Does your horse need Equine bodywork?

 

In the spirit of the delta horse and PACE, I am focusing on the power of softness to work with horses to assist them in developing, gaining, and maintaining balance and wholeness.

 

After thorough research of my options, I concluded that the Masterson Method aligns wholeheartedly with the delta philosophy.  So, what is the Masterson Method? 

 

Perhaps the best place to start is with what it’s not.  As the title of Jim Masterson’s book suggests, it’s not equine massage, it’s  “Beyond Massage”.  This is not to imply that equine massage is wrong or bad for the horse.  Instead of doing something “to” the horse, Masterson’s Method is working with the horse.  The key to Delta Equine Bodywork is that it begins and ends with the horse.  It follows the lead of the horse to provide the horse opportunities to release.  To release restrictions, sensitives, stress, anxiety, etc.  The work with the horse is a dance.  I am the tool that invites the horse to focus on the major junctions in the body and muscle groups in order to bring forth a reaction and a release.  The release may be demonstrated by yawning, snorting, sneezing, even rolling back a second eyelid.

 

The end result is that you have a happier horse.  Happy because the restriction, the stress, the anxiety is lessened or gone.

The power of softness is that rather than the horse bracing against a person, which hinders any muscle release, the horse does the work within its own body as I softly ask for a response.  Delta Equine Bodywork sets the PACE as I Patiently in an Accepting manner, with Consistency and Empathy work with the horse.

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Conductor of A Symphony of Motion

 

A musical conductor serves as the messenger of the musical piece to be performed. They appreciate the possibility and the potential of the composer's creation and therefore are entrusted with the task of bringing that to fruition.  

 

A good conductor, a good messenger begins by listening to the musicians.  By observing musicians,  And then, and only then does one ask probing questions.   They simultaneously value and respect each musician, each instructment, each part of the composition, realizing that all, all contribute to the whole.   And then, and only then, does the conductor deliver the message.  Then, and only then, does the conductor establish the tempo and maintain the dynamics of the music.

 

At Delta Equine Bodywork, A Symphony of Motion, I understand that my responsibility is to be a conductor, a good messenger.  And the horse is the musician complete with all the parts that contribute to the symphony of motion.  Together, working in harmony, respecting and valuing one another, we create music, a symphony of motion.

 

As the conductor I use my eyes, ears, and hands, to see, to hear, and to feel the horse and all the parts there within.  Parts that are moving fluidly, parts that are restricted, and parts that are screaming out in pain.  I begin by observing the outside of the horse to determine what might be happening on the inside.  And then I measure the inside of the horse to determine if it aligns with the outside.  

 

The outside factors to monitor and observe include, but are not limited to, such things as conformation, hooves, gait, head position, tail position, turning, backing, swelling, cuts, and breathing.  I use my eyes and ears to measure the horse’s breathing pattern and then my hands.  A shallow and quick or rapid breathing pattern may signal that the horse is tense, nervous, preparing to take flight, or it may be the result of their inability to expand the diaphragm.  If it is my first encounter with a horse I will exaggerate the volume of my breathing and inhale more deeply.  If the latter is the source of the issue, with the proper placement of my hands and my fingertips gently gracing the horse’s hair I can assist them in expanding the diaphragm and slowing the rhythm.  Every musician, regardless of the music they create, will agree that proper breathing technique is vital to their success.  The same is true when working with a horse.    

 

Measuring the inside begins with palpation.  By increasing the amount of pressure to various parts of the horse’s body one can determine if an area is sensitive and if so, the level of reaction.  A reaction generally implies pain or irritation and is viewed as a recent issue.  If any area doesn’t yield a response during palpation but does hinder movement or creates a response during the bodywork session it is considered a restriction, possibly the result of an older issue.  This distinction between reaction and restriction is critical to understanding what the symphony of motion may look like both in the short term and the long term. 

Another factor when measuring the inside of the horse is to determine if an issue is surface or deeper.  A surface issue may be the result of new tack, new rider, change in performance, being kicked, etc…and by addressing these issues together with the bodywork motion can be restored more quickly.  Deeper issues are those that may have existed for an extended period of time or literally originate deeper within the body of the horse.  This could be the result of tack, riding, performance, or an injury and how it healed.  What brought about these deeper issues may never be known which can be a source of frustration for an owner, but as the conductor, the message is about the here and now.  Finally, measuring the inside also has to consider the possibility that the source of irritation, the lack of performance, is related to unhealthy organs, disease, illness, etc…  Such measuring of these factors requires a Veterinarian.  Because of the complexity of the inside of the horse, I work with Farriers, Chiropractors, Veterinarians, and Trainers.       

 

As a conductor, striving to co-create with the horse a graceful, fluid, picturesque symphony of motion, I am continually collecting information, data if you will, to problem solve, to make all the pieces fit and work in harmony.  I must distinguish between symptoms and causes. Is the pain, the irritation, the restriction the source of the issue or the symptom, the result of an issue located somewhere else in the body?  It’s quite common to hear the owner of the horse say something to the effect, “She was just fine yesterday.  She did great on the trail, (in the arena, sorting cattle, jumping, gaming, etc…) and now today she’s lame, sore on her right front.”  Is the source located in the right front area or (to mention one possibility)is the lameness the result of the horse compensating, altering the natural gait and balance to avoid discomfort in the left hind quarter which places additional weight and unnatural movement on the right shoulder and the horse is stiff on the right front?

 

A good conductor, one who listens to the musicians is able to deliver the proper message and thereby leads by following.  By being attuned to the horse, by acknowledging what the horse is communicating, I am able to lead the bodywork session by following the horse.  The subtle and not so subtle messages delivered by the horse inform where I need to go next with the session and if the message I am delivering is working.  Working in such a manner that I am creating space for the horse to make “music”, make a symphony of motion.  The uniqueness of this bodywork is that in unison; I and the horse work together.  I bring the horse’s attention to a specific area of their body and ask if there is an issue in the location.  Depending on the area and the response to my asking, I may increase the space between my hand and the horse’s body enabling the horse to experience less pressure and therefore release the tension, restriction, or I may lightly touch the horse’s body, assisting in working the muscle in the area.  This method demands patience on the part of the conductor and trust that the horse knows what they need. 

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