Pipe Dreaming

Every so often, do you allow yourself to dream? I’m always hearing competitions on the radio – when you hear a song, ring in and win money. I never ring in. I don’t have a good track record of winning lucky dip competitions. I was always the grandchild returning from Weymouth carnival empty handed, before being given the teddy that Granny had won as compensation. The only competitions I’ve ever won are from hard work.

It doesn’t stop me from pipe dreaming though. What would I do with a sizeable lump sum of money?

I wouldn’t go crazy, stop working, travel the world, buy a brand new range rover or anything. But I’d definitely move house I think.

Recently I’ve come to the conclusion that what I want from our next house is enough space for Otis at the bottom of the garden. Just 3 acres or so. Enough for him and some sheep for company. Or possibly the pony. A slightly bigger house would be great – four bedrooms and an extra downstairs room to lighten the working from home burden. Detached. On the edge of a large village. I’d be very happy with that setup. Not too much housework, and a moderate garden. But space for Otis to join in family BBQs. Don’t worry, I’ve not forgotten Phoenix. She can come for any holidays. But she needs the facilities of a livery yard, and I like the social side.

But what if money were no object? What could I live with? It sounds such a hardship. But you know what I mean. What would be my utopia?

I love teaching, so there’s no way I’d stop. I rediscovered that today after a couple of weeks of feeling decidedly average in the coaching department. But I wouldn’t want the hassle of a livery yard. Or the invasion of privacy.

I’ve mulled it over and I think I would want a fairly small house – five bedrooms maximum. Not like these ten bedroom mansions I keep spotting online. A sensibly sized garden. Half a dozen stables. An arena – bigger than a 20x40m so it has more scope for jumping. And something like 8 acres. I could live with slightly less.

So what would I do with this? It’s too small to be a livery yard and I’ve not changed my mind on it being too much hassle. Instead, I’d have 3 permanent residents – Otis, Phoenix and a pony. Then I’d offer holiday, training and rehab livery for one or two horses. If anyone was on holiday, or out of action due to illness or injury, then their horse could come on a working holiday with me. If someone needs help training their horse, then I could offer a bootcamp, and if an owner is struggling with a rehabilitation programme – walking out twice daily or restricted turnout – then I could offer this on a quieter setting, which many horses would benefit from alongside the consistency I could provide. All alongside my freelance teaching.

I could run monthly clinics myself , or hire out the arena for Riding Club clinics and Pony Club rallies. Or I could just offer my arena for clients to come and have lessons with me. Offering clinics would then cover my need for social support with Phoenix. Equally, perhaps I have one livery who is a chosen friend who could provide some chore cover and be a friend to hack out with. Alternatively, a nice equestrian neighbour who I could hack out with would be lovely.

I think this would strike the balance for me between having privacy at home, and earning a sufficient income to cover the running costs of a small stable yard.

It slightly scares me how much livery fees are when I start thinking of the inevitable pony which will arrive in the next couple of years. Especially when you consider that during the winter small people often lose interest. If the pony could spend the winter at home with Otis (such as in scenario one) there would be less workload in terms of stable chores, less pressure to work the pony in dark evenings, and less financial pressure. In both scenarios, the pony could be ridden during school holidays and on fine weekend days either on little hacks or in the school. Surely when you factor in livery fees, this option is becoming increasingly economically viable.

Of course, it is a tie having horses at home, but with the world changing we’re spending more time at home and it wouldn’t be too expensive to have a house sitter for when we went away – solving both the cat and horse problem.

So if anyone knows a suitable property and can provide a lump sum, please get in touch! In the meantime, I’ll carry on daydreaming.

Diagonal Limbs

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.

Old age.

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.

Is The Canter 3 beats or 4?

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!

Jumping is Dressage with Speed Bumps

I’ve been working with a new combination over the summer; an eleven year old girl and her new 15hh horse, with a history of showing and showjumping.

