PUTTING THE HORSE ON THE BIT

[DADAR]

In this chapter we shall consider the progression of putting the horse on the bit, from the first steps to more advanced ones. For the horse to be on the bit there must be (1) position and (2) acceptance of the bit. By position we talk about the horse having his head on—or a little in front of—the vertical position (Figure 6-1). By acceptance, we speak that the action of the reins can act on the horse. That is, the horse is light and supple enough to accept the hands of the rider. The horse might appear to be on the bit, yet if he does not stretch his head to meet a giving rein or if a horse can evade a half-halt, he is not truly on the bit. As the horse's training progresses, the rider obtains (3) elevation, with the horse’s neck being able to be lifted higher for collected movements. The neck may never be lifted higher than the horse's training permits, of course, without loosing the lightness and acceptance we have spoken about.

At the trot, the horse on the bit is engaged, shows good suspension with correct engagement of the hindquarters. The tail of the horse is an indication of not only a quiet correct position of the head and engagement of the hindquarters, but also of the calmness and quietness of the aids. If the horse is not moving freely forward, the position of the head and neck are of no importance and useless. Even at the halt there must be a feeling of impulsion, a readiness to spring into action.

For the purpose of simplicity, this topic is put together in one chapter, but it should be understood, as with so many of the other subjects, that the progression of the horse will take a long time from the easiest to the most advanced levels. Putting the horse on the bit, like that of making the horse straight, is a task that is never totally finished or completed.

We have said earlier, that a rider should post rather than sit the trot until the horse is on the bit. Figure 6-2 shows how a horse on the bit can take the added weight on the back (the muscles of the back become taut as the neck goes on the bit), while one who is not will react by making the back more hollow.

: When the horse is on the bit, his back can accept the weight of the rider; when the horse is not on the bit, adding the weight of the rider at the trot causes the horse to hollow his back.

The horse can be on the bit within the vertical and "something" in front of that—depending on the amount of collection. Further in front of that point the horse will be above the bit, and the action of the reins will not be able to go through because of stiffness. Neither will the action of the reins function properly if the horse is behind the vertical, or behind the bit. In this case, instead of stiffness, there will be hollowness, or lack of contact.

When the horse is on the bit there are different degrees of elevation, from the ramener to the rassembler ).​

 

[oliveira]

قرار دادن اسب یرروی دهنه

دراین مقاله ما پیشرفت اسب را ازاولین مراحل تا مراحل پیشرفته مهیا میسازیم.
برای اینکه اسب برروی دهنه باشد.
1-موقعیت صحیح
2-قبول دهنه
مدنظرقرار میگیرد.
منظور ازموقعیت صحیح , قراردادن سراسب در روی یا اندکی جلوتر ازخط عمود می باشد.
ومنظوراز قبول دهنه صحبت ازاثرات دستجلو برروی فرم وعکس العمل اسب درمقابل اثرات آن است.
به این معنا که اسب به اندازه کافی درمقابل دستهای سوارکارنرم وانعطافپذیرمیباشد.
ممکن است به ظاهربه دهنه نشان دهددرصورتیکه از کشیدن سروگردن درهنگام آزادی دستجلوها ویااجرای موفق نیم توقف اجتناب ورزد.
باپیشرفت آموزش وتمرینات سوار قادربه3-بالاآوردن گردن اسب برای حرکتی پرتعلیق ومتجمع خواهد بود .
البته این حمل باید توسط اسب ودراثر ورزیدگی درتمرینات حاصل گردد ولی گاها" مواجه با اسبهایی هستیم که با فشارواصرار سوار(درخواست بیش از ورزیدگی وتناسب اسب) آن سبکی وآزادی درحمل سروگردن دراسب مشاهده نمی شود.
در حرکت یورتمه اسب روی دهنه فعال است تعلیق خوبی رابه نمایش میگذارد وبخش خلفی در گیراست(پاهای اسب به خط کشیده میشوند).
دم اسب نشانه ای از موقعیت صحیح سروگردن ,فعال بودن بخش خلفی وآرامش وقبول اثرات اعمال شده است. اگراسب به آزادی رو به جلو حرکت نمیکند موقعیت سروگردن در توسعه حرکت بی فایده است.حتی درحرکت ایست هم باید تحرک وجهندگی وورزیدگی به چشم بخورد (ایست کاهش تحرک نیست!).
به عبارت ساده تر این تاپیک به اشتراک گذاشتن موضوعی است که نیازبه درک مفهوم داردوهمانند دیگرموضوعات برای دستیابی به آن ازساده ترین تاپیشرفته ترین مراحل نیاز به زمان کافی جهت درک حرکت وورزیدگی در اجرا دارد.
قرار دادن اسب برروی دهنه همچون مستقیم کردن اسب (یکی از مراحل تربیت اسب) موضوعی است که
تغییر می کنند ولی هیچگاه کامل وبه پایان نمیرسد.
یک سوارتا قبل ازآمادگی اسب برای به دهنه شدن بیشتردر حرکت یورتمه ازیورتمه آزاد نسبتبه نشسته استفاده می کند .
اسب برروی دهنه تحمل بهتریازوزن سوار برروی عضلات کمردارد(اسبی که بر روی دهنه نیست عضلات کمر را درمقابل وزن سوارمنقبض کرده وگود می کند).
اسب میتواند به دهنه باشد هنگامیکه خط الراس سر به زمین عمودویا اندکی جلوتر از خط عمود قرار گیرد که تفاوت دوموقعیت ذکر شده در میزان تجمع اسب می باشد.
علاوه بر موقعیت های ذکر شده در بالا از چگونگی موقعیت سرو گردن حالتهای دیگری نیزمتصوراست از جمله
ـ جلوی خط عمود برای اسبهایی است که بالای دهنه حرکت میکنند واثراتدستجلو ایجاد انقباضدرعضلات گردن می نماید .
ـ و زیر دهنه حالتی است که ایجاگودی در ستون فقرات وقطع ارتباط وگفتگو را ایجاد میکند.

