No Foot, No Horse

Have you heard the old saying “no Foot, No horse”?

Where if comes from, nobody knows anymore. But it’s still as relevant today as it was a hundred years ago.

In a nutshell, it means that if your horse’s feet are in poor condition then they will not stay sound for very long. The length of soundness varies depending on how poor the feet are, and the workload expected of the horse, but it is limited.

So when looking to purchase a horse, you should always look at the conformation of the horse’s feet and the quality of the shoeing and trimming. As well as many other factors.

When you buy a horse, you should then recruit a registered, qualified farrier to maintain your horse’s foot quality, or indeed to improve them.

However, don’t just stop there. Every day pick out the feet, study them critically. Observe any changes. And talk to your farrier!

My farrier always asks “how’s she going?” when he arrives, and another farrier of several clients always asks how the horses are going when he sees me. It’s easy to say “oh fine thanks”. But make sure you’re honest, with both of you! Tell them if your horse has started stumbling, or you’ve noticed any changes to your horse’s feet, however trivial. A good farrier will take any information on board, no matter how small, and alter their work to improve matters.

Hoof walls take six to twelve months to grow from coronet band to ground, so it’s best to make corrections early so the hoof doesn’t become distorted and weakened, changing the weight distribution of the foot and possibly stressing an area of the limb and triggering an injury. A horse belonging to my friend, a thoroughbred with typical flat feet, repeatedly threw a shoe from one foot over the summer, and whilst the farrier did a reasonable job helping the hoof recover from multiple shoeings and the associated damage of throwing a shoe, the foot has changed shape to become weak and low at the heel. As a result, he is having to have six months off until new, stronger horn has grown, and the hoof improves in shape. This is to minimise the risk of injury to collateral ligaments if he stresses them by walking differently due to foot imbalance.

I’ve recently discovered that I’m very fussy about horses and their hooves. It’s one of the first things I look at when assessing new clients. And I find myself regularly commenting on their condition. I’m no farrier, but I can tell when a horse is well shod, or trimmed.

I tend to impart my observations, explaining my understanding of ideal foot balance, so that my clients learn what to look for in the future. With a newly shod foot, the shoe should look like an extension of the foot. Even when they are due to be shod, the toe should not be so long that the heels are collapsed.

I try to teach my clients about the hoof-pastern axis to help them assertain hoof balance for themselves. The wall of the hoof should be at the same angle to the floor as the pastern. If the HPA is broken back and the toes are long then more strain is put on the tendons down the back of the leg. A broken forward HPA axis stresses the tip of the coffin bone when the foot lands. So of course, neither side of ideal is great for the soundness of a horse.

If you identify a less than ideal HPA axis, or that your horse’s HPA has changed, you should raise the subject with your farrier. A good farrier will explain why the changes are happening, and how they are correcting it. If you are still not happy with their responses, then I always advise a second opinion.

If a horse has a broken back or broken forward HPA axis, then the farrier needs to make small, steady changes to improve the balance without removing so much hoof the horse goes lame. I was disappointed to hear last week that a farrier, when asked by my client, about her horse’s long toes, said that he couldn’t change the HPA of a mature horse without laming it. It’s very important to make small corrections from excess hoof growth to avoid soundness problems in the future.

My advice to horse owners is to study and understand the basic observations surrounding good hoof balance, and to discuss it with your farrier. A good farrier will further your knowledge with explanations, and take your observations on board. If they don’t, then it’s time to get a second opinion.

An interesting article for further reading:;;; https://www.geniusequestrian.com/the-importance-of-hoof-pastern-axis-and-working-together-to-achieve-good-hpa/

One Step Ahead

It’s a tricky process when teaching a child rider and a pony when the pony is clever. And keen to work.

Recently I’ve been helping one of the Pony Club members who is in this situation. Her lovely pony has the expected attitude of a Welsh chestnut mare, and is easily offended if the rider is heavy handed. And likes to work. They’ve had a couple of bad experiences in their short relationship, which has made her rider nervous, which is how I ended up being involved.

The crux of their problems, I believe, is that the mare anticipates what they’re going to do next, gets faster or turns sharply, and worries her rider who puts the handbrake on. Which then makes the exercise awkward and the mare likely to put in a frustrated buck.

I warmed them up in walk and trot, using circles, changes of rein, and other school movements as well as transitions to get my rider relaxing and the pony listening to her rider. My rider was happy in the trot, so I explained how we should ask her pony lots of questions to keep her focused on her rider. The questions didn’t need to be difficult, but should be varied and in different places around the arena. This is a steep learning curve for most kids as they have to use a bit of initiative, start to think outside the box, and generally put some thought into their riding. Once my rider got into this mindset, we moved onto canter.

