MORE THAN JUST LINES ON PAPER: IN THE ARENA WITH GREGORY BODO
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FROM THE RIDING CLUBS OF EASTERN FRANCE TO THE WORLD STAGE OF THE PARIS OLYMPICS, THIS EXCLUSIVE HORSE TIMES INTERVIEW EXPLORES THE REMARKABLE CAREER OF GREGORY BODO. WE TRACE HIS JOURNEY FROM A SEVEN-YEAR-OLD RIDER IN FORBACH TO A WORLD-LEADING COURSE DESIGNER, DISCUSSING THE DELICATE BALANCE BETWEEN TECHNICAL PRECISION AND EQUINE WELFARE.
DESPITE HIS GLOBAL RECOGNITION, BODO REMAINS REFRESHINGLY GROUNDED, BRINGING A SENSE OF HUMOUR AND HUMILITY TO HIS CRAFT. HE SHARES HIS INSIGHTS ON THE "MUSICAL" FLOW OF A WORLD-CLASS TRACK, THE IMMENSE PRESSURE OF GLOBAL CHAMPIONSHIPS, AND WHY THE HISTORIC BOND BETWEEN HORSE AND HUMAN REMAINS THE HEARTBEAT OF THE SPORT.
1. ROOTS & EARLY PASSIONS:
How did growing up in Eastern France shape your passion for showjumping and course design?
I had the opportunity to live in Forbach for more than 20 years across a large equestrian centre named ‘Mont Dragon’ in Moselle (North East of France). I was a showjumping rider, and everyday I had the opportunity to grow and develop in the presence of horses. My family allowed me to fully commit to this sport, and it became a true passion. From the age of 15, I was interested in the building of showjumping courses due to the high number of competitions organised at my riding club. Lorraine (North East of France) was very active in terms of showjumping competitions, with a good level of shows and many excellent riders and horses. I was lucky to meet competent and influential people who gave me the opportunity to continue my passion for course designing and to complete the various trainings and tests. In a relatively short time of eight years, I was able to reach the highest national level as a course designer.
When did you first realise that designing courses could become your life’s work rather than just something you did for local competitions?
I think it was around the age of 18 when I was appointed regional course designer. My mentors trusted me and gave me the opportunity to build my first national-level competition at 140cm (named B1 back then) at the ‘Etrier Verdunois’ in Verdun - France, with a good couple of horses and riders. In the Grand Prix, I had eight clear-rounds and qualified for the jump-off. From that moment I must say that this role truly became a vocation to me - a passion above all and something I was completely committed to. I even stopped riding in order to dedicate myself fully to course designing.
You started riding at the age of seven, but what are your earliest memories of being around horses?
I have always been attracted to horses because I saw them everyday. My grandfather owned racehorses. I remember from the very beginning that I had a very good feeling with horses and an almost instinctive relationship.
I was never afraid, and quickly became competitive, telling myself that one day I would be a great rider…even though I was better as a course designer (laughs).
2. THE JOURNEY FROM LOCAL TO GLOBAL:
Making that leap from regional shows to the world stage is a massive undertaking. What was the specific turning point that transformed you into an internationally recognised designer?
I think it was when I was about 25 years old and had many national competitions to manage. The key people in the sport began to realise that I had particular abilities for building courses. It was at that precise moment that I personally approached the Aachen School of Course Design in Aachen, Germany. This school was run by the well known course designer Arno Gego. He is the one (together with his close colleagues) who encouraged me and pushed me to pursue a career in this field. Of course, I must also say that my national federation contributed to developing my skills towards the international level.
You’ve mentioned the importance of that education, but I also recall you working with figures like Bill Juliac and Jean Paul Quque. Were there specific mentors in the nineties who truly set you on this trajectory?
Of course, I need to thank many people at the regional and national levels who helped me reach a high level of expertise and gave me the opportunity to take part in a lot of competitions. I will never be able to thank enough the late Mr. Jean Collin, former course designer and President of of the Lorraine Equestrian Area. I must also mention my mentor Michel Juliac, as well as many other people at higher levels who helped me to achieve the top international level. I have been fortunate and blessed to meet the right people at the right time.
As you began meeting those "right people" at major international venues, what were the biggest challenges you faced leaving the local circuit behind?
I wouldn’t say they were challenges so much as a sense of apprehension, because you are going into the unknown. You don’t know the riders or the horses yet, since you have not previously worked with such a high-level group of competitors. The most important point is to remain yourself, continuing to do what people know you for and speak positively about.
How has your perspective on that role evolved from those first international steps to where you stand today?
It has evolved in the sense that you have gained more self-confidence. You know how to address both the technicalities and the subtleties of the course for horses and riders.
Today, I have become a teacher; I am transferring my knowledge in addition to being a team leader and, of course, a kind of artist who creates—week after week—courses that provide a positive image of our sport.
3. THE ART AND SCIENCE OF COURSE DESIGN:
How would you define your style of course design? You are deeply committed to preserving horse welfare, making their safety your top priority. Can you please elaborate on why?
I have always appreciated courses that favour forward movement and fluidity. I love layouts with what I would call a “musical” flow - the drawing and design of the lines are incredibly important to me.
My goal is to create difficulty for the riders to try to figure out rather than for the horses, which is perhaps the most delicate balance to achieve. My courses are respectful of the athletes; they are subtle and sometimes challenging, but always fair.
What inspires you when creating a course - the start lists, visual beauty, difficulty or innovation?
Wherever I go, one thing remains truly fundamental: horses must jump well and with confidence, from the opening classes of the show right through to the Grand Prix.
