A New Generation of Trail Class Is Here!

   Instructions on setting up a Tim Kimura pattern.                   

                                                        by Diann Walker        

Although there are eight to ten men working in the arena, only one is in constant motion. This particular individual is not carrying a clipboard. Its presence would interfere, hindering the job at hand. Only this worker can appraise an obstacle, and drop a twelve-foot pole magically into its designated place. If my best instincts are correct, this young man in the purple shirt is Tim Kimura.

I wanted to photograph and capture Tim Kimura at work for an article. But, every time I put my camera to my eye, he disappeared from the viewfinder. Phftt, he was gone. He moved on to another obstacle, literally at a blink of an eye.

At the same time I was trying unsuccessfully to photograph Tim, his cutting edge theory for trail patterns became clear. Constant motion - that is what he is creating - trail patterns with constant motion. Not the static, often incredibly boring patterns, to which we have become so accustomed. I couldn’t wait for the class to be over to get an interview.

It is August at the John Justin Arena in Ft. Worth, TX. What appears to be a maze of more than seventy brightly painted poles covering less than one-half of the arena floor, quickly becomes the 1997 Trail Finals for the AQHYA World Show. Only fifteen youth exhibitors earned the right to be here. After one year of qualifying, each rider has just one opportunity to maneuver, and execute as flawlessly as possible, a copyrighted Tim Kimura trail pattern. Who is this man responsible for the next four minutes of these competitors lives? Who is this man that has changed the format for trail patterns as we know it-maybe forever? Home is Reedley, CA, just southeast of Fresno. Still, more often than not, Tim is flying around the country either setting up courses for major shows, or giving clinics. His dream is becoming reality. The only major horse show not using his patterns, is the AQHA Congress. After getting to know Tim, I know it will only be a matter of time, until he receives that awaited call from Columbus, OH. I predict that it is only a matter of time that a basic Tim Kimura-designed course will be at a major mule show, thus, my interest for pursuing an interview with this innovative man.

One would assume Tim is an engineer. Only a like-minded person would create such unique patterns. That is not the case. He majored in Ag-Science at Cal Poly, but his six roommates did major in Engineering. After watching them spend endless hours on the computer, drawing and creating designs, Tim determined he could apply the same techniques to a trail course.

Since the age of fifteen, he was responsible for the trail patterns at his father’s monthly horse shows. He was incredibly bored with "side pass to the mailbox, walk over the plastic, put on and take off a slicker, back the cones," etc. , etc. His mind was much too active for such static requirements. He knew these courses were no longer a challenge to himself, nor to most riders on the circuit.

Tim competed in reining and working cow horse events, and loved the constant action both classes required. He appreciated the work involved to train a horse to be competitive for both. He loved how the spectators enjoyed watching, regardless how many exhibitors were entered. He knew the judges liked scoring them, requiring their total concentration. Why not incorporate the same elements to trail? Why not a sort of dressage over poles? The rest is history.

To forever vanish the upside down "U" trail pattern as we know it, is Tim’s vision. His goal to make the class exciting for judges, spectators, and competitors is reality. His desire to challenge riders and their animals, not to trick them with gimmick obstacles, is affecting every level of show. His wish for the trail mount to be athletic, well trained, and just plain "well broke," is now a requirement.

By using twelve foot poles, there is no more resetting of the course after they are knocked out of position. They are heavy, and remain in place. Therefore, valuable time is saved, making show management, judges, spectators, and exhibitors very happy.

He designs a course around the availability of poles. Most often, the show has a hunter course in the show line-up. By using the same poles, brick walls, and standards, a trail course takes shape. Tim can design a course with only twenty-four poles, but one with this few of poles is actually harder for the competitors. An average course incorporates thirty-six to forty-two.

The only slow obstacles on the course are the required gate and a back for all breed shows. Tim spreads these two elements apart on the course, so a rider never stays in one place for any length of time. The average time for completing a pattern is two minutes, with finals patterns running four minutes.

When you look at one of his patterns for the first time, they appear as chopsticks thrown on the ground. Upon first examination, when viewing so many poles, the course looks impossible. Tim’s patterns are like a puzzle. When you ride the course, it becomes logical. Other than the gate and back, the remaining course is negotiated at the trot or lope. Each obstacle flows effortlessly from one to the other. The transitions come with ease.

The pattern has not been drawn up at the last moment on an airplane. Tim spends hours designing the pattern on a computer. Then he sets it up in a ring, and rides it to check the alignment of poles and individual obstacles for the flow he wishes to attain. He confirms you can ride into and out of each obstacle readily. Lastly, he sends a kid on a green horse out on the course. When the pair can negotiate the course with little difficulty, it is ready to send to show management.

By the time his pattern is posted at a show, it is perfection. There are no traps. The major shows set up a warm-up arena with the pattern, allowing for paid practice time. Every show allows a walk through of the course both for competitors and judges.

A Tim Kimura pattern allows the top third of the exhibitors to rise to the top, the middle third to be educated and challenged to get better, and enables the bottom third a safe trip. Riders want to go back and negotiate the course again. They want to get better!

If management is willing, Tim prefers for each element to be color coded. His courses will have themes. Since he loves sports, obstacles will be painted the colors of NBA or NFL teams. Or he will be inspired by the American flag, incorporating a red, white, and blue theme. Maybe it will be the color of a stoplight - red, yellow, and green. Sometimes the course will spell something out. He has even designed a course using every letter of the alphabet. His creativity has no limits.

What he does not like is an all white course. It is not eye catching and everyone will quickly lose interest. If only white poles are available, then he incorporates plants and flowers into the course. It must be appealing to spectators, judges, and exhibitors to make it work. Colors are very important both visually, and for helping competitors memorize the pattern.

Often there are more poles on the course, than are used in riding the pattern. Tim likes to play with illusions. He relates his courses to playing pool-the rider needs to set himself up for the next shot. As a rider you need to look for space within the obstacles. He incorporates tight trot overs, but there is always a gap. Riders run into difficulty when they get "sucked" in too tight.

Tim’s trail courses require the rider to think and look ahead, like a horsemanship or reining pattern. Nevertheless, you need to use your body similar to riding dressage, not be rigid like horsemanship. You and your mount must be like pairs in figure skating, moving through the course as unit. A well-executed pattern flows effortlessly from obstacle to obstacle. The courses demand pilot power and a well-trained animal. The less trained the animal, the better pilot you need to be. He believes he is creating a niche for good, aged, finished horses.

He also believes our mules are ready to try their natural ability on his courses. I do too. Just as the editor and staff of this magazine believe in the future of the mule industry, Tim believes in the future of a trail industry.

I asked Tim if he foresees a Trail Futurity held in Oklahoma City similar to the Reining Futurity held there each fall.

His eyes lit up brighter than ever, and the constant smile on his face widened, "Chopsticks in Oklahoma City . . .," he declared!

With this young man’s vision and determination, it is possible.

This is the pattern Tim designed for the AQHA Youth World Show.

Color Coding the required maneuvers, helps the rider to remember the flow of Tim's pattern and to plan ahead for the next transition.  Tim suggests using a marker with a different color for each gait required within sections of the trail class.  As you can see with the pattern from the Trail Finals (above) when it is marked (left) it looks less intimidating.   In fact, even if the print is unreadable, you know what to do based on the colors!

Orange is for Jog

Dark Blue is for Back

Light Blue is for Walk

Green is for Left Lead

Pink is for Right Lead

Tim feels there is no reason that mules can't do as well as horses in these type of trail classes.