Equestrian Vaulting - American Vaulting Association

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Equestrian
Equestrian
Vaulting
Vaulting
Editor in Chief: Megan Benjamin, [email protected]
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American Vaulting Association Directory
2011 AVA VOLUNTEER BOARD OF DIRECTORS
Executive Board Members
President: Sheri Benjamin, [email protected]
Executive VP: Kelley Holly, [email protected]
Treasurer: Jodi Rinard, [email protected]
Secretary: Jill Hobby, [email protected]
VP Competitions: Linda Bibbler, [email protected]
VP Development: Jan Weber, [email protected]
VP Education: Carolyn Conner, [email protected]
VP Membership: Connie Geisler, [email protected]
Board Members
Jessica Ballenger, Megan Benjamin, Carol Beutler, Robin Bowman, Bill Brown, Craig Coburn, Julie Divita, Priscilla G. Faulkner,
Rick Hawthorne, Kerry Noble, Marianne Rose, Peter Senn, Patti Skipton, Samantha Smith, Peggy Van Hook, Bob Weber
Regional Supervisors
Region I: Peggy Van Hook, [email protected] • Region II: Marianne Rose, [email protected]
Region III: Kathy Rynning, [email protected] • Region IV: Dena Madden, [email protected]
Region IX: Elizabeth Brigham, [email protected] • Region X: Beth Whillock, [email protected]
VOLUNTEER COMMITTEE CHAIRS /SPECIAL PROGRAM DIRECTORS
Adaptive Vaulting: Peter Senn, [email protected]
AVA Blast: Lynn Stevens, [email protected]
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ASSOCIATION
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Learning & training techniques to
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Patti Skipton, WBC Vaulting Coach and
2010 AVA Mentor of the Year
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Technical Committee: Kelley Holly, [email protected]
Trade Shows: Jan Weber, [email protected]
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Camp Dates:
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Register Today!
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800-228-6724
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USEF Vaulting Technical Committee Co-Chairs: Craig Coburn, [email protected]; and Suzanne Detol, [email protected]
USEF Youth Council Member: Annalise VanVranken, [email protected]
Volume 44, Issue 1
Equestrian Vaulting Designed by: Red Hen Design, Howell, MI, [email protected]
2
EquestrianVaultinG | Winter 2012
Equestrian
Vaulting
Features
4
8
14
22
10
14
FAQ: Which Compulsories Exercises
Have Changed?
Elizabeth F. Searle:
A Woman of Vision & Virtue Naomi Takemoto
Photo Montage of Recent Events
Non-Traditional Vaulting Updos
Tricia Dahlgren
16
18
26
28
Rosalind Ross
20
22
Give the Gift of
Equestrian
Vaulting
Up to 60% Off!
Pull-Out Poster
Makeup for Vaulting
24
Wise Words: Q & A with Melanie Vizzusi,
Master Seamstress
Vaulter Verbatim: What is Your Favorite Vaulting
Uniform of All Time?
Men Wearing Spandex in Style
Columns
5
From the President Sheri Benjamin
26
Coaching Corner: Fashioning Freestyle
Nancy Stevens-Brown
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Just for Vaulters: Winter Warmth
Megan Benjamin
30
Events Calendar
31
Regional Updates: Coast to Coast
Fashion in Motion
On our cover:
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• “Add on” subscription for current AVA Vaulting Fan and Recreational Members
• Foreign: $34
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28
Marisa Hamar of Showtime Vaulters models a custom LHC
Couture gown with her stunning Dutch Warmblood, Wescott.
Designed by Lauren Crafford Kutting, a former Mt. Eden vaulter,
this custom gown is only one of many in Lauren’s fabulous
couture collection. To see more LHC looks, visit her website at
www.lhccouture.com
Photo courtesy of Lynne Owen/VaultingPhotos.com
www.americanvaulting.org 3
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From the President
If you Want Something Done...
An organization like the AVA also grows and succeeds by
continuing to raise funds for its important work, and we continue
to encourage that by building our memberships and soliciting
and thankfully accepting donations as well.
It’s the third leg of the stool that is stunting the growth of the
AVA as we quickly come upon our 50th year. The AVA was
stronger a couple of decades ago, I believe, because we had a
bigger and steadier volunteer base of vaulting enthusiasts who
gave their time not only at the club level, but at the regional and
national level as well.
This volunteer time (and energy and expertise) is really the
lifeblood of the AVA—because without that precious volunteer
time, our little non-profit would quickly fall apart.
And therein lies the rub. “Everyone is so busy these days.” Where
will we get our volunteers of tomorrow? We need exponentially
more of them so that we can succeed in our charter: grow
vaulting throughout the United States so that anyone can try
vaulting! (What’s there NOT to like about standing on a cantering
horse, for goodness sake?)
Lucille Ball once said, “If you want something done, ask a busy
person to do it. The more things you do, the more you can do.”
Well, I watched my share of “I Love Lucy” when I was growing
up (age alert!), and I do remember a particular episode in which
her character was trying to do one too many things on a candy
assembly line, but I still believe that the real and successful Lucille
Ball had it right.
Officers do even more work. For many of my officer colleagues,
volunteering to take on the mantle of growing vaulting at a
national level is truly a labor of love.
How can you show that you love vaulting—even more? Will
you run for a position on the board and the executive board this
year? Will you volunteer to chair a committee? Will you volunteer
to help on a committee? Will you volunteer to help us recruit
more volunteers?
Enthusiasm is great. New “bright ideas” are fabulous. Even
criticism (I prefer to think of it as “critical thinking”) is warranted,
and if done productively, welcome. But all the enthusiasm and
bright ideas in the vaulting world just won’t do it for the AVA.
We need the best and the brightest (and yes, probably the
busiest) to volunteer more to grow vaulting. Whether you
take on a small project to test the waters or run for an officer
position (click on the “AVA Elections” link on the front page of
americanvaulting.org for more information on the particulars),
the AVA needs you.
I guarantee that there will be some work, but also a chance to be
involved with other enthusiastic AVA volunteers, and the fun and
excitement of work well done. Make the leap. Volunteer!
Sheri Benjamin
AVA Volunteer President
[email protected]
408-872-1562
Photo courtesy of Lynne Owen/VaultingPhotos.com
How does a non-profit like the American
Vaulting Association grow and succeed? Of
course we need members to flourish, and every
year I encourage both the vaulting community
and the parent community to make a strong
showing in this department by becoming
Youth or Adult members.
So I am asking the busiest people in the AVA, the most successful
people who have already proven themselves in life, and the
talented young people who think they have nothing to prove
and/or everything to prove, to give something back to the AVA
at the national level. Some of you have already given your time
to the national organization, and a dozen or so of you have given
the lion’s share of your life to the AVA. I thank you deeply for that.
For those who are committed to growing vaulting by helping
at the AVA level, elections are coming up fast. Are you willing to
run for a board or officer position in the association, work hard
(and sometimes with criticism—it’s always been easier to criticize
work rather than to do work), help govern the association, and
also take on a committee or a particular strategic project? That’s
what’s asked of board members.
www.americanvaulting.org 5
F.A.Q.Which Compulsory
Team Compulsories
2011 AVA Rules
2012 AVA Rules
Compulsory Test "A" Team
Compulsory Test "A" Team
1. Mount
2. Basic Seat
3. Flag
4. Mill with Dismount
5. Then each vaulter
performs next three
compulsories
6. Scissors
7. Stand
8. Flank
1. Mount
2. Basic Seat
3. Flag
4. Mill
5. Scissors 1st part
6. Scissors 2nd part
7. Stand
8. First part of Flank (back
to Seat Astride)
9. Swing off to the outside
from Seat Astride
Note: Compulsories now performed in
ONE block; no dismount after the Mill.
"B" Team & Open 2-Phase
"B" Team & Open 2-Phase
1. Mount
2. Basic Seat
3. Flag
4. Mill with Dismount
5. Then each vaulter
performs next three
compulsories
6. Scissors
7. Stand
8. Flank
1. Mount
2. Basic Seat
3. Flag
4. Mill
5. Scissors 1st part
6. Scissors 2nd part
7. Stand
8. Swing off to the inside
from Seat Astride
Note: Compulsories now performed in
ONE block; no dismount after the Mill.
