifice necessary to progress? Are we asking more of our body than it can do?”

These two quotes make it clear that the mental anguish I was referring to has little, if anything, to do with the teacher, nor is it unique to riding. It arises from our caring, our passion about what we do, in our particular case: riding. Serious riders, and I am only talking about those who want to learn to ride in a narrower sense of the word, have to compare themselves all the time with the ideal they strive for – and that is often frustrating.

My own most humbling, even humiliating, moments were always brought about by horses, not people. Sitting on a correctly trained Grand Prix horse, and realizing that one has no control over the horse, is painfully embarrassing. Understanding just how difficult it is to ride something as simple as a correct (my teachers use “correct” synonymously with “perfect”) corner, circle, volte, or transition, is humbling. This frustration comes not from being, unable to do something difficult, being overfaced. It arises from the realization that, no matter how advanced we thought we were, we still have not truly mastered the basics (Once we have mastered the basics, we are masters of the equestrian art). Every time this realization hits home, we become a little more humble, by catching a glimpse of how much farther we still have to go.

The emotional pain comes from wanting to ride well, so much so that it becomes the most important thing in one’s life. In this quest, we reach ceilings in our progress, plateaus that seem to stretch on forever (even if they only last for a few days or weeks). The only way to improve is to re-examine (and question!) everything we do, keep the good things, discard the bad things, and replace them with a better way. The reason for this is that anytime we encounter a problem, whether we are unable to ride our horse on the bit, or whether our horse raises one diagonal higher than the other in the piaffe, the underlying cause is always somewhere in the basics, the training pyramid, and beyond that, in our seat, and the timing, coordination, and intensity of our aids. If we find the mistake we are making in our riding, which causes the flaw in the training pyramid, the original problem will disappear. Finding this mistake requires some serious soul-searching. It has to begin with the admission to ourselves that we are not nearly as good as we may have thought we were. We have to be willing to question everything we have accomplished, everything we thought we knew. And the pain that is caused by this process, and the honesty which is indispensable for it, is probably greater than the pain any trainer can inflict. Sherry Ackerman (1997, 28) puts it very well: “The pain of destroying personal ego cannot be imagined or described: it is beyond words.”

On the other hand, since we have to earn each little bit of progress with so much effort, we treasure even the smallest success. It is something that nobody can take from us. We have earned it, and these moments in which we accomplish a breakthrough and experience the harmony and balance that we dream of, carry us through the moments in which we cannot seem to find the right way. There is nothing like the sense of accomplishment and inner peace that is created by a breakthrough in our riding.

The plateaus have a habit of re-occurring periodically, and they bring the need for a thorough re-evaluation with them each time. Initially, the necessary adjustments can be quite dramatic. The more we progress, the more subtle they can hopefully become. Since we are trying to do something that does not come naturally or easily to most of us, we may get worse in the beginning – until we become comfortable with the new way (of sitting, e.g.). In the long run, the new way will take us beyond the last plateau (if we are on the right track). In time, we will reach a new plateau, and the cycle begins anew. Just like Sisyphus, we go back down to the foot of the mountain in order to start rolling the boulder up the hill again. As soon as we think we have reached the top of the mountain, the rock rolls down, and we realize we have to start over. I don’t believe that this cycle ever ends, no matter how accomplished we may become. The difference between the cycles is that each time we are a little more accomplished, a little more knowledgeable, and hopefully a little wiser than the previous time. P.T.Sudo (1998, 155) describes it this way: “The first rule of mastery is this: Those who think themselves masters are not masters. There can be no letup of your study, no matter how far you’ve come. Even the highest priests of zen say to themselves, mi zai: “Not yet.” You have not yet learned all you can know. You have not given all you can give. You have not yet reached the summit. Empty your cup and keep going. Same mountain, farther up.”