The first transition is usually fine, but after that the mare anticipates, quickens in the trot, and my rider starts to tense up and over think the transition. We made a plan.

They rode a canter transition in the corner before the short side. First transition, so easy peasy. When they rode into trot, I got my rider to immediately ride a circle. Then they changed the rein. Then we cantered again. Upon trotting, they started a serpentine. Then the mare tried to quicken into the corner in anticipation of canter. So they walked. Then trotted another circle. Then cantered. Then trotted, turned across the arena to change the rein, walked in the next corner and then rode a 20m circle at A in trot. As they crossed the centre line, they cantered.

You get the picture. My rider felt more in control, her pony was listening to her so wasn’t rushing. My rider relaxed, the pony relaxed. We repeated the transitions so she stopped over thinking them. The transitions became more consistent and everyone was generally much happier.

The next problem was jumping. Again, the first jump was usually trouble free, but the mare likes jumping so can land a bit fast and if half halted too sharply will spin her tail like a wind turbine and generally be upset. She also anticipates any exercises.

I placed a pole on the floor between two wings on the three quarter line, and we started by riding school movements which accidentally-on-purpose went over the pole. We also trotted a normal approach on the three quarter line, but kept varying things to help make going over poles uneventful and keep my rider in control and relaxed. I also had them ride a serpentine, with the central loop going over the pole.

Again, as my rider relaxed, they both improved. We made the pole into a little jump and continued in this theme of varying the approach and mixing in different questions to prevent any anticipation.

This works really well with small jumps or trotting poles, but as the jumps increase in size, you can’t approach with only two straight strides!

I raised the jump slightly, and we stuck to the three-quarter line approach, but started to use more questions to keep the attention of the pony, and ultimately, stay in control. On the approach to the jump, my rider rode a fifteen metre circle. This stopped the pony locking onto the jump and accelerating. After the jump, my rider asked another question – a transition or a circle. Then we varied the approach to have two circles, or a transition, or to ride onto the three-quarter line but after three strides, ride to the left or right of the jump. This is a tricky tactic because we don’t want to encourage the pony to learn to run out. Which is why my rider had to turn away from the jump before the pony had locked on, make it a definite movement with intention, keep riding positively, and to not repeat it too frequently. It’s just another tactic which can be a useful alternative to circles.

We talked about how to take this forward to linking jumps together. I told my rider to not be afraid to ride transitions between jumps, or circle once, twice or thrice if needed. Of course, this wouldn’t be a clear round, but if the pony expects a question between jumps then when they attempt a course a half halt will be sufficient to keep the pony focused. And she will be steadier because she’ll be anticipating a circle or transition.

They finished the lesson on a positive note, knowing how to take these tactics forward so that this rider could stay one step ahead of her pony.

A week later, we took them for their first experience cross country. The aim was to be in control on the flat in an open field, pop over a couple of jumps in a calm fashion. And finish with a smile!

I only did a couple of canters in our warm up, but we used the same approach of asking lots of little questions, and varying the space we used to ensure the pony stayed focused on her rider.

The first couple of jumps went smoothly, but then the mare got a bit quicker, and my rider started to over think things. So we used the circle on the approach tactic to limit the speed of their approach, and when we linked a couple of logs together, there were a couple of circles in between.

Then my rider started to over think things, and get anxious towards the fence which frustrated the pony so she leapt a couple of jumps awkwardly because the trot lacked impulsion. I took them away from the jumps and had them trot a circle around me, slowly increasing the size of the circle and the tempo of the trot so that it was suitable to jump out of. Then we migrated the circle so that they were circling around the log jump. There were a few circles here as the ever hopeful mare pricked her ears going towards the jump, and my rider wasn’t in the right place mentally. But then they did it!

We repeated these circles as required around the jumps to settle my rider as much as anything.

We took a break from jumping, to have a go at the mini steps up and down, and the water. All these were taken in their stride, especially as they could be approached in walk initially, and trot as they grew in confidence.

We finished this successful introduction to cross country by jumping a log (circling beforehand to quell nerves and to get the balance in the trot), then the steps up and down (walking as required), into the water, trotting out and over another little log. I was pleased that we’d started to link things together, but I think it will take a couple more cross country experiences for them to be happy linking jumps together. However, I will continue to use obstacles like water in the interim so that my rider doesn’t feel that every jump needs several circles beforehand to prepare. When we have a few more options of obstacles (because they’ve jumped other jumps that we didn’t do this time) it will be easier to change approaches and courses so that the pony doesn’t anticipate and worry her rider by her eagerness.