"C" Team, Trot Team
Preliminary 2-Phase Team
"C" Team, Trot Team
Preliminary 2-Phase Team
1. Mount
2. Basic Seat
3. Half Mill
4. Swing Rearways (closed
legs) followed by
Dismount to inside
5. Then each vaulter
performs next four
compulsories
6. Flag (ends in bench)
7. Stand (begins from bench)
8. Swing (with open legs)
9. Swing Dismount to
outside
1. Mount
2. Basic Seat
3. Flag
4. Stand
5. Swing Frontways legs
closed
6. Half Mill
7. Swing Rearways legs
open, followed by
Dismount to Inside
(Quarter Mill around to
inside and off)
For All Team Events, Regardless of Level
• At all team levels, the entire set of compulsories is now done in ONE
block. One person gets on, does all of their compulsories, and then the
second person goes on, etc. Each person gets on the horse only once in
the team compulsory section.
Interesting Factoid: Judge Isabelle Parker judged the new
compulsories at a recent competition and commented that the
new team compulsories went so much faster with each team
member doing their complete set of compulsories at once!
A Team/Gold Individual Compulsories Changes
• The scissors are now judged as two separate exercises and given two
separate scores. The first part of scissors gets one score, and the second part
gets another score. As far as the vaulter and coach should be concerned,
there is no change in how this exercise is performed or coached.
• What used to be the flank has now been broken down into two
separate exercises called the “First Part of Flank (back to Seat Astride)” and
“Swing Off to the Outside from Seat Astride.” (Wow. That’s a mouthful!)
These two new exercises differ from the original flank in these two ways:
•After the swing into handstand and pike down into inside side seat,
the vaulter simply lifts their right leg over the horse’s neck to seat
astride (forward seat);
•From seat astride (instead of the original position of inside side seat),
the vaulter swings up into handstand and pushes off to the outside,
just as before.
Interesting Factoid: To the AVA judges and the vaulters, there is
very little change to the scissors rules – other than two separate
scores on the score sheet. The judges always judged the scissors
and the flank as a two-part exercise, scoring the first half and then
the second half and averaging the two scores. That averaged score
is what you saw on your score sheet.
B Team/Open 2-Phase Team/ Individual Bronze &
Individual Silver Changes
• The scissors are now judged as two separate exercises and given two
separate scores. The first part of scissors gets one score, and the second part
Photos courtesy of Lynne Owen/VaultingPhotos.com
6
EquestrianVaultinG | Winter 2012
Exercises Have Changed?
gets another score. As far as the vaulter and coach should be concerned,
there is no change in how this exercise is performed or coached.
• The final exercise, instead of the old flank, is called “Swing Off from
Seat Astride to the Inside.” Here’s how it breaks down: From seat astride
(forward seat), the vaulter swings up into a handstand and dismounts
pushing off to the inside.
Interesting Factoid: For those of you who have been around
vaulting for a long, long time, Judge Suzanne Detol reports that
for many years, this was the original half flank dismount from team
compulsories after scissors and stand.
C Team, Trot Team, Prelim 2-Phase, Individual
Copper, Individual Trot
• The new C Team compulsories are based on the original 1*
compulsories. Here’s what’s different:
•The order has changed (see table)
•The Swing Frontways is with legs CLOSED (rather than open)
•The Swing Rearways is with legs OPEN (rather than closed)
•The Swing Dismount to the Outside has been replaced with a Leg
Over to the Inside.
Interesting Factoid: Why the change in the exercises with legs
open and legs closed? The swing frontways with legs closed is
preparation for training the flank—where the legs must be closed.
And the swing rearways with legs open is preparation for training
second half of scissors—where the legs are open before the turn.
Please note we have a new addition to the Judging Code (Article 601). HM is the abbreviation for "Harmony." Harmony with the horse is the
essence for ALL exercises, so if you see HM- or HM+ on your score sheet,
you'll know you either need to work on being more harmonious with your
horse—or you're already doing a good job.
Show and Tell:
YouTube Compulsories Demos!
For videos of the
new AVA compulsories, go to YouTube!
C Team/Copper & below:
http://v.coachseye.com/AhxN and http://www.youtube.com/
watch?v=u39N5ulcY_o.
B/Silver/Bronze:
http://v.coachseye.com/xanq and http://www.youtube.com/
watch?v=10 WhY8LHko.
A/Gold
http://v.coachseye.com/ZRCf (new dismount only) and http://
www.youtube.com/watch?v=D28vzKm9bhs (all).
Thanks to Isabelle Parker, Jen Williams, Elizabeth Brigham,
Gabe Aniello and Ali Divita!
New rules effective
immediately at all AVA
recognized competitions!
individual Compulsories
2012 AVA Rules
2011 AVA Rules
Gold Individual
Gold Individual
1. Mount
2. Basic Seat
3. Flag
4. Mill
5. Scissors
6. Stand
7. Flank
1. Mount
2. Basic Seat
3. Flag
4. Mill
5. Scissors 1st part
6. Scissors 2nd part
7. Stand
8. First part of Flank (back
to Seat Astride)
9. Swing off to the outside
from Seat Astride
Silver & Bronze Individual
Silver & Bronze Individual
1. Mount
2. Basic Seat
3. Flag
4. Mill
5. Scissors
6. Stand
7. Flank
1. Mount
2. Basic Seat
3. Flag
4. Mill
5. Scissors 1st part
6. Scissors 2nd part
7. Stand
8. Swing off to the inside
from Seat Astride
Copper/Trot/Preliminary
Individual
Copper/Trot/Preliminary
Individual
1. Mount
2. Basic Seat
3. Half Mill
4. Swing Rearways with
legs together
5. Half Mill
6. Flag
7. Stand
8. Swing Forward with
legs apart
9. Swing Dismount to
outside
1. Mount
2. Basic Seat
3. Flag
4. Stand
5. Swing Frontways
legs closed
6. Half Mill
7. Swing Rearways legs
open, followed by
Dismount to inside
(Quarter Mill around to
inside and off)
individual freestyle
2011 AVA Rules
2012 AVA Rules
Silver Individual
Silver Individual
No words or lyrics
Words and lyrics allowed
www.americanvaulting.org 7
Feature
Elizabeth F.
Searle
By Naomi Takemoto
A Woman of Vision and Virtue
Editor’s Note: AVA Co-Founder Elizabeth Searle passed away in
early January after a long and illustrious equine-filled life. This
tribute was written by AVA Life Member and former Judge and
Board Member Naomi Takemoto.
F
or the majority of people involved today in the American
Vaulting Association, the name Elizabeth Searle is a name
without a face and without much historical context. “Liz”,
as she was known to both friends and acquaintances, retired as
president of the AVA in 1983 and seemingly disappeared from the
vaulting world.
But unbeknownst to the AVA community, Liz remained an
invisible presence, advocating for the acceptance of vaulting as
an “equine discipline” when the rest of the American Horse Shows
Association thought it was an embarrassment to their sport,
much like poor, uncouth relations would be an embarrassment
to their classier and wealthier relatives. Liz, however, never
turned her back on vaulting during those years when the AHSA,
predecessor to the USEF, would have liked vaulting to remain in
the backyards of California, out of sight and out of mind.
ing
Photos courtesy of AVA Vault
Archives
About the Author: Naomi Takemoto is a former AVA president,
judge, and board member. She is a Life Member of the AVA and a
member of the AVA Circle of Friends.
8
EquestrianVaultinG | Winter 2012
Liz had friends who were attracted to vaulting in the same way
she herself was captured back in 1956 when she first saw vaulting.
