2014 JUDGES MANUAL TRAINING and UPGRADING PROGRAMME
2014 JUDGES MANUAL TRAINING and UPGRADING PROGRAMME Dressage 8/1/2014 1 INDEX Page 1 Introduction Page 2 -4 Upgrading Procedures Page 5 Judges Upgrading - Fast Tracking Page 6 -7 Upgrading to List 5 (J5 Form) Page 8 - 9 Upgrading to List 4 (J4 Form) Page 10 -11 Upgrading to List 3 (J3 Form) Page 12 -14 Upgrading to List 2 (J2 Form) Page 15 -16 Upgrading to List 2A (J2A Form) Page 17 - 18 Upgrading to List 1 (J1 Form) Page 19 - 21 Art 441 - Number, List & Placing of Judges (Updated 1 Aug 2014) Page 21 Sit -In Assessment Form Page 22 Guidelines for Sit -In Page 23 Shadow Judge Assessment Form Page 24 -26 Guidelines for Shadow Judging Page 27 List of Official Judges Educators & Mentors (2014) Page 28 Discrepancy Form Page 29 Area Judges Officer Job Description Page 30 - 33 Judges Handbook Page 34 Points System for Judges Page 35 - 36 Criteria for Remaining on the Panel Page 37 Training Scale Page 38 Explanation of the Marks from 10 to 1 Page 39-42 The Collective Marks by Stephen Clarke Page 43 Comments on Dressage Sheets Page 44 - 45 Musical Freestyles (By Jan Bird) Page 46 Freestyle Judging Sheet Page 47 - 53 Musical Freestyles (By Katrina Wϋst ) JUDGES – TRAINING and UPGRADING PROGRAMME Resources: ESNZ General and Veterinary Regulations and Policies Dressage New Zealand Rule Book FEI Dressage Rule Book Contacts: NZ Dressage Judges Officer Dressage NZ Sport Manager Area Dressage Judges Officer Dressage NZ Technical Officer This document is intended as a guide for NZ Dressage Judges or potential judges, it cannot contain all you need to know, but should help you with where to look for the information that you need. Procedure to become an ESNZ Dressage Judge There are several requirements applicable to all potential List 5 ESNZ Dressage Judges, and to all subsequent up-grading: You must be a financial member of ESNZ and own a current Rule Book. Judges are encouraged to be members of their local Area Dressage Groups if they have separate membership. You must have attended at least one official judges clinic and be prepared to attend triennial clinics relevant to your level. Applicants must be at least 18 years of age. Speak to your local Area Judges Officer who will advise you on what it is necessary to do to make your application to become a judge. If a potential Judge does not wish to make an application through their own Area, they may make direct application to the Judges Officer. 1 UPGRADING PROCEDURES Your Area Judges Officer or the National Judges Officer is available to provide you with further information and explanations as to how to proceed in accordance with the Schedule below Requirements to become a Judge/Upgrade through Levels 2014 GENERAL REQUIREMENTS Minimum age [Unless special conditions apply] Financial member of ESNZ (preferably of local Group) Own a current ESNZ/FEI Rule book Level of Seminar (in year prior to upgrade) Riding requirement – To List 5 – brief history of previous riding experience. To List 3 and 2 to have gained 55% on two occasions at Level 2, List 2A at Level 3 and List 1 at Level 4 Time between exams UPGRADING REQUIREMENTS [form completed sent to Judges Officer] Sitting-in [Sitting-in Form to be assessed and signed off by appropriate List Judge] * see minimum number of horses required in a class. To List 5 Upgrade to List 4 Upgrade to List 3 Upgrade to List 2 Upgrade to List 2A Upgrade to List 1 18 yrs √ √ L1 nil 20 yrs √ √ L1 nil 25 yrs √ √ L2 Minimum Level 2 30+ yrs √ √ + FEI FEI Level Minimum to Level 2 30+ yrs √ √ + FEI FEI Level] Minimum to Level 3 30+ yrs √ √ + FEI Official FEI Minimum to Level 4 - 1 yr 2 yrs 3 yrs 2 yrs Invitation only 2 years 3 x L1 3 x L2 2 x L3 2 x L4 2 x L3 MFS 2 x L5 2 x L6 2 x L4 /L5 MFS 4 x Level 6/7 2 x L8 /L9 4 x Level 8/9 2 x L8/9 MFS with FEI 4* Judge 2 x L8/9 1 x MFS 6/7 1 x MFS 8/9 Writing 5 tests 5 x Upper Levels 5 x Upper Levels 5 x FEI Levels 5 x FEI Levels Shadow-judging [form signed off by approved Educator – see current List] * see minimum number of horses required in a class. 3 x L1 3 x L2 3 x L3 tests 3 x L4 tests 3 x L4 3 x L5 1 x L4/L5 MFS 4 x L6/7 4 x L8/9 2 x L6/7 MFS 1 x Int A 1 x Int B w FEI 4* 2 xGP 2 x L8/9 MFS with Foreign FEI Judge Judged Overseas (exchange programme) 2 2 x L8/9 MFS Official Judging [printouts to be supplied] – * see minimum number of horses required in a class. 3 x Intro or ungraded tests 5 x L1 5 x L2 4 x L3 4 x L4 4 x L5 2 x L5 MFS 2 x L4 MFS MENTORING Minimum of sessions for List 5 and 4 with List 2A or List 1 Judge For List 3, 2, 2A and 1 with approved Educator (see list attached) Level of horses and movements Evaluation form completed and signed UPGRADING EXAMINATIONS Written Theory Paper – 80%+ pass prior to Practical exam Practical Session – judge/shadow whole class with List 2, 2A or List 1 judge 2 x Kur with Foreign FEI Judge 4 x L8 4 x L9 2 x Kurs w FEI Judge Level 8/9 Inter GP CDI 3 FEI 4* Judge Acted as Head of Ground Jury on FEI Test at Regional or Island Champs at L8/9 2 3 3 1 full day with FEI Steward 3 L2 √ L3 √ L4 √ L5/6 √ L7/9 √ L8/9 FEI FEI Judge Mentor √ √ √ L2 L3 L4 Classroom exam L5/6 Classroom exam L8/9 Classroom exam Foreign FEI Judge Report 8 Minimum number of horses in class 15 12 8 8 8 FAST TRACKING For FEI riders – see separate sheet (At discretion of Judges Officer in conjunction with JSC) Special conditions apply 3 If insufficient number of horses in each class as per above, then upgrading to List 5, 4 and 3 the total number of horses at each level need to be judged to qualify for upgrading. When upgrading to List 2 and above the minimum number of horses in a class applies. Candidates have three years within which to complete the upgrading requirements from the date of receipt of their Task Sheets from download or from the DNZ website or JO. [If downloading the Task Sheets, please advise the Judges Officer of your interest to upgrade to ensure that you are given every assistance where possible]. 4 DRESSAGE JUDGE’S UPGRADING – FAST TRACKING With a view to encouraging our riders to become dressage judges, it has been decided to introduce a “fast-tracking” provision for eligible FEI riders to become either a Level 3 or Level 4 judge without having to undertake the intervening steps in the upgrading criteria. The “fast-track” programme criteria will be as follows: Applicants must be: FEI riders who have obtained 63% on 3 occasions in Official Prix St George or Intermediate 1 or have obtained 60% on 3 occasions in Official Intermediate II, or Grand Prix, such performances having been gained in the past 8 years; FEI riders who have gained selection to represent/or who have in the past represented New Zealand at the Olympic Games or World Equestrian Games. The above riders are eligible to fast track to either List 3 or List 4. In addition to become accredited the riders must: Be a current member of ESNZ Attend a seminar at Level 2 Shadow judge one entire Elementary or Medium competition with a minimum of 10 horses and be supervised by a Judge Educator Pass the Elementary/Medium theory exam Pass the Elementary/Medium practical exam (actual judging of a competition class with a minimum of 10 horses). Expressions of interest from applicants who meet the above criteria should lodge an application in writing to the Judges Officer, Dressage New Zealand (Sue Hobson, Pahiatua, RD4). 5 J5 DRESSAGE JUDGE’S UPGRADING FORM to List 5 NAME: Mr/Mrs/Miss/Ms ____________________________________ ADDRESS: Area ____________________________________ ____________________________________ Telephone: Home:_____________ Work:______________ Email: _____________________ ESNZ Membership No. …………… Date of Birth: ………………………(Minimum age 18 years) Sitting-In Level 1 and 2 with Official Mentor/Educator (see List) see completed Official Forms [min 15 horses in class] Date Venue Test No. No. in class Signature of Mentor L1 L1 L1 L2 L2 L2 Total: Writing (for List 3 Judge or above) Date Venue Test No. Signature of Judge Shadow-Judging Levels 1 and 2 with Mentor/Educator (see Completed Official Forms) [min 15 horses in class] Date Venue Test No No. in class Signature of Mentor L1 L1 L1 L2 L2 L2 6 Official Judging – Introductory or Ungraded Tests printouts of Result Sheets Attached [min of 15 horses in class] Date Venue Test No No in class Signature of Judge Total Mentoring Sessions with Mentor/Educator – outdoor practical or DVD sessions Date Venue Test No Signature of Mentor Assessment L1/2 Satisfactory/ Not yet ready L1/2 Satisfactory/ Not yet ready Seminar Level 1 Date Venue Signature of Presenter Level 1 Signed by AJO:…………………………………… Comment:……………………………………. Date:……………………………………………….. ……………………………………... Area:………………………………………………… ……………………………………... 7 J4 JUDGE’S UPGRADING FORM – LIST 5 TO LIST 4 NAME: Mr/Mrs/Miss/Ms ____________________________________ ADDRESS: Area ____________________________________ ____________________________________ Telephone: Home:_____________ Work:______________ Email: _____________________ ESNZ Membership No. ……………Date of Birth: ……(min 20 yrs)…To List 5: (min 1 year)…… Sitting-In – with Official Mentor/Educator (see completed Official Forms) [min 12 horses in class] Date Venue Test No. Signature of Mentor No. in class L3 L3 L4 L4 L3 MFS L3 MFS Total Writing – Upper Level tests Date Venue Test No. Signature of Judge Shadow-Judging – with Official Mentor/Educator (see completed Official forms) [min 12 horses in class] Date Venue Test No No in class Signature of Mentor L3 L3 L3 L4 L4 L4 Total Official Judging – with Official Mentor/Educator (see attached printed result sheets) [[min 12 horses in 8 class] Date Venue Test No No in class Signature of Mentor L1 L1 L1 L1 L1 L2 L2 L2 L2 L2 Total Mentoring Sessions with Mentor/Educator – outdoor practical or DVD sessions Date Venue Test No Signature of Mentor Assessment Level 1/2 Satisfactory Not yet ready Level 1/2 Satisfactory Not yet ready Level 1/2 Satisfactory Not yet ready Seminar Level 1 Date Venue Signature of Presenter Level 1 Signed by AJO:…………………………………… Comment:……………………………………. Date:……………………………………………….. Area:………………………………………………… ……………………………………... ……………………………………... 