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HorseSpeakSharonFB

In November of 2016 the book HORSE SPEAK: THE EQUINE-HUMAN TRANSLATION GUIDE was released, becoming an instant bestseller and propelling a little-known trainer and riding teacher from Westminster, Vermont, into a whirlwind of book signings, speaking engagements, and clinics throughout North America. Now with the book soon to be released in Dutch and in German, and a follow-up DVD and book in the works, Sharon Wilsie is looking to help more people, from all equestrian backgrounds and disciplines, all over the world, learn to truly communicate with their horses—but not using our language of words and ropes. Wilsie has decoded Horse Speak for the rest of us.

TSB: How did you conceive of the different aspects of Horse Speak?

SW: As a long-time animal trainer, I am intrinsically aware of the difference between a “trained skill” and an “authentic response” from the animal’s own nature. I can train a horse, for instance, to come to the mounting block while at liberty and stand perfectly still without a halter or bridle, and I can then proceed to ride that horse without tack. Eventually, though, this was no longer satisfying, as it occurred to me that just because a horse could do this with apparent ease and obedience did not necessarily mean that he was choosing to do it of his own volition. A well trained and loved servant is still a servant.

I truly wanted to know if a horse, given freedom of choice, would choose to offer me his back. In order to answer this question, I needed to go beyond training. I had to be able to ask a question, “Would you be interested in having me on your back?” Moreover, I would have to understand his answer.

Ultimately, I had to learn to speak “Horse.” Language flows, bends, twists, and turns. It is not the straight-line reasoning of training, which pares down to a set of responses the animal learns to give to the same cues over and over again. The language of the horse belies his innate world view, which can be similar to ours, and in other cases can be almost in opposition to us.

In this work, I start teaching people with the most basic platform: I call it “Going to Zero.” This simply means you adopt the inner state of calm that horses seek to maintain at all times. If you can steady yourself by learning to be at “Zero intensity,” both outside and in, you are on your way to learning the visual language of the horse.

TSB: How does Horse Speak differ from other forms of human-animal communication?

SW: Horse Speak demystifies the subtleties of not only horses, but of the best of the best trainers that people may wish to emulate. When we see a truly stunning performance—whether dressage, circus tricks, Roman riding, or some other amazing horse-and-rider combination—we all wish to experience that level of connection and inspired horsemanship. What few people understand is that body language is a natural part of all of us. It is the level of innate brain connectivity around the interpretation of body language that varies among us. Some people can be naturally fluent in this skill, while others may struggle to interpret even basic facial cues (as is the case in autism).

Horse Speak assists people on any level of awareness to either take what is already working and make it better, or even start from scratch and learn body language basics from the ground up.

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TSB: Why do you feel others can benefit from and should learn Horse Speak?

SW: Whether a person has professional goals (showing, teaching, training) or simply enjoys a backyard horse or two, everyone generally wants to have a happy, healthy, and wholesome relationship with horses. Taking the time to really learn their language is just plain common sense.

TSB: How has Horse Speak changed your life with horses? Your career as a horse trainer and riding coach?

SW: To speak the language of the horse is to dive into a world of potential that only exists when two beings can really communicate with each other. And on a completely practical level, I know no better way to help a horse “buy in” to our ideas—whether we want to jump a bigger fence or just get through a veterinary visit without incident.

TSB: How do you see Horse Speak growing and changing other people’s lives with horses? Other people’s equine careers?

SW: In any theater of horsemanship, it is essential to have the utmost safety possible. Far too many people live with a level of mistrust, getting stepped on, run over, bucked off, and so on, while assuming this is just the way things are with horses. This is most definitely NOT the way things should be, and it is NOT ultimately the way horses wish things to be. Especially in the arena of therapeutic horsemanship (physical or emotional/psychological) the need for trust, rapport, and co-facilitation from the horse himself is paramount. One cannot simply layer on more and more obedience-based training, hoping to reach the horse’s authentic core and gain access to the depth of heart that these animals are capable of offering. This can only be reached through communication.