Gail Newbury of Scottsdale, Arizona started Valley of the Sun
Vaulters, Donna Singlehurst started Lio Lii Pony Club Vaulters on
Oahu, followed by Drury Melone and Kunia Vaulters. Haku Baldwin
helped start Seabury Hall Vaulters on Maui followed by Maui
No Ka Oi Vaulting Team. Olympic Bronze
Medalist Hilda Gurney started a team in
Woodland Hills, California, which launched
the growth of vaulting in Southern California
through Marcia Sullivan and Hidden Hills
Vaulters, and Liz Helms, who embraced
vaulting as an alternative to other equine
therapeutic modalities and spread the virtues
of vaulting for handicapped children.
Vaulting spread eastward to Virginia, via
Sharon Davis, who first saw vaulting at
Garrod Farms with the Mt. Eden Vaulting
Club, which led to Merry Cole starting the
Great Falls Pony Club Vaulting Team, Chris
Appel-Bucierka starting Rocking W Vaulters,
and Dorothy Fontana starting Sugarloaf Vaulters
of Maryland. Neil Schwartz spread vaulting to
Ashland, Oregon and by the beginning of 1980,
so many vaulting teams had sprouted in Texas,
Colorado, Utah, Michigan, Pennsylvania and
as far away as Quito, Ecuador, that there were
more registered teams outside of California than
within California. Vaulting had gained its own
momentum.
I remember back in 1979, the look and
expressions of pride and awe on Liz’ face as she
watched the Parade of Teams that preceded the
Awards Ceremony at “Nationals”
at Bolado Park, outside Hollister,
California. Kids came from all
over the country to participate
on borrowed horses. Although
they spent their nights in sheep
pens, their California hosts
proudly circled the arena to
watch as if they were at a World
Championship. I don’t think Liz
actually believed that she would
witness such an event. There is no other youth
sport in which National Championships are open
to participants of all levels, from the youngest
beginners to seasoned international competitors.
Despite the growth of vaulting nationwide, the
upper echelons of the AHSA turned their backs
on vaulting until they found themselves behind
the eight ball when vaulting was recognized
by the FEI as an international discipline. The
American Horse Shows Association would have
been caught with their pants down, except the
American Vaulting Association had already been
established as vaulting’s national organization.
The AVA had a governing body, rules for
competition, divisions, national championships,
and an established Judges’ Program and Judges’
Examiner’s Program, which had been structured
by the AVA’s co-founder and Technical Advisor J.
Ashton Moore.
The AVA was perfectly poised to step into the
role of the AHSA’s national organization for
the newly recognized discipline of “Vaulting”.
But the AVA was tiny compared to the huge
and financially powerful disciplines and breed
organizations that composed the bulk of
the AHSA’s membership. It was Liz’ and Jeff’s
continued support, equine expertise, political
influence and credibility within the AHSA that
helped usher the AVA through the doors of the
AHSA, while protecting the AVA from losing all
autonomy and being swallowed up by a giant.
Today, USEF delegates for vaulting sit at the
table as equals with all the other FEI equine
disciplines. Yet, despite all the years Liz spent
fanning the virtues of vaulting with our
national FN, she never cared that she wasn’t
the one seated at the table. She was satisfied
that her vision for vaulting to become an
internationally recognized sport was realized.
Liz was a classy woman who held her
standards very high and never would have
imagined a sport, which she had introduced
to the United States to become anything
less than a first class equine endeavor. The
AVA should be very proud that it did not
disappoint her and achieved as much as she
had dreamed.
But beyond the ribbons,
trophies, medals, titles, and
international recognition that
America together in exchanges. One of the
first people she brought to America was
Ulrike Hettenbach (Rieder), who came to
Molehaven, Liz’ first horse establishment in
Soquel, California as a sixteen-year-old. Ulrike’s
visit to America opened the door for decades
of exchanges between American vaulters and
vaulters from Europe, Brazil, Argentina, and
other parts of the world. Ulrike also became
America’s friend and advocate for horses
and lungers being lent to American vaulters
competing in Europe.
Vaulting didn’t always receive assistance
as other USEF disciplines for transporting
American horses abroad for World
Liz brought thousands of children and
hundreds of horses together, and they all
thrived from those relationships.
vaulting has achieved, Liz’ primary desire
was for children of all economic situations
to have an opportunity to share her passion
for having horses as a part of their lives. Liz
loved horses. She loved dressage, because of
all the disciplines, it was the one she believed
benefited horses physically and mentally and
was the least damaging to them. Besides
giving children an opportunity to enjoy horses,
vaulting gave horses who might otherwise
have lived neglected or forgotten lives, a
career surrounded by love, affection, applause,
travel, and the excitement of competition. Liz
brought thousands of children and hundreds
of horses together, and they all thrived from
those relationships.
Many years ago, Jeff and Liz brought a busload
of disenfranchised kids from the San Francisco
Bay Area to Liz’ place in Soquel, California,
for a ‘day in the country’. The kids tramped
through the forest, splashed in a creek, and
went boating on the pond. They touched
and interacted with Liz’ and Jeff’s menagerie
of “pets”, an enormous pig named Beatrix, a
goat named Merry, a flock of tame ducks, a
raccoon named Jilt, and they actually held
tame parrots—but the highlight of their visits
was always the horses! They not only got to
see these mythical creatures, touch them, and
feed them carrots, but many got up on them
and learned to vault. Some were terrified at
first, but the effect was always magical.
Liz’ vision also included bringing kids from
different countries and different parts of
Championships and World Equestrian Games.
For decades, American vaulters competed
on borrowed horses, and it was the seeds
of friendship that Liz planted with Ulrike
that made this possible. American vaulters
were given the privilege of being hosted
abroad, hosting foreign vaulters in the US,
and cultivating friendships with kids across
the US. These cultural, competitive, and
friendship exchanges were the roots from
which composite teams grew and eventually
gave Americans the competitive edge to win a
World Team Championship.
Elizabeth Searle was the conduit who
connected kids to coaches who became
mentors, surrogate parents, confidants, and
trusted friends. She connected kids to a
circle of friends who supported, protected,
and loved one another through a sport that
demanded that level of commitment for the
safety of all participants.
Liz was the catalyst that bonded kids to horses
in a relationship which demanded that these
two partners trust, respect, and protect the
other for the safety and well-being of both.
These are life lessons that could not have
been learned in any other arena in life, and
the adults who have emerged from these
experiences are a testament to the value of
the life experiences Liz’s vision made possible
for all those who followed her dream.
This is her legacy.
www.americanvaulting.org 9
ell
Owen/Kate Rev
otos.com/Lynne
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Photos courtes
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EquestrianVaultinG | Winter 2012
Photos courte
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Mike & Cher Czy
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www.americanvaulting.org 11
y of
Photos courtes
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urtesy of
Photos co
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EquestrianVaultinG | Winter 2012
Lee Thomas and
Linda Bibbler
, Gaelle
Photos courtesy of Tom Hogye
and Natalie Defee Mendik
Cimetiere, Annie Rouvillois,
www.americanvaulting.org 13
Feature
By Tricia Dahlgren
Modeled by Caitlyn Matsumoto
Non-traditional
Vaulting updos
Pomp & Reverse Bun
Step 1: Make a three-by-three inch square using a comb at the front hairline in the center. Pull
this piece forward and separate from the rest of the hair.
Step 2: Pull remaining hair back into a low ponytail. Hairspray and smooth out sides.
Step 3: Take the three by three inch square of hair and tease to give it volume. Once teased,
pull hair back toward ponytail and pin into place with bobby pins.
Step 4: Wrap the loose hair from “pomp” around the ponytail. Hairspray to hold hair in place.
Step 5: Create a “reverse bun” with the hair from the ponytail. Divide the ponytail into five
Photos courtesy of Blake Dahlgren
even sections. To make it easier to place in the bun, use a hot curling iron to create the reverse
curl. This can be done by hand but will stay in place better if curled. Take each section from the
ponytail and curl away from center of ponytail and toward the head. Let curl heat for about
ten seconds. Hold the hair in place and pull the curling iron out without unrolling the curl. Use
several bobby pins to pin in place (hidden under the hair).
Repeat with the next four sections of hair.
Step 6: Use a generous amount of hairspray on bun and sides. Add extra bobby pins if
necessary for added security.
The Hair Kit
Your hair kit is an essential
part of styling a great updo.
