Manifesto

The nature of any competitive sport is that the winner must do more, or better than the competition, in order to win. The history of the English Pleasure division has been one of constant change, with the standard being set by outstanding individuals that have become National Champions. As history has shown, the first improvements that led to victory were head and neck carriage changes. Those horses that developed relatively more upright necks with the plane of the forehead being more or less vertical evolved to be the winners. The differentiation between first and second places was the grace and ease that each horse displayed while wearing the bridle in this manner. The winner was lighter in the bridle and brighter. The class was simply a saddle seat class that was defined by manners and presentation.

Within a few years, more than just one or two horses started carrying and maintaining the higher frame and motion started to become a factor. As well, the style of that motion became important and controversial. The flatter, stiffer, foot flinging motion that was defined as “Arabian” style gave way to rounder, more graceful motion.

Presently, the class has evolved to the point that, while the frame and style are very important, the elite of the English Pleasure competitors are producing even more motion, sometimes at the expense of lightness in the bridle, exquisite timing and finesse. More importantly, the elite are setting a standard that has become difficult, if not impossible, for lesser gifted horses to emulate without falling apart and abandoning the signature criteria that defines English Pleasure and separates the class from Park.

Hence, the introduction of this specific scoring system for this Arabian English Pleasure Futurity class. Instead of possibly penalizing a great horse for having extravagant motion, this system should aid the decision making process by challenging the judge to notice all of the other facets of the performance that are correct as well. Additionally, the pressure on the trainer/riders to produce huge motion with those horses that are not as gifted, in order to appear “competitive” should be reduced. The fact that the scoring system accounts for cadence, delivery, responsiveness, expression, manners, quality and Arabian English type, should give trainers and riders the courage to display elegance rather than “hustle” and know that they will be rewarded for it.

The format for this system of judging an Arabian English Pleasure Horse is unique, as is the performance class that it is intended for. Within the entire concept, including the design of the elimination round, the final class, and the weighting the categories, the premise is that the actual talent and potential of the horse is being judged, and not the training they received. This is not a “training” class. It is a futurity to reward the breeding and athletic ability of fine horses suitable for this division. It is conceivable, however, that this structure of presentation and scoring system will impact the training for this division as the future unfolds.

The elements to be scored are grouped into 4 main categories. They are Movement, Carriage, Mental Aptitude, and Quality. As you look at the scorecard, you will see, at the top, the Judging Scale for the numerical values. Next you will see the Movement and Carriage categories further segmented into scoring boxes for front movement, hind movement, cadence/overall delivery (under movement), and head and neck, and body (under carriage). Directly underneath are 5 segments that, for descriptive purposes, are grouped differently. The first 3 segments of, Responsiveness, Expression, and Manners should be grouped together under the category of “Mental Aptitude”, as they all are directly related to the mentality and emotional nature of the horse. The next 2 segments of Quality, and Arabian English Type, are simply grouped together as “Quality”. The highest possible scores in each category are as follows:

Movement and Carriage are the strongest, most defining elements of an English Pleasure horse and thus are weighted more heavily than the other categories. The motion is what separates the English horse from western or hunter in the distinct style of movement that is ideal for a saddle seat mount. Carriage describes the frame of the horse, and how well they “carry” it. There are different frame styles that are ideal for different riding disciplines, western, hunt, etc. Carriage creates the first impression and may be the most telling element about the discipline being ridden.

Attitude could also be called Mental Aptitude. While a horse may have physical traits that make them appear as though they could be good English horses, it is their mental aptitude that can make them willing, confident partners that are able to reach their physical potential, or, under achievers that never measure up to what their physical abilities would indicate. A horse with a good mental aptitude will be able to stay relaxed, learn at a good rate, retain lessons, and exhibit what they know (not less) and do it generously.

Quality is a separating element. All things being equal, we would all rather ride the beautiful one. This is the Arabian English Futurity, and we want the horses to reflect that.

