Galway Downs Equestrian Center

Meet Our Officials – Malcolm Hook

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Malcolm Hook, aka “The Voice Of The West,” has been a fixture in US eventing for a long time. The announcer, controller and technical delegate has been at it long enough to remember asking his late brother-in-law, Pete Costello, “Why build an Advanced course when we don’ t have Advanced eventers out here in the West?”

The Field of Dreamsy answer to that was, in effect, “If you build it, they will come.”

Which they did. And Malcolm has enjoyed a front row seat for much of the sport’s significant changes around safety, sophistication and participation.

What hasn’t changed is the reassuring effect of Malcolm’s ever-present voice throughout the day.  ‘It’s funny. I get a lot of people – riders, coaches, parents – telling me they knew it was going to be OK when they heard my voice.’”

He’s reassuring in the moment and over eventing’s modern trajectory. His service to the sport included being an Area VII Chair and USEA Vice President. The Galway Downs regular has held key roles on many committees and continues to sit on a few, including the USEA course design safety committee and others.  

Malcolm and his wife, Julie Costello Hook, own Talisman Farm in Aurora, Oregon. Julie coaches, trains and hosts educational events. Malcolm manages behind-the-scenes tasks, juggling that with about 20-25 announcer/controller assignments and typically 2-3 technical delegate jobs per year.

He suggests that things in the control tower are not always as under control as his calm voice makes it sound. At national competitions, Malcolm often does double duty as controller and announcer. FEI competition rules don’t allow that.

Juggling Act

Indeed, the controller’s role is a lot on its own. Horse and rider safety are the controller’s priority. That involves communicating information to all exhibitors, officials, volunteers and show management, ensuring horses and riders get the attention they need when there’s an incident and monitoring all the components for a smooth flow of traffic on cross-country.

When everyone gets around without refusals or falls, and on a relatively normal pace, the controller’s job is relatively easy. When they don’t, the controller’s quick assessment of the situation and judgement are critical.

The controller monitors each horse’s progress based on the reports from the startbox and jump judges and visually for parts of the course that can be seen from the tower.

Typically, Malcolm has driven the course in a golf cart to understand where the obstacles and challenges are.  Stopping points where a pair would be held if needed are determined by the officials, and it’s the controller’s job to determine when that’s warranted.

“I find it very easy to keep track in my head of where people are because I’m announcing. I’ve just been talking about where a certain rider is. I just said, for example, ‘Rider 21 completed fence 15,’ so the commentary about what’s happening helps me track where they are on course.

“Controlling and announcing is a lot,” Malcolm continues. “It keeps me amused and I like to be busy.” Handling both tasks is a cost-saver for organizers, too, he adds.

Keeping track of riders is one thing. Keeping track of the three to five radios typically at his fingertips in the control booth is another matter. “My biggest problem is which radio I’m talking on. One is dedicated to veterinary and medical emergencies. Another is dedicated to the office. I’m typically using two channels at any moment. I have my moments… something like telling the fence judge at 7 to start the next rider! But I don’t dwell on those moments.”

After reporting on riders’ status all day, Malcolm admits he’s often stumped by his wife Julie’s end-of-the-day “who won” question. “I’ll get the start and finish time for 250 horses, update their scores and have an idea who appears to be the winner, then 20 minutes later I can’t remember!”

Tremendous Growth

“The growth of the sport has been tremendous,” he says. Going back to when Pete Costello suggested developing a circuit of Advanced level courses out West, Malcolm recalls Kevin Freeman being one of very few eventual Olympians to be based in the West.

“The fact that Tamie (Smith), Jil (Walton), Amy (Tryon) and Todd (Trewin) did that is really a big thing if you look at the demographics of the United States and the powerhouse areas being USEA II and III, and, earlier, Area I. The growth at the upper levels has fueled the lower levels as well, because without them, it would be very difficult to build the Advanced courses.”

He’s witnessed unforgettable moments. Like Bruce Davidson completing the Rolex (now Defender) Kentucky Three Day course in “an utter, horrible downpour and coming clear inside the time in a way you would not have known there was anything difficult about what he just did.”

