GatheringVANRIPER

THE HORSE GATHERING 2000

ESTES PARK, COLORADO

by Lael Van Riper

THE BAD NEWS

1. You have to drive carefully coming up the Big Thompson Canyon on the way to Estes Park, so that you don't hit the bighorn sheep grazing by the side of the road or the tourists stopped in the middle of the road to take pictures of the bighorn sheep grazing on the side of the road.

2. The hazards on the Estes Park golf course are elk-20-50 of them, and rutting season is about to begin. They may not be in good humor.

3. Not all of you got to come to The Horse Gathering.

THE GOOD NEWS

Everything else was good news-surpassed all expectations.

THE GREAT NEWS

There will be a 2001 Horse Gathering for those of you who missed it and for those of us who want more.

THE DETAILS

The Setting

Estes Park is the eastern gateway to Rocky Mountain National Park, one of the crown jewels of the national park system. Towering peaks, pine, spruce, aspen, elk, bighorn sheep are there for the hiking, climbing, watching if you stayed over or came early. During The Horse Gathering there was no time. Days and nights were packed full of learning and laughter. We were hosted by the Rashid family, Mark and his wife Wendy and their children Lindsay, Tyler, and Aaron and Mark's sister-in-law Susan who coped with all emergencies. The people of Estes Park including the Lion's Club who kept us fed were gracious and warm.

At registration each participant received a notebook with schedules, bios of the presenters, and materials to flesh out limited teaching time. The presenters at The Horse Gathering were uniformly expert in their fields of interest, passionate people, and they shared with us a wide-ranging sweep of interests beyond their field of expertise. Their personalities were strong; their opinions measured their impact immeasurable. Over 120 of us had gathered from across the United States, Canada, Europe, and South America. Many were names I had met over the internet who now had faces and personalities. You will join me in Group B. Our volunteer guide is Lisa Martin. Most of us were from Colorado with a few from beyond the U.S. to give flavor to the group. You will be with me for five days, limited to my perceptions of what I saw. If you need to know more, there are others who can share with you their experiences. Just ask. We'd love to share. In fact, one of the aims of the week was to give us information we can share with others to the benefit of the horse.

Welcome

Our first day was spent in the Holiday Inn conference room laying a foundation for, that which was to follow. There were people from pre-teen to senior citizens, cowboy hats, braids, baseball caps, Grey beards, jeans, shorts, long hair, short hair, bald, all casual, none with a discernable horse discipline.

The theme for the week came from Vic ThomasMIOmisery is optionalan option no one picked.

There were laughter, notebooks, pens, Horse Gathering logo name tags with our names preprinted, demonstrations, presenters, participants, horses, questionsbut most of all there was laughter and learning.

Opening Remarks from MarkParaphrased and Condensed

Each of the presenters in working in his/her various discipline has found that training horses won't fix everything. There are a vast number of other things that may be going on for the horse and rider. Out of that realization came the idea for The Horse Gathering. In one year's time this idea came to fruition. Now the presenters have gathered for the full week and will be available for impromptu questions and talk.

During the week all presenters will be looking at everything in a positive light. The vast majority of horse training is designed to look at the bad and fix it. We will be looking for the good and building on it during this week.

Profits from the tee-shirts and caps (with The Horse Gathering Logo) will build a non-profit foundation for kids who need scholarships to The Horse Gathering. The presenters want to give back because horse have been good to them.

VIC THOMAS

I will give a bit of background on each presenter.

Retiring from 27 years of service as a Police Administrator, Vic Thomas is now using his skills as a gifted instructor to help clinic participants understand the adult learning process. Vic and his wife, Linda Bertani, also a presenter, have created a small equine educational center in Tennessee. Vic holds a Bachelor's Degree in Criminology from Florida State University and is a graduate of the FBI National Academy. He's the one whose southern drawl is as wide as his moustache and his smile.

Adult Learning Process

All of us are gathered here to learn about the learning process of the horse and the welfare of the horse, but to get the most out of this week we need to also know about our own leaning process. The mission of the teacher is to take a person from his or her known to the unknown. Along the way there are many things which may divert us from learning. These learning hooks take our mind away from what is being taught.

If an instructor creates a learning hook, the instructor must take it away or learn not to create it in the first place. Learning hooks may be a word, a look, an attack on an individual's self image. Learning hooks may come with the student, and the adult student has responsibility to deal with those learning hooks when recognized. The student who determines what s/he wants before s/he begins learning and is prepared for the experience will minimize any hooks to learning.

Each of us has a comfort zone. New knowledge and skills challenge our comfort zone. If we are to move out of that zone, we need to trust our instructor, to have stability which bolsters us as we move into new territory, and to have proof that new knowledge or skills are worthy of inclusion in our lives.

We, as learners, are always filtering information. If it does not seem useful, we discard it. If it is deemed useful, we attach feeling and importance to it and keep it.

Instructors need to maintain decorum not embarrassing or intimidating students, have a secure comfort zone of their own, and a knowledge of their own ability as an instructor.

If It Smells Like a Dead Ant

Researchers studying ant society painted some live ants with the odor of dead ants and put them back in their anthill. They went back to work, but other ants smelling the odor of death hauled them off and threw them on the pile of dead ants. The ants picked themselves up off the pile and went back to work. They knew themselves to be alive, and live ants work.

The other ants smelled deathoff to the dead pile even though they were living and working. This continued until the painted ants actually died.

Ants live in a narrowly defined way. What they smelled superceded what they saw. We do not have to live like ants. We can use our six sensesthe sixth being a combination of the other fiveto make choices, to decide to accept and use new information in our lives.

Structure and Sequence

An instructor chooses out of his vast store of information what will be presented to the learner. He chooses the structure of the information and the sequence in which it is presented. He has a finite time and must consider what will fit in that time.

A clinician has new students each clinic. The student brings a new problem and states it. The clinician may the problem differently. Out of the clinician's knowledge he must prepare an instant lesson plan for this horse and this rider, give information on structure and sequence so that the student can hook it together and use it to change their behavior.

Most important in this process and what a student expects from an instructor is caring. Does the instructor care about the student's learning?

COLT STARTINGHARRY WHITNEY

For the sessions on training and riding we all gather in the stands of the Estes Park Rodeo grounds. Mandy has brought a 2 ½ year old palamino Quarter Horse gelding, Golden Flash, otherwise known as Peanut. Peanut is a tall, rangy colt. He has been worked in a round pen, bridled, and saddled. He does not like anything above him. He has trouble staying calm and focused and seems to be scared some of the time.

Harry's first question is, "What do you feed him?"

"Rolled oats, grass, alfalfa."

While a young horse needs enough nutrition to grow it is important not to overload his system causing rapid growth or excess energy. Given Peanuts level of activity he might do well with less alfalfa and oats.

Harry has brought his horse Turbo with him. Harry has put 41-42 rides on Turbo and will be using Turbo in working with Peanut.

Harry opines that there has been too much promotion on sending a horse around a pen. What we want from a horse is to be attentive. Peanut has been restlessly circling the pen as this discussion has been going on. Harry is standing in the pen. Peanut was curious at the start but moved away. He cannot find comfort near Harry and continues to circle the arena.

Harry steps toward his path of travel to turn or stop him. Peanut starts to turn in but then squirts past. "He knows the job his feet are to do, but his heart isn't there. I see a lot of colts that are this way if they've been round penned."

