Ecurie Henriquet

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The following is a report of my impressions after spending 9 wonderful days riding in France with the Henriquets. I made the journey to advance my equitation and also because I wanted to see if good, traditional French dressage is really any different than good, traditional German or Austro-Hungarian (Spanish Riding School) dressage. As many of you know, there are people out there that maintain that there is a wide gap between what are believed to be two different philosophies or traditions or schools in classical dressage; the French and the German. The German school values precision and uniformity above all else, where the French school values lightness and relaxation. Saying this, however, does not mean that precision and uniformity aren't important to proponents of French dressage, any more than lightness and relaxation aren't important in the German schools. The difference is simply one of emphasis.

The Henriquets represent the French tradition. I have been tremendously impressed by the brief bits I have seen written and translated into English by and about the Henriquets. With all that I have read about equitation in general, I found it hard to believe that French equitation as represented by Michel Henriquet (passionate devotee to François Robichon de la Guérinière and Nuno Oliveira) is really that different from that practiced at the Spanish Riding School in Vienna (also claiming devotion to Guérinière), an institution whose work, by the way, Michel Henriquet still speaks very highly of, and the German equitation practiced by Egon von Neindorff. My suspicions were confirmed. All these institutions are following and have interpreted the same tradition the same way. Good French riding is essentially, exactly the same as good German riding. As individuals, each place emphasis in slightly different areas but fundamentally, the work and results are the same regardless of the type of horse. Both schools require riders that are educated, thoughtful, dedicated and disciplined. The development of the rider's seat (including legs and arms) is central and critical to their success. Engagement, impulsion and relaxation are emphasized by both schools.

There are not very many places for English speakers to explore French dressage as much of the literature of the French tradition has not been translated. The German tradition is well represented in large part because of the Spanish Riding School in Vienna. Even though I have started by saying how similar the traditions are, there are some differences that are worthy of, at least, exploration. The difference in emphasis can also leave one with a distinctly different flavour in the end. Therefore, I will also be adding to, clarifying and changing the content of this page from time to time in response to on-going questions and comments from readers.

I ask readers to keep in mind that the impressions being presented here are those of a relatively inexperienced amateur rider who to this point only had practical experience in German/Austro-Hungarian schools. Classical dressage has been a passionate hobby for me for more than ten years now. I have made extensive study of much of the theoretical material available but practice (practical experience) is not as easy to acquire especially in North America where there are virtually no formal schools with trained horses.

Upon arriving at Henriquets, my position on the horse was complimented as was my handling of the whip. Minor adjustments were requested and made to the best of my ability. My system of aiding and practice of equitation was immediately understood and accepted by the Henriquets' horses and within the first half hour I was riding in all three gaits, shoulder-in and half-pass, 6 meter voltes, medium trots, counter canter and flying changes. Both Henriquets constantly asked me to produce more impulsion and more bending. I was also asked many times to shorten the reins, especially the inside rein. My seat at canter received the most attention and significant improvements were made.

My other purpose in making this trip was to learn more about "lightness", the hallmark of French school, as my experience up to now has been within a tradition whose priorities often lay elsewhere. I received confirmation that in good equitation lightness is not about loose or loopy reins but it is about freedom from tension and this is given the highest priority by the Henriquets. The horse and more particularly, the rider, are to be free of tension. The rider's arms must be soft and relaxed with mobile joints (shoulders, elbows and fingers).

The school of Michel and Catherine Henriquet is set on a delightful 16th Century farm (1556) located in the village of Autouillet (approximately 25 kilometres west of Paris) with a very large house for themselves, their two dogs, the grooms, visitors and students. There is ample stable space for horses which is very well laid out so that all the various personalities can exist comfortably together. As soon as I arrived, I was struck by how relaxed and contented all the horses were. A central courtyard complete with beautiful flower gardens, roses and a pond is created by the house on one side and the stables on three. The activities at the stables are all easily visible and audible from the house. There are two outdoor riding arenas (one competition style with a judge's hut and letter markers and another fenced), a fenced circular lunging arena, and a most impressive indoor school with skylights and stone walls which includes a state of the art sound system for broadcasting classical music and the instructor's voices. The modernization of their facilities is a work in progress. The house is being extensively renovated, new fields and paddocks are being fenced for the horses and the indoor arena is being extensively overhauled including the addition of mirrors and a spectator seating area.

