WORKING EQUITATION MENTORING MANUAL. Compiled by Coralie Smyth and Kim Peterson

Transcription

1 WORKING EQUITATION MENTORING MANUAL Compiled by Coralie Smyth and Kim Peterson

2 2

3 Contents 1. SAFETY... 5 Before You Start... 5 Managing the Group... 5 Incident Reporting ETHICS... 7 Mentoring Obligations... 7 Horse Welfare HOW HORSES LEARN... 9 Positive Reinforcement... 9 Negative Reinforcement HOW RIDERS LEARN Understanding Practice Fluency PRINCIPLES OF MENTORING Mentoring Guidelines Mentoring Techniques TEACHING OBSTACLES Technical Style Training Days THE OBSTACLES The Jug Switch Cup The Bell Corridor The Bridge Varied Footing The Stock Pen The Jump The Single Slalom Pickup pole Spear Ring Replace Pole The Water Ditch The Gate Side Pass The Figure 8 Barrels The 3 Barrels (Cloverleaf) The Double Slalom COURSE DESIGN Sequence and Flow Line and Distance

4 Walking the Course Sample Obstacle Course WORKING DRESSAGE The Dressage Arena Five Geometry Figures Four Test Points Style Requirements COMPETING Know the Rules General Disqualifications Attire Options Tack Options Disqualifications for Obstacles (Style/EoH) Disqualifications for Working Dressage

5 1. SAFETY We all know that equestrian activities are dangerous in fact horse riding has been rated the most dangerous sport in Australia, above rugby league, bungee jumping and skydiving. Many injuries are sustained whilst on the ground around horses. Some seemingly straightforward activities such as leading a horse out to its paddock can result in fatal kicks. especially in relation to head injury. As a Mentor, you must be aware that failing to take necessary precautions leads to potential liability for negligence. BEFORE YOU START Mentors and Trainers should arrive at training grounds early and check the condition of the grounds. Grounds used for Working Equitation are often not as good as we would like them to be and it is your responsibility to make sure you have done everything possible to keep riders and horses safe. Always look for inconsistent footing (holes, rocks etc) and the condition of the surface. It could be wet and slippery or even rock hard, in which case you would not have the riders doing fast work or tight turns. Identify hazards find out what could cause harm; assess risks; understand the nature of the harm each hazard could cause; how serious the damage could be and the likelihood of it happening. Be aware of riders or handlers not in control of their horse; mis-match of the rider and horse; riders or handlers wearing inappropriate shoes; visitors who may not understand how horses behave; horses not tied up appropriately, not trained or well behaved While spectators are encouraged, they should not be allowed into the riders space. MANAGING THE GROUP Being involved with a training day means that you will be working with groups of riders, not individuals. Safety under these circumstances becomes paramount, and you must be able to control the group at all times. Mentors should not be expected to handle groups in excess of 6 riders. If there are more than that it becomes quite difficult to make sure that everyone can be seen, to keep them all in line and attentive, and at the same time to help the one who is doing the obstacle. You should be able to see all riders always. Have them line up so they can see you and the obstacle you are working with. In this way they are not only safe, but learning as they watch. Whether they are in a line next to each other or a line following the leader, ensure that there is enough spacing between horses. When following, this space is two horse lengths. When working in a circle or around the arena, keep an eye on this spacing have the bigger/faster horses at the front; when spacing gets too tight, have one rider do a small circle to re-establish good order. Unsettled horses should be at the end of the line. Let riders know that it is better to get off than to try and control an unruly or dangerous horse. It s quite all right for someone to do a complete training session unmounted and leading the horse it can even be preferable to riding! 5

6 If someone comes off or there is a disturbance you must be able to have the group stop immediately and not move until the situation is corrected. One of the great things about Working Equitation is the fact that it is a level playing field for all riders and horses. This means that when working in a group it doesn t matter that some riders are more advanced than others Mentors wold normally be helping riders who would be competing at Intro or Prelim level, which means that most of the time you could just have everyone walking, with very little trot and no canter. Many horses will, after a while, recognise that the person on the ground is a leader. Knowing this can give you an advantage if you need to clarify something or calm him a little often a few minutes of individual attention can be beneficial. INCIDENT REPORTING Horse groups usually keep incident report forms available so that they can fill out details of an incident within a reasonable time after it occurred. Name, address, and phone numbers of the injured person An explanation of how the incident occurred Where, and when the incident occurred Names and contact information for all witnesses If possible, what the witnesses saw If a horse was involved, its name and description What type of medical assistance was offered and/or provided Name, address, phone, and signature of person(s) who completed the report Be aware that if the incident should ever proceed to a court battle later on, the incident report is certain to become a key document. The injured person s lawyer could attempt to use it against the Mentor. With this in mind, be cautious of the words used when it is completed. Don t accept any responsibility. 6

