Dressage
Dressage (pronounced dress-ahhzh /ˈdrɛsɑʒ/) (a French term, most commonly translated to mean "training") is a path and destination of competitive horse training, with competitions held at all levels from amateur to the Olympics. Its fundamental purpose is to develop, through standardized progressive training methods, a horse's natural athletic ability and willingness to perform, thereby maximizing its potential as a riding horse. At the peak of a dressage horse's gymnastic development, it can smoothly respond to a skilled rider's minimal aids by performing the requested movement while remaining relaxed and appearing effortless. Dressage is occasionally referred to as "Horse Ballet" (cf. nl:Dressuur). Although the discipline has ancient roots, dressage was first recognized as an important equestrian pursuit in the West during the Renaissance. The great European riding masters of that period developed a sequential training system that has changed little since then and classical dressage is still considered the basis of trained modern dressage.
Early European aristocrats displayed their horses' training in equestrian pageants, but in modern dressage competition, successful training at the various levels is demonstrated through the performance of "tests," or prescribed series of movements within a standard arena. Judges evaluate each movement on the basis of an objective standard appropriate to the level of the test and assign each movement a score from zero to ten - zero being "not executed" and 10 being "excellent." A score of 9 (or "very good") is considered a particularly high mark, while a competitor achieving all 6s (or 60% overall) should be considering moving on to the next level.
Dressage horses
All riding horses can benefit from use of dressage principles and training techniques. However, horse breeds most often seen at the Olympics and other international FEI competitions are in the warmblood horse breeds category. Dressage is an egalitarian competition in which all breeds are given an opportunity to successfully compete. Therefore, many other breeds are seen at various levels of competition.
In non-competitive performances of classical dressage that involve the "Airs above the ground" described below, the "Baroque" breeds of horses, most notably the Lipizzaner, are most often seen.
The arena
There are two sizes of arenas: small and standard. Each has letters assigned to positions around the arena for dressage tests to specify where movements are to be performed.
The small arena is 20 m by 40 m, and is used for the lower levels of three-day eventing in the dressage phase. Its letters around the outside edge, starting from the point of entry and moving clockwise, are A-K-E-H-C-M-B-F. Letters also mark locations in the middle of the arena: Moving down the center line, they are D-X-G, with X in the center. Since the combination of Equine Canada (EC) and United States Dressage Federation (USDF) tests in 2003, the small size arena is no longer utilized in rated shows in North America.
The standard arena is 20 m by 60 m, and is used for tests in both dressage and eventing. The standard dressage arena letters are A-K-V-E-S-H-C-M-R-B-P-F. (There is speculation as to why these letters were chosen. Most commonly it is believed because the German cavalry had a 20 x 60 meter area in between the barracks which had the letters posted above the doors) The letters on the long sides of the arena nearest the corners are 6 m in from the corners, and are 12 m apart from each other. The letters in the middle of the arena are D-L-X-I-G, with X marking the center.
At the start of the test, the horse enters at A. There is always a judge sitting at C, although for upper-level competition, there are up to five judges at different places around the arena—at C, E, B, M, and H—which allows the horse to be seen in each movement from all angles. This helps prevent certain faults from going unnoticed, which may be difficult for a judge to see from only one area of the arena. For example, the horse's straightness going across the diagonal may be assessed by judges at E and H.
The dressage arena also has a centerline (from A to C, going through X in the middle), as well as two quarter-lines (halfway between the centerline and long sides of each arena).
Competition
Dressage competitions may begin in local communities with Introductory level classes where riders need only walk and trot. Horses and riders advance through a graduated series of levels, with tests of increasing difficulty at each level, until the most accomplished horse and rider teams compete at the Grand Prix levels and international competition, such as the Olympic games.
Dressage consists of the lower levels: First, Second, Third and Fourth. Introductory and Training levels prelude First level in the United States. In Australia the levels are as follows Prep, Preliminary, Novice, Elementary, Medium and Advanced. The FEI (Federation Equestrian International) levels: Prix St. Georges, Intermediare I, Intermediare II and Grand Prix.
Apart from competition, there is a tradition of classical dressage, in which the tradition of dressage is pursued as an art form. The traditions of the Old Masters who originated Dressage are kept alive by the Spanish Riding School in Vienna, Austria and the Cadre Noir in Saumur, France. This type of schooling is also a part of the Portuguese and Spanish bullfighting exhibitions.
