Dressage: Foundation
for All Riding Disciplines
Lesson Nine
ARENA CRAFT
Whether or
not you decide to show in dressage, it is a good idea to understand the design of the dressage
arena.
The arena is put together in such a way that it helps you
perform the prescribed movements; the dressage arena is rectangular and has
good straight lines and 90-degree corners.
It is marked with letters so you can judge distances and position along
the rail. It encourages precision,
balance and straightness.
There are
two regulation sizes. The small arena is
40 by 20 meters, and the large arena is 60 by 20 meters. Most lower-level tests are ridden in the smaller arena, while
upper-level tests are ridden in the International Equestrian Federation larger
configuration.
Both arena
sizes are 20-meters wide. The arena is
invisibly divided in half lengthwise.
That makes both halves of the arena 10 meters wide. (Do the sizes sound familiar yet?) Also, the halves are divided once again,
making them each 5 meters. So there are
four rows of 5 meters. The middle line
is called the "centerline", the other two lines are called the "quarter-lines". This holds true for both sizes.
The arenas
are also divided in half. For the
smaller arena, that leaves two 20-meter lengths on each side, and for the
Federation size that makes three 20-meter lengths on each side.
You will be
able to fit two 20-meter circles in the small arena and three 20-meter circles
in the larger one. Now, knowing where
the centerline is, you can fit 10-meter circles from there to the side of the
arena. The corners are a great guideline
for 10-meter circles.
Knowing the
length and spacing of the arena allows you to perform certain movements to
specifications in the dressage ring. You
will be able to be exact in your performances and from there learn where you
need to improve. Technical skills and
exact measurements show you your progress.
What are the spaces?
The width of the large arena is 20 meters. It is broken into four equal segments of 5
meters each. The center of them, being
the centerline, is marked at both ends.
The near end, which is where you would enter the ring, is marked A, and the far, opposite end, is C. The letters are physically placed a few feet
from the arena so they do not interfere with your horse.
The direct
middle of the ring is X. Looking at X from A, B would be on the right
rail, and E would be on the left, both directly across from each other. X is directly between them. Marked underneath the letters E and B is the
smaller letter X, denoting that X is between them.
Going from
the near end of the arena to the far end, there are other letters designated,
but not physical, along the center line.
From A is D then L then X then I then G then C. D is centered directly between K (on the
left) and F (on the right). L is
centered between V and P, respectively.
X is centered between E and B. I is centered between S and R.
G is centered between H and M.
The letters A and C are not between any other letters. They are between the corners of the arena.
A diagram of the 20 x 60-meter arena with letter placement.
The small
arena is shorter by 20 meters. It is
laid out the exact way, but does not have the letters R, S, V, P, I, or L.
Here is a
diagram for the 20 x 40 meter arena:
These arena
dimensions are universal. If you learn
to ride in one, and know the letter placements in
I have done some research and have found no rhyme nor
reason why these letters are selected, or why they are placed where they
are. As far as I know, no one
knows. If they do, please let me know!
The interesting part of the dressage ring is that the
walls only need to be a foot high. It is
not something you can turn a horse loose in, like a round pen. The rails can be made of anything; wood
poles, plastic poles, plastic chain or anything that can be set or laid down to
mark the boundaries.
The letters can be made with cones, placards, buckets,
anything you can mark letters on so they are visible from the center of the
ring. I once made an arena out of
landscape timbers on the ground, and milk jugs with the letters marked out with
electrical tape. Use your imagination if
you would like to make one.
The important thing is the spacing. I would suggest a small arena; it is easier
to make and uses less space and less materials.
It can be made very portable as well. There is really no need for the
larger arena unless you want to compete seriously or are riding higher than
First Level.
Now that
you have the diagrams of the arenas, can you imagine how you would work your
exercises in there? You can work your 20
meter & 10 meter circles, spirals and serpentines within the dimensions. Knowing the layout of the arenas will help
you get your technical skills down pat.
Now, you can really make some patterns of your own with the exercises
you are leaning.
Many people
do not understand how important the size of the circles and other movements
are. With the dressage ring, you have a
guide to help you work anywhere from a 20-meter pattern to a 10-meter. You can do your lengthening across the
diagonal of the arena, and collection to the centerline or on the short sides. Do your small circles in the corners, and
your 20-meter circles at either end or in the center of the ring.
Here are
some examples of good spacing in the small arena. These are the most commonly asked for
movements in a dressage test.
4. Ten Meter
Half-Circle. Used in the form of a turn,
usually to or
from the
centerline (to C), then right or left to the rail. Riding straight down the centerline (never at
a canter for this), prepare to turn 5 meters before C, putting a deep bend in
your hips and keeping your legs active to
ask for the 10-meter turn as you approach the rail, then ride straight
away along the rail. Remember the U-Turn exercise? For practice, do full 10-meter circles in the
corners to get the dimensions correct.
