A new year at Idle Moon Farm : 2014 : Balance

Yesterday morning as I watched Rumi cantering through the snow, totally relaxed with an even cadence, I thought how lovely it would be to ride him. It’s not the first time I’ve thought about riding him lately, his pasture gaits are really very balanced and full of impulsion and more than once I’ve just stood holding the hay in my arms while I watch him trot or canter with lovely control and variation within his gait. He’s a very athletic horse. He’s also a nervous horse who bucked a lot of people off when he was started too quickly under saddle. Before I get on him, he needs to have mastered many skills he doesn’t yet have. To do it well, I need a plan, both for individual sessions and a larger outline that helps lead the way to where we are going. Since it’s New Year’s Day, its a fitting time to lay out broad goals for all of my horses and release solid intention into the universe.

Jalal ad-Din Rumi gathers Sufi mystics.

Rumi :  I would like to work toward riding Rumi. This means teaching him the six foundation lessons: target, happy ears, back up, head-down, the grown-ups are talking (stand quietly), and stand on a mat. These lessons can be taught first in the barn where he is comfortable, then out on the big driveway circle and then finally in the indoor and outdoor arena. Once he is comfortable with these lessons and relaxed in either arena with all the foundation lessons, we can move to WWYLM (Why would you leave me?) on a cone circle. I’m excited to get to work on his physical balance because I think he’s going to enjoy the work. I suspect it will change him emotionally and I am eager to reach that phase. I will set a loose goal of sitting on him by this fall while he works in-hand on a cone circle with a header. Then he could have a few winter months off and we can pick up in spring and begin riding on our own in the summer of 2015. An eight year old Arabian certainly has a good 20 more years of riding.

Best of the Dragon, Vol. 1

Dragon: Dragon is the most educated of my horses and a very fast learner, so mapping out an entire year seems too large. He changes and progresses so quickly and has so much to teach me that I really can’t claim to know where we will be in six months. It’s a conversation based on what comes up during our rides. Currently, we have been working on and have achieved a very open, engaged walk that “has the trot available” within it. He’s using his back beautifully and becoming quite strong. His muscles have evened out and we no longer need our right side shim which balanced out his weaker muscles on that side. I’m learning how to keep him in balance in that walk and my goal is to be able to request that walk and have him be able to maintain it joyfully on the circle, across the diagonal, in half-turns in reverse and throughout all the “training turns” without losing a particle of impulsion. (Nuno Oliveira) We are working on brief trots when his balance in the walk is divine and clicking before there is any loss of balance.
In-hand we are working on haunches-in and shoulder-in, so we both have the feel of it in our bodies before we ride it. We are working on duration for haunches in and still fiddling with an ideal balance for shoulder-in. We are also doing much more trot work in hand, releasing Dragon into his own balance when he finds a good equilibrium and clicking him for maintaining that on his own.
For my part, I am working on my seat and own riding both in dismounted and mounted exercises as well as deep body awareness. I need to be as balanced, strong and aware as I am asking Dragon to be.

I graNt YoU 3 WiSheS

Djinn: Djinn will be five this summer, so it’s not too early to think about riding her. I already bought her a beautiful blue swallow tail saddle pad, so I’d be lying if I didn’t say I have been thinking about it. Djinn has already has learned five of the six foundation exercises;  I still need to introduce “stand on a mat” to her, but everything else she learned last year.
Even though she already has a reasonable foundation, I am going to review each exercise with special attention to how light she is and how *connected* she is within her body. She is a horse that can get “stuck” in her body and I want to feel like my lead/rein is literally just an extension of her body, even in higher arousal situations. So we will be going back through our foundation work to add in layers of refinement. From there we will move to WWYLM on the circle and then all the same work with the saddle on, as well as “mounting block games”, teaching her to line up with the  block. I really adore this little mare and I think she is going to look spectacular moving in balance. It will be interesting to compare the differences between her and Rumi as we look toward riding – how they both need to learn the same things, but likely need totally different aspects of the work emphasized.

English: Tarot card II Jupiter of Swiss Tarot 1JJ

Tarot: Tarot is the horse that pushes me to explore the outer edges of possibility and to use intuition first, guided by the good science of learning. This year I want to explore his feet handling issues more intensively so he can learn to be comfortable for trimming without sedation. I’ve put together a new protocol that I’m excited to get started on once it’s warm enough.  We’ve also began de-sensitizing to the fly spray, which he’s shown continuous improvement with, until it became to cold to spray a liquid into the air.

