10/03/2022
Cool
EQUESTRIAN ART
The idea and the practice of true “self carriage” necessitates that ‘lightness’ be an important part of it. True “self carriage” is beyond mere ‘permeability’ to the aids, which can be practiced in submission but sometimes with little lightness. We use it in terms of Equestrian Art as denoting a certain freedom of expression. But what does this lightness in equestrian terms really mean? And what is the difference between a Circus equitation and Equitation as an Art?
If one is to study and practice a "lightness" as it pertains to 'artistic equitation', one that was practiced by the masters, then the term usually takes on a different meaning to competition riding.
This can be because true lightness in sporting equitation is of little value to many as marks are awarded for precision often demanded by a schooling entrenched by a rigid discipline and gymnasticization rather than that based on a free expression of the horse. The goal is more often than not prizes given for precision , which places the horseman on a different plane.
General L'Hotte said in 'The Quest for Lightness in Equitation' (H. Nelson);
'In equitation, it is not a question of refining or following minutely the horse when he raises or puts down one of his limbs, or of regulating one's actions on one or the other of these fleeting actions, or as Aubert described it “the moment of the leg”. One must look at art from a wider perspective, otherwise one will follow a path filled with difficulties, already so numerous and inherent in equitation.'
Self carriage is when the horse carries itself, no longer dependent upon the hand for balance. It responds to the rider's lightest indications, rather than heavy aids often maintained despite an initial response.
There is a much better way.
When we maintain an aid to keep the horse going, we are training him to ignore our requests and the cycle of brusqueness continues as the suppliers of equestrian equipment steadily profit, and trainers sell 'ready made', and often very expensive, horses to entertain the egos of their new owners.
If we instead school our horses to the 'aids' and then 'allow' the horse to execute the movements, we are well on our road to achieving an equitation close to what can be described as artistic. We must use our aids for direction, balance and to begin, modify or change a movement but never to maintain it.
This is not to say that we must accept a minimum and allow the horse to dictate what he does, but to teach him, with the utmost respect, and knowledge, to maintain what we have asked for until we ask for something different. This may only be achieved by a moderation, separation and release of the aids practiced within a spirit of good schooled activity. That is why there must be a certain maturity in riders to be able to ask progressively and be fair.
This is a prerequisite for all high quality equitation and should not be confused with the training of horses by riders who use aids to maintain movements.
'Circus equitation seeks only the movement, generally of a flamboyant and extravagant nature, to thrill and excite a crowd. It is an equitation that seeks to delight Philistines and is little concerned with lightness'
(Question Équestres)
One is circus. The other is not, contrary to what many believe. Perfection is infinitely more difficult to achieve.
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