Stock your hair kit with the
following:
4 Brush
4 Comb
4 Open bobby pins
1
2
3
(matching your hair color)
4 Closed bobby pins
(matching your hair color)
4
5
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EquestrianVaultinG | Winter 2012
4
4
4
4
4
Hair ties
Gel
Curling Iron
Hairspray
Accessories
F
or big performances and significant competitions, it’s important
to look and feel your best. A fun updo that stays put while you’re
performing is a great way to stay a step ahead of the competition.
Are braided buns and French braids becoming a thing of the past? Great
hairstyles can show off your personality, can look great and be fun and
easy to do if you take the process one step at a time. See the steps below
for some fun, new hairstyle options.
About the Author: Tricia, a member of the 2002 World
Equestrian Games Team USA and Blake Dahlgren’s better half,
was the official hair stylist for the 2010 World Equestrian
Games athletes in Kentucky. When she’s not creating perfect
vaulting updos, Tricia owns and operates Tricia Dahlgren
Events, a wedding and event coordinating company in Southern
California. Visit her website at www.triciadahlgrenevents.com.
Sectional Twist Updo
Step 1: Create a part about three inches back from the hairline from the middle of the head
down to the ear on both sides. Pull hair forward in front of face.
Step 2: Pull remaining hair into a medium-height ponytail. Smooth and hairspray stray hairs on
sides of head.
Step 3: Divide loose hair into five even sections, starting with the middle section. Start from
base of section and twist tightly until you reach the end of the hair strand. Pull the twist straight
back to the ponytail. Wrap around the ponytail and pin into place.
Take the next section from the left of the middle section, twist from the base to the end of hair and
pull back across the middle section toward the right side of the ponytail. Wrap around. Pin in place.
Repeat with the final section on left. Pull twisted hair to the right side, wrap around, and pin in place.
Next, take the last two sections from the right side, twist each one back and cross over to the left
side of ponytail. Wrap around, and pin in place. Hair spray to set.
Step 4: Next, create a curly updo. Separate ponytail into two sections (upper half and lower
half ). Twist lower half and wrap around the base of the ponytail. Use open bobby pins to pin in
place.
Step 5: With the upper half of hair, use a hot curling iron to curl small pieces one-at-a-time.
Individually pin each curled piece and pin sporadically around the base of the ponytail to give
volume and show the curls in the updo. Hairspray to finish.
1
3
4
2
You can mix and match the styles for the front of the head with styles for the back to have
more hairstyle options. Remember the most important thing is that you are comfortable
during your performance. Try the hairstyle ahead of time in a pre-competition dress
rehearsal to make sure it doesn’t interfere with your routine. This will also help you gage
just how much hairspray and how many bobby pins you will need to keep your hair
looking neat throughout your performance.
Happy styling!
5
www.americanvaulting.org 15
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EquestrianVaultinG | Winter 2012
www.americanvaulting.org 17
Photo courtesy of Lynne Oven/VaultingPhotos.com
Rachel Herrera and Geoffrey Woolson perform
their C Team freestyle with Cheval and Carolyn Bland
at the 2011 USEF/AVA National Championships in
Denver, Colorado.
Feature
Makeup
for Vaulting
By Rosalind Ross
W
ith the increasing skills of vaulting
photographers and their stunning, close-up
shots, vaulters now must consider yet another
aspect of their performance—their face. Makeup has
long been overlooked as an important component of
creating a “look” for vaulting. The uniform is important,
yes, but why not go the extra mile and create a makeup
look to complement it? Not makeup savvy? Don’t
worry; achieving a great makeup look can be very
easy (and we’ve got step-by-step instructions). Even if
you’re not comfortable wearing a full face of makeup,
something as simple as a swipe of lipstick can make a
huge difference. When you feel confident and beautiful,
you vault more confidently and elegantly, too!
Quick Tips
Pick one feature to emphasize. As a general rule of
thumb, pick one feature to enhance—meaning, if you
are going to have smoky eyes, keep the lips neutral.
With that said, if you’re feeling extra dramatic (I’ll admit
to being guilty of this frequently), go ahead and slap
a bright lip on there as well. If you go that route, just
make sure that everything is very neat. If you’re in a
time crunch, bright lipstick, provided it complements
your uniform and flatters your skin tone, can make a
big impact from afar with minimal effort. Alternatively,
decorative add-ons such as false eyelashes,
rhinestones, and sparkles can also be striking when
used tastefully and appropriately.
Predetermine the “look”. Before the big competition,
decide with your coach what look you are trying to
achieve. Are you trying to be dramatic? Whimsical?
Elegant? Dark? Modern? These adjectives will ultimately
determine your made up look. When doing makeup
for a team, it is also important to consider a look that
everyone can wear. Yes, it is possible (and advised) to
tailor the look to suit a younger team member, but keep
in mind that nobody wants to see a flyer that could very
well be a contestant on Toddlers & Tiaras. That said, it
is completely fine to apply makeup to a young vaulter,
provided their parents are comfortable with it. The effect
of a team lined up looking polished and cohesive is very
dramatic. The audience will begin to take you seriously
before you even touch the horse.
18
EquestrianVaultinG | Winter 2012
Sometimes the theme of the team freestyle warrants
customized looks for each vaulter. This can be cool
when done well, or disastrous when executed poorly.
Make sure there is some semblance of continuity in
the looks.
Make a plan. Once you and your coach decide
which look you’re trying to achieve, make a plan as to
when the makeup application will take place. Any of
my former teammates can speak to the disaster that
ensues when I am rushed to do everyone’s makeup. I
cannot emphasize the importance of time allocation
enough. But I digress…
Photos couretesy of Blake Dahlgren
Step-
Time it right. If bright lipstick is a part of your look, have
your coach or groom bring the lipstick to the warm-up
arena for last-minute application. Red smears on the pad
prior to performing – definitely tacky; red smears on the
pad while running out—borderline hardcore.
Compulsories vs. Freestyle Makeup
While freestyle makeup affords more opportunity
for creativity, compulsories by all means do warrant
makeup. Consider your compulsory makeup a base for
the look you will create for your freestyle later in the
day—an even complexion, some blush, mascara, and
perhaps a swipe of lipstick to match one of the colors
on your uniform will do nicely.
Makeup for the freestyle, on the other hand, should
be carefully considered and, dare I say, practiced
beforehand. Makeup should enhance rather than
distract from the performance. If your theme is
theatrical in nature, do not be afraid to go a little wild
with the makeup. If the performance is less about
a theme and more a feeling, use your makeup as a
way to evoke that feeling. For example, a whimsical,
romantic look will be very different from a sleek,
modern look.
Photo courtesy of Tom Hogye
About the Author: Rosalind Ross is a senior Publishing, Writing, and Literature major at Emerson College in Boston,
Massachusetts. She vaulted with FACE to an historic gold medal victory at the 2010 World Equestrian Games, and also has a team
silver and two team bronze medals to her name. Rosalind has a certificate from the Bobbi Brown Program in Makeup Artistry.
Photos courtesy of Blake Dahlgren
Step 1: Face • Starting with a clean,
moisturized face, apply an appropriate shade of under-eye
concealer, followed by a matching foundation all over the face.
Use your hands to blend evenly and over the jaw line. Set the
foundation with pressed powder. Lightly dust bronzer over
the entire face, with a heavier hand over the spots where the
sun naturally hits (forehead, nose, chin, cheekbones). Using a
blush brush, swipe some color from the apples of the cheeks
and across the cheekbone.
Tip: Smile while applying blush to define the area in which
you should apply it.
Step 2: Eyes • Apply a matte, light (but
neutral) shade across the entire lid. Then, apply an even
lighter shade with some shimmer to the area underneath
the eyebrow. Using a slightly darker but still neutral shade
(taupe or gray, perhaps), fill in the crease of the eyelid
to create some definition. Next, apply a thin line of black
eyeliner tightly along the lash line, extending all the way
to the innermost corner of the eye and all the way to the
outermost corner. Lastly, coat the top and bottom eyelashes
with black mascara.
