The first point of contact I want to consider is the connection between the rider’s hand and the horse’s head. I originally wrote the word “bit”, rather than head, but then it occurred to me that some riders use a bit-less bridle and we lunge from a cavesson - so bits are not always involved in this connection.
Which raises the question, do we have to use a bit? If we don’t compete in dressage the answer is “no”. If you do compete in dressage, however, the rules require that you must use a bit. In particular, the FEI rules require the horse to be “on the bit”. This means that “…he accepts the bridle with a light and soft contact…” (1)
This raises more questions than it answers!
What is contact?
When do we cross the line between having and not having a contact?
How light is “light”?
When is the contact said to become hard?
How do I know the horse has accepted the bridle?
What affects acceptance? Lightness? Softness? Contact?
What is contact?
The Official Instruction Handbook of the German National Equestrian Federation states “Contact is the soft, steady connection between the rider’s hand and horse’s mouth”. (6)
Is a consistent (steady) connection with a loop in the rein still a contact? The German National Equestrian Federation requires that the horse “’seek’ a contact with the rider’s hand, thus ‘going onto’ the contact” (6)
When do we cross the line between seeking and not seeking a contact?
Can we have contact with a loop in the rein?
Is it desirable to have a loop in the rein?
I sought the views of today’s dressage judges and trainers in my survey. I asked:-
“How would you judge a rider who rode her horse and did all the test movements perfectly - her horse is truly engaged behind and in a beautiful outline in front (light and easy on the forehand; loose through the shoulders; soft in the neck) where the reins are like a thread of silk (the picture I am thinking of is Nuno Oliveira - the reins just slack. See photos in "Reflections on Equestrian Art".) - BUT a slight loop always in the reins. What collective marks and comments would you give?”
There were a vast range of opinions, even amongst judges of the same level. All of these responses were received via email, which has influenced the written style of some of the respondents.
“As we are discussing competition I would have to say under submission: ‘needs to develop a more secure connection from hindquarters into the contact’. I could not give more than a 6.
Whilst the image you are describing is desirable under certain schools of thought (particularly the Iberian) it would not be viewed so under FEI definitions that require the horse to make a secure contact (note – the horse, not the rider). The above would be viewed as a horse hanging slightly behind the contact, for whatever reason.”
*****
“Rider mark of 8 or 9. I agree - threads of silk are the ideal – but there has to be a soft, elastic connection so the lightest of aids can be delivered and utilised to best effect – and a loop in the reins may mean a delay in the aid being received and acted upon – if that were the case then marks through the test might be one mark below expectation. “
*****
“This isn’t an answerable question! I’m not dodging the issue. The reason I say this is that you cannot compare classical dressage concepts with competitive dressage parameters. They are two entirely different ball games – they should not be, but they are!”
“This has never happened to me – at least not all of it, all together, in one combination. However, if such an apparition presented itself – then 9’s and 10’s are there for the giving. Collective marks would be similarly high. Comments would be short and to the point – ‘a pleasure to judge. How refreshing to see such a harmonious partnership’.
I would probably feel the need to congratulate the rider at the end of their test.
Contact is not solely about the tautness, or otherwise, of the rein. It is much deeper and broader than that; it’s about the connection and throughness.”
*****
“Dressage is about harmony and if the picture was of harmony in a partnership then I would be glad to give high marks”
*****
“Almost impossible to answer without seeing the test. Provided there was some contact, however slight, the marks would be extremely high. If there was no contact, then marks would be deducted under 'submission' and 'rider' with a possible comment of 'horse work through back and take contact' or something similar.”
*****
“With riders I've seen that are in photos with a loop, in real time they have loop/snatch/loop/snatch, so I'm not necessarily impressed by that.”
