I was scribing the weekend of the recent videos. On a break the judge had turned on her phone and noted the IW had won again and was sweeping everything. I told her it was yet more reason I couldn’t be a judge - because seeing her makes me tighten up and makes my back hurt; I don’t think I could see past that impression to reward appropriately when things are done well. Interestingly, I really enjoyed her teaching at the WC.
Then the rhythm issues and some pretty awful warmup photos came out. I don’t know how much of her warmup was ridden and would shown in those photos, and it may have been super brief moment so during a spook, but from all the discussion by people who know more than I do, I suspect tension is part of it… and it’s what my subconscious responds to when I watch her.
As a scribe, I try not to make comments that are too specific about riders as it puts judges in a weird position where they cannot(shouldn’t) really answer even if it’s in the « privacy » of a judging booth.
Look what happened with Leif Tornblad.
Then the rhythm issues and some pretty awful warmup photos came out. I don’t know how much of her warmup was ridden and would shown in those photos, and it may have been super brief moment so during a spook, but from all the discussion by people who know more than I do, I suspect tension is part of it… and it’s what my subconscious responds to when I watch her.
And I’m not sharing any comments from the judge on it or other riders, because I think that would be inappropriate beyond her observing that IW was winning everywhere which is a fact - but definitely happening at a far different location than where we were.
One of my friends called it a “double clutch” which was a term which made sense looking at it, not a double beat.
I’m not finding the warmup pictures now. But there were some very rollkur-type pictures. I only saw a few, so don’t know the circumstances surrounding them, as I can understand a horse flipping in reaction to something and you pull more than intended vs when a rider intentionally rides a horse in that posture. We all know she was one of the early rollkur riders, but I have no idea if she is now.
Read what I wrote for clarity. I believe I said something similar to “if you look at photos, there is a lot more going on than double beating.” Don’t think I said that I had photos of double beating.
It’s a logical fallacy to assert that because you have “taught several horses to piaffe, both in hand and under saddle, and have never seen what [I’m] discussing here…” that it doesn’t exist. I’m pretty surprised that being such an expert in teaching piaffe you’ve never heard of this. But here, this might help:
Funny how “[you] DO ride at that level” yet you’ve never heard of this while I, a lower level rider, have observed it multiple times.
Perhaps it would help you to read the FEI piaffe guidelines:
ARTICLE 415 THE PIAFFE
Piaffe is a highly collected, cadenced, elevated diagonal movement giving the impression of remaining in place. The Horse’s back is supple and elastic. The hindquarters are lowered; the haunches with active hocks are well engaged, giving great freedom, lightness and mobility to the shoulders and forehand. Each diagonal pair of legs is raised and returned to the ground alternately, with spring and an even cadence.
1.1. In principle, the height of the toe of the raised forefoot should be level with the middle of the cannon bone of the other supporting foreleg. The toe of the raised hind foot should reach just above the fetlock joint of the other supporting hind leg.
1.2. The neck should be raised and gracefully arched, with the poll as the highest point. The Horse should remain “on the bit” with a supple poll, maintaining soft contact. The body of the Horse should move in a supple, cadenced and harmonious movement.
1.3. Piaffe must always be animated by a lively impulsion and characterised by perfect balance. While giving the impression of remaining in place, there may be a visible inclination to advance, this being displayed by the Horse’s eager acceptance to move forward as soon as it is asked.
1.4. Moving even slightly backwards, irregular or jerky steps with the hind or front legs, no clear diagonal steps, crossing either the fore or hind legs, or swinging either the forehand or the hindquarters from one (1) side to the other, getting wide behind or in front, moving too much forward or double-beat rhythm are all serious faults.
The aim of piaffe is to demonstrate the highest degree of collection while giving the impression of remaining in place.
the formatting of your post is wonky. Could you please have a look and see if you can make it more easily readable? I can make out parts of it, and it looks like the content is good for this discussion. (The link in the beginning doesn’t work for me, either.)
“Why so nasty?” I would refer you to your next comment, “Read what I wrote for clarity.”
Nothing at all nasty in what I wrote. (Edited to add: I can’t say the same for your reply). I’m sorry you took it that way. Sometimes that is the price we pay for this type of discussion. My point was that I don’t believe what we are discussing here can be seen in a still photo. I’ve looked at the videos that have been posted and it’s kind of hard to miss.
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