In my weekly pilates class we’ve been doing a lot of stretches to open up the front of the hips – muscles which become tight when sat at a desk all day and subsequently prevent you from sitting upright and having the long leg desired in the dressage arena.
I’ve made a few observations over recent months about adjusting stirrups, which link into these exercises.
Let me explain.
When I was a teenager helping at the local riding school and had to adjust a client’s stirrup length, we would ask them to take their foot out of the iron and swing their leg back. Then you can access the buckle at the front of their thigh. There’s also no weight on the skirt of the saddle and you can see what you’re doing, so it’s a straightforward adjustment. I didn’t think much of it, apart from the occasional beginner or mature adult who was a bit stiff the first few times.
Fast forward almost two decades (when did I get so OLD?!) and now anytime I see anyone having assistance to adjust their stirrup length, brings their leg forward, akin to adjusting the girth. Why has this trend changed? Or maybe the leg back approach was just a Welsh thing… Perhaps our increasingly sedentary lifestyles has made us all stiffer in the hips?
Anyway, let’s not go down the route of discussing keeping the foot in the stirrup whilst adjusting the leathers, because that technique actually helps stretch out the inner thigh (one of the reasons many people struggle to use this technique if not brought up with it). We’re talking about assisted stirrup adjustments.
Based on my observations, that riders prefer to draw the leg forward to make adjustments, and the fact that many leisure riders find it difficult to ride with a long leg, either relying on knee rolls to hold their leg in the correct position or pitching forwards at the seat. Or both.
Linking back to pilates; when we prepare to ride and do some leg stretches, or when we do leg stretches in the saddle whilst first walking around, should we also be considering how we adjust the stirrups, using any adjustments as an opportunity to stretch out the front of the hips?
It would be interesting to do a study with those riders who usually move the leg forward when stirrups are adjusted, and instead get them to move their leg back each time they ride and adjust the stirrups. Over the course of a few weeks, do they find this movement easier, and does their seat and leg position improve? Then, how much effect do the pilates stretches have on seat and leg position if done before every ride?
I’ve been using a tricky little exercise recently with several clients recently. It’s all about balance, straightness, and understanding of the aids. Plus the fact that less is more.
Starting on the left rein in walk, because it’s more complicated than first appears, turn onto the centre line at C. Leg yield to the right for about three strides. Ride straight and then leg yield to the left for about six strides. Then leg yield back to the right onto the centre line. Turning right at A to change the rein.
When coming off the right rein, leg yield to the left first.
The secret to this exercise, and I usually let my rider have a couple of goes before letting them in on the secret, is that less is more.
If you’re too ambitious and ask for too much leg yield, the horse invariably loses balance and has too much bend in their body. Which makes it harder for them to straighten, change their bend and start to leg yield in the opposite direction. Then it takes longer to change direction and you run out of centre line.
Once my rider starts to be more conservative with their leg yield there is usually just the small task of tidying up the transitions between the leg yields and then they’ll crack the exercise.
If leg yielding from right leg to left hand, the rider needs to use the left rein to balance the horse and use their left leg to stop the leg yield and ride straight. Then they need to change their position into position left (left seat bone slightly deeper, left leg on the girth, right leg behind; right rein becomes the outside rein) before asking for very slight left flexion and then the leg yield back to the right.
The straighter the horse stays in leg yield the easier it is to change direction. Less is more.
I’ve done this exercise a few times recently with various clients, for various reasons, and it’s had some good results. In itself, it’s quite an easy thing to do while working on other parts of their riding.
Some riders ride with their hands curled lightly around the reins. Of course we don’t want to be holding the reins particularly tightly, but if we aren’t holding the reins firmly enough they have a tendency to slip through. For some people, one rein tends to slip through. For others, both. And for some it is the horse (or pony) who discreetly sneaks the rein through the rider’s hand.
Some riders interpret the “squeeze and release” of a half halt or a flexion aid, as squeezing the rein and then letting go. Perhaps the words need to change to “squeeze and relax”…
In either situation, the rein contact becomes inconsistent.