*****
“Would depend on the level the horse is working at but would advise that they maintain a steady even contact at all times, so the horse feels secure”
*****
“The loop in the reins: for a true modern dressage test at lower levels, the horse would be deemed not into the rein. This is really more for training, and if the horse is in self carriage and has ease of the movements then I would not judge it harshly, but bear in mind that the collectives have a part on submission for acceptance of the bridle. We are taught that the horse that truly works over the back will do so into the rein. I think it is really the rider who will create the contact in return. Some of my horses are much lighter with a more advanced degree of collection and of course you can test for self carriage with a give and retake. As a rider I would always say that a horse who is truly working correctly can be identified by how they react in a spook. One working correctly will spook into the rein and seek the contact... not draw back away from it. “
*****
“I would be watching to see whether the horse was elastic and whether it stayed in balance in transitions (particularly within the paces) as a light elastic contact is usually needed for this and the horse should be seeking a light contact with the rider in order to work over his back. The collective marks would depend on the quality of the test. “
*****
“I would be happy to give very good marks but I would comment that I would like to see a more positive connection between the hand and the bit.”
*****
“8/9’s but not often seen. So often see tension. “
*****
“If the horse is in carriage, supple, elastic then I think a given rein is acceptable but to actually ride a test like that is probably not possible because when you are having to do a series of advanced movements in quick succession I think that the contact could be extremely light but you would probably not see a slight loop in the reins.”
*****
“I have not seen the picture but on what you describe – the attributes of the scales of training are nearly all there, except Contact. I would probably have to deduct 1 mark from each of the collectives because I think the horse is slightly ‘holding’ itself and not truly ‘through’ to a light (non restrictive) contact.
Paces - would underline freedom – is it truly free?
Imp – could it go more forwards – to contact?
Submission – is it not happy to take a contact?
Rider – not riding enough to contact “
*****
“Depends on whether the horse takes his nose forward, pushes (not just engaged) from behind and swings through his back as required. If this can be achieved with just the "weight of the reins" as contact then it's OK. The horse is then "to " the contact. It is difficult though to indicate to the horse to go more outward (stretch) and forward with this flimsy contact, so one is left with judging and commenting on the result, that the horse is seen to be off/behind the contact when asked to lengthen. It is often used as an excuse for having the horse off and behind the contact. You and the horse need to clearly understand the two concepts of holding position when the contact is yielded, and taking the rein forward (and down), and the horse to be able to do either on request and without locking his back. “
*****
“As a judge if the movements were perfect then she would be scoring 9 and 10’s throughout the test then the collectives would have to reflect this, but a loop in the rein would probably indicate that the horse was holding himself with some tension in the neck and not necessarily working forward into the contact so this would be in the comment. The submission mark would be affected as would the rider mark. Impossible to say fairly here without seeing the whole test!”
*****
“My view is that this is acceptable to show that the horse is in self carriage by momentarily giving the reins, but would want to see true contact restored and the horse seeking the bit. My collective mark would be 9 if the contact was not sought after and 10 if it was then restored. My comment for 9 would be – Very good, but would like to see a consistent contact – horse seeking the bit
My comment for 10 would be – Very good! A goose-bump moment!!”
*****
“Fantastic – an example of true self carriage and stunning to watch. Should receive very high marks.”
*****
“10s all round because you say it is perfect! An absolute pleasure to watch and judge I can now retire!”
*****
“To get to the root of this question…,there is a problem here because few are capable of riding like Nuno Oliveira and to get the same effect they resort to using strong bits, nerve points, pulleys etc and the result is the opposite of what I think you are aiming at…a happy horse ridden in a natural way. The thing about Nuno Oliveira was that he rode with a definite contact even though it was very light…, I believe that to teach this it is necessary to first get the rider to have a normal contact going with the movement of the horse’s mouth. To start with a lighter contact than this is more difficult for most riders. This type of contact is also only possible with an ability to use very small aids and with a horse that is between the aids and through the back. Regarding the dressage test I believe the rules demand a ‘normal’ rein contact therefore this is what is required during the test.
As the rider gets more in harmony and the horse improves physically and the mental relationship improves it is possible to have an extraordinarily light contact…our aim…but also a very definite contact. It is the touch of a good lover. The judge knows because signs of unhappiness and unnaturalness are obvious…with a good experienced judge!”
