A Crocodile in the Pond: An Interview with Bernard Maurel - French Olympic Level Dressage Judge

In a very busy Olympic year we were privileged to have Bernard Maurel come to Melbourne to judge the CDI-W at the 2012 Melbourne Three Day Event. He is one of the most experienced judges in the world, having been a FEI judge for thirty years. He has the perspective that comes from a sound training and experience as a rider and trainer in France and Germany, as well as the wisdom that comes from watching the debates and changes over that time. He is a charming and learned man who likes to be a little enigmatic, hence his description of himself as a crocodile in the pond, which in respect for the tone of the interview I shant elaborate on!

I was keen to ask him about the unique French perspective and the contribution of French thinking to dressage training. In Australia we have had a lot of exposure to German training and Dutch, and it is easy to overlook the really important ideas with French origins. Maurel chose to answer from the perspective as a judge rather than as a trainer or a Frenchman, as he was here in Australia as a judge. I am sure there is scope for another answer as the president of the French Xenophon society, and member of the French academy at Saunur.

De la Gueriniere was master of the horse for Louis the fourteenth and in the 1740s wrote the book that is now the basis of classical dressage. He invented the shoulder in as a way of suppling the shoulder and training the horse to carry weight on the hind leg, and developed what is a very modern approach to training emphasising progressive training, and reward of the goood effort of the horse rather than punishment. He is acknowledged by Podjasky as the foundation of the technique followed at the Spanish riding school. Maurel confirms the place of de la Gueriniere as the foundation.

Baucher was the protagonist of the debates in the mid 1850s about new methods emphasising the relaxation of the jaw. His first method included recommendations for work from the ground to improve this and Maurel pointed out that much of what these exercises aim for can be achieved in the course of normal training and riding by a skilled rider with good hands. In the first method Baucher recommended riding leg into hand (effet de ensemble) to achieve ramener (throughness). Maurel suggests that some of these strategies can cause accidents and pointed out the tragedy of Baucherist Racinet who died in a riding accident in the course of promoting these ideas in the USA in the 1990s.

Buachers second method was very different, developed late in his life after an accident in training left him with very weak legs. He was the author of the adage “legs without hands, hands without legs” recently taken on by the Dutch trainers including Sjef Jansen. Maurel pointed out that the debate and conflict has been good for dressage. Bacher he says developed a more forward balance of the horse. He also invented the one tempi changes that are one of the features of the highest levels of dressage and we should recognise his contribution of this.

Maurel however is not a nationalist and in this globalised world recognises that good training is not a matter of nationality but a matter of quality. Some of the quality trainers integrate ideas from different sources, for example one can identify Baucherist technique in some of the German trainers also, perhaps through the influence of Fillis in northern Germany in the early 1900s, for example Rudolph Zeilinger who came here for the Boneo CDI demonstrated lightness by giving the rein, and following with leg to achieve self carriage ie leg without hand..

There is currently a worldwide debate about the direction of competition dressage and whether it is deviating from the classical values and principles. Maurel observes that this debate is fuelled by critics who make a business of criticising the FEI and those who participate in the competition world. Sometimes they make incorrect statements such as that the judges don’t know anything about biomechanics, some seem intent on attacking after being unsuccessful in the competition arena themselves (envy??).

He cites master Nuno Oliviera as an example of a classical master who was pleased when his students had competition success. Oliviera he says was able to make a horse light partly because he was very strong in the back and so was able to sit with the horse in front of him and be light. It would be difficult for a small girl to get the same result he says.

This issue of lightness is one that specially interests Maurel. He explains that the light horse is not behind the bit and loose, but rather the horse is not resisting and the rider can use minimal pressure to ask him to perform. If the rider wants the horse to use 100% of its power to perform the rider must ALLOW the horse to use all its power to perform the movement, not push and pull at the same time.

With regard to judging, Maurel observes that it is very hard to achieve lightness in the Grand Prix test because of the precision required and the short time to show all the movements. In the freestyle the rider has the opportunity to demonstrate correct balance and training and lightness to the judges by for instance riding with one hand. he says very few riders can achieve this. Performing the tempi changes on the circle and quick and fluent transitions between movements can also demonstrate lightness and correct balance. The real competition is to show the final result of the training, not to show the training itself. This is why exercises such as giving the rein are not asked for in higher level tests, although required in the 5yo test where it proves correct training to seek the contact and be in self carriage.

Maurel believes that a judge should be able to ride the movements of the tests he judges, not necessarily be so talented a rider to train the movements, but should understand the requirements to produce the movements. A good judge does not have to be a talented rider but does need to be honest, have a good knowledge and a good eye, as well as the ability to concentrate. He says the judge who is never wrong does not exist.  A young judge should not be too sure. A judge, he says must be able to see through four sets of eyes in his evaluation

Firstly he must have the EYES OF A MOVIE MAKER and be able to evaluate the dynamic performance and the pace.

Secondly he must have THE EYES OF A PHOTOGRAPHER and be able to assess carriage and engagement.

Thirdly he must have THE EYES OF A POLICEMAN and be able to evaluate the correct line and bend etc

Fourthly he must have THE EYES OF A PSYCHOLOGIST and look at the physiognomy of the horse and rider and observe the contact points, the spur the saddle the mouth. The relationship between horse and rider is observed at these points and by observing the expression in eyes, ears, mouth (circulation in the lips, moisture in the mouth etc), the regularity of the breathing, the pattern of the sweat, the carriage of the tail.

These things he says are especially important in evaluating harmony, which he says is a lot more than just submission (the crocodile in the pond speaking here perhaps).

Maurel would like to see more dialogue and understanding between judges and trainers and riders. He would like to see riders attend judging clinics, judges attend riding and training clinics, perhaps journalists observing judges and writing about it. He conducted a rider’s clinic in Melbourne which was very well received. The theme was possibly to ride from the back to the front (not try to solve problems with the hands), and to simply allow the horse to find the right balance. The rider must have feel to put the secrets of dressage into practise He says there are three secrets to riding dressage.

Firstly, to have control of the horse’s hind quarter,

Secondly, to never take more in front than the horse is giving you from behind.

And thirdly… well he said he couldn’t tell me the last secret!!

Maybe another interview?

By: Kerry Mack

Kerry Mack is a grand prix dressage rider, producer of young horses and breeder. Kerry formerly showjumped to World Cup level and evented to three day event level.  She is also a coach and stud principal at Mayfield Farm. Kerry focuses on breeding sport horses with an emphasis on trainability, horses that people can have fun with, while pursuing their goals, whether this is to compete at an elite level or below.

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