-by-Step Application
Step 3: Lips • For dry lips, apply a coat of
moisturizing lip balm before using any colored product.
Next, line the lips with a lip liner pencil that matches the
shade of your lipstick of choice. Though lip liner has gotten
a bad rap over the years from the heinous abuse of the
product during the ‘90s craze, it can actually be a great way
to define the lips. This will help keep the lipstick within your
lips, and can also be used to enhance the Cupid’s bow or
fake a slightly fuller lip. Lastly, dab the lipstick on the lips
and smudge them together to ensure even application. Stay
away from lip-gloss, as it smears very easily. To make a shiny
lipstick shade matte, simply slip a folded tissue between the
lips and press down.
Step 4: Turning up the Volume • Transitioning a look from compulsory appropriate to freestyle-worthy should be simple since you have already done the
majority of the work. Start by touching up the face if some of the makeup has sweated off. To create a basic, but dramatic smoky eye (probably the most universal “look”), start by enhancing the
eyes. Using a dark grey, dark purple, dark blue, or dark green eye shadow, fill in the crease of the eyelid all the way down to the lash line and just above the crease. Use long, confident strokes for
an even application. Optionally, you can smudge some of this shadow along the bottom lashes as well. Next,
thicken up your eyeliner and extend it farther in the outside corner to elongate the eye. Depending on how bold
you are feeling, consider creating a cat-eye! Finish up the eyes with an extra couple of coats of mascara.
Vaulting is, after all, a performance. Go the extra mile to make your physical appearance enhance the
performance you have worked so hard to prepare. It is those seemingly unimportant details that can make the
difference between a great performance and an exquisite one, between a nice photograph and a stunning one.
Team Makeup Kit
Makeup is expensive. Create a team makeup kit so no single person feels like they are
depleting their personal supply of precious makeup time and time again. The basics for a
team makeup kit should include:
• Eye Shadow & Brushes (Include a range of colors, including at least one dark, one
neutral, and one light and shimmery shade.)
• Makeup Remover Towelettes
• Bronzer or Blush & Brush
• Q-tips
• Mascara & Disposable Wands
• Lotion
• Nail polish & remover (Life lesson from Emma Seely: ALWAYS remove nail polish
when it’s chipping!)
• Eyeliner (Choose either liquid, gel or pencil liner—whichever the artist prefers.)
• Eye Pencil Sharpener (For hygienic purposes, sharpen the eye pencil between uses.)
•Spray Bottle of Alcohol & Spray Bottle of Water (Use these to spray brushes after
each application to keep them clean.)
• Lipstick
• Assume that everyone can bring her own face makeup (foundation, cover-up, etc.)
Remember to avoid SPF-based moisturizers and foundations on competition day. SPF
products tend to reflect the camera flash, making for an unattractively blown-out
complexion in a photograph. Also, choose oil-free and sweat-proof skin products if possible.
www.americanvaulting.org 19
Feature
Wise
Words
with Melanie Vizzusi, Master Seamstress
E
Making a Great Vaulting Uniform
questrian Vaulting magazine sat down
with Melanie Vizzusi, a master seamstress
and custom uniform maker with over
fifteen years of experience making vaulting
costumes. Over the years, she has accumulated
a treasure trove of knowledge about the
uniform making process. She shares it here.
What sorts of things should
vaulters consider when designing
their uniforms?
Your uniform is an important element of your
performance. It reflects your creativity and
is part of your choreography and music, so
obviously, design is incredibly important.
When designing your uniform, take into
20
EquestrianVaultinG | Winter 2012
consideration how the front will blend around
to the back. You have no idea how many
times vaulters come to me with an unfinished
line that would awkwardly end somewhere
on the vaulter’s side. Making a sketch of the
side view will help with this.
Also, try not to put all the focus on the upper
front torso. Spread the love around! Use
design elements on the arms and legs to draw
the eye up and down the body.
And, of course, function! You should never
have to think about your uniform while
you’re on the horse. If you are worried about
something slipping or you feel the need to
tug the fabric for coverage, you’re not going
to be able to vault your best.
What are some of the biggest
mistakes vaulters make when
designing uniforms?
Sometimes vaulters get hung up on small
details that don’t necessarily make a good
uniform. Step back and look at the uniform
as a whole rather than focusing on a single
design element. Remember that you are on a
horse, the judges and audience are quite far
away, and stage presence is more important
than a close-up shot.
I always recommend drawing a series of
uniforms on a theme until you come up with
“the one”. Don’t get hung up on one thing. Be
willing to try several different things to find
what you really want.
Measurements
What are some of the most
common corrections you make to
vaulting uniform designs before
you sew the actual costume?
Most of my corrections have more to do with
function than fashion. For example, how are
you going to get into your costume? With a
step-in scoop or v-neck? A zipper? A keyhole?
What kinds of undergarments are you going
to wear under your uniform? If you choose
a light colored fabric for the main body, this
is especially important. For the ladies, how
are we going to make sure your bra and bra
straps aren’t showing? Those sorts of things.
It’s important to understand how the uniform
will fit on a real body, not just a paper design.
What kinds of fabrics are ideal for
vaulting costumes?
Four-way stretch nylon lycra! Two-way stretch
just isn’t forgiving enough, especially in the torso
area. Whether it’s textured nylon, holographic
print, glissenette, or mesh, make sure it stretches
four ways and equally in all directions.
How do men’s uniforms differ from
women’s with regard to design and
manufacture?
Men tend to get the short end of the stick
with uniforms. In the animal kingdom, men
are the peacocks, but in the human world,
the women seem to be. Men’s uniforms tend
to be simpler, but they certainly don’t have
to be. Bold yet simple uniforms, like the ones
worn by Blake and Devon on FAME in 2006,
are the way to go in my opinion. A lot of guys
tend to wear jackets or blouses and pants for
a different look. Depends on the guy.
Correct measurements are crucial for a
good fit. Use a soft tape measure, holding
the tape so that it is snug, but not too
tight. If you are measuring for a team, have
one person measure everyone the same
way, so that measurements are consistent.
You will need these measurements:
If you could give vaulters one piece
of advice when designing their
uniforms, what would it be?
Height: Top to bottom.
Ask other people’s opinions. Show your
design to a bunch of people. If people love it,
you’re probably all set. If you get a mixed bag,
maybe you need to try again.
Oh, and give your seamstress enough
time to get your uniform made! Especially
if your design is intricate, make sure he or
she will have enough time to complete the
uniform before you need it. Remember, your
uniform is probably not the only project your
seamstress is working on!
About the Author: Melanie Vizzusi is a master seamstress and
has been making vaulting uniforms for over fifteen years. Working
primarily with Devon Maitozo of FACE, Melanie has made uniforms
for vaulters of all levels—from beginners to World Champions. She
owns her own business, Freeform Fashions, which is based in Santa
Cruz, Calif. To contact Melanie, email her at melaviza@peoplepc.
com or like her page (search “Equestrian Vaulting Uniforms”) on
Facebook.
Bust/Chest: Around the fullest part of the
chest.
Waist: Around the natural waistline (the
narrowest part).
Inseam: From the crotch to the floor.
Torso: From the top of one shoulder, down
the body, through the legs, and back up to
the shoulder.
Underarm Length: From the armpit to the
wrist bone.
Where to Shop Online for Spandex
www.spandexhouse.com
www.spandexwarehouse.com
www.spandexworld.com
www.fashionfabricsclub.com
www.americanvaulting.org 21
Ruby Howard
Brookside Vaulting Club
My favorite vaulting uniform of
all time is the silver unitard I wore
at Region II Championships this
past summer. It is pretty with
rhinestones, sequins, and lacy
flowers that sparkle. It has one arm
and the color and design match my
triple partners’ uniforms. The best
part about the uniform was the fun
trip we all made to Fabrics R Us to
pick out the fabric!
The Beau Soleil Vau
Redmond, Wash.
We love our team barrel un
Kalyn Geisler
Woodside Vaulters
Redwood City, Calif.
Juliette Cimetiere
Beau Soleil Vaulters
Redmond, Wash.