Put differently, each time we reach a goal, we realize that there are other goals behind it, and yet others behind those, without end. Probably all of us have had “bad” rides after which we thought we would never learn how to ride, because things just did not work. At first, we cannot see the reasons why. But if we continue to analyze and to rethink these bad rides, we will eventually figure it out. This is terrible, and it is wonderful at the same time. It is terrible, because there is no quick fix, no shortcut, no easy way, only diligent practice of the correct (!) basics. It is also wonderful, because correct diligent practice will always bring success in the long run. Riding is very democratic that way. We cannot buy a good seat, tact, understanding, and knowledge. We have to earn them.

In hindsight, I think I learned the most from my worst rides, because they challenged me to be brutally honest with myself, and to change the way I thought and the way I rode. As long as I tried to fight the plateau, avoiding to face the necessity of a fundamental re-evaluation, the slump continued. As soon as I admitted to myself that I knew nothing, I was enabled to make progress again. In that sense, the frustration and pain that arise out of mistakes are not only inevitable, they are catalysts in our learning. They are opportunities that we must take advantage of.

What is important here is that the teacher gives the students confidence. No matter how badly I rode, no matter how much I struggled with my own incompetence, my teachers always believed that I could overcome the difficulties, that it was just a matter of time and diligent practice. I try to do the same for my students. When you believe deep down inside that you can do it, and you keep searching honestly, you will always progress.

The teacher has an important function in showing the student the discrepancy between their actual performance and the ideal we are all striving for, which creates frustration. But the teacher also has to instill the confidence in the student that the difficulties can and will be overcome – if the student is willing to do what it takes. This is one of the differences with the Old Masters and many modern trainers. The masters never compromised their standards. They demanded perfect executions of the simple things, and over time, the more advanced work grew out of this.

This takes a lot of patience on the teacher’s part. It means reminding the student of the same things over and over, until he has gained sufficient control over his body to be able to sit correctly and to give correct aids. This kind of work is often tedious, it takes a long time, but once it takes root, the progress is phenomenal. Today many riders and trainers don’t want to subject themselves to this discipline. They skip ahead to the “fun part” without ever mastering the basics, with the result that the more advanced work is fundamentally flawed.

Somebody said the teacher should be an inspiration to the student. Probably the most inspiring teacher I have had is Thomas Faltejsek. He was able to motivate me like nobody else, by conjuring up a vision of perfection and making it seem to be within my reach (in addition to providing us with a shining example of what horse and rider should look like together). On the other hand, he demanded every ounce of effort I could muster, and more (there is no such thing as “good enough” when it comes to the rider). He told me more than once (only half jokingly): “I don’t care if you die trying, but first you WILL RIDE. Then you can die.” I remember one lesson in particular, many years ago, where I thought I was giving everything I had. Then he screamed at me at the top of his lungs (which was quite rare, by the way) – and I discovered that I still had some energy left, after all. It carried the horse across the threshold, and we outgrew ourselves at that moment. If he had been less demanding, I would never have had this experience of success and accomplishment. Thomas Faltejsek has the power to make students ride a couple of levels above their normal ability, because of this mixture of encouragement and strictness.

However, not every student wants to learn how to ride. He also complained to me that people had approached him saying they wanted to learn how to ride. When he presented them with the opportunity to learn, they were unwilling to make the necessary effort. So he felt betrayed and lied to.

This is at the heart of the anecdotes Jessica and Annette related of Dr. Klimke. There are many riders who want a babysitter, someone who cuddles them verbally, and holds their hands while they are going through a number of tricks. These students will never learn how to ride, even though some of them may be able to perform some upper level movements with certain horses.

As far as the physical pain is concerned, I was thinking of my own experiences. Many years ago I went through a phase in which riding without stirrups at the walk and the trot was excruciatingly painful, because the sheer weight of my legs stretched my stiff adductor muscles to such an extent that it sometimes felt as if someone were tearing my legs off. That was just from the weight of the leg itself, without even trying to stretch it actively. Over time, the muscles became more flexible, and the pain went away. I may very well be an extreme case, but I think that everyone who rides seriously has experienced some discomfort and muscle soreness at some point. I don’t believe that there is any top athlete or ballet dancer who reached the top without ever becoming muscle sore, without ever experiencing discomfort or even pain. Progress is only possible by stretching one’s limits, by leaving one’s comfort zone.