In the background, the field of competitors and the calibre of horses present are also critical factors, particularly regarding the questions you will ask of them in the ring. Ultimately, the type of competition, the time of year, the venue, and the available equipment all shape the philosophy you follow when designing the course.
Beyond that philosophy, can you walk us through the actual creative process when designing for a world-class event?
I focus primarily on the treble, double combinations, and the placement of the jumps. Sometimes we have to think about using natural obstacles, such as the water jump or liverpools. Drawing the course on paper gives me the necessary indications to then determine the profile of the jumps, the distances, and the types of jumps, while ensuring a good balance of changes of rein throughout the course.
It sounds like a delicate balancing act. How do you weigh the expectations of the riders against those of the organisers and the spectators?
This is a question about feeling and based on one’s experience. You learn to make different elements work together: creating sport with real competition, providing excitement for the spectators, promoting equine well-being , and ensuring that horses can progress as well.
4. PARIS OLYMPICS & MAJOR PRESTIGE EVENTS:
How did it feel to be appointed as course designer for the Paris Olympics?
I felt a immense pride and a honour, what could be more wonderful than taking part in the most prestigious sporting event in the world? With Los Angeles 2028, it will be my third Olympic Games, and I am only 47…
What makes designing for the Olympics different from any other event?
Olympic courses are designed with very high standards. This event is prepared for by everyone, and on the day of competition, both horses and riders will be at the peak of their performance. For this reason, the courses must be very subtle and not too demanding during the qualifiers because a few combinations are less experienced. You plan the courses for the Olympics for several months, while other events are organised as they go.
Which prestigious events have left the strongest mark on you, and why?
Two events left a strong impression on me at the very beginning of my career (at the highest level). The first was in Calgary, Canada, where I had the chance to design courses for several years; it's a magical and legendary place with a very special atmosphere. The second was in Lyon. France, through its wonderful leg of the FEI Jumping World Cup Final, and just for the record, it was my first five-star event in 2017.
What is the pressure like behind the scenes at this level?
The pressure is always there - you can’t deny it - because otherwise it would mean you don’t have a passion for your job. Naturally, you want the competition to run smoothly, with high-quality sport. The stakes are significant such as money, animal welfare, and show itself. Also, the responsibilities on your shoulders continue to grow year after year.
5. PERSONAL DIMENSION & REFLECTIONS:
Looking back to the early days in Alsace Lorraine, what does it mean for you to have reached this level?
A vocation, a source of pride, and most certainly, it was already meant to be that way.
Do you ever think about how far you’ve come since those first local competitions in Forbach-Saint Avold or Sarreguemines?
Yes, I think about these past events from time to time because I’m quite nostalgic; sometimes I visit the sites of these competitions, even though they no longer exist today.
How has your relationship with the sport - and with the people you met along the way, evolved over the years?
As I mentioned earlier, I was fortunate to meet important people who helped me grow in this job. I still have a good relationship with them, and I am very proud of that.
What keeps you motivated after decades in the field?
It’s simply the passion. The desire to do things well, to contribute to improving our sport, and to be a key player in the success of show jumping.
6. FUTURE OF THE SPORT & ADVICE:
How do you envision the future of showjumping course design?
I have been following its evolution for decades, and in fact I have noticed major changes, both in terms of equipment and technology, as well as in the performance levels of the horse-rider combinations. We cannot go beyond the physiological limits of the horses; therefore, certain technical and regulatory details will still need to evolve, but without compromising animal welfare.
What arguments would you defend against the ones who want a complete end of equestrian sports at the Olympics?
Why remove a sport that so profoundly embodies the harmony between animal and human? Horses have always been an integral part of our existence; together, we have traveled through centuries of history. I find it inconceivable that one of mankind’s greatest partnerships might disappear from the sporting record.
What advice would you give to young designers who want to follow in your footsteps?
You must always believe in what you do and never give up. I believe that the passion and love for horses must come first, and that money should not be the main motivation. Hard work will pay off at some point. Another important aspect of our role is the ability to question yourself and never think that you are the best, because one day the sport will remind you of your place.
Are there innovations or trends you believe will redefine the sport in the next decade?
For the moment, the only innovations that can be expected will concern the equipment used to build the courses, rules, competition surfaces/footing, and perhaps judging techniques.
You have never been in Saudi Arabia, which event you would have loved to taking part and why?
No, I do not know that part of the world. I only took part in the competition in Doha in 2013, but as an assistant. Unfortunately, I do not have experience the Kingdom, although I know of the Riyadhs competitions by reputation.
7. OUR HUMAN SIDE:
What moment in your career has moved you emotionally the most?
When I became a Level 3 Course Designer in 2012, and without a doubt when I was appointed a Level 4 Course Designer and Technical Delegate in 2019.
What do you wish more people understood about the work of a course designer?
I think it is very complicated for the public to understand our job. In fact, most people are not aware that this role even exists or what our responsibilities entail. Fortunately, in recent years equestrian sports have become much more visible in the media; because of this, course designers have had more opportunities to explain their work and the challenges involved. It is important to understand that our job is neither an exact science, nor is it based on mathematical programming. It is based entirely on human qualities.
If you could speak to your 20‑year‑old self, what would you tell him?
You are the most handsome and you are the best! (Laughs)
How do you stay grounded despite the prestige and global recognition?
Never forget where you come from, and never try to be someone else, even despite the success. My family upbringing gave me the foundations to become a modest person.
Eventually, let me share this quote with you: ‘’Talent is almost nothing; experience is everything, and it is gained through humility and hard work.’’ ~ Patrick Suskind (German writer) HT
Photo courtesy of Bodo