The Demi-arrêt in the École de Légèreté – A Misunderstood Concept Revisited

(German version below)

Hardly any rider has shaped classical dressage as profoundly as François Robichon de La Guérinière (1688–1751). Alongside Antoine de Pluvinel, he is considered a pioneer of the “shoulder-in” and is today associated with the “half-halt.” This, in turn, is often equated with the demi-arrêt as described by La Guérinière in his 1733 work École de cavalerie.

Literally, demi-arrêt means something like “half stop” – a brief, precise engagement of the reins that does not interrupt the flow of movement but shapes and refines it like the subtle impulse of a conductor’s baton.

In German translations, however, this concept has often been misunderstood or inaccurately rendered. Science journalist Ilka Flegel compared the original with various translations and found significant discrepancies.

Sources of error in translation and executionLa Guérinière clearly distinguishes between two types of rein aids:

• Yielding by lowering the hand with fingernails turned downward (keeping in mind the one-handed curb rein), which serves as an invitation to go forward, and

• Raising the hand by moving it upward with fingernails turned up and bringing it closer to the body, which serves for halting, executing the demi-arrêt, or rein-back.

Later translations, however, rendered the latter vaguely – for example, as “holding the hand” (1817 translation) or “to halt with the hand” (2000 translation), which distorts the original meaning.

La Guérinière describes the demi-arrêt in the original as follows:

“Le demi-arêt est l’action que l’on fait, en retenant la main de la bride près de soi, les ongles un peu en haut, sans arrêter tout à fait le cheval, mais seulement en retenant & soutenant le devant, lorsqu’il s’appuie sur le mors, ou bien lorsqu’on veut le ramener, ou le rassembler.”

Translated:It is an aid in which the rein hand, with fingernails turned slightly upward, is held close to the body to support and elevate the forehand when the horse leans on the bit, to bring it back or to collect it, without bringing it to a complete stop.

Yet the central part of the sentence – “and elevate the forehand” – is missing in both the 1817 and 2000 German translations, a significant loss of meaning.

No overlapping of aidsLa Guérinière particularly emphasizes that in this moment the leg aid must be consciously omitted. A simultaneous driving impulse would push the horse onto the forehand – thus contradicting the very aim of the demi-arrêt.

It would be like trying to balance a mobile while simultaneously nudging it – the delicate impulse would be distorted before balance could be achieved.

Difference from the modern half-haltIn the École de Légèreté, as taught by Philippe Karl, the concept of the demi-arrêt is historically reconstructed, integrated into modern riding, and clearly differentiated from the modern idea of the half-halt.The latter works by briefly enclosing the horse with rein, leg, and seat aids simultaneously. Equating the two concepts falls short and overlooks the nuanced system of the French school.

The demi-arrêt is based on a consciously isolated use of the hand – without simultaneous leg impulse. It is like a carefully placed note in a piece of music – a moment of harmony that provides orientation, not confusion.

The underlying principle is: “Hand without leg, leg without hand” – a maxim also advocated later by François Baucher. Udo Bürger emphasizes in Vollendete Reitkunst (1975):

“When the hand captures the tempo, the leg must not drive at the same time but instead return to a resting position.”

Biomechanical chain of effectsThe demi-arrêt acts through the upward rein aid directly at the corners of the mouth – avoiding undue pressure on the sensitive tongue. When executed correctly, it triggers the cession de mâchoire – the release in the horse’s lower jaw, mobilizing the temporomandibular joint and the hyoid apparatus.

Depending on the goal, it can serve to reduce speed, elevate the base of the neck, achieve flexion at the poll, or create collection – always in relation to the horse’s conformation and muscular development.

When the horse responds correctly, the rider immediately releases the hand (descente de main) – the horse becomes light in the hand: légèreté à la main. A freedom on parole, a silent agreement, sealed by the cessation of the aid.

The chain of effects begins at the hyoid – a small but crucial bone connected via muscles and fascia to the poll, sternum, and shoulder blades. Like an invisible impulse generator, it sets off a chain of biomechanical reactions – from the jaw joint to the hindquarters.

Studies by Prof. Hilary Clayton (e.g., Dressage Today, May 1999) confirm: With increasing elevation, the hindquarters begin to lower – a prerequisite for collection. The hyoid is like the first domino – inconspicuous but decisive. Once set in motion, it brings the whole system into flow – quiet but powerful. It is as if the horse internally reorganizes itself – ready for the next dance-like movement.