The Henriquets' current horses include Lusitano stallions as well as Trakehner and Holsteiner geldings. There are three yearlings at the farm; two Lusitano stallions (one is a son of Orphée, Catherine's Olympic mount at Barcelona in 1992, now deceased) and a Trakehner gelding. The yearlings live outdoors with a run-in shelter for shelter. The youngsters education at this point consists of haltering and leading, light grooming and their feet are handled. Unfortunately, the Trakehner was seriously injured by one of the other youngsters. His right hind leg was damaged badly enough to require surgery which means months of stall rest and an end to his sporting career with Catherine before it even gets started.

Catherine does most of the work with the horses now. Her day starts at approximately 7:15 am. She has two 4 year old Lusitano stallions in training since January. These two horses were a gift to the Henriquets from a Portuguese breeder to thank them for all they have done to promote the Iberian horse. Catherine intends to keep and compete on one of them (Poejo) and the other (Poete) is for sale. These two are worked with hanging cheek snaffle bits and dropped nosebands. Their work starts each day with lunging with a cavesson and fixed solid leather sidereins (no elastic inserts) at trot and canter. Occasionally one of the grooms would be mounted and receive a brief opportunity to work on his position. The lunging equipment is removed and Catherine mounts. She started immediately with lateral work; shoulder-in and half-pass.

The Henriquets focus on developing the carrying forces (collection) of their young horses immediately whereas, certainly since the time of Podhajsky, the Spanish Riding School in Vienna and, I think, the German school seem to prefer starting by developing the thrusting forces of their young horses. This latter methodology is, perhaps, more suited to horses that are born with less natural longitudinal balance. The horses of the German school, therefore, work in a longer frame with a lower posture than those of the Henriquets whose young horses are worked very short and upright from the very beginning. That extreme degree of collection, however, demands absolute relaxation throughout the entire horse as any degree of contraction or resistance of the muscles will effectively prevent the joints of the hind legs from bending at all and could actually do great damage to the horse both physically and mentally if done incorrectly. It makes sense to me that a school that demands such a high level of collection right from the start would have to have lightness and relaxation as their primary focus whereas riders that allow horses to work in an easier, more relaxed posture have the luxury of being able to pay more attention to their own precision and uniformity perhaps at the expense of other things.

Catherine is also working with three warmblood geldings; two Trakehners (Isgard, Orlando) and a Holsteiner (Montego) in advanced training. These three horses accompanied Catherine to Germany on Friday to attend a clinic with George Finker. Catherine apparently clinicked with George Theodorescu in the past and is trying Finker for the first time this year.

Isgard, featured in the pictures here, is Catherine's best horse. It is easy to see why. He is truly a spectacular creature. It is a pleasure to finally see a spectacular warmblood horse working completely without constraint and resistance. His movement is flamboyant and expressive and Catherine makes it look easy. I didn't see any excessive upper body movement, or any ugly or exaggerated rider movements during the flying changes or a rider working harder than her horse during piaffe that is so common in today's competition arena. The spurs were used as they are supposed to be instead of constantly. Isgard remained beautifully relaxed and his canter remained easy and regular during pirouettes. (I remember Charles de Kunffy saying canter pirouettes are not about bending. They are about collection. I watched Catherine schooling collected canter on one of the other horses, collecting the canter until it was almost on the spot. Then she rode forward again. This attention to collection obviously leads to the quality of work I saw at Henriquets.) Isgard is an example of an exceptional horse schooled by an educated, sophisticated and sensitive rider using classical principles to generate true athleticism, collection, self-carriage and lightness. Notice that Isgard is well and completely off the ground in the photo at trot above!!

The horses used in the school are owned by boarders, mostly Lusitano stallions and fully trained. There is one warmblood, Noltaire, who was a champion in dressage in Sweden. Another warmblood, Jocktail (half brother of Anky van Grunsven's Cocktail) has just been sold to an instructor in Paris. He departed during my stay.

