From the stands : Competitive Dressage Then and Now

by Margaret K. Boyce

What elevates a good performance to a truly great one is the presence of  feel . " Feel "  breathes life into all  artists' performances whether the venue is ballet, music or dressage. Good mechanics of high quality are mandatory to achieve satisfactory results in dressage.  But without  "feel" towards the equine partners' emotional needs, all  performances  will be mediocre when assessed by the classically educated audience.

It's been over two months since my return from Las Vegas, Nevada,  where I attended the Rolex FEI World Cup Dressage /Jumping 2009 Finals at The Thomas & Mack Center. This was a long  anticipated venture since the  last major international dressage competition  I attended was the 1986 World Dressage Championships in Cedar Valley , Ontario. I was a volunteer at that event, and many  legendary riders such as Anne Grethe Tornblad Jensen on Marzog ; Christine Stuckelberger on Gaugin de Lully and  Reiner Klimke on Pascal, were competing. What was most interesting about attending the World Cup was seeing how modern day dressage riding and competitions have evolved over the last 2 decades . It should also be noted that in 1986 the very first FEI World Cup event appeared on the international dressage landscape.

The roster of riders at the  2009 event was impressive.  Anky Van Grunsven and Isabell Werth , the queens of competitive dressage, were both present.  Anky's Painted Black is a beautiful, high quality stallion with three very good gaits. Painted Black appeared somewhat tired on the warm up day,  resulting in a mechanical schooling process. Anky's half-halt's were quite visible which contributed to a short cervical spine (neck) .She and Hans Peter Minderhoud rode with their chins tucked into their necks, which caused this posture to be mirrored in their mount's frame.  Anky was a very focused, determined competitor - so Painted Black managed the show conditions well. 

Flexion at the poll is the most obvious change from past international events to present day. By contrast, 1986 competitive horses were ridden with longer necks and  more open angles in their frames, and with polls high. If competing today, those winning horses would be ruled " above the bit " and marked down.Upper neck areas of  1986  horses also had more muscular development right up to the poll area as opposed to many of today's competitive dressage horses .This lack of muscle,  where the  horse's head joins its neck,  is called a  " broken neck." This occurs when a horse is ridden in a tight frame where the throat latch angle is very closed . The horse then does not flex at the poll (where nature intended ) but several vertebrates down in the cervical spine (neck), a trend we are seeing much more often today.

Naturally in all competitions, not everyone wins. However, this does not dismiss their effort and acknowledgment.  Leslie Morse  was only able to showcase her great skill during warm up day because Kingston, unfortunately, injured himself on the first day of competition. Although brief, what I saw  was Leslie's true classical training. Rarely does one see an international competitive horse  display such good balance coupled with total relaxation. Kingston performed a textbook piaffe (poll the highest point and nose in front of the vertical ) in an actual sitting posture with a very light rein contact. She then allowed Kingston to stretch into a perfect long and low frame showing that Kingston was not being " hand ridden"  in the piaffe.  This perfect piaffe was unlike several performed at this World Cup. Those piaffes were more like a tense  " trot on the stop " as the horse's hips and lower backs were not correctly positioned in the movement. These horses did not sit, raise up in their frames, and take weight on to their quarters.

My mentor and longtime teacher, Colonel Christian Carde says incorrect  frames are what we are seeing more often at the international competitive levels. Leslie displayed that Kingston can easily maintain balance in the two critical frames in dressage - horizontal frame (poll the highest point, nose slightly in front of the vertical in a long neck) and long and low frame (low poll, a very open angle in the throat latch, nose well in front of the vertical in a long neck). Rules about correct frames (overbending/low polls/high croups), grinding teeth and swishing tails are often being ignored by judges in order to give high scores for brilliant action, music and choreography. Unfortunately, these scores do not come without the negative impact of  unsynchronized union between horse and rider. Several show trots  were performed in Vegas  - flashy front leg action without matching active hind legs.

Witnessing Leslie's short, but outstanding warm up, was worth the trip to Vegas. However, Guenter Siedel and his mount were another example of a truly great partnership. Guenter is known for his soft classical seat and invisible aids .  For a long time,  I've wanted to see him ride live since he was a student of my former teacher, the late Dietrich Von Hopffgarten . What was encouraging to see was Guenter can also teach. He and long time student Elizabeth Ball, performed a stunning Grand Prix duet to Phantom of the Opera in a Costume Pas De Deux competition. This event was for GP trainers and their students.  Other competitors included former Olympian Debbie McDonald, and Charlotte Bredahl Baker, along with their students.  This event was entertaining and fun for the audience, but the high spirited atmosphere had an over whelming effect on some horses. One horse in particular showed extreme stress with distorted gaits, which was caused by fear.  Many viewers cheered this display, thinking it was a trained movement,  and not recognizing that it was from stress.  