Use of the leg in collected, on-the-spot movementsLeg use is slightly different in movements involving high degrees of collection with the hindquarters drawn well under – such as piaffe, canter pirouette, or the collected halt.

La Guérinière used the leg with care for this type of collection. In the École de Légèreté, the leg is applied further back, lightly active (in pirouette, one-sided), and thus clearly distinct from a forward-driving leg at the girth.

Since the demi-arrêt activates a biomechanical chain reaching to the hindquarters, it requires a fine, educated hand – the rider’s most important communication tool. Gustav Steinbrecht called it the

“main organ through which the rider speaks to the horse and communicates his intent.”

The École de Légèreté thus places special emphasis on the fine interplay of balance, suppleness – both heavily influenced by the hand – and conditioned impulsion: the conscious, singular use of the leg to initiate movement.

Teaching the demi-arrêtIdeally, the horse should move with the rider as if the rider weren’t even there. In a proud, elevated posture – “it must make itself grand,” as the saying goes.

La Guérinière spoke of elevating the forehand, Philippe Karl speaks of lifting the base of the neck and raising the head-neck position. Today, one might say: The horse activates its thoracic sling (the muscles responsible for lifting the ribcage), raises its chest and withers between the shoulder blades – or “takes the lift.”

Even during grooming or leading, one begins to develop this movement playfully – for example, with gentle backward-upward pressure on the sternum. Over time, a mere gesture, accompanied by a voice signal, suffices. Every small step in the right direction is positively reinforced.

Later, this conditioned aid is transferred to the cavesson and used on the lunge. Once understood, it is combined with a fine demi-arrêt on the bit. The trainer stands in front of the horse, briefly lifts the bit toward the corners of the mouth – like a conductor giving a subtle cue.

The horse will soon respond lightly and willingly – moving toward elevation. When the response is correct, the hand yields immediately (descente de main). In this way, precise communication through the subtlest of means becomes possible.

Since the demi-arrêt improves balance, it is important to ensure not only parallel but also vertically aligned forelegs. With increasing straightness, the hind legs will also begin to close – which can initially be difficult for a young horse depending on its natural conformation.

This work is consistently continued in hand – for instance, at the walk. The musculature at the base of the neck is thereby increasingly strengthened.

Lateral balance and the art of the handEven in lateral bending (flexions), correct lateral balance must be developed. Since the horse naturally uses its neck as a counterweight to its center of gravity, a balancing pole and a metronome, the goal is to achieve left and right bending without overloading the opposite foreleg.

Whether on the ground or in the saddle: the trainer must be able to feel the subtlest changes in contact and respond with precision. This is where true artistry lies.

Gustav Steinbrecht put it this way in The Gymnasium of the Horse:

“The skill of the hand can rightly be seen as the yardstick of the rider’s overall skill [...] Whoever truly possesses a good hand is a master of the art of riding.”

Conclusion: The key to harmonyThe demi-arrêt embodies the philosophy of the École de Légèreté – a riding style based on dialogue, knowledge, respect, and the finest communication.Whoever masters the demi-arrêt holds the key to genuine harmony with their horse.

References:

• B. Branderup, E. Kern: Baroque Riding According to F.R. de La Guérinière, Cadmos 2000

• U. Bürger: Vollendete Reitkunst, 4th edition, Paul Parey 1975

• H. Clayton: Dressage Today, “The Influence of Head and Neck Position on the Horse’s Balance,” May 1999

• I. Flegel: Dressur Studien, “Pure Interpretation: Translating Guérinière,” special issue “Klassisch contra Classique,” August 2007

• F.R. de la Guérinière: École de cavalerie, Paris 1733, reprint Hildesheim: Olms, 1996

• F.R. de la Guérinière: Reitkunst oder gründliche Anweisung zur Kenntniß der Pferde, Marburg, 1817, reprint Olms 1998

• P. Karl: Irrwege der modernen Dressur, Cadmos 2006

• J.D. Knoell: Reitkunst, Marburg 1817, reprint 1998

• G. Steinbrecht: Das Gymnasium des Pferdes, reprint of 1886 edition, Olms 1983

Text by Sabine Mosen, Master Teacher of the École de Légèreté

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