As a foreword to the actual Standard, it must be noted that the description that follows is written for the mature English Pleasure competitor, as the ideal example of the discipline. The Arabian English Pleasure Futurity is for horses that are four years old, and as such, they are not expected to achieve this standard. This is, however, the standard that all entrants in this class will be compared to for scoring purposes

His transition to the trot should be one of deliberate engagement of the hindquarters from a subtle cue from the rider. Rounding his back as he pushes off with his hind leg, he should stride under himself while fluidly lifting his shoulders and forearm, and addressing the bridle with ease and poise.

The trot should be a flawlessly timed and cadenced two beat gait, exhibiting uphill body carriage with his hindquarters being lower than his withers. His head and neck carriage should be high with his tall, graceful, neck held vertically, and his poll well flexed and soft. He should look through the bridle excitedly with bright eyes, his ears held perfectly forward, and his tail slightly elevated with excitement, creating a brilliant expression. His motion should be powerful yet loose jointed in front, with his forearm raised high at the knee as he gracefully completes his stride with beautiful, round, rolling motion, exhibiting full use of his shoulders. His hindquarters should be dropped through engagement and his hind leg motion should show good flexion of all joints as he pushes off with authority. At the end of his stride, he should return the hind leg well underneath himself by deeply flexing both the hock and stifle joints producing a crisp return, with the rear cannon well raised, as the horse reaches to purchase the ground. The trot is a ground covering gait, however, speed and motion created at the expense of balance, impacting the responsiveness and the desirable fluid and graceful delivery, should be penalized in the appropriate scoring segments. The canter is a three beat gait and should be delivered in the same uphill frame as the trot. The horse should canter with an elastic, supple delivery showing engagement of the hindquarters, a rounded back, and loose shoulders with the forearm raising moderately high before reaching and completing the round stride with a soft foot fall. He should have a bright expressive look as he moves flawlessly to the bridle with graceful, upright carriage through the neck and poll. Again, the canter is a ground covering gait, however, excessive speed causing the appearance of a loss of rate, finesse, and self carriage should be penalized in the Responsiveness and Delivery segments.

During the entire performance, the goal of this horse and rider is to capture the essence of the English Pleasure division. The horse that performs with fluid power, ultimate balance, and moves to the bridle with grace and poise, all with subtle cues from the rider, portrays the essence of this division. This horse, being in a state of total commitment to the rider, will exhibit the suppleness, mobility, and lightness in the bridle that is characterized by self carriage. This perfection of carriage enables him to take any corner, go up the middle, and command the arena while remaining in balance, with each step in perfect cadence. His transitions will be smooth, with his hindquarters deeply engaged, providing the platform for the balance that enables him to either speed up or slow down at will, all while effortlessly lifting his shoulders to maintain perfect balance and connection within his frame. The effect of this kind of balance creates a lofty and “soft” footfall in both the trot and the canter that is never stiffened by being hurried, rushed, or miss-timed.

Examples of poor motion that warrants a score of 1-3 would be, limping with a head nod, little or no knee (knee 3 to 4 inches below the elbow), exaggerated extension with little knee height, consistent failure to follow through and complete the stride with one leg high and one leg low (loss of symmetry and cadence).

Examples of a medium score of 4-6 could be below level motion with some unevenness, below level (knee 2 to 3 inches below the elbow) and even motion, and level motion with some unevenness or a loss of range of motion (trappy).

The score of a 7 or 8 would require motion that is at least level and perfectly even with a good range of motion.

The gifted horse, which moves well above level, with excellent range of motion, would receive a 9 or a 10.

All horses differ in their ability to do the same things, and performance at the trot is no exception. Some will trot higher, some lower. Some will trot with more extension; some will trot more under themselves. What we want to see and reward with a high score is high, round, fluid and balanced motion that appears soft and with some bounce. Exaggerated motion will come with a penalty, most likely with a low score in cadence/overall delivery in the form of laborious, stressed, or frantic motion.

The following descriptions are written as guidelines for scoring purposes.

Examples of poor hind leg motion warranting a score of 1-3 would be weak motion where the hind leg doesn’t have much flex and the hooves appear to drag. As well, motion that is uneven, and out of time and cadence would merit a low score.