One of the attitudes that one encounters more and more often these days is that “riding is supposed to be FUN”, and easy, without discomfort or pain, without frustration. This attitude originates in the myth that there can be mastery without effort. P.T. SUDO addresses this very issue in a completely different context, i.e. playing guitar (1998, 75): “Too many of us today want instant gratification . We want reward without work. We want the thinking done for us. We want to understand something right away or we can’t be bothered. This attitude demeans the accomplishments of those who are true masters.”

Mastering a skill cannot be accomplished with complacency and superficial thrill seeking, but only with serious studying for a period of many years. This is something many riders don’t realize or refuse to acknowledge. Richard Waetjen, one of Egon von Neindorff’s two principal teachers, puts it this way (Dressurreiten, 6th ed. 1989, 19): “It is only the love for the work itself that can help the rider get through the many years with many disappointments and give him the strength not to despair but to continue to strive. The crown of the art of riding can be attained only through decades’ worth of work and experience, and with great patience that precludes temper tantrums and any violence.”

If even a great master like Richard Waetjen experienced the frustration and the emotional pain of learning how to ride, it would be unrealistic of us to think we could find an easier way. Two expressions in Waetjen’s quote probably hold the key to the discussion: “the love for the work itself” and “the crown of the art of riding”. Those people who emphasize the importance of having fun are usually not interested in achieving the classical ideal, nor do they really love the work process.

Rather than looking for “fun” in riding, the rider should enjoy the process of learning (P.T. SUDO, 1998, 39f.”There is joy in the struggle”), including all the ups and downs. When we are trying to accomplish something meaningful in any aspect of life, an art, a sport, a science, it is impossible to do it without a certain share of pain and frustration. The negative experiences are the ones that give meaning and importance to the positive ones. They are the ones that keep us searching for a better way. Success rarely does that (if it ain’t broke, …) Without the struggle we would not value our progress the same way. There always has to be a balance.

© 1999 Thomas Ritter.  All rights reserved.

Maybe you’ve known this forever, or maybe you’re like me, and you had an epiphany that really changed the way you see riding.  But somewhere between begging for pony rides and longing for piaffe the realization sinks in.  Training can be done from the ground or mounted.  But riding…is riding. You’re up there trying to make things work, for better or worse.  You’re training that horse, like it or not.

There’s a reason my Mom’s slogan is Ride Your Horse. It really is the way to improvement – for your riding and hopefully for the horse as well.  Ride your horse –meaning often and well.  And you will know if you are improving or not by what you get back from your horse.

Of course, there are those horses that can have a 2 year old, a disabled rider, or even a complete lunatic on board for a lesson without batting an eyelash or learning bad habits.  These horses know they are putting up with teaching, are few and far between, and are selfless angels.  Zac is one of them.

The other 99.9% of horses in this world cannot be ridden without being influenced.  The epiphany is that good riding does not exist in a vacuum.  It always influences and improves the horse.  There’s no way to say to a horse, “hey, today doesn’t count because I need to work on some stuff”.

“A horse has no future. It cannot greet the sun and say today will be better. It can only reflect upon days of past experiences. It is our job to create a positive past.” ~ Karen West

Horses know what has happened, and they think they know what is going to happen next based on their past experiences.  This is why re-training is so much more difficult than having the correct training applied in the first place.  You have to convince a horse that things can be better without them having a concept of the future.  That means lots of little moments of improvement that slowly make up a new past.  This is not a quick process.  This is the boat most of us who aren’t backing and training babies find ourselves in.

It’s your riding that either creates moments of increased capability (and if you’re lucky, brilliance) or hinders the horse and stunts further progression as an equine athlete – both mentally and physically.  Each error on your part that produces confusion or pain takes you back three steps, while each positive experiences takes you forward one, hopefully.  Those steps will be small in number until you make those positives steps a much bigger part of the horse’s memory and past.  Never forget how important they are and always reward the horse for them.