Peanut's attention is not with Harry, but Harry works with him to get changes and transitions, to keep his mind focused on Harry. Finally Peanut stops and faces Harry. Harry is still, allowing Peanut to find that this is a safe spot, a good choice. When Harry quietly moves toward Peanut, he is gone, but quicker now Peanut comes around. Still when Harry moves Peanut moves out unable to find safety. "His feet go where his brain goes. He's insecure, worried about a lot of things. It's bad here. It's worse above him." Harry has now taken out a retractable fishing pole with streamers on it.

"If he doesn't feel good here, then things will build at each step, and when we go to mount, he can't handle it." Peanut is beginning to stay with Harry. When he is moving his head is lowered, his tail is moving freely. Harry moves away and reapproaches. Peanut lets him approach then is gone. Harry asks for a change. Peanut faces him. Harry approaches and strokes him. When Harry leaves at an angle Peanut comes with him. Harry alters the angle, but Peanut can't quite make the change. Harry backs up and resumes the former angle, and Peanut follows.

People often get in front of a horse to get the horse's attention. Harry is off to one side asking for attention. He gives the horse a choice. "It's like standing in front of kids watching television and trying to get eye contact. They just look around you. Here's a stranger in the pen. He doesn't know if he can feel good. We need to help him with trouble.

Training Flies

"You've heard we should make the wrong thing difficult and the right thing easy, but sometimes we make the difficult way to difficultIf I were any good as a trainer, I'd train flies. I've seen flies get horses to do amazing things without carrying a flag or spurs or a club. I've seen flies get a horse to reach around and scratch the tailhead with their teeth, and we ask the horse to do limbering exercises.

"Turbo was bought as a yearling and taken to a trainer who started him in the cowboy manner. I don't know what they did, but they scared him bad."

Peanut is moving around the pen. Harry puts a bit of pressure on then offers some calm. Peanut stops and takes the offer, but he is unsure if he wants Harry to approach him. He moves out. Harry puts no pressure on him, and he comes around. Then his mind goes out to a horse calling in the distance. Harry moves. He refocuses in the pen.

Insecurities can be a big piece when we try to mount a colt. If the colt's brain is not all there, and you start to mount, it can be a big surprise to the colt. Horses don't have a short attention span, but they do need some motivation to keep their attention on us."

Turbo has sidled over to help Harry who is on foot. Harry sends Turbo back to his corner. Turbo is reluctant to go evidently feeling that Harry needs some help with this youngster. Finally he goes to the side of the pen and stays there.

Harry now puts a halter on Peanut and asks him to move out. He shoots to the end of the rope. Harry draws him back. This time when he moves out he does not hit the end of the rope, but when Harry puts just a little pressure on to move, Peanut makes big, quick movements. He is not attentive. He moves to the end of the line. Not even an ear is cocked Harry's way.

Harry moves to his hindquarters, and Peanut moves them away. His attention now comes to Harry. He turns in to Harry. When asked out again he goes a bit further than Harry asked, but not to the end of the line. It is easier to work on Peanut's left than right.

Bringing in Help

Harry now brings Turbo over and mounts. We note that every time something changes Peanut worries. "I wouldn't get on this horse until all those worry spots are taken care of." Peanut is struggling to follow Turbo on the rope, then, for a moment, the struggle is over. He drops his head by Harry's knee and follows. As he moves his feet, Harry pets and rewards him. "It's 100% more important what he takes in when his feet are moving then when he is standing still." Peanut tenses, then lowers his head and follows.

Harry switches sides, and Peanut's anxiety level rises. His head is up, his tail clamped; he resists following. Turbo snakes his head and Peanut moves his hindquarters over, brings his attention back. An auditor asks whether it would be better if Peanut knew the horse he was working with. "No difference that I can see.

"It's okay if he gets into a trouble spot if we help him out. We want him to know how to make a recovery. We don't want him to worry, but if he does, we can help with recovery. Working off the fence, round penning, imprintingnone of these has any magic. They're only as valuable as the help the human is giving.

"Some people think standing is a sign of acceptance. Many horses who are tied to a post will stand and take amazing things. They just shut down. What happens when the worries overwhelm them? Then all he's stuffed will come out with the first jump. I don't want to be there when that happens. I'd rather his feet move easily. I don't want to make him stand. I want to help him learn to stand and learn to move his feet when he needs to. We'll be working with this colt all week and helping him recover from those worries."

DR. DEB BENNETT

Judy has brought a gray Thoroughbred mare who is 18 years old. She had been on the track for six years before the trainer quit. She is more horse than Judy can handle. They have been redoing her training. She was squirrely and kicky, but her attitude is now changing, and she is more likeable. She is off in the front. Farriers and vets have been working on her. She has been in pain for years.

Deb points out that she is worse than the yellow horse was at the end of the lesson. She is tense. She is also an alpha mare. Deb reminds us that a horse can't race six years without some dominance. The mare has been pushing into Deb. Deb has been keeping her out of Deb's space. "I can come into your space, but you can't come into mine unless I invite you in. A horse learns to trust you when you are clear."

A Problem Revealed

Deb notes that the horse hangs her stifles. The patella of the hind leg hangs high too long. It hangs when the limb is straightest then comes down on the patella hook. The muscles that hold it up keep it up a fraction of a second too long before letting it downkalunk, kalunkit can hurt. Tenseness causes 9/10 of this. Her mind is elsewhere. Conditioning accounts for the other 1/10. When the horse's attention is focused elsewhere, the muscles are tenser. They are misfiring.

Deb has been moving the horse around, stroking, getting acquainted with the mare so that she can show us some of the points she wants to make. The mare is taking Deb's measure and is not sure of her at this point. The horse is off in the front. The vet hasn't found any lesion or named any problem. During this week the horse will also be seen by a farrier, a dentist, and a chiropractor. Perhaps some solutions will come out of this.

The horse is leaning to the left. Deb asks her to shift weight to the right foot. She sends the horse energy from her hand, finger, eye, and heart. The horse shifts onto the unweighted side. "The straighter a horse's legs are the more prone the horse is to hang a stifle. A left leaning, right turning horse won't want to take the left lead.

"The more a horse uses its back for work the worse it looks. We do not want the longisimus dorsii developed any more than we have to for the job." Deb is now indicating the muscle that runs parallel to the spine. "Whatever the stifle does the hock does also and at the same time. This is the law of reciprocation. Joints have to work together. So also doe the ligaments and tendons that go around the stifle and onto the back.

"Whatever the loins do the stifles want to do. If the stifles don't do what the loin is doing, we have string halt. You'll see it most often in arabs and saddlebredsThey wind up witha stiff back."

Anatomy Lessons

Deb lunges the horse to the right. The mare tips her head sideways and shakes it. "I want to play, or I want to kill you. It can change in an instant under pressure."

Deb works with the horse but continues ranging over a variety of subjects as they come to mind. "Nunoz was a great teacher. He taught that you open a place on the inside in a half pass. The horse will hold the bend then."With just a thumb and forefinger Deb is telling the mare to cross her left hind leg under. This equalizes the weight and allows the horse to be straight. When the horse is consistently not straight you will find soreness in a checkerboard pattern on alternate sides. The site of soreness is not necessarily the primary site of pain. You may need to look further, deeper.

A horse may become one sided or crooked from being handled all the time on one side. They have eye dominance within a week of conception. This they will always have, and it influences them to favor one side over another. The rider/trainer can work to close the gap. Mount from either side. Work on either side. Mount from a mounting block. "I expect a horse to help me get on." Deb goes on to explain that if a horse is not standing still for mounting, staying still until asked to move, keeping body balanced, Deb looks for physical reasons and then training issues to be addressed before mounting.