Another highlight at the 2009 WC event was Steffen Peters and Ravel's synergistic and trusting performances. There was no hint of anxiety or tension between this duo . This powerful Contango son showed supreme quality work with great focused concentration. Steffen's soft flowing seat did not restrict Ravel in any way. It was satisfying to see them on top of the podium at last.  When performing their victory gallop, Steffen and Ravel produced an impressive one handed passage in a lovely, open angled frame. A great team for our present and future sport.

At this World Cup, it was apparent that Isabell has worked through her previous resistance issues with Satchmo, that were displayed at the 2008 Olympics, and has regained his trust.  Some of their work was beautiful and from what I understand, Isabell is concerned about her horse's mental well being, and wants to give Satchmo a fair chance to perform without stress. What was most evident was how the overall ambiance at this World Cup played such a vital role in why Isabell did not win the title. Similar issues also factored in to determine who won the 2008 Olympic Games as well.

If one compares the 2009 World Cup to the 1986  World Championship, its like comparing a New York Symphonic performance to a Rolling Stones Concert. In 1986, the audience was polite and knew to be quiet and respectful during the performance. Show management  held the media at bay so they could not influence the results by their presence.  The audience was also permitted to watch the competitors school their horses, unlike the short 10 minutes of viewing given at Vegas.  When audience and media are allowed access  to watch the " real " warm up , it  builds a more animal friendly and non secretive environment because everyone can observe the training techniques used by the riders.  

At the Vegas WC, there were light shows, fireworks, screaming music and a very loud announcer. This created a very strong buzz in the center, naturally winding up the audience . These external elements created an entertaining surrounding and got the crowd going, but this came at a price for several horses. The crowd often screamed and applauded loudly and used flash photography during the performances, regardless of the announcement not to use them . This was very distracting to myself , so how could it not be the same for the animal competitors and riders?

 Isabel had issues in her GP test due to media personnel using large motor driven cameras ringside, clicking loudly away , scaring and distracting Satchmo .The pair made several mistakes. Isabel tried to stare the photographers down to get them to cease,  but they just kept right on at it.  That situation definitely played a factor in the day's results, and created issues for Satchmo to deal with the next time he entered the arena.

In Beijing , Anky won the 2008 Olympic title because Salinero handled the stressful competitive environment better than the rest.   Isabel's Satchmo, along with several other horses,  had major training issues because of the presence of an intimidating, massive HD screen close to the competition arena. The screen was placed there for the audience to get a better view of the competition, but FEI management did not factor in the horse's natural instinctive reactions.

Many Olympic competitor's training sessions were spent   " de stressing "  their mounts, as these horses were scared of their own massive image moving across this large HD screen. Prior to the first day of competition,  Isabel and several other riders  lodged a protest, trying to get the screen turned off. Their  request was dismissed ,and the rest is history, and the 2008 Olympic  results speak for themselves. Satchmo, as well as USA rider Debbie McDonald on Brentina, and many others, unfortunately succumbed to the stress - something that just should not be there for   the horse's and rider's sake. 

The 1986 World Championships were a far more open, relaxed and less crazed venue, so the performances were as such. Many more of the competing horses were ridden with positive tension, resulting in far more correct gaits and frames being displayed, as opposed to the 2009 WC event. In Vegas, much more mechanical and forced activity was shown, which resulted from negative tension, stress and fear. This was evident with the unfortunate ride from Jan Ebling on Rafalca . This lovely mare and generous rider had many spooking issues in their Grand Prix test. This resulted in Jan having to steer around instead of perform. They did not produce a 58% so they were not allowed to compete the next day  in the Freestyle. Was that fair to this pair? They had already qualified with a 70% to be at the World Cup. 

Because of these over whelming competition conditions, Adelinde Cornerlissen on Parzival chose not to compete. I read in Dressage Today that she withdrew because of a slight lameness, but knowing their show history , one would question her withdrawal. Parzival is  known to be a very sensitive horse and has succumbed to show ring pressure in past competitions .On warm up day, Adelinde was the only rider that wore a helmet and only walked her nervous mount.  I was  disappointed that I did not get to see this exciting new pair compete, but I respect what she did. Adelinde may of chosen to sacrifice this competition in order to safeguard her precious and trusting relationship with Parzival. If relaxation is the foundation of the training scale for dressage - should the FEI  reconsider these types of venues ?  

It was obvious at this World Cup which partnerships were nervous and argumentative. But it was also very obvious which partnerships were based on confidence and trust .  Ashley Holzer's character and temperament determines why she has such wonderful results and successes . She is a kind, patient woman and it seems that her ego never over rides her ambition. She has produced many successful  GP horses because both horse and rider seem   " happy to be there." Her performance showed clear confidence and relaxation, and should have been awarded a higher placing.

