USET Foundation: George H. Morris "Gladstone Program" Begins at the Historic USET Foundation's Hamilton Farm

Source:  News Release/PMG Inc.

George H. Morris "Gladstone Program" Begins at the
Historic USET Foundation's Hamilton Farm

 

Gladstone, NJ - On Monday, nine of the country's most promising young riders arrived at the United States Equestrian Team Foundation's Hamilton Farm, ready to begin an intense week of education with master horseman George H. Morris. The nine riders were hand selected for the "Gladstone Program," which was designed for exceptionally dedicated and talented show jumping riders who are serious about pursuing a path that will help prepare them for international competition.

After spending Monday settling in, the riders rose with the sun and got started with their barn chores at 6:30 a.m. on Tuesday. The riders cleaned stalls, fed and groomed their horses, preparing for a full day of riding and education. 

The day began with German veterinarian and biomechanics expert Dr. Gerd Heuschmann delivering an insightful presentation he called, "The Classical Riding Philosophy - Biomechanical Background." 

 

Heuschmann explained the skeletal and muscular connections that run throughout the horse's body, highlighting the importance of a good, light seat in maintaining proper alignment through the horse's neck and back.  

 

Dr. Gerd Heuschmann, Kilian McGrath and BB Casablanca

"Horses are not meant to carry an extra 150-200 pounds, so we don't want to be a weight on the horse's back," Heuschmann explained. "We want to be part of the rhythmic swing. We want to have a dance."

Heuschmann discouraged riders from using their hands heavily, saying that the horse's rhythm and suppleness originate off the seat and legs, which should be met by contact on the mouth only when the horse is in front of the rider's leg, moving forward and searching for the bit. All the while, Morris was nodding from the audience, uttering the occasional "yup, yup, yup," in total agreement with Heuschmann's lesson.

"Your horse's head has to fall in front of its withers," Heuschmann stated. "The back can only come up when the horse's neck is in balance. You have to have rhythmic impulsion at the trot in order to have collection, which is like the tension in a spring. You only use the leg to overcome resistance." 


Heuschmann ended his presentation with these wise words: Classical training will never become old fashioned. 

The young riders would soon find this out for themselves, as the first group made its way to the indoor arena for a lesson on the flat. 

Katie Cox, Sean Leckie, Kilian McGrath and Lisa Goldman warmed up their mounts under the watchful eyes of Morris and Heuschmann. The two alternated instructing, but both asked the riders to perform very similar exercises, which included lengthening and shortening the stride, bending into the corners, sitting deeper and adjusting their lower legs to have contact with the horse.  

 

George H. Morris instructs the riders at the 2015 USET Gladstone Program

"No chair seat," Morris warned over the microphone. "I don't like a chair seat. I don't want short stirrups; I want a jumping dressage seat on the flat."After asking two riders to lengthen their stirrups, improving contact with the horse, Morris worked with the riders on transitions from the walk to the trot, giving and taking with the reins to get the horses loose and supple at the poll. 

"I want impulsion to the trot when I think trot," Morris said. "The horse trots when I think 'trot.' The working trot to medium trot has to be ridden on a regular basis." 

When Morris noticed Katie Cox's horse, Twilight, was reluctant to accept the aids and soften his poll, he sauntered over to his Charles Owen helmet, pulled it on his head and re-adjusted his microphone. 

After getting a leg up onto the big grey gelding, Morris took a deep seat in the saddle, wo

rking the horse at different extensions of the trot and making circles, using the occasional half halt throughout.  


"This is a very interesting horse," Morris remarked. "He's sensitive. The horse has to be on the aids, and he will relax."

Once the horse began to accept Morris' seat and legs, his neck softened, his back rose and his hind end dropped. Morris then worked with the horse at the canter, and after 25 minutes, it seemed he was riding a completely different horse. 

Everyone except Morris was in awe at the transformation, with Heuschmann remarking, "Now I know why you're in such good shape, George!" 

On that note, the master rider dismounted, and the first group ended their time in the ring, departing to make way for the second half of the riders. 

 

George H. Morris works with Katie Cox's horse, Twilight


As Haley Gassel, Taylor Harris, Kate Mulligan and Sophie Verges warmed up on the flat, it was Mulligan's horse, Tellus, which caught Heuschmann's eye. 

The petite rider hopped off to make way for the German horseman, who quickly assumed a deep seat and supportive leg, balanced with steady rein contact.  


Heuschmann explained that this horse was a "leg-mover": a term he uses to describe a horse that does not engage its back or hind end, resulting in a hollow back, resistant neck and disengaged hindquarters. 

After working the horse off his seat and legs for 30 minutes, another transformation took place as the horse walked, trotted and cantered with his back lifted, head relaxed and hind end engaged. The 10-year-old horse grunted as he engaged new muscles, working his topline as he moved through the gaits.  


"That's why Gerd is here," Morris stated to the awestruck audience. 

When Mulligan climbed back atop Tellus, she immediately felt a difference, proclaiming excitedly, "I don't think this is the same horse. Everything feels different." 


Morris concluded by asking the other riders what they learned from watching Heuschmann, and after that, they were dismissed to untack and prepare for the next day's work. 


The Gladstone Program will continue Wednesday morning with flat work and cavaletti mounted sessions at 8 a.m. and 10 a.m., and a presentation with U.S. Show Jumping Team veterinarian Dr. Tim Ober at 1:45 p.m. All sessions are open to the public for auditing. 

 

As Haley Gassel, Taylor Harris, Kate Mulligan and Sophie Verges warmed up on the flat, it was Mulligan's horse, Tellus, which caught Heuschmann's eye.

 

The petite rider hopped off to make way for the German horseman, who quickly assumed a deep seat and supportive leg, balanced with steady rein contact.

 

Heuschmann explained that this horse was a "leg-mover": a term he uses to describe a horse that does not engage its back or hind end, resulting in a hollow back, resistant neck and disengaged hindquarters.

 

After working the horse off his seat and legs for 30 minutes, another transformation took place as the horse walked, trotted and cantered with his back lifted, head relaxed and hind end engaged. The 10-year-old horse grunted as he engaged new muscles, working his topline as he moved through the gaits.

 

"That's why Gerd is here," Morris stated to the awestruck audience.

 

When Mulligan climbed back atop Tellus, she immediately felt a difference, proclaiming excitedly, "I don't think this is the same horse. Everything feels different."

 

Morris concluded by asking the other riders what they learned from watching Heuschmann, and after that, they were dismissed to untack and prepare for the next day's work.

 

The Gladstone Program will continue Wednesday morning with flat work and cavaletti mounted sessions at 8 a.m. and 10 a.m., and a presentation with U.S. Show Jumping Team veterinarian Dr. Tim Ober at 1:45 p.m. All sessions are open to the public for auditing.

 

The United States Equestrian Team Foundation is the non-profit organization that supports the competition, training, coaching, travel and educational needs of America's elite and developing international, high-performance horses and athletes in partnership with the United States Equestrian Federation. 

 

For more information on the USET Foundation, please call (908) 234-1251, or visit USET ONLINE at www.uset.org.

 

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