My analogy for this situation, because I like analogies, is to imagine walking down a busy street with a toddler, holding hands.
Hold the hand too tightly and the guy toddler shouts and digs their heels in. They won’t move forwards happily.
Hold their hand, letting go at random intervals and dropping them. They become disconcerted with the insecurity of your guidance.
Now imagine you are holding their hand slightly more firmly, and give the odd reassuring squeeze. You’ve not dropped them or left them hanging, but you have changed the pressure of the hand holding and exchanged a secret message.
This is the sort of rein contact we’re aiming for. Consistent, clear communication, and even.
For my riders who hold the reins tightly I remind them to relax their arms and fingers, and will do no rein exercises to ensure they aren’t using their hands subconsciously to balance.
For my riders who have loose fingers, especially the children, I will take two pieces of flat arena rubber (if they have a sand arena I try to find a small flat pebble. One father uses a penny with his daughter when practising this) and get my rider to hold it in their hands as well as the reins. It’s small enough that it doesn’t fill their hands up and make holding the reins and whip difficult, but they will become acutely aware of when they loosen their fingers and drop it!
We then have ten minutes of laughter as they invariably drop the rubber and I have to replace it. Depending on the rider, their age and approach to riding, this can become as fun and as silly as required. I remember with one young client there was lots of “uh-ohing” and me flouncing around looking for replacement rubber to keep the exercise like a game.
Within minutes, I find that my riders are usually holding the reins in a more consistent way; either both hands are now holding with the same amount of hold, or the reins have stopped creeping through their hands. Once they’ve stopped dropping the rubber, I do some work on circles, transitions, changes of rein, or whatever movement usually causes them to loosen their fingers. With older riders they start to see the positive effects and can begin to ride between leg and hand more easily, and they can improve the bend of their horse as they can ride inside leg to outside rein, and control the outside shoulder.
Once my rider has found the correct rein contact they don’t drop the rubber as frequently, so I usually move on with my lesson plan, accidentally-on-purpose forgetting to remove the rubber from their hands to see how far we get before they drop it, or realise they’ve dropped it.
I often find that holding the rubber only needs to be done once or twice to teach a rider the right amount of feel, and to help them understand the concept and effect of a consistent rein contact, which for kids improves their overall control over their pony’s speed and steering, and for adults helps them improve their horse’s rhythm, balance and create impulsion.
Self carriage is the ultimate aim for all of us horse riders, but in trying to get there many of us are guilty of micromanaging our horses and their way of going.
You know the sort of thing: you’re working on your horse giving some inside flexion and before you know it you’re holding them in place. Then they begin to rely on you nagging and you become a noisy rider.
I frequently remind my riders to go quiet and still when their horse is softening and doing as they should. They don’t need to drop the contact or take the leg and seat off completely, just soften and reduce the strength of the aids.
With one of my clients I’ve been paying special attention to getting her to hand over the reins, literally, and putting the onus onto her horse to carry himself as she can become too busy and he gets a bit reliant on her putting him in the right place. It goes against my client’s nature, but she’s starting to hand over control.
We warm them both up using circles and school movements to develop vertical balance, whilst reminding my client to give moments of peace. Then when her horse is working in good balance and is supple and rhythmical, I get them to ride large with the odd large circle. Simple school movements than what we have done in the previous fifteen minutes, but with the aim of my rider doing less and her horse carrying himself.
It struck me a couple of weeks ago, when hiking across frozen, poached fields with a two year old, that teaching self carriage is similar to teaching independence to a toddler.
“Don’t hold my hand, I don’t need help!” she says stepping into a frozen mud valley of the field. The divots are big enough for me to feel precarious whilst crossing, let alone when the valleys are knee height. I let go of her hand, but it hovers just behind, ready to catch. She’s every chance of success by the way I’ve prepared her, but I’m ready to catch her before she falls.
With a horse, you use the aids to guide them into the right frame and balance. Then you take away the scaffolding as they perform a task well within their abilities. But you’re still there, ready to step in the moment they flounder. Initially it may be a reduction of the frequency of the aids, or it may be a lighter aid, but all of your reductions are focused on making your horse more independent and less reliant on you holding them onto the springy, engaged trot or canter.