9 J3 JUDGE’S UPGRADING FORM – LIST 4 TO LIST 3 NAME: Mr/Mrs/Miss/Ms ____________________________________ ADDRESS: Area ____________________________________ ____________________________________ Telephone: Home:_____________ Work:______________ Email: _____________________ ESNZ Membership No. ……………Date of Birth: ………(min 25 yrs) To List 4: (min 2 yrs)…… Sitting-In – with Official Mentor/Educator – completed Official Forms attached [min 8 horses in class] Date Venue Test No. No in class Signature of Mentor L5 L5 L6 L6 L4/5 MFS L4/5 MFS Total Writing – Upper level tests Shadow-Judging – with Official Mentor/Educator – completed Official Forms attached [min 8 horses in class] Date Venue Test No No. in class Signature of Mentor L4 L4 L4 L5 Level 5 Level 5 L4/5 MFS Total 10 Official Judging – with Official Mentor/Educator (see attached printed result sheets) [min 8 horses in class] Date Venue Test No No in class Signature of Mentor L3 L3 L3 L3 L4 L4 L4 L4 L4 MFS L4 MFS Total Mentoring Sessions with Mentor/Educator – outdoor practical or DVD sessions Date Venue Test No Signature of Mentor Assessment Level 1/2 Satisfactory Not yet ready Level 1/2 Satisfactory Not yet ready Level 1/2 Satisfactory Not yet ready Seminar Level 2 Date Venue Signature of Presenter Level 2 Riding Element: Details of Competition at Level 2 or above on 2 occasions achieving minimum of 55% [attach appropriate result sheets] Signed by AJO:…………………………………… Comment:……………………………………. Date:……………………………………………….. Area:………………………………………………… ……………………………………... ……………………………………... 11 J2 JUDGE’S UPGRADING FORM – LIST 3 TO LIST 2 NAME: Mr/Mrs/Miss/Ms ____________________________________ ADDRESS: Area ____________________________________ ____________________________________ Telephone: Home:_____________ Work:______________ Email:_____________________ ESNZ Membership No. …………… Date of Birth: ……(min 30+yrs) To List 3: (min 3 years) … Sitting-In with Official Mentor/Educator see List attached (see completed Official Forms) [min 8 horses in class] Date Venue Test No. No in class Signature of Mentor L6/7 L6/7 L6/7 L6/7 L8/9 L8/9 6/7 MFS 8/9 MFS Total Writing – FEI tests (for Official Mentor/Educator or FEI Judge) Shadow Judging - with Educator or FEI judge with min no. of horses (see completed Official Forms) [min 8 horses in class] No in class Signature of Educator/FEI Judge Date Venue Test No. L6/7 L6/7 L6/7 L6/7 L8/9 L8/9 L8/9 L8/9 12 6/7 MFS 6/7 MFS 8/9 MFS 8/9 MFS Total Official Judging [printouts of Result Sheets to be supplied] [min 8 horses in class] Date Venue Test No No in class Signature of Judge Level 5 Level 5 Level 5 Level 5 L5 MFS L5 MFS Total Mentoring Sessions (with approved Educator outdoor practical or DVD sessions) Date Venue Level Signature of Educator Assessment Level 5/6 Satisfactory Not yet ready Level 5/6 Satisfactory Not yet ready Level 5/6 Satisfactory Not yet ready Stewarding: One full day at Regional/National Event with FEI Steward FEI Steward: Seminar at FEI Level Date Venue Presenter Riding Element: Details of Competition at Level 2 or above on 2 occasions achieving minimum of 55% [attach appropriate result sheets] Signed by AJO:…………………………………… Comment:……………………………………. Date:……………………………………………….. Area:………………………………………………… ……………………………………... ……………………………………... 13 [Completed form above to be accompanied by Current Judging CV in accordance with guidelines below] JUDGING CV The following information is to be used to support your application to upgrade to a List 2. 1. List all Level 4 and above tests judges in the past 2 years – particularly when judging alongside higher listed judged, and send a copy of class result printout showing your scores alongside those other judges. 2. List any sitting-in or writing that you have done in addition to that required on your sheet – especially on higher classes with List 1 or FEI judges (please include signed paper showing competition, class and judge’s name and signature) 3. List all clinics/seminars/local judges education sessions that you have attended since become a List 3. 4. List any competing that you have done at Level 5 or above since becoming a List 3 Judge. 5. List any training sessions that you have attended where Level 6 – 9 work has been trained (and include paper with relevant details and signature). Please add any other information that demonstrates your continuing dressage education and supports your suitability to upgrade to List 2. 14 J2A JUDGE’S UPGRADING FORM – LIST 2 TO LIST 2A NAME: Mr/Mrs/Miss/Ms ____________________________________ ADDRESS: Area ____________________________________ ____________________________________ Telephone: Home:_____________ Work:______________ Email: _____________________ ESNZ Membership No. …………… Date of Birth: ……(min 30+ yrs) To List ………………….. (min 2 yrs) Sitting-In with FEI 4* Judge - (see completed Official Forms) [min 8 horses in class] Date Venue Test No. No in class Signature of Judge L8/9 L8/9 L8/9 L8/9 L8/9 MFS L8/9 MFS Writing – FEI tests (for FEI 4*Judge at Level 8/9) Shadow Judging - with FEI 4* and Overseas judge with min no. of horses (see completed Official Forms) [min 8 horses in class] Date Venue Test No. Signature of Judge Int A FEI 4* Int B FEI 4* Grand P O/s FEI Grand P O/s FEI GP MFS O/s FEI GP MFS O/s FEI Official Judging with FEI 4*Judge [printouts of Result Sheets to be supplied] [min 8 horses in class] 15 Date Venue Test No Signature of Judge L8 L8 L8 L8 L9 L9 L9 L9 L9 MFS L9 MFS Mentoring Sessions (with approved Educator outdoor practical or DVD sessions) Date Venue Level Signature of Educator Assessment Level 8/9 Satisfactory Not yet ready Level 8/9 Satisfactory Not yet ready Level 8/9 Satisfactory Not yet ready Seminar at FEI Level Date Venue Presenter Riding Element: Details of Competition at Level 3 or above on 2 occasions achieving minimum of 55% [attach appropriate result sheets] Signed by AJO:…………………………………… Comment:……………………………………. Date:……………………………………………….. Area:………………………………………………… ……………………………………... ……………………………………... 16 J1 JUDGE’S UPGRADING FORM – LIST 2A TO LIST 1 NAME: Mr/Mrs/Miss/Ms ____________________________________ ADDRESS: Area ____________________________________ ____________________________________ Telephone: Home:_____________ Work:______________ Email: _____________________ ESNZ Membership No. …………… Date of Birth: ……(min 30+ yrs) To List 2A……… (2 yrs by invitation) Sitting-In with FEI 4* Foreign Judge - (see completed Official Forms) [min 8 horses in class] Date Venue Test No. No in class Signature of Judge L8/9 L8/9 L8/9 MFS L8/9 MFS Judged Overseas (exchange programme) at FEI Level - result printouts attached Date Venue Test No. Signature of OC Official Judging as Head of Ground Jury on FEI Test at Regional or Island Champs Date Venue Test No. Mentoring Sessions with Foreign FEI Judge – Report attached Date Venue Level Signature of Educator Assessment Level 8/9 Official FEI Seminar with FEI 5* Judge 17 Date Venue Presenter Riding Element: Details of Competition at Level 4 or above on 2 occasions achieving minimum of 55% [attach appropriate result sheets] Signed by AJO:…………………………………… Comment:……………………………………. Date:……………………………………………….. Area:………………………………………………… ……………………………………... ……………………………………... 18 Article 441 - Number, List, & Placing Of Judges It is recommended that there be a minimum of two judges on all competitions where possible, but one judge is permitted as defined in the table below. Level Training Event Non Graded Graded Classes at LE Regional Events (RE) & ICH NCH & Named Events Classes at LE Non Level 0 & Level Level 0 & Level 1 Not Applicable Not Applicable Not Applicable Judge 1 alone alone Retired Any Level alone Any Level alone Not Applicable Not Applicable Not Applicable Judge up to & incl up to & incl level level previously previously qualified qualified List 5 Levels 1 and 2 Levels 1 and 2 Levels 1 and 2 Levels 1 and 2 accompanied by List 4 Not Applicable alone alone accompanied by List 4 or or above. above. May not judge Challenge Qualifiers List 4 Levels 1, 2 and 3 Levels 1, 2 and 3 Levels 1 and 2 alone. Levels 1, 2 and 3 accompanied by List Not Applicable alone alone Levels 3 and 4 3 or above. accompanied May judge Levels 1, 2 and 3 Challenge by List 3 or above Qualifiers accompanied by List 2 or above. List 3 All Levels up to All Levels up to All levels up to and All levels up to and including Level 4 All levels up to and Level 5 alone. Level 5 alone. including Level 4 alone. alone. including Level 4 including (including (including Musical Level 5 (including L5 L4 Musical Freestyles Level 5 accompanied by List 2 or Musical Freestyles) accompanied by List 2 or Musical Freestyle) above. Freestyles) above. accompanied by List 3 or May judge Levels 1, 2, 3 and 4 above Challenge Qualifiers and Musical Freestyles accompanied by List 2 or above. 19 It is recommended that there be a minimum of two judges on all competitions where possible, but one judge is permitted as defined in the table below. Level Training Event Non Graded Graded Classes at LE Regional Events (RE) & ICH NCH & Named Events Classes at LE List 2 All levels alone All levels alone All levels up to and All levels up to and including Level 5 All levels up to and (including (including Musical including Level 5 alone. alone. including Level 7 but Levels Musical Freestyles) 1, 2 and 3.must be Levels 6,7, 8 and 9 Levels 6, 7 accompanied by List 2 Freestyles) accompanied by List 3 or (including Musical or above. above Freestyles) accompanied Levels 6/7, Challenge Qualifiers by judge List 2 or above accompanied by List 2A or above. All Levels 4, 5, 6 and 7 must be accompanied by List 2A or Levels 8 and 9 but must be above. accompanied by List 2A or above. List 2A All levels alone. All levels alone. All levels up to and including Level 6/7 alone. Level 8 and 9 accompanied by List 2 or above. List 1 All levels alone. All levels alone. All levels alone. All levels up to and including Level 5 alone. Levels 6,and 7, accompanied by List 2 or above Levels 8 and 9 must be accompanied by List 2 or above. All levels alone up to and including Level 5. Levels 6, 7, 8 and 9 and must be accompanied by List 2 or above. All levels but accompanied by List 2 or above when judging Levels 5 and 6/7. (min 3 judges on Levels 6 and 7) All levels accompanied by appropriate listed judge (min 5 judges on Levels 8 and 9) 20 DRESSAGE NEW ZEALAND ASSESSMENT FORM FOR SIT-IN Name of Candidate: ………………………………………………………………… Venue:…………………………Dates:………………………Upgrading to: ………... Test No……………………………………… Number of Competitors:…………….. 