7 2. ETHICS Mentors must behave professionally in the way they teach and interact with their riders, parents and colleagues. Behaving professionally means, among other things, being punctual, dressing appropriately and being well-groomed, working hard and using suitable language. The EA Code of Ethics has been adapted for this manual, and it provides that Mentors must: Promote the welfare of the horse as the primary consideration following the principles of the FEI Code of Conduct for the Welfare of the Horse. Ensure that equipment and facilities meet safety standards and are appropriate to the age and experience of the horse and the rider. Respect the talent and commitment of each rider and their horse and seek to develop their potential Respect fellow Mentors and their riders and encourage riders to do likewise Learn as much as possible about the sport, keep up to date with developments Make sure that the time spent with you is positive Never deceive or mislead the rider Be dignified and controlled and teach riders to be likewise Discourage the use of cruel or injurious training methods and set a good example with your own training methods See that all riders are entitled to and deserve equal time in group lessons Refrain from any form of personal abuse towards riders Refrain from any form of harassment towards riders Ensure that any physical contact with the riders should be appropriate to the situation and necessary for the rider s skill development MENTORING OBLIGATIONS Mentors have the following duties: Duty to Plan: A Mentor must demonstrate awareness of the confidence, experience and readiness of riders with appropriate plans for instruction and supervision. Duty to Supervise: A Mentor must provide competent instruction, structure practices that are appropriate for the age and experience of riders, endeavour to prevent foreseeable injuries, and respond to injury or trauma in an approved manner. Duty to Provide a Safe Environment: Mentors should be able to identify foreseeable causes of injury inherent in defective indoor and outdoor facilities or hazardous environments. Duty to Teach Properly: Training must be characterized by a logical sequence of fundamentals that lead to an enhanced progression of rider knowledge, skill, and capability. Duty to Provide Emergency Care: A Mentor is expected to be able to administer standard emergency care (first aid, CPR) in response to a range of foreseeable injuries. 7

8 HORSE WELFARE The welfare of the horse is always the first priority at all times. Horses must be treated with respect and not threaten their dignity or wellbeing. Horses must not be overworked or overridden. The workload imposed must not exceed the horse s ability for its age, size, strength, and fitness. Competitions and Training Days must not take place in extreme weather conditions that may compromise welfare or safety of the horse. If the Temperature is over 35 degrees horses should not be ridden or worked. Horses must only undergo training that matches their physical capabilities and level of maturity. They must not be subjected to training methods which are abusive, use force or cause fear. Foot care and shoeing must be of a high standard. Tack must be designed and fitted to avoid the risk of pain or injury. Ill-fitting bits and saddles can cause dangerous behaviour and should be replaced. Tight nosebands are not allowed it is conventionally recommended that a two-finger sized gap is left beneath the noseband. Do not allow such abuse as jerking or see-sawing the reins; excessive use of spurs; unnecessary kicking; physical or verbal abuse; using force, fear or pain. However, if you see any of this happening, be considerate of the rider and speak to them privately. To them, their actions could be quite reasonable; they may not know any better. Always remember that horses respond well when treated well -- they respond badly when treated badly. 8

9 3. HOW HORSES LEARN If, as a Mentor, you feel that a horse might need some form of training on the spot, remember that it is not appropriate to use any kind of force, fear or pain on another person s horse. Therefore, you should be aware of training methods that don t utilise techniques involving any of these. Training horses typically involves Operant Conditioning, which has two aspects: Positive Reinforcement (something pleasant is added) and Negative Reinforcement (something unpleasant is taken away). POSITIVE REINFORCEMENT In reinforcement theory, positive means that something is added, such as a reward. A conscious connection is then made between behaviours and rewards. When behaviour is reinforced in a positive way, the likelihood for similar behaviour is increased. Put simply, if we want a behaviour to be repeated we should reward it. In this way, the horse starts to think about how to engineer things so he can get more rewards. The reward should always be given within half a second of the horse s action so that the association will be made. Positive trainers increase the behaviours they want by rewarding the horse with things he likes. (Unwanted behaviours are decreased by the lack of attention, not by punishment.) When the horse has been rewarded with something that makes him feel good, there is an increase in his endorphin levels. Endorphins are the feel-good hormones and we can often influence them to produce certain behaviours. Food is the most effective reward but a Working Equitation training day is not usually the place for this. Other things that can activate endorphins are your voice, touch, achievement, learning, exercise and synchronised activity. Once the horse experiences the endorphin buzz he learns faster and enjoys the process. This also brings out his personality and encourages him to be expressive and communicative. It makes much more sense to have the horse involved with the activities we ask of him rather than merely submitting and being obedient. Not only does he enjoy it, but the more he learns, the better he gets at learning. On the other hand, when horses are frightened, they don't think, so when training horses, emphasis must be on keeping him calm and preventing the formation of fear memories. When the horse has perceived something fearful, adrenaline is produced. Adrenaline is the hormone that causes a rush of energy in preparation for flight. This fear response is the horse trainer's greatest enemy. The horse s head goes up, the spine and back tighten, and other, less important things in the horse s world are now largely ignored. He is tuned out to almost everything else, including the trainer. We can cause either an adrenaline release or an endorphin release. If we change the posture of the horse, we can change how he feels. What this means is not only can you tell what s going on in a horse s mind by looking at his body you can actually influence what s going on in his mind by changing the shape of his body. Bring his head and neck down and adrenaline recedes, his brain begins to work again. Only when the horse is thinking can we begin to teach him anything if we don t have his attention, we don t have his brain. 9