*****
“For the test you describe, as a Judge I would be in heaven. Most likely my main emotion would be envy - I would love to ride like that! But to see such a vision of quality with the most tentative rein connection is the 'other side of perfection', in that you can go too far in minimising the contact… Your question seems to focus on the slight loop in the reins. A slight loop, maintained at all times, indicates to me that the rider is following the movement of the poll, face, jaw and mouth with an exquisite touch and sensitivity. This is not possible without sitting centrally and in superb balance… Collectives:
P - (Can't be sure, but if the movements were executed perfectly…) perhaps 8
I - (Engaged behind, carrying the weight to release the shoulder) 8
S - (Following the rider's wishes from the most minimal aids) 9
R - (Demonstrating balance and sensitivity) 9
Comments: "A wonderful demonstration of harmony and partnership. Horse shows lightness and agility and a desire to please. However, would like to see more obvious connection from hand to bit with the horse drawing forward to the contact, enhancing control of the longitudinal flexion. It was a privilege to judge this test."
OK, you’ve seen some other opinions now what do you think? And why?
Oliveira, in his “Reflections on Equestrian Art” (8), points out that “…it is only by allowing horses to move on a free rein, and not in holding them in, that success may be obtained. Riders who hold in their horses are insignificant riders and will never advance. Riders who give their horses freedom are those who will taste the delicacies of equestrian art”.
Mary Wanless in her “Ride with your Mind Essentials” (9) states that “When the reins are loopy, the horse is always ‘unstuffed’…”.
Do you agree?
Let’s start with some pictures. If you get the chance, take a look at Nuno Oliveira in Michel Henriquets book (10); and Klaus Ferdinand Hempfling in his “Dancing with Horses” (19). Or how about Nadine Cappellman in William Micklem’s book (5). Do you agree with me that the reins have a loop but the horses are most certainly performing and most certainly are not “unstuffed”?
The best Western Riding and Bull-fighting is always on a loop.
So what is happening here? I think that Mary Wanless is right, that a lot of horses ridden on loopy reins (ie reins that are too long, and often held inconsistently) are unstuffed. But I think that the loop is only a symptom; the root cause lies elsewhere. It is in the whole of the rider.
What makes my horse turn or bend?
I think it is my body, not my hand. My hand only receives and limits the bending and flexion.
What creates forwards movement?
I think it is my body not my hand. My hand only receives and limits the speed. And then only if my body has failed in its ability to do this or my horse has ignored my body aids.
Try this exercise on horseback. Change the length of stride in the walk using only your seat. Restrict the movement in your seat (hold with the seat – not the hand – give the hand forwards) and then let the walk back out again by releasing the seat. As you do this really think of the letting go feeling in the body. Notice what happens to the horse’s head and neck. And you didn’t use your hands… What did you learn?
This happens because the horse has to adjust his balance to walk with shorter steps. The horse uses his head and neck to maintain his balance. This demonstrates the importance of riding from your seat first and just receiving what you create in the hand. When the opposite happens the horse feels blocked and will resist.
This leads me to believe that the term, “On the bit”, is misleading at best and downright destructive at worst. I believe that the key connection is from the seat to the hind legs when riding, and from brain to brain in work on the ground eg lunging.
Indeed, the horse’s frame matters, but we don’t need a connection from hand to mouth to “prove” this. Therefore I prefer the term “connected”. And the ultimate connection is independent of the rein.
If we are trying to do work that requires higher levels of strength or suppleness or balance than the horse is currently capable of then the horse will seek support in the hand. It is my belief that if the horse has been taught that putting weight in the rein is acceptable then he will continue to do it. We reap what we sow! So my belief is that we should operate on the boundaries of the horse’s self carriage – short pieces of work – frequent rewards – building up ability slowly and solidly and accept that sustainable development takes time.
If we support we build dependence. This is the quick fix that fails in the longer term.
How much tension is needed in the rein?
Mary Wanless describes this in her “Ride with your Mind Essentials” (9) as “There is very little weight in the ends of the reins, but the rider can feel the horse and the horse can feel the rider on a consistent basis.”
Contact implies a tension in the rein. But as soon as there is tension there is blocking of forward movement or an over-bent horse. Better to take up a suitable length of rein (so called semi-tension); ensure soft arms (oil your joints) then use your seat and movements to encourage the horse to carry himself with the lightest contact. The horse seeks a contact with the hand and the rider provides it, not the other way around. And always with a forwards thinking allowing hand.
