Jade Wilkinson and Neron participated Insa Hansen’s masterclass at Dressage and Jumping with the Stars. Image by Equisoul Photography.
For more than four decades, Insa Hansen has been a defining figure at Hof Kasselmann in Hagen, Germany. Her name stands for horsemanship, consistency, and the very highest professional standards within the sport of dressage.
Insa Hansen’s résumé is as extensive as it is impressive — more than 100 Grand Prix victories and over 1,000 placings in dressage competition. In recognition of her lifelong contribution, she was awarded the prestigious Golden Badge of Merit by the German Association of Professional Riders (BBR – Bundesvereinigung der Berufsreiter).
Insa Hansen of Performance Sales International (PSI), which is based at Hof Kasselmann in Hagen, Germany. Image by Roger Fitzhardinge.
For Australian riders, the opportunity to learn from a horsewoman of this calibre is rare — and this masterclass delivered exactly that.
The masterclass featured a series of horses at different stages of training, providing a clear and highly educational demonstration of correct, progressive dressage training.
“Hansen’s philosophy
was clear: transitions,
transitions, transitions.”
FOUNDATIONS FIRST – THE YOUNG HORSE
The session began with Yarramee Floyd (by Fürstenball out of a Goldfinger mare), a beautifully ridden young horse by Justin Greer for owner Sharyn McCombe — an uncomplicated, elegant type that immediately highlighted the value of correct basics.
From the outset, Hansen’s philosophy was clear: transitions, transitions, transitions. Walk–trot–walk. Trot–canter–trot. Canter–walk–canter. Always forward from the inside leg into the outside rein. Downward transitions were not about pulling, but about waiting — slightly to the outside seat bone — allowing the horse to stay forward from the hind leg and into balance.
The masterclass began with Yarramee Floyd (by Fürstenball out of a Goldfinger mare), a beautifully ridden young horse by Justin Greer for owner Sharyn McCombe. Image by Roger Fitzhardinge.
“By the end, the horse
showed a beautifully
relaxed walk…”
It was a wonderful example of how repeated transitions and changes of pace encourage relaxation over the topline and allow the horse to find its own balance.
By the end, the horse showed a beautifully relaxed walk, clearly demonstrating how repetition and clarity encourage the horse to soften over the topline and carry itself.
RIDING FORWARD THROUGH THE LEVELS
The second combination, a gorgeous grey named Neron (by Barbero XXXXIII out of Nombrada AK), owned by Sabble Farm and beautifully ridden by Jade Wilkinson, provided a different perspective.
At eight years old and just beginning Advanced work, this horse highlighted the importance of maintaining rhythm through the seat, keeping the horse forward and uphill, and riding from the hind leg into the contact.
Jade Wilkinson riding Sabble Farm’s Neron (by Barbero XXXXIII out of Nombrada AK). Image by Roger Fitzhardinge.
A key takeaway was the importance of the canter rhythm, particularly when working towards pirouettes. The outside shoulder must lead, and the turn comes from the shoulder.
Without forward energy, there can be no true bending, flexion, or balance.
“If there is no forward, there is no bend, no balance, no collection,” said Hansen. “Ride every canter stride as if it is a new stride — same rhythm, same clarity, every step.”
FROM ENERGY TO COLLECTION – THE DEVELOPING HORSE
With the Small Tour horse, Highfields Bella Vita (by Beltano out of Hauptstubuch Soraya, by Scolari), Hansen demonstrated that less is more. Owned by Zoe Wainer and ridden by Jessica Dertell, this was a horse with natural ability but also tension. The solution was clarity: short bursts of collected work, immediate reward forward, and repetition in small doses.
Transitions again formed the backbone, building towards collected steps without losing the idea of forward.
“All collection comes
from forwardness…”
Highfields Bella Vita (by Beltano out of Hauptstubuch Soraya, by Scolari), owned by Zoe Wainer and ridden by Jessica Dertell. Image by Equisoul Photography.
Flying changes were introduced progressively, starting with single changes, then building, and always refreshing the canter between efforts. Adjustability in the frame — long, short, stretch, collect — was key.
The message was clear: collection must always come from forwardness. “All collection comes from forwardness, never from holding,” explained Hansen, also emphasising that mistakes are part of training and allow improvement for both horse and rider.
GRAND PRIX BEGINNINGS – LET’S CHANCE IT
The final horse, Let’s Chance It (by Chemistry out of a Riverside mare), ridden by Lizzie Wilson-Fellows, brought the session into Grand Prix territory.
Despite the increased difficulty, the principles remained unchanged: forward and back transitions, rhythm through the seat, and energy from behind into the contact.
In the pirouette work, the focus was on turning the shoulders first while maintaining forward intent. In the one-tempi changes, Hansen advised starting small and building gradually, always refreshing the canter. In piaffe work, the emphasis was on activity and quickness of the hind leg, always thinking forward out of the movement.
Collected work always remained forward-thinking, with regular refreshment of the pace. “Never stay too long in collection — always refresh forward, then come back again,” shared Hansen.
CONSISTENT PRINCIPLES
This was a masterclass in the truest sense — decades of experience distilled into clear, practical, and repeatable training. Each combination was approached with the same consistent principles. Insa Hansen’s ability to simplify complex training concepts and communicate them clearly was exceptional.
Every rider left with a deeper understanding of forward from behind, into the contact, with rhythm, balance, and clarity. A reminder that great training is not complicated; it is simply done correctly, every day. EQ
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