They have been the perfect example of how improving the flatwork improves the jumping. Initially, they could barely get over a line of trot or canter poles. Not because the horse was green, but because he needs to be ridden correctly. Which is a big learning curve for any child moving up from kick and point ponies.

We started the summer improving their relationship on the flat; exploring the concept of rhythm, improving rider position, developing the idea of riding leg to hand. These all began to improve their straightness and balance.

As this improved, the jumping and polework became easier; they had fewer run outs, maintained a rhythm to and from a fence and were more balanced. We did gridwork which helped the transition from polework to jumping, and helped my rider adjust from a pony’s pop to a horse’s bascule.

I then turned my attention to the quality of the gaits, and improving my rider’s feel for a poor trot or canter and her ability to improve them. I mainly did this on the flat, but then I started to notice (which is very common) that my rider was improving on the flat, but not making the connection to that work with her jumping. She got more confident, wanted to jump bigger, and then little problems started to creep in.

With the typical “urgh flatwork” reaction that a lot of kids give, I decided to do a jump lesson without focusing on the jumps. Of course, she went over the jumps, but all my critiquing was on the flat, to hopefully help my rider understand the importance of her flatwork.

I erected the jumps to a reasonable size – big enough that if she didn’t ride the approach correctly then her horse would politely duck out, yet small enough that she wasn’t concerned about the height. As she warmed up we discussed rhythm, impulsion, how reactive he was to the aids, riding from leg to hand, balance on the turns etc.

She warmed up over a simple cross pole on a diagonal line across the school; the first time off the left rein the canter was a bit flat but she got away with it. The second time she held a better rhythm and kept the canter together and rounder so that the jump was more of an extreme canter stride with a better bascule. I focused her on the quality of the canter and let the feel over the jump do the teaching.

We changed the rein, so she was coming off a right turn. Now, I’ve been drumming into her all summer about her pony drifting through the left shoulder, improving her left contact and use of the left leg. Which is improving on the flat but goes out the window once jumps come on the scene.

As expected, they drifted left, her pony loaded his left shoulder and they had a clunky jump. I put myself on the outside of the turn the next time and had her ride a squarer turn without using her right rein. This kept her horse in slight outside bend, controlled the shoulder, and improved their vertical balance and accuracy to the fence. Which led to a much better jump.

We repeated this a few times, made the fence an upright, and it started to come together nicely.

Next, was a double off the dreaded right rein. They jumped it fine when it wasn’t particularly big, and could get away with a crooked, flat canter approach, but once the fence increased to 80cm, when my rider drifted around her right turn and let the canter fall apart her pony either skirted left around it, or got in very deep. Again, I focused on the flatwork and as soon as my rider was riding from leg to hand, riding squarer corners, and kept the impulsion and rhythm balance to the take off point, they flew the fences nicely, making the horse striding easily. He’s only a little horse so easily falls into pony strides if he gets deep to the first fence but the jumps are awkward and he risks knocking the front rail.

I turned my rider’s attention briefly to her recovery after the fence; sitting up quicker and assessing the quality of the canter. It was more to increase her awareness and give her something to mull over in the next couple of weeks rather than a big teaching subject for the day.

Next, we started to link the course together, discussing the time and space between the fences rather than the time in the air. As my rider rode around the course I talked her through the balance of the canter, the outside aids, the straightness of their approach. When she got it, they flew!

However, when she let the canter get sloppy, for want of a better term, they got in deep to the jump and scrambled over it. When she stopped riding around the turn and presumed her pony would take her over the jump, he drifted left around it. There were good parts to the course, and this really emphasised the importance of her approach and canter, and equally she could really see the contrast between the great parts and the “get over by the skin of your teeth” jumps.

We then rode the elements she’d found hardest, talking through the changes she needed to make before going, and there was a definite improvement by the end.

I’m hoping that the takeaway message from today’s jumping lesson was not jump orientated, but more of an awareness of the quality of her canter and her horse’s balance on turns.. She can practice this on the flat and as part of her warm up, and it will in turn benefit her dressage. Which I think she’ll focus more on it when she understands how much it helps her ride a smooth, flowing, balanced course clear.