Tests
Dressage tests are the formalized sequence of a number of dressage movements used in competition, wherein the horse and rider team are judged both against a common standard, and against other competitors.
At the upper levels, tests for International competitions, including the Olympics, are issued under the auspices of the Federation Internationale Equestre. At the lower levels, and as part of dressage training each country authorizes its own set of tests. In the USA it is the The United States Equestrian Federation and the United States Dressage Federation. Pony Clubs also produce basic walk/trot tests.
Each test is segmented into a number of sequential blocks which may contain one or more movements. Each block is generally scored between one and ten on the following scale:
- 10 Excellent
- 9 Very good
- 8 Good
- 7 Fairly good
- 6 Satisfactory
- 5 Sufficient
- 4 Insufficient
- 3 Fairly Bad
- 2 Bad
- 1 Very bad
- 0 Not executed
In addition to marks for the dressage movements, marks are also awarded for more general attributes such as the horse's paces, submission, impulsion and the rider’s performance. Some segments are given increased weight by the use of a multiplier, typically 2, which then doubles the marks given for that segment.
Scribing
Scribing (also known as Penciling) is the writing down of the scores and comments of Judges at dressage events, so that the Judge is able to concentrate on the performance. In addition to this the scribe should check the identity of each competitor, and ensure that the test papers are complete and signed before handing them to the scorers. The scribe should have some knowledge of dressage terminology, be smartly dressed and have legible handwriting. The scribe should also be professional in manner, neutral and not engage in small talk or make comments. It is permissible to use abbreviations provided they are accepted and intelligible[1]
Olympic level
- See also: Equestrian at the Summer Olympics
The dressage tests performed at the Olympic Games are those of the highest level: Grand Prix. They are judged under the rules of the FEI. This level of test demands the most skill and concentration from both horse and rider.
Gaits and movements performed at this level include collected and extended walk, trot, and canter; trot and canter half-pass (a movement where the horse travels on a diagonal line keeping its body almost parallel with the arena wall while making both forward and sideways steps in each stride); passage (a slow-motion, suspended trot); piaffe (an approach to "trot in place"); one, two, & three tempi changes (where the horse changes from one lead to the other in the canter); and canter pirouettes (a 360-degree circle that is almost in place).
Tests ridden at the Olympic Games are scored by a panel of five international judges. Each movement in each test receives a numeric score from 0 (lowest) to 10 (highest) and the resulting final score is then converted into a percentage, which is carried out to three decimal points. The higher the percentage, the higher the score.
Olympic team medals are won by the teams with the highest, second highest, and third highest total percentage from their best three rides in the Grand Prix test.
Once the team medals are determined, horses and riders compete for individual medals. The team competition serves as the first individual qualifier, in that the top 25 horse/rider combinations from the Grand Prix test move on to the next round. The second individual qualifier is the Grand Prix Special test, which consists of Grand Prix movements arranged in a different pattern. For those 25 riders, the scores from the Grand Prix and the Grand Prix Special are then combined and the resulting top 15 horse/rider combinations move on to the individual medal competition-the crowd-pleasing Grand Prix Musical Kur.
For their freestyles, riders and horses perform specially choreographed patterns to music. At this level, the freestyle tests may contain all the Grand Prix movements, as well as double canter pirouettes, pirouettes in piaffe, and half-pass in passage. For the freestyle, judges award technical marks for the various movements, as well as artistic marks. In the case of a tie, the ride with the higher artistic marks wins.
The Training Scale
The dressage training scale is arranged in a pyramid fashion, with “rhythm and regularity” at the bottom of the pyramid and “collection” at the top. The training scale is used as a guide for the training of the dressage horse (or any horse, for that matter). Despite its appearance, the training scale is not meant to be a rigid format. Instead, each level is built on as the horse progresses in his training: so a Grand Prix horse would work on the refinement of the bottom levels of the pyramid, instead of focusing on only the highest level: “collection.” The levels are also interconnected. For example, a crooked horse is unable to develop impulsion, and a horse that is not relaxed will be less likely to travel with a rhythmic gait.
Rhythm and Regularity (Takt)
Rhythm, gait, tempo, and regularity should be the same on straight and bending lines, through lateral work, and through transitions. Rhythm refers to the sequence of the footfalls, which should only include the pure walk, pure trot, and pure canter. The regularity, or purity, of the gait includes the evenness and levelness of the stride. Once a rider can obtain pure gaits, or can avoid irregularity, the combination may be fit to do an exercise more difficult. Even in the very difficult piaffe there is still regularity: the horse "trots on the spot" in place raising the front and hindlegs in rhythm.
