Recently, the FEI have announced that they have completed an extensive review of Cesar Parra’s training methods covering many years. The tribunal evaluated large amounts of evidence showing Parra abusing numerous horses across countless training sessions. Parra has received a fine, a 15-year ban from FEI and national competitions, and is prohibited from training other FEI riders and horses for the duration of the ban. However, this does not stop Parra from continuing to own and train horses.

This rider has been at top level dressage since the mid 1990’s, including competing at the Athens Olympic games. Which raises a very important question.

Why have judges continually promoted this rider by awarding him high marks?

There is individual variation in how each trainer choses to progress the horse and rider. The movements used are the same, but the way that they are ridden, when and how they are used, and which gadgets are employed vary greatly.

A similarity between dressage and art can be made here. A group of artists can all paint the same thing at the same time. They will all apply paint to a canvas and at the end there will be a picture of what they saw. But each picture is different based on the artists interpretation of the view and how they have used the tools available to them.

The way in which a horse has been trained can be clearly seen in the way that the horse performs each movement. In the way that an art expert can look at a painting and see the techniques the painter used, dressage judges should have the knowledge and experience to see the type of training, based on how each movement is performed.

However, they still award high marks for poorly executed movements, champion horses moving with hollow backs and braced necks, and ignore signs of pain and distress that the horse shows.

For the world of dressage to survive, the judging needs to change radically and rapidly. Horses are not machines; movements vary depending on the horse’s conformation and its natural abilities. It is the trainer’s responsibility to recognise this and adapt the training to best suit the horse. It is the judge’s responsibility to recognise where training has been incorrectly used for the horse they are seeing, and mark this appropriately.

Please see previous blogs -
charlotte-dujardin-returns-to-competition.html and 
another-olympic-rider-abuses-a-horse5440859.html

Training Riders, Transforming Horses
© Diane Followell

Last week Charlotte Dujardin returned to competing after finishing her 1-year ban for abusing a horse that she was training. But what does her situation say about competitive dressage?

Dujardin’s is not an isolated case. Carina Cassøe Kruth was dropped from the Paris Olympic squad for whipping her horse in a training session with Andreas Helgstrand. Helgstrand himself had a 15-month ban for horse abuse and is now back on the Danish team. The list goes on.

The FEI are responsible for maintaining the correct standards of the sport and preventing horses from suffering physical or mental harm, yet the only riders or trainers who receive any kind of punishment are those who hit the headlines and receive public condemnation. Bans and fines are implemented, but once the ban is over, the rider starts competing again and everything continues as before.

In response to public concern, the Danish Equestrian Federation are bringing in new rules to ban double bridles below level 4 (advanced medium). They will seek to have this rule implemented globally. This misses the main problem, what is being trained and how it is being judged.

If the judges cannot see when a horse is moving incorrectly, riders and coaches will continue to train badly executed movements. Some years ago, I watched lessons given by a well-known senior judge where teeth grinding, tail swishing and a horse kicking up at the rider’s legs were dismissed as normal.

Listening to the commentary from the Olympic games last year, this blindness to the state of riding at the highest level persists. Lavish praise was given for uneven piaffes, hollow rein back steps, extended trot without lengthened strides etc. This riding has now become so normalised, that many aspiring riders are oblivious to the damage that this is doing to horses.

Dujardin’s experience will not prevent the abuse. Dressage riders will simply stop people from recording training sessions so that they don’t get caught out.
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Dressage judges, and those who sit on the committees that govern the sport at national and international level. have a duty to fully understand correct movements and training of dressage horses. Until they have the courage to admit to the huge problems that they have allowed to be perpetuated in competitive dressage, nothing will change.

These blogs may also be pf interest to you - 
is-modern-dressage-classical.html
statement-on-the-situation-regarding-charlotte-dujardin.html

​Training Riders, Transforming Horses
© Diane Followell

With the Olympic games in Paris this summer, I am taking a look at some of the advanced movements that will be shown in the dressage competitions, how they should look and the problems that can occur.