10 NEGATIVE REINFORCEMENT Negative reinforcement means that something unpleasant or painful is taken away. Of course, this means that first something unpleasant has to be added, which is pretty much like punishment. When negative reinforcement is used, the horse thinks in terms of avoidance rather than involvement and he has little control over the situation. The problem with this way of thinking is that apart from being unpleasant for the horse, it only works on a rather crude level. It s like saying to someone Do what I want and I ll stop hitting you. Eventually, with a horse that really doesn t understand, the trainer will have to resort to using some kind of force or fear. There are times when negative reinforcement has a purpose, but only when it is used briefly and never continuously. Pressure-Release (P-R) is a form of negative reinforcement and has become popular in recent years. With this method, pressure is applied until the horse does what is required. If he doesn t respond correctly, the pressure is increased. However, the removal of pressure is not a reward (eg prodding, chasing, rope twirling, whip tapping). It is not ever experienced psychologically or neurologically as something the horse will work for. At best it is a relief. A reward is something the horse will work to achieve, and that is the big difference. The emotions the horse experiences when you stop hitting him are not experienced in any way at all like the pleasure experienced when he is given a carrot. The most effective horse people will always create a good relationship with the horse they are working with. 10

11 4. HOW RIDERS LEARN Learning any skill typically goes through three stages: understanding, practice and fluency. This sequence also applies to learning how to perform obstacles. First, look at the task as a whole as one big chunk. Second, divide it into its smallest possible chunks and practise each one individually, then with other chunks. Third, focus on the quality of the performance the fluency and style. UNDERSTANDING This is where the rider focuses on what to do to develop an understanding of the obstacle to be learned. To begin with they make many errors and have few successes, they need one or two simple instructions to concentrate on. Complex obstacles need to be broken down into smaller movements. Performing the obstacle requires all of the rider s attention and so they rely on the Mentor for cues. This is a process of trial and error. Praise and encouragement from the Mentor are required, not pushing to achieve more or better. The stage is complete when the rider can perform the obstacle, even though he or she may not do it perfectly. PRACTICE Now the rider thinks about how to do it and practice effectively. Break the obstacle down into the smallest possible chunks and practice each chunk until it is easy. Then go on to the next chunk in the sequence. Combine the chunks gradually two chunks, then three etc until the whole obstacle can be done. The emphasis is on getting an understanding of the obstacle and doing it without tension or hesitation. The quality of the work is not important at this stage. Don t allow riders to fall into the trap of having a go at the complete obstacle if all the steps haven t been followed. As the skill becomes more automatic, the rider enters the Fluency stage. FLUENCY The emphasis is now on practise to refine skills and perform with quality. The shift is from learning the sequence of movements to putting them together smoothly. Riders work on refining their timing and coordination. Performances are becoming more consistent. While the simpler obstacles are now well learned and flowing, the more complex ones require most of the attention. The rider can detect and correct their own errors. This stage revolves around executing an obstacle automatically without having to stop and think about what to do next or how to do it. It is an advanced level of performance where the rider can ride a combination of obstacles easily and instinctively. The rider is now able to concentrate on how well they are riding the Harmony, Accuracy, Impulsion, Regularity and Suppleness. Practice is still important, and often involves simulating a competition situation. This helps them adapt their skills to the real performance. 11

12 5. PRINCIPLES OF MENTORING MENTORING GUIDELINES Although Mentors don t give lessons, they can be very good eyes on the ground, providing feedback on some riding issues. It s usually sufficient to just remark on what you see, rather than trying to provide solutions. Observe and Identify Problems Here are some common problems that a Mentor can look for: Rider Tension look at joints, neck, hands, back Horse tension tail swishing, ears back, mouth tense, jerky gaits Hands asymmetric, moving Legs constantly banging or gripping Inside rein pulled back Not enough forward, or rushing Leaning, not bending Motivation and Support During the learning process, riders should be provided with a supportive environment where they can feel free to ask questions and make comments. Two-way communication indicates that a learning experience should allow for interaction between the Mentor and the rider. Any situation that involves the Mentor talking at the rider will not be very successful. It s very easy to crush a rider s confidence when offering advice or criticism, so we should always try to avoid this. Outright criticism puts a person on the defensive, feeds arguments, hurts feelings, and just breeds negativity. A nicer way is to use the PCP, or sandwich method -- Praise, Comment, Praise -- sandwich the comment between two positive remarks. Before giving a critique, compliment the rider. Be real, don t make up things that are not true. Find a positive detail about them and praise it Then proceed with your comment. Finally, remember to reinforce with another praise, don t end on a negative note. Conflict Resolution At some time, you will encounter a rider who wants to argue with you or refuses to accept what you are saying. You must avoid getting into an argument or opposing what they are saying. Your job is to help, to observe and comment. You might not be as qualified as some of the riders you are working with, they may have greater knowledge than you do. They may have been taught a different way, which could be better that your ideas, or it could be worse. Either way, you don t want to embarrass either yourself or the rider. Listen empathetically to what they are saying. If they are clearly wrong (eg abusing the horse), speak to them privately. If they have a good point, acknowledge it, thank them and move on. 12