There is nothing wrong with using a measuring tape and putting small
cones down to help guide you.
5. Ten-Meter
Figure-Eight/Serpentine. Used in the
form of changing direction through the 20-meter circle. If you have your 10-meter circle working well
in the corners then try it at E & B.
Fit your circle from either E or B to X.
Ride it a few times, being sure you are keeping your horse round and you
are bending your horse well, then halt at X and do it in the other direction
from X to the other letter a few times. Then do it continuously, changing
direction at X each time. A figure-eight? Sure
thing! A little collected? Yep!
Now, perform it
from, say, E, then change directions at X and then continue a loop to B. Be sure you are straight, facing A or C, when
you are at X. Make both your half
circles the same size. You will have a
2-loop serpentine. There are no slanted
lines in this exercise. Both circles or half circles must be round, with a
straightness at X, then an immediate bend in the new direction. It should not take more than 3 strides to
change bend at X. Bend to the right,
straighten, bend to the left. Use your body!! Do not rely on the reins.
6. Change Direction
Through-the-Center. Add a 20-meter
circle to the previous exercise. Do the 20-meter circle between E & B, being sure to
touch both sides of the arena for a stride, as described in #3. Then at either letter B or E, do the 10-meter
serpentine to the other letter. Then
follow up with another 20- meter circle, which will be in the opposite
direction than your last one. Practice
this in both directions. If you are
having difficulty at X, then halt there between directions a few times until
you get your bearings. Once you have a
handle on it you can perform it anywhere.
It is considered the most balanced way to change directions while
maintaining gait, rhythm and balance.
7. Half-Circle and
Return to Track. Usually
done from either E or B, to X, then to K or F, respectively. Ride a 10-meter half-circle from, say, E,
looping to X, and then straight to K.
Then follow the rail around to B and do a half-circle to X, then
straight to F. You can make this a
continual pattern. Perform it anywhere in the arena as long as you know where
your 10- meters are. Do it from rail to centerline
to rail, or from centerline to rail to centerline. I call this a Teardrop; that
is the form is seems to make when done correctly. Be creative with this pattern, it lends
itself to many ideas. How about a
20-meter return to track? How would you
perform that? Any
other ideas?
8. Lengthening
& Collection. Lengthen anywhere on
the long side, collect along the short sides.
Practice going from one to the other, using your
corners to change. The job of the
corner is to help you collect or spring out for lengthening. Use the corners wisely.
9. Diagonals. Ridden from just-after a
corner to just-before the next, diagonal corner. For instance, ride a straight line from A to
the corner, collect into a 10-meter turn (yes, corners are partial 10 meter
circles) to F, straighten and go straight through X to H. Then follow the rail to M, through X to
K. Turn your horse slightly before the
letter so as you straighten, you are on the correct track. If you turn exactly at the letter, you will
put your horse beyond the track.
Lengthen and collect where needed.
Be tactful and keep your horse forward.
Refer to previous lessons if need be.
It is always good to return to the basics.
10. Halt at X.
Since you always enter at A, you will usually halt at X. (There are some exceptions). After you halt, you would salute the judge
and wait for the judge to salute you, then trot on
toward C. If there is only one judge,
he/she will always be placed at C. You
want to trot in at A and prepare for a halt at X, by either coming down to a
walk before X, or doing an immediate halt on X from the trot. Have good contact and remember to close your
legs and push your horse up into the bridle.
Be sure to prepare your horse for the transition. If you know your horse is hard to stop, start
asking early, before X. If he stops
immediately when asked, then you will not need so much preparation. To salute, you put your reins and crop in
your left hand, drop your right arm down at your side, and then nod your head
down slowly for a moment. The judge will
return the salute with a nod of the head.
You then pick up your reins and trot on directly from there. Always head for C. Some horses spook at the judge's booth so be prepared to send your horse forward into a good bend.
11. Laterals--Ride
laterals anywhere. It is best ride
laterals from the rail to the centerline and vice versa. Or, use your quarter lines and go to the
rail, etc. Use your imagination.
12. Rein-back--Ride anywhere. Set your horse up for a halt,
usually
performed on the centerline at one of the letters, or at C in front of the
judge, and ask for five steps of a rein-back.
Then send him directly forward again at the trot. I would not practice this at X often, because
some horses will anticipate backing up when you just want a halt and
standstill. Remember to use your legs!
13. Many exercises
can be performed anywhere in the arena.
These just-mentioned are the most common ones you would be using. Think about placement of your patterns and
adding exercises everywhere possible in the arena. Be creative, but learn the ones just
presented; they will help get you started.
You may be
asking what is all this stuff about tests? Well, if you are at all interested in
showing, it is a good idea to know what it is all about. Even if you do not want to show, you should
be aware of how judges score, and what the dressage principles are all about.
