Dressage Competition Camp – July 7th & 8th

The popularity of training camps for riders is growing and for good reason. It is a training format that I had never experienced until last week. Although I did not take a horse along to Moulton Equestrian Centre I was made to feel very much a part of the group, which was a lovely experience. I took part in the dismounted sessions and found it to be both thought-provoking and valuable.

Where a camp varies from say a two or three-day clinic is in the scope of the activities that are included; This is where they have particular value. There is scope for both mounted and dismounted learning opportunities, focusing on the mind and body of the rider. Most importantly of all, there is plenty of opportunity for the riders to talk to one another and to the coach in a relaxed and informal setting.

I love to learn from riding in and auditing at clinics. Riders and coaches can learn a massive amount that way, but there are drawbacks. At a clinic there is usually silence prevailing because one or other of the riders is under tuition. When my riding session is coming to an end I have often had questions and invariably the clinician is only too happy to answer them but there is alway the sense of time pressure, sometimes a sense of intruding upon the tiny amount of time a clinician gets to have a drink and momentarily relax between the lessons. If I have four questions then for these reasons I ask only one or two. There have been times that clinics have ended with wonderfully social dinners or even parties, but asking riding related questions at times like that seems downright rude; unless the trainer brings up the subject of my horse or my riding then I am certainly not going to.

Where a camp differs, and certainly where Alison’s camp differed, is that the trainer spends more time with the participants. There are structured sessions and around these there is time where discussions can evolve in a less formal way, questions can be asked and discussions among the group can take place. This is something that, given the right company, I like very much.

Day One – Individual Ridden Sessions

The first day of the camp was dedicated to individual riding sessions, a dismounted session with work on rider mindset, and then a ridden session as a group. There was a positive, inclusive atmosphere from the beginning. The first horse in was Sardra, a beautiful mare who has only recently returned to work, ridden by her owner Tory Dobb. Sardra is in her late teens, but you really wouldn’t know it. Given the rather challenging whether we were having the indoor arena was very hot indeed. All of the horses and riders coped very well and Alison naturally tailored the work to suit the situation. For a horse recently returned to work, I was impressed with Sardra’s willingness. She really seemed to enjoy the work and became much more forward as the session progressed. One of the stepping-stones to this was Alison’s instruction to keep the correct tempo in the walk, not to hurry it and to use the trot to help Sardra think forward.

Let the rhythm come, don’t hurry the tempo!

Encouraging Tory to apply the reins, so that she had a light but more defined contact also helped encourage Sardra to go forward. She made some corrections to Tory’s lower leg position and leg aid application; this helped too. It has a double benefit of improving the rider’s body balance, which encourages a forward mindset in the horse, and it makes the aid delivery quicker and lighter, thus more effective. Tory took this correction on board and the benefit of it stayed in place through the rest of the session.

As Alison pointed out, it was important for Sardra that the gymnastic challenges were kept quite easily achievable. She is clearly a very giving and sweet-tempered horse. When you train an uncomplaining horse it is especially important to keep your demands at a level that will build the horse’s confidence. As they worked between the gaits she encouraged Tory to allow Sardra’s hind legs through into the downward transitions. This is something that we can all do well to think about, in every transition we ride. It encourages us to keep the contact soft and allowing, it encourages us to think forward when we transition down and not block the hocks.

Taking a rider’s focus off of a particular thing is sometimes the first step the coach must take to help them improve it. This was the case with Tory and Sardra’s use of the corners. By asking Tory to initially make easy, blunted corners whilst keeping the bend correct they were able by the end of the session to ride deeper corners in good balance. This doesn’t happen by magic of course and nor simply because of the passage of time. There was a key to the situation and it was all about straightness. Straightness is not simply a matter of travelling along a line that doesn’t wobble, in part it is about the horse using both hind legs correctly, both sides of its body equally, and connecting lightly but evenly to both hands. Early in the session Alison identified that contact was an area for this combination to work on and it was a clear focus through the session.

It was in the canter work that the most obvious changes took place, again due to the influence of straightening the horse and equalising the contact. One of the ways that Alison enabled Tory to achieve the improvement was through judicious use of counter bend. For a few strides prior to the transition she asked Tory to put Sardra into counter flexion and a gentle degree of counter bend. Upon returning to true bend they immediately struck off into the canter. This exercise has a clear gymnastic benefit to the horse and in addition it made the rider more aware of what became her outside rein going into the canter. The result was a clearer moment of suspension, more energy and more ‘jump’ in each stride. This was a great demonstration of the principle that straightness allows impulsion to develop in the mind and body of the horse.