اما بخش اصلی که تحریک کننده برای ترجمه مقاله بوداشاره به دو واژه فرانسه Ramener وRassembler بودکه به معنای تحریک وفعالیت دست وپای اسب در فرم (شکل وحالت اسب) در تماس با دهنه است.در واقع ارزیابی اصلی در تماس درست میباشد.
دراین مقاله گفته شده
وقتی اسب بر روی است درجه های مختلفی ازحمل سرو گردن وبالا آوردن جلوتنه را به نمایش می گذارد درجاتی از آزادی وفعالیت دستها در هنگام تماس.

وبزرگان معتقدند که اسب به دهنه اسبی است که حداکثر قدرت عضلات خود را با آزادسازی وفعالیت دستها وپاها به نمایش می گذارد یعنیRemaner بدون Rassembler وهمچنین Rassembeler بدون Ramener بی معناست

 

[♘امیرحسین♞]

[FONT=Times New Roman,Times][SIZE=+2]To be "On the bit"[/SIZE][/FONT]

[FONT=Times New Roman,Times][FONT=Verdana, Arial, Helvetica, sans-serif]Note of the translator[/FONT][/FONT][FONT=Times New Roman,Times][FONT=Verdana, Arial, Helvetica, sans-serif]: This note in French is called "To put [a horse] in your hand", and is one of the toughest concept to translate, because of the many misconceptions about collection, headset, etc. So I will try to translate the idea rather than the words, and therefore redefine some terms. The added explanations will be written in Italic[/FONT][/FONT]

[FONT=Times New Roman,Times][FONT=Verdana, Arial, Helvetica, sans-serif]"In your opinion, what is the best way to collect a horse? My trainer insists on the fact that I have to play with my fingers (open and close my fingers) to make the horse give in at the poll.
Also, I would like to the difference with a horse that is "on the bit", which I believe is another concept ." (to have a horse "on" your hand). [/FONT][/FONT]