Relaxation (Losgelassenheit)
The second level of the pyramid is relaxation (looseness). Signs of looseness in the horse may be seen by an even stride that is swinging through the back and causing the tail to swing like a pendulum, looseness at the poll, a soft chewing of the bit, and a relaxed blowing through the nose. The horse will make smooth transitions, be easy to position from side to side, and will willingly reach down into the contact as the reins are lengthened.
Contact (Anlehnung)
Contact—the third level of the pyramid—is the result of the horse’s pushing power, and should never be achieved by the pulling of the rider’s hands. The rider drives the horse into soft hands that allow the horse to come up into the bridle, and should always follow the natural motion of the animal’s head. The horse should have equal contact in both reins.
Impulsion (Schwung)
The pushing power (thrust) of the horse is called “impulsion,” and is the fourth level of the training pyramid. Impulsion is created by storing the energy of engagement (the forward reaching of the hind legs under the body).
Proper impulsion is achieved by means of:
- Correct driving aids of the rider
- Relaxation of the horse
- Throughness (durchlässigkeit): the flow of energy through the horse from front to back and back to front. The musculature of the horse is connected, supple, elastic, and unblocked, and the rider’s aids go freely through the horse.
Impulsion can occur at the walk, trot and canter. It is highly important to establish good, forward movement and impulsion at the walk, as achieving desirable form in the trot and canter relies heavily on the transition from a good, supple, forward walk.
Impulsion not only encourages correct muscle and joint use, but also engages the mind of the horse, focusing it on the rider and, particularly at the walk and trot, allowing for relaxation and dissipation of nervous energy.
Straightness (Geraderichtung)
A horse is straight when his hind legs follow the path of his front legs, on both straight lines and on bending lines, and his body is parallel to the line of travel. Straightness causes the horse to channel his impulsion directly toward his center of balance, and allows the rider’s hand aids to have a connection to the hind end. Working in an arena can be tricky: the horse moving along the sidewall will respond to the sidewall and bring the shoulder 'out' (the inside front hoof will be nearer to the sidewall than the inside hindhoof).
Collection (Versammlung)
At the apex of the training scale stands collection. It may refer to collected gaits: they can be used occasionally to supplement less vigorous work. It involves difficult movements (such as flying changes) in more advanced horses. Collection requires greater muscular strength, so must be advanced upon slowly. When in collected gait, the stride length should shorten, and the stride should increase in energy and activity.
When a horse collects, he naturally takes more of his weight onto his hindquarters. Collection is natural for horses and is often seen during play in the meadow. A collected horse is able to move more freely. The joints of the hind limbs have greater flexion, allowing the horse to lower his hindquarters, bring his hind legs further under his body, and lighten the forehand. In essence, it is the horses ability to move its centre of gravity more backward. This should be shown during each transition to a lower gait, even by a novice horse.
Dressage Masters
- Xenophon (427-355 BCE): the earliest European master with surviving treatises, the Greek General wrote The Art of Horsemanship which advocated the use of sympathetic training of the horse. Despite living over 2000 years ago, his methods and ideas are still widely praised.
- Federico Grisone (mid-1500s): one of the few to write on horsemanship since Xenophon. Was considered a master of his time, despite his extremely harsh and cruel methods.
- Giovanni Battista Pignatelli (mid- to late-1500s)
- Solomon de la Broue (1530-1610)
- Antoine de Pluvinel (1555-1620): The first of the French riding masters, author of L’Instruction du Roy en l’Exercise de Monter a Cheval, tutor to King Louis XIII, and is the first notable writer to advocate for gentle training since Xenophon.
- William Cavendish, 1st Duke of Newcastle (1592-1676): Master of Horse to Charles II of England.
- Francois Robichon de la Gueriniere (1688-1751): Taught the classical position still used today, introduced the flying change, and had great impact on the Spanish Riding School.
- Francois Baucher (1796-1873): introduced the one-tempi flying change, his method, which is still hotly contested, was based on the fact that the horse's jaw is the source of all resistance. His methods include some which relate to the rollkur training practices of today.
- Gustav Steinbrecht (1808-1885)
- Alois Podhajsky (1898 - 1973): Became director of the Spanish Riding School in 1939 and is credited with saving the Lipizzaners. His books form the basis of Classical Dressage today.