Or any pair who flows through the track like “water flowing down hill,” Malcolm describes.
“It’s like you are looking at a stream going downhill and even if it’s a fairly steep run, over boulders, around rocks, the flow is effortless and appears inevitable.” Outings like that come up about 10 times a year, he guesses. They’re always a delight.

He has awe and appreciation for all. “I am impressed by anybody that will go out there and do this sport,” he says. “It’s something I can’t do. And the lower levels are really, for me, the center of the sport.”

“The upper levels are great,” he continues. “They are exciting and there is a lot of pageantry attached to it. But on a day-in, day-out basis, we can never overlook the lower levels. They’re the ones whose participation provides the money to build the courses that support the next Amy Tryon, the next Jil Walton, the next Todd Trewin or Tamie Smith, etc.”

Seeing young horses and riders advance up the levels is gratifying, too.

Looking ahead, Malcolm says he may opt out of the 2028 Olympic equestrian competition likely to be held at Galway Downs. He’ll be 81 by then and anticipates being ready to watch from afar.

“I am really pleased for Galway Downs, though, and especially for Robert Kellerhouse. It is a tremendous opportunity and, when looking at what else was available, really the only logical choice. It is going to be a huge boost to the sport.”

Meet our Officials – Tina Fitch, Show Photographer

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“I couldn’t not take photos,” recalls Tina Fitch of the heart strings that eventually tugged her toward becoming a professional photographer.

As a kid growing up in Maryland, Tina knew that horses or art would be her life. “My high school guidance counselor was horrified. ‘How will you ever make money?’” Tina recalls the counselor asking. Yet, she followed her passions.

Horses won out as Tina’s livelihood for much of her 20s.

In her early teens, she started riding and became a working student at an eventing barn. Later, she galloped racehorses on tracks up and down the East Coast. It was that work that brought her to California in her late 20s.

Racing Resume

“I was living in New York when I decided I wanted to see California,” Tina recounts. “Bobby Frankel was one of the incredible trainers I worked for. One day, he asked me if I could leave for California in 5 days. So, I packed what I could into Rubbermaid bins and started driving.”

“I thought I would be here for six months, and I never left.”

In addition to the good weather, Tina loves the people in California — the interesting mix of backgrounds and a general open-mindedness.  California’s diverse geography is another plus.

Tina continued galloping racehorses and began working for HRTV, the broadcasting arm of the Santa Anita Racetrack. She worked her way into a feature producer role and sometimes modeled for items sold in the track’s gift shop.

In the course of all that, Tina had the transformational experience of working with renowned photographer Katey Barrett. “Her work was like nothing I’d ever seen,” Tina reflects. “Her use of light was captivating. I looked up to and admired her, but I don’t think I realized in the moment how amazing it was that she was taking my picture.”

Tina purchased several of Katey’s photographs before Katey passed last fall, at 91, and they are cherished inspirations.

The Camera Calls

Tina and one of her two OTTBs – Forks of Ivy. PC: Ride On Photo

In the early 2000s, Tina bought herself an Off-The-Track Thoroughbred and returned to sport horse riding. She left her career on the track in the late 2000s and began working as a saddle fitter and sales rep, bringing her back into regular contact with the eventing and sport horse community.

She toyed with taking photos at shows but tucked away the idea of doing it seriously for several years. The itch to capture special moments is as powerful as the itch to be with horses, and Tina didn’t resist it long. She began shooting her equestrian friends.

A business coach wondered why she wasn’t doing it professionally, and “slowly things started to evolve.” A good nudge came from Maria Morgan of Captured Moment Photography. She noticed Tina taking photos and explained the negative impact on her business when photos are given to riders for free.

Show photographers have major investments in equipment and time being on site all day capturing, sorting and editing riders’ special moments. Modest profits come from selling those images. Since the advent of digital photography and its transformation of the mechanical aspects taking photos, making a go of professional horse show photography has gone from financially tough to tougher.

