Sitting Deep

We were watching a 2006 YouTube meme of a deaf-mute girl, Stacy Westfall riding at a horse show sans saddle and bridle. It's pretty amazing piece of showmanship given the amount of time she had to work with the horse—only three weeks. (Plus her double handicap.)

The video highlights Stacy's integrity as a rider and a trainer, and her ability to get the horse to trust her. Pure obedience. Being at one with the horse. 

That got me to thinking. It seems I can't observe anything without analyzing it. Where most people would go OMG, OMG! I was analyzing it as a fellow rider. And weighing in. No sentimental claptrap here. 

Then it came to me that the particular skillset required to be an exceptional equestrian or trainer was the power of observation. Phillip (that lover of horses) was vexed that his prize Bucephalus was untamable. Phillip's son, Alexander the Great, noticed that the horse was afraid of his own shadow. So he turned the horse toward the sun, and was able to mount him. In order to be able to read horses, sometimes you just have to turn toward the sun.

The horse the deaf-mute girl's riding is a good, honest hard-working quarterhorse. Babydoll stops true and square on her slides—that makes the quarterhorse justly famous (think of when a cowboy ropes a cow and the horse sits back on its haunches and comes to a screeching halt). Babydoll is evenly spaced on her rollbacks in both directions. (I'll explain that term later). 

Babydoll switches her leads (changes her front legs from left to right at a gallop) like a dream—what we used to call a pushbutton horse. However, it's all done with the shifting of your weight and subtle leg commands, which are dressage signals that date back to before the founding of Rome—no voice commands are needed. 

What the audience also doesn't know, of course, is that the girl using the horse's mane like reins to signal the horse. You can see her gather the mane up like reins, and then pick it up. Those are rein signals. The horse is listening to those commands. Watch her ears.

However, the critical rider in me noted that Stacy's seat was a little off. A seat is how you physically sit on the horse, and balance is critical. Your posture (back) changes depending on the horse's gait. Like leaning into a curve on a bicycle. You can tell that Stacy usually rides in a saddle. No matter, it's all very impressive riding. 

Stacy needs to sit down a little deeper, drop her heels down, keep her toes pointed up and forward, not hanging loose like that, then she'll be truly at one with the horse. You can see she's a little off balance, leaning a little too forward. And if the horse ever decided to turn suddenly, of her own accord... Makes you hold your breath in fear.

Believe it or not, I used to do that sort of thing too—ride sans saddle or bridle. It wasn't particularly difficult if you grew up on horseback and had no saddle to begin with, let alone a foam and canvas saddlepad with hokey stirrups you couldn't trust as the pad would slip around the horse if you put more weight on one side versus the other. Riding at a right angle to the horse at half-mast always concluded with meeting the ground head-on. 

I also have a dent in my skull where my horse misinterpreted one voiceless command. Chiquita, a rescue horse, was my first horse. I spent all my free time on her bony back—she was older than dirt. I had no saddle. 

The siren call to a friend's barn, and she took a shortcut up the other unused driveway at a full gallop and I went sailing straight ahead as she turned right—I was doing a kneeling liberty spread with my knees cradled in the hollow of her withers and backbone (what was I thinking?) We'd done it many times before, but when she did an exit, stage right, well... I was cocky, oversure. Mistake. Talk about crossed wires. I was lucky I didn't get a concussion.

When I was young, I wanted to grow up to be a Lippizanner, or maybe Bucephalus. I knew were every Flying A gas station with the red flying horse was, I could recite Pegasus's lineage.  I knew all the stages of horses from eohippus to equus. I was that kind of horse-crazy for all things horses. 

Horses were my link to the world, to my emotions—my heart. I, who had been pawned off onto my grandmother after my grandfather's death by my mother who wanted to follow her dream of show biz. I was a fragile child but I hid it beneath a tough carapace. I became mute. Horses were my Beatrice, my way out of the seventh ring of hell. They offered me succor and solace. They are the ultimate empaths.

I used to work as a rider for Edie Lehman, at Rafter L Ranches training stable so I rode a lot of horses and Edie gave me lessons that were based on dressage and feeling the horse with your legs—thigh and calf communication to the front of the girth meant one thing, to the back of the girth, to turn or move sideways. 

The heel command was rarely used unless the horse was lazy or not "listening" to your leg commands. It was always a matter of body over voice. Every nuance of leg and shifting of weight, was a specific signal. Watch a dressage horse in action.

True, we used reins and saddle, sometimes the arena wall—especially in practicing rollbacks. I'd gallop full speed straight toward the corrigated wall, and signal with my legs for Bart, a big-boned bay horse from Minnesota, to suddenly switch gears and roll either right or left. It was always harrowing and exciting practicing rollbacks. 

Then, the real test was that I had to do it again for Edie, a rollback in the middle of the arena. No walls to help you. If Bart was lazy, he'd overshoot the mark. That's why we did a lot of wall practice, to teach him to slide into the wall, and rear left or right, twisting over his hind legs that were skidding toward the wall. He was a big horse. 

This is a maneuver better suited for dainty Arabians and chunky quarterhorses quick on their feet, not a Big Mack truck of a horse who stood 16 plus hands tall. But Bart was tough. He survived Minnesota winters. He didn't DO mollycoddling or barns. The first six years he was in California, be never even bothered to grow a winter coat.

 It's funny how dropping your heels and lifting your toes up and parallel improves your seat and balance—not at an angle like that (sure, when we rode our own horses dinkering around on fireroads we all slouched like that) but NEVER in the arena when riding professionally. I guess that's what it is, sitting deep. I like that idea. Sitting deep.