13 MENTORING TECHNIQUES Repetition Repetition is the mother of skill. As riders continue to practice a new skill, they start to perform it smoother and more accurately and progress accelerates. This is the principle behind the idea that the more you do something, the better you get at it. Repetition is important, absolutely probably the most important factor in building skill. But mindless repetition doesn t stimulate the brain, and can leave riders feeling unchallenged. Disguised repetition includes practicing the same technique, form, or drill in a variety of ways in order to teach different aspects of each and keep things interesting. For example: focus on a different aspect of the obstacle each time, such as the transition into the obstacle; do half an obstacle only; reverse the sequence; do the obstacle very slowly; focus on accuracy to the nth degree; do it quickly; hold a pole in one hand; combine one obstacle with another; judge each other. Chunking Down Chunking refers to reducing information into chunks or small bits. This breaks down complicated information into smaller memorable pieces and helps the rider process the information with greater ease and retain it to memory. The reason for doing this is to avoid the feeling of inability that riders can suffer when a task appears to be too long or too difficult. Delivering information in small, manageable chunks will allow important points to be recapped and reviewed, reinforcing the rider s understanding and retention of information. It s helpful to think of learning a new skill much like putting together a puzzle. There is a model of what the goal looks like, but the best way to get there is by connecting one piece at a time. Never skip a step, don t take risks with the sequence -- always keep the horse and rider feeling good. One Thing At A Time Horse riding is probably the most difficult activity to teach because there are so many things that must be done at the same time (position, hands legs, balance, etc). As a result, many instructors try and cover all of these things at the same time, by giving a constant stream of commands or advice. Eventually some of this will stick, but it is an ineffective process and takes a long time. It is much better to have a good understanding of priorities, to know what is the most important thing to be doing at the time, and just concentrate on that. This is not easy and sometimes requires the patience of both rider and Mentor, but in the long run it is more beneficial than any other method. Riders need time to absorb new information. If you are constantly talking at them and giving them loads of interesting and important information, they won t be able to digest it, and little will be remembered. It s much better to give them just the one most important bit of knowledge, then allow them time to think about it, experiment and absorb it before going on to the next piece of very exciting stuff you want to impart. To do this effectively, you must be able to know what is the most important aspect of the task and to focus only on that. For example, in the Bell Corridor, the most important thing is the halt practise walking into the corridor and halting at the bell. Ringing the bell at this stage is not essential and may just be a distraction from the more important halt. In the Figure Eight Barrels, the most important thing 13

14 is the shape of the first circle, not the quality of the lead changes, or a consistent tempo, they come later. Feedback and Reinforcement Feedback allows both the Mentor and the rider to provide information about the learning experience. You give the rider feedback about the standard of their performance and the rider gives feedback about whether they are understanding the information being delivered. Reinforcement refers to the opportunity for the rider to confirm their retention. Some ways to reinforce can include positive verbal encouragement, summaries, informal questions or feedback. Primacy and Recency Generally, the first and last ideas, concepts, skills or topics are better retained by the rider. To ensure that the information delivered between the first and last sections is retained, you may need to use summaries or incorporate interactive elements to deliver these ideas with greater impact. The Nervous Rider Don t push only do things she is comfortable with, even if it is only walking over a pole or through the corridor. Encourage the smallest achievements. Distract her mind some techniques could be to ask her sing, to count backwards, to focus on something she is comfortable with, to practise one small thing many times, etc. The Nervous Horse Make him calm get his head down, talk to him in a low voice, relax the rider, give him something to think about (eg transitions), reward a lot, ask him to do something that he is good at and less challenging. Take him to a place where he is more comfortable maybe near another horse who is a friend, or maybe away from another horse who is not friendly. 14

15 6. TEACHING OBSTACLES Watch riders carefully during practice so you can provide positive feedback and reinforcement. Allow riders to continue practising once you have given feedback and corrected errors. There are two phases in teaching obstacles. The first phase is about the rider and horse learning to understand the technical aspects of the obstacle the basics. The second phase is when the rider and horse have understood these fundamental requirements and then they begin to learn about the quality of the performance the Style. TECHNICAL This is where the rider is working out in her mind what to do. It is the combination of the first two stages of learning -- Understanding and Practice As the Mentor, first you must explain very clearly to rider the skills they are to learn. The rider can get easily overwhelmed when she is given too many tasks to learn at one time or if you put a lot of pressure on them too quickly. Mentors should focus on simple fundamental skills, aim to keep motivation high and provide positive, constructive and specific feedback. This is about the mechanics of each obstacle how to open the Gate, how to ride proper circles around the Barrels, how to ride a consistent line in the Double Slalom, how to pick up the pole, spear the ring and replace the pole etc. When the mechanics are understood, the accuracy of the performance should be the next aspect to focus on. This will involve: STYLE halts that are immobile, straight and square (in that order of priority) circles that are circular and symmetrical in size and shape changes of lead/bend that are in the right place transitions that are placed correctly positioning the horse precisely for the task spearing the ring exactly walking the bridge on the centre line As well as technical points, each obstacle is also marked on the Quality of the performance the Style (Harmony, Impulsion, Regularity, Balance and Suppleness). An easy way to remember these is HIRBS. Harmony The horse is not resisting, untense and confident. The rider has quiet hands and legs. The horse is "of the same mind" with his rider, a willing partner. The active participation and cooperation of the horse is extremely important, because without it, any quality work is impossible. If a horse is disobedient or disrespectful to the rider, there will be no harmony. 15

