Fort Worth, Texas — Teton Ridge, the premier western sports, entertainment and lifestyle brand, announced top-ranked professionals in the western equine sports of cutting, reining, and reined cow horse are set to ride in the highly anticipated third edition of The American Performance Horseman on Saturday, July 19, 2025. The American Performance Horseman, the highest-attended single-day Western performance event in the world, will be held at Dickies Arena in Fort Worth, Texas for 2025.

Previously held at Globe Life Field as part of The American Rodeo weekend, The American Performance Horseman will be a standalone event in 2025 and will now feature 24 competitors spanning the three disciplines (cutting, reining, reined cow horse).

With $1,000,000 up for grabs, the event will feature an individual and team competition, with 8 teams consisting of one cutter, one reiner, and one reined cow horse competitor. The competition promises to be fierce as industry athletes push the boundaries of their disciplines. Eligible competitors will be the highest money-earning athletes from the NRHA Level 4 LAE, NCHA Open LAE, and NRCHA (All Open Money) of the 2024 show season.

All the on-the-dirt action will be paired with live performances, with entertainment details to be announced in the coming months.

“Expanding the number of teams from five to eight marks an exciting evolution as the change not only intensifies the competition but also highlights more of the incredible talent and dedication within the Western equine sports community,” said Josh Valdez, Director Teton Ridge. We are thrilled to provide a larger platform to celebrate Western heritage, culture, and entertainment.”

Cutting horse trainer Adan Banuelos, two-time Cutting Champion of The American Performance Horseman, expressed his excitement, “Incredible is an understatement when describing the energy and talent showcased at this event. This is an arena full of talent, and it’s unbelievable to be on a stage like this and have the world see what we do.”

Deirdre Lester, CEO of Teton Ridge, added, “The American Performance Horseman celebrates the tradition of Western horsemanship and offers an unforgettable experience for cutting, reining and reined cow horse fans alike. It’s more than just a competition—it’s an immersive experience that connects audiences worldwide to the legacy and skill that define these Western sports.”

Launched in 2023 by Teton Ridge, The American Performance Horseman made history by bringing together top professionals from the National Reined Cow Horse Association (NRCHA), National Cutting Horse Association (NCHA), and National Reining Horse Association (NRHA) for the first time, with support from the American Quarter Horse Association (AQHA) and American Paint Horse Association (APHA). This event is the first to spotlight all three Western performance disciplines on the same night, at the same venue. The 2025 competition at Dickies Arena promises another groundbreaking showcase of equine excellence.

Ticketing information for The American Performance Horseman 2025, headlining music talent lineup, and ticket on-sale dates for July 19, 2025, will be announced at a later date. Fans can subscribe to Teton Ridge Plus for alerts, advance ticketing offers, and exclusive presales.

For more information, visit www.theamericanperformancehorseman.com.

— Edited Press Release | Source: National Reined Cow Horse Association

The post The American Performance Horseman Announces Dickies Arena as the New Venue for 2025 Competition appeared first on Horse Illustrated Magazine.

The spin is the maneuver specific to reining. The stylized movement shows your horse’s willingness to move on cue with speed and agility. It’s also the move most associated with riders’ concerns. Will I stop on time? Will I get too dizzy? Will I lose count?

Trainer Cody Crow rides reining patterns in working cow horse competitions. There, one of the requirements is to perform a reining pattern before calling for a cow. When in a reining class, you’ll be asked to do four or four-and-a-quarter turns in one direction.

In a reined cow horse competition, you’ll need to do two-and-a-half to three-and-a-half spins. Whether you’re preparing for a reining event or working cow horse, the move is the same.

Crow describes how he prepares for turnarounds (also called spins) in a reining show.

“I let my horse get settled, I take a breath, make sure my horse’s head and neck are straight, then I’ll open my inside leg, look in the direction of the spin and lay my rein on the horse’s neck. That starts the spin and my count. I count out loud as I go, saying the number as soon as I start that revolution.”

With practice and patience, the spin can look smooth and effortless. But that doesn’t mean it starts off that way for every rider.

“A lot of riders panic when they get to the spin,” says Crow. “They run down and think that the horse immediately has to step into the spin. Instead, let your horse settle. Count to five and allow your horse to pause, then spin on your cue. The judge will appreciate that your horse is relaxed and settled. That sets the tone and builds eye appeal before you even start the maneuver.”

Perfect Start

Crow suggests breathing and taking your time.

“Many riders forget that horses have to have time to get balanced. You have to be patient and allow your horse to transition from standing straight and square to rocking back and moving his shoulders laterally in the spin. He has to have a few steps to figure out where his feet are before maintaining a consistent turnaround with some speed.”

Once you stop your horse from the previous maneuver and allow him to stand still, it’s time to find your landmark to help you count your rotations. You’ll pick a spot to look at so you know where to ask your horse to stop at the end of the spins. The spot you’ll choose to look at depends on your horse and how you learn to practice at home.

Start the spin by squaring your shoulders and facing the same direction as your horse. Make sure his head and neck are in a straight line, and take time to correct his nose if needed by picking up and directing his nose.

Then your horse should keep spinning once cued and until you tell him to whoa.

“When I’m ready to turn, I move my chin and rotate my shoulders just slightly into the turn,” says Crow. “Then I rotate my shoulders slightly in the direction of the turn, which also rotates my pelvis. That helps my inside leg open and closes my outside leg and thigh against the horse. I will point my inside toe toward the direction we’re going. That reminds me to open up my leg.”

Count it Out

Counting your spins is crucial to knowing when to stop. The “shut-off,” as Crow calls it, is important because you don’t want a penalty.

“If you over- or under-spin by a quarter, it’s a one-point deduction,” he says. “If you spin much more than is requested, it’s considered being off pattern. You don’t want to lose out because you haven’t practiced counting or planned how to stop.”

Crow says some riders have different counting methods, but his pattern is consistent and helps him keep his spot—even if the horse falters.