Biting Off More Than You Can Chew

A couple of weeks ago I booked a cross country venue for the afternoon, for a variety of clients to come for private, semi private and group lessons. Mostly, it was successful. But one session in particular really challenged me, taking all my teaching skills as well as human and equine skills, to make a success of it.

Unfortunately, I think there was a bit of bad timing involved. This horse can get a bit, err, over excited in company, and a little clingy to other horses. He has a solitary life – more on that another day – because he’s such a playful acrobat in the field that no one wants to risk their horse being injured (understandably). Which means that he gets a bit silly when in the company of others. I put him at the beginning of my day so that we’d only have horses arriving towards the end. We had just started calmly walking him around the field, letting his eyes pop back into his head, when a horse trotted up the road adjacent to the far side of the field. This acrobat immediately started turning himself inside out in an attempt to look at, and go over to the happy hacker. I really think the lesson would have gone totally differently if this horse hadn’t trotted past at the beginning. Lesson learnt for next time – use acoustic ears, even if they don’t match the cross country outfit.

As you can see, it was an explosive start. We managed to get a bit of trotting done on a circle, but his rider soon felt he was unpredictable and she wasn’t happy. Neither was I. I know this horse well, but it did seem like his brain had well and truly fallen out from between his ears, and if we had any chance of recovering the situation, we needed to change tactic.

We got his rider off and lunged the horse. He had a couple of bucks, but actually settled on the lunge. So my rider remounted and we started on the lunge. I reminded her how his insecurities come out in bolshy, thuggish behaviour, and that he’s actually needing lots of reassurance at the moment.

We created a comfort zone on the lunge, where both horse and rider were close to me, their comfort blanket, and felt safe. We moved the circle out a bit, pushing the boundaries of their comfort zone, and moved around the field a bit.

The other thing I know about this horse is that he’s clever. And gets bored easily. And when he’s bored he misbehaves. When we were rehabbing him last winter he was a nightmare during the long reining and walk with short trots ridden work. We introduced poles fairly early to provide a focus, but as soon as we did proper polework, canter and raised poles his behaviour improved dramatically. After all, he had to concentrate on his work.

So we headed towards the smallest steps in the field and I lead them up it. We repeated this a few times, with the pair of them relaxing and getting more confident each time.

We expanded their comfort zone by me holding the lunge rein further away, before unclipping the lunge line and pretend leading them up the step. Slowly I drifted away and they did it a couple of times on their own. The horse was settling because he had something to think about, and as he relaxed so did his rider.

Before they got bored, we went over to the small jumps. I explained that yes, we hadn’t cantered or fully warmed up, but it was a warm day and the jumps titchy so they’d be fine. We started by trotting “on the lunge” then increasingly expanding the circle, moving around the small jumps, changing the rein and asking the horse lots on directional questions.

When my rider felt he was focused on her, and a small jump was nearby, she should trot calmly over it. Ride quietly away and resume circling in trot. The horse can jump, so our attention was on the quality of his behaviour before and after jumps. I talked continuously to my rider to help them both maintain a relaxed air. They popped over a teeny log happily, but when she came back round to do it again he had a moment of mischievousness. So I had her trot past the jump and move slightly away so that he was less sure of our intentions, and she calmly popped him over a different log.

We continued in this vein for the rest of the session. Quiet flat work, circling and figure of eighting before a jump, and then resuming calm flatwork afterwards. They expanded their comfort zone to most of the area around the cluster of small jumps. We had another blip, when he heard a walker passing the other side of the hedge, but because we were doing a more interesting subject, he soon refocused. Which I don’t think we can ask any more with this particular horse.

I was really pleased with how they finished the session; stringing a few jumps together, approaching in canter, and the jumps being the focus of their ride rather than subtly throwing them into the mix.

Unfortunately we ran out of time, as I think if we’d had another half an hour, they’d have progressed to bigger jumps, and linking combinations together, moving around the field. However, I was still very pleased and proud with how they both overcame their start and nerves to have a positive experience, finishing off in a really good mindset to pick up from next time.

Working the Older Horses

I have a few clients with older horses; the older horse has many advantages of experience, reliability, patience and steadfastness to teach and build confidences. But with that comes an aging body and the associated problems that come with old age. They are usually still enthusiastic to work, but can be slightly stiff.