16 The fluency of the performance is also part of the Harmony ideally the whole course will be completed rhythmically and flowing, because each obstacle will appear effortless, with smooth transitions. Impulsion Moving with purpose. It is going forward at the walk; at trot and canter this becomes impulsion through the use of more energy and producing a moment of suspension in those gaits. It is the powerful thrust from the hindquarters that propels the horse forward. Impulsion is often defined as: "the transmission of an eager and energetic, yet controlled propulsive energy generated from the hindquarters into the athletic movement of the horse. Impulsion is not increased speed, it is contained energy. In fact, speed can be the enemy of impulsion. Since the straight and balanced horse flexes his haunches in proportion to the amount of thrust, increasing impulsion will also help to increase balance, straightness and collection. Regularity There is regularity of Rhythm and regularity of Tempo. Rhythm refers to the sequence of the beats, walk being a four-beat movement, trot being a twobeat movement and canter being a three-beat movement. The rhythm of the footfalls is something the horse is born with -- he knows how to walk, trot and canter. The rider shouldn t try to make him regular, she can only make him irregular through her own tension and/or ignorance. Issues with rhythm could be such as a lateral walk, a trot where the diagonal legs are not synchronised, or a 4-beat canter the normal pattern of the gait is disturbed in some way. Lacking rhythm would typically occur due to tension. Tempo refers to time, or speed. Controlling the horse s speed is one of the goals of initial training. The uninvited change of tempo originates in a loss of balance and a lack of permeability. The ideal tempo allows the horse to move with less tension in better balance and in a steady rhythm. There is no speeding up or slowing down every few strides. If he goes a little too slow or a little too fast, it will create tightness in his body, hindering his balance and movement. Balance Much of dressage training revolves around developing the horse s balance under the rider. His balance is dependent on his suppleness, and begins with getting his back soft, with his neck low. His muscles need to be strengthened with transitions, bending and lateral work. This enables him to be round, with a horizontally level balance expected at the Second Level of Working Dressage. As his suppleness and strength improve, so does his balance. By the time he is ready for the next level his weight should be coming further back and he should be on the bit (round, soft and responsive). At the 4 th level he is becoming more collected and true collection should be evident at the 5 th level. Suppleness This is the ability for the horse to be able to bend his lateral and longitudinal muscles. It entails not leaning or falling out and being round and in the bridle. Suppleness and roundness are both necessary for each other. The lateral muscles allow the horse to bend from side to side. These are responsible for the amount of bend a horse can give through the body and neck and flexion. If a horse is supple, he will travel on a circle line with correct flexion without falling in or out of the circle. Hence he will be in balance. When in balance he can hold a good rhythm. 16

17 Longitudinal suppleness refers to the relaxation and stretch of a horse's topline from back to front. The longitudinal muscles run from the horse s poll to the top of the tail along its top line. These muscles need to be developed to enable the horse to hold a frame (roundness). TRAINING DAYS Structuring a training day properly is very important. Competitors need to be working on their dressage and obstacles, but newbies also have to be catered for. Riders need to know how to complete each individual obstacle before thinking about combing them into a complete course, therefore courses should only be offered occasionally, for example just before a competition. The first priority is understanding the technical requirements of the obstacles, especially the more difficult ones such as the Double Slalom, the Figure Eight and Cloverleaf Barrels, and the Gate. A good training day would focus on just a few of these challenging obstacles the easy ones are easy! If the Training Day is just in the morning for 3 hours, then have three groups which would rotate every hour. There should always be one Dressage coach, and the other two trainers would focus on obstacles. There are two options for the dressage: 1. the five elements (entry/halt, corners, circles, diagonals, serpentines) can always be improved, and 2. the relevant tests should be practised, with positive feedback from eyes on the ground. The number of riders in a group would depend on how experienced the trainer is and how experienced the riders are. An experienced trainer can manage up to 10 riders, but in an hour each rider would only have a few minutes individual instruction. Therefore if it s possible, smaller groups are better. It s possible to have newbies and competitors in the same groups then, as a mentor, you would expect the competitors to be more competent and work on more style. The newbies will learn by watching, but should also have the opportunity to become comfortable with the easier obstacles. 17