Maria recruited Tina to her team part-time. “She taught me the basics and I slowly moved up in the quality of cameras I bought,” Tina shares. “Maria took a chance on me and I really appreciate that. I look at the photos I took back then and I’d like to think I’ve come a long way.”

Seeking another mentor, Tina cold-called noted show and artistic photographer, Erin Gilmore. “She’s been my most influential mentor. She critiques photos for me and is always available for my questions.”

Internationally renowned dressage photographer Terri Miller is another mentor, for whom Tina shoots on occasion.

It’s Official!

Tina and her husband Jamie White

The role of Official Show Photographer arose when Marcus and Kelly Greene of MGO Photography stepped down from working with several West Coast organizers, including Robert Kellerhouse of Galway Downs.

Robert asked Tina to take their place in 2021.  Tina now serves as Official Photographer for Galway Downs’ spring and fall Horse Trials and for eventing competitions at The Horse Park at Woodside.

Assembling a terrific team has been key to the success of Tina Fitch Photography. “I look for people that are willing to work hard and, first and foremost, they are hungry to be a professional.” They will also have good quality camera equipment. “Having bad gear can hold you back,” Tina notes. “Plus, you have to love what you are doing. We’re not making a ton of money at it.”

The majority of Tina’s crew are horse people. They enjoy being at the shows and recognize the right moments. Cross-country day epitomizes the team aspect of show photography. “We really get to know the cross-country course,” Tina explains. “I want everyone to have a vision, because when we are shooting the same horses and riders, it’s important to get something exciting – something that conveys the drama of what’s going on in the moment.”

Equestrian event photography’s many challenges include identifying points where the horse and rider will make the most dramatic effort, then factoring in lighting and potentially distracting objects in the frame. Equipment that allows for remote camera operation is an exciting addition to Tina’s toolbox.

Like most competitions, Galway Downs has a policy of allowing only the official photographer to take and sell photos from their events. It’s a difficult policy to police, and the situation is compounded by the ease of grabbing photos posted on social media.

Tina sees the threat of unofficial photographers encroaching on her revenue potential as motivation to create irresistible images. “It’s an incentive to do better!”

Long days are part of a show photographer’s life. Her team shoots all riders throughout the day, but Tina does the editing herself – often staying up ‘til 11 pm or midnight most show nights.

Expanding Portrait Business

When she’s not shooting the 7 shows she’s currently contracted for, Tina maintains a portrait photography business based at her studio in San Diego County’s Julian. Professional head shots, senior portraits, family treasures, glamour photography and personal branding images are all on the menu there.

The interviewing skills she learned as a video producer for HRTV serve Tina well. Earning her subjects’ trust and enabling them to feel confident and relaxed is key to capturing them in ways that best reflect their personalities.

Most importantly, Tina enjoys working with her two OTTBs. Forks of Ivy is competing at Novice now, with hopes to move into Training by year’s end. And Rocketcent is coming back from a minor injury.

Tina and her husband, Jamie White, live in Julian. He is a retired professional guitarist and a luthier. Making custom musical instruments and beautiful photographs have similarities, Tina shares. They both require artistic sensibilities, intense craftsmanship, time and effort. In most cases, customers want their instrument and photographs right away, too!

While it took Tina a while to jump feet first into show photography, Galway Downs and its exhibitors are glad she did!

Meet Our Officials – Alessandra Allen-Shinn, course designer.

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Alessandra Allen-Shinn is outstanding in her field.

Literally.

As in, she’s happiest while out standing in the field – ideally, a cross-country field. Designing the course, building the obstacles, working the ground or galloping across it, the 3* eventer and USEF and FEI certified course designer and course builder is a rising star in the West Coast eventing world. She’s set on building 5* tracks and has the talent, determination and industry respect to get there.

“Ali” lives in Kalispell, Montana, where she is assistant trainer for Olympian Jil Walton. Jil’s stable, JARBA Farm, winters at Galway Downs and Ali comes with, caring for the horses, including her own. When she’s not riding or tending to them, she’s plotting new tracks, building new obstacles, and helping horse and property owners with range of small construction tasks.

Building jumps and related materials falls under Ali’s Ride-Sharp enterprise.