The point is that when you realize that you are the catalyst for the horse’s development, the goal of improving your riding takes on a new meaning.  Suddenly it’s more than looking in the mirror to see if your leg is underneath you (still important), asking an observer on the ground if your shoulder-in is correct (still important), or thinking your horse’s head position is the most important thing (come on, you know better by now!).  It’s the way your riding affects the horse over time.  As your rides add up, week in and week out, how has the horse changed?  Keep a journal, write this stuff down.

“If a horse becomes more beautiful in the course of his work, it is a sign that the training principles are correct.” ~ Alois Podhaisky

If you can look back and honestly tell yourself that your horse has become a better athlete, has developed the correct muscles, and is progressing according to the training scale, then guess what?  The odds are pretty good that you have also become a better rider during that time.  On the other hand, if your horse suffers from stiffness or other physical ailments not otherwise explained, if you aren’t seeing the correct muscles develop, and if your horse shows irritation and lack of a work ethic…it’s time to look in the mirror.  And then head back to square one.  Don’t think of it as a step backwards.  Think of it as the only way forward from where you are.

This realization that the path to becoming a better rider is to put your skills to the test through the training of a horse has made me turn down offers to ride horses once a week.  The sheer frustration that would result from not being able to consistently help the horse (especially when the horse is ridden by a much less skilled, non-classical minded rider several days a week) would be too much.  I couldn’t fairly ask very much of a horse like that, and I want to practice asking. What I get by asking tells me so much, as the weeks roll by.  Not that a leisurely trail ride on a loose rein isn’t fun, but put me on a horse I know and have a history with so it’s a fun break for both of us, not a meet and greet.

I was really lucky that during my 6 weeks in MI not only did I get to ride Wilt and Zac and several other horses, but my friend Cindy let me make her horse Misty my project.  While I wait for Trixie to become mine, I had been simply dying for a project horse.  Misty had an injury that put her on stall rest for about 7 months, so we were starting all over with her and Cindy was a bit nervous.  Misty is a true mare and can be intimidating.  Don’t let the picture below fool you.  :-P  I rode Misty 5-6 times a week, and we started slowly as she was very out of shape.  Lots of short sessions in the beginning, most of which I had my Mom put me on the lunge line.  Then progressively longer sessions, adding more and more figures and even riding in our outdoor arena (which is a bit deep) for longer sessions to help her get stronger.  It did take my Mom getting on towards the end to ask her for more for me to see that she could do more than I was asking.  The bad part was why the heck didn’t I know or feel that, but the very good part was that I was erring on the side of asking for too little than too much.  Before I left, she was looking like a little baroque horse and was soft and light.  There’s still so much to work on and improve, but I can’t even begin to explain how much confidence getting her that far gave me in myself.  Thank you Cindy.

Riding several horses is also a big part of getting better.  I’m also lucky that Wilt puts up with me and essentially gives me a lesson every time I ride him.  I feel like I can help and improve all the other horses I am able to ride, but Wilt is way beyond anything I could teach him – for now!  (And I’m so lucky my Mom lets me ride her special horse – thank you Mom!)  Basically Wilt is saying “keep up with me, keep up with me!” the entire ride, but it lets me practice things I can’t practice on other horses and Wilt expects you to ride so if you don’t ask for something correctly, you don’t get it.  The best part is, Wilt is brutally honest so you do get what you really asked for….as evidenced by my frequent walk-to-canter attempts that ended in half pass. 

I don’t want to dismiss lessons.  Working with a trainer that is willing to go the distance and follow classical principles is essential as well.  It especially helps you from continually doing the wrong things because you think they’re right or you don’t know that you’re doing them.  Obviously I haven’t discussed the unique needs of different levels of riders.  Most of what I’ve said doesn’t apply to beginners.

For the rest of you, get out there and become better riders.  Ride your horse – often and well.

Anne Wilson Bio
Anne Wilson has been training people with their horses for over 25 years.  She trained with the modern master, Sylvia Loch, and has been an active member of the Classical Riding Club since its inception in 1995; in 1998 being awarded the CRC Gold Award Certificate.

