ACADEMIC?
Academic horsemanship encompasses the study and practice of equitation based upon classical old world equestrian masters from the past. It’s a wonderful approach for riders who love to learn and enjoy self-exploration and finding solutions to the ‘puzzle’ our horses present. It’s dressage training that is, arguably, more patient, deeper, and lighter than what we typically consider ‘dressage’ these days, motivated by the joy of simply being on a horse’s back and figuring out how it all works. The knowledge and theory academic study exposes us to can fill in the missing gaps that keep us from achieving true oneness with our horses.
Modern knowledge is just as important to our studies. Today’s academic riders benefit from technology and the dissemination of vast quantities of information about horsemanship available at our fingertips on the internet and in readily-found books worldwide. Through video we can now see frame-by-frame biomechanical truths of horses and apply them to our riding. Research in animal ethology has made us sensitive to the emotional needs of our equine friends. Paired with the old training manuals of horsemanship, we may access invaluable resources of human equestrian knowledge from which we can educate ourselves and our horses, weeding out the things no longer relevant to modern sensibilities while retaining the long-held proven successes. These proven training practices from days long gone combined with the things we’ve discovered about horses since then—biomechanically, anatomically, behaviorally--make for an incredible knowledge base from which to learn.
WHAT IS THE ACADEMIC ART OF RIDING?
The Academic Art of Riding is the name given to a continually-evolving academic training framework developed by contemporary Danish riding master Bent Branderup. In my own program at Ballyree Art of Riding, I am pleased to share my own personal experiences and exploration of this methodology.
Branderup developed the Academic Art of Riding framework inspired by his study of historical equitation; his program offers a solid education for both horse and rider and is simple, logical, rich in theory, utilizing the methods of riding masters of centuries past—mainly Xenophon, Pluvinel, Newcastle, Guérinière and Steinbrecht. By keeping the most useful practices of these horsemen as well as re-introducing important exercises that have been lost or forgotten, Branderup’s method presented with a clear, modern attitude is a dynamic experiential manner of learning that prioritizes communication between equine and human, self-exploration by the rider, the well-being of the horse, deep technical theory put to practice, and the beauty of riding for its own sake.
Sixteen years ago, after twenty-seven years of previous riding experience, I discovered this studious, elegant kind of horsemanship to be a truly rewarding and effective way to gain real-world knowledge and experience in the old world classical methods of riding that have always been my first passion. I recommend it particularly for a thinking-type rider with self-discipline and the ambition to learn.
Follow this link to Bent Branderup’s online streaming lectures which were created to aid independent students of the Academic Art of Riding. There are no licensed instructors currently in the USA, but personalized instruction from outstanding European trainers is available through live Skype sessions or video review.
WHAT IS THE FRAMEWORK?
In academic horsemanship, the rider’s seat is the primary aid and the goal is to ride the horse, ultimately, through this aid alone. Secondary aids are first taught on the ground through components of work on the short lead and longe-line so that it can easily be translated and understood by the horse later under saddle. In the groundwork, the horse is taught correct reactions to foster correct response without force or constant application of aids as it advances in its education. The horse is shaped in posture at halt and in movement, learning to search for the rider’s hand in the forward-down tendency, learning correct stellning (lateral rotation) of the skull into the spine to create bend and a unified connection from fore-to-hind. In movement, the horse learns to step under its point of weight first by us influencing the inside hind leg and then the outside hind leg, and with influence of both hind legs we can begin to teach the first work in collection. As the horse progressively gains understanding of what we ask of it, we can then further develop and refine its balance, shape, suppleness, tempo, takt (rhythm) and schwung (impulsion). Training components such as work-in-hand, long-reining, cross-over training combining the different techniques are also initiated according to the needs and level of the horse, even as work under saddle becomes the main focus of the education.
The phase of establishing the secondary aids is a particularly remarkable time because we gain intimate familiarity with the body, mind and movement of the horse, allowing us to truly individualize the work to the horse’s physical and mental talents and limitations. As a rider, we also become educated to the deep technical aspects of equitation and begin to develop and define our sense of ‘feel’ very keenly. It’s important and necessary that the rider studies the theory and has clarity of purpose and process before putting the knowledge to practice.
Traditionally-speaking, the academic partnership strives for the day that the horse easily carries itself upon its haunches, the single hand on the curb rein directing the shoulders from the ‘asking’ primary aid of the seat, all gaits and lateral movements flowing with lightness and immediacy, the horse continually searching for the hand with the forward-down tendency, demonstrating utmost turnability, a purposeful-connected spine, in complete harmony and agreement with its rider. Just the basic foundation training will produce this nicely-educated horse; for the rider interested in the higher levels of equitation, training continues with increased refinement of collection through the school gaits and the introduction of advanced movements such as piaffe, passage, levade and beyond if the horse possesses the constitution to do so and the rider the ambition to try.
Bent Branderup states the progressive framework of his program in the Knighthood of the Academic Art of Riding as: Basic Horsemanship, Groundwork, Longeing, Intro to Riding, Work on the Circle, Shoulder-In, Quarter-In, Straightness Training, Shaping the Topline, Piaffe and Collection, Pirouette and Carré, Flying Changes, Passage, Levade and School Halt, Terre à Terre, School Airs Above the Ground, Capriole.
WHAT IS STRAIGHTNESS TRAINING?
‘Straightness training’ is a specific academic approach focused on equine biomechanics and the correction of imbalances in a horse’s body and mind caused by its natural ‘crookedness’.