I like to balance out working on fear issues with more emotionally easy and enjoyable work for him.

Tarot has learned all of his foundation skills to fluency, so we will be starting more work in-hand. We will start by reviewing his skills in the indoor arena and then move to WWYLM, which he had 3 or 4 sessions on last year. I am excited to explore balance work with him, to see him grow stronger and for him to feel powerful in his body in concert with a human. Humans have taken so much power from him and restricted him so frequently. I am interested to see what he has to say about this piece of the work in particular.
I am also interested to explore shaping on a point of contact and the deep tactile listening it develops. There’s something that opens up down the lead or rein when you and the horse are concentrating on that same point of contact, it’s like your nervous systems become one circuit and the feeling is indescribable. I want to know if that is possible with him. If it happens, I will know someday I can ride him.

Title page of Three Hundred Aesop's Fables

Aesop: Aesop will be seven this year. He’s already safe and started under saddle and he’s a lovely, easy horse to teach. He is very light and responsive in-hand and actually has much more energy and impulsion in-hand than under saddle. It only makes sense – he’s been working with me on the ground for over two years and the level of refinement and solid reinforcement history shows. Riding is newer and he looks like a less advanced horse with a rider. He has a more common balance and still some questions to be worked out.  My initial focus for him this year is to help him transfer all those wonderful qualities he has in-hand to ridden work.

I am going to teach this through a few different “conversations.”

We will continue our work in-hand, focusing on “Three-Flip-Three” or connecting his hip to the rein. This will allow him to really step under with his inside hind and carry himself in a way that is correct and will help make him stronger and more “through”, meaning, his energy will move cleanly and easily from the push of his back hoof all the way up through his back in a cycle of energy. Once he is understanding that equilibrium better, I will add in trot work in hand with that understanding, so he can be reinforced for working in a gait with more energy, but correctly. He likes to trot in-hand, but he lacks power, so that needs to be added so he can carry himself and me.

I will continue riding but with a person at our head to work him in-hand while I ride. Aesop needs some help with accessing the same balance in the saddle as he has on the ground. A person at his head can help him with familiar cues so that he can find the same balance and impulsion and start to offer it when ridden. Like Dragon, Aesop is more advanced, so planning out an entire year would be too big. This work will take us about six to eight weeks, so will keep us busy during later winter and early spring. By summer we should have some lovely videos to share.

Those are my basic big picture plans for my horses. Teaching emotional control through foundation lessons. Teaching physical balance. Combining the two to create a reliable riding partner. Refining physical balance and tactile communication in an ongoing effort toward the centaur. Re-visiting foundation lessons to focus on and reinforce lightness before starting under saddle. Setting up new, functional behaviors for feet handling and basic husbandry in place of old, fear and anger based behaviors through unconventional teaching. Using good physical balance to build confidence, strength and emotional engagement. Using in-hand work to inform balance and learning with a rider through utilizing a ground person.

When you look at the list, in the end, everything is about balance. Clinicians talk a lot about being centered and working on yourself and then working on your horse. But what does that mean? It just means: learn to be self-aware enough to see what you are doing and know what you are feeling. Learn to understand the horse’s emotional states and how to help them shift easily between them. Learn to understand the horse’s horizontal balance so you can help them find strength and fluidity when they are having trouble. Everything I have as a goal for my horses takes them more toward “a condition in which different elements are equal or in the correct proportions.” Horses are a shifting puzzle of behaviors, motor patterns and behavioral tendencies that can teach us exquisite observational skills and body awareness if we accept the challenge of learning what they need to be in true equilibrium.

Riding the labyrinth

English: The labyrinth at the island of Blå Ju...

I started trotting Dragon under saddle last week after all our balance work in the walk. I did it just as a “data gathering” exercise to see where he was both emotionally and physically in the work. While he remained round and engaged with me, I was disappointed that he still fell in on his inside shoulder and took giant Standardbred type strides that covered the arena in about six strides. He needed more guidance than I thought he would. The softer, slower trot I have in-hand was not yet available to me under saddle. On my end, I didn’t offer him a lot of help with his balance and my rein mechanics were far from perfect and mostly absent. I was just waiting for his other, more desirable trot to appear. If he could blog about me he would probably write about how surprised he was by my lack of support and information.