Behind the vertical (BTV)
BTV describes the appearance of the horse’s outline through the head and neck. Imagine a piece of string with a stone fastened to the horse’s poll (that’s the bit in-between the ears). Gravity will ensure that this “plumb line” hangs straight (perpendicular) to the ground. The horse’s nose should be on or in front of this line to avoid being behind the vertical irrespective of the height of the head. This means that in Figure 16 the horse on the top left is in front of the vertical. The horse on the top right is behind the vertical. The horse on the bottom centre is on the vertical. In an ideal world I would like to see a horse a little in advance of the vertical with the poll higher.
Figure 16 The Vertical
Is it ever acceptable for a horse to be BTV? Some trainers intentionally over-bend their horses outside the competition arena in the practice of “rollkur” or hyperflexion.
What do you think?
Is it ever ok for the horse to be above the bit?
Which is the worse fault – above the bit or over bent?
How light is light?
I think that the answer is simple – only the weight of the rein. In other words the horse doesn’t feel any direct force from the rider, he simply feels the weight of the rein. This is comfortable for the rider, and for the horse.
Now for the science. I hated Physics and gave it up before O level. Good job my partner is a physicist and could explain the theory of Newtonian mechanics to me!
When we connect the rein to a bit at one end and the rider’s hand at the other we have the possibility of various forces affecting the shape of the rein – gravity (downwards); the weight of the horses head and neck (downwards); and, a balancing force attributable to the rider’s arms. An even greater force can be executed by horse or rider, for example, when the horse attempts to lean on the bit or falls against the rein and the same for the rider. Some riders can be seen to use the reins as a water skier would use the rope.
Assume a semi-tension in shortened reins (ie only enough rein and tension for a soft line from bit to hand), thus minimising the effect of gravity on the rein. Assume also no tension in the rein resulting from the horse’s head or rider’s arm, then the rider/horse connection is in equilibrium. Equilibrium is important as it minimises the force of the horse on the rider and that of the rider on the horse.
In Figure 17 the horse wearing a bridle without any reins feels no weight from the rein as there are no reins. If we attach a pair of reins as in the picture on the bottom left then he begins to feel a small amount of weight on the bit. Adding a rider holding the reins on the buckle, as in the picture on the top right, makes very little difference to the weight the horse feels. Assuming the rider on the bottom right is holding the reins in equilibrium then the horse will feel the least amount of weight possible in the rein (even less than the previous pictures without a contact).
Figure 17 The impact of the reins
What does this feel like in practice?
I weighed an ordinary 5/8” pair of plain leather reins (125 cms in length). They weighed 4 ounces (100 grams) in each rein. So 4 ounces (weight of rein) x 2/3(portion of the rein which is “active” between bit and hand) x ½ (portion of weight in rider’s hand) = 1.33 ounces. This is a lot less than the “bag of sugar” advised in some books!
This equilibrium will remain so long as a straight line is maintained from the elbow to the hand to the bit and neither horse or rider introduce any additional force. If the straight line is broken or additional forces are introduced then this equilibrium cannot be maintained.
The straight line and/or the forces may be altered by the rider or by the horse. Let’s look at the horse first. The horse can break the straight line by moving his head up or down and he can change the force by moving his mouth backwards or forwards. If he moves his mouth backwards if nothing else changes he will be behind the bit and he will introduce a loop in the rein. The rider feels a non-existent contact. If he moves his mouth forwards (ie leans into the rein) the tension in the rein will increase. The rider feels a great weight in the rein, pulling on her. The horse can move his head up or down either seeking to introduce more or less weight in the rein.
Often at this point instinct intervenes. The rider counteracts weight with weight and a pulling match ensues. Or she rides around proudly revelling in the “lightness” of her riding.
In all cases the rider must adjust her arm to maintain the straight line. She must remove the loop if the horse created it. How? By recreating semi-tension in the rein and sending the horse forwards to the contact and rebalancing as necessary. She must diagnose the cause of the increased weight. If it is a temporary loss of balance then rebalance. If it is a more persistent evasion then the rider must not collude and support and pull herself.