My favorite uniform is my “Aladdin” unitard, because I
designed it. It was my first freestyle unitard. I love the colors;
they really pop!
Neuss's team freestyle uniforms
from 2010-2011 are my absolute
favorite, because they were more like
costumes than spandex. They were
detailed, showed movement, and went
beautifully with the music they used.
What is your favorite vaulting
uniform of all time?
Kelly Sidney
Rawhide Ranch
Manhattan Beach, Calif.
Bali Solorzano
Nu Balance
Citrus Heights, Calif.
My favorite vaulter would have to be Joanne
Eccles, and my favorite uniform would have
to be one of hers indeed! I especially liked
her primary color vaulting uniform. I really
like the geometric pattern, and the colors
are so fun!
I wore this uniform at the 2011
Denver National Championships while
performing to the song “Jai Ho”. It was
hand-made by my older sister, Gold
medalist Krystal Solorzano!
Briana Micali
FACE, Tucson, Ariz.
In 2008, our A Team performed to Pink Floyd's album, The Wall.
We had quite the experience as a friend transformed these plain
uniforms into a piece of artwork by spray-painting graffiti on us in
his backyard. It was amazing to stand together as a team and form
"The Wall".
22
EquestrianVaultinG | Winter 2012
Shannyn Poer
Vaulting Alumna, V
What a vaulter wears in the
uniform design is an import
of fabric, and exquisite tailo
lycra/spandex family. His de
afraid to try something new
Diana Mow
Poway Valley Vaulters
Poway, Calif.
I love the uniform for Poway Valley Vaulters. It is appropriate
for all ages, has nice clean lines, and flattering colors. Most
importantly, it is not distracting, so you appreciate the vaulter’s
performance to its fullest.
ulters
niforms, because they are bright and colorful!
Geoffrey Woolson
Los Angeles Equestrian Vaulting Club
(LAVEC)
Los Angeles, Calif.
Nicholas Cox
Diamond Bar Country Vaulters
Menifee, Calif.
My favorite uniforms are the men’s FAME uniforms
from 2006. I love the artistic theme that was
portrayed with them.
Francesca Foley
Vaulters Del Sol/Vortex Vaulters
My favorite vaulting uniform of all time is the uniform my team,
Vaulters Del Sol and Vortex Vaulters, wore for our composite B
Team at the 2011 National Championships in Denver, Colorado.
The reason these uniforms are my favorite is because they are
colorful, fun, and eye-catching.
This is my favorite freestyle top. It is custom-made
by my mother, who makes all of my tops. They are all
special to me, and it was really hard to choose just
one. I chose this top because it’s my current freestyle
outfit. I enjoy how my music and outfit go together
for this routine. Also, I wore this top for the first time
when I competed at the silver level for the first time. I
did pretty well, so I kind of call it my good luck charm.
vaulter verbatim
Mari Inouye, FACE, Palo Alto, Calif.
My ultimate and favorite uniform has to be my all red one
accented with gold and white stripes and swirls. This is my favorite
one for many reasons. First, Anna De La Motte passed it on to me.
I looked up to her as a big sister, and she was my vaulting mentor.
Secondly, I love the color red. And finally, I felt powerful and
unstoppable when I wore this uniform!
Tessa Divita
Woodside Vaulter
Redwood City, Calif.
My favorite uniform is my sister, Ali Divita's Benny
and the Jets uniform from 2009. Everything about
it was awesome, especially the collar and the way
she utilized shorts instead of the traditional pants/
ice skater skirt.
Venice, Calif.
e ring greatly echoes the persona he or she is creating for that particular routine, and with that in mind,
tant factor in the creative direction of the vaulter's performance. Ararat's use of various textures, volume
oring always snagged my attention and inspired me to play around with different fabrics outside of the
esigns also showed original thinking and a playful attitude toward creating his atmosphere—he wasn't
w. With that kind of gumption, any vaulter can own the arena.
www.americanvaulting.org 23
Feature
2
World Champions Blake Dahlgren and Devon Maitozo found
some of their favorite men’s uniforms of all time. Here are their
comments. (From left to right)
1. Patric Looser
(Switzerland) 2010
3. Devon Maitozo (USA) 2011
Blake: This is a great uniform.
What an excellent way to bring
a theme to life!
Blake: You need to be really good
to rock a vintage coat with tails.
Job well done, Devon.
Devon: This uniform conjures
up his astronaut theme tastefully,
although I don’t care too much
for the iridescent shiny material.
This uniform is a great theatrical
interpretation of his “Man on the
Moon” theme. The gloves are a
nice touch, too.
Devon: Coats like this are tricky,
but possible with some tailoring.
To make this one work, I had to
put stretchy material in the armpits
and have an elastic clasp in the
front. I certainly think it is worth
it to modify vintage looks if the
theme can benefit.
2. Joey Gadd (USA) 2011
4. Nicolas Adreani (France) 2010
Devon: Joey’s “Footloose” uniform
is a good example of a literal
interpretation of an existing
character or movie role. This simple
design made it very easy for the
audience to relate to his theme.
Blake: This is a great example of
keeping things simple and letting
your vaulting speak for itself.
24
EquestrianVaultinG | Winter 2012
Devon: Nicolas proves that a
vaulting uniform doesn’t have
to look like gymnastics attire.
The simple, loose fit shows off
his physique and his wonderful
harmony with his horse. Very classy.
3
Photo courtesy of Lynne Owen/VaultingPhotos.com
4
Photo courtesy of Lynne Owen/VaultingPhotos.com
1
Photo courtesy of Lynne Owen/VaultingPhotos.com
Men
5. Kai Vorberg (Germany) 2006
Blake: Excellent design. Love the
detail.
Devon: This uniform is a great use
of a jacket tailored for his body yet
still made with stretchy material.
This “period look” worked great
with his Mozart theme. It takes an
excellent seamstress to pull off
something like this.
6. Gero Meyer (Germany) 2010
Blake: Gero’s “Eagle” freestyle and
uniform was a great combination
of music, movement, and style.
Devon: Gero is known for his
flared pant legs, and this uniform
was definitely one of his better
designs. Simple, clean, and a subtle
tribute to his theme—I like it!
7. Ararat Martin (Spain) 2008
Blake: This is far from a simple
design, but it looks awesome in
pictures. This is definitely not a
uniform for the average vaulter…
Devon: Ararat helped bring
the male vaulting uniform front
and center in vaulting fashion
and theatricality. His uniforms
always act as an extension of his
performance and personality.
8. Petr Eim (Czech Republic) 2008
Blake: Petr kept things simple
with this design, but it was still an
integral part of his championship
routine.
Wearing Spandex in Style
8
Photo courtesy of Lynne Owen/VaultingPhotos.com
6
Photo courtesy of Lynne Owen/VaultingPhotos.com
Photo courtesy of Lynne Owen/VaultingPhotos.com
By Blake Dahlgren and Devon Maitozo
10
Photo courtesy of John Owen/VaultingPhotos.com
Blake’s Uniform Advice
1. Keep it simple.
2. Keep it classy.
3. Be comfortable.
5
4. Look at what your competitors are wearing.
7
Devon: This uniform is really at
the cutting edge of using loose,
yet stretchy materials and attire.
Petr’s flowing uniform mirrors his
amazing harmony with the horse.
Throwing color in there subtly
reflects his theatricality as well.
9. Nicolas Adreani (France) 2010
Devon: Here is proof that welltailored clothing can be a uniform.
His pants must be stretch material,
but the top is clearly a shirt that
is simply attached to his pants to
keep it from coming un-tucked.
Perhaps it’s not the most interesting
uniform, but the lack of detail pulls
all our attention to his performance
instead, which was very good.
5. Be mindful of your overall picture.
9
6. Let your vaulting make a statement, not your
uniform.
10. Kai Vorberg (Germany) 2010
7. Try to present a new uniform each season.
Devon: This uniform is classic Kai Vorberg—a formal
uniform that creates a regal and commanding presence.
It is more understated than many of his past, but it
still has details that add to his theme. The medals and
emblems are especially nice in close-up photos.