“I start by counting out loud as soon as I start spinning,” he says. “Then as I finish that first revolution, I say ‘two’ and continue counting out loud. Only when I finish that revolution will I say the next number. Some riders will count the revolution then say the number, but if your horse sidesteps or stumbles, it’s easy to lose count. If you have the number three in your mind, you may forget if you are on three or just finished three. However you choose to count, keep it consistent.”

Once the horse is moving, he should maintain the speed you request and keep going steadily through all the spins. If a judge sees a horse start slowly, build up, then slow down and anticipate a stop, that spin won’t score well.

The Finish

Crow says every horse has a little different timing in the shut-off.

“When I’ve finished my four revolutions but need to do another quarter, I say whoa and pick my hand straight up. In that time, the horse will take another quarter-turn step. I shut off my horse at the four mark, and by the time he can actually stop, he is at the four-and-a-quarter mark—just as we want. As I finish the fourth spin, I know I need to look at the center marker of the arena. I make sure to look up at the marker I need. I look in the direction of the spin, but up above the horse so I’m not looking at the ground. If I look at the ground, I’ll get dizzy.”

When it comes to knowing where to stop, Crow says some horses will stop their spin as soon as you pick up your hand. Other horses will need a few steps to stop completely. You’ll need to practice this at home to find out where your horse needs to get the cue so that he’ll consistently shut off at the point where you need it.

“When I ask a horse to stop, I move my legs off and lift my reining hand up and say ‘whoa,’” says Crow. “If I have a horse that is a little sloppy, I will say ‘whoa,’ then may use my inside leg to support that horse in the stop.”

Reining Spin Practice Tips

Crow says that most horses don’t get dizzy after turning just four times. He has found that horses get dizzy if you practice too many spins in one direction during practice at home. How do you avoid this? Don’t require your horses to spin his best during every practice. Keep your horse relaxed.

Crow recommends practicing at home with half the speed your horse could go. You’ll keep your horse turning on your cue and keep a consistent pace until the cue to stop. If you don’t cluck or kiss to your horse to ask for more speed, he should just go in a nice slow speed.

When it’s closer to a show and you want to practice just as you’ll perform at a show, kiss or cluck and ask for the show speed. Remember, once you cue your horse to spin, he should stay in the turnaround until you tell him to whoa.

When working with students, Crow has his riders practice their cues, then work on the horse’s performance.

“I want to know that the rider can count correctly and get the correct number of spins for the show. Once I know that the rider is trained, I also want to make sure the horse is ready and doesn’t learn to anticipate. I’ll mix up the number of spins we do. I don’t want my riders to constantly spin four times. I don’t want the horses to anticipate and shut off at four. Instead, I like riders to practice spinning six revolutions. That’s just enough to not get dizzy while keeping them from anticipating and learning to stop the spin too soon.”

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To compete in reining or working cow horse competitions, your horse will need to turn quickly in response to your cues. In reining, the move is a “turnaround,” or spin—the horse moves forward around a pivot foot and continues the move until directed to stop.

For cow horse classes, your horse will also need to turn with precision. However, he’ll turn with his weight shifted back so he can move on to follow the cow in any new direction.

Trainer Aaron Ralston explains that all moves for reining or working cow horse events mirror—or were inspired by—horses on cattle ranches.

“Historically, riders wanted to show off their best-trained, most obedient horses,” he says. “While there’s little structure to working cattle in a natural environment, training your horse to do complex maneuvers shows skill and athleticism. The reining turnaround became that signature move that could be judged on a point system. Then when working cattle, your horse needs to be ready to turn sharply in any direction and to change directions often.”

A reining turn forces the horse’s weight to the inside.

“If the horse needed to stop and change directions quickly, he’d have to take a shuffle step before being able to leave in a new direction,” Ralston continues. “The ‘cow turn’ allows him to shift his weight back so that he can change directions without shuffling or regaining balance.”

Use the Clock

Horses should turn precisely—no matter which type of turn is requested. Ralston says he’s often asked about how to cue for the different turns needed in reining and cow horse events.

To explain how to cue for each turn, he teaches riders to envision a clock face over the top of the horse. Everything straight in front of you and the horse’s poll is 12 o’clock. Straight behind you toward the tail is 6 o’clock. Three and 9 o’clock are positioned at your right and left legs. Knowing these positions will help you know where to move your feet, rein and chin positions to cue for the different turns.

Reining Turns

In reining, you want forward motion into the turn. The outside foot is to cross over the inside front foot. The inside hind leg is the predominant pivot foot that bears most of the weight. The outside hind foot helps the horse balance and propels him around.

When being judged, the inside hind foot can move within a small area, but you don’t want that leg to displace into a new area. If the foot stays in the same area throughout the turn, you won’t incur a deduction.

The inside hind hoof moves underneath the center of the horse, right below the rider. That’s the pivot point. The more the horse contracts together over the pivot point, the faster he can move.

Imagine a figure skater who spins faster when pulling her arms into her center. The horse will also spin most quickly when his body is tucked and his pivot hoof reaches far under his body.

When you’re ready to start the reining turn to the right, you want your horse’s inside front hoof to step to 3 o’clock continuously to produce the balance point for the optimum turn. To achieve this, use three body cues: Move your inside foot off the horse and point it to 3 o’clock while your outside leg supports the horse without constant cueing.

Lastly, move your chin to 3 o’clock. When you move your chin, other body cues (including your shoulders and hips) naturally follow. Riding one-handed, move your hand above the saddle horn and toward 3 o’clock.

“I like to sit very neutrally with my shoulder, hip and heel alignment in place,” Ralston says. “The cues with the three body parts will tell the horse the destination I expect.”

Ralston says he makes sure to cue the horse once and expect perpetual motion. He doesn’t want to constantly kick the horse, but to teach the horse to keep going until he cues for something different.

If the horse needs encouragement, he will use his outside leg until the horse returns to the speed he wants. He says that if he always pushes with his outside leg, he finds that horses hunt for a change in leg pressure so that they can be done.