TSB: If there is one common message that most horses are trying to tell us that we don’t understand, what is it?

Horse Speak Final CoverSW: Live from your heart. Horses don’t mind if you cry, or are afraid, or even if you feel frustrated. But they abhor incongruity. If your insides are churning, and your outsides are trying to act like a rigid authority, this inner vs. outer conflict makes horses confused and anxious. If nothing else, learning to think and act like a horse will give any human access to a level of inner awareness and outer presence that trumps any other mechanical, rule-based roboticism that steers us to see horses as more of a biological motorcycle than the elegant gatekeepers to a richer existence in which being “one with nature” is more than a quaint expression: it is reality.

To find out more about HORSE SPEAK and to download a free chapter, CLICK HERE.

Trafalgar Square Books, the leading publisher of equestrian books and DVDs, is a small company based on a farm in rural Vermont.

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RorLFB

Has it ever crossed your mind that your horse might be “left-” or “right-handed”?

According to Gabriele Rachen-Schöneich and Klaus Schöneich in their book STRAIGHTENING THE CROOKED HORSE, every horse is either left- or right-handed, and this “handedness” or “sidedness” is almost identical to that of the human population in terms of occurrence (70-90 percent right-handed).

Interestingly, an April 2012 article on LiveScience.com explains how a study published in the Journal of the Royal Society Interface shows that, the more social the animal—where cooperation is highly valued—the more the general population will trend toward one “sidedness” over the other.

“The most important factor for an efficient society is a high degree of cooperation,” says Professor Daniel M. Abrams, an assistant professor of engineering sciences and applied mathematics at the McCormick School of Engineering and Applied Science, in the article. “In humans, this has resulted in a right-handed majority.”

Certainly we consider the horse to be a highly social creature, and his early development as a herd and prey animal could be said to have nurtured the characteristics of cooperation, and perhaps, therefore, right-handedness. Whatever the cause, one-sidedness or forelimb dominance is a form of natural crookedness (the horse’s center of balance is displaced forward and to the right or to the left), and this can lead to big problems in the horse way of going (rhythm faults, leaning in, falling out, for example), ultimately compromising his physical and mental soundness and overall well-being.

Consider this example from STRAIGHTENING THE CROOKED HORSE:

Rhythm faults originating in the right shoulder and foreleg are probably the result of natural crookedness, which leads us to another serious problem that arises: if the horse is “leaning,” that is, placing excessive weight on his right shoulder, he will take a slightly shorter step with his right foreleg. Consequently—and this is very important—the right hind leg will also shorten its step. The horse drags the right hind leg, at first almost imperceptibly, but then more and more. This is because when the horse is leaning on his right shoulder, there is less impetus for the right hindquarter and hind leg to move, and consequently the hind leg drags behind…”leaning” on one or other of the shoulders causes a constant strain, which must eventually harm the horse. The rider’s weight inevitably makes the problem worse, especially if he is inexperienced and has not yet learned to control where to place it….It is difficult for a crooked horse to carry his rider. As a result, he becomes nervous, and this seriously affects his training.

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A balanced horse shown on the left. A crooked right-handed horse is on the right.

So how do you know if your horse is a lefty or righty? He will display the following characteristics, here described as they would pertain to a right-handed horse, as that is the more common scenario:

  • He leans on his right shoulder and takes a shorter step with his right foreleg. This causes the right hind leg to shorten its step. You can feel what this is like if you try walking while leaning on a cane or a stick in your right hand—you’ll find that your right leg immediately starts taking shorter steps.
  • The horse will not be balanced but will move weight on the diagonal, onto the right shoulder. This causes the horse to carry his head and neck to the opposite side to counteract this excess weight, resulting in concavity on the left side.
  • On the circle as the horse comes away from the wall or rail, the circle tends to get bigger on the left rein and the horse falls in on the right rein.