Anne has written two books; her first ‘Top Horse Training Methods Explored’ was published by David & Charles in 2004.  Her latest book ‘Riding Revelations’ was published in 2009 by Black Tent Publications – www.black-tent.co.uk

Anne also co-publishes, with Susan McBane, a quarterly subscription magazine called ‘Tracking-up’ – www.tracking-up.com

Anne’s website is – www.classicalridingannewilson.com

Anne Wilson Interview

Bree: What does the term “classical riding” mean to you?

Anne: Classical riding to me is nothing more nor less than correct riding.  It can be applied to every equestrian discipline and to every horse and rider.  Too many people believe that the term classical is somehow elitist, stuffy, or a specialist type of dressage. It is none of these things. A good classical seat is the foundation for cross country riding and jumping. Although the seat is altered, by taking the weight off the horse’s back, the principles of balance and laws of gravity are the same.

Classical riders follow the laws of nature, utilising the weight aids, which the horse can follow without any ‘training’ in order to do so.  This paves the way for a more harmonious partnership, less reliance on the reins, and the true classical training is far more enjoyable for the horse.

Of course true classicism, is far more than this. It encompasses an ethos of love, respect, humility, a willingness to admit when one is wrong, and a respect for the horse as a sensitive being.  This does not mean that we have to be ‘soft’ – on the contrary it takes more will power and strength of character to follow these ethics than to take the attitude of ‘I will be boss come what may’. The horse needs fair discipline, and I believe horses understand fairness and need a strong, kind, leader.  All the great masters have advocated this ethos. However, throughout the centuries there have been cruel training methods practiced by so called ‘classical masters’ as there still are today. This is confusing to some people but, when you think about, it is inevitable.  Human nature is such that there will always be some people who stray from the straight and narrow path.  In my opinion these trainers should not be called classical.

Bree: In your opinion, what is the biggest misconception about classical riding?

Anne: I think the biggest misconception is that classical riders are ‘soppy’ and that classical principles are out-dated. Many competitors believe that they cannot follow classical principles if they want to win trophies. They may also believe that modern methods must be better simply because they are modern. What they seem to forget is that the basic biomechanics of horses have not changed, nor have the laws of nature, such as Newton’s law of gravity, and all these laws seem to be ignored in much of today’s competitive riding. Classical principles have stood the test of thousands of years of time and cannot be shaken.

It may in fact be true that the quickest way to the top is not to follow classical principles, but that is only because the judging system has become misguided (some may say corrupt).  Where is the sense of achievement in winning under these circumstances, especially when it is undoubtedly at the cost of the horse’s well-being?

Bree: Why is classical riding and training best for both rider and horse?

Anne: In short classical training is designed to strengthen the horse, instead of strain him.  One only has to look at the longevity (or lack of it) of many competition horses to see that they are worn out at an early age.  It is not uncommon for the stallions at the Spanish Riding School to still be performing in their late twenties or even early thirties.  The Lipizzaner are a long lived breed, but I am sure this is not the only reason.

A classical trainer would not start to work a horse until he is at least four years old, and then very gently.  It takes many years to build up the strength, flexibility and stamina to perform the more advanced movements, but it is so much more worthwhile. For example, the movements are more beautiful and the horse is able to perform them, usually for the rest of his long life. Classicism works to enhance the natural beauty of the horse, not to use or abuse it.

When the classical horse is trained he is able to lift his forehand, taking more weight onto his haunches, thereby making him more agile, and relieving the stress on the forelegs which are much more vulnerable. This is one of the ways in which he is enhanced, rather than worn down.

Bree: Who are the riders that you admire most?  Why?

Anne: I have always admired the work of Col. Alois Podhajsky.  His books were my first real taste of classicism back in the 1970’s.  His whole ethos struck me as uplifting and his riding impeccable.

I have huge admiration for my mentor Sylvia Loch. I believe that her riding and training techniques are second to none in the world today.  She treats each horse as an individual and has great empathy and patience. Her riding is light and harmonious.

There are other classical riders I have admired but these are the two who have influenced me the most.

Bree: What would you like to see aspiring classical riders work on more?  Work on less?