[FONT=Times New Roman,Times][SIZE=+2]W[/SIZE]hen "in your hands", the horse's mouth is relaxed, and the head is set vertically. [/FONT]
[FONT=Times New Roman,Times]The horse's head is steady, the lower jaw gives in, the mouth is salivating. The horse's tongue is moving in the same manner as when swallowing, gently lifting the bit, then going back in its normal position and letting the bit go down again.
This slow and gentle movement of the mouth sometimes makes a very characteristic noise.[/FONT]
[FONT=Times New Roman,Times] [SIZE=+1]The horse IN your hand (collected): [/SIZE][/FONT]
[FONT=Times New Roman,Times]The horse is in your hand when, being in balance and having his head set, he gives in with the jaw and relaxes his mouth. This state of responsiveness and availability is a sign of physical and mental acceptance of the horse.[/FONT]
[FONT=Times New Roman,Times] Therefore, to have a horse in your hand, collected, is to obtain the head to form a closer angle with the neck of the horse, the poll being the highest point.[/FONT]
[FONT=Times New Roman,Times] True headset is the result of engagement of the hindquarters under the horse's mass, of impulsion and collection in balance. The forehand becomes taller, the horse is in place.[/FONT]
[FONT=Times New Roman,Times] Headset will be detrimental if it results form the rider pulling back on the reins, and from the horse moving his head towards his body.[/FONT]
[FONT=Times New Roman,Times] For true headset, the hand catches this engagement with very subtle finger actions that encourages the jaw and the poll to give in, and then keep this state of responsiveness. Being collected, in your hand, is a sign of physical and mental acceptance of the horse. [/FONT]
[FONT=Times New Roman,Times]The slightest modification in your hands has an effect on the horse's balance. The slightest alteration in the correct layout of the horse's resources (balance, impulsion, posture…) jeopardizes the horse's ability to stay in your hands. [/FONT]
[FONT=Times New Roman,Times]Therefore, you have to start by putting your horse in balance, in a relaxed way. Have an perfect posture, with you upper body tall and relaxed, you legs falling softly and your arms falling in a natural way.[/FONT]
[FONT=Times New Roman,Times] Your hands should be rather low, but should not, to be low, pull down your upper body. Modify the length of your reins until your hands are low and your upper body is placed correctly.[/FONT]
[FONT=Times New Roman,Times] But the height of your hands may vary.
There is no absolute rule, each rider, depending on his own physiology and on which horse he is riding, will look for the optimal height of hands.[/FONT]
[FONT=Times New Roman,Times] Round your wrists in, have soft, rather mobile fingers, with slight vibrations from time to time.[/FONT]
[FONT=Times New Roman,Times] When the horse is perfectly in your hand, start practicing on lowering your hands! (Descente de main). [/FONT]
[FONT=Times New Roman,Times] The difference with a horse ON your hand (on the bit):[/FONT]
[FONT=Times New Roman,Times] [/FONT] [FONT=Times New Roman,Times]A horse is on the bit when, having found his balance, he takes a light and constant contact on the bit, without his head being set as described above.
An example would be a young horse who is starting to stabilize his gaits in a still horizontal balance.[/FONT]
[FONT=Times New Roman,Times] A horse ON your hand (on the bit) carries himself forward without hesitation, but is not collected.[/FONT]
[FONT=Times New Roman,Times] A horse IN your hand (collected) is collected, his head is set and he works on short basis.[/FONT]
[FONT=Times New Roman,Times] A young horse "on the bit", with limbering exercises and muscling workouts, will little by little engage his hindquarters, collect, flex his poll, give in at the jaw and progressively come "in your hand". [/FONT]

​

 

[oliveira]

Headset will be detrimental if it results form the rider pulling back on the
reins, and from the horse moving his head towards his body

ممنون ازارسال ت.
من دوست داشتم مجددا" اشاره کنم که سواری اسب از مبتدی به پیشرفته سه سطح دارد.

Foreleg Riding

Ribcage Riding

Hindquarter riding​

 

[oliveira]

• VOLUME 47 • © HORSES For LIFE™ Magazine​

On the Vertical: A Fashion that is Failing the Horse

or Ramener, Rassembler, Collection and The Process of Training Techniques

So why is it considered a good idea to have the horse's head on the vertical?

If you only understand a part, not the whole, then your foundation is false and you can never succeed.

Throughout the centuries, there have been two levels of involvement with horses. Those that have used the horse as a beast of burden, an implement to be used on the farm or as transportation, and those who enjoyed horses for excitement and pleasure, such as jumping, polo, barrel racing, racing.

At the same time, there has always been still another level of rider, one who looked beyond, looking for something more. To many, this was expressed as not the sport but the 'art' of horsemanship. An art that expresses itself as an ultimate goal, the concept of collection.