“If I’m always pushing with my outside leg, then he’s thinking, ‘When does that outside leg come off, when do I get to quit?’” Ralston says. “That creates a horse that takes smaller steps and is waiting to be done.”

When it’s time to stop the turn, take both legs off the horse and shift your weight to your legs. Return your reining hand to the middle of the horse’s neck and say “whoa.”

Working Cow Horse Turns

“A horse needs to be able to turn in any manner necessary that affects a cow’s flight zone in relation to the destination you want the cow to go,” Ralston says. “Typically, you won’t be making a cow go somewhere. Instead, you shut the door on all the options and open the door to the direction you’d like her to go. It’s pressure and release. The cow releases herself from the pressure the horse puts on and goes where she feels free.”

Ralston says if a cow goes somewhere, she’s going to look there before she takes a step. If you want a cow to go straight ahead but she looks to the right, you need to be able to get to the right side of the cow’s vision to block that move.

If a cow is looking at you and wanting to move toward you, you won’t want to do a reining turn. That type of turn with a forward swing would get into the cow’s flight zone and chase her around you. Instead, you’ll turn the hands of the clock past 3 o’clock, shifting your horse’s weight back.

To initiate the cow turn, move your foot, chin, and hands to 5 o’clock. When the horse’s front hoof turns to that increased turn directive, he has to shift his weight backward. The inside hind foot becomes the pivot foot. With the horse’s weight shifted back, you’ll be ready to go wherever you need to work the cow. The horse will be ready to drive off or turn.

“You could compare this movement in the horse to an athlete,” Ralston says. “Think of a basketball player or volleyball player with a wide stance, ready to move in any direction at any moment, depending on where the ball goes. In this position, you’re always ready.”

Will you ever use a reining turn while working a cow? Ralston says he uses the initial cue of the turn (without the constant spinning) when he wants to send a cow away from him in a defensive move. Once the cow is moving away, he’ll most likely cue the cow turn in the next move.

This article about turns in reining and working cow horse events appeared in the October 2022 issue of Horse Illustrated magazine. Click here to subscribe!

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“Everyone goes through a process,” says dressage trainer Cody Harrison of Brighton, Colo. “If you change disciplines, it doesn’t mean that you started out in the wrong discipline. As you grow, there are opportunities. You have to step out of your comfort zone and find what’s right for you.”

Here, we talked with three riders who made big switches. Read on to find out what prompted their shifts from ranch riding to dressage, eventing to reining, and western pleasure to polo.

Following the Feel

Growing up on a western cattle ranch taught Harrison to love horses. He searched for trainers and training styles that helped develop a connection and partnership with horses. He found that connection in the world of classical dressage.

“All the time I was growing up, it was all ranch work,” he says. Harrison helped to start his family’s young horses with round pen and desensitizing work.

Craving new training techniques, Harrison worked with a local western trainer who happened to be studying the principles of classical dressage. He found the connection he wanted with horses through dressage.

Harrison now rides and trains horses with classical dressage principles. His dressage mentor, Dominique Barbier, furthered Harrison’s love of his new discipline.

“There’s a mindset and a way of life with the classical principles to make sure the horse feels healthy and safe,” says Harrison. “There are western riders that have that mindset as well, but when I grew up starting horses, it was always physical. The horses were sweating, and they were disciplined if they didn’t do something as fast as I wanted. Now when I work with young horses, there’s not a day when they break a sweat. I have learned to go through the mind to get control of their body and feet to make sure that the horses feel more comfortable.”

Harrison says that as a rider, he finds the biggest switch in style is to use his seat more effectively.

“On the ranch, we used our legs and hands,” he says. “In the classical discipline, the seat is the primary aid. You shift your weight a little more and your legs and hands are used to clarify what your seat is doing.”

Dressage is a permanent switch for Harrison.

“I will stay with this style of riding,” he says.

“I feel like I’m done searching for something different. I am still searching for how to do things better and lighter.”

Harrison describes the moment he knew that he was on the right path in his horsemanship journey.

“I had someone coming to my facility to see if they wanted to put their horse in training,” he says. “Some family experiences were stressful, and I wasn’t mentally prepared to be riding. As I was getting my horse ready, I knew I couldn’t be there mentally today, and I needed [my horse] to be there for me. He could not have been any better. He was there for me and gave me his best and was consistent and made me look good. When I realized that I had that connection and that he could take care of me that way, it was a special moment.”

Change of Rein

Meg Johnson, now of Dallas, Texas, first sat in an English saddle at age 2. Her horse, Joker, carried her through the eventing ranks and earned her year-end titles with the Georgia Dressage and Combined Training Association. She even qualified for the North American Young Rider Championships. Later, a new horse, T’Kai, was her partner as she earned her United States Pony Club “B” rating.

An accident while riding T’Kai on a cross-country course prompted Johnson to rethink her riding.

“I looked like a human train wreck,” she says. Still, she was determined to ride and attended a horseman’s club meeting when starting at Auburn University in Alabama.

Her coach suggested stock seat classes, because she had a strong dressage background.

“After a few practices, I was slotted as our team’s open reiner,” says Johnson. “I loved the elegance of reining—it was like dressage, but with a sparkly shirt and some whooping and hollering! I was also introduced that year to rodeo pageantry, where I had to catch ride and run a reining pattern. I became Miss Rodeo Georgia the following year.”

After college, Johnson knew she wanted horses in her life—reining horses.

“I really never regained my ‘nerve’ after my accident in college,” she says. “I remember holding my baby in the hospital and knowing I couldn’t physically afford to take another fall now that I had someone depending on me. I started horse shopping from the hospital bed.”

Her first reining horse, Jac Smart, was a great horse to learn on—and she says she did have to learn the finer points of showing reining horses.