Every older horse, I believe, deserves someone (like one or two of my clients) who will dote on them. Give them everything they need; treat any ailment; have tack adjusted to compensate for an aging body; groom and fuss them to within an inch of their life; and lightly ride them to maintain fitness and mobility. Nothing makes me happier than seeing a riding school horse retired to this life of Riley.

Teaching with the older horse is different too. For instance, they often need a longer warm up, or a light seat canter early on to loosen them up. It’s also about recognising their limitations and working within them. We always strive to improve a horse’s way of going, but with an older horse you have to be aware of pushing too hard and triggering a problem, and be ready to accept their limitations.

A classic example of this is polework. Trotting poles aim to improve rhythm, cadence and length of stride. With a young horse or one in their prime, you can use the distance between the poles to encourage them to stride out. When I set the distance between poles for an older horse I adjust it based on how they’re looking that day, and aim to encourage good strides over the poles, rather than pushing them to lengthen. If they’re finding it a stretch today, I roll the poles in. It’s about maintaining their range of movement rather than improving it. Usually by encouraging several consistent good strides of trot, they will improve their range of movement slightly.

As older horses are more experienced and established I find it useful to focus on the rider position, which puts them in good stead when they ride a younger horse. So apologies clients with veterans; expect lots of no stirrup work!

We also still work on improving the horse. Older horses can vary in their performance depending on the day – some days they’re a little stiffer, other days they’re like a spring chicken! It depends on the temperature, if they’ve been stood in, or what they did the previous days. So the first part of my lessons are always spent assessing the veteran and deciding if they’re okay to do Plan A, or if Plan B would be better. I also think it’s really important for the rider to be able to evaluate their horse’s way of going each day so that they work them appropriately and pick up on any changes quickly. We talk about the Scales of Training, and how to improve the horse relative to their abilities. For example, we compare their suppleness between left and right, and to their work last week. We can them improve their symmetry a bit, and ensure they aren’t becoming stiffer than previous weeks without a good reason. Knowing the theory of equitation, even if it’s not always possible to practise it all, creates a good foundation for riding future horses.

I’m working a lot with a client on straightness with her older horse in preparation for her new horse. The veteran is crooked, because he has lots of niggles and the result is that his rider is a bit crooked and most importantly, unaware of the crookedness. It’s a tricky situation because I think if we straighten the horse like I would approach a six year old, we’ll open a can of worms and his niggles will become issues. But equally, we don’t want him to become more and more wonky. So I’ve mainly highlighted to my rider the assymetry in his way of going and the differences between the two canter leads and his lateral work on each rein. Then we’ve worked on reducing his assymetry by improving his rider’s straightness. By getting her to sit straighter, be more even in the saddle and with the leg and rein aids her horse will start to adjust his body. By doing these adjustments indirectly, we won’t achieve perfect straightness. But I don’t want perfect straightness with a horse carrying niggles. But we will hopefully lengthen his working life as he will straighten his body by degrees.

By improving my rider’s awareness of asymmetry and straightness, she will be in a better position to school her new horse. I’ve done lots of grid work jumping and pole exercises on this subject of straightness. Improving her awareness, minimising any drifting over jumps, and encouraging even muscle development. Whilst accepting a certain level of crookedness. For example, when jumping from the right canter, the horse can stay on a straight line and balanced, until the jump is a little big or the takeoff a little long. Whereby he changes to the left lead and drifts left. At the edge of his comfort zone, he’s showing that he favours his left canter. If he were a five or six year old we’d develop and strengthen the right canter. But to be honest, I find this totally acceptable in an older horse and am quite happy if he shifts to his preference in these circumstances. If he stopped staying straight and balanced in the right canter over small jumps or poles I’d be concerned, but he’s managing the top end of his work load in this way, so as long as my rider is aware for her future then we’ll go with the flow.

Keeping an older horse in work is all about making small improvements to their way of going and focusing on the longevity of their working life rather than upping the workload and putting demands on a body which is perhaps carrying old age ailments and previous injuries. And of course making sure they are comfortable with their workload – medicating hocks if necessary and weighing up the pros and cons of feeding daily bute. By developing a relationship and seeing the horse regularly, and working them consistently to a level, it is easier to spot any deterioration, which then allows them to be checked out and cared for as quickly as possible.

A Shallow Loop Over Trotting Poles

I’ve enjoyed playing around with a tricky exercise over trotting poles with several clients recently. No longer are they going in a straight line perpendicular over the poles, but rather riding a shallow loop over them.