 

Straightening-Crooked-PB-30For more information on crookedness in horses and how to resolve related problems, check out STRAIGHTENING THE CROOKED HORSE, available from the TSB online bookstore, where shipping in the US is FREE.

CLICK HERE for more information.

 

Trafalgar Square Books, the leading publisher of equestrian books and DVDs, is a small company based on a farm in rural Vermont. 

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Alois Podhajsky with Norman.

 

Colonel Alois Podhajsky was an Olympian and Director of the the Spanish Riding School in Vienna for 26 years. Podhajsky was known to bring out the best in each horse he rode, and to rely on patience, understanding, and affection in the training process.

Podhajsky detailed his riding, training, and competitive experiences in the renowned book MY HORSES, MY TEACHERS, which was first published in English in 1968. By sharing the stories of each of the horses he worked with over the course of his career, we learn his methods, mistakes, and discoveries. One horse he writes of was an eight-year-old, part-Trakehner gelding named Norman, who helps us learn the lesson that sometimes we have to go back in order to go forward.

Norman had been taught quite a number of things by his breeder in Germany. He knew how to perform lateral work, flying changes, and even some sort of passage…most of it was superficial…. Once again I met in Norman a horse without sufficient urge to go forward unless pushed and often he offered a passage without its being demanded. But his passage was not the artistic solemn movement but a tense sort of hovering trot which had its origin in his reluctance to go forward. It is a great temptation for the rider to accept an exercise that the horse offers but would have a very negative effect on the rest of the training. The idea of dressage is to cultivate and improve the natural movements of the horse so that he executes them upon the slightest aids of the rider. If he anticipates these aids he proves that his obedience is not sufficiently well established. Besides, a horse will anticipate only to make work easier for himself and execute the exercise incorrectly. Consequently the standard of work will decline. If this is the case the rider must interrupt his present work and go back again to the basic training until it is well consolidated. 

We had the greatest trouble making Norman strike off into the canter from the trot. Either he tried to run away or he offered his “passage.” He had been taught to strike off into the canter exclusively from the walk and became nervous and excited upon this unusual demand. However, it is a very important exercise which improves suppleness and helps achieve the correct activity of the hind legs in response to the actions of the reins. It also furthers the will to go forward and establishes obedience and is therefore a necessity in thorough gymnastic training. Besides, it is much more natural and easier for the horse to strike off into the canter from the trot. Nevertheless it took quite a long while until Norman understood this unaccustomed exercise and I had to allow him his lapse of time because I did not want to confuse him or make him nervous.

 

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Walking Norman on a loose rein.

 

Once again I relied on my proven remedy—good for anything and everything, one might say—which is to teach the horse to move correctly and with suppleness and balance, to make him understand his rider and follow him without reserve. I began to take Norman on the same course of training I pursued with my young horses, with the exception that I spent less time on the various phases. That is, I moved on when I saw that he had understood and was able to execute my demands. Of course I observed him closely all the time and found that I could establish his confidence much more quickly after a few rounds at the walk on a loose rein at the beginning of work and that he paid much less attention to his surroundings than if I had had begun our daily session with the reins applied.

In this way, Norman had a chance to look around in the open-air arena and the adjacent paddocks, and when he was satisfied with what he had seen, he would concentrate entirely upon his work. The rider should always give his horse a chance to look around before beginning serious training. His horse will never become “fed up” with dressage if the rider respects his particularities and allows the freedom of mind necessary for concentrated work.

MYHOMY

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You can read more of Alois Podhajsky’s stories in MY HORSES, MY TEACHERS, available from the TSB online bookstore, where shipping in the US is FREE.

 

CLICK HERE to order now.

Trafalgar Square Books, the leading publisher of equestrian books and DVDs, is a small business based on a farm in rural Vermont.