9. Be creative, but always relate your uniform to
your performance.
8. Vary your uniforms for each routine.
10. Be mindful of today’s fashions. (Avoid keyholes
and v-necks at all costs!)
What NOT to Wear
About the Authors: Devon Maitozo has had a 30-year vaulting career that still
continues. America’s most internationally successful vaulter, Devon has won eight
World Championship medals (two gold) and 11 Gold Men’s National Championship
titles. He has been designing uniforms for 20 years, including the compulsory
and team uniforms for Team USA five times. Blake Dahlgren is a two-time World
Championship medalist (one gold, one silver) and two-time Gold Men’s National
Champion. He currently coaches and lunges for the club he founded, Los Angeles
Equestrian Vaulting Club.
www.americanvaulting.org 25
Coachingcorner
“Create your own visual style-let it be unique for yourself and yet identifiable
Fashioning
Freestyle
By Nancy Stevens-Brown
S
tyle and structure are the essence of
great freestyles, but to develop a winning
individual style, vaulters must consider
attire, music, hair, makeup, and most of all, their
vaulting! Compulsories by definition exhibit
uniformity. By contrast, a freestyle should
demonstrate the very opposite—variety!
Indeed, judges look for the use of space, pace,
and variety, and when these three essentials are
enhanced, a personal style is born!
Variety 101
A well-designed routine is composed of
various elements selected specifically to
showcase dynamic ability, strength, stretch,
balance, and flight. Vaulters can then boost
their variety with a few simple techniques to
accentuate their personal style.
Avoid Redundancy
With a pen and paper handy, think through
your freestyle, writing down the choreography
with definitive words. If you’re using the same
descriptive words over and over, it might be
time to change things up. For example, if you
write “vault on to half flag and ‘pop’ into a
shoulder stand with a stag, then ‘pop’ down
to side flag,” you might be able to find a more
varied version. Since all the poses have one leg
bent and the other straight in this example,
start by changing the basic shape of each
pose and altering the pacing of the transitions.
Additionally, design each move and transition
to highlight variation and avoid redundant
moves. (One needle or one prince is enough
for any freestyle.) Contour every pose with a
unique silhouette by using tuck, arch, stag,
splits, straddle, and straight positions.
Opposites Attract
Most people are either left- or right-handed,
so out of habit vaulters often will extend
26
EquestrianVaultinG | Winter 2012
their dominant arm or leg throughout their
routine. When choreographing a freestyle,
take note of which leg or arm is naturally
preferred and then, when possible and
without compromising balance and security,
occasionally switch to the opposite side.
By displaying different arm and leg use, the
freestyle will appear more varied. Likewise,
vaulters often turn in the same direction
during transitions, but by designing transitions
with varied rotation, elevation (space), and
speed (pace) each transition will increase the
visual sophistication of the presentation.
Changing Tunes
Another easy way to boost individual style is to
practice with different music. By exploring varied
music, vaulters soon discover fresh ways to shift
into and out of moves, offering infinite styles
of expression for each exercise. It is especially
important in the early stages of freestyle design
to improvise and experiment. Every musical
selection suggests distinctive emotions and
pacing, which allows even the most practiced
routine to evolve. By exploring new avenues of
expression through music, vaulters will quickly
develop their own unique flair.
brainstorming provides a change of pace in
the lesson and keeps learning interactive,
fresh, and fun while giving everyone a chance
to try something new. The bottom line is that
if variety is good in performance, it is even
better in practice!
All For One vs. One for All
The Hip Bone's Connected to the…
Some coaches feel obligated to create all
aspects of freestyle design for their vaulters,
including assigning music. The problem
with this, unfortunately, is that by dictating
everything, coaches unwittingly stamp their
own personal taste and vision on every
routine. This “one for all” approach limits the
virtually infinite creative choices that are
possible. I recommend an “all for one” policy
where the whole group tries performing
and elaborating on the same single move or
block of moves, tapping into their individual
imaginations and finesse. This group
To embellish the choreography, experiment
with how each exercise is delivered. For
example, an arm position can be changed
considerably by either first moving the wrist,
the elbow or the shoulder. Each distinct point
of origin for shifting an arm will produce a
completely different look. Likewise, a leg
movement can originate from the hip, the
knee or the ankle. When one of these joints
is purposely selected to initiate and drive
the move, the presentation of that move will
change dramatically.
1
for others.”-Orson Welles
4
About the Author: Since 1970 Nancy StevensBrown has continuously coached all levels of vaulting.
Her Timberline Vaulters won countless National
Championships, AVA medals (including Nancy’s own
gold medal), as well as exciting international successes.
With innovative methods and boundless energy, Nancy
encourages every vaulter to recognize and tap into their
strengths and creativity to unleash their own distinctive
style and potential.
1. Legs may be moved from the knee,
hip or foot to create unique lines.
2. When there is a clear focus with
expression, individual style shines!
3.When everyone brainstorms, a
move innovation is soon to follow.
4. Improvising and exploring
movement with music helps a
vaulter develop their own unique
style.
2
5. Once the freestyle is fully
fashioned it is time to perform!
6. Once you have selected a
presentation, practice until it is
consistently solid.
7. Selecting where and how an arm
or leg is moved helps to highlight
personal style.
3
5
Style-eyes Your Composition
Where the eyes look has a striking influence on the visual
variety of any routine. The clear focus of the eyes and the
accompanying turn of the head and torso create changing
expression and flow within the choreography. This makes
every element unique and adds to the complexity and
maturity of the performance.
Athletics Plus Artistry
Finally, remember that no costume, hairstyle or makeup will
ever make up for a lack of quality vaulting! When a freestyle
is finally fully-fashioned, rehearse until both confidence and
consistency are built into the completed choreography. Then
those artistic finishing touches of attire, hair, and makeup will
frame that picture-perfect athleticism, leaving you nothing to
do but rock the arena with unforgettable style!
6
7
Vault On!
www.americanvaulting.org 27
Just for Vaulters
Winter
Constantly
suffering from
cold muscles and
frozen toes at your
winter practices?
Layer it up!
Look 1
Don’t walk around in vaulting shoes if you
can help it. Running shoes will do the trick in
warmer climates. If it’s super cold, throw on
some fuzzy-on-the-inside, waterproof-on-theoutside snow boots.
Extras:
Wear waterproof or fleece
gloves while tacking up
and cooling down. Finger
dexterity suffers greatly
when it’s too cold out!
A great jacket is key. Parkas are perfect for
hanging out on the sidelines between rounds.
Photos courtesy of Kate Revell/VaultingPhotos.com
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Warm-Up: Keeping it Toas
Keep your muscles warm while allowing
your body to move and stretch. An
effective warm-up routine coupled with
the right layers will keep your body warm
and ready to vault.
Throw on an extra pair of pants while you
warm up and stretch. Whether they be
fuzzy and fleece-lined or simple and light,
pick pants that are stretchy and practical
for your climate.
Invest in a great fleece jacket. A good
one will last for years, and when it doesn’t
smell like horse, it will double as a great
layer for non-horsey activities too.
Tack Up: Warm as Can Be
When you’re hanging around doing not-soactive barn activities, stay warm with cozy
outer layers. Once you get cold in sub-freezing
temperatures, it’s often hard to warm up. Bring
the right layers to stay warm even when you’re
not working out.
Look 2
Cold ears are the worst! A fleece
headband or hat will keep your ears and
forehead from freezing.
Warmth
About the Author: Megan Benjamin is the 2006 World Equestrian Games Women’s
Vaulting Champion. A Cornell University graduate, Megan trained for the 2010 World
Equestrian Games in Upstate New York, where the winters are harsh, frigid, and long.
Megan may be a native Californian, but several New York winters quickly taught her
how to layer like a proper Michelin man.
By Megan Benjamin
sty
Extras:
A thermal neck warmer will
keep your neck just as warm as
a scarf without the dangerous
loose-flying tails. Stick it under
your fleece so it doesn’t catch on
anything.
Look 3
Training: The Bare Minimum
Bulky winter clothes can be a pain when you’re
trying to train. Strip down to the bare minimum
by dressing in the warmest of underlayers.