But the real issue is, deep down, I wanted Dragon balanced in his trot  so we could progress forward in a facile and linear fashion. I became so frozen in my disappointment about having “something to work on” that I was unable to ride him well for the rest our session. Oops.

Triple spiral labyrinth

Labyrinths, used by humanity for the last 4000 years, are a form of walking meditation. They often describe spirals and as you walk the labyrinth you find yourself revisiting your old footsteps and describing soft, curved lines. It’s not a maze to be solved but geometry designed to help you let go of your mind’s chatter and be present. There is one way in and one way out. There is no real goal, except the process itself. It’s soul work. Labyrinths have rocks to mark your path or are carved into stone so you don’t have to think too hard about where you are going. You are free to let go of your thoughts while you meditate on following the path set out for you. Feeling each foot as it touches the earth. Breathing as you move. It’s a place to inhabit your body and allow yourself to be fully present. Body prayer.

Arena work is  based on geometry too, circles, diagonal lines and different tracks but these are conceptual rather than physical. When we school our horses it can happen that we lose our geometry as we think about balance or we forget our balance as we think about our geometry. We can forget to be present with our horse when we get stuck in judging our performance or theirs. It’s a lot to think about, especially when we are teaching something new or learning something new. We all learn better without multiple points of focus. So how to make it easier?

I am building a labyrinth for Dragon and I – not a permanent structure but a visible, physical labryinth made of colored plastic cones and mats placed at different intervals. It will describe circles and straight lines in different configurations and offer us the opportunity to reflect on tempo, shoulder balance and the “balance beam” beneath us. A physical reminder for our trotting meditation. I’ll teach the labyrinth in-hand a few times first so it feels familiar and offers both of us information. And then we will ride it.

I am continually surprised by the parallels between mindfulness and good, transformative animal work. It’s not even metaphor, it’s direct correlation. It’s not a pretend labyrinth I will be building, but real structure, designed to provide deep meditation on physical balance. Designed to remind me to be present in every step of our work because the process IS the goal. Each new exercise Dragon and I encounter can have it’s own labyrinth built for it: one for canter, one for shoulder-in, one for haunches-in, piaffe and passage. Labyrinths for collected trot work and transitions. They’re not something you have to use permanently, but they help you to focus on balance through geography until the balance work is effortless. Eventually, of course it’s all just competencies in your body – knowing your geometry, riding every stride of your horse and helping him balance, moving between both awarenesses easily and changing the labyrinth in your mind to suit the geography that will best fine-tune your horses balance. Dragon and I are far from that kind of competency though, so for now, I’ll be building labyrinths.

Constellations and Dressage

centaur constellationSince I was sixteen years old I wanted to learn dressage. I dreamt of  seamless communication with my horse and “invisible aids” so light we would seem like one creature instead of two.  I collected shelves and shelves of dressage books with beautiful pictures of horses moving correctly, enviably, but none of them really explained how to begin the work. They were more like beautiful picture museums of correct movement. I took years of lessons from different trainers, some better than others, one who even had grand prix level horses. But learning to teach a horse about their own body and balance is a completely different skill set than learning the mechanics of riding an already trained horse. It’s endlessly complex work. And as Mary Wanless  points out, “The map is not the territory”. Reading about a skill, having an intellectual understanding of how to slide down the rein or ask for a give of the jaw is not the same thing as having the kinesthetic feel available and familiar to you in your body. Dressage is multiple skill sets that come together to form a whole.

I remember one day in particular taking a dressage lesson on my Friesian cross, Dragon, years ago. We were trying to make a 20 meter circle to the right at the trot and he kept falling in on his right shoulder. My instructor wanted me to lift my right rein to block his shoulder and apply my right leg to “hold him on the circle”. The more I lifted my rein and insisted with my leg the more we spiraled into the circle and the more frustrated both of us became. In his confusion he trotted faster and faster and swished his tail as I provided a heavy right rein to lean against. Recognizing complete disorganization, I asked him to halt. My instructor and I agreed I should get off as he was so upset and the entire situation felt volatile. Of course it wasn’t his fault. He didn’t know how to balance his shoulders more upright from a suggestion on the rein. When he was falling on his inside shoulder he wasn’t actually capable of responding to my leg by altering his balance either. I didn’t even know then exactly what was wrong. I just knew my aids weren’t working and everything felt impossible.