After all, showjumping is just dressage with speed bumps. Get the bits on the flat right, and the jumping is easy. Sneaking flatwork into a jump lesson is often the only way to get young riders to see purpose to their flatwork and motivate them to improve it for the sake or their jumping.

A Canter Sequence

I’ve been working on upping the canter work with Phoenix; increasing my standards, pushing her boundaries, improving her balance and strength. Last night I had a play with one of the canter sequences from an elementary test, and whilst it’s definitely work in progress, it was good to feel how hard Phoenix had to work to keep her balance. I want to start using bits of this in trot and canter for some of my clients – so watch out!

The sequence is nicknamed the PIG from elementary 59 as those are the letters you ride to, but as I was in a short arena I adapted the exercise slightly to suit her current level of training.

In canter on the left rein, ride from M to X to D, then cantered a left ten metre circle. At D, ride a simple change before a right ten metre circle in canter. Finish the sequence by riding from D to A and then turn right to change the rein.

The line MXD requires balance because the horse has to change their propulsion leg, akin to counter canter. I found that it helped lighten Phoenix’s forehand and collect her canter slightly.

In elementary 59 you continue along the centre line to A, but it is easier to ride a ten metre circle at D, or just before, at Phoenix’s current level of training. As she finds the MXD line easier, I will extend the centre line and ride a left turn at A. The canter becomes more collected and elevated after X, which actually really helps prepare her so that she stays balanced on the circles.

At the end of the left ten metre circle, ride a simple change before a right ten metre circle. This is particularly useful for Phoenix as in the downward transition she often swings her hindquarters to the right, so the quick change of bend and strike off into right canter helps resolve this. Simple changes also come into elementary level so it’s a good opportunity to practice these. After the right circle, I rode a straight line to A then turned right.

The exercise can be repeated off the right rein using the HXD line, with the right canter circle first. It can also be ridden from the A end of the school – using the KXG and FXG lines.

At elementary level, movements come up quickly in tests, so whilst Phoenix may be perfecting the individual movements, with plenty of preparation time, and in ideal locations around the arena, it is the art of putting different movements together in rapid succession which will really cement her at this level.

I really like how this sequence flowed, so may well incorporate it into more of my teaching and schooling of horses as the changes of bend improve a horse’s balance immensely.

A Family Pony

When 14 year old me was given Matt as a two year old, I never envisaged he would become such a family pony. He let teenage me career around the country, have a go at anything and everything, yet also allowed me to be slightly responsible. Like the time I escorted 3 under 10s on a sponsored ride – now I think I was mad! He wasn’t a guaranteed red ribbon winner, although he did win a few unexpected prizes against the odds. And I was always guaranteed that he’d stop at a filler jump!

We did shows, sponsored rides, my first dressage competition, galloped up the field bareback numerous times, went to the Boxing Day Meet, the annual Christmas gymkhana, and he let me learn so much with him. Looking back, there’s definitely things that I would have done differently when backing and riding him. But with age comes wisdom. And I hope he doesn’t think ill of me for my mistakes.

When I turned my attention to Otis, Mum started riding Matt more. She had to build her confidence up after years out the saddle, with mainly hacking and flat lessons. It was a rocky ride initially, especially when I moved away and Matt was in less work but still young enough to have silly moments, like charging off across the school, or excessively spooking at a trembling leaf. However, he did settle into a quieter way of life and they now enjoy lots of hacking and sponsored rides.

Then when he was 15 he got the shock of his life coming out of semi retirement, when I had him back for a few months. What started as something to occupy me while Otis was lame, Matt gave me some of my proudest equestrian moments. Flying round sponsored rides, doing more jumps in one ride than he’d done in 5 years, his first hunter trial, scoring 78% in a dressage test, qualifying for the BRC National Championships, winning his arena and overall competition… His bromance with Otis, riding and leading them both for miles for Otis’s rehab…

I was actually quite sad to give him back to Mum, and do miss his cute face and secretly miss his quirky ways – although his separation anxiety can be a real pain in the bum.