Long underwear tops made of Merino wool (or
“SmartWool”) keep you warm while you work.
Fleece-lined pants are the way to go in winter. If
it’s below freezing, throw on a second pair!
Extras:
Close-fitting gloves with rubber
palms or tackified riding gloves
will keep your hands warm
without compromising grip
when it’s just too cold to go bare.
Long legwarmers keep your legs warm without
inhibiting leg flexibility and movement.
Invest in a great pair (or two!) of ski or
snowboard socks to keep your tootsies toasty
while you train.
Happy Winter Training!
www.americanvaulting.org 29
2012 eventscalendar
March 9-11
Rocky Mountain Horse Expo
Denver, CO
Noel Martonovich: [email protected]
April 1-6
Warm Beach Vaulting Camp
Stanwood, WA
Patti Skipton: [email protected]
May 5-6
FACE the Coast
Santa Cruz, CA
Carolyn Bland: [email protected]
June 23-24
Region II Trot Summer Camp
Chico, CA
Megan Grove: [email protected]
March 17
Great Falls Vaulters St. Patrick’s Day Barrel Fest
Barnesville, MD
Jen Williams: [email protected]
April 13-14
University of Arkansas Festival- Friendship
Team Demo
Fayetteville, AR
Greta Shryock: [email protected]
May 12-13
Great Falls & Topaz Vaulters Spring Fest
Herndon, VA
Jen Williams: [email protected]
June 30-July 1
Region IV Championships
Albuquerque, NM
Dena Madden: [email protected]
May 19-20
Garrod’s Spring Classic
Saratoga, CA
Marianne Rose: [email protected]
June 30-July 1
Region IX Championships
Lexington, VA
Elizabeth Brigham: [email protected]
May 19-20
Region IV Spring Fest
Fort Lupton, CO
Jodi Rinard: [email protected]
July 1-7
Warm Beach Summer Vaulting Camp
Stanwood, WA
Patti Skipton: [email protected]
May 25-27
Woodside Vaulters Spring Fest/CVI 1*, 2*
Woodside
Menlo Park, CA
Linda Bibbler: [email protected]
July 19-22
Region II Championships
Grass Valley, CA
Kelley Holly: [email protected]
March 17
Valley View Barrel Fest
Lake View Terrace, CA
Virginia Hawthorne: [email protected]
March 24
Great Lakes Barrel Fest
Eau Claire, MI
Jane Egger: [email protected]
March 24
Pacific Coast Barrel Fest
Woodside, CA
Carolyn Bland: [email protected]
March 24-25
Vaulting into Spring Fest
Lynden, WA
Patti Skipton: [email protected]
March 24-25
Region IV Spirit of Vaulting Conference
Albuquerque, NM
Noel Martonovich: [email protected]
April 21-22
Falconwood Vaulters Spring Fest
Gainsville, GA
Lisa Zielenske: [email protected]
April 22
Mt Eden Vaulting Club Benefit
Saratoga, CA
Marianne Rose: [email protected]
April 27-29
Warm Beach Weekend Vaulting Camp
Stanwood, WA
Patti Skipton: [email protected]
April 28-28
Mozart Memorial Vaulting Classic
& Selection Trial
Somis, CA
Patty Littmann: [email protected]
June 8-10
CVI 1*, 2*, 3* Chilliwack
Chilliwack, BC, Canada
Colin Schmidt: [email protected]
August 1-5
AVA/USEF National Championships
Lexington, KY
Linda Bibbler: [email protected]
August 16-21
World Vaulting Championships
Le Mans, France
Pam Lane: [email protected]
Cover and pads for your barrel,
Complete Barrels and Barrel Kits
• Quality vaulting barrels at an affordable price
order online LBVaultingBarrels.com
email [email protected]
or call
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(801) 592-6230
EquestrianVaultinG | Winter 2012
• Dense padding UV and waterproof covers with
integrated cossack loops
• Square or round handles with comfort grip wraps
• Available in a variety of colors
• Adjustable, removable legs, 36”- 48” tall
• Very Sturdy, great team barrel!
regionalupdates
REGION III
REGION X
REGION II
REGION I
REGION IV
REGION IX
Coast to Coast
Region IV:
Region I:
Region I held a fun “Day in the Park” on
January 29th. Attended by 45 vaulters,
a total of 90 people gathered for great
food, great clinics taught by the region’s
silver and gold vaulters, and lots of fun
and games. Participating clubs included
Beyond the Rainbow Vaulters, Diamond
Bar, EVX Vaulting Club, Lompoc, Los
Angeles Equestrian Vaulting Club,
Powway Valley Vaulters, and Valley View.
Region II:
Photo by Ieneke Wassenaar
Over fifty participants,
representing nearly all
Region II clubs, attended
the Annual Region
II
Clinic and Year-End Awards
Dinner at Flying Cloud
Farm in Petaluma, Calif. on
January 21st. Bella Oaks,
Brookside, FACE, Foothill
Flyers, Morning Star, Mt.
Eden, Nu Balance, Pacific Coast, Phoenix, Tambourine, and Willow Tree
Vaulters worked with Team USA Gold Medalists Blake Dahlgren, Mary
Garrett, and Emily Hogye, along with the ever-popular Nancy StevensBrown. Vaulters signed up for private sessions and/or the afternoon
group rotation sessions, which included ground, barrel, and horse
work and hip hop/break dancing with Dana Soto. While the kids were
vaulting, adults participated in an Acupressure for Horses session with
instructor Diana Thompson. A potluck dinner and year-end awards
presentation concluded a perfect day.
Region III:
Brrr! What better way to celebrate
the winter season than by crosstraining in the snow? MountainWind
Vaulters in Kettle Falls, Wash. hosted
their 3rd annual Vaulting Snow Party
on December 28th-30th. Vaulters
sledded, cross-country skied, ice
skated, sipped hot cocoa by the
bonfire, and of course, vaulted!
Thanks to Tammy Denault for hosting
the party!
Up in the region’s north,
Golden Gate and MileHigh Vaulters (and a few
brave parents) have moved
indoors to cross-train this
winter with plyometrics. Will
Kelsay, a professional XTERRA
Triathlete, spent time observing each athlete to decide which exercises
would best suit each individual vaulter. His circuits incorporate running
and core exercises with jumping, balance, and arm strength exercises.
Will’s enthusiasm for the vaulters’ improvement and his personal
athletic abilities have inspired the vaulters to reach new levels of fitness.
Meanwhile, in sunny Texas, Lone Star Vaulters held a very successful
clinic with Rosie Brown (pictured).
Region iX:
Region IX held a highly
successful Highest
Performance Training
Camp the weekend of
October 29th-30th at
Bent Tree Equestrian
Center in Shawsville, Virg. The twelve vaulters accepted into the camp
participated in a weekend full of vaulting, ballet, pilates, yoga, and injury
prevention sessions with Shawn Ricci, Karen Waldron, Ling Beisecker,
and Elizabeth Brigham. Seventeen lungers and nine horses also
benefited from a weekend full of training with Carolyn Bland. Saturday
evening included a celebration dinner where vaulters were presented
with special yoga mats with the slogan "Keep Calm and Vault On!"
Region X:
On October 23rd, Sunshine Vaulters and
Rach Riding Vaulting Teams collaborated
to give a vaulting performance for the
Highland Equestrian Conservancy's
"Dancing with Horses" fundraiser,
organized to preserve our equestrian
heritage and their equestrian scholarship
fund. The two teams also collaborated
at the Novi Equestrian Expo November
11th-13th to put on performances in the main arena and demonstrations
on the barrel at their booth. Meanwhile, Cedar Lodge, Blue Sky, Northern
Lakes and Bull Valley Vaulters all combined forces to demonstrate vaulting
to thousands of Chicago area residents at the Danada Fall Festival. The Fall
Festival showcases different riding disciplines and horse breeds. Vaulting
was such a hit that the Danada Equestrian Center is adding it to their
riding curriculum!
www.americanvaulting.org 31
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