Tack
Dressage horses are shown in minimal tack. They are not permitted to wear boots (including hoof or bell boots) or wraps (including tail bandages) during the test, nor are they allowed to wear martingales or training devices such as draw or running reins or the gogue anywhere on the showgrounds during the competition. Due to the formality of dressage, tack is usually black leather, although dark brown is seen from time to time.
An English-style saddle is required for riding dressage, specifically a "dressage saddle" which is modeled exclusively for the discipline. It is designed with a long and straight saddle flap, mirroring the leg of the dressage rider, which is long with a slight bend in the knee, a deep seat and usually a pronounced knee block. The saddle is usually placed over a square, white saddle pad. A dressage saddle is required in FEI classes, although any simple English-type saddle may be used at the lower levels.
At the lower levels of dressage, a bridle includes a plain cavesson, drop noseband, or flash noseband. As of 2006, drop nosebands are relatively uncommon, with the flash more common. At the upper levels a plain cavesson is used on a double bridle. Figure-eight nosebands are rare, and usually only seen in the dressage phase of eventing. Riders are not allowed to use Kineton nosebands, due to their severity.
The dressage horse at lower levels is only permitted to be shown at recognized competitions in a snaffle bit. Though the detail regarding bitting vary slightly from organization to organization. The loose-ring snaffle with a single- or double-joint is most commonly seen. Harsher snaffle bits, such as twisted wire, corkscrews, slow-twists, and waterfords are not permitted, nor are pelhams, kimberwickes, or gag bits. Upper level and FEI dressage horses are shown in a double bridle, using both a bradoon and a curb bit with a smooth curb chain.
Turnout of the horse
Dressage horses are turned out to a very high standard, as competitive dressage is descended from royal presentations in Europe. It is traditional for horses to have their mane braided. In eventing, the mane is always braided on the right. In competitive dressage, however, it is occasionally braided on the left, should it naturally fall there. Braids vary in size depending on the conformation of the horse, but Europeans tend to put in fewer, larger braids, while horses in the United States usually have more braids per horse (possibly from the influence of hunter-style riding in the country). Braids are occasionally accented in white tape, which also helps them stay in throughout the day. The forelock may be left unbraided; this style is most commonly seen on stallions.
Horses are not permitted to have bangles, ribbons, or other decorations in their mane or tail. Tail extensions are permitted in the United States and Australia.
The tail is usually not braided (although it is permitted), because it may cause the horse to carry the tail stiffly. Because the tail is an extension of the animal's spine, a supple tail is desirable as it shows that the horse is supple through his back. The tail should be "banged," or cut straight across (usually above the fetlocks but below the hocks when held at the point where the horse naturally carries it). The dock is pulled or trimmed to shape it and give the horse a cleaner appearance.
The bridle path is clipped or pulled, usually only 1-2 inches. The animal's coat may or may not be trimmed. American stables almost always trim the muzzle, face, ears, and legs, while European stables do not have such a strict tradition, and may leave different parts untrimmed.
Hoof polish is usually applied before the horse enters the arena. The horse is impeccably clean, with a bathed coat and sparkling white markings. Foam should not be cleaned off the horse's mouth before he enters the arena.
Quarter marks are sometimes seen, especially in the dressage phase of eventing, however they are not currently in style for competitive dressage.
Rider clothing
Dressage riders, like their horses, are dressed for formality. In competition, they wear white breeches, that are often full-seat leather to help them "stick" in the saddle, with a belt, and a white shirt and stock tie with a gold pin. Gloves are usually white, although less-experienced riders or those at the lower levels often opt for black, as their hand movement is not as noticeable. The coat worn is usually solid black with metal buttons, although solid navy is also seen. In upper-level classes, the riders wear a shadbelly with a yellow vest or vest points instead of a plain dressage coat.
Riders usually wear tall dress boots, although field boots may be worn by riders at the lower levels. Spurs are required at the upper levels. A whip may be carried in any competition except in a CDI or a national championship, and the length is regulated.
If the dressage rider has long hair, it is typically worn in a hair net. The hair net is carefully selected to blend in with the rider's hair color. Lower-level riders may use a derby, hunting cap, or ASTM/SEI-approved Equestrian helmet. At the upper levels, a top hat that matches the rider's coat is traditionally worn, though in some competitions, an ASTM/SEI approved helmet is show legal.