I laid out about nine poles with a conservative distance and had my rider begin by trotting straight over the poles, centrally at first and then if I wanted to check their adaptability or accuracy, I had them trot over the left then right end of the poles. This is where coloured poles come in useful as they can aim for a specific band of colour.

Then I mark out a shallow loop over the poles using cones, or even potties. The markers need to be clearly seen above the poles. The diagram below shows the placing of the poles.

So that they don’t run before they can walk, I begin this next phase by asking them to trot from between the first set of markers to between the second set, and then straight over the second half of the poles. This is usually fairly straightforward, especially if we’ve started on their easy rein. The distance between the poles is now marginally longer because they’re riding the hypotenuse of a triangle, so stuffy horses sometimes need a wake up call and to be ridden with more leg to encourage the longer stride that is required. There’s an adaptability and balance question as they go through the second set of markers because they are changing their bend and line slightly, which is trickier for the horse and requires more rider balance when they have an increased cadence over the poles.

Once the first half of the loop is established, I ask the rider’s to ride from first set of cones to the second, then back to the third. This is when the horse’s balance and suppleness is really questioned. It usually takes a couple of goes to get the exercise correct. If a horse were to really struggle I’d add a couple of extra trot poles and another set of markers so that the change of bend happened over three poles rather than one, as show below.

To make it easier initially, the markers can be quite wide apart, and the loop more shallow. As they understand the exercise and improve the timing of their aids and accuracy, the shallow loop can become deeper with greater accuracy needed between the markers.

After riding the shallow loop over the poles on both reins it becomes apparent which is their more supple rein, as the increased cadence shows up any weaknesses in both their balance and range of movement.

The rider usually notices an improvement in the horse’s general way of going after this gymnastic exercise. I usually finish by trotting straight over the poles to rediscover straightness of both horse and rider, especially if they’ve found the exercise quite challenging. And then we play around with normal shallow loops, and my horses and riders are usually lighter and using their back muscles better.

Horses and Heat

Horses and Heat don’t mix very well do they? Poo picking, stable chores and riding are sweaty work in average temperatures.

The trouble in the UK is that we aren’t geared up for hot weather. Our native breeds have dense coats all year round, and the temperatures tend to sky rocket for days at a time before dropping again, which makes it hard for everyone to acclimatise.

If we are due only a couple of days of hot weather then I think I sit with the majority of equestrians in either riding early in the morning or giving the horses a day off. It’s also then easy to rearrange my work onto cooler days.

However, if the heat is here to stay, then there’s a degree of acclimatising to do. Especially if you compete. It’s all very well avoiding the heat and riding early in the morning, but what if your class falls at midday? As painful as it is pulling jodhpurs on over slippery, sun creamed legs, you do need to ride during the day so you are both prepared to ride a dressage test in the scorching heat. If a horse is in rehab, or needs to be exercised in order to lose weight then long periods of down time aren’t conducive, so it’s better to do lower intensity work for a few days than nothing at all. For example, I’d say that this week it is acceptable for a pony on fat camp to do less work because he’s unfit and finding it difficult to work and plateau in terms of building fitness and losing weight. Weight is maintained rather than lost, or even worse put on! When it gets cooler, his workload and weight loss can increase again.

However, exercise does need to be adapted in this heat, taking into account humidity, horse and rider fitness, taking lots of breaks, seeking shade, avoiding fast work and jumping in the heat of the day. Some horses cope better with the heat – usually finer coated animals, and those with no excess fat. Older horses tend to struggle with the heat too.

My lessons this week, working around the heatwave, have involved;

  • Hacking with a young client and teaching her about the ground, where it is suitable to trot, how to ride up and down hills, and what to look out for when riding in woods and fields. All the time building her confidence to trot independently on hacks.
  • Long reining and in hand work.
  • Walk poles.
  • Teaching the different types of walk so that rider and pony don’t waste the elongated walk breaks, and to encourage them to have slow and steady schooling sessions for the rest of the week.
  • Taking a horse into the jump paddock and desensitising him to traffic on the other side of the hedge, and riding him around and between jump fillers.
  • Stable management.
  • No stirrup work, as riders are usually happier with shorter bursts of work.
  • Transitions, especially halt transitions.
  • Lateral work and rein back.
  • Bareback.

I like having lessons at an enforced steady pace. Walk is so often overlooked, and improving the walk makes dramatic improvements to the quality of the trot and the transitions. I was really pleased with how one lady started to get a longer striding, swinging walk and then floated along in the trot, truly using his back and looking very supple through his ribcage.