While based at Galway Downs, Ali loves her daily mix of running the barn, then hopping out onto cross-country with venue manager and competition organizer Robert Kellerhouse to plot next steps and possibilities.

Having earned her small “r” course design license from the US Equestrian Federation in 2018, Ali has been creating Preliminary and lower-level courses for Galway Downs for three years. Last fall, she earned her FEI Level 1 credentials, allowing her to design at the CCI1* and 2* levels, too.

She’s a regular in USEA Area VII, too, where she builds and designs for Arrowhead Horse Trials, Herron Park and private facilities. The Spring Gulch Horse Trials in Colorado and the Mill Creek Pony Club Horse Trials in Missouri are more events for whom Ali is designing courses.

At Galway Downs, Ali is excited about new fences for the lower-level tracks. The FEI routes have undergone constant additions and upgrades in the look, type and construction of the fences and now it’s the lower levels’ turn. Look for horse head rolltops to match those on the Advanced and Intermediate tracks this season and more nice additions.

One of Galway Downs’ ongoing missions is to make the “lower part” of the property – the cross-country course – as nice as the “upper part,” the Grand Prix Arena, VIP Pavilion and surrounding amenities. Ali’s ongoing work is a big part of that transformation.

Ali in competition mode. PC: Ride On Photo

How It Started

Course design and building doesn’t often arise as a career dream for kids. However, Ali knew what she wanted to do even before she knew it was a professional option.

She traces the earliest inklings for her career path to tagging along with her mom who volunteered as a steward. “I often went with her, putting out flags, whacking weeds and all that stuff. I loved that part of it, but I didn’t realize courses were actually planned. I kind of thought you just threw jumps out in a field and went and jumped them.”

As her riding advanced through lessons and clinics, she began to see the rhyme and reason behind the placement of fences, the tracks between them and the construction, materials and look of the obstacles. “Especially riding with course designers and others who were serious about it, it all started to make sense.”

As she realized that “This was a thing!,” Ali investigated the educational and certification path to becoming a course designer. The more she pursued educational tracks, “the more I got into it.”

Earning certification is not for the faint of heart or the impatient. “It takes a long time because you have to get apprenticeships with different people,” Ali explains. “You ask if you can follow them around while they’re working and ask them questions, and they must fill out paperwork afterward.” In the early days, Ali was sometimes mistaken for a not-very dedicated applicant looking to pad their resume. A few apprenticeships in, however, word got round that she was the real deal and getting “yes” from licensed designers became easier.

Over The Hump

“I feel like I might be over the hump,” says Ali with her characteristic self-effacing humor. “The course designer I’ve ask to apprentice with might call a contemporary and ask, ‘This annoying girl is bugging me. Is she worth it?’ Now, they hear, ‘Yes, let her hang out with you.’”

Adri Doyle is one of Ali’s favorite mentors. “It’s nice to have another girl to talk to and it’s unusual.” Adri is also a technical delegate, which increases the odds of working together. “We help each other setting stuff up and that’s fun. And she’s always honest with me.”

Rob Mobely, FEI course builder, USEF licensed designer and Galway Downs builder, is another favorite mentor.

Shadowing Olympic course designer Derek DiGrazia at the Land Rover Kentucky 5* last year was a learning curve high point for Ali. Given the option of tagging along several weeks before the event or during the week before set-up, Ali chose the latter and was thrilled with the experience.

“That week before, they are adjusting things just a tiny bit. Like the placement of trees as a visual element on the course. Even just by a couple of feet. It’s awesome to know all that information, then watch what happens during the competition.”

A View from the Saddle

Like most of her course design colleagues, Ali rides and competes herself. So she has no problem when riders inquire about some of her decisions. “They always say, ‘Why the heck did you do that? How could we ever make it from here to there?’ But actually, it’s often the case where I’m setting the course up to do something for them. When I set something off a turn, that is just balancing the horse for you. If you are going to a coffin jump, you need a packaged canter, so that turn has stopped you from having to haul on your horse’s mouth. I did that for you.”