The withers are the least mobile part of the back except the sacrum. We want to look for a horse that has "fluff" in the muscles on the back. If they are flat and sleek it may indicate that circulation is not good. Transitions or backing one step at a time are good for improving circulation. We could see as Deb worked with this mare that there seemed to be less angularity, more fullness below the spinea visible "fluff." The saddle will displace weight onto the ribs. The riders weight is balance. The horse will "round up."

TWIRLING

When asking a horse to turn we want to set it up to keep the horse straight (the horse is straight when her breastbone is centered between the shoulder joints). This is done by twirling the head and body. Pressure on the atlas drops and turns the head. There is rotation at the second neck joint. The first joint is still. The horse's head stays vertical. The nose does not tip out. To continue this curve the horse steps under its navels with the inside hind foot, helping the muscles of the back and rump to release.

Muscles fire because of fear, a desire to move, or a prick or poke. In firing the muscle contracts. Once a cell fires it contracts to the end of its capability. A weak contraction is fewer cells firing. A strong contraction involves more cells. Stretching occurs when an external force pulls on the ends of a muscle cell. Stretching must pull the cell longer without pulling it so forcefully or so far that the cell ruptures. Limbering occurs when muscle cells are stretched so far or so forcefully that they rupture. Limbering involves only a few cells at a time, so that redness, swelling, heat, and pain are minimized and may not be evident to surface palpation. Spraining is the same as limbering, except that it involves many more cells, so that symptoms become evident.

Deb teaches her horses a two-legged bow so that they can do their own stretching. Twirling the head in a turn also helps the horse stretch muscles rather than brace and perhaps limber or strain muscles.

Deb has succeeded in calming the mare but not completely alieviating her fears. Deb is unable to demonstrate all she would like to because the mare evades some touch. Deb, in her characteristic forthright way, offers the opinion that she would not ride this horse. I, who have my own challenge horse, hope that during the week some answers may be found for this mare, some plans may be formed to help this horse become a safe and reliable partner for Judy.

JESSICA JAHIEL

Christina has brought G'Donya, a 22 year old thoroughbred. G'Donya had a race track career but has been with Christina for the last eleven years. She first used him in polocrosse and is now working on classical riding, being in balance with her horse. G'Donya is blind in one eye.

Christina is riding a new saddle, a Back County saddle bought at the suggestion of Peggy Cummings who is a classical riding instructor.

Jessica begins by saying that you want to be riding with your weight balanced, so that if the horse disappeared from under you, you would land on your feet, not behind your feet, not forward of your feet. You need your pelvis level

She asks Christina if she rides with her heels down. Christina does. Then she notes that it is our lower leg that gives aids to the horse. That aid is because you tighten your calf muscle. You can only do that if the toe is up. Lift your toes. If you push down with the heels, the legs go forward; the buttocks tense; the seatbones disappear.

The length of the stirrup needs to allow the knee and hip angle to be closed to the same extent. If the stirrup is too long, you cannot get that angle. A place to start is to have the stirrup at the underside of the ankle bone.

If you grip with your thighs, you tip forward. If you grip with your knees, your heels come up.

Jessica then opens her hand and asks Christina to pick a color. Christina picks a bright barette which Jessica fastens at G'Donya's poll. "If you see it, look up. Look where you are going because your horse will go where you are looking."

On the Move

G'Donya is sauntering in a circle around Jessica. Christina would like more energy and impulsion. "There are two ways to keep your horse going. You can scoop with your butt, or you can make you bottom soft and tighten and relax your calf muscles. You can ride the rear or ride the engine. The only time to ask is when his hind leg is lifting and about to move forward. Feel the swing away from the right leg and give an extra nudge with the right calm muscle. Mix it up with his regular walksix longer, six regular strides. Try it for yourselfThere, with more muscle you are getting a longer stride. Now ask for a trot. Use your calf to ask for more movementjust a heartbeat, repeat not escalate." "He's forward on the trail but pokey in the arena."

Christina has taken her lower leg off and is holding with her knee. Jessica remarks that the knee then becomes a pivot point even as impulsion communication is lost.

Christina is posting, and Jessica talks to us. "Posting is not up and down. The horse takes you up. Gravity brings you down. Forward is your responsibility. You are bringing your hips toward your hands. It is like a hinge in the lower back opening and closing." Christina now drops her weight and asks for a halt.

Every horse has it's own signature tempo or speed. At the walk feel for the beat, clear, clean four beat walk. "You're tensing your butt. Try breathing. Breathe, smile." At the trot feel for the two beat tempo, clean. Memorize that tempo. Too fast means the horse is anxious, not comfortable. Take the horse back to slower than optimum until they almost doze. Too pokey bring the horse up to slightly faster than optimal."

Christina remarks that G'Donya works better after he has cantered. "An older horse often needs to canter to stretch. Do a 15-40 minute warmup then let him choose the gait. He'll choose one that will lift his belly."

Hold your reins at the base of your fingers with contact. Close your fingers not your hands.

Keeping your horse collected prevents the horse from picking up on everything and getting sensory overload.

At home practice up and down the road. Sing. If you sing, you must breathe. Bring out your boom box. Music is great because it helps keep you in rhythm.

If you are a western rider and your horse has a good trot, sit the trot. Otherwise, post. If your horse's natural trot is big strided, post.

Tom Thumb, colt starter bits, broken curb bits have a purpose. They are great on a bathroom wall with tissue hung on the bit. Soft hands come from a good seat.

VIC THOMAS

Adult Learning

A learner is one who increases his/her skills or knowledge. An instructor is an expert in some area of information who structures and sequences the material to meet the student's learning process.

We must learn new disciplines all our life. "The man who knows how can always get work, but the man who knows why is the boss of the man who knows how."

Domains of Learning

The most inclusive domains of learning are cognitive, psychomotor, and affective. Cognitive is the what, the knowledge. It is the easiest to teach, to learn, and to test. It involves the five senses. Psychomotor is the how, the skills. It is more difficult to teach, to learn, to test. It is not a time for remonstration. The student is always his/her harshest critic. The teacher is second, but criticism creates a learning hook. Instructors can eliminate tons of learning hooks just by caring. Affective is the why, the attitudes, ego, self worth, self image. It is the most difficult to teach, to learn, and to test.

If you want to make an enemy, insult a person.

Reward for good behavior is important, but excessive reward has no sincerity. Reward should be specific, a validation or notice of something positive. It is specific, immediate, and cannot be expected. It's not the amount of reward given. It's the quality, the way in which it is given. Respect and caring go both ways.

How do we learn? I learn best when:

1. I want to,

2. The material is geared to my level,

3. I see a relationship between my goals and what is to be learned.

Behavior tells us what we think. (We argued that one because people in control of themselves may think one way and behave another if it is beneficial for them to behave a certain wayfor example, as an employee). Vic conceded that in a business or organizations we rent an employee's behavior.

MARK RASHID

Marlene has brought a 9 year old, Polish arab mare, Vanessa, that Marlene uses for endurance riding. She sometimes rides with a halter. She is fighting with her horse and wants the horse to be softer and more responsive to leg cues. Sometimes Vanessa is afraid and will not want to do something. When Marlene insists Vanessa will get very calm and if pressed will go through blind, without paying attention to anything.

Marlene has been riding Vanessa as she talks. Each rider is rigged with a microphone, so that we can here the give and take of the dialogue. Mark suggests that sometimes when we are using a halter our cues can get heavier than if we were using a bridle. Marlene also admits that she doesn't use as much leg when she is in the saddle. Mark suggests she try turning Vanessa without cues--just look where she wants to go. She tries it, and Vanessa offers a turn.