Hind leg motion that would be scored a 4-6 could be symmetrical motion that trails out behind. An opposite example would be symmetrical movement with some engagement, but with a shorter stride than possible, lacking a crisp and clean look.

A score of 7-8 would demand that the hindquarters be engaged with the hind leg underneath the horse developing strong push off, with good flexion and excellent cadence. The overall look of the hind leg should be “clean” or “crisp” and well timed.

The exceptional score of 9-10 would be reserved for the horse that exhibits a well engaged hindquarter, with hind legs that deliver strong, perfectly timed strides. The stride will be elastic in nature with great flexion of all joints. The return of the stride will be the decision maker for this score. The hind leg, on it’s return, will exhibit deliberate, extremely flexed hock motion, causing the rear cannon to reach high as it moves forward, with the fetlock flexed, and the hoof held as if to “cup” or grab the dirt in order to maximize the impending push off that will thrust the horse up and forward.

Examples of a horse miss-timing his strides, or, being un-cadenced, are: Of the diagonal pairs, the front limbs are always slightly quicker than the rear limbs, or, a particular limb may always or inconsistently move with an inhibited range of motion causing a short stridedness that may be consistent or inconsistent. In extreme examples, there may not be two connected strides in unison during the time the horse is being presented at the trot.

Overall delivery is very different, and is considered at the trot and canter, and in specific ways, speaks towards the “essence” of what the English Pleasure division is all about. How the movement is delivered is as important as what the movement is. At the trot, two horses could receive the same scores for the movement of the front and hind legs, but receive very different scores for the delivery. While the determination of cadence is a relatively objective decision, determining overall delivery is more subjective. Understanding the term, “delivery” is critical in assessing the English Pleasure performance.

Overall delivery describes how the horse is mentally and physically organized to produce the motion that occurs during his performance. Examples of types of delivery are: A “trappy” or “choppy” delivery would be quick footed motion with the horse using his knees but moving underneath himself with little shoulder extension and with the rear end being equally quick, moving up and down, with little or no reach. This example includes the catch phrases of “going to their elbows”, or being a “ground pounder”. Beyond conformational inadequacies, this type of motion can be associated with tension within the horse causing the appearance to lack fluidity and grace. It can also be the sign of a weak horse that doesn’t have the strength or ability to achieve any extension.

The opposite example is the horse that moves stiffly, over extending in front, with little or no fold to the knee. Frequently, this type of horse will “flip his toes”. The rear end on this type of horse is frequently just as stiff. This horse could be too tense and stiff and traveling too fast for his frame, or simply lethargic and unwilling to go forward. These two examples (again, ignoring conformational inadequacies) characterize extremes, not just in motion, but also in mentalities, and the ability to stay soft, light, and connected in the bridle, as well.

A stressed delivery will be characterized by movements that are too rapid, tight, and possibly uneven, and a rigid neck and poll. As well, the horse may exhibit an un-natural amount of thin sweat, indicating mental as well as physical stress. A slow and sluggish delivery giving the appearance that the horse is having a hard time picking up his feet could be called labored or simply dull, and lifeless. Delivery will be influenced by the physical, mental, and conformational tendencies of each horse.

The following descriptions are written as guidelines for scoring purposes.

From the judges perspective, in determining what kind of cadence/overall delivery a horse has, descriptive words and phrases may come to mind such as, “weak, uneven, out of time and cadence, stressed, tense, tight, stiff, frantic, lethargic, not going forward, traveling too fast and unrated, and labored. These words and phrases would be associated with the bottom scores of 1-3.

Middle scores of 4-6 would include terms such as “some life and flow, unstressed but lacks any flair, intermittently cadenced, mostly cadenced, cadenced but not especially fluid or strong, cadenced but inconsistent with commitment to go forward, cadenced but flat, etc.

The above average scores of 7-8 would include the words, or words similar to, “precisely cadenced, strong and fluid”, or “well rated, cadenced, balanced, exhibits strength with ease.”