The important thing to remember is that everyone copes with the hot weather differently, and to remember frequent breaks, sun cream, modified riding attire (I’ve not used gloves all week), and to drink lots of water. Each lesson has begun with me asking my client where their water is, and to say if they feel unwell or need to stop for a break. Then I know the lesson will run more smoothly.

Prix Caprilli

You know I always like a challenge, and this spring I’ve had the challenge of training a dozen keen Pony Clubbers for the Area Prix Caprilli competition.

For anyone who doesn’t know, Prix Caprilli is a riding test, akin to a dressage test, with two jumps in. It’s a dying competition which I think is a shame because having two jumps helps disguise the fact they’re doing dressage, and the fact it’s a ridden test means it is welcoming to everyone; young horses, hairy natives, the elderly schoolmasters, and riders of all ages. It doesn’t matter your mount, it’s how you ride them.

As you can see, it’s a challenging test. Especially when my youngest rider is only six years old. So my first challenge was to work out how to teach the different elements of the test to a group of primary school age children in a group setting whilst keeping them engaged and interested.

I decided that props were the best way to go, and to split each lesson up so that the last twenty minutes was spent jumping – even though I knew they were all capable of jumping the small height of the prix caprilli jumps. It would reward them for their hard work on the flat. I ensured they approached the jumps straight and in a rhythm, practising establishing the correct canter quickly after the jump. In one lesson we had a bit of fun doing a Chase Me Charlie.

For the flatwork, I chose a couple of different elements of the test to work on in each lesson.

  1. In the first session I laid out a 20m circle using little sports cones at A. Throughout the warm up, they practised trotting the 20m circle. With the cones they semi taught themselves, as they could see for themselves when their pony deviated from the circle. This meant we could keep the lesson moving. We also practised the change of rein across the diagonal and then cantering the circle individually.
  2. The next session we practised the centre lines. I used a tramline of poles at X and then cones at A and C. They did numerous changes of rein up and down the centre line. We added in halts at X, using the poles to stay straight. I think I also worked them in sitting trot and without stirrups, and nit picked how they rode their corners.
  3. The trickiest part to this test, and the hardest for children to understand, is the two shallow loops up the centre line, so I used two cones at X for them to ride through, and then used a jump pole to mark each shallow loop. The warm up was based around changing the rein with the loops, as well as revising other movements in the test. Then I used a handful of cones to mark out the two half ten metre circles and had them all trotting and walking it to learn the size and shape of the half circles.
  4. The penultimate training session focused on the canter sequence. It’s quite a fast paced section of the test and the movements come up quickly so I wanted my riders to know this part of the test really well, and then start riding tactically. For example, riding from left canter to trot close to B to give them as much time as possible to prepare for the “wiggle” as we nicknamed the double shallow loop. This exercise also allowed me to link the jumps into their flatwork for the first time.
  5. Then, just before the competition we had a dry run. They made a warm up plan with me, then warmed up as they would at the competition and they all rode through the whole test individually a couple of times to fine tune it. Then they went away to practise at home!

I enjoyed the challenge of finding exercises which kept the children engaged whilst helping them learn the test movements, which were simple enough for them to replicate at home.

But what I think I enjoyed the most about training the Prix Caprilli teams was competition day. The straightening of ties; warming them up; quelling any nerves; calling their tests; bacon butties afterwards, and most importantly watching them all pull off smart tests! I felt very proud of the young riders and their ponies.

One child asked me to read for him, sacking his Mum as he did. As we walked towards his ring he said “I’m feeling a bit nervous.” and privately, I had to agree! I definitely had butterflies in my stomach for all my riders!

Another thing for the CV, and whilst I was some what reluctant to take on yet another project, it was certainly enjoyable and I guess I’ll be doing it again next year!

But I am wondering, why can’t adults have Prix Caprilli competitions too?

Using All Senses

One of my young clients has dyspraxia. I won’t say suffers from, because it doesn’t hold him back. It just means I peep through my fingers as he canters around in a very loose position.

But because he finds it difficult to balance I try to do lots of little exercises each week to keep working on improving his proprioception and balance because he needs more time to develop the coordination and strength in his little body.

From very early on we’ve done bits without stirrups and are currently doing sitting trot without stirrups for five minutes each lesson (those of you who had 40 minutes without stirrups this week will be cursing me as you read this. But you’re old enough and ugly enough to survive!).

