21May2013

forbanner

You are here: Home

Articles

A way to think of how to "pop"/release your core when releasing your horse

A way to think of how to "pop"/release your core when releasing your horse

One thing Karen has continually said and reminded as critical to a release of the horse is the “pop” in your core. Whether you’re taking space, “touch releasing” your horse (touching your horse on a body part then “zinging” your fingers away to get him to more that body part away), or anything else, a good release needs a “pop” in your core to accompany it. Actually, you could say that release within you/your core is the main part of the release, regardless of what you’re doing with your hands/rope/etc.

However, I was just not getting it. I would try to manufacture this big “pop” in my core when I released Maia and all I got was some sort of bizarre half-crunch thing that probably looked like I had a stomachache. Not to mention I didn’t feel any different. Other than feeling silly.

But something happened today that has clarified it a little for me. It actually came in a way I’m not proud of, but to be totally honest, I got frustrated with Maia. We were riding, which tends to bring up more frustrations for me, and she was careening all over and I was struggling to get with her and it was just getting pretty annoying. So I thought, well, this is a good time to get off, then—let’s not keep that going. So I got off, brought her back to the stall, and found her standing heavily and totally not in tune to being released off the space that I needed to get around her and untack. So I, still quite annoyed at this point, stuck my fingers on her and just by George zinged them off of her with this huge pop in my core and—poor Maia—she practically did a backflip to the rear of the stall.

I stood there dumbfounded. Well, wow, that worked. It was perhaps the biggest release she’s ever given me, especially because, sensitive as she is, I’ve really
dulled her down to those touch-releases due to previous training. Sometimes she just hardly responds to them.

With most of my annoyance gone now in curiosity about this newfound “pop” in my core, I kept on playing with her and really "popping" my core when I took space or released her found her infinitely sensitive to it, eventually gliding around the stall with just a glance here and there and a little release with my fingers. All excited that I might have found the secret “pop,” I untacked her and then wandered around the pastures (which included three draft horses, heavy and dull) and tried to simulate that pop in touch-releasing them. The two mares I did at the end didn’t respond quite so strongly, but I was getting a little “out of it” by then—the three geldings I did at first had huge reactions.

The little Morgan (?) gelding actually slipped in the huge leap of release he felt, the massive Saddlebred/Percheron leaped away, far lighter with that release than with the “traditional” releases I had done before in my work with him, and even the huge, heavy, sleepy Percheron who I never had touched jumped away and walked off with life and energy. Yet they didn’t seem offended. They would march off and then stop and look at me with their ears up, like “Whoa, I just felt alive.”

I was astonished.

So here’s what it felt like to me. We’ve all gotten mad and hit, jerked, kicked, or yanked something out of anger, whether it’s the ridiculous car door that won’t open or the shoe that won’t come off or, yes, even the dog who won’t get out of the way.

Every time we jerk or hit or act like that out of anger, we are (or are trying to) release (ie, move or change) something that is stuck—just like when we release our horse. The emotion of anger can accomplish incredible releases.

So imagine a time when you did that—hit or kicked or jerked something out of anger. Remember that fire in your core—the zing, explosion, pop, twist, wrench, jerk, whatever it felt like to you? It was like your action wasn’t the action itself; it came out of that place within you that was completely focused on getting that total release (ie, movement) of whatever you had your anger aimed at. It was driven by that explosion in your core. Not only that, but you felt completely alive—you had this high, buzzy vibration in your core of total availability, ready to turn and instantly release (slap/hit/jerk) something or someone else because you were just so mad.

Here's an example of a horse using anger/aggression to get an enormous release in himself... though I'd have to say he's using a lot of pressure on that poor dog!!


That’s what the “pop” in my core was that absolutely connected to the horse. Anger makes your movements be absolutely exploding with meaning; between my fingers’ release and my core’s “anger” pop, there was no question about the release I was looking for. And, because I was annoyed, I was totally in the moment and exploding with the confidence that I was going to get that release I was looking for, yet without "forcing" it. I actually felt it physically in my core, you feel yourself sort of explode into life.