The concepts of the 'art' were often expressed in what was called dressage and collection, with the idea being that not only were you to create something beautiful, but that was also as sustainable as it was good and healthy for the horse, as it is beautiful. So over time, collection became synonymous with being good for the horse. But the art of horsemanship was so much more. It was about discovery, excellence, and the journey of an equestrian lifetime.
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While collection became synonymous with being good for the horse, and also the ultimate achievement, there were those who were starting on their equestrian journey who began looking for instructions, a way, or a map that could provide them with a guarantee of success, and they were often looking for an instant, quick way to achieve that success, in the belief that if they could find the right attributes, they too could be successful. Riders were looking for a formula. There are always those who will try to help those looking for the formula, who end up promoting themselves while marketing the newest, latest, best method that is going to work for you.

In the process of creating the formula, there is always simplification. Sometimes simplification can be a good thing: a way to cut to the essential truths and cut away the more confusing detail. But sometimes one simple small detail that is lost can mean the difference between real and false success.

And of course, unfortunately there is a danger any time we try to employ a formula in the training of our horses. That danger is more likely to be realized if years of experimentation, education and experience do not accompany those that look for the formula. Many incorrect assumptions can be made, and then the formula is almost guaranteed to be wrong. Unfortunately, when this happens, it is the horse that suffers.
​

Many training programs that look for these formulas, for short cuts, these fashions of the day, often are based on at least one incorrect assumption. Unfortunately, they tend to continue often for decades, as while they may have an element that is incorrect, they are based on some - and sometimes many - truths. This is part of what makes it that much more difficult for many riders to find the right path, because seeing one truth confirmed, or sometimes several truths, makes them assume that it must ALL be true.

Many of the training techniques that are employed today are formulas. Formulas that are based on partial facts, looking for specific results, without a true understanding of the process behind them. Most of these new training systems, or fads, have the concepts of collection, ramener and rassembler at the heart of their training formulas.

If we don't understand why all of these training systems have the head on the vertical as the basis of their training system, then we cannot understand why this or any other training method will be flawed, and we will always limit ourselves and our horses.

It is no wonder that any new training system uses collection as its basis. After all, for hundreds of years, this is the main goal of every master horseman in every country, in every royal stable and by every horse afficionado. Because of this, there is an automatic assumption that collection is good. This is an obvious truth, which can make any training formula based upon that premise difficult to disprove.
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​

These fads or new training systems have at heart the first assumption that collection is good. It is hard to argue with that assumption.

The second assumption is that ramener, which is the head on the vertical, is synonymous with collection.

The third assumption is that collection is the final stage.

If we don't understand where collection leads or how collection has different levels of both difficulty and success, we can't see how, with certain training programs, what we think of as successful is actually limiting not only us but our horses as well. There are those that look further and look for something far more difficult and unique. Something that goes beyond the concept of collection, and tries to be expressed in the concepts of ramener and rassembler. These riders understood that these goals were sometimes almost unattainable, but, like the Holy Grail, something that at the same time was well worth a lifetime searching for. These horsemen were more than happy if they had the opportunity to even feel a few short moments of their Holy Grail. It is only when we understand the entire journey, only when we understand the concepts of rassembler, that we can then understand how ramener and rassembler are related, yet can be two different things at the same time. And it is then that we can perhaps begin to understand why there are no shortcuts, and how many training fads, fashions and programs today are based on a falsehood. The falsehood that a head on the vertical automatically confers the mantle of correctness and goodness.

Quote:

“'Collection' is a limited achievement, wherein the horse goes truly up to his bridle; the rider feels the forward impulse of the horse come up to the tips of his fingers (la mise en main); the fingers and the bit are the limit whereto the horse can go".

"The rassembler is an unlimited achievement, wherein the bridle, horse and rider have become absorbed into one entity; the bit possesses a limiting effect no longer, the forward impulse travels right through it, without let or hinder; actions of hands and bridle-effects have become mere messages to the horse’s nerve-centre.

"'Collection' is a form.

"'Rassembler' a quality!"

From Henry Wynmalen.

Feeling the energy in "the tips of the fingers," the words evoke a feel of the lightest touch - a touch so light that a breath of air could separate hands from the bridle.

But how to achieve this effect when we are well aware that the bit can often be the first place where we set up limitations for our horses?
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