1. Appearance, behaviour of candidate …………………………………………………………………………………………… …………………………………………………………………………………………… 2. Technical knowledge of riding / judging principles …………………………………………………………………………………………… …………………………………………………………………………………………… 3. Proposal of appropriate marks ……………………………………………………….................................................. …………………………………………………………………………………………… 4. Correct use of technical language ………………………………………………………………………………….............. ………………………………………………………………………………….............. 5. Further comments …………………………………………………………………………………………… …………………………………………………………………………………………… ASSESSMENT (please circle one) Very good Good Competent Not yet competent Name of Mentor Judge/Judge Educator …………………………………………………….. Signature …………………………………………………………………. 21 Guidelines for Sit-In General: The candidate should sit in with the Mentor Judge throughout the whole class. Sit-ins and Shadow Judging may be done at the same show but the Shadow Judging must be done before the Sit-in. Task of the Candidate: The candidate should check that an approved Mentor Judge is judging at the event. If this is the case, the candidate should contact the OC at least 4 weeks before an event and inform them about the wish to sit-in. If the OC agrees, the candidate will contact the Judges Officer who will advise the Mentor Judge of the arrangements. The candidate should contact the OC again shortly before the event and make the appropriate arrangements concerning the sit-in – (ie: timetable etc.) Task of the OC If an OC is willing to allow a candidate to sit-in, they must provide extra seating or ensure the car being used allows for a person to sit in the back. Task of the Mentor Judge 1. The MJ assesses the appearance of the candidate: eg. friendly, open-minded, well-behaved, appropriately dressed, well on time, well prepared with good knowledge of the test. 2. The candidate is to be asked some questions about riding / judging principles in the break between two horses and during the test whenever possible. Corrections should be given by the MJ directly if needed. 3. The candidate has to be given the opportunity to propose marks in the course of the test and the collective marks whenever there is time. This way the candidate’s knowledge, decisiveness and the speed in which the candidate is able to give the requested marks can be tested. Corrections should be given by the MJ directly if needed. 4. The correct usage of the technical language will be checked through the candidate’s remarks. After the class the MJ should inform the candidate about the outcome of the Sit-in, emphasise his strong and weak points, and give him further recommendations what issues need to be worked on. The completed Assessment Sheet is to be sent to the Judges Officer immediately after the event. 22 DRESSAGE NEW ZEALAND ASSESSMENT FORM FOR SHADOW-JUDGING Name of Candidate: ……………………………………………………………………………….. Venue:…………………………Dates:………………………… Upgrading to: ………………… Test No……………………………………… Number of Competitors:……………………….. 1. Appearance, behaviour of candidate …………………………………………………………………………………………………….. …………………………………………………………………………………………………….. 2. Organisation of Shadow-Judging, knowledge of test …………………………………………………………………………………………………….. …………………………………………………………………………………………………….. 3. 4. Ranking (a) Placing: ……………………………………………………………………………… (b) Level of Percentage achieved………………………………………………. (c) Spread of final scores ………………………………………………………... Use of marks (a) Correct use of marks according to the riding principles …………………………………………………………………………………............ …………………………………………………………………………………............ (b) Spread of single marks………………………………………………………… (c) Correlation between marks and remarks …………………………………………………………………………………............ …………………………………………………………………………………............ 23 (d) Correct use of technical language …………………………………………………………………………………........... …………………………………………………………………………………........... 6. Further comments …………………………………………………………………………………………………….. …………………………………………………………………………………………………….. ……………………………………………………………………………………………………… ASSESSMENT (please circle one) Very good Good Competent Not yet competent Name of Mentor Judge/Judge Educator …………………………………………………….. Signature………………..………………………………………………………………………………… 24 Guidelines for Shadow Judging General: The candidate should judge the whole class with the Mentor Judge (MJ). Sit-ins and Shadow Judging may be done at the same show but the Shadow Judging must be done before the Sit-in. Task of the Candidate: The candidate should check that an approved Mentor Judge is judging at the event. If this is the case, the candidate should contact the OC at least 4 weeks before an event and inform them about the wish to shadow-judge. If the OC agrees, the candidate will contact the Judges Officer who will advise the Mentor Judge of the arrangements. The candidate should contact the OC again shortly before the event and make the appropriate arrangements concerning the shadow judge – (ie: timetable, test, etc.) It is the responsibility of the Candidate to provide the required number of test sheets and a writer for the test. It is recommended that the completed sheets be added with the final total as a percentage prior to meeting with the MJ at the conclusion of the class (the Scorer may be approached to add the sheets, but it they may not have sufficient time during a busy event). Task of the OC If an OC is willing to allow a candidate to shadow judge, they must provide extra seating at an appropriate place or ensure an extra car can be placed ideally adjacent to the MJ. Task of the Mentor Judge 1. The MJ assesses the candidate in accordance with the Assessment Sheet including the appearance of the candidate: eg. friendly, open-minded, well-behaved, appropriately dressed, well on time, well prepared with good knowledge of the test. 2. The MJ checks how the candidate has organised his Shadow Judging, eg. contact with OC beforehand, their instructions to the writer and overall knowledge of the relevant test, 3. After the class the MJ goes through the results prior to meeting with the candidate, assessing the results according to the following criteria: 4. a. the ranking of the competitors, difference in % between the placed riders. b. the level of percentage compared to the co-judges. c. the spread of the final scores. The MJ looks thoroughly through the marks by comparing the sheets. a. the MJ looks at the correct use of the marks comparing them movement by movement. 1 point difference allowed (the MJ to decide whether up or down), 2 points difference to be marked in red. b. The MJ looks at the spread of the single marks and whether the candidate has used the whole range of marks. 25 5. The MJ looks at the remarks. a. b. c. The correctness of the remarks according to the riding principles The correlation between marks and remarks. The correct usage of the technical language. Important: The candidate should be asked by the MJ before they start judging the class to give remarks to every mark of 6 and below if possible also to higher marks. That gives the MJ the opportunity to check as well the candidate’s vocabulary and knowledge of riding and judging principles. Short final sentences summing up the most important issues should also be asked for. 6. After having gone through the sheets the MJ discusses the outcome with the candidate and any differences that have occurred. The MJ gives the candidate the opportunity to explain the marks that have been given and thereby check their knowledge on the principles or riding and judging. After the class the MJ should inform the candidate about the outcome of the Shadow Judging, emphasise the strong and weak points, and give further recommendations on what issues need to be worked on. The completed Assessment Sheet is to be sent to the Judges Officer immediately after the event 26 LIST OF OFFICIAL EDUCATORS AND MENTORS 1ST August, 2014 EDUCATORS (for North and South Island Official Clinics): Jan Bird, Helen Hughes-Keen, Sue Hobson and Betty Brown. MENTORS: These will be able to officiate at local clinics to List 5 and 4 judges within Areas, also can sign off all shadow judging and mentoring as explained on new schedule under heading (Approved Educator – see list attached): Jan Bird Helen Hughes- Keen Julie Brougham Sue Hobson Mary Craine Felicity Dobell-Brown Carol Eivers Mura Love Sue Harris Marcia Bayley Betty Brown Judith Cunningham Carol Going Myra Friend Jude Greenslade Linda Warren-Davey Lyn Fox Wellington Wellington Central Districts Southern Hawkes Bay Southern Hawkes Bay Northern Hawkes Bay Northern Hawkes Bay Gisborne Gisborne Waikato Auckland Waitemata Northland Nelson Christchurch Christchurch Southland 27 DRESSAGE NEW ZEALAND DISCREPANCY FORM To be completed by Chief Judge when discrepancy of 8% or more on a class at either Regional or National level and to be forwarded to the Judges Officer, RD4, Pahiatua. Name of Event………………………………………………………………………Date:……………………………………….. Head of Ground Jury:…………………………………………………………….Discrepancy of marks……………….