It makes sense that we would need to access that part of ourselves to make feel/release work, as so much of feel/release is accessing all of yourself to be totally available to the horse. What is fascinating is that if I’m on the right track with this, you need to have something like the releasing “pop of anger” in your core, but it is absolutely, totally, completely crucial that you are not angry AT ALL. That is, in fact, one of the biggest components of feel/release: there is never anger or judgment toward the horse.

How interesting that anger can serve such a purpose and teach us such lessons, something we should perhaps embrace and yet simultaneously need to redeem. Anger itself is not wrong; it is how we steward, use, and direct it, and what makes us angry, that the potential for evil comes. It makes sense, really, in the end, that holistic horsemanship would come from holistic life -- using all of the emotions, but in a redeemed way.

Mark Rashid

RashidBookCover

"I see an 'opening' as anything that allows us to help guide, however briefly, an individual in the direction we ultimately would like to go. An 'opening' can be, and often is, a very subtle form of communication between horse and rider that can easily slip past us if we're not paying attention. 'Openings' can and do work both ways. [...] It amazes me just how small an 'opening' can actually be, whether working with horses or with people, and how easy it can be to create an 'opening' when one is needed."

Mark Rashid

"I truly believe developing the ability to see and use 'openings' effectively is only one piece of what one might refer to as the 'harmony in horsemanship' puzzle. When this idea of understanding 'openings' is brought together with the understanding of two other simlar ideas - making a connection with another indvidual, and the role distance plays in overall communication - I believe it is then that harmony in horsemanship becomes a much less daunting concept for us."

Mark Rashid

Leslie Desmond

LDaudiobook

"Bill knew about a place I did not know existed, or could exist, between a horse and a human being [...] Bill included each one of my horses in that information exchange. Over the course of many months,... he took each one by its lead rope and, later, by the bridle reins. Using what he called his 'better feel', Bill showed me and each of them exactly what he meant by what he did [...] It was not long after I made the switch from force when needed (often) to always customizing the feel I offered to a horse, that two tough horses I had misunderstood for years developed into my most reliable mounts."

Leslie Desmond

The lightest hands carry intent that is recognized instantly by the horse, as seen in the maneuvers he chooses to make with his feet. Whether that horse is ridden or handled, the lightest hands can purposefully influence the speed, direction and sequence of each foot with accuracy, in a manner that is reflected in the horse's body and on his face.

Leslie Desmond

Bill Dorrance

bilsbook

"The Real Masters Understood Feel [...] For example, De Kerbrech, (French officer in the cavalry of Napoleon III) really understood horses. He had it fixed up so the horse could succeed. [...] The first time I read Beudant's book was in the 1950s. The way he explained things, there was no doubt in my mind about what a person needed to do to get these little things working for them and their horse."

Bill Dorrance

“Feel, timing and balance: sometimes it’s best to talk about feel, timing and balance separately, and to learn how to apply each thing separately on the start. But when you apply these three things a little later in your training, then you see that each one of these things supports the other. They are interconnected and all three are real important. You really can’t get along without all three.”

Bill Dorrance

Faverot de Kerbrech

FaverotBookCover

“...plus le deplacement du poids est facile dans tous les sens, plus l'equilibre est parfait. En vertue de ce principe, on dit que le cheval est 'en equilibre' quand de simples indications suffisent au cavalier pour modifier a son gre la disposition du poids sur ses colonnes de soutien”

Faverot de Kerbrech

[Translation: ...the easier it is to shift the weight in any direction, the more perfect the balance. By virtue of this principle, the horse is 'in balance' when a simple indication from the rider is sufficient to modify the distribution of weight across the columns of support (four quarters) accordingly]

Duke of Newcastle

CavendishBookCover

"You must in all Airs follow the strength, spirit, and disposition of the horse, and do nothing against nature; for art is but to set nature in order, and nothing else."

William Cavendish, Duke of Newcastle

"A confrontational approach ‘Astonishes the Weak Horse […] makes a Furious horse Madd; makes a Resty Horse more Resty […] and Displeases all sorts of Horses’. The alternative however is not ‘to Sit Weak […] but to Sit Easie’, in the understanding that ‘The Horse must know you are his Master’"

William Cavendish, Duke of Newcastle