The equipment used does not define the method. Rather, it is how the equipment is used that counts. The Henriquets are obviously not obsessed with any specific piece of equipment. I saw double bridles, several different types of snaffle bits, dropped nosebands, flash nosebands and plain cavessons being used. I also saw Catherine using drawreins and various other things I couldn't even identify on some occasions on some horses. Spurs were worn on all the horses and we often carried two whips; one in each hand. All horses, warmbloods and Iberians, appear to receive the same basic education. The differences had to do with individual temperaments and requirements as opposed to anything specifically breed oriented.

The Henriquets training doesn't appear to be based on treats or tangible physical rewards. I didn't see any of the horses receiving treats or handouts of any kind nor were we ever asked to stroke the horses. The reward came in the form of frequent short breaks at walk on a long rein and, I believe, clearly communicated reasonable demands from the riders. These horses were the happiest, most relaxed I have ever seen. Michel Henriquet's love of the horse was obvious and I actually had the impression that when I did something offensive on one of his horses, he felt their discomfort more acutely than they did!

I started my lessons with Catherine as she speaks some english and my French is extremely limited. Initially I wasn't sure how I would manage with Michel Henriquet as he speaks only French. I was struck by how laid back the Iberian stallions were. They are always perfect gentlemen and remained remarkably calm even when an impressive black mare arrived from Switzerland and promptly went into season! The horses in work don't receive regular turnout but I was encouraged to hack the horses following my lessons. I saw Catherine galloping in the fields with her warmbloods some distance away on more than one occasion.

The Henriquets' is truly an international facility. During my stay there I encountered students from Italy, Switzerland, Germany and France. I am from Canada. I am told they are expecting a student from California next month. There are two grooms, both graduates of Saumur, who take care of the stables and horses and receive daily instruction from both Henriquets on multiple horses. They are both from the south of France and at the time of my arrival had only been with Henriquets for a week. The entire facility is kept impeccably clean. The horses are even encouraged to stop as all manure is removed from the riding arenas immediately, often by Michel Henriquet himself! In addition to the formal stable personnel, the Henriquets also employ an additional young girl in the stable, a gardener, a housekeeper and a bookkeeper.

I rode two grey Lusitano stallions during my time there, Cachou and Voy. These horses were like nothing I have ever sat on before. Their extremely advanced level of training and understanding was evident from the start and they were blissfully easy to ride. Although these two horses were quite different, the absolute lightest of aids produced prompt, clear and relaxed responses from them and they were remarkably patient with my rather more crude aiding. Cachou is a heavier, lazier horse. He tended to be somewhat strong in the bridle. Good coordination between hand and leg aids was required to keep him moving forward and light.

I was reminded that sometimes the rider needs to be strong momentarily in order to help the horse. We cannot become so preoccupied with niceness and lightness that we fail to direct and frame the horse. Sometimes strength is the road to softness. Initially I had a difficult time maintaining a short right rein with Cachou. Catherine explained, Cachou pushes a little and gains a little rein then he pushes again and in no time at all he has his head. She insisted that I hold the reins quite strongly and block his effort to press through the rein. Lightness came only after he realized I had closed the door. The trick is, however, to keep the door closed without letting the horse lean on it.

Voy, on the other hand, was very sensitive and naturally light. I had to be extremely quiet with all my aiding on him, especially my seat. Cachou required a stronger arm but one that did not provide him with an opportunity to lean. Voy appreciated fingers that remained quietly active. Any strength or tension from the arms provoked resistance in Voy.

I was immediately told to lower my hands on either side of the wither to bring the horse "into hand" ("on the bit"). I was expected to keep a light but definite contact, even on both sides. Contact with the mouth was never to be abandoned. I was also instructed to change the height and position of my hands far more than I am accustomed to. The hands are lowered if the horse comes against the bridle and to encourage lengthening. The inside hand is often positioned lower than the outside, especially when the inside hand is the right hand. Both Henriquets mentioned that most horses are more difficult and resist more our efforts to bend them to the right thus we have to be more certain about keeping a definite and active contact with the right rein, particularly when it is the inside rein. Overbending was the most usual difficulty to the left. The inside hand is carried lower during canter.