18 7. THE OBSTACLES When introducing obstacles, a good Mentor will always explain what the obstacle is, what the judge would be looking for, how it is done, and what the difficulties are. It is also a good idea to describe the process of become skilled at performing the obstacle. Often there are increasing degrees of difficulty in the one obstacle, as well as obstacles that more difficult than others. Some obstacles are easy to learn, for example Switch Cup, Bell Corridor, Bridge, and others can be quite challenging eg Gate, Cloverleaf, Double Slalom. Still others are simple to learn but very hard to perform well, eg 2 and 3 Barrels, Spear Ring, Single Slalom and Side Pass. If in doubt, always begin at the walk and only continue to trot or canter if rider and horse are both comfortable in their execution of the obstacle. Below are the obstacles with dimensions, approximate order of difficulty and the chunking sequences. THE JUG This obstacle consists of a table at least 1.2 metres (4 feet) high. The rider approaches the table, halts, and picks up the jug, raises it above his/her head, and then replaces it on the table before moving off at the appropriate gait. The horse should stand immobile while the rider lifts and returns the jug to the table. The jug must be replaced upright on to the table, and the horse must not knock the table, otherwise a penalty will be incurred. Judging: The calm way the horse approaches the table The quality of the halt (immobile, square, straight) The quality of transitions The quality of the depart Chunking Down: 1. Walk, halt, lift/replace jug 2. Trot, halt, lift/replace jug 3. Canter, halt, lift/replace jug SWITCH CUP This obstacle consists of a down-turned drinking cup on a pole. The rider rides in and halts by the poles, then picks up the cup from the top of one pole and replaces it on the top of the other. At intro level the rider will exit the obstacle forwards. Options at higher levels may include reinback on straight, "L" or slalom lines. Judging: The obstacle is judged on the way the horse approaches and remains immobile, without showing any fear or resistance. The halt should be centred. The depart should be smooth. 18

19 If the horse knocks over the pole on which the cup is to be deposited, the rider is to dismount, erect the pole with the cup, remount and continue. Chunking Down: 1. Walk, halt, switch cup, walk forward 2. Trot, halt, switch cup, reinback 3. Canter, walk or trot, halt, switch cup, reinback slalom THE BELL CORRIDOR The obstacle consists of 2 small fences (at least 50cm high), placed parallel to each other forming a corridor 1.5m wide. A bell is located at the end of the corridor at a height of app. 2m. The horse approaches the corridor at the required gait, and proceeds towards the end. The rider then halts and rings the bell. At Intro Level the rider exits forward; in higher levels the rider will reinback. Judging: The horse s attitude and straightness The rider s use of aids The quality and continuity of movement The horse should follow the centre line of the corridor The halt should be immobile and square If the horse touches any part of the corridor a negative mark may be given Chunking Down: 1. Walk, halt, bell, walk forward 2. Trot, walk, halt, bell, reinback 3. Canter, trot or walk, bell, reinback THE BRIDGE The obstacle measures at least 4m long x 1.5m wide, and at least 20cm (8inches) in height in the centre and made from solid material. If side rails are used, they should be removable. The surface of the Bridge must not be slick. There should be markers to show where to perform the transitions. In all levels the horse must walk the bridge. Judging: The calm approach The transition to the walk at the marker The horse should be straight and on the centre line The forwardness of the walk The quality and regularity of the walk The transition at the marker upon leaving the bridge. Marks will be deducted if the horse shows any awkwardness, hesitation or irregularity. An insufficient mark or lower will be given for any trot or canter steps. 19

20 Chunking Down: 1. Walk 2. Trot, walk over 3. Canter, then trot, walk over 4. Canter, walk over VARIED FOOTING This obstacle will test the horse's confidence over different types of footing. The obstacle should be 2.5 x 3 m minimum, with entrance flags (3m) and exit flags (3m) Suggested types of footing may include shavings, sands of different colours, mulch, wet sand and grass. Judging: The horse should be calm and willing in the approach Transitions must be fluent The horse should maintain balance The gait must be regular The horse must maintain straightness through the obstacle Chunking Down: 1. Walk 2. Trot 3. Canter THE STOCK PEN The obstacle consists of a large pen with the diameter approximately 8m and an internal pen of approximately 3m diameter. The horse enters from the direction given on the course map in the gait required for the level. The horse performs a full circle around the inner enclosure, comes out and changes rein and reenters, completing a second complete circle in the other direction. Judging: Chunking Down: THE JUMP The approach should be confident and forward The line should be accurate and centred The gait must be regular in tempo The horse should show a consistent bend, similar in both directions 1. Walk (1/2 circle turn; turn on haunches) 2. Trot (walk turn; trot turn) 3. Canter (simple change; flying change) The obstacle consists of a jump of various heights, depending on the level. The jump at Intro could be just a pole on the ground (to be walked over), but higher levels can reach the height of a straw bale (approx. 50cm). 20