% Name of Judge concerned:……………………………………………………List:…………………………………………… Was the discrepancy discussed with colleagues and/or rider? Yes/No What was the main reason for the discrepancy after discussion with all parties? ………………………………………………………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………………………… Was a satisfactory result reached on the day? Yes/No Was Judge willing to listen and discuss discrepancies? Yes/No In your opinion did the Judge show the right attitude for further training? Yes/No Was any complaint received directly from the rider? Yes/No Overall opinion how discrepancy occurred and does JSC need to take further action (in brief) ………………………………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………………………….. ……………………………………………………………………………………………………………………………………………….. ……………………………………………………………………………………………………………………………………………….. Signed:……………………………………………………………… 28 AREA JUDGES OFFICER JOB DESCRIPTION Recruit and train new judges. Solve problems between judge trainers/competitors (if possible). Make sure there is an ongoing training programme working in the Area for all judges, according to their level. Apply through the local Dressage Group for funding from Local Bodies for training judges and organise clinics annually with an Official Judges Educator. See that higher listed judges are assisted to attend clinics at FEI levels when they are organised nationally. Arrange car pools to make the most of chances to watch visiting instructors or attending clinics in other Areas. Advise neighbouring areas of the dates of any educational seminars you may be organising. Work in conjunction with tournament organisers when placing judges on classes – make sure all judges get the opportunity to judge several levels. If possible see that judges are not given too many classes at the same level. Try and mix your local judges with outside judges when you have more than one on a class. If Judges are constantly making mistakes and upsetting competitors, see that they are given the opportunity to judge with a more senior person who can go through their papers and help sort out the difficulties. It may be necessary to have them judge in other Areas or invite higher listed judges into your Area to put them with. Work with the National Judges Officer and Committee to see that Judges are being given the chance to be upgraded when they have the ability to go higher. Keep the National Judges Officer informed of any changes or irregularities in the List of Officials. Some groups of judges have been getting together on a regular basis for discussion and video evenings. These would be very valuable for solving problems with the understanding of rules and the fair application of rules in some cases. It would be valuable if these sessions could include trainers. It is necessary that the person leading these discussions has a good knowledge of dressage and knows the rulebook thoroughly. Good idea to use a List 1 Judges where possible. Legal system – judges been to be briefed to be made aware that legislation could result from mishandling protests and problems arising while on a Ground Jury. 29 JUDGES HANDBOOK Some useful hints The following suggestions are made to help judges, not only to improve their knowledge but, equally important, to enable them to express their thoughts clearly and concisely. To be able to judge a class, technical knowledge alone is not enough, it is also necessary to instantly put thoughts into words and, at the same time evaluate the movement with a mark. Watch horses and riders of all levels while training. Ask permission to watch riders training sessions with good coaches. Read books and magazine articles on Dressage Training. Watch videos on training dressage horses and of competitions. Learn the value of the scales of marks ie: 4 = insufficient, 6 = satisfactory, etc. Do not use words that contradict those numbers . If you say a movement is good the mark is 8, if you give a different mark to your comment you must qualify it with a “but”. Learn the test from the Judges point of view, noting particularly the split up of the movements and whether the transition is in the preceding or following movement. Remember that if a movement starts at the first letter mentioned it continues to the first letter of the next movement. Study the FEI definitions of Paces and Movement as written in the ESNZ Dressage Rule Book. Study the “purpose of the test” outlined at the beginning of each level in the book of Dressage Tests. JUDGES RESPONSIBILITIES Before the day – When you receive an invitation to judge, answer it promptly, confirming the time, place and test. State whether you require a writer. Please do not turn up to judge with your own writer unless you have advised the OC, as it may mean that someone has driven a long way only to be disappointed. Please state if you will require a car to judge from. Please advise the OC if you have any potential conflicts of interest (as defined in the rule book). Arrangements can easily be made if organisers know in advance thus avoiding any embarrassment. On the day - Arrive at least 30 minutes before you are due to start judging. Report to the Secretary, who should be able to direct you to your arena. Check your arena. You must not change it once the competition has commenced so make sure it complies with the requirements laid down in the Dressage Rule Book. Things to look for particularly are the markers and their positioning, the centre line (if a centre line is marked which is optional, D,L,X,I,G should not be marked) – the width of the entrance. You cannot do much about the terrain, but you can remove stones or fill in pot holes. Make sure you keep to the given times where possible. You should have your thoughts about how you are going to sum-up in the collective marks in your head by the time the test finishes so as not to waste time between horses. These comments should be concise and you can underline the directives that you want to stress. 30 Be sure to brief your writer, as every Judge has a different method. Quietly familiarize yourself with the test prior to your first horse entering the arena and remember, this could be your winner. If you are President of the Ground Jury you must be quick to recognise course errors and “bell” them, and be sure to know your rules for any infringements that may occur, for example, correct clothing, gear etc. When judging, be sure to appreciate the good whilst penalizing the faults. It is the good horses that deserve the marks, not those who make the least mistakes! Think of the quality of the pace that the appropriate movement is out of to ascertain your mark. Try to be as constructive as possible with your comments, and always justify your mark with a comment when awarding a 6 or less. It is no use just commenting “good” and giving an 8 – tell them why it was good! Please don’t try and tell the rider how to ride the horse, we are judging the result of the riding and training. We can only judge what we can actually see, we can’t guess if the horse is for example behind the vertical when it is going away from us and we can only see the tail !! Make sure when you are giving your collective marks that they equate with the marks given for the actual movements. These collective marks are a reflection of what happened, and if the test has all 5’s because the horse was not going freely forward, then the collective marks MUST reflect this, and be 5 for impulsion. The same for resistances, the “submission” mark must come down if the horse was resisting throughout the test. Make sure your completed test sheet is checked and signed legibly (or else print your name). Remember to thank your writer and check nothing is left in your/their car! REMINDER TO GROUND JURY MEMBERS As required by the ESNZ legal system, members of the ground jury should be available for a minimum of 30 minutes following the publication of the official announcement of results of the competition. SIGNING OFF RESULTS: This is to be carried out by the Chief Judge at all Regional and National Events BEFORE the final result is posted on the scoreboard. Please check that scorers are aware of this and that results are not delayed unnecessarily. DEBRIEFING: Should be carried out if there is more than 8% difference in scores between judges on any one class. It must be undertaken by the Chief Judge at the most appropriate time for all concerned and the official Discrepancy Form completed and forwarded to the Judges Officer who will advise the Judge if any further action is to be taken. If an individual judge is reported to have been more than 8% out on more than two occasions they will then be advised that they may not judge again unless it is with a List 1 judge and their marks prove to be satisfactory. The purpose of this exercise is to promote discussion between the judge concerned and the List 1 Educator. SOLICITING FOR JUDGE INVITATIONS: Asking for an Invitation to Judge is not acceptable, as it may put AJO’s/Convenors in a difficult situation. It is appropriate to go through your 31 own AJO if you would like an invitation. It is acceptable to let an out of your area AJO/Convenor know you would be in the district and available for a judging assignment, but not to ask for one directly, and in particular not to specify the level at which you wish to judge. DOWNGRADING OF JUDGES - this can only be done by the Judges Committee. Individual cases will be looked at when, and if, necessary. Temporary leave of absence from the Judges panel – This may be allowed, again individual cases will be looked at on merit by the Judges Committee. If circumstances mean that you cannot keep up your judging requirements due to outside commitments you may decide to apply for LOA from the panel for a maximum of 2 years. After which time you will be required to judge with an Educator on your return to make sure you have kept up with all the rules etc. Deletion from panel – Any judge who cannot meet criteria set down to remain on the panel may, at their own request, be taken off the panel. Please advise your Area Judges Officer if you wish to do this. Judges who have not maintained the criteria may also be taken off the panel by the Judges Committee in consultation with the relevant Area Judges Officer. DRESS CODE It is extremely important that judges dress according to the grade of competition, ie local shows can be smart casual, tidy dress – (no jeans). For Regional, National and especially International events it is recommended that trousers and jacket/blazer, skirt with blouse and jacket, or dress and jacket be worn. If you are taking the bell it is recommended that a jacket be worn. It is important to note that jeans are not considered as appropriate for these higher level competitions. 