Like human beings being left or right-handed, horses also possess a preferred ‘side’ due to their bodies being conformationally bent left or right, and just like we will use our hands or body on the side that feels comfortable to us, horses will also seek to move or balance themselves based upon what’s most comfortable to them. Many issues we face as riders are caused by our horses not being able to move in balance equally both directions and the negative reactions they display when they confront their own stiffness and awkwardness. Leaning in the body, heaviness and pulling in the bridle, going below or above the bit, uncontrolled movement or unwillingness to move, lack of focus, behavioral problems when saddled or on the ground, etc, etc.--the list of things our horses can display due to the asymmetry in its body and thus in their mind can go on and on. When faced with vague or unspecific issues with a horse, it’s common these days to call an equine chiropractor to manipulate a horse’s body, hoping for a rather quick fix to an issue that is often hard to pinpoint. However, if a horse’s innate ‘crookedness’ has such an affect upon it that it can’t coordinate itself well in movement, or if the imbalances it feels under the weight of the rider is causing it pain or distress, a better solution is to teach the horse to move its body differently to rebalance it, supple it, and effectively and easily carry a rider in comfort.
Academic foundation training with its focus on shaping posture and movement in the horse is an incredible means of improving and correcting these imbalances. Through progressive gymnastic exercises both on the ground and under saddle, a horse’s body can be equally suppled and balanced in all ways, as well as its attitude and temperament naturally calmed, eased and adjusted by the work ethic and emotional bond the training creates with the rider. The change in a horse can be transformational.
Dutch trainer Marijke De Jong has developed the Straightness Training Academy which focuses primarily on this work for corrective measures, but also as a basic training method for horses of all disciplines. Participants in the official program have access to a vast library of information to assist them with their independent study.
IS MY HORSE SUITABLE?
Any healthy, sound horse is suitable for this work. The credo of the academic rider is that ‘dressage is for the horse, not the horse for dressage'—i.e., that training is practiced for the benefit of the horse, and the horse isn’t forced to fit into an ideal that’s beyond its capabilities.
Horses with less-than-perfect conformation and movement can be greatly improved and often undergo dramatic physical and temperamental changes with correct training, so rather than rejecting a horse who may have imperfect conformation or lack of natural ability, the academic rider embraces the challenge and seeks the satisfaction of giving such a horse the chance to be the most beautiful horse it can be. In other words, no one will tell you to find another horse because the one you have isn’t suitable for the work. Any horse you have is the horse you can begin to educate. Every horse with the willingness to work with its rider has the potential to shine, which means the horse you see each day can be your first pupil. Every horse’s physical limitations are respected and training is tailored to carefully bring out the best of its abilities regardless of its natural aptitude. Even the average horse has the potential to be educated to high school level under the committed endeavors of a rider who persists in their study. It’s true that the most dynamic and well-formed horses will be able to perform movements more easily than others, but I invite you to research online for the countless riders with less traditional dressage breeds who are doing amazing things with their ‘non-dressage’ horses utilizing academic horsemanship methods.
WHAT CAN THE RIDER EXPECT?
The rider who truly wants to know the raw roots of horsemanship, learning about the equine body, mind, and movement as well as the techniques that create a beautiful riding horse, will find that extraordinary world open to you here. A disciplined rider who puts in the time and practice with their horse can succeed in ways they may not have thought possible.
What makes this kind of riding such a fulfilling endeavor, in my opinion, is that academic riding is educated riding. It’s akin to the thrill of first entering school as a child and discovering we can learn, and with that realization grows faith that we can possess the knowledge of our teachers if we persevere. Each time we ride we’re presented with new ideas, fresh discoveries and a never-ending sense of promise. We learn to have faith in our own abilities, to press on, analyze and observe every sign of tiny progression in the work with our horse, with each act of study off the horse bearing fruit on the horse as we physically learn to see and feel the things we’ve read about or viewed.
I’ve learned to appreciate the tiniest things a horse will offer me, daily seeking ease and joyfulness in my relationship with them. Riding has become a beautiful highlight of my life, marked by lightness, communication and steady yet simple successes.
WHAT DOES ‘ART’ IN RIDING REALLY MEAN?
Don’t make the mistake of believing ‘art’ in riding is something for other people with far more talented horses or in-born skill--it’s for everyone and it's about learning a craft as much as it is a state of being. In my non-horse life, I’ve been a professional artist for over 40 years, as well as an art instructor. My experience as one who regularly ‘self-expresses’ and also teaches others to do so has shown me that art isn’t just for people who were born with a proclivity to create interesting things—it’s a natural way for all human beings to express openly the things they feel most deeply.
Consider this: the process to become an accomplished rider is similar to learning to paint. As a beginning painter, we acquire the brush, paint and canvas, we begin to copy the work of others, we study technique, experiment and explore with a goal in our mind of someday painting something good...eventually the brush begins feels easy in our hand, we know how to move the paint about the canvas, we have the skills to put on canvas the idea of the painting we hold in our imagination, and inspired, we do it. That's the point when art occurs, and when an artist is born.
Academic horsemanship approaches the art of riding in precisely this way--the education we achieve through patient study is the ‘paintbrush’ we use to begin composing our innermost feelings about riding on the ‘canvas’ that is our horse. By learning riding theory, practicing an awful lot, being dedicated to the process and partnership, we ultimately achieve the ability to control the vision we have of our horses and ourselves as riders of them. We cease thinking about the process because riding has become an extension of us, and through us it reaches the heart and spirit of our horse. We know it when it happens, just like the determined artist who on one memorable day completes a painting, takes a good look at it, and just knows she's created something special.
VI LA PAZ