“I thought I’d read all the rules but had to be reminded that my sliding stops needed to be past the cones, not at the cones like a dressage test,” says Johnson. “I left the show with a disappointing score soaked in penalties. I also remember having a lot of trouble not using my reins; going from full contact in dressage to a looped rein in reining was a loss-of-control feeling that took some adaptation!”

Johnson found her horse of a lifetime in Timber Zak. She and Zak became a winning team.

“I’ll never forget the feeling of hearing my score announced over the loudspeaker and knowing we’d just become world champions,” she says. “It still gives me chills thinking about it. He’s carried me to several year-end titles, five buckles, and a run for Rookie of the Year.”

Johnson offers the following advice to any rider thinking of changing saddles.

“Figure out how to use your strengths from the previous sport—whether it’s your mental toughness, riding skills, or ability to adapt,” she says.

Pleasure to Polo

Nicole Wozniak grew up as a 4-H rider showing her horse Willie in western pleasure. The pair earned a revolving trophy and high honors at the state fair horse show.

Wozniak planned to stick with pleasure riding when she started at Michigan State University, but polo piqued her interest after the first equestrian team meeting.

“When I was walking out, someone said I should join the polo team instead,” she says. “I had been pretty burned out with horse showing in high school and the pressure to ‘win things.’ Polo sounded like a cool alternative. I attended tryouts that next week and I was instantly addicted.”

The new sport excited her and felt like a huge change from the horse show world.

“Polo is incredibly challenging,” she says. “The most exciting part was to not be judged anymore and to get to work with a team. Riding is just one aspect of the game. Hitting, knowing where your teammates are, knowing the rules, following plays, et cetera, were added elements that made things really interesting.”

Polo made Wozniak rework her horsemanship.

“In polo, getting out of your saddle to hit the ball is the No. 1 most important thing. For a while, I was constantly yelled at to ‘get out of the saddle!’ I think that was a product of my equitation background.”

After much practice, she felt like she toughened up mentally.

“At my final intercollegiate game at Regionals, I scored a two-pointer and brought our team within three goals of beating the best team in the nation,” says Wozniak. “The coach of the other team complimented our coach and told him how nervous our team had made him. This was huge coming from him! It was super exciting and a great way to end my intercollegiate career.”

Wozniak continues to ride. “But I can’t go back to the days of being judged against other people. The thrill of the team aspect of polo can’t be beat.”

After trying several disciplines, she says that her love of horses is the same no matter the sport or type of saddle.

“If riding isn’t fun anymore, a change of discipline can be a game changer. Sometimes changing up the discipline for your horse can be just as mentally helpful as changing it for you. If you do change, be kind to yourself. I used to always say that I changed disciplines in riding so many times that I was never able to get good at any one thing. Now I’ve realized that it has made me a more versatile rider, and I am able to do things in each discipline that a lot of people can’t.”

Changing disciplines just may invigorate your interest and teach you more about horses and riding. There’s always something new to learn.

This article about changing riding disciplines appeared in the October 2021 issue of Horse Illustrated magazine. Click here to subscribe!

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What you can control when competing with horses are your thoughts and your actions. Through those two things, by default, you have some sort of control over your horse. However, it’s your thoughts that cause your actions, so keeping control of your thoughts is paramount. In this article, I’m going to talk about two different scenarios when getting ready to compete. The first one is about controlling your thoughts when you need to think about something. The second scenario, which is probably more for riders who are quite adept at their chosen discipline, is when you don’t need to think about something. I know that sounds cryptic, but it will make sense when we get to it.

My competition experience is mostly with the discipline of reining, so I’m going to talk in terms of that, but it’s possible to relate this to almost any equine discipline.

When you are getting ready for competing with horses, you often feel anxious because you are worried that something may go wrong. It may be because you are concerned about your horse not performing a slide well, or not getting your left to right lead change. It’s ok to have thoughts like that come up, but what you do with those thoughts will define your success or cause your defeat.

Before competing on the Australian Reining Team at the World Equestrian Games in 2018, my wife Robyn and I received coaching from a fabulous Equestrian Mindset Coach from New Zealand named Jane Pike. One of the many wonderful things I heard Jane say was “You can’t move away from something, you can only move towards something.”

When asked what she means by that, her usual explanation is to talk about a big blue tree. She will say “Ok, I want you to not picture a big blue tree. I don’t want you to picture a big blue tree, and I also don’t want you to picture a yellow bird at the top of that big blue tree. And while you aren’t picturing a big blue tree with a yellow bird at the top of it, I want you to not picture some green grass at the foot of the tree.”

So what are you thinking about now?

A big blue tree, with a yellow bird at the top, and some green grass at the bottom! You can’t NOT think about something, you can only think about something else.

Now I want you to think about holding an orange basketball. I want you to feel the texture of the ball, the weight of it, how tight it’s pumped up, and if it’s a bright orange new ball or the faded orange of a basketball that has seen some work. What did you see? Of course, you saw a basketball, you may have even been able to feel the dimples on its surface or the black lines in the leather, or smell the worn rubber.

What you didn’t see was a big blue tree. You can’t move away or not think about the big blue tree, but you can move toward, or think about, the orange basketball.

This is really about choosing to think about what you want to happen (moving towards) instead of thinking about what don’t want to happen (moving away). In the case of the anxiety over your left to right lead change, when that thought comes up you want to shift your thoughts from it going wrong, to “here’s what do I need to do to make it go right.” This is a combination of having done your homework, trusting your training up until this point, and mentally rehearsing what you are going to do before the show to ensure a clean change. Sometimes even saying the words out loud help you slow down and regain your composure:

“I’m going to get straight a little early in the center, then I’m going to leg yield him off my right leg a touch, keep looking and thinking straight, then slide my left leg back, and when he changes then I’m going to slowly look right and start to steer that direction.”

If you allow your mind to think about what will go wrong, inevitably it will go wrong. Shifting your thoughts to what you need to do to make it be right, will ensure a more successful outcome when competing with horses.