32 WHAT MAKES A GOOD JUDGE? As a judge you have to be highly organised, yet flexible. You have to be able to make decisions quickly, be confident in your knowledge and its source. You must possess diplomacy, tact and a sense of humour. You have to be able to admit your mistakes and also be able to diffuse a volatile situation. You are part of a team and if you are the Chief Judge you have to lead that team. You must be approachable by riders and coaches. You must also act professionally in relation to your judging. As a judge you most probably have a greater impact on the sport than riding coaches! Demands required of a Dressage Judge You must maintain absolute objectivity and impartiality, free of arrogance, but be humble and sympathetic. You need the ability to see, distinguish the good from the bad and reward with appropriate marks the first to the last horse in a competition in order to give the correct relationship between them. This requires mental versatility, experience and a set mental routine in order to give a just and fair judgement. You require a full knowledge of the theoretical knowledge of the basic training of dressage. From this you must be able to recognise basic qualities and therefore the main faults that originate from incorrect training. You should be able to differentiate between faults cause by momentary unfitness or a careless from those caused by incorrect training or riding. No longer is a judge required purely to register and count mistakes like a bookkeeper, but more importantly, whilst still bearing in mind the faults that have been recognised, it is the quality of good training and the performance of the horse that should be rewarded with your high marks. Today, when the duration of competitions are longer and the classes bigger, it is important that judges be physically fit, alert and able to concentrate for long periods of time. A judge must be able to follow the tests attentively from the beginning to the end. Only then can they maintain the correct relationship of marks to movements during the whole competition. 33 POINTS SYSTEM FOR DRESSAGE NEW ZEALAND JUDGES The Following points system should assist all our Judges to maintain accreditation over a three year period. Allocation of points Task: 1 2 Points Judging an official Graded DNZ dressage test or FEI level Horse Trials Test 10 (a) Judging Non-graded DNZ test 5 (b) Judging HT/Para/Pony Club/Intro test 5 Attend Official Judge’s Clinic triennially 50 (a) 50 Attend an official National Clinic or Workshop overseas 3 Attend FEI Official Clinic (registered with FEI) 100 4 Judge highest class allowed, additional 5 points per class 5 5 Judge outside own Area (additional 5 points per event (not class)) 5 6 Shadow Judge or Sit in at your highest level 5 7 Write or Sit In with International Judge 10 8 Write or Sit In with DNZ Judge Educator 5 9 Compete at Level 5 or above, attaining 60% or more: (5 points per test) 5 10 Sit examination commensurate with List, as per Rider Incentive Scheme 50 As at 1 August 2014 Task 1 Six graded DNZ or FEI Horse Trials Tests required annually regardless of grade of judge. Task 2 Required triennially . May be substituted by sufficient points from Task numbers 3,6,8,9 and 10. Task 4 & 5 May be substituted by equal points gained through Task numbers 6,7,8,9 and 10. MINIMUM POINTS PER ANNUM are 60 points from TASK 1 Total points to accumulate over a three year period – minimum of 300 points For judges wishing to upgrade it is envisaged that more than the minimum requirements are met each year to maintain a good knowledge of test judging. 34 CRITERIA FOR REMAINING ON THE PANEL AT YOUR CURRENT LISTING Please remember to maintain at least the minimum requirements to keep up your accreditation each year. Maintain your personal judges’ passport and send in to your AJO each year when requested to do so with an SAE for its return. Loss of Accreditation: If you do not keep up the specified requirements each year you may find you will be unaccredited which will mean that you may not judge at any Regional or National dressage event. You will be considered a “Local” judge until such time as you have re-accredited. Any judge who is not maintaining the criteria may also be taken off by their AJO or the Judges Committee after discussion with the judge concerned. DRESSAGE JUDGES’ CODE OF CONDUCT – 2014 To be considered in conjunction with ESNZ Dressage Rules: Reply promptly to judging invitations. Ensure that you know the appropriate test and rules. Dress smartly and in accordance with the status of the event. Do not wear advertising on clothing ie: jackets, sweatshirts, caps etc. Arrive at least half an hour before your test commences. Inspect the arena, checking the going and the positioning of the letters. Be courteous to your writer. Explain how you will give your marks and comments. Warn your writer of any tricky parts in the test. DO NOT look at the scoreboard during the class. DO NOT allow competitors, or their connections involved in the class, to sit in with you. Keep to time. Ensure that you check and sign-off the final score sheets before they are posted by the scorers onto the board. In any dressage test there should not be any close relationship between any judge and rider or owner of any horse competing. No judge may officiate at a competition if his/her duties will involve a conflict of interest. A judge must declare his/her interest in any person or horse competing that he/she has trained on more than three occasions/owned/part owned/ or have other business interest in within two months preceding a Regional event or six months preceding the Nationals, Island Championships or Horse of the Year. At local shows no limitations apply on a time period thus giving the OC the opportunity to allocate that judge to competitions in which this particular person/horse does not take part. It is inadvisable to drink alcohol until you have finished judging your classes for the day. Do please be guarded in what you say, and to whom you say it, both to your writer and when going to the scoreboard after the class. You will be expected to remain on the grounds for at least 30 minutes after the scores have been posted from your class. 35 Be discreet at all times. If judging as a member of a panel, be prepared to discuss the judging afterwards with your fellow judges in private. Judges should not solicit organisers for future invitations. If you need assistance with invitations, please contact your AJO for their assistance. Every eventuality cannot be provided for. In any unforeseen circumstances, it is the duty of the Ground Jury to make a decision in sporting spirit with Fair Play in mind. Any serious breaches of this Code of Conduct MAY result in judges being stood down from the Officials List in consultation with the JSC and the DNZ Board. DISCIPLINARY CODE Complaints, to be considered by the Judges Sub Committee need to be forwarded, in writing, in confidence, to the Judges Officer, together with test sheets, videos etc. The Judges Sub committee should respond to every written complaint and needs to keep accurate files on these matters. ALL RECORDS ARE CONFIDENTIAL. If the Judges Sub Committee considers that the performance of a judge, or the number or type of complaints against a particular judge warrants further consideration then they can:a. Require the judge to provide a response, in writing, to the details of any complaint. b. If necessary, require the judge to attend a meeting with a panel of judge educators. c. Require the judge to attend a further seminar, and/or d Require the judge to participate in a mentor programme with an experienced judge educator. If warranted, the Judge MAY BE downgraded one level, but only when the Judges Sub Committee has explored all other avenues. The downgraded Judge may not apply for upgrading for a period of 12 months after downgrading. Any serious breaches of the Code of Conduct could result in the judge being taken off the Officials List at the discretion of the JSC and DNZ Board. 36 THE TRAINING SCALE 37 EXPLANATION OF THE MARKS [Extract FEI Dressage Handbook – February 2007 prior to the introduction of half marks, but the principles remain the same] For a 10, excellent – All of the requirements of the training scale are fulfilled to their utmost. The movements are performed with excellent precision, exactly on the correct lines from marker to marker. 9, very good – All of the requirements of the training scale are fulfilled. The movements are performed accurately, following the correct lines. 8, good – All the requirements of the training scale are regarded as good. Movements are performed accurately, following the correct lines. 7, fairly good – All of the requirements of the training scale are regarded as fairly good. Movements are performed fairly accurately, following the correct lines. 6, satisfactory – Either the movements are performed fairly accurately, but there are some clear weaknesses within the training scale, or the movements are lacking accuracy and precision but still demonstrate good qualities of the training scale. 5, sufficient – Either the movements are performed fairly accurately, but there are some clear weaknesses within the training scale, or there are some fairly serious mistakes, movements are inaccurate but still demonstrate satisfactory qualities of the training scale. 4, insufficient – Either the movements are performed fairly accurately, but there are some serious weaknesses within the training scale with some obvious errors within the movement, or movements may be very inaccurate but still demonstrate sufficient qualities of the training scale. 3, fairly bad – Inaccurately performed movements with serious problems within the training scale. 2, bad – Inaccurately performed movements with severe problems within the training scale. 2, very bad – Movements performed are barely recognisable. Showing severe resistance throughout, ie: rearing, running backwards etc. 0, not performed – Movements not performed. No fragment of the movement is performed. 