When your horse, just like a toddler, succeeds in a simple task they grow in confidence in their own abilities, they relax and develop self carriage. It may only be a couple of strides before you take back their hand, but eventually they’ll be that balanced (emotionally and physically), fully fledged young adult, we aim our toddlers to become.
But we have to trust ourselves enough that our preparations will let them fly off with success when we let go.
During the first lockdown in the spring I was really motivated and focused on Phoenix – she benefitted from six days a week of consistent work and really got to grips with half pass.
Then followed a summer of fun – long hacks, jump training, camp. I really felt that our relationship was strong and secure. She was jumping confidently up to 1m over coloured poles and cross country.
I affiliated her with British Dressage in the summer, and took her to a couple of competitions, where she placed each time at Novice, with scores over 65% each time. I have mixed reactions to competing her; the range of scores is frustrating – 8, 8, 8, 8, 4. I mean, was the spook at the shadow really necessary? I always feel that we haven’t performed at our best, and I feel the 70 scores are within grasping distance as soon as we get the consistency. She scores above average, but I know we can do better so I’m never satisfied. My plan was to do our first elementary test in the autumn.
However, lockdown in November cancelled that and since then I’ve felt a bit aimless. Is there any point in preparing for competitions that will probably be cancelled? What’s the point in training if there’s no where to go? Is she even improving? We accidentally qualified for the Novice Winter Area Festival, but I immediately decided not to go. I’d planned to aim for them at elementary level, so to qualify without trying to gives me hope that we can qualify if we put some effort in!
We’re in full on winter Phoenix mode, which whilst manageable now, often leads to frustrating rides when she’s tense and scooty. I’m having a quarter sheet made to measure as she’s between sizes and the bigger ones spook her when they touch below her stifle, whilst the smaller ones don’t sit comfortably over her quarters so restrict her movement. This should help as Phoenix is definitely happier with a warm bottom, protected from the wind and rain. She also has bags of energy which, I’ve recently discovered, can be controlled by being exercised twice a day, or by taking her for a hack followed by working her in the school. Of course, this risks getting stuck in a vicious cycle where she just gets fitter and fitter… So I’m keeping this trick up my sleeve for times when I need her a little tired.
Feeling aimless is not me. Not having a goal or focus doesn’t do well for my state of mind, and doesn’t do well for getting the best out of Phoenix. So over Christmas I’ve enjoyed lots of hacks, and then got a schooling session filmed so I could see how she’s going. It wasn’t the best day for filming – very cold and frosty – so she was a little tense, but I was pleased to see that she is looking strong and established in the trot, more uphill, but could cover the ground more. When she relaxes she opens up in her frame; I just need to get that relaxation quicker! With this elusive relaxation I can also refine her medium trot, which is very fragile and prone to going crooked when she gets tense. As she can fly along on the lunge in medium trot I have no concerns about her ability, she just needs to relax and embrace the bigger strides.
Phoenix’s canter work is looking better; more rhythmical and established. But she needs to learn to wait and not rush so much. I need to sit into her more, which I had been trying to do before Winter Phoenix arrived, and she needs to accept this change of position so I can use my seat more effectively. I was pleased that her canter half pass looks as good as it feels, and it helped to balance the canter whilst taking out the tension.
Phoenix seems happier when being asked something complicated; i.e. Cantering half pass instead of cantering in a straight line. Which means I need to ride through the silly moments and focus her mind on the harder stuff before addressing the quality of the easy movements. Being able to visually see her working, has given me a boost of motivation. I’ll keep plugging away at her lateral work, developing her consistency, and then aim for some elementary classes when restrictions are lifted with the aim of trying our hand at a medium test or two in 2021. Now to hope that we have some pony parties to go to!
In 2021 I’m planning on attending a course of whatever sort is allowed to happen with Covid guidelines on the Franklin Method. My pilates teacher is an avid fan, and a lot of the ball and band work I’ve seen compliments my teaching and would benefit my clients. I’m not interested in running clinics, but a better understanding and knowledge of the props will give me some more tools to help my clients achieve their goals.