For the outstanding horse that deserves the scores of 9-10 on cadence/overall delivery, the descriptive words and phrases such as, “strong and powerful, strength and beauty, grace and ease, loose jointed, fluid movement, lofty, oily, and extravagant” should in some way all come into play.

The most undesirable structure for an English Pleasure horse is a low set, short neck. This horse will not be able to achieve any elevation without being forced and giving the appearance of stiffness. This horse cannot achieve self carriage in the frame required for English competition. Numerical values of 1-3 are appropriate for this type of conformation and carriage.

An improvement on the aforementioned horse would be a horse with a relatively short, but high set neck, or a horse with a relatively long, but low set neck. The horse with the short, high set neck could achieve some elevation, but could lack the length through the poll to adequately enable the horse enough comfort in the bridle to be fluid and graceful in his performance. This horse can never have the stature or scope of the model English Pleasure horse.

The horse with the longer, but lower set neck will have a better chance to achieve fluidity and grace, but may not be able to achieve enough elevation with his frame to truly travel uphill. These types of conformation and carriage represent the middle group of numerical values, scores 4-6.

The scores of 7-8 are applicable for the horse with medium long, to long, high set neck that folds easily at the poll and is carried mostly vertically during the class. The upright carriage exhibited should appear graceful and easy with very few instances during the class that the horse fails to address the bridle perfectly. The highest score numerical values for head and neck carriage should be reserved for the horse that has a long, tall, and shapely neck, and carries it that way through his entire performance. With varying degrees, this structure is essential for any horse to be truly representative of a “model” English Pleasure horse.

In this specific instance, “long”, denotes the overall length proportionate to the body of the horse. Tall denotes the relative upright or vertical nature of the neck. Shapely is the only subjective word in the phrase and it refers to the gentle S shaped curvature of the vertebrae of the well- conformed neck, as it appears to rise vertically out of the well laid back shoulder. This example is comprised of: The first third of the length attributable to the “root” of the neck as it comes out of a well laid back shoulder. The other 2/3 should immediately rise vertically, without a pronounced “lower bulge” to the underside of the neck, and flow with a gentle curve forming the Poll, to the attachment to the head. The conformation of this type of neck makes it easier and more comfortable for the horse to achieve the balanced elevation and frame in the bridle necessary for true uphill travel. This horse will have a statuesque, more elegant appearance, and in the extreme examples will be so well made and supple that in the most upright and vertical position, the horse’s head would appear to be carried directly over the withers and shoulders. A horse with this exemplary conformation combined with perfect carriage throughout the class would merit a 10.

The following descriptions are written as a guideline for scoring purposes.

Down hill carriage is more accurately stated as travel on the forehand. (As in more weight on the forehand) In an extreme example this horse might appear to have his shoulders lower than his hips. This happens when, during movement, a horse’s hocks are out behind him and his back is dropped, and also through poor conformation. A horse in this posture has to travel “heavy” on the forehand because his hind leg is simply propelling him across the ground without reaching far enough under him to carry much of the weight. Until he rounds his back and steps under himself, this out of balance carriage will continue. There is no real “quality” to this carriage because the horse will be relatively dull and un-responsive to any request by the rider, and the horse will not exhibit any fluid bounce or loft to his stride. The horse’s transitions and his ability to maneuver will be impaired, precluding him from having any real command of the arena. The lower numerical values of 1-3 are appropriate scores for this type of carriage.

Horizontal carriage, or even balanced carriage occurs when a horse is neither traveling uphill or downhill. His back would appear to be level with the ground. This posture demonstrates that the horse has enough collection and engagement through rounding his back and reaching with his hindquarters to achieve a compliant carriage, and the ability to possibly maintain balance within his frame and exhibit some self carriage. This may enable him to demonstrate some finesse and suppleness to his movements through the gaits. Scores of 4-6 are appropriate for this segment of carriage.