Teaching my mind to think that way is a skill I’ve learned from years of competing in the reining. However, for the World Equestrian Games I learned an entirely new skill with amazing results. The skill of not thinking about anything.

My wife and I decided to qualify for the Australian team for WEG in Tryon after learning that many of the other experienced Australian riders were not in a position to mount a campaign to qualify. It’s a huge undertaking, in time, effort, and finances. We had both been on the Australian team in Kentucky in 2010, and the experience at the time was a life highlight. I listed my favorite lifetime experiences as marriage, fatherhood, and then WEG. In that order.

I had been traveling and doing clinics for the past 10 years, and had planned to take a sabbatical from the clinics in 2018 to focus on some personal growth, so I had the time to do all the qualifiers. However, I had not competed in the reining for 3 years and needed all the practice I could get, so we purchased another Reiner for me to show in the bigger derbies, in order for me to get back in the show ring under some pressure. We also enlisted the help of our friend Jane Pike. Her background in Neurolinguistic Programming and years as a Yogi blended in well with the meditation, yoga, and mindfulness practices I had spent the earlier part of the year working on.

When we arrived in Tryon for WEG, our Chef d’Equipe, Rodney Peachey, asked “given the best case scenario, what do you think you and your horses are capable of?” Both Robyn and I thought that a 217 ½ would be what we could achieve.

During the year, Jane had coached us on our mindset and had made us some homemade audio tracks to listen to. Right before WEG she also taught us some breathing techniques she had learned as a yogi in India. These came in handy in the days leading up to the competition at Tryon. Any time I got nervous (which was my mind thinking ahead to future events and not being present), I would employ the breathing techniques Jane had taught us, and my anxiety would disappear. At this point in time, our horses were solid and this was a time for not thinking about what we were going to do.

The first round of individual competition came and it was the most relaxed I’d ever been showing a horse, ever. There were a couple of times in the warm-up pen I felt anxious, and as soon as I did, I’d do the breathing technique and a clear, calm focus would come over me. Robyn had the same experience, and she marked a 218, I marked a 217. We showed as good as we’d hoped. What we hadn’t hoped, or even considered, was to make the individual semi-finals, to possibly make it back to the individual finals. But after the first round, both Robyn and I had made the semi-finals the following day. The top 15 went straight to the finals, and 16-35 would go again in the semi-finals with the top 5 going to the individual finals.

The next day went pretty much like the first round, any time I felt anxious, I focused on my breathing, which took my mind off the competition, and helped relax me. I had drawn up first, and Robyn fifth.

There’s such a thing in sports as being in the zone. I’d read about it, heard about it, but never really experienced it until then. My horse, Plenty Of Guns, and I scored a 220, which was a personal best for me. Robyn came in 4 horses later and went around me to mark a 220 ½. We were both looking like making the individual finals at WEG, until the last few horses went. Robyn end up in 6th, one spot out of the finals, and I ended up tied for 7th, 2 spots out of the finals.

It certainly was a testament to the mental side of competing with horses, as I was still a bit rusty after not competing for 3 years. I like to tell people that my physical game was not as good as it had been, but my mental game was at a much higher level, thanks to Jane’s coaching and my newfound ability to not think about anything. However, it did take a lot of work outside of the show pen to ensure that whenever those moments of anxiety came up I had mentally prepared to bring myself back down into a calm and present state.

This article about mental preparation for competing with horses is a web exclusive for Horse Illustrated magazine brought to you in partnership with Warwick Schiller. Click here to subscribe!

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To reach the point in the reining arena where you’ll slide to a stop, you must first build up speed and guide your horse in the rundown. But what happens when your horse thinks that heading straight across the arena means that he should bolt forward? If your horse speeds up on his own, you’ll lose points on the reining maneuver that combines the rundown, the stop, and the rollback.

Here, reining trainer Sharee Schwartzenberger of Longmont, Colo., focuses on control during the rundown. She says that it’s easy for riders to overlook this important part of the maneuver. If a horse has a good stop and rollback, the team may lose unnecessary points if there is a lack of control. Plus, it can be difficult for a horse to stop with collection if he has bolted ahead in the rundown.

What makes horses speed ahead on their own? Schwartzenberger says many horses get excited about the big sliding stop finish and want to get there faster. Instead, Schwartzenberger wants to train her horses to listen to her every cue and only speed up on command.

The Practice Loop

Instead of practicing rundown after rundown, Schwartzenberger warms up her horse, then practices rundowns while riding in a large oval, using the longest portions of the arena and riding in a continuous loop. Starting in the middle of the arena, she rides to the end and picks up the left lead as she tracks left.

She picks a straight line for her rundown then gradually builds up speed. When she reaches the opposite end of the arena, she doesn’t go for the big stop. Instead, she simply slows her horse and rides back to repeat the oval.

If her horse changes speed on his own and zooms forward, she says “whoa” and calmly and slowly pulls back on the reins to stop him from moving ahead to the location where he thinks he should stop. After stopping him short, she guides him in a spin or two, turns him right and left in a serpentine pattern, then picks up a lope again to ride the longest oval the arena will allow.

A Listening Mount

Schwartzenberger reminds you not to angrily correct your horse, but simply remind him that you can cue for any maneuver at any time. He needs to check in and listen to your aids instead of anticipating.

“You want the horse to switch and listen to you instead of doing his own thing,” she says. “Change up the drill so that the horse will listen to you for the cue. You want to be slow with your commands, not jerking.”

When you cue your horse for an early stop to end the bolt, first say “whoa” so that you don’t shock him with the change. Then remove your legs from his sides and pull up and back gently to “draw him to the ground.”

“I don’t want to catch a horse off guard or get him scared when I stop,” Schwartzenberger says. “The softer you are with your hands, the more the horse will soften in response. If you pull back harshly in a correction mode, the horse will be tense and throw his head in the air. That will affect your good sliding stops later. Move slowly.”

Adding Back Speed

Schwartzenberger says she’ll slow or stop the horse and then turn in a new direction every time he tries to bolt. Once a horse becomes hesitant and waits for a cue to speed up, she’ll gradually add speed.