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RUNAROUND

Sandy Collier has enjoyed great success in her career as an NRCHA, NRHA, and AQHA champion horse trainer. Named one of the “Top 50 Riders of All Time in All Disciplines” by Horse & Rider Magazine, she was inducted into the Cowgirl Hall of Fame in 2011, and the NRCHA’s Hall of Fame in 2012. Collier was the first and only female horse trainer to win the prestigious NRCHA (National Reined Cow Horse Association) World Champion Snaffle Bit Futurity. She also won an NRCHA World Champion Snaffle Bit Futurity Reserve Co-Championship in addition to being a regular Finalist there annually. She has been a NRCHA Stallion Stakes Champion, an NRHA Limited Open Champion, and an AQHA World Champion.

In champion trainer and popular clinician Lynn Palm’s book THE RIDER’S GUIDE TO REAL COLLECTION, Palm asked Sandy Collier to share how she works to achieve collection with her performance horses.

“I do a lot of work through speed and gait transitions,” was Collier’s reply, “which makes no sense at all to most reining or Western riders.”

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Sandy Collier competing.

Collier says that even though reiners and Western riders will often get their horses really collected at the trot and lope, “as soon as you start putting a lot of speed to it, it’s like the wheels start falling off the car.” She uses an exercise called The Runaround to maintain collection, improve the quality of a horse’s rundown, and thus ultimately better his stop.

“I’ll build speed while maintaining collection for a long, straight run,” explains Collier. “As I approach the short end of the arena, I’ll take a deep breath, start to exhale, and make my horse follow my seat as I sit down in the saddle, making him come back to me on a straight line without falling out of lead. It’s like downshifting a real expensive car, where it has to come back down real smooth. I keep my horse slow and collected through the short end (don’t let him careen around the corner), and once I get around the corner, I ask him to build speed again and start over. My horses eventually get to where they can run really fast while staying collected, and then as I let my air out, they’ll come all the way back to a slowdown or a stop, depending how long I sit.”

RIGUCO

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The goal is to capture the complete tail-to-nose package of supple muscle and hind-end-generated impulsion that becomes a “frame” where the horse is more athletic—that is, his forehand lightens, enabling him to maneuver his front end more quickly, and his steps become cadenced and his movement free-flowing. For more exercises that help achieve this real collection, check out THE RIDER’S GUIDE TO REAL COLLECTION by Lynn Palm, on sale now at the TSB online bookstore, where shipping in the US is FREE.

CLICK HERE for more information.

 

Trafalgar Square Books, the leading publisher of equestrian books and DVDs, is a small business based on a farm in rural Vermont.

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KarenYesScary

Karen Robertson on Carlos at the George Morris clinic. Photo by Lisa Pleasance.

TSB author Karen Robertson shared her hopes and fears for her clinic date with The George in May (click here to read her first post). Now she’s back to tell us how it all went down.

To tell the story about what it was like for me riding with George Morris in late May, I need to start the week before the clinic, when I showed at Sonoma’s Spring Classic Show. It’s a gorgeous place and such a wonderful show, but Carlos and I had a really rough week…. It was the kind of show where the wires get crossed and each day ends with a frustrated feeling of not being strong enough or fast enough or smart enough to ride well enough in any key moment. Seven good jumps didn’t cut it when the eighth was a stop. I got in my head. I started trying different things to end the pattern of choking… a better night’s sleep, more caffeine, or more breakfast. I walked the show grounds with my ear buds in listening to badass music to get myself fired up before I got on for the next class. But at the end of the show, I drove away from Sonoma Horse Park without ever digging myself out of the rut and laying down a solidly good trip. The familiar, consistent feel I’d had all winter with Carlos had been shaken badly; my riding was full of doubt. Needless to say, it was not the kind of show you want to have just days before your first time riding in front of George Morris.

Or, maybe it was.

The eight-hour drive north from Bend, Oregon, to the clinic location went smoothly, but I was full of restless anticipation. After a quick hack in the indoor and settling the horses in for the night, waves of nerves gave me goose bumps as I watched the farm’s crew collecting piles of cut grass from the beautiful front field in preparation for the next day.