38 THE COLLECTIVE MARKS by Stephen Clarke When judging novice horses the important thing to consider is whether the paces are as nature intended. Whether the training so far has been established and to a certain extent enhanced the paces that nature gave to the horse. In order to give high marks for the paces we would expect to see absolute regularity in all three. The walk For a novice the walk must be in clear four beat. The medium walk marching well forwards The free walk showing exactly the same rhythm with relaxation and more ground cover than in the medium. We need to be careful with the young horses that show a huge overtrack, from the point of view of absolute regularity of the four beats and the future development of collection. The important point is that the horse can show clear difference without any signs of losing the clarity of the four beat and that he moves through the whole of the body not just the legs. The ideal walk of an advanced horse is: When the collected is in a true four beat with the horse printing in which means the hinds step into hoof print of forefeet. I am anxious if the hindfeet step behind the hoofprints of the forefeet and usually describe this as short rather than collected. In extended there should be the same four beat but with a foot of overtrack. The ability to show this collected and extended walk is rarely seen, but needs to be rewarded with the highest marks. The Trot The trot of the novice horse should be perfectly regular two beat rhythm and a moment of suspension in between the diagonal pairs. The strides should be free from restriction and show a natural looseness and elasticity. Elasticity is freedom from stiffness with the horse springing easily forwards from one diagonal to the other. When considering “freedom” the novice horse should show an ability to produce some lengthening without altering the speed of rhythm (tempo). The Canter The canter should be true in its three beat rhythm and established enough in the balance to show free unconstrained strides with a clear moment of suspension and lightness of footfall to each canter stride. The ability to lengthen these strides and return again to a balanced working canter without altering the speed of the rhythm of (tempo) is important. For a novice with paces described above the mark range is 7 to 10 depending on the degree of the quality. To give a poor mark Unfortunately, even at novice level, incorrect training leads to detrimental results on the horse’s natural paces. This normally results in stiffness and restriction within the paces. Sometimes it goes as far as disturbing the true rhythm. Often the walk is the first pace to suffer from this, losing the clarity of the four beat, even to the point of moving in pure lateral pairs. 39 The trot often suffers from a lack of correct training by becoming dull and earthbound, and losing the ability to cover the ground cover in the way nature intended. Often a horse with that sort of trot when asked to lengthen only runs or hurries forwards rather than springing off the ground and making bigger strides. If this lack of correct training continues the result of restriction and lack of suppleness often leads to irregularity. The result of poor training in the canter often leads to a loss of clear three time beat, causing the diagonal pair of legs to separate so that horse ends up appearing to move in an earthbound, laboured canter, showing virtually a four beat rhythm with a very short moment of suspension. If any of the three paces show the tendencies described it would be difficult to give higher than a six. Depending on the severity of the described symptoms the marks could end up in the insufficient range. The advanced horse Through the systematic development of collection the advanced horse will show enhanced quality to the natural paces. Through the increased engagement of hind legs and lightness of the shoulders the paces will appear lighter and freer. Through the development of impulsion they will show more cadence and expression. It is only through true development of collection that breathtaking extensions can be produced correctly. The important thing to consider about an advanced horse’s paces, is not only the absolute regularity but to have the feeling that the horse is moving in an uphill direction with light and mobile shoulders. This is what one is looking for to give 8s 9s and 10s for the Paces mark. Fairly Good Paces An advanced horse that achieves a 7 for its paces will be absolutely regular and show clear differences within the paces but will not have the same lightness and elasticity of the quality described above. Satisfactory Paces 6 applies to a horse that is somewhat limited within its correct paces or perhaps has an extremely good trot and canter but a lack of clarity of the four beat in the walk. Bear in mind if the loss of regularity is only momentary it could be considered more of a submission problem. Poor marks 5s and below apply to horses that through their training demonstrates stiff earthbound paces that lack freedom and expression. Usually because of those problems the horse ends up losing the clear four beat walk and three beat canter. 40 Impulsion and Submission: The Link The impulsion and submission marks are linked unequivocally because the more impulsion you ask for the more submission is needed. Impulsion can only be developed “through” a supple and straight horse that is in a true balance and self carriage. Only then can the energy produced from the hind legs come through the back of the horse to the elastic and accepting contact with the hand. Then the half halt can transfer that energy from the hind legs into carrying power. And this is turn brings the lightness and mobility of the shoulders that allows the horse to move with true expression. Impulsion Impulsion is about a desire to go forward – the energy and carrying power that is produced from behind that goes to the bridle through a supple and swinging back. Impulsion allows the horse to move in a powerful and athletic way to show elastic and expressive movement. The opposite of elastic steps are stiff staccato steps when the joints of the horse are not really supple and flexible. Elastic steps can only be seen when joints are flexible and where the muscles are well developed and supple. It is interesting to note that there is a difference between true engagement as opposed to pure forward energy. Some horses go with a huge amount of energy but the hind legs are pushing rather than carrying themselves forward with the hind legs. The horse is energetic but is lacking true engagement and carrying ability of the hind legs. You see this in overproduced young horses. They power along out of balance and at the expense of engagement and self carriage. The remarks Judges have to be careful what they say about impulsion. Every horse could be described as needing to be more engaged and to have more impulsion, but they must be careful that they do not encourage the riders to force more energy and engagement into a horse that is stiff or out of balance. If the riders take us at our word they could make their situation worse rather than better. That is why it is so important to think carefully about what we are saying, particularly in the summing up comments. It is vitally important that the riders and judges recognise the difference between “speed” and “impulsion”. Creating speed will only cause the horse to go out of balance, become stiffer and make true impulsion impossible to develop. There is no point in saying to a rider whose horse is resisting, against the hand, and is tight in the neck and back that it needs more impulsion, because if the rider tries to development more impulsion it will only create more resistance. 41 The marks If the horse goes through the test without mistakes and resistance, but gives the impression of being rather flat and now showing clear differences as set down by the level of the test, then the impulsion mark is probably only “sufficient” or “satisfactory”. If we see a horse that is loose, energetic and carried itself in a really good balance, reacts well to the rider’s aids, shows clearly defined transitions within the paces, gives the impression of stepping under behind and coming up through the shoulders in all the movements, then we must think in the high range of marks – 8s 9s and 10s. Submission The first thought that comes into my head when thinking about submission is “willingness”, in that the horse understands what is being asked of it and is confident enough in the rider to react to the aids without fear or question. Its straightness, “uphillness” and balance enable the horse to react in front of the rider’s leg and draw forward into an accepting and self carrying contact with the bit. Basically, the rider is able to direct the horse through the test with the impression that the horse is in front of the rider’s aids and accepts to stay in a true balance (not on the forehand) and self carriage. This is what really produces the rare picture of harmony and lightness. Two elements are not named in the directives for the submission collective mark, but have an important influence on it. These are straightness and collection. Straightness Straightness is thought about when giving the mark for submission ie: that the hind feet follow in the tracks of the forefeet on straight and curved lines, and that the horse shows equal and submissive lateral bend in both directions. Often in more advances tests, irregularities can be seen in some of the lateral movements, particularly the half passes. Provided there are no irregularities in other parts of the test, this is deducted in the submission mark, rather than the one for the paces. This is because that irregularity is a direct result of lack of submission to the bend and the ability of the horse to remain in a true balance. Collection The degree of collection required in the tests at each level is that which enables the horse to perform the movements with ease and fluency. Therefore, insufficient collection results in a loss of submission because the horse is not doing the movement/s with ease and fluency. The marks A horse that you are only able to give the lower marks for submission is the one that is outright disobedient or uneducated. It does not carry out the wishes of the rider with confidence and lacks an understanding of the movements require. The horse that gets the high marks is the one that gives the impression of carrying out the movements of his own accord. 