Ellen Schuthof-Lesmeister - Horse Training In-Hand: A Modern Guide to Working from the Ground

• WORK ON THE LONGE
• LONG LINES
• SHORT AND LONG REINS

Ellen Schuthof-Lesmeister
and Kip Mistral

Foreword by Sylvia Loch

Featuring Hand-Drawn Illustrations
by Ellen Schuthof-Lesmeister

First published in 2009 by

Trafalgar Square Books

North Pomfret, Vermont 05053

Printed in China

Copyright 2009 Ellen Schuthof-Lesmeister and Kip Mistral

All rights reserved. No part of this book may be reproduced, by any means, without written permission of the publisher, except by a reviewer quoting brief excerpts for a review in a magazine, newspaper, or Web site.

Disclaimer of Liability

The authors and publisher shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the information contained in this book. While the book is as accurate as the authors can make it, there may be errors, omissions, and inaccuracies.

Library of Congress Cataloging-in-Publication Data

Schuthof-Lesmeister, Ellen.

Horse training in-hand : a modern guide to working from the ground Work on the longe Long lines Long and short reins /Ellen Schuthof-Lesmeister & Kip Mistral.

p. cm.

Includes bibliographical references and index.

ISBN 978-1-57076-409-7 (alk. paper)

1. Horses--Training. 2. Long reining (Horsemanship) I. Mistral, Kip. II. Title.

SF287.S88 2009

636.10835--dc22

2009002362

Photo credits: The following photographs were taken by Kip Mistral: 1.4, 1.5, 1.7, 1.8, 1.9, 1.12, 1.13, 1.14, 1.15, 2.1, 2.8, 2.9, 2.12, 2.13, 2.15, 2.16, 3.1, 3.2, 3.3, 4.12 A & B, 4.38 A & B, 5.7, 5.11, 5.15, 5.22 AC, 5.23 B, 5.28. All others are courtesy of Stal Paradiso.

Book design by Carrie Fradkin

Jacket design by Heather Mansfield

eBook design by Prabhati Content

Typefaces: Scala, Scala Sans. Trade Gothic

10 9 8 7 6 5 4 3 2 1

From Ellen

To my husband Thom for his never-ending love and patience,

and my horses Fernando, Pcaro, Bodeguero, and Tanguillo

for being my most important teachers and training partners.

And especially my father, for showing me the horse

From Kip

To my son Tony, who somehow always understands humanity.

To all the horses of my lifetime, for the gift of many golden moments,

and to my stallion Valentnfor the pure pleasure of his company.

Work in-hand is the basis for everything. Without an understanding of work-in hand, riders will reach a plateau that only additional force can move them off. With knowledge of work in-hand, understanding replaces force and lightness begins. Unfortunately most riders start their training astride, and to get off the horse to learn to ride seems counter-intuitive. But one MUST practice work-in hand to ride well, because once astride our legs and seat so easily overpower what our other aids tell the horse. It is amazing how few riders will take the time to even consider this most important part of the art, and how few even know about it. Yet, without work in-hand it is impossible to make that first gentle whispering connection with the horse. Horses are SO surprised when you begin work in-hand with them; every horse knows it from the moment they are born. They are mystified that we humans know it too. And they love it when we do. Once work in-hand is practiced, once you are astride, you and your horse have a common language and a conversation can begin.

JOSEPH BERTO, STUDENT OF BETTINA DRUMMOND

The discipline of working the horse from the ground is steeped in history. The first mention of this work as a serious art appears in King Dom Duarte of Portugals book Livro da Ensinanca de Bem Cavalgar (1434). The first of the old Masters to introduce the use of pillars, his was an enlightened approach, treating the horse with respect and gentleness and always taking time at every stage of training.

In todays world, one might rue the absence of this work ethic, or indeed the lack of detailed technical explanation available to todays would-be student. Few riding schools teach the work in hand, longeing is often not deemed worthy of a lesson, and generally one has to travel a long way to find an instructor of caliber. Even in the realm of equestrian literature, there isexcept in a couple of casesa dearth of helpful information. Few manuals thoroughly address the difficulties and intricacies of training a horse or allow for the fact that things dont always go to plan: the very nature of horses is often overlooked, with much importance placed on subscribing to a general pattern of training that may not necessarily advance at the same pace with every horse.

Riding out in the countryside and the evolution from mange riding to competitive sport has no doubt contributed to this attitude. How refreshing, therefore, to find in Schuthof-Lesmeister and Mistrals book such a wonderfully in-depth yet truly riveting coverage of the reasons behind training in-hand as well as how to do it properly! Here we find meaningful background to the subject, which not only gives the reader confidence to proceed but also gives him or her every reason to do so.

The work in-hand on the short rein is always hugely admired when academies such as the Spanish Riding School of Vienna or the Royal Andalusian School of Equestrian Art come to town, but it has often retained a daunting image for the many riders who would like to know more. Even those true Master horsemen and women who practice itand there are still a good number in the Iberian Peninsulamay not be so proficient at teaching it. I well remember my own frustration when starting this work back in 1970s Portugal. I was told to watch and copybut never told how.

In Horse Training In-Hand, we discover in Ellen an instructor who is not only willing to share all the techniques, the subtleties and the ethos of her own beautifully presented work, but also her passion for the horsefor doing it right for him. With an impeccable classical background, she has obviously probed and explored her subject with an open mind and a willingness to learn from every experience, every horse. This book demonstrates her strengths as a trainer who really cares for her horses and whose understanding of the physical reality results in work that will be lasting and true. Her own very unique way of putting this across is a delight to read.

When it comes to the longe and the long rein work, I have been repeatedly dismayed at the lack of knowledge witnessed at different stables or yards and with different trainers. Longeing is often performed in a perfunctory manner, as though at best to let the sparks fly, or at worst to wear the horse out before the rider then takes to the saddle. Often there is no attempt whatsoever to improve the gaits, or to use body language to instil confidence, let alone to encourage natural spontaneity within the horse, which can reap so many benefits. What I love about this book is how it seeks to address all these issues, as well as showing a deep understanding about sharing space, invisible pressure points, and general leadership.