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!

For many years, I didn’t understand at all. You can feel the horse’s mouth, you have decent balance, so why can’t you keep the reins from going straight-loop-straight-loop? Never mind total beginners, never mind young children, but can’t developmentally and intellectually mature adults who’ve been riding for awhile get it straight – literally?

The answer is no. They can’t. If they haven’t developed a secure, independent seat, then the hands (and the horse) will always suffer. There’s no way around it. If it isn’t inconsistent contact, then it’s too much contact and leaning on the hands. You can remind them, model for them at a standstill what contact should feel like, show them pictures and videos – all futile.

There is a reason the Spanish Riding School puts new students on the lunge line for at least 6 months. A very, very good reason.

Everything always comes back to the seat; it truly is the foundation for all good riding. You simply cannot achieve soft, quiet hands and good contact with the horse’s mouth without developing an independent seat.

If I could learn to ride all over again, I would love to be on the lunge line for months. I would love to have to earn the privilege of having the reins. Even now, I wish I could just practice on the lunge line for hours every week. It really is the key to developing the classical seat. The trouble is, there are very few people in the world with an equally burning desire to lunge horses for hours on end!