“Eventually, I’ll start asking my horse to build speed,” she says. “When you ask him to lope straight across the arena, you’ll feel him reach the point where he used to blast off, then he’ll almost hesitate like he’s thinking, ‘I don’t want to blast off, I know I’ll get stopped for that.’ That hesitation is what you want. You want your horse to be tuned in to you and only go faster when you ask for it.”

Ride in your oval pattern to help your horse tune in to you without anticipating the sliding stop. You’ll gain control and learn when and where in the rundown you want to ask your horse to move faster. You’ll also have more confidence when you know you are in control.

Ready for Sliding Stops

Soon you’ll be ready to practice the rundown with the stop at the end.

“You want your rundown to be smooth—just like an airplane taking off,” Schwartzenberger says. “You want a smooth gain of speed and to hit your max speed just before you say ‘whoa’.”

When you practice the oval pattern and mix in some full-stop practice, you’ll remind your horse that you’re the driver and that it’s best to listen to you.

Special thanks to trainer and coach Sharee Schwartzenberger, whose freestyle reining performances have earned her top championship titles. She coaches riders and trains reining horses in Longmont, Colo. Thanks to our horse model, Shineywhippersnapper (“Schmidty”). The 3-year-old finished in the top 15 at the National Reining Horse Association Non Pro Futurity.

This article about horse reining rundowns originally appeared in the September 2021 issue of Horse Illustrated magazine. Click here to subscribe!

The post Guide to a Smooth Reining Rundown appeared first on Horse Illustrated Magazine.

The horse spins to the right, then left, at a reining show. With his full body engaged and his hindquarters carrying his weight, it appears that the spin is a fast turn on the haunches. However, to master this reining move, you’ll teach your horse to move forward into a better reining spin instead of pulling him back.

The spin, or “turnaround,” is part of a larger reining pattern. A starting score of 70 will go up or down depending on the cumulative pluses (+0.5, +1 or +1.5), minuses (-0.5, -1 or -1.5) and zero (denoting “average”) scores given to each move. For a plus-scoring maneuver, the horse’s body should remain straight from poll to tail while he uses his legs to spin.

Here, reining trainer and coach Sharee Schwartzenberger helps you move your horse forward into the spin by spiraling in from a walk. Then she’ll help you end your spins with precision as you change directions.

Schwartzenberger turned pro in 2017 after a lifetime of showing at top National Reining Horse Association (NRHA) and American Quarter Horse Association (AQHA) events. Her freestyle reining performances have earned her top championship titles. She coaches riders and trains reining horses in Longmont, Colo.

Schwartzenberger says that she uses the forward-first drill to teach young horses to spin for the first time. It also helps horses with anxiety. Standing still at the start can cause horses to worry and prance; starting with forward motion takes away the chance to fret.

Outfit your horse with bell boots, polo wraps or splint boots, and even knee boots to protect him during these athletic moves.

Circle In

At a show, you’ll need to start your spins from a full stop. But for practice, it’s good to remind your horse that a spin includes forward momentum.

Riding with two hands on your split reins, walk your horse in a tight circle. Keep both legs engaged on your horse’s sides so he feels the forward cue. Your horse should move in a small circle to encourage him to step across with his front legs.

When you’re ready to ask for the spin to the left, release your inside (left) leg so that you’re only applying outside (right) leg pressure. You can pick up on your inside rein to help encourage the horse to step to the side. Keep your outside (right) leg active and tap, tap, tap to encourage the movement. Add a verbal cue, such as a clucking noise to encourage a faster pace. Keep your body centered in the saddle and allow the horse to work.

If your horse listens well and responds to your walk-then-spin commands, work at a trot. Trot a small circle, then repeat the cue for the turn. Building up speed will help your horse move at a show-ready spin speed.

If you practice this drill regularly, Schwartzenberger says your horse will look for the cue to spin. The spin becomes a release and is easier than trotting fast circles. Master the drill riding two-handed then with one hand on the reins.

Choose Your Direction

Practice in both directions, but pay more attention to the way your horse needs the most practice. Make sure to practice this drill in between other moves and large loping circles.

End It

To score well, you’ll need to start and finish your spin with precision. Schwartzenberger says switching directions helps your horse tune in to you and stop in the right place.

Cue your horse into a spin. After a three-quarter turn or one full spin, ask your horse to move in the opposite direction. To change directions, stop your current spin by removing outside leg pressure and raising your hand up. Move your hand toward the direction you want your horse to stop. Then cue for a spin in the opposite direction by removing your inside leg pressure and applying outside leg pressure in the new direction.

Dizzy Fix

Wait up to 30 seconds after spinning before cueing your horse for something new. Taking a break can allow your horse to catch his breath and regain his footing after the dizzying maneuver.

As you ride, keep your eyes on your horse’s poll and also keep a cone in your peripheral vision. If you keep your eyes on the same plane as the horse, any dizziness should subside.

You’ll need to count your revolutions when you’re in the show arena so that you don’t do too many or too few. Most show patterns call for four to four-and-a-quarter revolutions in each direction. Count the cone each time you go by to make sure you’ll stay on pattern and master your spin.

Special thanks to our horse model, AQHA’s Voodoos Smokin (“Olaf”).

This article about how to perfect your reining spins appeared in the October 2020 issue of Horse Illustrated magazine. Click here to subscribe!

The post Western Lesson: Reining Spins That Win appeared first on Horse Illustrated Magazine.

You’ve been practicing your maneuvers and getting your horse ready to show off his moves in western classes. But now you need the best western show outfit. You want your clothes to be appropriate for each class without distracting from your performance. Your choice of clothing will vary, depending on if you’re showing at a local open show or the American Quarter Horse Youth Association (AQHYA) World Championship show.

“Exhibitors should always look their best and present themselves as though they are the winner each and every time they enter the arena,” says all-around trainer Chad Christensen of Pilot Point, Texas.