Ali began plotting her tracks for the Kick Start Horse Trials this weekend back in November, during the Eventing Championships at Galway Downs. At every competition, she prioritizes changing things up. “I don’t want anybody – horses or riders – to think, ‘Oh, I just did that three months ago.’”

She happily puts plenty of thought into every detail – especially during the months based at Galway Downs. “I know the property well and I think about it a lot. I spend a lot of time on the tractor working on the footing, too. Between that and visualizing everything, I like to change my plans for each event as it gets closer. Sometimes riders try to find out what’s in store for an upcoming course, but until I’ve set it and it’s staked, it could still change.”

In her own riding, Ali’s main horse now is 7-year-old Banksy, who she is prepping for his first CCI2*. As a course-designer, builder and rider, it can be hard to focus on riding while competing, especially over a track designed by someone else. “Sometimes it makes me crazy because I over-analyze elements of the course as I’m going around.”

On balance, however, Ali loves her life of juggling related activities. It keeps her beyond busy, which reflects the constant demand for her many talents.

Look for Ali at this weekend’s event or learn more here.

Meet Ian Stark

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As a six-time Olympic silver medalist and renowned international course designer, Ian Stark has seen a lot. One thing he hasn’t seen is another equestrian venue stage a clinic anything like the Galway Downs fundraising affair set for Jan. 19-21.

“It’s quite brilliant,” he says. “All these clinicians putting something back to help develop the sport and its venues.”

This year’s gathering marks the 26th year and Ian’s been there from the beginning. In fact, his connection to Galway Downs pre-dates the clinic because he’d flown over the year before to coach riders here.

He loves the knowledge ripple effect of the clinic. “Some of the riders are giving instruction themselves, and then I have them riding with me, too. Everybody benefits from that. It’s all encompassing and very positive.

“I think nearly all the more experienced riders are very keen to help all the young riders – to give some information and share their experiences,” Ian continues. “Our sport has always been great from that point of view and the Galway Downs clinic epitomizes that.”

Galway Downs’ Growth

Visiting every January and designing Galway Downs’ cross-country tracks for many years, Ian has had a front-row seat for the venue’s evolution. “Galway Downs has grown beyond all recognition,” he observes. “The whole venue is quite impressive.” Ian first came long before Ken Smith purchased the property and began investing in it as a multi-faceted special events site. While community soccer fields now occupy some of the original space for cross-country, Ian sees positives in that.

“There are so many great things going on out there now. With the soccer pitches being in grass, it does mean the footings change a little bit for the horses. And that means the riders have got to ride accordingly – their horses might react differently.” It’s an opportunity for competitors to develop the adaptability required in eventing.

Galway Downs’ evolution parallels the evolution of the talent pool preparing in the West. “The quality of the horses and riders has always been reasonably good, and it’s gone into another stratosphere now,” Ian observes. “The riders have so many more opportunities and now the West Coast can compete very competitively on the East Coast and against those based in the East.  In the beginning, they were quite behind on that. I think a lot of that comes down to the dedication of people like Robert Kellerhouse and the other great organizers of West Coast competitions.”

One consequence of riders’ progress is that Ian has fewer opportunities to playfully admonish people for counting strides on cross-country. Early on, that was an obsession for many, not just at Galway Downs but among American riders in general, Ian shares. “I’d ask them to jump certain jumps on cross-country and they’d ask me how many strides? I’d say, I have no idea! Go and ride it and react to what you’ve got.”

Walking courses is useful for knowing whether a combination is a forward or holding distance, and evaluating terrain that affects that, he says. “But I’d much rather people rode from feel. You have to react to however the horse jumps into a combination, then make it happen for the rest of the combination.

“I like to tease American riders about being hellbent on knowing and riding for certain striding, but there’s a lot less of that now.”

Ian’s approach draws on his own training system. “My training has always been to ride around the farm, go out hunting, jump everything, get on with it and react.” He acknowledges, however, that “there is a lot to be said for both approaches. Instinct and feel are, for me, more important than the number of strides. But when you walk a course, you’ve got to know whether it’s an open or short distance, then have the feel to react if your horse jumps in too boldly or a bit backward and be able to make happen what needs to happen.”