Only a couple of months after the pinnacle of his career, Matt fractured his stifle from a kick in the field, which led to six months of box rest, various secondary problems as a result of his confinement, a long rehabilitation programme by Mum, and he thankfully returned to normal work.

Mum continues to enjoy riding him, having lessons, venturing out to local dressage herself, and hacking for miles. And more recently, Matt has taken on an extra role with the third generation.

He quietly stands (so long as he can see other horses) to be groomed from atop the mounting block. He lets a certain little person sit on his back facing forwards, backwards, lying down, hugging his neck, kissing him, and generally be loved. Then he allows himself to become a lead rein pony, doing short, gentle trots, ignoring the giggles and shrieks of laughter. Oh and doesn’t bat an eyelid with the emergency dismounts when a wee is needed!

After last weekend all I’ve heard is “I ride Matt. Matt horse my best friend. I trot! You teach me.” It appears he has a fan!

I’m actually very proud with how adaptable and tolerant Matt has become in his old age (he’s 18 this year. Or possibly 19…), and how he has taken on every challenge we as a family have given him, and how much fun he has given us. To me, he has become the epitome of a family pony, and is firmly part of our family. Roll on the next few years, when I’m sure he’ll have all three generations trotting and cantering around on him!

The Way The Mane Lies

I read a really interesting article about what the lay of the mane tells you about a horse’s body.

In a nutshell, a foal is curled inside the womb either to the left or to the right. The side they curl to is their naturally more bendy side before undergoing training (as don’t forget that a lot of training focuses on straightness) and this is also the way their mane falls. The mane, so long as it’s not trained to lay on the offside because it’s more traditional, falls to the side the horse bends more easily to, even over bending in some instances. It’s to do with muscle fascia, but I’m afraid that’s getting far too complicated for my little brain to comprehend so for that information I’d recommend asking a physio or Google.

I had never heard of this before, having just presumed horses who’s manes fell left were the left handers of the equine world. Phoenix’s mane falls left and I hadn’t even made the connection between her softer left rein and more resistant right rein.

After reading this article, which you can find here I started to pay attention to all the horses I see and their manes. Of course my observations are limited by the fact that we still subconsciously lay the mane right, and neck rugs compound this laying, so like a lot of lefties, left lay manes can often pass as right lay manes. This limits my observations a bit, but when grooming Phoenix s couple of weeks ago I had a light bulb moment.

She doesn’t wear a rug at the moment and her mane has gone from a very definite left lay, to sitting either left or right with minimal effort and if anything going upright or favouring lying to the right. It’s almost as though her mane has been blow dried to increase the volume by encouraging the roots to stand up. Ladies, you’ll understand what I mean. Before it was very flat to her crest. Thinking about her current way of going, she is much straighter and stronger so presumably the improvement in her muscle tone and strength is causing her mane to change it’s lay. It will be interesting to see whether it stays right, upright, or reverts left as she continues to develop.

I asked a friend who’s a physiotherapist for her opinion on mane lay. Apparently it’s quite common for a young horse’s mane to switch sides as they go through their training and favour one bend more than the other. Additionally, sometimes half the mane flips sides, which indicates neck dysfunction, and the muscles working incorrectly.

In this not particularly brilliant photo of Phoenix you can see that her mane is very much undecided which way it wants to go, and you can see the shorter part of her mane at the bottom goes fairly straight up.

I would say that observing the way the mane lies is not a foolproof way of identifying their supple side, because heavy breeds offen have so much mane it has to part down the middle, and rugs with necks encourage the mane onto one side or the other, and some people put a lot of effort into training the mane onto the off side. However, during a schooling session the mane will usually try to revert to it’s natural lay, as I observed whilst teaching last night. But having an understanding for the mane lay and the possible effect on the horse’s way of going, hopefully you can use your observations to successfully feed back into your training plan.