I’ve done quite a lot of no rein work, as has his Mum with him on the lunge, developing core stability and balance. Hands out to the side like an aeroplane now comes easily in rising trot, and you can see a steady improvement because his arms do not wobble around as much as they did.

I want to push boundaries though, and help him reach his current limits in the relative safety of a lesson, so that he’s in a better position to recover from anything his whizzy pony throws at him.

To improve his balance further, a few weeks ago I had him trotting around the indoor school in rising trot. With his eyes closed. Taking away a sense heightens other senses, so I hoped to improve his feel and balance with his pony by temporarily blinding him. Of course if he needed to, he could open his eyes immediately to help stay in the saddle. But he didn’t need to.

I also used this time with his eyes closed to draw his attention to the 1-2 rhythm of the trot because, somehow he has random days when he’s rising at a different tempo to his pony. So I’m trying to improve his awareness of and feel for rhythm and tempo, despite his young age. With his eyes closed he can also listen more carefully to the footfalls of his pony, which will help teach him rhythm too.

A couple of lessons ago I introduced cantering with one arm out to the side. His seat is very nearly established in canter, but considering how bouncy his pony’s strides are he does very well. We did do one canter with both arms out like an aeroplane. But it was a bit faster than I liked and my heart could only take one viewing.

Last lesson, I had a request to do no arms in canter and trotting with no eyes.

We duly did this. Trotting without stirrups for a bit, then taking the stirrups back and doing rising trot with his eyes closed. He was more secure in his pony’s tempo today and it was interesting that when his eyes were closed his core muscles kicked in because his elbows stayed closer to his sides and his rising trot was less “loose”.

We moved onto cantering, and after making a couple of positional corrections, I tied a knot in his reins. We skipped stage one of just one hand out, and held both arms out to the side, confidently. The next canter I called, “one arm out, then the other… Eyes closed!”

I was impressed. He stayed in a good balance and the pony fell into trot after the long side. Then I realised I had to tell him to open his eyes again!

We spent a while doing this exercise, with my rider starting to sit into the saddle for longer between bounces. He spent the entire time grinning and laughing loudly.

He’s not ready for no stirrups whilst cantering, but my plan over the next couple of lessons is to do some trotting on the lunge without reins or stirrups, and possibly with his eyes closed. I’d also like to try bareback riding with him to improve his feel and balance, which I think will really improve his coordination and muscle strength as his stronger side won’t be able to compensate for his weaker, less coordinated side, which will then become stronger and he’ll be more balanced and have greater stability in the saddle.

Jumping Circles

I’ve recently used quite a simple layout of jumps which has been quite enlightening for those riders who have problems landing on one canter lead, or riding tight turns to a fence, akin to a jump off.

Up the centre line I laid three jumps. One at X, facing E, and the other two on the inner track by A and C, parallel to the one at X.

Starting with poles on the ground, I started with my rider trotting then cantering a circle over two jumps. It’s about a 17 metre circle, and initially I’m aiming to establish rhythm, a round circle, and for my rider to do a position check for themselves.

Then we change the rein, doing the circle at the other end of the arena. Often there is very little difference to be felt between the two reins at this stage. Sometimes a rider will already identify that one circle is sausage-like, or it’s harder for them to turn on one rein than the other. Or that the horse keeps changing canter lead.

The next step is putting the fences up as cross poles. They need to be sufficiently big that the horse jumps them, but this lesson is all about repetition so not too big the horse will fatigue. The cross helps to keep the rider central.

The horse and rider I did this with last year have been focusing on biomechanics and straightness over the last few months. The rider sits twisted to the left, and the horse struggles to bend right. Chicken and egg as to who caused who to become wonky, but that doesn’t matter at the moment.

Firstly, they cantered some circles on the right rein, popping over the two jumps as they came to them. The circle was reasonably round, the horse stayed on the right canter lead (he often lands left lead if given the opportunity) and the rider was looking in the direction of the next circle. However, when I stood so I could see straight on to one of the fences I could see that the horse was actually jumping the fence at an angle; in order to ride a curve on the approach to the fence the horse jumped straight, at a 45 degree angle. He landed with his body on a tangent to the circle. Which meant my rider had to over correct to return to the line of the circle.

Then we changed the rein, and my rider realised how clunky the right rein circle felt as the left circle flowed in a consistent rhythm, the jumps felt effortless and the circle round. From my vantage point I could see the horse jumping on the line of the circle, so on landing they were already heading in the right direction which made it easier to turn.