Figure 18 Rebalancing horse and rider
The rider should never create tension in the rein. She should maintain the straight line. If she decides to introduce a loop she needs to differentiate in her seat whether the outline is to be maintained with the loop or whether the horse is expected to remove the loop by seeking the contact at a different point (longer, lower).
I don’t admire the rider who can only ride on the loop or the rider with 2lbs in each hand. I believe that a clever rider should be able to choose the contact she desires and keep the horse in a good form. I believe that an ability to work with different degrees of tension in the rein proves everything. However, others do not.
Having considered all the evidence my opinion is that riding with different outlines, with and without a loop in the rein, is NOT better or worse; just DIFFERENT. Believe me doing any of them well is challenging! But the challenges are different…
Figure 19 Connection: Hand to Bit
One thing I am clear about is that an imaginary straight line (from bit to hand to elbow) must be maintained at all times – if the horse raises his head the hand must rise and if he lowers his head the hand must lower (not vice versa as often seen). This is the same irrespective of the tension in the rein. The rider must understand the dynamics affecting the contact and then use this understanding to influence it to achievable desirable ends. The key here is once again understanding what needs to be done, knowing why it should be done in this way and having the ability to do it.
A loop in the rein introduces the effect of gravity to the weight in the rein. When the rider’s hand is higher than the straight line from bit to elbow or advanced on the same straight line towards the bit then the distribution of rein weight between rider and horse changes. It is no longer equal. The horse feels more or less contact, not the ideal “equilibrium” contact.
Interestingly a loop in the rein gives more freedom to the horse but unexpectedly more weight in the bit. When a loop is introduced into the rein by the rider, the horse will seek to remove it to re-equalise the weight distribution. And so minimise the forces he is feeling on the bit. Forwardsness, straightness and balance must be maintained for this to happen.
Differentiating between stretching and maintaining outline in a give & retake (G&R) then becomes clear. For stretching the hand must move along the straight line towards the bit. This means that the angle at the elbow must open. The rider reinforces this with a lighter seat to match the new centre of gravity (figure 20). For G&R the hand moves forwards up the neck. There is no change to the seat (figure 20 bottom right).
Figure 20 Stretching vs G&R
The same principles apply when we lunge our horse. The horse will seek an equilibrium contact on the lunge rein. This means that if we give the rein he will seek to remove the loop by either making the circle larger or by stretching down. The same applies with side reins. Longer side reins encourage a longer outline as the horse seeks to create an equilibrium contact.
Creating a contact
One mental model of riding requires the horse to accept and work between the rider’s leg and hand. In this context a half halt is something the rider does to the horse to regain acceptance of the hand. She introduces a degree of non-allowing until the horse gives in.
My mental model is different. I feel that the horse will come into my hand when I am in balance and connected to him through my seat. I do not restrict or attempt to control the front end. I would sooner start with the horse moving freely as we both warm up. When he starts to show signals that he is ready to work I move on. When the horse feels restriction he rebels. The feeling of restriction relates to many things but in particular his ability to do things. For example, my old horse, Shantie, has weak conformation and disability to contend with. For me a half halt is something I do to myself to rebalance myself and reconnect my seat to the horse. It is a “giving” not a non-allowing activity.
What does a half halt mean to you?
Tight or light? In between there are many varying degrees of contact. The contact that is right for one partnership will not be right for another. And the optimal contact for that partnership at a point in time will change too. Like everything else in our riding I believe that our contact is personal. But if you compete you must be seen to have a consistent contact.
The contact is the ultimate performance indicator. It will be “right” when everything else is “right”. The big problem with this is that when it is “wrong” you cannot influence it directly. So I believe that we don’t work “on the contact”. Instead we work on what affects the contact.
The Quality of the Contact is a variable; it can get better or worse.
It gets better when it is steadier, more even (left to right) and softer.
What affects steadiness? Steadiness of the rider’s hands is vital. Consistency (no sudden changes) also matters. This means that we need to establish a rhythm and prepare for all changes (of direction, of pace, of pattern etc) to smooth them. Calmness is essential to consistency.
What affects evenness? Evenness of the riders’ hands is vital. Straightness of the horse also affects evenness. Straightness is in turn affected by suppleness (the horse is equally flexible on both sides of his body). Lateral (side to side) balance also plays a key role here.