42 COMMENTS ON DRESSAGE SHEETS Negative Neutral On the forehand Earthbound Downhill Unbalanced Croup high Crooked Quarters swinging Not straight Tight Tense Stiff Abrupt Coming a little croup high Hollow Above bit Against the hand Incorrect bend, wrong flexion Losing roundness Behind the vertical Resistant Dragging steps in rein back Positive [Needs……. Could show….. Could/Should be…..] More Uphill More balanced More under More engaged Quarters slightly left More straight More parallel Not always loose Not quite through More soft More supple More elastic More fluent More smooth More round More over back More through neck Develop core of bend Develop core flexion Keep poll highest More harmony Keep collection Leaning No clear difference (trans) Some tension Reluctant Inactive Appears a little heavy Rather progressive Rough transition Prepare for transition Lacking impulsion Needs to be more forward 4 beat canter Laboured Flat Losing the jump Needing to show lift Ambling Not 4 beat Lengthening barely shown Tending to be lateral Could show more More self carriage More bold More brave More defined transitions More discrete aids More harmony More energy Keep the swing More active More ground gaining Keep the canter clean More jump More suspension More time in the air Keep purity of the walk More push and carry More freedom in shoulder More lift 43 MUSICAL FREESTYLES By Jan Bird The technical marks for freestyles are given in EXACTLY the same manner as in an ordinary test. We use the same methodology. It is not until we come to the collective marks that musical freestyles appear to become more complex. Collective Marks Rhythm, energy and Elasticity – this marked as you would mark paces, regularity and impulsion when summing up an ordinary test. It is a technical mark and relates directly to the marks given for the technical performance. Harmony between horse and rider – this is again a technical mark and is marked as you would mark submission and the rider mark. It relates directly to the confidence, lightness and acceptance of the bridle BUT it also relates directly to whether the horse FULFILLED the requirements of the test. Did the horse carry out the prescribed movements with ease? Had the horse’s training been such that it could easily perform the movements asked for? If not and the horse was struggling to perform the movements, then this mark comes down. Choreography – use of the arena – DID IT MESS UP THE SAND? This if the first artistic mark and is given for inventiveness, logical and symmetrical patterns, balanced programme – some originality! Did it possess an element of surprise? Were the movements easily recognisable and placed in the manner that was easy for the judge to see and mark? This mark is again not really independent from the technical marks. If the horse is not performing well, the rider cannot show good choreography. The mark can be maybe point 5 higher than the technical mark if the patterns are exciting and original, but always keep in mind how well the combination is able to demonstrate the movements. Degree of difficulty – again this is a technical mark – it is INEXTRICABLY LINKED to the technical marks previously given for the test. Were all the movements performed? Were the movements performed well? Did the risks taken “come off” – did the performance “maintain the quality of pace”? If the performance was TOO ambitious this can detract from the marks if the horse was struggling with the movements despite the brave attempts. For example, if the test contained the minimum requirement of say 5 flying changes, and the horse performed 5 good flying changes then the mark could be 7 (fairly good); if he performed 7 good flying changes, then the mark could easily go to 8. If the performance contained movements beyond the standard tests for the level (but within the prescribed guidelines for the grade) and these movements were well performed then the mark for Degree of Difficulty could then be 8 or more. However, remember, you may still be able to give a 7 if all the movements contained in the test are performed to a high standard, even if they are only the minimum requirements – particularly in the lower grade tests where it is hard to demonstrate a degree of difficulty given the restrictions on the movements you are allow to show. Music and Interpretation – this is the TRUE artistic mark. This mark is related ONLY to the choice of the music and its musical interpretation – did the style fit the horse? Did the rhythms of each pace fit the rhythms of music? Did the changes in rhythm and tempo of the music coincide with the changes of pace? Was the music in a similar “style” or did it change genre? Did you get the feeling that the horse was going to the music, NOT the music following the horse. Were there interpretations of crescendos within the music picked up by the movement of the horse? Did the performance have a defined 44 “entrance” and “finale” – was it a complete “piece of theatre” a “show” – did it tell a story? If the music fits all three paces (4 if you include Piaffe and Passage), the change of pace are with the music, and there is a change in style between the paces, AND the horse is going well enough for the rider to ride to the music, then the appropriate mark would be a 7 (fairly good). If the music really suits the horse and its paces, allows for interpretation, tells a story AND the horses is going well enough for the rider to demonstrate this interpretation, then the mark can be higher - 8 (good) or above. However, if the music does not fit one or more of the paces, or is just background music, you can give a lower mark of say 6 or below. But because even the worst music requires a great deal of time to put together, if the music did not change throughout the test, did not match any of the rhythms of the pace or tempos of the horse, and was technically of poor quality, a mark of 5 (sufficient) would be appropriate and below 5 (insufficient) would only be given if the test and/or the music was a TOTAL DISASTER. Conclusion: Clearly more than 70% of the total marks for a musical freestyle are influenced by the technical marks given for the performance. Freestyles statistically gain higher marks than normal tests as riders can emphasize the highlights of their horse’s ability. Riders can also have a “second bite of the cherry” if a movement is not performed correctly. Precision is NOT as important and careful preparation can be incorporated into the test for difficult movements. However, there should always be a balance between the two sides of the marking sheet – the technical side and the artistic side - it is an “unwritten” FEI protocol, that it would be inappropriate for a technically flawed test to receive an artistic mark of any more than 10% above the technical score. If the test scored in the early 60%s for technical merit then the total artistic marks should not be more than 70%. Only the choreography and musical marks are NOT directly linked to the technical marks. The marks given for the music however, must always be “in balance” with the technical performance The FEI have now reduced the co-efficient mark for the music assessment from 6 to 4 in order to provide a more level playing field for competitors. It has been recognised by the FEI that a musical freestyle most importantly is DRESSAGE enhanced by music for the enjoyment of the spectators and that it is not a MUSICAL RECITAL! 45 Competitor Rhythm, Energy Elasticity Harmony Choreography Use of Arena Degree of Difficulty Music and interpretation Trot Walk Canter. Finale Mark 46 Musical Freestyle Notes from Seminar by Katrina Wüst in 2013 Biography of Katrina Wüst Katrina Wüst has been a dedicated dressage rider throughout her life. She trained many horses and competed very successfully up to international Grand Prix level, being part of the official German B-Team from the early 1970s to the middle of the 1980s. She then quit competing, gave birth to three children and shifted the focus more and more on judging. Being an FEI judge since 1994 and a 5* judge since 2006, she has judged many of the important international shows, Championships on all levels, 4 World Cup Finals included. Katrina studied German-, English- and American Literature, combined with Communication Management as well as History of Arts in Perugia, Italy. She was a member of the Dressage Task Force in 2009-2010 and helped to develop new ideas to modernise the judging system, such as half marks. Despite her full schedule Katrina never gave up riding and continues to work her horses when she is at home. Furthermore, she occasionally writes articles for journals. 47 The Artistic Marks in Freestyle Performances by Katrina Wüst, 2012 RHYTHM, ENERGY, ELASTICITY of PACES Combination of the first two collectives • Consistency of rhythm in all 3 paces • Freedom and lightness of paces, elasticity of steps / strides • Impulsion a) Engagement of hindlegs b) Supple, swinging back Emphasis should be more on rhythm than on impulsion Loss of rhythm in at least one pace as well as a lack of impulsion diminish this mark. HARMONY between RIDER and HORSE Combination of the 3. and 4. collective • Throughness, confidence, submission + absence of severe mistakes (!!) • Correct training of the horse in accordance with the training scale Suppleness, activity of mouth, contact, acceptance of bit, straightness, collection, selfcarriage, elevation • Rider‘s position /seat, correctness of his aids Emphasis should be more on correct training of the horse / way of going / confidence and absence of mistakes Tension and disobedience, mistakes, lack of throughness, but also an aggressive way of riding reduce this mark. CHOREOGRAPHY (5 main criteria) 1. Structure: • Choreography should take examples from the composition of other forms of art (film, theatre) • Entering the arena rousing attention of spectators (and judges) • Interesting beginning positive signal • Middlepart can consist of quieter phrases • Impressive finish with highlights, not with weaknesses! 2. Originality: • Not designed like a standard test • If possible not always trot – walk – canter • New lines, surprising transitions • Combinations of movements / transitions • Not too many „isolated“ movements without connection to other movements • However: No “circuslike“ sequences 3. Use of Arena: • Arena should be used as a whole • There should be a balance between left lead work / right lead work • Not too many movements shown on standard lines (track, diagonal...) • Not the same movement shown on the same line several times • Clearly recognizable lines • A symmetric freestyle gives the impression of being well structured 4. Balance: • Balance within paces: no one-sided preference of a "favourite pace" • Balance within movements: not too much use of "favourite" movements 48 • Interaction of collection and extension • Interaction of straight and curved lines • Interaction of lateral work and riding straight forward 5. Suitability for the horse: • Exact analysis of the horse‘s possibilities • Emphasis on the strengths by placing them effectively • Emphasis on the strengths by repeating them appropriately • “Masking” the weaknesses by placing them less clearly recognizable DEGREE of DIFFICULTY (5 main criteria) The risk in accordance with the ability of rider and horse is the main criterion for its assessment !!! 