In the morning, I was washing Carlos’s legs in the wash stall at the front of the barn when I saw George pull up. I walked out for a quick hello, gave him a kiss on the cheek when he stepped out of the car, and then scurried back in again to get ready. It had been just over a year since I’d seen him last—at the Easter Wellington book signing—and saying hello settled me. I was ready to put the previous week behind me and try my best for him.

When I rode Carlos onto the field less than an hour later, George looked up at me from his perch on the golf cart, paused and said, “Oh, Karen…I didn’t recognize you with your hat on. You look pretty good.”

I nodded with a ghost of a smile as I walked by him. After all the waiting, having registered six months before, it had begun.

As soon as that familiar cadence of George’s teaching—like the lecture of a college professor weaved with pointed instruction—began on that first morning, I found my nerves had passed. I settled into a mindset that stayed with me throughout the clinic: total concentration on following his direction exactly…with a strong dose of hustle. After watching George coach so many other riders in past years, it was absolutely surreal to have his voice speaking to me. It raised my focus to a calm but primed state of being present. I tried to absorb the big picture concepts while also being alert to react quickly.

The first day I was most concerned with riding boldly and not allowing the klutzy moments that had plagued us the week before in Sonoma. Carlos felt great—a little fresh but not wild. He ogled the ditch behind an oxer when we flatted by it, but when it came time to jump it, he didn’t hesitate. I found myself breathing barely whispered “Thank you” and “Good boy” praises to him. Flatwork set us up to feel the difference in our horses and then apply that feel in jumping exercises. George immediately zeroed in on my jumping position, telling me I needed to close my hip angle and lean forward, taking weight off Carlos’s back. This was his major critique of my riding, but throughout the clinic he acknowledged my practicing the adjusted position and encouraged my work to improve.

Looking back now at those three clinic days, I’m so proud that I met the challenges. We jumped a progressively wider water jump and rode well through some difficult exercises that tested flexibility of stride length, straightness, and tight turns. By Day 2, after flatwork and jumping without stirrups, George had me leading the group in most of the jumping exercises, which was exciting because having audited so many clinics, I knew what it meant: he thought I would bring confidence to the rest of the group.

There were definitely also some clumsy moments! Carlos and I haven’t had much practice jumping a bank, and at first we had a stop when he didn’t want to jump down over the small jump set at the bigger end of the bank. After I went to the stick hard and got him off the bank, I had a fire-breathing dragon underneath me for the rest of the day. I also halted at the wrong post in the fence line after someone had already made the same mistake ahead of me…George was very annoyed—and I heard about it. Then when he had us doing rider stretches, reaching down to touch our toes without stirrups, I knocked my helmet loose and my tucked-up ponytail started to slip out. Hair disaster!

As expected, there were the steely, scathing moments of George’s rebuke directed at various riders and auditors when they did not show proper respect or effort. Comments on the degraded state of our country, our general lack of discipline and work ethic, were weaved throughout the lectures each day. One rider had a fall when her horse caught a heel on the edge of the ditch, and George walked over, pointed down at her as she lay prone in the grass, and barked, “You have to keep your leg on at a ditch or a water! You didn’t leg him!”

He was right, of course. But what a picture that rider saw as she looked up at George Morris from the ground.

George also had soft, encouraging moments for riders who struggled. And he had so many words of reward—for everyone—when something was well ridden. “Excellent flying change!” “This girl—she is an educated rider, she is precise!” “That’s it…very good!” “Yeeeeesssss, THAT’S the way to ride that bank!” “This, people, is an excellent student—she listens!”

Every time George gave a compliment to any one of us, it lifted all of us up like we had climbed another step in showing him we, as a generation of riders, were worthy of the opportunity to learn from him. There was a silent, invisible vibration among the riders in my group. Although the rules of the road require that the riders not talk to one another during the clinic or even visibly laugh at George’s jokes (I’ve seen that go badly more than once), we were in it together and rooting for one another. I could feel it.