Exercise Boots

Otis wore protective boots for all forms of exercise, but in the last couple of years I’ve done a complete U-turn on my approach to leg protection.

It started when I was doing in hand and lunging work with Phoenix whilst heavily pregnant. She was barefoot and a clean mover and not in hard work. Plus I could hardly bend down to put boots on her. Then I just progressed to riding without brushing boots.

I put them on when we jump or go cross country, but as she’s still barefoot and shows no signs of knocking herself I haven’t used boots or bandages for the majority of her work.

My reason for moving away from leg protection was mainly the research that was coming to light about the problems caused by boots warming up tendons and having a negative effect on their tensile strength.

And I was quite happy with this simpler approach to riding, and confident in my reasoning. Until recently.

During lockdown Phoenix has progressed in her flatwork and is now working on collection, half pass in trot and canter, walk pirouettes, as well as doing direct transitions as the norm. I’ve recently started doubting my logic. But it’s a minefield nowadays trying to find the right leg protection.

The big downside to leg protection is that it heats up the legs so reduces rge functionality of the tendons. So boots need to be as lightweight and breathable as possible. However, the lighter the material, the less protection the boots will provide.

I wrestled with the pros and cons for each argument but finally decided that I’d never forgive myself if Phoenix knocked herself whilst dancing, causing a wound that would have been protected by lightweight boots.

The expert guidance on the subject of leg protection now is that they should only be on for the minimal length of time, should be as breathable as possible, and the legs should be cooled as quickly as possible after work. I also learnt a lot about the type of boots. A lot of dressage wraps are marketed as “supportive” but in reality, they offer very little support. And you don’t necessarily want support because if you restrict the movement of the fetlock the forces are transmitted to another joint in the leg, which could cause more injury. In terms of protection, boots either provide an armour like protection to stop injury from sharp objects, and others dissipate shock forces of a strike or impact. No boot does both forms of protection. For my situation, I want softer boots which won’t stop wounds from sharp objects but will reduce the effect of a knock as Phoenix is learning to dance Valegro style.

I’m still very much on the fence about using leg protection on a daily basis, because it isn’t a straightforward decision as we were taught a decade ago, but owners and riders have to weigh up the benefits of providing protection with the effect of heating up and weakening the tendons. And once your decision is made there is the challenge of finding the boot which provides a sufficient level of the correct type of protection whilst reducing the heating effect.

Continued Professional Development

As part of my accreditation as a BHS and PC coach I have to attend CPD days annually. They can often be a pain because of the effort involved in rescheduling my diary, travelling to the venue, and finding an appealing course at the right time in the right place which actually counts as a CPD course.

I was up to date with all my certificates, so thankfully won’t be affected by the cancellations surrounding lockdown, but I have seen a huge rise in webinars and online lectures this spring. With the extra time I have, I’ve been quite busy expanding my professional knowledge.

Ros Canter and Caroline Moore did a three session lecture over the course of a fortnight which was very reasonably priced and had the attraction that the lectures were recorded so I could “catch up” during the week. They were fascinating, and really useful – some clients have already started to see the exercises popping up in lessons. It was a combination of a PowerPoint, a series of YouTube video clips, and the experts discussing the subject. I’ve actually still got the last one to finish owing to a broken laptop, so I’m looking forwards to catching up on that soon. There is also a sports psychology talk for me to catch up on as well when I have a functioning laptop.

I’ve also just completed a mental health course, which was very straight forward to complete and meant I could pick it up and put it down easily around toddler challenges. This course was about helping coaches know how to help people with mental health problems, remove the stigma, and make our sport more accessible to them. As a coach, I often find the first few minutes of a lesson is a client unloading their woes so that they can forget about it for an hour and get the best out of their time with me. And now I have a few more tools in my toolkit to help if anything more serious than a “I got stuck behind a tractor which made me late so I haven’t groomed his tail” moan.

I’ve got a talk tomorrow night about arena surfaces which will be interesting, plus my riding club is organising an online rider biomechanics talk – a personal favourite subject of mine.