21 Judging: Chunking Down: The horse should jump cleanly and be round The rider should be in a jumping position as they go over the jump Touching any part of the jump will be penalised Refusing or running out will be severely penalised 1. Walk over ground pole 2. Trot over crossed poles, then raised pole 30cm 3. Canter over 40cm then 50cm THE SINGLE SLALOM The obstacle comprises at least 5 Poles (approximately 2 metres high), set out in a straight line, approximately (6 10 metres apart. The horse is ridden around the slalom posts performing a clear change of bend at the halfway points between the poles. Judging: Chunking Down: The obstacle is judged on the continuity of the action The Harmony between horse and rider Precision of the horse s movements The rider s use of aids Clear changes of bend The quality of the changes of lead 1. Walk 2. Trot 3. Canter Simple changes then Flying changes PICKUP POLE This obstacle consists of a barrel and a Pole 3-4 m in length. Lead line maximum 1m Pole, Introductory and Juniors minimum 1.8 m. The Pole should be bamboo, aluminium, poly or cardboard, do not use timber. Riders should be allowed (via the Obstacle Steward) to place the pole where required prior to presenting to judge. The rider approaches the barrel and removes the pole with their thumb facing up. Judging: The horse should always move forward at a steady gait, and should not react to, or unduly notice, the appearance of the barrel or the removal of the pole. Any slowing down or change in the pace of the horse must be penalised. Knocking down a barrel will also be heavily penalised. If the rider drops the pole they must dismount, pick up the pole, deposit the pole back in the Pick-up Barrel, remount and continue (judging will commence where the rider dropped the pole). Failure to replace the pole will incur disqualification. Touching the horse with the pole will be penalised. 21

22 Chunking Down: 1. Walk, halt, pickup 2. Walk, pickup 3. Trot, walk, pickup, trot 4. Trot, pickup, trot 5. Canter, trot or walk, pickup 6. Canter, pickup SPEAR RING The competitor, at the required gait, collects the ring. The Rings are different sizes ranging from 20cms to 13cms. Knock Down a ball: The competitor, at the required gait, knocks down a ball with the tip of the pole. The ball is located on the top of a base of at least 60cm in height. Balls should be constructed or filled in a way that prohibits the ball from rolling. The ring or ball must be attempted. If not, the judge will ring the bell, award an EOC then instruct the rider to re-execute. Judging: The horse should approach the obstacle maintaining a good outline The line should be straight The horse should maintain a consistent rhythm and tempo; The fluency with which the rider skewers the ring with the pole or knocks down the ball. Striking the base holding the ring or the ball will be penalised. If the horse s gait changes marks should be deducted. If the ring is missed or dropped the mark for that obstacle cannot be more than 7. Chunking Down: 1. Walk 2. Trot, walk 3. Trot 4. Canter REPLACE POLE The rider approaches the barrel and replaces the pole in the barrel with the base of the pole going in first (rider s thumb is up). Judging: The horse should approach the obstacle moving forward at a steady gait The horse should not react to the appearance of the barrel or the replacement of the pole Any slowing down or change of pace will be penalised The rider should replace the pole calmly and with care. Touching the horse with the pole will be penalised. If the barrel is knocked down, a penalty is incurred. 22

23 If the rider drops the pole they must dismount, pick up the pole, deposit the pole back in the Pick-up Barrel, and then remount. After remounting the rider then picks the pole back up and judging continues from where the pole drop occurred. Chunking Down: 1. Walk 2. Trot 3. Canter THE WATER DITCH The Water Ditch should be no more than 20cm deep and should have a gradual grade into and out of the water. It must have safe footing. Judging: Chunking Down: The horse should show confidence in approaching the obstacle The horse should move through the ditch naturally without appearing to notice it, showing that it is familiar with moving through water 1. Walk 2. Trot 3. Canter THE GATE The solid gate should be constructed from a wooden or metal frame with have no sharp edges. It should be opened and closed with a metal hoop or a rope loop. The two uprights made from a natural material with a width of at least 2m and a height of at least 1.3m. The rope gate should have the two uprights 2m apart, with the rope attached at one end and with a loop on the other. The rider should approach the gate head on, final pace may be in walk. The rider should then move the quarters parallel and then open the gate, either forwards or backwards. The horse should then walk through the entrance. When the horse has fully exited the other side of the gate, the rider may back up one or two steps to close the latch. The rider should not let go of the gate/latch while performing this obstacle. Judging: The horse should pay attention to and participate in the opening and closing movements without showing any signs of insecurity or disobedience. The action must be continuous and smooth. The rider must not drop hold of the gate whilst opening and closing it. If this happens the judge should give a mark below 5. Chunking Down: 1. Walk, halt, open, halt 5 seconds, walk out 2. Trot, walk, halt, open, walk through, close 3. Canter, then walk or trot, halt, open, close, canter out 23