GEORGE-FRAMED

Speaking of clumsy moments, I had one while serving as jump crew during the 1.20 meter session on Day 1. I raised the top rail two holes on the water jump and stepping back from it, tripped backward over the wing box right in front of the audience and sprawled on hands and heels in the grass. I jumped up trying to recover and blushed hard, incredibly embarrassed. George looked over and said gravely, “Oh Karen, be careful,” and then addressing the crowd, “Karen wrote my book! That’s why she’s blushing…she knows alllll my stories! She knows more about me than my own mother. She even knows the stories that didn’t make the book.”

And just like that, he had taken my flustered moment and made me into a momentary celebrity out of pure sweetness.

George did not disappoint. He never does, does he? I was freaking out about being good enough to be in his clinic and wanting so badly to keep up with the group and belong out there. Now, looking back, I think to myself, “Don’t be silly—of course I belonged out there.” But maybe that’s just the post-George Karen talking. Maybe he instilled a level of certainty in those three days that makes the pre-George Karen a little bit of a stranger.

One thing that solidified that theory was the horse show I had the week following the clinic at the Rose City Opener back down in Bend. Just three days after getting home from the clinic, we were back in the show ring…and it was the best show Carlos and I have had together. We were consistently solid over all five days. We didn’t have a moment of doubt at a single jump. We got great ribbons all week, won the Ariat Medal class, and were Reserve Champion of our Hunter Division. But it was the Derby that felt like a true application of what I had taken with me from riding with George. I had never made it to the second round of a National Hunter Derby in four tries. At Rose City, we not only made it to the second round, but in the end, we were fifth, besting some excellent professional riders.

In my pre-clinic blog post, I wrote that I had hoped for one moment during the clinic when George Morris’s voice would make me feel invincible. Instead of a single moment to take with me, his voice, carrying me through those three clinic days, created a subtle, stream-of-consciousness-George-presence in the background whenever I ride. He is just there with me. In the Derby he was telling me, “Karen, first and foremost: Get it done.”

 

Karen Robertson worked with George Morris on his bestselling autobiography UNRELENTING, which is available from the TSB online bookstore.

CLICK HERE to download a free chapter or to order. 

Trafalgar Square Books, the leading publisher of equestrian books and DVDs, is a small business based on a farm in rural Vermont.

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Look at this image. Can you spot the differences between the horse on the left and the horse on the right?

bend

 

Which one is a horse that is bending correctly?

If you guessed the horse on the right is bending correctly, you were right!

The horse on the left shows how in an incorrectly bent horse, the vertebral column kinks to the inside in front of the horse’s shoulder. This gives the illusion of bend to the inexperienced eye.

“Never bend the neck more than you can bend the trunk of the horse,” says Dr. med. vet. Gerd Heuschmann in his book COLLECTION OR CONTORTION? “All additional important elements of bend derive from this maxim. Only a neck that ‘grows with stability out of the shoulder’ and is stabilized by the muscles in front of the shoulder can contribute its important part to the correct bend of the trunk. If a horse has an unstable, loose, ‘wobbly neck’ in front of the withers, he can’t be ridden in the proper balance, nor can he bend, straighten, or collect. Only well-developed pushing power helps the horse’s neck become stable on its axis…. To this end, it is explicitly required to regularly ride transitions from working trot to medium trot in the horse’s first year under saddle. On the other hand, suppleness of the inside trunk and the inside hind leg leads to the development of carrying power and correct bend of the neck. Said another way, the initial bending work and the required stability of the neck promote flexibility of the hindquarters. The neck must be seen as a stable component of the body that is securely attached to the horse’s trunk. Bend runs linearly and evenly through the whole trunk from the poll to the sacrum.”