Starting with sponges. I saw a social media post using them and promptly hopped on the band wagon.
Several of my clients have now endured the sponges, and all have felt the benefit of the instant feedback the sponges provide.
The large sponges sit on the stirrup tread, underneath the foot and can be ridden on the flat and over jumps. I’m yet to use them over jumps, but I will, don’t worry, I will!
I start the session with the sponges by getting my rider to walk round on both reins, getting used to the feel of them under the foot and tuning in to their feet. Improving their proprioception. We talk about whether one sponge is more easily squashed than the other. If so, then it suggests the rider has more weight going down that leg, often coming from asymmetry in the seat. Which we can then address.
Once we’ve raised awareness for any discrepancies between the legs, I get my clients to “squash the sponges” as they walk round the arena. Rhythmically pressing down on the sponges increases the movement in the ankle, so is very useful for anyone who tends to brace the lower leg. For those at the opposite end of the spectrum, who struggle to get their heels down, find that pulsating the sponges starts to lengthen the calf muscles. Squashing the sponges isn’t a big movement – I don’t want to see the lower leg swinging – it is just activating the ankle so it becomes bouncy, or spring like.
We then move up into trot, where I focus my client on what the sponges feel like; if they draw the leg up the sponge will feel like it’s moving around. The rider becomes more aware of any stiffness in the ankle, and if they overload one leg. We then play around with pressure in the foot to improve their balance and coordination.
For riders who’s heels draw up, I’ve found that dropping the heel every time they rise is an effective exercise to improve the lower leg, lengthening the calves and dropping their weight into the heel.
For the riders who brace their ankles, I get to wriggle their toes as they sit into the saddle. We don’t want toes pointing down, but squashing the sponge and wriggling the toes reduces ankle stiffness. Usually there’s some moans and groans by now, but my riders have springs in their ankles which gives them a softer lower leg and improved leg aids because they can close the leg around the horse’s barrel better, as well as being stiller so more precise with the aids.
The canter is the interesting gait to ride with sponges. Because it is asymmetric riders often have one leg behaving whilst the other runs errant. The outside leg often draws up and the stirrup start to rattle about on the foot.
My clients have all done better than expected when cantering with the sponges, with less movement of the sponges than I’d read about when planning this exercise. I know that smaller sponges would be less stable, but equally I don’t think they’d have twisted much with my clients. They could feel the weight coming out of their foot sufficiently, and then by squashing the sponge or wriggling the toes we could correct. With one client in particular, using the sponges really got her reaching down to the stirrups so deepening her seat and stabilising her lower leg. Others have just become more aware of the weight coming out of the outside leg and a result sat more centrally in the canter. It also helps highlight the difference between the left rein and the right rein.
So how do the sponges work? They aren’t forcing feet into certain positions or anything. But they do increase a rider’s awareness of that area of their body and provide instant feedback when changes are made. Which makes it easier to make and maintain corrections. I found that whilst all my riders noticed the sponges at the beginning of the ride, by the end they had forgotten about them because their leg position had improved and the squashiness of the sponges more consistent.
Their purpose when jumping is to ensure the rider folds straight and evenly into their jumping position, not leaning on one leg more than the other, and ensuring the ankle is flexible whilst jumping.
I think the sponges could be improved by being denser, which would give more scope for squashing them and softening the ankle. Also some riders would benefit from the sponges being slightly smaller and so more likely to shift position in the stirrup if the rider draws their leg up or rolls onto the outside of their foot so the weight distribution is uneven. I’ll have to look out for some different sponges!
In the meantime clients, you’ll be seeing more of those yellow sponges!
I often talk about vertical balance with my riders as it’s one of the easiest ways to feel if a horse is unbalanced on turns. Have I blogged about it? I shall check as it was definitely on my list to do but I don’t actually remember writing it.
Anyway, when looking at improving vertical balance I use the concept of diagonal aids. That is, the inside leg works in conjunction with the outside rein and vice versa.