Mark refines it by asking her to turn from her center, her navel. "Could you feel your horse offer the turn?" She has tried before Marlene even completes her turn. "Where was she offering it up? How can you help the horse? This is more about you than her. She'll be fine. It's not enough to look. You have to see where you're going." Mark states his one rule, "Don't run me over."

Mark then takes the reins and asks Marlene to feel the softening of the horse and to release when the horse releases. Next he asks her to be the horse. Mark, with his exquisite timing, is able to find the start of her softening even before she releases and releases instantly.

If a horse is pulling on the reins to go home, it may be a trust issue. If you have eliminated physical causes, then you have a horse who would rather be with another horse they've never met than you because the other horse knows their needs better than you do. If you have lightness on the outside, you have softness on the inside.

Lateral Work

Marlene attempts a turn on the haunches, but Vanessa helicopters moving all four feet. "Slow down. Take your hands slowly. Just get a hint of backward movement. Drift back. There's a spot where you can just glide over. Teach one step at a time."

For a turn on the forehand Marlene again drifts Vanessa back on her hindquarters then asks for a turn. Again she is too quick the first time and gets a helicopter effect, but the second time she gets a nice turn on the forehand.

"You're using a lot of pressure to get her to back. We need to soften the picture. She's leaning into the pressure, bracing against your hands. You're using a four on her. Start with a one." Vanessa is crooked. "Straighten her head. Keep it on me." Vanessa tosses her head. Marlene is asked to frame her hands and shorten the reins but not use a lot of pressure. Vanessa dips her head and backs without any brace.

Vanessa's attention is drifting. Mark moves slightly, and Vanessa's attention returns to the moment. Marlene moves her forward then asks for a stop. Vanessa drifts. Marlene is instructed to take her across the arena to a sign with a water bottle and stop at the water bottle. She drifts again. She is asked to back. "Look for softness."

"She offered a back at one."

"Way less than a onethat's your ten now. Before we can get a flex at the poll we have to get rid of the fight. Let's ask for a back again. Your release needs to be brief then take up contact again to continue to keep the momentum in the back. Try ten steps backShe's calm. There's softness front to back."

They continue to work on flexion, rounding up, and working from the hindquarters. The goal in a back is to have Vanessa lower her head and Marlene release when the nose drops. She is tent to take up contact. She does this and gets a lovely back.

Again and there is release and contact all in one movement. Vanessa softens, backs, turns on her haunches, and we break into applause.

But the next turn as she goes forward Vanessa is on the forehand. They try again, turn, stop on the haunches. "As you come around think about the stop." She does, and it is accomplished with no cues. "Beautiful!"

"BreatheNice turn on the haunches. To bring her back end around tip her nose in the opposite direction, and her back will move. Move your outside leg back just a bit."

Now Marlene receives instructions for a sidepass. "Outside leg in the middle. Tip her nose slightly away from the direction of the pass. Lead out with your inside hand. Hold her up so she doesn't go forward." There is a struggle as Vanessa tries solutions to this new problem, and she winds up walking through the cues. A second try is no better, so they back down to something Vanessa knows rather than argue.

Marlene is making up her mind which way she wants to go. Vanessa moves. She has felt Marlene's direction through her seatbones. "She's telling us she doesn't need any leg."

Nose tossing is still a problem. Mark suggests that if Vanessa tosses her head Marlene should tip her nose one way or the other. "She needs more guidance in an effort to be soft. You don't have to get heavier. We're working with the rider more than the horse today."

QUESTIONS AND ANSWERS

After a dinner break we gather for a question and answer session with those presenters who have already presented. Each question can go to two of the presenters.

How can I get my horse to do what I want without help from me? We do exercises around cones. My horse has done them a lot. How can I get my horse to do them automatically?

Mark Rashid"You can't do that. You need to help the horsearound anything. There has to be a continuity between you and your horse, otherwise communication has broken down. The rider has to be involved. I don't see how you can not help your horse."

Harry Whitney"Without the riderthat would be a trick. You could accomplish the job, but it would be mechanical. The horse would just be doing a job. Support is a factor that comes in here. The horse may need help.

How can I minimize fear?

Jessica Jahiel"Your physical coordination may be off. If you have more control of your own body, you will feel that you have more control of your horse. Where do you feel confident? Start there. It's like eating an elephant. You do it one bite at a time. Tweak or push out your boundaries where you have confidence. Expand your comfort bubble a little at a time. Yoga, tai chi, centered breathing, relaxation, visualization may help.

"There are little things you can do for the horse as well. Thank your horse. It's hard to be afraid when you are thanking your horse. Ask yourself 'why am I afraid of my horse?' Is it past trauma? With this horse or all horses? You may have to seek professional help. A therapist can help you break through fear. If it was real traumatic, you'll need help to get through the fear."

What is your opinion about the barefoot or natural trim ala Hiltred Strausser?

Deb Bennett "Most horse troubles are caused by one thingman. If you have your horse fenced with less than 40 acres free space, she is not free to be run. If you are keeping your horse in a stall, it's like keeping a horse in a porta-potty. The horse has no natural teeth, no natural feed, no place to run. That's why we worm them.

"The barefoot trim is designed to look like a mustang. The trim is designed to protect joints. You want a triplook at orthopedic appliances designed by a diagnostician" time for Dr. Deb was up.

Stuart Greenberg"I don't know about Hiltred Strausser in particular. Sounds like the horseshoeing flavor of the month. I don't believe in horseshoes if the horse has a sound health hoof. Give a horse six to eight week with the shoes off and a good trim and you can get the perfect, desired, sound foot. Unnatural acts may need traction and shoes."

Do you believe in shoeing prescriptions from the veterinarian?

Stuart Greenberg"Do I believe the farrier and the vet should consultyes It should be a three-way communication between owner, vet, and farrier. You as the horse owner should sort out what is needed. If you can't sort it out between the vet and the farrier, get other people. If you don't get consideration from them, get another farrier and another vet. Don't allow their ego problems to happen. You're paying these people.

"But also let the vet and the farrier talk together on technical terminology."

Deb Bennett"Some medical people are not able to communicate with people. You learn to be a good consumer. Read good books."

My horse is out at C1 and C2. Can I take care of the problem with one adjustment?

Dr. David Siemens (equine chiropractor in Wednesday's notes)"It doesn't matter which area is out. It is the severity of the trauma. Is there scar tissue? What is the use planned for the horse?

"Will you always need followup care? Maybe. Do you have to continue to water your plants? How long do you want your plants to live? Will one adjustment take care of this? Probably not."

Deb Bennett"You have to look at three things.

1. What caused it?

2. Are you sure you're getting a quality massage therapist or equine chiropractor?

3. Who is the most effective person in the horse's life? You are. Can you get on the horse and not degrade him?

"Beware of limbering which pulls on cells until they rupture" time's up for Dr. Deb.

What is the process a horse goes through in learning?

Harry Whitney"Cue, pressure, responsewe probably shouldn't label it, but that might be a starting point for how a horse figures something out. CPR is accurate but only a part of a piece of learning."

What about using a tiedown to teach the horse to work from his hindquarters?

Mark Rashid"Someone brought a horse to a clinic that they had used with a tiedown. The horse had learned how to brace and lean in the tiedown. If you're having trouble teaching a horse to work from his hindquarters check physical things. Teach the horse to supple through the neck, to soften to the bit, to bend laterally, not to lean on anything.