Uphill carriage, or, travel using a deeply engaged hind leg along with a relatively rounded back is a foundational attribute for the ideal English performance horse. In this form of carriage, the angulations of the lumbosacral joint, the hip, the stifles and the hocks are significantly increased. The deeply set hindquarter supports a higher proportion of weight enabling the forehand to lighten. A horse working in this manner, in balance, listening to and honoring the bridle, will exhibit a truly elevated overall frame, including the head and neck. The motion produced, and rewarded by score, will be lofty, slower cadenced, and as true to the potential of the horse as possible. This uphill balance enables a horse to work in the supple, mobile, soft and confident manner characteristic of self-carriage. Further, a horse in self-carriage has the ability to be truly expressive, capable of delivering an exhilarating performance. For the horse that exhibits with a hindquarter accepting more weight and lifting his shoulders (an uphill traveler), scores of 7-8 are appropriate. For the horse that exhibits an “airy” or “lofty” front end with a lower and engaged hindquarter, with self carriage, scores of 9-10 are applicable.

Responsiveness is intimately linked with self-carriage, delivery, cadence, manners, and even expression. A horse can carry a high frame while moving boldly, yet be unresponsive enough and locked in the bridle through tension that he loses cadence. Or, even being in a “good” frame, he leans enough to strain at the bridle and gape at the mouth, his mentality so consumed by the bridle that he fails to look forward and looses his ears, giving an ugly appearance that lacks finish.

Examples to score this category are as such:

A score of 1-3 would be reserved for the horse that blatantly runs through the bridle, visibly fights the bridle, obviously refuses leg cues, runs sideways, or carries a poor frame with a somewhat frozen jaw, or appears to have a frozen jaw and a lack of rate, regardless of the frame.

A horse meriting a score in the range of 4-6 could, at the lower range for example, rise above the bridle during transitions and visibly lean at times during the rest of the performance. Another example of a lower-medium score would be the horse trotting into a lead, bolting during the transition to canter or falling out of the canter. A score of 5-6 could be awarded to the average horse that completed the pattern smoothly yet lacked any crispness and refinement to his performance.

For a score of 7-8, the horse should demonstrate that he willingly reacts quickly to all aids, keeping his balance with little effort through the performance. Rein response should be quick and definite with easy leg to rein response obviously visible, leading to the appearance of good communication between horse and rider.

The score of 9-10 should be reserved for the horse that appears very tractable, listens carefully, and reacts to light and subtle cues. This horse would have crisp and accurate transitions, be fully committed to the bridle yet obviously soft and light, and be totally balanced, supple, and composed during the performance.

A score of 1-3 would be appropriate for the horse that blatantly refuses cues, is generally unruly, and/or exhibits anger while receiving a cue to perform. Included in this range would be a refusal to go forward ( running sideways, rearing ), and bolting to the extent that the rider has some difficulty in gathering safe control over the horse. A score of 4-6 would be awarded to the horse that makes some mistakes but is not unruly. The exhibition of tension by chewing or gnawing on the bridle with the result of not walking would be on the boundary of a score of a 4 or a 5, depending on percentage of time the behavior was exhibited.

For a score of 7-8, the horse should make no obvious mistakes

The score of 9-10 should be reserved for the horse that makes no mistakes and completes the class with easy composure.

The horse that merits a score of 1-3 would exhibit mad ears, a ringing tail, or other signs of being stressed or very unhappy.

A score of 4-6 would be awarded to the horse that was pleasant and using his ears some of the time during the performance.

A score of 7-8 would be awarded to the horse that showed with good ears, a bright eye, an excited tail, etc. This horse would appear brilliant and on the verge of animated.

The score of 9-10 would be reserved for the horse that appears “blown up”, extremely excited, happy and animated, and obviously enjoying his performance.

Overall Quality

The main heading of Overall Quality has been divided into two main segments, which are Quality and Arabian English Type.

As score of 1-3 would include some or all of the following: poor conformation, a coarse and unattractive appearance, wry tail, and a dull hair coat.

A horse meriting a score of 4-6 would have some refinement of bone and the coat and condition would be generally good.

A score of 7-8 would be awarded to a well-proportioned horse showing good refinement, with an excellent coat and tail.

A score of 9-10 would be reserved for a stunning example of horseflesh.