By George Williams
When it comes to horses and the aids, I like to say, “You can’t have an outside without an inside.” Simple, right? Not so fast! If you want to ride a correct four-loop serpentine and reap one of the greatest benefits of the ring figure, then think again about the quick transitions from bending to turning to new bending aids that occur during the movement. The horse is being asked to yield and bend around the inside leg through his body, creating a curvature to match the line he’s on. At the same time, the horse is being asked to go forward from the outside leg in a turning motion to remain on the curved lines of the serpentine. Elements of this basic movement come into play with leg-yielding exercises where the horse first yields sideways from the inside leg and then forward from the outside leg, thereby already producing an initial level of alignment in the horse. Half passes take this same concept to an even higher level. Half passes, and other FEI level movements such as pirouettes, can have at least six different aids—depending on how you count them—working together communicating their own unique messages to the horse.
In many ways, I’m in agreement with those who say the aids are straightforward; after all, there are only a limited number of aids. However, if we think of them as the way we communicate with our horses when we’re riding, then they’re a language we need to spend the time teaching them. As with any language, whether it’s English or Chinese, there’s also a complexity as the horse and rider gradually develop greater expertise in their communication skills. To be fair and successful there must be a consistency to how and when we use our words—oops, I mean, our aids.
Speaking from the rider’s perspective, it starts with the seat and position. I’m quite happy with how our Dressage Seat Equitation program in this country has improved our riders. When I look at the youth and the system we have in place for them, I believe it provides an incentive for them to really focus on developing a good seat and position, and it’s working. The fact that there is a pathway using the Dressage Seat Medal Semi-Finals held in conjunction with the Regional Championships for an invitation to the Festival of Champions for the Medal Finals has made a huge difference in the success of the program.
In my view, what needs to still be improved with many of our riders is the effectiveness and understanding of the aids. Along with understanding the specific role of an aid, it’s important for the rider to not only develop the ability to isolate but to have the correct placement of an aid as well. Through their aids, the rider needs to be clear and concise. Aids should not become garbled, nor should they contradict one another. Sending mixed messages only causes confusion, which can cause the horse anxiety. Of course, this in turn causes negative tension, which ultimately makes the horse’s brain less receptive to reasoning and thereby interferes with any chance of a positive learning experience. Bingo—basically, it results in poor riding, and the rider can kiss harmony goodbye.
In the expression “complexity of the aids,” part refers to the different attributes of an aid and how they are then layered together. For example, as a foundation on which to build a rider’s communication skills, I was taught there are three steps to an aid whether it be hands, leg, seat or voice. This is especially important when it comes to the artificial aids, such as the whip and spur. Unfortunately, this is often misunderstood and all too frequently not taught. The first reaction to an aid should be relaxation: The horse needs to be very comfortable and accepting of the aid. Only once that’s achieved can we work on the responsiveness and the horse’s understanding of an aid. Once that’s developed, then it becomes possible to use that aid to create a desired effect.
Finally, keep in mind a horse must not only understand what we’re asking for but must also have the strength and suppleness necessary to do it. This is especially true for the half halt. The creation of a true half halt takes time and goes through stages as it’s developed. It can be rightfully crowned a half halt in its true final form. Three qualities are required: 1) when it can indicate to the horse or prepare the horse for a transition; 2) when it can balance the horse; and 3) when it produces energy. In case you were wondering, the last and, all too often these days, seemingly elusive quality is the desired effect.
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