"It's a combination of little pieces. Take as long as it takes. It's a long process. You can't work on the back end until you have softened up the front. Soften to the bit first that brings flexing the head, poll, neck, withers, and rear end."

Harry Whitney"Using a tiedown is just poor riding. Go to a clinic with Mark or Jessica."

When I am riding to the right my horse leans out. What can I do?

Jessica Jahiel"Ride straight then ask for a supple bend. Otherwise you lean like a motorcycle. When the rider takes a strong hold on the inside rein it inhibits the inside hind leg from coming under. Do less!"

Dave Siemens"Look at function, fluid, movement of the horse and rider. Look at length of stride. What is hanging up? Does the rider need help? Is the rider stuck (in the hip)?"

How do I help my horse around a curve?

Deb Bennett"The inside shoulder blade is slightly lower on a curve. Help the horse set the inside leg under the navel. A horse at liberty on a curve looks out, leans in. Having a rider makes a difference biomechanicallyRiding is not natural. Reins are tendons that connect a horse to muscles she never had beforeyours. You need to come into harmony with knowledge, learning, good heartedness."

Jessica Jahiel"Don't drop your inside shoulder on the turn. Your shoulders and your horse's should be together like an airplane that turns but doesn't bank."

MARK RASHID

Mark is working with Christina and G'Donya. (Try saying the name in your best Australian accent with "Mate" after it). G'Donya is fine, but Christina is locked up. Christina would like G'Donya to have a longer stride at the walk.

Christina is cueing G'Donya for a longer stride, but when he starts to give it to her she is not releasing the cue. He thinks he's made the wrong response. She has been cueing with a driving seat, but this is throwing the horse off balance.

"Let's try just bringing up your energy. You can try this yourself on the ground. Try a slow walk. Take note. Not much is happening. Now try a fast walk. You're bringing up adrenaline. A lot of things are going onheart rate, pulse, etc. That's what we want to use as a cue to your horse. You can be calm and do this. Try to feel his walk." G'Donya is walking slowly.

Loving Relationship

Jessica adds, "He's a very responsible citizen. He's trying to take care of Christina. The more she locks up the more he interprets it as worry. He slows to take care of her. They clearly have a very loving, caring relationship."

Mark asks for a stop and back with no leg. G'Donya has not backed this way. He is worried and works the bit. "Add a bit of pressure." He works on it then backs with a slight sidepass. Christina has had a hair of pressure with one leg. She is a little heavy on the right side. She added the right leg first and took it off last.

Another backthis time his nose is bent right. Mark asks her to straighten the nose. She does, and G'Donya backs straight.

Heads Will Fall

He starts abruptly. Christina has given two cues. She asks for a trot but is looking at his head. "We'll tell you if his head falls off. I've only seen it happen once. If it happens, you'll hear a thud, and he'll trip." One slow stephe's asking if he can go slower. Two slow stepshe's still asking.

"He's still asking. He likes you. It doesn't have to be a big cue. Kiss, that acknowledges that you heard. You're thinking about what's going on and why it's not working. If you're thinking negatively, that starts a downward spiral. When changes are coming you'll see a shift in momentum coming from the horseshoulder, eye, ear, step. You don't look in one place. You look all over.

"Thereyou answered two and missed three. Cluck, kiss, leg, lift reinssomething has to happen. He's asking, 'Is it alright if I slow down?' You need to answer, 'I'd appreciate it if you didn't.' You're asking yourself how does this affect my horse? It's a conversation between you and him."

Christina works on cueing G'Donya with the reins. "Right now, right now, right now. You're lifting the reins, but there's a slight pull on his mouth. You pick up the reins, and his head comes up. If it works that's okay, but the reins are attached to the bit, and it lifts his head a bit. Try using a kiss and then, if you need to, a little leg.

"Is this trot what you want?"

"I don't think we'll get it in the arena.

"If you don't think you will, you won't."

If you are riding with more life and energy, not locked up, you aren't moving so stiffly that the horse can't carry you. Loosening up is unlocking yourself and your horse.

"It's such hard work. I didn't think it should be so hard." Mark helps Christina see that she is making it more difficult by moving and pushing. Cluck, kiss, legshe's throwing him off balance. She only needs to use a cue. If it is pushing with her seat, she only needs to use it once when she asks.

G'Donya works better outside of the arena because there is not a disconnect. Christina's energy and connection went away when they entered the arena. It's not up to the horse. It's up to the ride. G'Donya is responding to Christina, doing what he has always done.

Lighten Up

Jodi Denning is called into the arena to work with Christina. She asks permission to touch Christina and finds that Christina's knees are tight. Her lower back is hollowed, and her pelvis is tipped. She asks Christina to drop her stirrups and pull her knees up to her waist. This flattens Christina's back. Jodi puts a hand on her lower back and asks her to breathe into her hand. While this is happening G'Donya has relaxed and cocked a leg.

The joint in the hip needs to be fluid and open like diapering a baby or a cat on its back. Jodi pulls Christina's bent leg out and down. Then tries the other leg. Christina's back is still tight but flat not hollow. Her pelvis is leveled. She has more contact with the saddle and horse. Jodi pushes Christina's back. She is solid in the saddle. G'Donya is the one who moves to stabilize them.

Christina puts her feet in the stirrups. Her thigh muscles are longer. Jody drags her hands down Christina's thigh to give her the feeling of the length. She is lower in the saddle and does not need to clench with her knees. She drags her fingers down the back of Christina's calf letting her feel the length of her calves. Then she asks Christina to flex her knee out, her ankle in slightly to loosen up.

Next Jody has Christina bob her heels up and down. The movement goes to her hips and stops. Jody wants it to go all the way up. "Just jiggle your foot." This time she can feel the movement all the way to her shoulders. She has flattened her back. Now Jody rotates her thigh a bit. "Experiment until you find a place in your body that is most secure. Think about making your back longer. Breathe from your abdomen. Your abdomen needs to support you as you ride. Pull your legs up to fill in your back. You want your pelvis level. We've dropped your foot about an inch.

"This is all the same stuff Mark and Jessica talked about. Move around. Experiment. Unlock things in your back."

G'Donya moves out, relaxed, with long stridesthe walk Christina wanted they have now achieved.

Jody answers a last question. "Women tend to tip forward on their pelvis. Men tend to rotate back and sit on their pockets. What you want is for the pelvis to be level."

DR. DAVID SIEMENS

Dr. David Siemens is a graduate of Palmer College of Chiropractic and is certified in the Zahourek System (a complete knowledge of the equine musculature structure). He is a charter member of the American Veterinary Chiropractic Association. He owns, rides, and drives horses and has a keen desire to help people and animals stay healthy and operate at their peek performance level.

Everything Horse

The American Veterinary Chiropractic Association was founded in 1987 to set standards and assure quality chiropractic care for horses. Everything to do with a horse is art, science, and philosophy. They are not separate. Chiropractic care covers brain, nerve system, muscles, and skeletal structure of the horse.

The skeletal structure supports the horse. Muscles attach to the skeletal structure to create levers. The skeletal structure also offers protection to internal systems. There are compromises. The horse gives up some protection for flexibility. The horse then is vulnerable to trauma and dislocation from poor saddle fit, stress, confinement, trailering.

On a Barrel

Harry has spent time in a barrel as a rodeo clown. Deb has probably been over a barrel with some of her statements. Dave works on a barrel. Dave is vertically challenged and has been on the short end of many jokes this week. The large blue barrel he mounts with such finesse allows him to work above his patients.