Riding a horse is all about a balancing act. From day one, a rider is balancing the horse between going forwards from the leg and not going too fast by using the hands. Yes, the seat is also involved but as that works for both teams we’ll ignore it for the moment. It’s like having clutch control; every car is slightly different and there’s a skill involved.
Once we start talking about vertical balance the balancing act becomes a side to side one.
Initially, I ask my riders to ride some turns in walk, identifying the aids they’re using. Sometimes they get it right, after all I teach “indicate with the inside rein, instigate with the outside leg” when steering, but sometimes they’ll use one limb more than another, compensate for their or their horse’s crookedness, or have totally forgotten about one particular aid. Then, we discuss how the diagonal pairs work together to turn a horse, and to keep them upright on turns.
The left rein and right leg work as opposites to the right rein and left leg to keep the horse vertically balanced.
For example, the inside rein indicates the direction of turn as the outside leg pushes the horse in. The outside rein and inside leg work to prevent over steering and the horse falling in around a turn.
When a rider starts to think about their diagonal limbs working as pairs it becomes easier for them to work on a grey scale. Instead of it being black and white, putting the steering wheel onto full lock, they can now steer by degrees. Just as learning a half halt provides them with gears to each gait.
Half halts then begin to develop from a speed regulator to asking for bend, and correcting balance subconsciously. The rein contact becomes more consistent and because a leg aid is always applied with a rein aid the horse is ridden in a more forwards manner. Using diagonal pairs helps develop the feel and timing for aids too, which helps with refining the way of going.
Developing the concept of riding with diagonal pairs naturally leads on to riding inside leg to outside rein, which is a precursor to leg yield.
I enjoyed introducing the idea of diagonal pairs to one of my young riders a couple of weeks ago to help her transition from riding off the inside rein as a child usually does to riding with the outside aids. She had fabulous results as her pony started pushing through from behind, was more balanced on all their turns and taking the contact forwards. Thinking in diagonal pairs allowed her to position her pony wherever she wanted, and to correct him if they went off course. It was a very satisfying lesson to teach as I felt they both benefitted hugely from the rider’s new found understanding, feel, and knowledge.
At what point in a rider’s education do you introduce half halts?
I discussed it with some of my younger clients last week, with their parents being surprised at their grasp of the concept by the end of their lesson.
I like to bring in the idea of half halts fairly early on, once a rider is holding a steady rein contact, even if the reins are slightly long, and when they’re fairly balanced. If they have a vague knowledge of the phrase early on then it becomes much easier for them to learn how and when to do them later on.
I tend to layer the concept of a half halt in relation to a rider’s age, current level of riding, level of understanding, and what they actually need to achieve with half halts on their particular pony. As they develop as a rider, so their half halts evolve from dictating the rhythm to connecting a horse from back to front and the many other uses of a half halt.
So my explanation to last week’s eight year old was that half halts are a rider’s way of getting the pony’s attention. In a crowded room, you’d start talking to someone by using their name at the beginning of the phrase in order to get their attention. The half halt is a rider’s way of getting their pony’s attention before asking them to do something. By attracting their pony’s attention before a movement the pony is more obedient, the movement itself will be more balanced and accurate. At this stage, I get them to start factoring in half halts before transitions and turns.
As the rider becomes more adept at applying half halts at specific points during their ride, and develops an awareness for their pony’s way of going; the use of half halts can then be expanded to help them keep their pony in a steady rhythm. This relies more in feel, so is often slower to be developed. For example, it’s easier to remember to half halt before every turn then it is to half halt at the first sign of your pony speeding up or losing balance.
And so, the use and understanding of the half halt evolves as a rider matures in feel, ability and understanding.
So as well as the uses of the half halt developing over time, so does the half halt itself. It’s a complex aid when not autonomous. Again, I break it down and introduce it piece by piece. There are three components; the squeeze of the outside rein, the close of the leg, and the adjustment of the upper body.
Kids usually find the squeeze of the rein the easiest aid to apply; a squeeze like they’re squidging a sponge. Squeezing the leg is usually fairly straightforward too, but the upper body action often catches a young rider out.