To the untrained eye, several stilted and mechanical movements were welcomed with cheers, clapping and hoopla.  An obvious sign of modern dressage was exemplified by Michal Rapcewicz. Being the youngest competitor at this World Cup, he displayed the worst equitation. He schooled his talented horse in a very short frame with much pressure and tension.  The horse displayed brilliant movement but was definitely not the  "happy " horse which the FEI says it wants to see in the ring. Unless international judging becomes more rigid about observing the current rules ( tension/incorrect frames), more of these types of performances will be rewarded .

Ambitious, impatient riders, or riders that develop  " show nerves,"   tend to over train their horses. These sensitive modern horses " feel " all of their rider's emotions, and react negatively. Rolker (hyperflexion) has been accepted by the FEI as a training solution for sensitive horses, However, if the rider is not emotionally well balanced, there is a great danger in using this system. This method, when overused, can easily become abusive, creating more tension in the horse because of riding in this very short frame.  Only a relaxed, supple, emotionally well balanced rider can  produce a relaxed, supple, emotionally well balanced horse.  

Since its arrival , the FEI World Cup has steadily changed the judging demands and criteria in all international dressage competitions world wide . In spite of much criticism and opposition from many old world trainers,  the FEI Dressage Committee took the big step and decided to have Freestyles as an extra decisive test in the program for World Championships, European Championships and the Olympic Games. Was this a good step for the well being of the competing horses, or for the business of promoting dressage? 

This rule change removed the importance from the " classical " Grand Prix and the GP Special, making the Freestyle the deciding factor for winning all of these titles.  At this World Cup there was only the Grand Prix test  - the Special was removed.  The classical dressage tests (like in figure skating ) put the importance on how correctly the figures and movements are being performed. Is our national championship heading this way? 

Reiner Klimke, one of the most acclaimed competitive riders and trainers  in the history of dressage, was quoted saying  that he believed  adding the Freestyle to competitive dressage would be the death of artistic riding .  I have to agree with this.Since the FEI Committee decided that the Freestyle was needed to increase the appeal of Dressage, and they made it the essential third test for FEI-Championships, as well as the  Olympic Games, it has changed the competition environment forever.

Currently the FEI is facing very turbulent times. Discussions about  the quality of the judging, placings and the conduct of the FEI panel of judges,  is being reviewed. Because of these issues, FEI  President Princess Haya disbanded the whole FEI  Dressage Committee. Just this month, the entire German Equestrian    Team was suspended because of doping scandals. One might ponder why this is happening in equestrian sports? It is not a  secret that several high level sports have performance enhancing medications. But in the case of our world class dressage horses, administrating these drugs might be reduced if competition venues were not as they were at the World Cup event.

Every competitor wants to produce correct and brilliant performances, but this can only come if existing FEI rules are more enforced and other rules are changed. Possibly the FEI should reconsider the value of the Freestyle, and lessen its importance, and go back to having the GP and Special tests as the deciding factors. Because riders gain higher marks if their freestyles have a higher degree of difficulty, they are compelled to produce freestyles that are difficult and challenging in order to win. This explanation is why Isabel and Satchmo were able to win a silver medal in the 2008 Olympics Games even though Satchmo had major disobedience and resistance issues. But this is also the reason why the Panel and the judging system is up for review.

The current judging system rewards harder movements with larger scores ahead of correct work that is not as difficult on the horse, But often these challenging performances  are not relaxed or correct in gaits and frames.  With the allowance of double pirouettes and passage half pass, there are no limits to safe guard the horses. Could the work load and demands be too much on our competition horses these days?

This situation is further worsened because several FEI rules that the judges are guided by have also been changed.  In the current 2009 rule book, the FEI has removed from Article 403 the statement " it is at the walk that the imperfections of dressage are most evident. "  Only a physically and mentally relaxed horse can produce a good extended /collected walk with a correct frame. We are seeing far less walk in all the FEI tests, as it has been deemed too boring for the audience. Without required movements in FEI tests that display true relaxation, trust and confidence, no horse, regardless of its quality of gaits or wonderful training, will present an optimal performance. From this Vegas WC event one can derive that the FEI  is more interested in creating exciting competitions for the general public, and is far less considerate of the history and classical standards which speak of artistry and the well being of the competing horses.

Margaret K Boyce is a certified Dressage Coach and Licensed Dressage Judge with Equine Canada residing in Emerson N.J. She operates MKB Dressage from Waterbury Dressage Center in Warwick, NY. Contributing Editors: Verna Lum/Kerry Rose