We’ve put together some examples of blue ribbon-worthy outfits for three events, with options for showing at different levels of competition to help you suit up in style. Tammy Dyer of D. Designs created these pieces (next page), and she offers her advice along with Christensen.

Showmanship

Top: A well-fitting showmanship jacket should be long enough to cover the top of your hips; it can go down to mid-hip. You want your sleeves to hit 1 inch past your wrist bone with your arm bent. Underneath, most riders wear a camisole as well.

Pants: Your pants should complement your jacket. Aim a for tailored and well-fitting pant without any adornment or embellishment. The hem should hit just above the ground; avoid pants that are too short.

Boots: Chad says square-toed boots are in style right now for all classes. Avoid a round or pointed toe; they are outdated styles for these events. And stick to a “walking heel” versus a riding heel.

Hat: Your hat style is subject to preference. Many trainers have a particular shape they prefer for clients, but you can ask a hat shaper to shape your hat in the current style for the breed you are showing. Avoid a stampede string for any class outside of speed events. You can wear the same hat for any of these events mentioned, as long as it coordinates with your outfit.

Accessories: Tammy says small earrings that accent your outfit are nice, but to avoid oversized earrings. A small ribbon tied in neatly done-up hair is a good finishing touch. Your hair should be in a bun if possible and very neat and tight, without loose pieces or flyaways.

Entry Level Look: Your attire can be slightly more relaxed, but still respectful of the horse show atmosphere.

Upgrade: As you move up to bigger shows, Tammy says your clothing should become more elegant.

Boys: You’ll want to wear a well-tailored suit. Your jacket and pants should always match, and you should wear a nice tie. Finish with square-toed boots for the best western show outfit for showmanship.

Horsemanship/Western pleasure

Top: Tammy recommends a snug-fitting top that tucks into your pants, preferably one that zips up the back, although it can also zip up the front. The key is a perfect fit with square shoulders. For western pleasure, you’ll want to wear a nice jacket that complements the color of your horse. This jacket will be shorter than a showmanship jacket to avoid sitting on it when riding.

Pants/Chaps: Chad says to choose fringed chaps that fit you well and extend 2 inches past your boot heel in the saddle. You want a single covered button in the back for horsemanship.

Accessories: Horsemanship requires a snug bun, but in western pleasure, you can wear a ponytail pulled back tightly.

Upgrade: Wear an embellished jacket for extra sparkle.

Entry Level Look: Chad says a tailored button-down shirt with a scarf can be worn for both of these classes.

Boys: Wear a tailored shirt, chaps over jeans, and square-toe boots. Add a neck scarf for horsemanship.

Trail/Western Riding/Reining

Top: Wear a tailored and collared long-sleeve button-down shirt tucked smoothly into your pants. It does not have to be as form-fitting as horsemanship.

Pants/Chaps: You can wear showmanship pants or jeans under your chaps for these classes. Your chaps can have a two-tone yoke and/or a silver concho on the back.

Upgrade: To dress up your look, add a fitted and embellished vest.

Accessories: Your hair can be pulled back in a snug ponytail. A scarf is optional.

Boys: The same attire as for western pleasure is acceptable. Scarf is optional.

This article about creating the best western show outfit appeared in the Summer 2020 issue of Young Rider magazine. Click here to subscribe!

The post Dress to Impress in Your Next Western Show Class appeared first on Horse Illustrated Magazine.

This move wows crowds, gains points from the judges, and most of all, it’s fun to ride. But before you ask your horse for a big sliding stop, check out these tips from expert trainer Casey Deary on how to correctly cue for and ride this move.

Deary is a reining trainer from Weatherford, Texas, with multiple world championships, National Reining Horse Association Futurity titles, National Reining Breeders Classic titles and multiple other major reining championships.

Sliding Stop Goals

Instead of thinking about stopping your horse on a dime, Deary says you want your horse to drop his hocks and continue to go forward, while you appear to sit quietly.

“In a perfect world, your horse should accelerate all the way to the stop, and you should theoretically only have to say ‘whoa’ to get him there,” says Deary.

Necessary Tools

To do this, your horse needs to be able to stop forward motion in response to your rein and voice cues. A horse that continues forward without responding to you will not be able to give you a good stop.

While you might not need extra-long slider plates (horseshoes) to get a stop, Deary says most horses are going to need some kind of sliding shoe for their hind feet. You’ll want to discuss shoes with your farrier before you begin this move.

The Step-by-Step Stop

Deary says when you lope off at the beginning of a rundown, make your intentions clear.

“If I lope off, sit back and cluck, I want the horse to start running, and I want him to continue running ahead of me without me having to kick him forward,” he says. “I need to make sure he’s accelerating every single stride. You don’t want your horse to lope slowly to the middle of the pen and then start running, or speed up and slow down going down the line.”

Aim for as little of your own body movement as possible before your horse begins the stop.

“Sit back, keep your eyes up and your shoulders back,” says Deary. “Think about sitting back in a recliner. I want my hips to be rotated back into the saddle. Pointing my belt buckle up, I want my shoulders to be behind my hips and my feet to be in front of my hips.”

Your horse should increase speed with every stride, allowing him to drive his hocks deeper and lift his withers higher, which makes it easier for him to bend his back and slide.

If he slows down to stop, his front end will drop, making it very hard to slide. Visualize a speed boat in the water, says Deary.

The key to engaging the stop is your voice command. Ask for greater speed, sit back so that your horse’s movement is in front of you, and then say “whoa,” allowing his hindquarters to drop into the ground as you continue moving forward.

Troubleshooting

Deary recommends avoiding “scuba diving,” meaning you don’t want to kick your feet forward and throw yourself backward right before you ask for the stop.

“At that point, you’ve changed how the horse has to balance your weight,” he says.

Avoid slowing down before you stop. Look ahead to outside the end of the arena to avoid unconsciously taking your foot off the gas.