In the textbook half halt, the upper body resists with the core engaging, to “pause” the horse. Try explaining this to a child! I use phrases like “sit up taller”, “lean back” (which brings them onto the vertical), “touch the sky with your head”, “slow your rising”, or “make your tummy hard”. Usually one phrase hits home with a rider and makes total sense to them, so I play around with phrases, demonstrations and any other idea I have to find what works for them.
So when introducing the half halt, I start with just a squeeze on the outside rein. It’s the easiest for them to understand as it ties in with slowing their pony for a turn, or if they’re running on. When the squeeze on the rein becomes second nature and they’ve developed a feel for the right amount of squeeze for a half halt, I bring in the second element.
Which element I bring in next depends on rider and pony. If the pony is lazy then I add the leg aid to the crude half halts. If the rider tends to collapse their upper body then I will teach the upper body aids.
With the lazy pony, I’ll say that as we want to maintain the energy, we need to add in a leg aid immediately after a squeeze down the rein. It’s like “rolling” a chord in music. The hand and leg act together, but not quite together. We’ll then play around until my rider has got the timing right and getting the correct response from the pony. Then we will refine the half halt by utilising the seat and upper body.
With a quick pony, or a rider who tends to collapse forward onto their hands, once the rein aid for the half halt is established, I focus my attention on getting them to sit tall and engage their tummy muscles. This makes their core stronger and stops them being over reliant on the reins in the long term, and also means that they are more effective at half halting and stopping a speeding pony. In this situation, very often only a teeny bit of leg is needed in the half halt, but I’ll still mention it so that when they move onto another pony they can actually keep them trotting!
So long as a rider has a basic knowledge of a half halt, you can adjust the aids and frequency to best suit their mount, and when they ride other horses they can make their own adjustments to find out the new horse’s buttons. You can also use the half halt to convey different messages, depending on the situation and the conversation pony and rider need to have. In my opinion, they earlier (within reason!) a rider hears the phrase and starts to learn about the principle of the half halt, the better for their long term education and success.
It’s a tricky one. Because it’s both three beat or four beat depending on your level of training; and tricky in that it is also both correct and incorrect with four beats.
Confused? Yep, a lot of people are from my observations.
Let’s start with average Jo Bloggs, working up to elementary level with an average all rounder horse. You know the type. Which I think encompasses the majority of leisure riders. A correct canter for you is a three beat canter; the outside hind coming forwards followed by the inside hind and outside fore together, then the inside fore and the moment of suspension.
You might have heard coaches talking about the fact your canter is four beat, or talking about improving the quality of the canter so it is more of a three beat canter. A lot of leisure horses can have a four beat canter, when the diagonal pair becomes broken and those feet don’t touch the ground simultaneously. But in a negative way. The sequence of legs is the outside hind, outside fore, inside hind, inside fore. It’s almost a lateral canter, and results from a number of issues. A horse who is too much on the forehand, lacking impulsion or activity in the hindquarters, has an interfering rider, has poor conformation or stiffness in their hindlimbs, is likely to develop this lateral, four beat rhythm. Sometimes when a horse loses balance they will revert to the four beat, lateral canter, when otherwise they have a three beat canter.
So this laterally four beat canter is not good from a training perspective because it’s very difficult to create the elevation needed for collection and lateral work. You can improve it by the use of polework, using more seat and leg to create impulsion, using hillwork and medium canter to create a more active hindleg, but ultimately it is performance limiting, so you’d struggle with advanced level work. This type of four beat canter is called negative diagonal advance placement (DAP).
That’s the negative four beat canter out the way, now let’s look at the positive four beat canter. Have you ever seen photos of elite horses, youngsters or under saddle, and noticed how uphill their canter is? And how there is no way the diagonal pair hit the ground simultaneously because the forelegs are so elevated? Well you’d be right. The inside hind does land fractionally before the outside fore. This is called positive diagonal advance placement.