G'Donya takes visible pleasure at the work Dave does on him. Dave is able to move up and down the horse, deft flips of his feet maneuvering the barrel. Those of us who have had need of a good chiropractor appreciate what is happening. Others are skeptical and pepper Dave with questions.

Chiropractic care is a holistic approach to health and performance problems of the horse. It does not take the place of veterinary medicine and surgery but adds another facet of care. It focuses on the health and proper functioning of the spinal column.

Dave fielded questions on whether one adjustment was sufficient. Depending on the severity of the problem and the length of time the condition has existed it may take several sessions to completely readjust the horse. You will probably begin to see change with the first treatment. Treating one problem may reveal deeper problems and need other treatment. Regular maintenance sessions may be necessary every 1-2 months.

Dave is still working on G'Donya when we have to move on to another session. Time is a human concept best thrown away when working with a horse.

STUART GREENBERG, C.F

FARRIERY

Stuart Greenberg teaches a popular series of practical horseshoeing courses at Santa Rosa Junior College in Santa Rosa, California. He also has a private practice hallmarked by his wonderful "eye" for structural alignment. He is a member of the Equine Studies Institute.

He treats horses according to the principles of orthopedics. This includes trimming, design, manufacture, and application of horseshoes and other devices. He understands equine anatomy and biomechanics and does not try to artificially alter a horse's stance or way of going because "corrective shoeing is usually incorrect."

Recommended Reading

Stuart started with a table full of good reading on equine anatomy and horseshoeing. The Illustrated Atlas of Clinical Equine Anatomy and Common Disorders of the Horse, Vol. 1: Musculoskeletal System and Lameness Disorders, Ronald Riegel, D.V.M. and Susan E. Hakola, B.S., R.N., C.M.I. is a spiralbound lab book with the clearest, best color illustrations and commentary to be found. It is the best and most useful book of its kind.

Scientific Horseshoeing, Professor William Russell, is a reprint of a 1903 textbook for "leveling and balancing the action and gait of horses. There were other including Principles of Conformation Analysis, Vols. I, II, III, Deb Bennett, Ph.D. Quoting from the entry in our notebooks "The foremost authority on equine anatomy and biomechanics presents the definitive form and function survey of equine anatomy and physiology, and how the conformation relates to movement and performance. The most enlightening book on equine conformation ever written. 96 pp. each volume, paperbound, about $25 for the set."

The Anatomy of the Hoof

You cannot assess shoeing and balance unless you know the internal structures of the foot. A horse's front legs are support columns. They support 2/3 of the weight of the horse keeping him from dragging his nose on the ground. The front feet are rounder and larger than the rear feet. Forces on the feet come straight down. The coffin bone is broader and wider in shape. The rear legs triangulate in structure. There is a rotational aspect to movement. The more triangular the structure, the steeper the angle of the coffin bone. The arch on the sole is greater.

The hoof capsule is specialized hair. It has bundles of tubules that you see as lines running in the hoof wall. Twenty five percent of the composition of these is moisture. Ninety percent of that moisture comes from internal sourcesblood, serum, circulation through movement of the horse. That is why keeping a horse in a large turnout aids the health of the hooves. The hoof wall is the primary weight bearing structure of the horse.

The sole is also keritanized, less organized, does not bear as much weight. It is 33% moisture content and protects the coffin bone. It becomes tempered if the horse goes barefoot.

The frog is keritanized and has fat glands for lubrication. It is the consistency of a pink pearl eraser. It has a wide, broad, large portion at the back of the foot. It is very important as a shock absorber. It acts to bear some weight. It acts as a mechanical blood pump and has traction qualities. It should be diminished very little during trimming and shoeing. Trimming should be therapeutic only, cleaning out the commisures, taking out snaggly pieces. Shoeing is structurally intrusive and should be approached with the idea first do no harm and second allow for the greatest protection of the sound structure as possible.

Periopal material, which protects the nail bed and is similar to the cuticle on a human is the fringy-looking material at the top of a hoof. It may be brushed sponged, or softly groomed with a face brush but left intact. It acts as a moisture barrier. It is the transitional material in a hoof and protects the infantile, tender growth from the coronary band. Do not rasp there.

The hoof also has growth or "fever" rings, which are a record of the systemic changes in a hoof. They are like tree rings recording the change in feed and conditions.

A farrier may rasp around the hoof wall to redress environmental wear. Inside the hoof box are laminations which look like the underside of a mushroom cap. Bonded to the coffin bone are 500-600 sensitive laminae. They look leafy, red, fleshy. There are secondary laminations covering about 8 ½ feet of surface area, providing the digital cushion. The horse is suspended from the inside of the box of the hoof and bears weight on the horny and sensitive laminae.

The coronary band is where the hoof grows. The white line, which you see, is actually an unpigmented section of the hoof wall. The true white line actually looks gold and waxy and comes out of the laminae. Founder is the pulling apart of the true white line. It will take awhile to see it as the hoof grows out. Stuart works from x-rays when working with a horse with laminitis.

People will forget what you did,

But people will never forget

How you made them feel."

Unknown Author

Everything You Do Is Marketing

The marketplace "big boys" are not always moral. Linda works with the rest of us.

The horse industry creates $25.3 billion of goods and services with a total impact of $112.1 billion as that circulates through the economy. There are 619,400 people directly employed with a 1.4 million FTE in the United States indirectly employed through this industry. There are 6.9 million horses. The median income for people owning horses is $60,00014% under $25,000, 38% under $50,000, 64% under $75,000.

If you want information about demographics in your area, go to www.global.com.

If you have a passion that you want to turn into a business, you need to plan and research. You need to take passion and emotion out of your business decisions.

She who tooteth not her own horn,

Her horn does not get tooted.

HARRY WHITNEY

How Do You Get a Horse Okay?

This is a question from the auditors. Harry explains, "It's not so much what we do as what we miss. We want the horse's brain and feet in the same place. The rider needs to help the horse achieve that. Know what you're going to ask. Know when the horse has achieved it. Tell the horse when s/he has done it right."

About lunging"I've seen people work a horse on the end of the line. They're mindlessly going around without paying attention to what the horse is saying."

Harry is on Turbo. He has a carriage whip with plastic strings. Turbo is circling. Peanut has been racing around the pen for 15-20 minutes before Harry entered the pen. He races a bit more then settles. Harry dismounts and strokes Peanut. For a time Peanut's attention wanders then comes back to Harry.

Harry wants to get the horse to a place where he feels confident with what he did, good within. Harry is lunging him on a short rope. Peanut's attention is focused outside. Harry kisses. Peanut returns his attention to Harry. Harry asks Peanut to back. There is a brace. He sets it up so that there's not much pressure, and Peanut gives him a straight back.

Turbo's Night Adventures

Turbo is not as calm as the day before. Harry explains that Turbo has been letting himself out at night. He has a harem of Mark's two mares. He's exhibiting some studish characteristics and thinks the second gelding in the pen is unnecessary.

Harry has been working with Peanut who gets softer and lowers his head. When Harry makes the circle tighter Peanut tenses and raises his head. When Harry asks him to go to the left his tension increases. Harry continues to ask him to bend, to turn on his haunches, to move, and Peanut is moving with fluid grace.Turbo has sidled back to the middle to give Harry help. He is sent back to his cornerdifficult in a round pen, but Turbo stakes out a small section of fence and keeps an eye on Harry and Peanut's progress. When Harry asks Peanut to move off he addresses his midsection where his feet will be when he is riding. When he asks Peanut to change directions he raises one hand to ask for a change in the hindquarters as a hand would ask if riding. He takes off pressure when Peanut attempts the right answer.