Dressage means training, and the dressage tests are
designed to let you know about the training level you and your horse have
reached.
The
beginning levels start at Walk/Trot.
There are two tests at this level, Tests A and B. Then there is Training level, which has four
tests, called Training Level, Tests 1, 2, 3, or 4. Then there is First Level, Tests 1, 2, 3 or 4. Then Second Level, Tests 1, 2, 3, or 4. Then Third Level, Tests 1, 2, 3, or 4. Then Fourth Level, Tests 1, 2, 3, or 4.
Each Level
up requires the mastery of more difficult movements. The Tests in each Level are designed to
gradually increase difficulty from 1 to 4.
It is believed that once you are riding well at Test 4 of a particular
Level, you are ready to proceed to the next Level.
You may
start showing at any Level in which you feel comfortable. But you cannot skip around doing any Level or
Test pell-mell. There must be an organized and systematic progress, very much
like the training it represents. Each
Level represents a certain degree of training that must have been achieved.
Therefore, it is suggested you only show in the Level in which you have already
mastered the movements.
If you have
a young horse, I always recommend you start at Walk/Trot, just to get into the
ring and get a safe feel of what it is all about. If you have an older horse, or one that you
feel safe taking anywhere, then start at Training Level.
Each Level explains
what you need to know so you can make an informative decision on
your horse's behalf.
On the average, once you start showing, spend at least a
year in each Level so you do not rush your horse's progress. Many people spend a few years in each Level
to perfect their training. Know your
limits and your horse's limits, and spend the required time to expand them. You may find that both you and your horse are
at a higher level than you imagined.
You can have fun in any Level.
The scoring
is interesting. The tests are written in
such a way that every movement has a possible highest score of 10 -- Perfect,
and a lowest score of 0 -- not performed.
Five is considered “Satisfactory.”
Everything below five is considered progressively worse, above five is
progressively better. On the average,
most scores are around 4 -- 7. Less
common, but within reach, are 8's which are “Very Good,” and sometimes 9's,
which are “Excellent.”
Next to each
score, a judge will usually give a small comment or two about what was wrong
with the movement, or how to improve the movement. These are very helpful. It is instant feedback. If you agree with it, it gives you something
to feel good about. If you do not agree, try to learn what the judge saw and
what the judge believes…you will always learn something which will improve your
performance and skill at some time in the future.
Most tests
begin this way:
Enter A at a trot, halt and salute at X, continue down
centerline at the trot.
That is considered one movement. The judges will score you anywhere from 0 - 10. What are they looking for in that one movement? Good solid halt from the trot, standing still, straight lines, and a nice forward, balanced trot.
Another
movement:
Starting at
B, trot a 20-meter circle, gradually letting the reins slip out of your hands
and letting your horse's neck stretch.
Before B, gather up your reins and do a working trot.
The judges
are looking for a solid, forward trot, a round 20- meter circle, good stretch
from the horse while keeping his rhythm and tempo, and a smooth transition back
to the working trot.
Despite the
technical aspects of these movements, the judges are looking for the horse to
move very much like the movements we discussed at the beginning of this
course: A horse with a good, swinging
back, balanced, even strides, smooth transitions and being on-the-bit. They are supposed to penalize a tense horse
with hurried strides, hollowed back, and falling on the forehand.
As for the
rider, they want the rider to be balanced, elegant, tactful, compassionate, and
be moving quietly with the horse. The
rider's aids should be subtle and invisible.
"The two should be as one."
The
movement, horse, and rider are judged as "one" throughout the test.
There are usually 10 - 20 movements per test. Every
movement is graded. Even the walk is judged.
The lengthening and collected gaits are judged as well.
At the end of the test, the judge will score the rider's
position, the horse's gaits, relaxation, and submission etc. The judge also usually adds a few words of
encouragement or expressions of concern at the bottom of the test.
The
percentage of the total score is tallied and, out of a total of 100%, you will
receive your score. A beginning score is
often 40% -- 55%. That is not considered
a hideous score for a beginner. An
excellent score is closer to 100%. A
very good score is 75%. When you start
receiving consistent scores of 63% or higher, at least 3 times, it is usually
considered a good sign to move up to a higher Test, or to the next Level.
A word about the judges. The judges are human. There are good judges and there are
not-so-good judges. I keep a judge's
list. It is compiled with judges that
are looking for horses that move well and give back constructive comments. They may not necessarily score me well, but
if they are correct in their assessment of my ride, I find them greatly
helpful.
How to spot a not-so-good judge. That can be tricky. They may even score you very well. But they tend to get stuck on one certain
aspect of your ride and score you constantly on that. For example, the very most common theme:
horse above bit, horse's head high, horse above bit, horse not on bit, horse
above bit …….. etc.