Notes on Sessions with Verne Batchelder and Cindy Canace
Annapony and I enjoyed an educational weekend in mid-December, riding twice with Verne Batchelder and once with Cindy Canace, within four days. I have had the opportunity to work with both of these talented clinicians before, so I was excited to get some new exercises and feedback as we head into the indoor schooling season.
Verne Batchelder and the “Circle of Submission”
My two sessions with Verne came first, and were held at the lovely Fresh Creek facility in Dover, NH, home to Chesley Brook Stables. Their insulated indoor was a welcome haven from the unseasonably cold temperature and omnipresent wind, and the GGT footing made Anna feel positively springy.
I hadn’t had the chance to connect with Verne for almost a year, and he was super positive about the progress which Anna has made in that time. She tends to always be more forward thinking at a new venue, which is helpful, but Verne noticed that she was also moving with a greater degree of acceptance and throughness since the last time he had seen her go. After I had done a little warm up at the basic gaits, we started to work Anna on what Verne calls “the circle of submission”.
The “circle of submission” is a tool which Verne frequently uses to help horses to unlock, to improve connection and to get better acceptance of the outside rein. Usually, it is done either at the walk or trot, on a smallish (in our case ten meter) circle. With Anna, I asked for an exaggerated flexion in her neck to the inside, and then asked her to turn her chest towards the middle of the circle, while keeping my outside elbow bent but giving. I continued to ride her forward and encouraged her to engage the inside hind leg so it reached further over and under. Once she started to soften her jaw, I increased the straightness by taking more bend into my outside elbow and following with the inside hand.
When riding the “circle of submission”, one of the important end goals is being able to swivel the horse’s head at the poll, with a response of willing acceptance from the horse. In Anna’s case, the circle allowed her to connect more consistently to the outside rein. I rode a 10 meter circle, then rode out of the circle in a lovely uphill shoulder in for several strides down the long side, then straightened her and rode forward in the rising trot. After moving through this sequence, Anna was better able to carry her weight over the topline and actively push into the consistent connection.
The “circle of submission” can be returned to at any point the rider feels they have lost the requisite degree of connection, and/or the ability to swivel the horse at the poll.
We then moved on to some work with haunches in and half pass. After riding a ten meter circle, I rode down the long side in haunches in. In both the shoulder in and haunches in work, Verne cautioned against developing too much angle. Because my goal with Anna next season is to show Third Level, Verne also reminded me that the haunches in is a preparation for the half pass. “Don’t work to perfect the haunches in,” he said, as this movement is not required above Second Level. “Use it to develop your half pass.”
We did several sequences of ten meter circle to haunches in on a diagonal line (which is essentially half pass). I was thrilled to feel Anna fluidly move forward and sideways with a consistent connection and lifted shoulder. She felt like a “big” horse!
In the canter work, we touched on the flying changes. On my own, I have been working quite a bit with the counter canter to develop greater strength and straightness. Anna learned clean changes through her jumping work and tends to throw them in, unasked, during the counter canter. Verne said that in terms of laying the groundwork for Third Level, it would be appropriate to begin asking for the flying change more frequently. Using the ten meter circle again as preparation, I then rode the short diagonal and asked for a change on the line. Verne emphasized that the short diagonals were better than long at this point, so that there are fewer strides for the horse to begin to anticipate the change.
Despite the short distance, Anna still anticipated her change, and gave one fairly exuberant effort from right to left, during which she actually kicked the bottom of my left boot! I think we have some homework to do in terms of “calm acceptance” of this movement.
We ended the first day’s session by playing with adjustability within the gaits. Within the trot or the canter, Anna needed to get bigger or get smaller, but always while keeping her nose in—if I allowed the reins to slip, she would slightly poke her nose forward, causing me to lose a degree of the connection and the ability to swivel the poll.
We covered a lot of ground during this session, and I left feeling thrilled by Anna’s performance. I had felt a degree of connection, thrust and throughness which I have not experienced with her before. Verne was highly complementary of both the progress since last year and the work during our session, and I very much looked forward to day two.
The next morning was one of the coldest so far of the season, which only meant that Anna was even more energetic, despite her hard work the day before. We started again working with the “circle of submission”. Verne added to his description from day one that depending on the horse, the rider can think of riding shoulder in on the circle, or ride it more like a moving turn on the forehand, or even a leg yield out of the haunches. He emphasized, again, that no matter how you approach the “circle of submission”, its purpose is to get the hind end of the horse active and free, to get the inside hind leg under the horse’s body, and to take the horse’s neck out of the cycle of resistance.
From here, we moved onto work with haunches in and half pass in the trot. Verne cautioned again against creating too much angle in the haunches in, which causes the horse to lose their forward intention. In the half pass, Verne reminded me to keep a bent elbow on the outside, and to allow Anna’s shoulders to move ahead of the diagonal line first, and then to put the haunches in on the diagonal.