COLLECTION OR CONTORTION? is available from the TSB online bookstore, where shipping in the US is FREE.

CLICK HERE for more information or to download a free chapter.

GOODBADBEND

 

Trafalgar Square Books, the leading publisher of equestrian books and DVDs, is a small company based on a farm in rural Vermont.

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Blog5-16

How do you think your horse feels about being mounted? Does he fidget? Throw his head up? Drop his back? Root at the bit? It is easy to unbalance your horse when you mount him, and you can also unbalance him when you dismount. Learning to take your time in the process of mounting and dismounting helps everybody stay balanced and neutral.

In the book HORSE SPEAK: THE EQUINE-HUMAN TRANSLATION GUIDE, Sharon Wilsie explains how her system of Horse Speak can help ease anxiety related to mounting, ensuring your rides start off on a positive note. Here are some of her recommendations:

First, really notice how your horse reacts to being mounted. (Consider asking someone to take a photo of your horse’s face while you get on.) A stoic horse may grimace while being mounted. A sensitive horse may raise his head and show anxiety. An energetic horse moves off when you step into the stirrup. There are many possible reactions. When looking at your horse, notice his ears, eyes, and in particular, his mouth. What you have long thought was acceptance, may instead have been be acquiescence.

Your core energy broadcasts from your “center” just behind your belly button. This can cause confusion when mounting, especially with a sensitive horse. When you face the saddle from the mounting block, you may put “sending” pressure from your belly button onto the horse. He will naturally swing his head toward you and his body away, in response to the sending message your body is conveying. To clarify your body language, practice mounting with your core energy turned toward the horse’s head.

You can also diffuse your horse’s anxiety about mounting with the following Horse Speak “Conversation”: 

Horse Speak Final Cover

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1  Begin by leading your horse to the mounting block and position him as if you are going to mount, but instead just sit on the block for a few minutes (retreat) and breathe with him. Breathe long enough to see your horse visibly relax next to the block. This is a good exercise some evening when you don’t have time to ride but do want to have a Conversation with your horse. Tack up in your normal routine and have a Breath Conversation at the mounting block. Try to sync your breath to his. Observe the subtle language he shows. Take really deep breaths. 

2  Show your horse affection before you mount. Before getting up on the mounting block, check in with a Knuckle Touch. Reach up and lightly scratch the Friendly Button where the forelock meets the forehead. Most horses also appreciate having each front foot picked up and moved in a gentle circle at the mounting block—it releases tension.  Rock the Baby first on his bridle while standing in front of him, and then while standing on the mounting block with your horse in position in front of you, facing the same direction as your horse with your hand closest to him on his withers. Shift your weight from one foot to the other or from one hip to the other. Remember to sync your rocking to your breath, and breathe as slowly and deeply as you can. Your horse may take a step to rebalance himself. Many horses are taught to stand still no matter how awkward and unbalanced they feel. Letting him widen his stance may be a huge relief to him. Also some horses appreciate Rock the Baby at the mounting block with one hand on the withers and one behind the saddle. 

3  Now, once you mount, dismount again immediately, and walk your horse in a medium-size circle. Bring him back to the block, breathe, and mount again. Repeat this sequence three times, paying attention to your horse’s comfort and body language. If there is any tension stop and breathe with your horse, then resume the Conversation.

4  Try a Copycat Conversation with your horse about the mounting block. Lean over him slightly as if preparing to mount, and then lean back upright or away from the horse. Repeat, syncing your leaning toward and away from the horse to your own breathing. Do this at least three times before getting on and staying on. When you repeat this Copycat every time you mount, at some point your horse may simply lean toward you as you step in the stirrup. What a wonderful way to start a ride!

Learn more Conversations in HORSE SPEAK, available from the TSB online bookstore, where shipping in the US is FREE.

CLICK HERE to learn more.

Trafalgar Square Books, the leading publisher of equestrian books and DVDs, is a small business based on a farm in rural Vermont. 

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