As a competitor and a course designer, Ian has seen the whole sport of eventing evolve. “It’s a different sport, to be honest,” he says. “When I was competing, we still had roads and tracks and steeplechase and the courses at Badminton and Burghley were 13 minutes long. We don’t get courses that long anymore. Cross country day was speed and endurance. It’s still difficult to make the time and gallop clean around many of our courses, but it’s not quite the stamina affair it used to be.

Course Design Finish Line

“Everything evolves,” Ian concludes. That includes his course designing career. Fair Hill International this October will be his last course designing assignment. He’s facing the reality with mixed thoughts and emotions.

Until a few years ago, the International Equestrian Federation, the FEI, mandated that officials retire at age 70. That extended to 72, then the limit was removed all together.  Yet, Ian had geared this life plan toward retiring at 70 and he’s sticking to that despite considerable pressure to continue.

“I think it’s a good decision. I’ve always been very aware of and anxious about hanging on to something for too long,” he shares. “Knowing when to quit is never easy. If you hang on too long you could lose your edge and stop younger people from coming through. I’d rather go when people still want me!” He acknowledges there are different perspectives on this question but feels good about his own.

His family’s Ian Stark Equestrian Centre and his adult children and four young grandchildren tilt him toward the original retirement timing. Plus, he’ll keep a hand in course design’s future as a mentor to younger designers.

Ian hopes the pipeline of younger designers will get fuller. Since the FEI implemented more levels of course designer certifications and requirements, “it’s become even more difficult for young ones to get to the top levels,” Ian observes. “It worries me that it takes too long to move up to the higher levels and I hope there will become a way for the very talented ones to be fast tracked.”

Course design is not a track for the faint of heart, he cautions. “When you’re riding, you get a knot in your stomach until you get on and get that adrenaline going. As a designer, you don’t get that release of pressure. And the pressure is enormous.”

The work’s rewards come at day’s end. “The most gratifying aspect of course design is when a rider comes up at the end of the day and says their horse was a bit green at the beginning, but it improved throughout the round and finished with a smile on its face.”

Busy “Retirement” & A Brilliant Career

Even without designing around the world, Ian has plenty to keep him busy. Run by his wife, Jenny, the Ian Stark Equestrian Centre is located on 500 acres in the Scottish Borders’ town of Selkirk. It offers lessons and a full calendar of competitions and events.

Helping Great Britain earn team silver at the 1984 Los Angeles Olympics was a launch point for Ian’s international riding career. His resume includes six Olympic silver medals; World Championships team gold and silver and individual silver; and six team golds, plus individual gold and silver, at the European Championships. He is a three-time Badminton winner and remains the only rider to have finished 1st and 2nd in the same year, which he did in 1988.

Ian retired from team riding in 2000 and “mostly” retired from riding in 2007. The allure of the saddle, however, is such that Californians have seen him campaign or school a horse or two over here in the years since.

Snow skiing fulfills Ian’s free time these days, making up for the years when he abstained because of its injury risks.

His many honorifics include MBE from the Queen of England in 1989 and OBE in 2000; Honorary Fellowship of the British Horse Society and induction into the Halls of Fame of Sporting Scotland, Sporting Scottish Borders, the British Horse Society and the Event Riders’ Association.

In short, he’s a living legend in our sport and the wisdom and wit he’ll share at the Galway Downs fundraising clinic is not to be missed.

Trot-Up Tips with Mike Tomlinson, DVM

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Call it “the jog,” “the inspection” or the “trot-up.”

By any name, the pre-competition inspection at an FEI event exists to “assess the horse’s fitness to compete,” explains Mike Tomlinson, DVM. The Thousand Oaks, California-based veterinarian is a familiar face as the FEI veterinarian at events around the country and the world and in various disciplines.

He’s often asked why even do the jog when so few horses are found to be unfit, aka “spun.”

“In reality, what the jog does is prevent unfit horses from trying to compete,” he explains. “If your horse isn’t going to pass, you don’t pay the money to be there. It’s a preventative rather than a treatment.”