I don’t want to overload my brain with too many talks, but I really like how equestrians are embracing virtual education and are offering all these courses for horse owners and professionals. Whilst it means that not all subjects can be covered, it definitely opens up opportunities for us to learn whilst social restrictions are in place.

With the BHS requiring annual CPD days, a more flexible arrangement of alternating between courses which you attend in person, and online courses totalling sufficient hours, would definitely give coaches more ability to learn about the subjects which interest them as well as the ability to fit training around their busy working lives.

I hope that now we have the ball rolling with virtual lectures they continue to be offered after lockdown and social distancing is reduced. After all, more accessible education can only benefit our horses. It will also enable us to listen to a wider range of experts, perhaps who are out of our area or who do very exclusive talks.

The Left Hand Knowing What The Right Hand Is Doing

I discussed this subject with a teenage client last week as we focus on improving her pony’s straightness and her rein contact.

I asked her if she was aware of the jobs of the inside and outside hand, and if she felt that her hands were as good as each other at each job.

She knew that the outside rein is a stabilising rein, it needs to be steady and consistent to prevent the horse falling in, losing vertical balance, or bending too much through the neck. The inside rein is used to flex the horse and indicate the direction of movement. As a result, the inside rein is more mobile (not to the extent of dancing around) but not quite so steadfast as the outside rein.

With my rider understanding the concept of the different roles of the inside and outside rein, I asked her to evaluate her rein contact and hands in each direction. Did her right hand find it easier to be the outside rein than the inside? Did her left hand provide a better outside rein contact than the left?

She correctly identified that her right rein was a better outside contact than her left hand as it stayed steady without hanging off the mouth. Her left hand found it easier to soften her pony into a left bend. In this case, the more dextrous hand was her writing hand, but this isn’t always the case. In my observations, I’ve noticed that everyone has a stabilising hand, which is used for example to hold a nail, and everyone has a hand which is more adept at finer movements – the one which uses the hammer. Perhaps that isn’t the best description. The stabilising hand holds the paper still whilst the motor hand draws the picture – how’s that? Most of the time the motor hand is your dominant hand, but it’s not a golden rule.

Once we’d established the different jobs of the outside and inside rein, we talked about how to improve the hands. I asked my rider if she felt there was an even weight in both hands, or if one was always heavier. A lot of riders carry more weight in their stabilising hand, which when it is the inside rein means that the horse is more likely to motorbike around turns and lean in. So I had my rider assess the weight in her hands on both reins to see if one was significantly more. Her right hand was slightly heavier, but not a huge amount so on the right rein I just kept reminding her to balance out the feel in her hands – taking more weight with the left hand and lightening the right. This immediately began to help create a better outside rein contact on the right rein as the left hand became more stable.

I kept the focus on the right rein (clockwise around the school); keeping the left hand more stable and consistent as the outside aid, and then as I don’t want the right hand to suddenly start leaping around we mainly worked on lightening the wrist, keeping the weight of the arm in the slightly more bent elbow. As my rider’s hands became better at each job and the weight more even between left and right, her pony started to move straighter, staying more balanced on turns and giving more of a uniform bend throughout his body. She could then add in the inside leg aid to improve his inside hind leg engagement and balance.

With her new knowledge and understanding of the job of the inside and outside reins, my rider found it easier to change their bend when we started to work on serpentines and figures of eight. Her pony then kept his balance during changes of rein and became more symmetrical in his way of going because he was giving more bend on his stiffer rein and less bend on his hollow side.

With ambidextrous hands a rider is more able to ride evenly in both directions, and with a greater understanding of the purpose of the inside and outside rein the horse can be more easily corrected in their way of going. A rider can balance the horse between leg, seat and hand more subtly and effectively when a rider has more understanding and control over their rein aids.When learning lateral work, greater control over the reins as individuals means more correct movements will be ridden because the horse can be set up on the correct bend and it can be maintained whilst moving sideways.