Saddled

Mandy has saddled Peanut about fifty times. The hoof wall is the primary weight bearing structure of the horse. "Boy, he's probably sick of being saddled." Harry takes out some saddle blankets and rubs Peanut. When the blankets are quietly raised to place over the back Peanut tenses. "Don't make a flag. It's a useful tool in the right hands, and a dangerous tool in the wrong hands. Flags can traumatize or be a useful tool." Harry now places the flag in front of Peanut. He resists, braces as he sniffs. Harry is preparing him for future times and other strange objects. He asks him to move feeling that he takes more in when his feet are moving. He is troubled standing with the flag above him, but as his feet move his head drops. He is feeling better. Harry turns him. Now he is more troubled. He jumps out and doesn't feel good with the flag on the right side. Harry brings it up over his eye. Peanut tries to push the flag out of the way. "We'll just work on both sides and help him where he needs help. We'll do more work on the side he doesn't feel good on."

Horses are one-sided even at birth. We can help equalize that by working on both sides, giving more attention to the side he doesn't feel good on. Peanut is not looking better when the flag is over his head. He is more balanced but wants to crowd Harry a little. Harry is getting nice turns from him. Peanut focuses on the flag and follows it through a turn. Harry then works with a saddle blanket over Peanut's back, under his belly, over his hindquarters. Peanut is much nicer. Now Harry picks up the saddle. Peanuts head raises. Harry keeps the saddle held high. Peanut moves off, returns. The saddle is on. Peanut moves. It bothers him. Harry lets him move his feet. When he stops Harry moves the saddle for a better seat and encourages him to move his feet if he needs to. "He's been saddled fifty times and has been very uncomfortablebrave lady."

Peanut is now noticing the saddle. Harry pets him with it. The next time on is better. Harry pets the other side. Peanut is more troubled. He moves. Harry goes with him and puts the saddle on. Back to the other side. Harry puts the saddle on backwards, and Peanut is fine with that. Harry returns to the other side, and Peanut wants nothing to do with the saddle. The goal would be to have the horse able to stand still, but for now he doesn't have to stand still. He has been saddle and is still troubled, so Harry lets him move. Peanut has a cinchy reaction as Harry is saddling him.

"If you have a horse in the cross ties and he's fussing and pawing, his brain is not between the cross ties. If you want to test that, just slip over and untie both cross ties. See how long he keeps pawing and stays there. You want his brain and heart with you." "Harry, how often and how long do you tie a horse?" "Once or twice a year is too often if the horse's mind and heart are not with you."

Dealing with Fear

Harry has been lunging Peanut. He is okay with support. Now Harry turns Peanut loose. He trots twice around the pen and explodes. The saddle blanket slips loose. Peanut slows to a trot. He is calmer, but his mind is not with Harry. "If we saddle a horse for the first time before the horse is ready, he carries tension that says this doesn't feel good. He'll carry that for some time into the future. If he's standing but struggling even a little bit, it will carry over to the next time. When the horse gets to a good spot that's the time to quit, take off the saddle. Rub the horse down. Maybe do a little work on the lead.

"I couldn't help this horse with the halter off. I got in front to change his direction and get the horse's mind back. I tried to divert him so that he could find the soft spot in the storm." Harry halters Peanut and moves him. He's okay but mentally checked out then he stops with nothing distracting him, realizes his saddle is still on, comes unglued, and bucks. Harry keeps out of the way but helps him as best Peanut lets him. Turbo is offering to leave the area. Harry pulls off the saddle. It is tight in the shoulders. Peanut has a spot on his right that is hard, tight. "If a horse is not mentally ready to be saddled, saddling can be a trauma. If he is ready with a mental lack of tightness, it allows a physical lack of tightness."

Harry asks him to move his feet. Harry is at Peanut's withers and stays with him. He dig, scratches, strokes and brings about a huge change in Peanut. You can address either the physical or the mental to address the other.

We want to foster an ability to think or turn to the human for help. We need to be present, so that the horse doesn't feel we've gotten him in trouble. In trouble you give the horse help.Mark adds, "Conduct yourself in a way that the horse feels you can be trusted, knows you're trying to help him. Get the horse to trust your judgment." Harry continues stroking Peanut. When Harry moves Peanut follows.

Recapping

Mark goes on, "The last time he bucked he was looking to Harry for help. That's the softness in the storm. He got quieter and quieter. He brought this trouble with him. He didn't know where to look in the past. 'I need to get through this day, so I'll just come apart here.' He's bothered, not about the saddle, but about life. He's beginning to trust Harry. This is a critical juncture where Harry has to keep trust." "The quality of what we do is what carries over. If he's confident inside, it will be easier to face the whole world. So they're started, so they go."

BANQUET

This is an evening set aside for socializing and fun. Some of us who are staying out of town come dressed as we were. Others are in elegant Western fashions. We talk horse, clinicians, The Horse Gathering in southern drawls, Scottish accents, western twangs, clipped Eastern.

Good food, stories, laughter, Jeff Abbas leading the festivities, songs, spoofs--if you get a chance, ask Mark to tell you the pig story. It's best told if his son Tyler is there as straight man. To top off the evening there were the Elktones, the band Mark plays in, and among us are some excellent two-steppers and ballroom dancers. All this, and it is only the middle of the week.

HARRY WHITNEY

Harry is riding Turbo in new headgear todayfour kinds of gear in four days. He explains, "Turbo gets more settled every day he is in a new location. Turbo doesn't care about his headgear. He cares about who is handling him and how."

We turn to Peanut. There are some troubles inside this horse that are big that go really deep. It is taking time to get trust going. He has to get in some spots and learn how to get outto help himself and to rely on the human for help.

Helping Peanut

Mark notes that yesterday after many of us had left Peanut got into trouble. He was bucking and running blind. There are certain ways that horses learn to understand things. They have to go though the fearful mode then begin to engage their minds. We can help a horse think, engage mentally.

The second time Peanut bucked yesterday he was looking for help. He was coming to Harry for help but was still in panic mode. Harry didn't quit him. He stayed with him and helped him through the storm. Harry was as soft as he could get through the storm.

Turbo is calmer this morning. He didn't go partying last night. Harry tied his gate shut with a rope. Peanut is also calmer this morning until Harry enters with Turbo, then Peanut escalates into a gallop.

"He doesn't know if this is the best deal or not. What's going on is really deep. I'm not in a hurry to saddle or ride him." Harry positions himself so that Peanut can choose to stop. Peanut stops. Harry strokes and strokes Peanut. Harry backs away. Peanut stays with him with some difficulty, then his feet begin to move. His brain is gone, but recovery is quick. He comes back to Harry, and Harry reassures him.

Peanut is coming around. Harry halters him. Yesterday when Harry worked with Peanut in the halter, Peanut kept an ear on him. The day before there was none of that. Today on a short lunge line Peanut moves out but does not hunt the end of the line. He is moving his feet to keep with Harry.

Harry walks at Peanut's girth with a hand over his back. Peanut is super sensitive and tight as Harry scratches the off side, but he is not as tight as last night.

Harry uses a rope halter. He finds it is easily adjustable for a horse with a long head. It has a long lead rope that is a good length to work with and has a good feel. He cautions us, " If someone says you have to have certain facilities or equipment or techniques, they are probably selling them. Whether it is facilities, equipment, or techniques, there is no magic. If you understand how a clinician works, you will understand how to do it yourself."