Allowing the shoulders to come out ahead of the line was a new idea for me, and I found that it helped Anna to say more up into the outside rein during the half pass. By focusing first on the shoulders and then adding the haunches in, the half pass became even more fluid and effortless. We have a lot of work to do to strengthen and improve her reach and carrying power, but we definitely have some new tools to use to develop the movement this winter.
In the canter work, we worked on a twenty meter circle and played with the idea of increasing pressure, then backing off. Because horses naturally tend to carry their haunches to the inside of the circle, we allowed Anna to start this way, while simultaneously increasing the activity in her hind end and increasing the weight in my outside elbow. I then straightened Anna’s body for a few strides, allowing her to increase the collection, then softened and let the haunches slide back in. The idea here is to just touch on the increased collection without asking for it for too many strides in a row.
Overall, I was so excited and encouraged by the work Anna offered during our time working with Verne. I came away with new tools to play with this winter, and Anna has shown me how much more she is capable of doing in this work. On to Third Level we go!
Cindy Canace: “Be a Better Backpack”
After our two days with Verne, Anna had a much needed Sunday off, giving me the opportunity to audit several sessions with USEF “S” judge and USDF Gold Medalist Cindy Canace. Cindy came up from New Jersey to spend two days working with riders at the University of New Hampshire Equine Program. Anna and I had worked with Cindy back in June, and we had a session scheduled again for Monday.
Watching Cindy work with our riders allowed me to observe certain themes to her teaching. She is incredibly detail oriented, and works hard to help riders to both understand important concepts and to feel the horse underneath them. Cindy expects the rider to keep their hands together and in front of their body, allowing the horse to reach to the bit to seek contact. She also works to correct posture and alignment issues in the rider which impact the horse. One of my favorite quotes of the day was that the riders needs to “be a better back pack”, in reference to the fact that our horses must essentially relearn to balance under our weight. It is incumbent upon us to try to make that burden as easy to bear as possible.
Cindy has judged me on Anna several times in competition, in addition to working with us this summer, so she has a decent idea of her strengths and weaknesses. In our Monday session, Cindy wanted to work on helping Anna to lift more in her shoulders and truly elevate her poll. The exercises we did were perhaps not the most interesting for the auditors, but Cindy’s laser beam focus on excellence in the basics helped Anna to show some good progress.
Cindy first had me dramatically slow down Anna’s walk, making each step extremely deliberate, by slowing down my seat while keeping a following, elastic elbow. She then had me execute a series of walk to halt transitions. In each downward transition I made sure to keep my leg on, and then I released Anna from the halt by pressing with the seat bones and softening the leg and hand. Cindy only allowed us to take two walk steps before I asked Anna to halt again. We remained in the halt, with my leg on, until Anna began to soften in the jaw and raised her shoulders. Cindy encouraged me to give Anna a gentle tap on the shoulder with my dressage wand to get a better response to my request for elevation or if she was inattentive.
From this work, we moved into a turn on the forehand. Just as in the earlier exercise, Anna was allowed to take two walk steps and then I asked her to halt, holding it as before. Cindy was particular that to initiate the turn, I needed to press with the calf muscle, not my spur, and once Anna began moving, I needed to keep the march of my seat in a walking rhythm to follow. Cindy reminded me that even though we are emphasizing the responsiveness of the horse to the inside leg in this exercise, my outside leg and seat bone are also important and must remain active. Ideally, in the turn on the forehand, it should take four steps to get the horse facing the opposite direction.
After working on the turn on the forehand, we did a few turns on the haunches, which Anna executed with a more elevated shoulder than before. I also noticed that she had developed a degree of “lipstick”, one of the visual indicators that the horse has begun to soften the jaw. I hope the auditors saw that Anna had become softer in the jaw as the result of the work we had done to improve responsiveness in the hind end and lift in the shoulder, and not because we had done anything at all to manipulate or pull her into a position.
We then moved on to work in the trot and canter, and Cindy helped me work with the position of my left leg. Due to now chronic knee pain, I have a great deal of trouble keeping my left leg fully internally rotated, with the knee and toe pointing forward. Instead, my toe tends to angle out, and I have a difficult time keeping my left spur off Anna’s side without hurting my knee. After so many months of knee pain, I have really developed some compensatory behaviors with the left leg, especially when I am tracking left and need to use the inside leg to position Anna correctly. Cindy had me try bringing my left heel down and forward, allowing my left knee to rotate off the saddle slightly. She then had me rotate my shoulders slightly toward the right in order to engage my outside hip. This positioning of course felt somewhat unnatural but it did allow me to keep Anna correctly bent without my spur ending up stuck on her side.
Cindy had me do many transitions, especially walk-trot-walk and trot-halt-trot. In each transition, Anna needed to stay up in the shoulder. Cindy had me ride a slight step of leg yield out in each transition to help engage the inside hind and keep Anna into the outside rein (a little bit of a similar concept to the “circle of submission” discussed above).
Back to the Laboratory
After our super educational weekend, I have plenty of new material to work with for the next several months in the indoor. I appreciate having fresh eyes on our progress and to come away with ever increasing clarity as to next steps. Now we go “back to the lab” to experiment with our new exercises and tools. Stay tuned for further developments….