Michel Henriquet complained on more than one occasion about riders abandoning contact with the horse's mouth. He was clear that lightness cannot be achieved without first establishing and then maintaining a definite contact with the horse's mouth. I was fascinated to watch one student in particular, riding her own horse, struggle with this process. It was obvious early on that she had come to Henriquet to learn about lightness because every time he entered the arena she would abandon all contact with her horse's mouth. Henriquet would complain, "don't abandon the contact". Without contact with the horse's head and neck we are not directing and controlling the horse. Someone else would attract Henriquet's attention and the rider would immediately gather up the reins and quite successfully, albeit perhaps, strongly, reorganize her horse. Henriquet would return and she would again drop the contact and the cycle would repeat.

While it is true that it is the horse that must make contact with the rider's hands, the rider has to invite the horse to do so. The rider must also be there to receive the horse when contact is made. It is important to point out that contact is not about pulling or rearward traction on the reins but the rider must initiate and be active in the process.

I was taught at von Neindorff's (as is the Austro-Hungarian tradition) to keep my lower leg lightly against the horse at all times and aid primarily by changing the tension in my calf but the Henriquets want the lower leg completely off the horse, only to make contact for aiding. During half-pass the inside leg gently comes against the horse and then clearly off to draw the horse to the inside, into the leg. It works beautifully. The outside leg remains quietly and lightly on the horse, behind the girth to keep the hind quarters from falling out. The difference between the two styles is barely perceptible with the eye but the difference in effectiveness on the horse was, for me, dramatic. Both systems of aiding have their own inherent problems if misapplied and these difficulties highlight the hallmarks of the two schools. The German method taught by von Neindorff runs the risk of having the rider's leg become tense, or stiff and wooden as the rider struggles to keep it quietly in contact with the horse. One also runs the risk that the horse will desensitize to the leg that is constantly applied, even lightly. On the other hand, the method taught by the Henriquets runs the risk of becoming noisy or offensive, of disturbing the horse unnecessarily. The result can be a rider that is moving around too much with aids that are too visible which detracts from the performance of the horse. It is important that the leg not be used to kick and that the horse not be startled by the delivery of the leg aid. Timing and intensity are critical no matter which style one chooses. Great discipline is required in order to properly apply either system.

Bending is emphasized by the Henriquets and frequently changed. Figures are only infrequently repeated consecutively, and only, for example, if the rider is having great difficulty with something. Henriquet fiercely protects and defends the horses. If the rider fails to grasp something he is asked to stop and a more detailed explanation is given. The rider is asked to perform the required exercise at a walk before is it requested at trot.

The horses were never pushed to a point that they became defensive. A warmblood schooling piaffe became tense in the back and irregular behind. Catherine dismounted within seconds of the behaviour starting and immediately worked the piaffe in hand. The back relaxed, the pace became regular and cadenced. She remounted, did a few more steps maintaining the excellent posture developed in hand and then immediately left the arena.

The seat is emphasized. The Henriquets' horses all turn with the hips. The reins merely frame and shape the horse. The horses also stop with the seat. Sit tall, reach for the sky, close the knees. The fingers play on the reins to encourage the horses to remain soft and light.

Shoulder-in, travers and renvers are ridden on three tracks. In shoulder-in the inside rein is kept very light whilst the outside rein is used to control and limit the bend. Bend is created with the rider's inside leg on the girth and by turning the hips. Michel reminded us constantly to use the mirrors to monitor the horse's legs and stated several times during my stay how valuable mirrors are for schooling horses. Half-pass is not started from a shoulder-in position, as it often is in the German school. For half-pass the horse's body is kept absolutely parallel to the wall while only the head and neck are flexed to the inside. That position is to be maintained throughout the exercise. The horse's head is to remain absolutely perpendicular (without tipping to one side or the other) during all lateral work. (This provides a very good indication about the lightness and evenness of the contact.)

Aiding is kept to a minimum but yet I was counselled to move my body and my limbs more by the Henriquets than any other instructor. It was as if the rider was being suppled just like the horse. Where the rider in the German school might be counselled to sit still and resist when he meets with resistance from the horse, the Henriquets do the opposite. I was counselled to lower my hands and even arms and to open an inside rein when I allowed tension to manifest in the horse's neck. I was also tutored to move my leg away from the horse in order to improve the response.

"Hands without legs, legs without hands" was repeated over and over. I was reminded to open my fingers on the reins when using the whip.