We spent more time on the right rein circle, making small corrections to help both horse and rider jump straighter, and begin to improve their right bend before and after fences, even starting to get them both looking slightly right over the jump. To do this, we made the circle slightly more oval so that my rider had a couple of straight strides on the approach and getawa before arcing round. It’s better to have the straight stretch in order for the horse to jump straighter than for him to come off the circle, find it difficult, and then jump diagonally off on a tangent. As his suppleness improves less time will be needed on the straight.

In this session we mainly focused on their rhythm and balance on the circles. It was nice to see the jumps becoming more regular – no half strides taken out or extra ones added in – and the horse staying consistently on the correct canter lead. With this extended knowledge of her horse’s suppleness and the way he jumps, my rider can better plan any jumping courses, knowing that she needs to spend more time on the approach preparing her horse if they are to turn right after a fence.

A further exercise, which I did later in the week, was to have my rider ride a figure of eight over the three jumps, so changing their canter lead over the fence. This requires a greater degree of suppleness and balance in order to ride fluidly and rhythmically over the central fence. It is also a useful exercise to improve the rider’s ability to plan their route, and the horse’s response to their rider’s position over jumps, which helps them ride a smoother, more accurate jumping round.

7 Years

It has been seven years of Starks Equitation this month, so I’ve been doing some reflecting.

They talk about a seven year itch, but it’s not something I’m feeling. I think that’s because I have so much variety to my job.

Starks Equitation has changed significantly over the last seven years. I’ve changed significantly. I’ve more experience, more qualifications. I’m older. My values and opinions have shifted slightly. And Starks Equitation doesn’t just offer schooling and lessons now. There’s Demi Dressage, Pony Club, BHS stages training; let alone the other roles of confidant, advice guru, Prix Caprilli trainer, and anything else that’s asked of me.

I think it’s the ever changing challenges that keep me fresh. Sure if I were in any one role I’d rapidly get bored or stale in my job, but the fact that I teach all different ages and abilities, and across a range of activities definitely keeps me on my toes.

Although the ever changing nature of being self employed always makes me nervous. What if I lose all my clients? Well in the early days that was definitely a risk – a combination of fewer clients and the risks of injury, lameness, financial changes etc could potentially leave me with an empty diary. But now I have a finger in a few pies and lots of contacts I feel more secure in this area. In fact, now if I happen to have a couple of cancellations, or someone is away one week, I breathe a sigh of relief and use that free time to catch up on the rest of life’s admin.

One thing I don’t think I’ll ever get used to though, is the emotional involvement of teaching. I see all of my private clients at least once a fortnight, and see many Pony Clubbers regularly. I am on their riding journey with them. Whether it’s buying their first horse, or taking them from lead rein through to a one day event, or building their confidence from a nervous wreck to a shining star. I am there each step of the way. I like getting messages about their amazing hack when they felt confident enough to go solo. Or their competition results, or a super schooling session between lessons.

I don’t think clients always realise this emotional involvement. Perhaps it’s a fault of mine and I should be more business-like and leave each client in a box between their lessons. Social media doesn’t help this, as they pop up. But equally, I think it makes me a better teacher for being personally involved.

Possibly one of the hardest parts of this job is losing clients. Often it’s by no fault of anyone – they outgrow the pony, retire the horse, move away, either party gets injured. But sometimes you get dropped as an instructor. They want to try a different direction, they’ve jumped on the yard band wagon with a different instructor. Or sometimes, it’s just unexplained. That’s a tough pill to swallow. Sure, if you’ve taken a rider to the highest heights of your teaching skills and they are ambitious then often they move from towards a specialist coach; then so long as you all part with a “thank you” and “keep in touch” everything is funky dory. The tough bit is seeing, physically or on social media, them falling into bad habits or not progressing as you imagined their trajectory to be. It can be gut wrenching. And I know it’s not just me, but other instructors have this level of emotional involvement with their riders. I think more so at grassroots level, when you are involved weekly and get asked advice on a host of other management questions, as well as celebrating their milestones.

This emotion is what gives us the drive to stand outside in all weathers shouting “heels down” until we’re hoarse, and enables us to give 110% to every lesson. It makes freelancing a roller-coaster of emotions for which the highs (thankfully) usually outweigh the lows. But it’s nice to feel appreciated every now and again as we shadow you along your yellow brick road to success.

That’s not to say I feel under-appreciated. In fact I usually feel I’m being given too much credit by most of my clients! It’s just something that I’m very aware of, and know how detrimental it can have on your confidence as a coach.