Spiffily-dressed riders and spit-shined horses strutting their stuff spur “ohs” and “ahs” from the fans during the trot-up. If the horses act up and out in high spirits – it’s all the more exciting and full of fun photo opportunities for the media.

Not so much for Mike and the judges who comprise the inspection panel.

What they want to see is a well-behaved horse trotting with his handler running calmly alongside the horse’s shoulder– 40 meters down, and 40 meters back. No drama, thanks.

That well-behaved horse, however, is more often the exception than the norm, Mike notes. “Some people do an elegant, fabulous job and we notice it. We think, ‘Wow! That person practices.

“It’s not as simple as the horse runs down to the turnaround cone and back. He has to listen to his handler. What happens frequently is that the owner, rider or handler is told to get the horse hyped up so he’ll look better, then the horse doesn’t listen to the handler and looks worse.”

The inspection panel members are looking for symmetry in the horse’s gait – putting equal weight on the right and left side. The horse that gets ahead of its handler, with the handler trying to pull its head back, is effectively moving in a shoulder-in down the jog strip. Symmetry and balance are not possible, Mike explains. The pokey horse being pulled along by its handler looks terrible, too.

Practice!

As a generality, Mike says eventers take the inspections seriously and have invested time in practicing. This is noticeably true of handlers who’ve come up through the Young Rider ranks and been exposed to all aspects of FEI competition.

Practicing at home in a quiet place is the best starting point, Mike advises. Get to where your horse knows what he is supposed to do, then practice with friends. “Get four or five horses from your barn, set up a jog track in the arena with 40 meters and a cone at the end. The more you can emulate the show environment, the better. You need to practice enough so that your horse will still listen to you in the excitement of the show.

“Positive reinforcement really works for doing the trot-up,” Mike continues. “If the horse is fearful of it, he’s not going to listen. Take it as a step-by-step process. Make sure your horse is listening to you and that you are working together. You should trot at your horse’s shoulder – not have to pull them and not have them in front of you, pulling you along.”

“Don’t turn around and look at your horse!” he emphasizes. “In a herd, the horse out in front is the lead mare. If the lead mare turns around and looks at you, she’s saying ‘back-off.’ Most people, when they are leading something and want to make sure it’s back there, they turn around and look at it. If your horse sees you do that, he’ll thinks, ‘Ok, I’ll back off. I’ll slow down.’ In theory, you are the lead mare.

“I usually tell people that if you have the lead rope or the reins, your horse is probably still behind you.”

The fitness inspection occurs before the dressage phase. At higher levels, there is a second inspection before the final phase.

On-Arrival Health Examination

And before the fitness inspections, there is a health examination on arrival. This used to be called the “in-barn” and it was conducted on each horse in their show stable. It became an on-arrival exam three years ago. That’s when an EHV-1 break-out in Barcelona shut down competition throughout Europe, causing the FEI to re-think the practice of checking horse’s health after they’d already settled into their stabling.

“We’d been saying for a decade that this examination should be done on arrival,” Mike shares. “After you have a few hundred horses in the stable, it’s too late to protect them from a communicable illness one horse might have brought in.”

Since the change, every horse is met at their trailer when they enter the property. “We do a general examination, and check that they are free from communicable illnesses,” Mike explains.

“We identify the animal by verifying that the information on its microchip matches their FEI passport and that their diagram and description matches the horse.  We look at their eyes and nose and the owner takes their temperature. The veterinarian does not take the temperature to ensure we don’t transfer anything from one horse to another. If a horse has a cough, runny nose or anything obvious, we put them in isolation.”

When the in-barn examination switched to being done on the horse’s arrival, it was quicky accepted – even welcomed, Mike recalls. “Most people fully realized the importance of it and how it helped them and saved everybody time because we didn’t have to look at the chip for ID during the jog.”

Mike will serve as the FEI Veterinary Delegate for the Eventing Championships at Galway Downs November 1-5. His expertise, compassion and good humor have long been part of Galway Down’s successful competitions and we are thrilled to have him back.