So why is a sequence of footfall outside hind, inside hind, outside fore, inside fore, seen as a positive four beat canter? Well firstly, a horse who can engage their hindquarters that much will be more powerful and find collection easy. If you watch a horse doing a canter pirouette you will see that it is a definite 4 beat canter, which it has to be in order for them to be able to rotate almost on the spot. A horse who is unable to canter with a positive DAP will find this level of work nigh on impossible.
This means that when you are looking for the next future dressage champion, you are looking for a four beat canter, a positive DAP, as that suggests that they will be able to perform at the higher levels. A good example is below.
I had a look through my photos and found one of Phoenix at her first prelim. She had an unbalanced canter at the time, and you can see that although it looks lovely at first sight, she is showing slight negative DAP. I’m struggling to find proof of her recent canter work (apparently babysitting duties trumps cameraman duties?!) but just by her becoming stronger and more balanced she shows strides of positive DAP, particularly when she relaxes into collected canter work.
I then also found this image of Matt, showing slight positive DAP. Of course, not on par with the elite dressage stars, but a useful example.
This image of Matt brings me onto my final point, or musing. At what point does a positive DAP become a gallop? After all, the sequence of footfalls is the same on paper – outside hind, inside hind, outside fore, inside fore. I asked my trainer for her opinion, and she thought the gallop was differentiated because of it’s speed and the horse’s carriage whilst galloping – long and flat rather than uphill. She also helped explain that in a three beat canter the footfalls are regular, in a four beat canter the diagonal pair aren’t landing together, but they aren’t a whole beat apart. It’s like they’re slightly off beat. In musical terms: crotchet, quaver, quaver, crotchet.
There is loads of information about diagonal advanced placement, and it happens in the trot too, so go and have a look on Google. And when you come out the other end of the rabbit hole, let me know what you think of the subject!
I attended (from the comfort of my sofa) a webinar during lockdown by Dr Sue Dyson about her Ridden Horse Pain Ethogram.
What’s that I hear you say. Well, I’d vaguely heard of it, but wasn’t sure what it was all about.
How many times do you hear people saying that their horse isn’t right? They can’t put their finger on it, but they aren’t their normal self. Then they ask their chiropractor, physiotherapist, or vet to have a look. But these professionals don’t know the horse as well as their owner does so miss the subtlest signals of pain and discomfort.
Having felt horses having an “off day” I know how difficult it is to put your finger on it, but then also how to ascertain that they are feeling better or recovering.
Alternatively, you have the leisure horse owners who struggle to feel a subtle lameness – when a horse is perhaps 3/10 lame, or just slightly short in stride on a circle. In that case, they need more symptoms to look for.
This is where the Ethogram comes into play. The Ethogram lists 24 defined behaviours which are associated with discomfort: for example, teeth grinding, tail swishing, ears back. In the research carried out by Dr Dyson, horses were recorded doing a ridden set of exercises which were analysed. Those who exhibited eight or more behaviours had a degree of lameness, which was then diagnosed using nerve blocks.
How does this affect the average horse owner? Well, if you think your horse isn’t going as well as normal and can’t put your finger on it, then look out for the 24 behaviours. If they show more than eight, then start investigating. If, for example, once your saddle has been adjusted the behaviours they are displaying will either reduce (because of the effect of pain memory) or be eliminated. A reduction in the behaviour is it being displayed for less time, or to a smaller degree.
From the professionals perspective, studying the wider picture, can help diagnose the issue because the professional will dig deeper and investigate further even if there doesn’t seem to be an obvious issue. I’ve increased my awareness of the symptoms recently, looking at the body language and other behaviours which tell me a horse isn’t comfortable, and have definitely seen a correlation between “they’re not feeling normal” and the position of their ears, amount of tail swishing, head position, facial expression, etc.
Of course, you don’t want to become an equine hypochondriac, but there’s a lot of merit in paying more attention to the subtleties of your horse’s behaviour and how they are communicating with you. It might just mean you get your saddle adjusted a month sooner, which prevents muscle soreness or atrophy. Or you will catch a niggle and have it treated by your physio or chiro before a major problem occurs which will need a rehab programme.