1. Movements: All movements might be - generally spoken - regarded as a difficulty if they • exceed the requirements of the respective class • are in compliance with the FEI rules • are executed correctly (marks of 7 and better) There are only three (combined) movements existing that are not part of any standard test: - Piaffe pirouette - Half pass in passage - Canter pirouette more than 360° (max. double) 2. Transitions: All transitions can be regarded as difficult if they • exceed the requirements of the respective class • are executed correctly Transitions should be executed with promptness and smoothness to be regarded as a difficulty 3. Combinations: Combinations of movements (2, 3, or more movements) can increase the mark To be regarded as a difficulty, the combinations must follow each other as directly as possible. (Exception: All combinations with canter pirouettes which have to show some canterstrides before/after!) 4. Lines / Points that make the execution more / less difficult: • Easy: All movements on the track; pirouettes on circle line; half passes less steep than required in the respective standard test • More difficult: movements on the 2nd track, quarter line, centre line; changes on curved lines (circle line, serpentine, through 2 corners) occasionally: movements that lead to the outside (towards spectators, exit ...) 5. Repetitions: A difficult freestyle exceeds the minimum requirements (see FEI Guidelines for Degree of Difficulty, 2009) Fundamental movements should be appropriately repeated. Reins in one hand for a few special movements can increase the mark for harmony and for the degree of difficulty, but the technical execution must be as correct as if ridden with both hands. MUSIC (5 main criteria) 1. Well fitting to all Paces and Transitions: • The music should fit to the mechanics of the horse a music of its own for each pace is required • There should be a differentiation between music for trot or piaffe / passage 49 (Canter) music needs “structure“ (a clear beat emphasising the inner front leg) No background music like in a supermarket Changing pace / transitions in time with the music, not at prescribed markers Too many changes within the paces are difficult to realise by the music and often give the impression of a hectic performance 2. Well fitting to the Movements: • Movements can be underlined with a significant “theme“ • Regard the “value“ of each movement: half passes rather light-footed, extended trot dynamic, passage energetic, pirouettes appear to “change” the canter rhythm • Underlining the piaffe can only be recommended if the horse executes the piaffe very rhythmically and clearly diagonal • Movements can be underlined but also “concealed“ by the music • Movements and music should never contradict themselves • Entering the arena and the finale should be accentuated by the music. Clear finish to the test. If you close your eyes you should be able to imagine, which movement the rider shows this very moment. 3. Well fitting to the Type of Rider/ Horse: • A good freestyle music should not contradict the appearance of rider / type of horse. Example: • No too melancholic music for a young pony rider • Very heavy music can slay a lightfooted thoroughbred • Music can be extraordinary… as long as it fits well 4. Style of the Music: A good freestyle music is a musical unity • If possible taken from one genre: Softpop, rock, musical, film soundtracks, classical music ... • Preferably one type of orchestration • Short sequences such as jingles, minimum vocals, sounds, etc. can give good emphasis to particular movements • Vocals are not forbidden but should not be too dominating A judge should never ask himself whether HE/SHE likes the music as long as it fits well to paces, transitions, movements, horse and rider. 5. Evoking positive Emotions A good freestyle music evokes positive feelings and emotions • The rider must ”sell“ his freestyle to the audience • Preferable: A catchy music that stays in the heads • The rider should not choose neither a boring, nor a too complicated or even “aggressive” music • • • • Practical remarks to the technical movements (do not replace the knowledge of the Freestyle Directives) Entrance and Halt: The rider has the freedom to choose the pace and the place without the mark being diminished Technical mistakes that happen before the 1st salute and in the transition have to be considered The move off has also to be considered (regarding contact, promptness …) Walk: Has to be shown in both tempi min. 20 m on one track = straight or curved line. Not to be 50 performed as a lateral movement. The collected walk can be interrupted by a walk pirouette. Lateral Movements: Shoulder-in: Should be shown on clearly recognizable lines (min. 12 m) Half Pass: The steepness is at the discretion of the rider, but should not be shown below the requirements of the standard test Beginning and end of the lateral movements to be clearly defined A broken change after a canter half pass will reduce the mark for this half pass Extensions: Extended trot should be shown on a straight line; on circle line is regarded as medium trot Transitions must be integrated into the mark for extensions A broken change influences the mark for the extended canter Series of changes on a curved line: - Maintenance of balance, quality, length of canter strides, straightness Pirouettes: On both reins from/ to collected, straightened canter According to the requirements of the class (half, full, max. 2x) Judged as one movement, no average of two rotations Combination of pirouette left and right must have 3-4 straight strides in between to be counted Piaffe: - Minimum 1x 10 steps straight; steps to be counted!! Passage: - Minimum 20 m on one track. Transitions: only to be counted as passage-piaffe-passage transitions (not pi-pa-pi) - Should be shown at least once on a straight line - Transitions on a curved line from piaffe-pirouette to passage-half-pass are counted as transitions Piaffe Pirouette (judged as piaffe if the rider shows min. 1x piaffe on straight line, otherwise < 5): A piaffe pirouette can be shown in many ways: from 90° - 360°, as a fan or back and forth. More than 360° in one direction should not be allowed. ( Unbalanced choreography) Correct execution: • Clearly diagonal, consistent rhythm throughout, regular • Consistent collection, balance, lightness of contact • All legs turn around the inside hind leg, radius as small as possible, not more than ½m • Maintenance of same level of activity and elasticity of back and steps • Very slight flexion/ bend to the direction of the movement required 51 If possible, a ¼ , ½ etc. piaffe pirouette should be shown to both sides to prove the horse is well trained • Before and/or after the piaffe pirouette there should be some steps straight Mistakes: • Diagonals visibly breaking up, uneven steps, change of rhythm and tempo • On forehand, loss of self-carriage/ balance, etc. • Losing activity, falling into walk, stiffening the back, any form of resistance • Turning around the middle, escaping quarters, stepping sideways/ backwards/ forward, too large • Outside flexion/ no bend at all • Half-Pass in Passage (judged as passage if the rider shows min. 20m passage on one track, otherwise < 5): A half-pass in passage can be shown as an ordinary half-pass or as a “zig-zag“. It should be executed at least 5m sideways to make it recognizable. Less crossing of legs/ less steepness of angle are expected. Correct execution: • Consistent regularity and cadence • Consistent collection, true self-carriage, balance, lightness of contact • Maintenance of same level of activity and elasticity of back • Slight but uniform flexion/ bend, slightly crossing legs • If possible, a half-pass in passage should be shown to both sides Mistakes: • Loss of regularity and cadence • Loss of collection, self-carriage, balance, horse getting above the bit, strong in hand … • Lacking energy and engagement behind, getting hollow in the back • Loss/ change of flexion/ bend, tilted head, quarters leading • Not crossing at all, not far enough sideways Reins in one Hand Showing a horse successfully with the reins in 1 hand is reflected in the marks for harmony (= rider) and difficulty • Reins in 1 hand, the other hanging still and relaxed by the rider‘s side • Rider must not influence the public /his horse with the free hand (otherwise minus 0.5 in harmony) • The contact must remain light and steady • The execution of the movements must be as if ridden with both hands • Flexed exercises should be executed on both hands Guidance for Scoring: Mark for rhythm: Influenced by quality of paces (mainly) and impulsion. Mark for harmony: Influenced by execution of test incl. technical mistakes and quality of riding. Often connected with degree of difficulty if difficulties are presented very harmoniously. Mark for choreography: Influenced by creativity, structure etc.(see above). Often connected with degree of difficulty if difficulties are well presented on interesting lines or in original combinations etc. 52 Will clearly be diminished (down to 5) in case of showing a Freestyle not in accordance to the rules. Mark for degree of difficulty: Influenced by all kinds of difficulties (see above) and their technical execution(!!). Will clearly be diminished (down to 5) in case of showing a Freestyle not in accordance to the rules. Mark for music: Influenced by the rider’s choice of a well fitting music (see criteria above) but also by the execution of the movements which must always remain in accordance with the music. 53
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