The groundwork I have done with Dragon using Alexandra Kurland’s program has enhanced both my and Dragon’s body awareness immeasurably. To say he is a different horse might be an understatement.  I’m certain he would say I am a different handler. He has learned that he has shoulders and how to balance them upright through the “Why Would You Leave Me?” game. He learned the beginning of lateral work through the same exercise. I learned how to ask for jaw flexions on the ground and he learned how to soften throughout his body and be “on the bit”. He has learned to step under with his hip from a slight lift of my rein and he moves in a lovely, soft bend. All of these things transferred directly from our groundwork to ridden work.
He is quiet, concentrated and soft under saddle. Willing to accompany me into this deep study.
I feel that just now I am starting my journey of being a true rider. I’ve ridden since I was 9 years old but I was just an enamored passenger then. Now I am learning the same fine motor control I am asking of my horse so we can explore the foundation and outer edges of  balance, together. I was riding three to five times a week until the snow came and  during this time I had a major breakthrough in my own kinesthetic feel. Kinesthetic feels or physical skills are right brained and therefore implicitly wordless. But our right brain is visual so descriptions of  feel are possible through metaphor.

riding breakthrough dayI was riding in my tiny indoor arena ten days ago. I usually speak out loud about what I am asking for in each moment since it keeps me focused on actively riding and is a good way to see how well Dragon and I are really working together. There are so many body parts to remain aware of between human and horse and, as I suspect is true for most riders,  as my awareness of one body part grows I often lose track of the rest of my body. It fades away to the background. But this ride was different. As I said to Dragon, ” Soften your jaw to me and bend left” it was as if my hand that slid down the rein to request the bend lit up with awareness. Next I rotated my left thighbone and weighted my right seatbone to ask him to move to the wall and stay beneath me and each of them lit up too, softly glowing. He moved, perfectly bent, utterly soft moving off my thigh and coming under my seatbone to pick me up. Lastly, I organized my outside rein to receive his engagement and my right hand lit up. We moved together down the long side of the arena balanced over and under multiple points of contact and for the first time in my life I held an easy awareness of each point of contact simultaneously. No one point glared in the foreground. Nothing faded away. I was a constellation made of individual glowing stars but forming a whole. We were luminous, a living star chart that could change at any moment to describe a new movement, one seatbone dimming to black as I weighted the other to ask him onto the circle. For the first time in my life I consciously rode the whole horse at once. This is what I dreamed of when I was young. A  language delicate and nuanced as starlight.

Transformation

I’ve learned these spells one by one. Spells for calm, spells for stillness, spells for relaxation. Spells for patience and movement. Then come the spells for balance: how to move softly bending your body like a sapling in a windstorm. Spells for roundness, lightness and, finally, spells to defy gravity. One by one I learn these spells and one by one I teach them to my horses. It’s not a simple magic that joins a woman and a horse into a centaur. It takes the better part of a decade before the true transformation takes place. The enlightenment when the slightest shift of your weight is alphabet and music to your horse.

It takes the time it takes…

When I first re-started Dragon using the clicker all I was focused on was making sure he was relaxed and obedient. I had made some large mistakes in his early clicker training by not understanding what a good foundation was, not understanding proper food delivery and not understanding stimulus control. Once I realized I needed to cover all of those variables and went back in Dragon’s training to help him understand those concepts he became very calm, focused and rideable. I wasn’t concerned with his balance or carriage at that time. I just wanted a safe horse who would stand quietly at the mounting block, listen to the cues his rider offered and be emotionally calm under saddle. It’s a good place to start for any horse and rider, certainly. Here’s a short video of our first Why Would You Leave Me under saddle:

In the video you can see that although he is calm and relaxed, his balance leaves a lot to be desired. He is heavy on his forehand with his head nearly to his knees and his hocks strung way out behind him. On the other hand, he is doing a great job of learning to target my seatbones as a guide and staying between the channel of my legs. When he doesn’t, I slide down the rein and ask him to move back under my seatbones and click! when he stays there on his own. On the day that video was made, I was thrilled with my smart, relaxed horse. Looking at it today, I’m glad I didn’t know as much about balance as I know now. But he needed to learn about using my body for direction before we could talk more in-depth about the way he carries his body.