What affects softness? Softness of the riders’ hands is vital. The quality of the horse’s balance is key, both lateral and longitudinal (nose to tail). Also the relaxation of the horse’s musculature and his free forwards movement.
Do you agree? What do you think?
The common factor in all of these is how acceptable the rider’s hand is to the horse. Good hands are even (ie same left and right), light (ie grammes rather than kilos), soft/elastic (no tension in arms and shoulders), quiet (steady connection – hands not moving about) and consistent (like our rhythm = the same, the same, the same).
Creating an acceptable hand
In the learning phase it is essential that our hand is acceptable. An acceptable hand is a forwards thinking hand on the end of a relaxed arm.
A softer feel in the hand may be achieved by twisting the lower arm outward from the wrist. This can be useful for the inside hand in movements such as circles and shoulder in. It is easier to have still hands in trot as there is less movement of the horse’s head and neck to accommodate.
We need to develop a hand that our horse can trust and accept. Still hands imply a degree of fixedness and there is nothing fixed about a pair of good hands. Better words would be light and steady. We are told to carry our hands but what does that mean? I think that it means that we need to take responsibility for the weight of our hands and not use the horse’s mouth for this purpose.
In my experience there is a lot of rubbish talked about hands. At different times I’ve been told:
-To have the hands together
-To have the hands at the same level
-To have the fingers mobile
-To close the fingers and soften the wrist
-To ride “from my elbows”
-To introduce a degree of non-allowing in my hand
-To have my hands wider apart for a novice horse to provide “a wider roadway for him to pass through”;
-To have my hands low and fixed like side-reins
-To take up more contact. “Give him a contact…he will thank you for that”
-To have the outside hand higher than the inside (see Michel Henriquet (10))
-To have the inside hand higher than the outside (see Heather Moffett (11))
-To give and take with the hand
-To take and hold until the horse gives
-To squeeze the fingers like a sponge
-To close the fingers
Bewildering and conflicting advice! This is all very confusing. What is the right way? The answer could be any of these. We must understand the likely impact of our actions on the ‘system’. Think it through. If it makes sense, then try it. Notice what happens. Learn from it. Work out what works for you and your horse.
Take a look at rider’s hands in photographs in Equitation books.
Which do you like? Why?
Which don’t you like? Why?
Ask your friends what they think and why.
I am drawn to pictures of Nuno Olivera in Reflections on Equestrian Art (8) and Paul Belasik riding Exelso in Dressage for the 21st century (7).
You can only have a forwards thinking hand when you have a soft relaxed arm and shoulders and you can only get this when you have a balanced posture. A balanced posture requires a supportive seat. So to work on our hands, I believe we must first work on our seat.
Without a good seat, the horse still feels the tight arm on a loose rein and is unlikely to seek the contact this will provide – so if we push our tight arms forward the horse is unlikely to stretch down.
The horse will seek the contact when the seat is correct and the arm is relaxed. At this point ensure your reins are short enough so that you can carry your hands out in front of you and never need to bring your hand back or down. Only use hand forwards and up, never back or down. As the horse becomes more collected and up in front you will need to adjust your reins to the new frame. THIS IS ALL VERY DIFFICULT – human instinct is to hold on and control with the hands and we have to “unlearn” this habitual response to progress with our riding.
When our horse hollows it can feel right to take a hold with the reins and “fiddle his head back down”. When we feel compelled to do this we must inhibit ourselves and do something very different. We must release in our body, give with the rein. Time after time I know that this works but sometimes I still catch myself desperate for a quick fiddle; old habits die hard!
The time we are most likely to get caught out is when we make a transition from work on a longer rein (eg free walk on a long rein or stretching in trot or canter) to an uphill test outline (poll the highest point). Many riders simply see this as an exercise in shortening the reins (hauling in the front end). This always causes a “fight” as the horse feels the restriction in front. Instead the rider must bring the horse’s head up first with her seat. This creates a loop in the rein which the rider can then remove by shortening her reins. The action in the seat goes from passive (following) to controlling (restricting)…but for this to work the rider must have a seat capable of making this adjustment.
Try both these approaches with your horse.
What happened? What did you learn?