In my last blog I reviewed tempi flying changes, “A View of Tempi Flying Changes" (click here to read) and this month I am taking a look at piaffe. The piaffe is on Jessica von Bredow-Werndl’s Facebook page, showing a few steps of piaffe in a warmup arena, and can be found here; https://www.facebook.com/reel/389800653416534

Although this is only a few steps of piaffe, it is a good example of the movement. The horse is light and well engaged in his haunches. The joints of the hind legs are flexing and the feet are raised to the same height and move up and down without deviation.

The rider sits softly with relaxed legs and the weight of the reins in her hands. The horse is able to place its head and neck where it feels most comfortable without the rider dictating the position.

As the rider makes a turn in the piaffe, the steps remain the same. At the end of the movement, the horse moves calmly forward.

​Training Riders, Transforming Horses
© Diane Followell

Whilst a lot of time is spent thinking about which bit to use, nose bands tend to be used solely to keep a horse’s mouth shut. Mostly riders use a flash or a cavesson, done up tightly to prevent the horse from opening its mouth. Apart from the obvious physical pain and harm that this inflicts on a horse, it masks a very important communication channel between a horse and their rider.
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The art of dressage riding is to finesse the communication between the horse and rider so that, to an observer, the rider appears to be doing nothing. Part of achieving this is having the horse soft and mobile throughout their work, and the horse’s mouth is a very good reflection the level of that relationship between horse and rider.
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For example, if a horse is finding an exercise difficult or feels too much pressure from the rider’s hands, this will show first through the horse’s mouth with blocks such as fixing the jaw, opening the mouth or putting their tongue over the bit.

Tightening the nose band to prevent this behaviour does not solve the problem. Unable to express himself via his mouth, horses often become harder in the jaw and the tension occurs elsewhere in his body. As the stress ripples throughout the horse’s body, blocks can often be seen in the horses neck, back and hind legs.

The solution is to change what you are doing, rather than increasingly tightening the nose band. It may be as simple as modifying an exercise slightly, or you may need to look a bit deeper at how you are asking. Riding with a softer hand and working more tactfully from your seat and back or with your leg.
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The connection between bit and rider’s hands should always be the weight of the reins. For very skilled riders, the slightest tension in the horse’s mouth is felt in their hands, and they make appropriate adjustments to make the horse comfortable. With a nose band that is done up tightly, the horse is unable to speak to the rider and training becomes an exercise in force.

​A few years ago, I wrote a blog about the apparent introduction of rolkur into the Spanish Riding School -  Flexions and Rolkur. At the time, the rolkur debate had been raging across the horse world for a while, with proponents both for and against vociferously arguing their case. The FEI banned rollkur in 2010, but continued to accept the use of low deep and round in its place. Years later, the legacy of this technique remains and continues to be used extensively in the equestrian world.

Rollkur has been used in horse training for decades and rewarded with high marks and medals in the competition arena. For some equestrians, it is the only method that they know and when the horse objects to these techniques, steps are taken to block their resistances with tighter nose bands, stronger bits, sharper spurs, more forceful riding etc.

The FEI took steps to mitigate these moves by introducing rules on the maximum tightness on nose bands, use of whips and the blood rule. How can it be acceptable that training methods, which mean rules are needed to stop riders inflicting injuries on their horse, continue to be endorsed? Monitoring the warm up area to prevent riding abuses does not stop this from being carried out away from the arena, particularly when the training continues to be rewarded with high marks.

The force that riders use in rollkur is at odds with the idea of dressage as the harmonious union of horse and rider, and the influence of these techniques is visible in the way the horse moves.

Many horses are unable to cope with the impact of this riding and start to display psychological and physical problems. The psychological problems manifest in many ways and can range from a horse who shows signs of stress and tension, such as tail swishing or grinding teeth, to extreme resistance to their rider or becoming impossible to ride.

Physical problems can show anywhere in the horse’s body, often in their mouths and backs, poll and neck, but also in ligaments, muscles, bones, joints and elsewhere, frequently resulting in horses being retired early instead of being able to work into their late twenties.

When the problems become too difficult to manage, riders look to find a trainer who can solve the issues that have arisen with their much-loved horse. Disappointingly, they only find more of the same. Many trainers use these techniques, as this is the way they have also been trained.

With this as the only history that many riders know, and the national and international governing bodies still reluctant to properly address the issue, is it not surprising that we are still seeing horses being ridden to breaking point both mentally and physically?