Over the last two years Dragon and I have moved from basic foundation exercises to more intermediate work. We’ve done a ton of ground work where he has learned to use my body as a target, tons of work on circles where he has learned to bend and take a bit more weight onto his hind end, and lots of jaw gives which allow him to go onto the bit and start to use his body more correctly. Two years sounds like a long time but learning to use your body in a completely new way and then strengthen those muscles is a process that can’t be rushed. Unlike “modern dressage” we are not doing this work on contact. That means I am asking Dragon for a certain bend or head elevation and I am asking him to hold that posture on his own. He doesn’t have reins to lean on so he has to build his own correct muscle and truly understand the process, not just passively allow himself to be molded. This way I know he is in true self-carriage. I’m learning the process as well, which makes it a touch slower.  Here’s a video of our ride today where we were working on jaw gives and bend while following my seatbones:

My whole life I wanted to learn dressage. I read myriad books, took infinite lessons and still I was left not understanding the whole picture or how to influence my horse so he could learn to carry himself more athletically. It is a difficult discipline even for a supremely talented rider, and often those who do it best are unable to articulate it to others. It is only through following the work in The Click That Teaches by Alexandra Kurland that I finally am learning how to help my horse balance and how to use my own body to teach him. We are finally moving toward the dream of a centaur, not on heavy restrictive contact, but lightly, together.

Stay with an exercise long enough and wonderful things will pop out.

When I first started Alexandra Kurland’s training program with my horse, Dragon, he was an emotional, physically imbalanced gelding. I knew I wanted a better way to teach him. He had stopped responding to the bit at all and was just frustrated and running through my cues. He was so large and his movement was so extravagant that it was close to impossible to help him rebalance, he was too emotional to receive information once he was going faster than a walk. Here’s a short video of how he generally moved at trot :

He did a lot of head shaking, which is often imbalance, and sometimes emotional arousal. He was very heavy on his forehand and his legs were strung out behind him. I don’t think I saw a lot of the imbalance, I just knew he seemed very heavy and that movement was often hard for him. He seemed frustrated and angry a lot.

As we worked our way through the foundation lessons, and then into the “Why Would You Leave Me Game?”, Dragon started to become increasingly centered, attentive and balanced. We did the majority of our work in the walk. The premise of WWYLM is simple – it starts out  just like loose lead walking for dogs. You have your horse in the bridle, on the circle. When they move their nose off the circle and begin to wander off, you slide your hand down the rein and bring their nose back to same point on the circle. It teaches them to use your body as a target the same way they should use your seatbones as a target in the saddle. It teaches them that when you ask them for a certain carriage, they should maintain it on their own until you ask for something else – this is the ever elusive self-carriage. It teaches them to enjoy bending and staying on a circle, voluntarily. And best off all, it gives you the underpinnings for lateral work, the foundation of soundness and dressage. Now, I didn’t know all of this then. I just knew I was supposed to pick an imaginary box, bring my horses nose into that box via the rein and click him when he left it there on his own. Easy enough.

One of Alexandra’s sayings is: Stay with an exercise long enough and wonderful things will pop out. Here’s a video of Dragon’s trot work today, improved completely through ground work during WWYLM.

It’s easy to see he has an even, steady cadence to his trot, elevation of the wither (shifting weight onto his hind end) and is relaxed and quiet emotionally. If you compare his length from head to tail in both videos, you will see his outline is shorter in the second video. This means he has achieved some degree of vertical flexion – a more advanced balance. All of this was available in the trot once he had done enough work in the walk. The old masters used to say, ” The walk is the mother of all gaits,” and this is what they meant!

Dragon under saddle

Since Dragon and I started back under saddle this spring, we have been working further on single rein riding. Single rein riding, as opposed to riding on two reins/contact, helps the horse learn to maintain the position you suggest for them on their own. This is called “self-carriage” – a term most dressage riders are familiar with but perhaps not totally confident about. It certainly is difficult to know if your horse is in true self-carriage if you constantly ride on two reins basically holding your horse in position. And it’s harder for your horse to understand as well.  Single rein riding is new to me, so I am still learning with Dragon. Surprisingly, our rides are still significantly better then they ever were when we were riding on contact.

We both have a lot to learn but the process is a lot of fun and we’re both enjoying ourselves.  Below is a short clip of Dragon learning to mobilize his shoulders. Being able to move your shoulders is an important component for upper level work because it’s necessary for lateral work. And lateral work is necessary to teach the horse collection.  I’m still working on perfecting my rein mechanics, but it’s still a nice clip of a fairly organized moment between us.