With this method of stopping, your stop cue isn’t dependent on timing to the horse’s stride, but you do need patience.

“My horses run till I say ‘whoa’ or until I pull—then my timing doesn’t have to be perfect,” says Deary. “On the flip side, [once I give the cue] I have to allow the horse to finish that stride before he gets into the ground. It may take a stride or two before he actually stops. Just hold your body quiet and still until he completes the stop.”

If your horse is resistant to stopping for any reason, make sure he is sound, without issues in his teeth or joints, and make sure his equipment is comfortable.

Plus Moves

Once you’ve mastered the stop, aim for precise completion. Each reining pattern has a designated area for stopping, and to “plus” your maneuver (increase your score), you want to nail that spot.

Make sure to accelerate smoothly throughout the move.

Each part of the maneuver earns points: the approach, the stop and the rollback or the back up. You want to make sure you have a willing, smooth stop with a clean rollback or backup.

Improving Your Performance

If you’re struggling with the stop, consider taking a lesson or working with a trainer by sending a video of your ride to get advice.

“A lesson with an expert will make it drastically easier—it’s money well spent,” says Deary. “And many trainers will be willing to help you if you send them a video and ask for feedback.”

This article about how to improve your reining sliding stops appeared in the July 2020 issue of Horse Illustrated magazine. Click here to subscribe!

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So much happens in the middle of the reining arena: The center spot often marks where to change leads or spin. But the center of the arena is also the place to show off your horse’s downward transition when moving from a large-and-fast to small-and-slow circle. Working on your horse’s downward transitions at the canter can help you boost your scores and perfect your reining circles, even the slow circle.

Reining trainer Sharee Schwartzenberger teaches drills to help make sure your horse knows exactly when to slow down. These drills will help you exaggerate your slow-down cue so that your horse can differentiate it from a stop or lead-change request.

Schwartzenberger says that while riders may practice circles often, the downward transition is often overlooked. Some riders overdo this maneuver, resulting in horses sliding to slow for the small circle. Sliding equals a penalty. Ideally, you’ll cue your horse for a smooth change of speeds while staying on the same circle shape you have been riding around the arena.

Schwartzenberger uses a training technique that helps your horse want to slow down. You won’t pull back on the reins as your first cue. Your horse will move freely forward into the slower gait when you don’t rely on rein aids or pull on his face.

When you’re ready to show, judges won’t see a horse who resists as he anticipates pressure from the bit. This is because you will help your horse slow down from your seat, leg and voice cues, and ensure that your horse listens to your direction without anticipating your cues.

Slow-Down Cue for the Reining Circle

When you lope a large circle, you want speed. You’ll use pressure from both legs to encourage your horse to move forward at the same time as your reining hand moves up and forward around the circle.

When you want to slow down, shift your weight to your outside hip. Keep providing pressure with your outside leg, but take your inside leg off the horse.

If you’re traveling in a circle to the left (as in the photos), keep your right leg on your horse’s side to encourage him to stay on the current lead. Apply as much calf pressure as needed to keep your horse moving forward. Removing your inside (left) leg becomes your cue to slow down.

While you’re giving this slow-down cue, hum in a long, smooth tone. If your horse doesn’t respond to the leg and voice cue and needs an extra reminder, move your reining hand up and slightly back. Your rein aids follow your leg and voice cues and help show your horse how to “bridle up” (come back to the bit) and collect.

As you start to practice, you’ll need to exaggerate your cues, Schwartzenberger says. When you are precise and consistent, your horse will learn that removing inside leg pressure means he should slow. Keep in mind that other reining cues also rely on your precise leg placement. Removing pressure with both legs equals a cue to stop; switching pressure from the outside to inside legs cues for a lead change.

Without riding in a jerky fashion, you’ll need to practice your leg positions so your horse gets the precise message.

Starting Tips

If your horse is young and just learning this cue, you may need to apply more rein pressure after giving your body cues. If your horse misses your body cue, slowly pull up and back on the reins until your horse trots, then walks. As you slow, you’ll keep forward with your hip placement (to the outside) and outside leg pressure.

As you slow your horse, Schwartzenberger says to move forward in a “C” shape as you ask for collection with the rein aids. Your horse should be arced into the direction of the circle you’re loping. Your outside leg will keep the horse arced while your reins—moving up and to the inside—guide your horse’s nose and shoulders toward the inside.

You may ride with two hands to help your horse understand your rein cues, using your outside hand to adjust speed while your inside hand shapes his body into the arc. Once your horse slows, softens and turns in toward the direction of the circle, release your aids to provide a break.

Keep in mind that you want your horse to think that slowing is a great idea. Be careful not to move harshly. Instead, relax and show your horse that your cue means that this is a chance to slow down.

Practice Fast and Slow Reining Circles Anywhere

While you’ll eventually want to show off this transition in the middle of the arena, you don’t want to practice at the middle mark every time. If you only work on a slowdown cue in the middle of the arena, your horse may choose to slow there when you don’t want him to, and some patterns may require you to continue to move fast through the middle of the circle, or you may need to switch leads in the center.

Lope your big circles and change up your slow-down location. Lope a quarter of a circle at your faster speed, then slow. Practicing the move in different locations will encourage your horse to listen to you without anticipating the slowdown.

Eventually, you will adjust your leg cues as your horse understands to slow when you remove your inside leg and hum at the same time. Horses who have practiced this transition will begin to “hunt” for this cue. They want to slow down! When your horse reads your body cues and hears your hum, he’ll slow and collect up on his own.

With practice, you’ll find that your horse’s response time quickens. Pay attention to the time it takes for your horse to slow so that you can place your slow-down cue in time for a stop at the center of the arena.

Special thanks to our equine model, Shineywhippersnapper (“Schmidty”). The 3-year-old finished in the top 15 at the National Reining Horse Non Pro Futurity.

This article about learning how to do a slow circle in the reining arena appeared in the April 2021 issue of Horse Illustrated magazine. Click here to subscribe!

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