He is moving with Peanut at his girth, petting, scratching, directing him. "What he understands moving will be more valuable to you and him down the road. Yesterday Peanut was saddled, but he was not taking it in. He was trying to ignore it."

Harry now mounts Turbo and works to get Peanut side by side with Turbo. "He's worried if anything is behind his eye." Harry continues petting Peanut from above himpast the poll, down to the withers. Peanut's head is high. He is worried but tolerating more. When they switch sides there is a brace. His head elevates. Harry continues to work to ease his worries, still his feet.

Mental Maturity

Mark asks a question that is on many minds. "Do you think some of what is happening is due to his mental maturity? Would it be of benefit to turn him out for a year or two before continuing work with him?"

Harry is thoughtful. "Some of this is mental immaturity. I'd like to get him past this spot into a better place of trust then turn him out for a year or so. Many had saddled him and then run into some problems. She let him go for six months knowing he needed help, then she brought him here. I want to get him in a good spot before we turn him out again."

He is asked if it would be better to continue groundwork than to take him home and turn him out. "Nothingdoing nothingis better than poor groundwork. When they go home Mandy needs to do things that help build trust. Show you're here to help.

"What happens in the stall is groundwork? Groundwork is doing the things you need to work on even when you are not working on them." All this time Harry has quietly stroking Peanut with the flag moving from head to shoulder, head to tail. Peanut is troubled.

Harry is presenting the flag above and behind the head showing him that he doesn't need to get upset. He is working from Turbo because if Peanut pulls back Harry has "a puny body. I didn't want him pulling back on me. I'd also rather he thought Turbo was the bad guy."

Now Harry steps off Turbo. Peanut is clearly worried when Harry crosses Peanut's centerline with the flag. He crowds in on Harry. Harry is careful and takes far less chances on the ground. Then he climbs the fence.

Harry again presents the flag. Peanut almost backs. He moves his feet. His head is high, but he is trying to stay with Harry. He does back up when Harry turns him and switches sides. "I'm not desensitizing him. I'm asking him to think, to follow where I am directing." Harry asks him to move in close and when he does Harry pets him. Harry asks him to move, but he is not feeling the lead rope. He is in a tight spot and wants to move off. Peanut searches through options then moves to ease pressure. He is again rewarded with stroking.

Now Harry begins again with the flag, and Peanut's anxiety level rises. He rears. Harry lets him move his feet more giving him more rope. He thinks this is the way out, but the flag stays with him. Peanut hits the end of the rope. It hasn't worked. He comes back to Harry where he finds calm. He has found a spot he likes.

It's not quite the spot Harry wanted, but Peanut licks and chews and is calm. Harry begins there working softly with the flag, back and forth. Peanut is worried, but he is giving Harry acknowledgement. When he moves to the end of the lead rope he is softer. There is a huge change on offering up his right side. It is a good spot to leave Peanutnot perfect but gives something to build on later.

If the exercise is overdone, trust will be lost instantly. The result will be a brace, a change in the eye, tension in the body, higher head, the way the feet move. Peanut will have gone into a bad place where he will be unable to follow Harry's direction. If this happens in training, look to do something else, anything else to take you and the horse back to a place of trust.

The audience claps. Peanut, troubled, moves off but quickly returns to Harry and calm.

CHRIS RYAN, ESQ.

LEGAL ISSUES

Chris Ryan is a California attorney "(out of Stanford University by UCLA Law School)." He owns five horses, keeping from 3-5 of them in his suburban Los Angeles backyard. He is active in diverse equine activities and with the 3000-member California-based horse club Equestrian Trails, Inc.

He has practices personal injury law and represented the entertainment industry. Horses help keep things balanced. "During the work day, I may sling the b.s. about over the phone; then I go home and sling it for real! And the horses help keep thing real because they give you back exactly what you give them."

Trial Cases

When a case comes before a court, the court looks at four areas: consistency, fairness, statutes, and case law. Problems with consistency in a case may hinge on attitudes and values, political calculations, the size and diversity of the country. A judge brings one understanding to a case, lawyers represent other perceptions, and each juror has his or her own understanding of the case. Each state has different laws and understandings of issues. As a case travels from one level of court to another, the higher courts may be in a reconciling position.

Fairness is about whether you follow the same rules for all. The courts may allow for individual circumstances in a case.

Statutes may vary from state to state or from governmental body to governmental body.

Case law is what judge and jury in past cases have decided.

Injury/Neglect

When an injury or neglect case comes to trial the judge or jury looks at three aspects of the case. Dutydo you have responsibility? If yes, they look at breachdid you not do your duty? Causationdirect or indirect such as sales practices (gun manufacturers).

If these aspects are proven against a defendant, damages are then awarded.

The Equine Activity Statute

The Equine Activity Statute is similar between states. If you engage in an equine business, you should know your state's Equine Activity Statute. You should also write a release that is wide enough to cover possibilities. Our notebook included several examples of sound release forms.

The Colorado Equine Activity Statute begins "The general assembly recognizes that persons who participate in equine activities or llama activities may incur injuries as a result of the risks involved in such activities. The general assembly also finds that the state and its citizens derive numerous economic and personal benefits from such actives. It is, therefore, the intent of the general assembly to encourage equine activities and llama activities by limiting the civil liability of those involved in such activities.

"'Engages in equine activity' means riding, training, assisting in medical treatment of, driving, or being a passenger upon an equine, whether mounted or unmounted or any person assisting a participant or show management." The statute goes on to detail terms, responsibilities, and liabilities.

Recreational Use Statute

This statute covers the liabilities and responsibilities of an owner who opens his/her property for recreational use. It does not increase your duty if you are not doing it for money or are not charging an individual.

Liabilities, Leases, Insurance

Releases are partially interpreted by contract law. The standards of a release are that it be conspicuous, legible, readable, understandable. Treat your releases seriously.If you are engaging in commercial equine activities, you need to have a commercial insurance policy that will cover exemptions to the law.

Chris covered several cases involving those engaged in the business side of equines and stressed that whether we are occasionally selling horses, managing our club horse shows, training for others, running a boarding facility, or in any way engaged in business, we need to know the law and be prepared for all possibilities.

JESSICA JAHIEL

Concern for the Horse

Marlene is an endurance rider who has brought her Polish Arab to the clinic. With Mark she has been able to open a gate from the mare, learned to keep the horse calm, keep her attention, move her back feet, move her front feet. The goals for riding with Jessica are a turn on the haunches and a turn on the forehand.

Jessica takes time before to show us the bitless bridle. Marlene has been riding in a halter and reins. This bridle would give greater guidance but still have the gentleness of the halter. The bitless bridle exerts pressure on the outside cheek and poll (www.bitlessbridle.com). Jessica does not sell the bridle but has been taking it to her sessions and allowing others to try the bridle. She has found that there is no learning curve with the bridle. She reminds us that one of the questions we should always be asking is "How can I avoid hurting my horse?"

As she is talking Marlene has been warming up her horse. Now they move into a trot. Vanessa's nose is out. Marlene is riding a bit forward. Jessica helps her sit up and secure in her saddle and helps her still her hands.

Jessica returns to her subject. "Working with a horse is like having a baby who is crying. We can

ask, 'How do I get that damn noise to stop?' or "How do I find and fix what's causing this baby to be unhappy and cry?' If we ask the second type of question as we work with horses, we will be looking for more than just rider position." We may need to look at pain issues or equipment fit. If a bit is snugged up too tight in the horse's m