Anne: I would like to see aspiring classical riders being prepared to work at the horse’s pace and not expecting too much too soon.  People need to understand that a young horse needs time before his back and hind legs are strong and supple enough to enable him to flex his jaw and come onto the bit.  Of course I would like to see all hyperflexion (or Rollkur) practices ceased forthwith.  Horses should be given a chance to use their head and neck as nature intended. It is only natural for a young horse to poke is nose outwards, until he has built up the strength to use his body in a better way – time and the correct exercises must be employed to facilitate this.  In some cases it takes longer than others. Breeding and conformation play a part in this, but all horses, in my opinion, need more time to develop.  The horse should come onto the bit when he is ready – the rider should not attempt to put him there.

Bree: Besides your book, can you recommend books on classical riding to readers that have been particularly helpful to you?

Anne:
The Complete Training of Horse and Rider – Col. Alois Podhajsky – Harrap 1967

My Horses My Teachers – Col. Alois Podhajsky – J.A. Allen 1997

The Riding Teacher – Col. Alois Podhajsky – Sportsman’s Press Edition 1993

The Classical Rider – Sylvia Loch – J.A. Allen 1997

The Classical Seat – Sylvia Loch – new revised edition D.J. Murphy 2009

Dressage in Lightness – Sylvia Loch- J.A. Allen 2000

Dressage for the 21^st Century – Paul Belasik – J.A. Allen 2002

Revolutionize Your Riding – Susan McBane- David & Charles 2007

Horsemanship – Waldemar Seunig – J.A. Allen Classic series 2003

Exercise School for Horse and Rider – Lesley Skipper – New Holland 2008

Many of these books are new editions of old classics.  There are many more but these are a few to be going on with.  When you’ve read all of those I can give you more!

I would also suggest you join the Classical Riding Club (started by Sylvia Loch)  – www.classicalriding.co.uk

Bree: What was the best riding advice you ever received?

Anne: That’s a hard question to answer, because there has been so much wonderful advice over the years.  However, I think the best collective advice (I have heard it/read it from many classical masters), is not to be disheartened when things go wrong, and not to keep practicing something in the same way if it is not working.  Ride a different movement or pace which you know the horse enjoys and come back to the difficulty either later or another day, preferably approaching it in a slightly different way.  Often sleeping on something helps; thinking about the problem when doing other things often brings about an idea of how to approach things differently.

Bree: What is your biggest equine regret?

Anne: My biggest regret is probably the fact that I have never managed to get to train at one of the centres of excellence, say in Portugal or Spain.  However, one should never say never – maybe one day!  I still count myself extremely lucky to have trained with Sylvia Loch in the UK and was able to ride her absolutely wonderful schoolmaster, the late Lusitano-Arab stallion Palomo Linares.  I don’t suppose I could ever better that!

Bree: Proudest equine moment?

Anne: When my uncle, after watching me school my mare, was bemused by the fact that we were performing trot shoulder-in, then cantering across the school, more shoulder-in and then half-pass one way, then changing the bend and back to the track.  He asked how I was instructing the horse because he couldn’t see me move, nor any action of the reins.  That was extremely gratifying, making me proud of the partnership I share with my mare Lucy-Lou.

Bree: How can riders help promote awareness of classical riding?

Anne: Promoting classical riding has never been easy.  Probably the biggest drawback is the fact that it is hard to define – hence my lengthy answer to Question 1 above.  I wish I had a pound for every time someone has asked me ‘what is classical riding?’  If I need to give a quick answer I usually say “it is just correct riding, following the laws of nature, gravity, etc., and never going against the nature of the horse, never forcing anything.”  Obviously one has to mention the great classical masters, the length of time that classical riding has been around; thus proving itself to be the best method, but sometimes this comes across as staid and old fashioned.

I think that probably the best way to promote it is by example – to ride harmoniously and to be able to show, as I did to my uncle, that there is no need for harsh aids, nor for the horse to be stressed in any way. I would advise against being too critical of other methods; try to be humble but point out that you believe there is a better way. If we are too aggressively critical, people are often put off – and remember that not all trainers or riders calling themselves ‘classical’ actually are what they say!