24 SIDE PASS The pole should be at least 2.4m long and a maximum of 4m. and should be raised 5-10cm above the ground. Leadline, Intro and Preliminary should use half round poles on the ground (not to be raised). The horse moves sideways, with the pole always positioned between his hind legs and front legs. (The bend should progress from shoulder-in to leg-yield to half pass) The following variations may be used: Judging: Chunking Down: Parallel poles (side pass in both directions) L or Z shaped (not for Preliminary and below) Calm attitude of the horse The smoothness and continuity of the action The crossing of the legs The rhythm and continuity of the action A bend in the direction of movement will gain a higher score than if the horse is bent away from the movement A severe penalty if the horse touches the pole 1. Halt before pole 5 seconds 2. Halt over pole 5 seconds 3. Sidepass from mid-point 4. Sidepass whole pole THE FIGURE 8 BARRELS Two barrels are placed approximately 4m apart, measured from the centre of one barrel to the centre of the other barrel. The horse is ridden mid-way between the barrels and always performs a circle around the right-hand barrel first. Upon completing the turn and passing half way between the barrels, the rider will change direction and begin the circle on the left-hand side around the left-hand barrel. Upon completing the circle on the left-hand side, he will pass half way between the barrels to exit the obstacle. The barrels are not necessarily the centres of the circles. Judging: The shape and symmetry of the circles The balance of the horse The regularity of rhythm and tempo The change of bend Correctness of the Simple or Flying changes The route between the 2 barrels, The judge will give an insufficient score if the change of rein fails to coincide with the mid-point between the 2 barrels (with some latitude given at the Intro and Prelim levels) 24

25 Chunking Down: 1. Walk 2. Trot, walk change rein, trot 3. Trot 4. Canter, trot change rein, canter 5. Canter Simple then Flying change THE 3 BARRELS (CLOVERLEAF) This obstacle consists of three barrels positioned in an equilateral triangle with the distance between the barrels approximately 4m, measured from the centre of one barrel to the centre of the next barrel. The rider circles around the first barrel on the right or left as indicated by course directions. Then proceeds to the next barrel, performing a change of lead over a line midway between the 1st and 2nd barrels. The rider then half circles around the 2nd barrel, performs another change of lead over a line midway between the 2nd and 3rd barrels, and makes a full circle around the 3rd barrel before exiting from the same point as the point of entry. The barrels are not necessarily the centres of the circles. Judging: Chunking Down: The horse s attitude The shape and symmetry of the circles Changes of bend Balance and rhythm Fluidity of performance Correctness of changes of lead 1. Walk 2. Trot, walk change rein, trot 3. Trot 4. Canter, trot change rein, canter 5. Canter, simple changes 6. Canter, flying changes THE DOUBLE SLALOM The obstacle consists of a minimum of 7 posts, each at least 2m high. The posts should be fixed to a base which is preferably not secured to the ground. The posts are laid out in 2 parallel lines 6-10 m apart. The horse takes a slalom course around the posts, with changes of lead and bend performed on the half-way line between the posts. Judging: The calmness of the horse Consistent forward movement The fluency of the exercise 25

26 The balance of the horse The harmony and precision of the horse s gaits The symmetry of the course The precision and the quality of the lead changes, showing clear changes of bend Chunking Down: 1. Walk 2. Trot, walk change rein, trot 3. Trot 4. Canter, trot change rein, canter 5. Canter, simple changes 6. Canter, flying changes 26

27 8. COURSE DESIGN The responsibilities of the course designer are to: 1. The Horse 2. The Rider 3. The Event 4. Spectators and Sponsors The course should test the training of the horse and the communication between horse and rider. Important considerations are: Safety Sport (it should be fun) Training (it should encourage good training) Suitability (for the level of most the competitors) Challenging (without being overwhelming) SEQUENCE AND FLOW It is important for the style course to flow and encourage a good "rhythm". Tight turns should be avoided early in the course and especially late in the course. S bends are not recommended unless there are four or more strides between elements. This also means avoiding sharp corners. Don t have too many walk-only obstacles (such as bridge, sidepass, bell corridor, switch cup etc) mixed in with the others, usually 2 or 3 will not disrupt the flow of the course but 4 or 5 will make it very stop-start. The first obstacle should be relatively easy. It is a good idea to keep the first three obstacles on the same rein and change the rein after that. Try to get an even spread of both reins -- make sure there are about the same number of turns to the right and to the left. For the higher levels (Prelim+) it is a good idea to put in some tricky lines that will challenge the rider to figure out a better approach. No obstacle should be situated straight towards or away from the perimeter of the arena. If there is going to be more than one judge, try and arrange the seating so that they will be able to see approximately the same number of obstacles from different sides. For example, if Judge A can see 3 or 4 obstacles from the front, judge B should see those obstacles from the side; then reverse the viewpoints for different obstacles. LINE AND DISTANCE Distances between obstacles should be well thought out e.g. Pick up Pole should not be too close to the Bull; Cloverleaf Barrels should not be too close to Figure-8 Barrels; keep the approach and exit from the Bridge clear. The placement of the bull needs thought. It must be able to be performed either right- or lefthanded. To ensure a smooth flow the approach to the bull should allow some straight-line distance. Some competitions have separate barrels for the pickup and replacement of the pole, which means that the pole and ring have to be put back in their original position after each rider has finished. If the same barrel is used for both pickup and replacement this eliminates the need for 27