Impulsion first. The exercise must be abandoned if the impulsion is lost.

Practice halting first in shoulder-in making sure to maintain exactly the horse's position. He learns to stop first with his inside hind leg under his body. Then he can learn to halt straight, keeping both hind legs under his body.

Catherine told me that the Germans have five different expressions that can be translated as half halt in English.

Catherine brought up Baucher and his flexions. First she asked me if I had read Général Faverot de Kerbrech and when I said "no" she asked if I was familiar with Baucher. I was having some difficulty keeping Cachou's attention at one point in the outdoor arena. (The black mare was out hacking in the field.) Catherine was quite annoyed that I wasn't completely keeping Cachou's attention and explained that if Cachou was going to stiffen his neck and resist that I should exaggerate the bending in his neck and insist that he focus on me and the interior of the arena and NOT the mare in the field. This was the ONLY instance of Baucher and stationary flexions that I witnessed during my entire stay.

I found it more challenging to please Catherine than Michel. Catherine expected more bending, more precision, and more submission - like one would might expect in competition. I think Catherine expected more from the horse whilst perhaps overlooking some rider problems. Michel, on the other hand, accepted less from the horse and demanded more precision from the rider. He was determined to produce gentile, civilized riders. He will provide students with trained horses to make such riders. Catherine, on the other hand, is perhaps, a bit more practical (or realistic). She gives the riders tools they can use to school horses even if they really aren't ready or qualified to be doing so. They really do make a marvellous team. Even though their priorities may differ slightly, they are both obviously working from the same manual.

Riding for Michel was more relaxing for me. I find it easier to work on my own position without having to worry so much about what the horse is doing. I am glad to have ridden for Catherine first, however, as she prepared me for Michel. He has less tolerance for errors, especially offences committed against the horse and he doesn't like to have to repeat himself. Both Henriquets are very enthusiastic teachers and are brutally honest. They don't mince words. They are quick to point out faults but they are also equally quick to praise when the work is good.

On one occasion Catherine was riding pirouettes in the arena whilst Michel was conducting a lesson with another student. Michel commented that the pirouettes were excellent but Catherine wasn't quite satisfied and said so. She worked a few seconds longer and the horse did improve.

Although I have worked with quite a few riding teachers, many of them great and with big reputations, there are only a handful of them that I can say had a truly profound effect on my riding and relationship with horses. Chris Todd (devoted primarily to Podhajsky of the Spanish Riding School) was the first. He started me on this road and showed me how to put the principles of classical dressage into practice. He taught me about the discipline required for good riding (mental and physical) and the importance and value of a good position. The next teacher to cause significant advances in my riding was Charles de Kunffy. He subscribes to a broader classical tradition but is still fanatical about the rider's position, first and foremost. Mr. de Kunffy was able to clear more fog for me in few short sessions than most teachers clear with years of regular lessons and that was accomplished with a difficult and perhaps even unsuitable horse. The Henriquets are responsible for the next major advance in my equitation. They add a distinctly French flavour to an even broader classical tradition that includes the Mediterranean and their taste for romance and softness which is reflected throughout their culture and even their languages. The Henriquets have managed to successfully expose me to concepts that are extremely valuable and, to which, I now realize, I had previously only paid lip service. The Henriquets showed me that changing the emphasis even very slightly can have a profound effect on the result.

I was truly sorry to have to leave Henriquets. Their horses have obtained a level of sophistication I have never experienced before. Their high level of training and comprehension was evident even when presented with the crudest of aids and I never felt like they were looking for shortcuts or attempting to avoid responding to my requests or look for an easy way out. They put me at ease immediately and created a relaxed environment where learning is automatic. I felt like a insatiable sponge whilst I was there, sucking up knowledge from every corner and I couldn't get enough. Educating riders and horses is an extremely complicated process and both Henriquets are clearly Masters with unending patience. I was impressed by the ease with which both of them handled comprehension problems with their students. Just as the body must be supple, so must the mind. They never seemed to run out of solutions to whatever problems their students might present them with. I look forward to returning as soon as I possibly can.

A second week in France with Michel and Catherine Henriquet ....

copyright (images and text)
Barbara Dodington-Huis 2000

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