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Many riders don’t get to experience riding in a 20 x 60 metre arena on a daily basis and Karen Browne mentioned this at the start of her individual session with Harvey. Riding in the long arena when you usually train in a short arena, can challenge both the stamina of a horse and the spacial awareness of the rider. Harvey, an eighteen year old Welsh section D gelding, has belonged to Karen for nine years and they have explored a variety of activities together. Karen has an interest in biomechanics and is keen to explore dressage in greater depth with Harvey. They have taken part in tests at Prelim level before and also have experience together in endurance riding and jumping. Harvey is a gorgeous horse, with the energy levels and positive attitude that are so often found in Welsh horses. His basic gaits were very good and showed all the promise you could want for future development. What has struck me many times, and did so again with these horses, is how a well cared for horse in its late teens or early twenties often moves better than a poorly trained horse of six or seven.

The main focus for Karen in the early part of the session was a correction to her upper body position. Harvey had initially shown a tendency to fall in. There is a wise old saying that “a crooked rider never made a straight horse” and this applies to us all to some degree or other. We are endlessly correcting our bodies to correct the bodies of our horses. There are those who teach only the effect of hand or leg in cases like these but Alison is of course a far more educated teacher! She made numerous small, relevant changes to the positions of the riders throughout the camp and it was lovely to see that connection in place. Alison corrected Karen’s upper body position relative to the line of travel. She did this skilfully by asking her to bring her outside shoulder around, rather than by asking her to take her inside shoulder back. This has the advantage of avoiding excessive twisting of the upper body and the collapsing that can go along with it. It is also easier for the rider to maintain the outside hand position and rein contact when it is done this way.

It is great to work with riders who have done ‘a bit of everything’ rather than those who have dressage focused tunnel vision. The reason for this is that, like Harvey, their horses often have a lovely unspoilt basis to begin training. There was no incorrect training to undo, no hand imposed tensions in the poll or the back. The flip side, if it can even be called that, is that Harvey had not yet learnt to gather his body under him and explore its full power and gymnastic potential. Even at eighteen you could see that he had plenty of scope for this though. Alison gave Karen an idea, an image to keep in her mind. It was of a big elastic band around Harvey’s whole body, there to encourage spring and elasticity in his movement. It gave Karen the idea of elastic connection. Throughout the session I could see this starting to grow and develop. Like the corrections to a rider’s seat, a transformation like this is gradual and takes an ongoing effort to make sure it takes root.

“I loved this clinic. It was relaxed and everything was broken down so it was easy to understand. Roll on my next Dressage!”  Karen Browne

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A positional correction will usually feel alien to the rider at first. As Karen put it “it feels right and wrong at the same time”.  It is the reward the horse gives the rider that becomes a marker of the change and acts as a motivation to sustain the change. Harvey discovered a more springy, softer way of going through the session and the contact improved. Karen noticed his lower head carriage and Alison described it very appropriately as “a wonderful by-product”; Harvey had in fact begun to noticeably soften and lift his top-line into early stage roundness. It was a lovely transformation, that showed his movement to even greater advantage. Working into the canter transitions Alison gave the following set of instructions:

“Build the trot, engage the outside rein and think canter”.

The result fitted exactly with the imagery that she had suggested to Karen at the start. It was as though Harvey had a big elastic band around him, he had become more elastic in body and mind.

One thing that I noticed throughout the sessions was how the horses all gravitated to Alison when they had the chance; at the start and end of the sessions and when she stopped them to explain something to the rider. This is always a good sign to me. The horse, the rider and the coach are a unit of three and trust has to exist between all parties.

Karen Kendall’s thirteen year old piebald cob Seamus had previously hacked and taken part in endurance rides. Karen is aiming to improve his work in the school, with the goal of taking part in a riding club quadrille this September. Karen has Arthritis in both hips and, because of this, her legs take time to relax into position at the start of every ride. Improving a rider’s seat is as much about ensuring the rider has time for relaxation and comfort as it is about body alignment. Alison made a quick correction to encourage soft bend in Karen’s elbow, with a virtually immediate improvement taking place in the contact. Seamus’ primary issue has been with going forward. From my experience with horses of his type, and no doubt this was the case for Alison too, it is clear that fitness and coordination are the underlying factors, rather than a lack of willingness. Like many horses with substantial bone structures, Seamus will take time to develop the muscle power he requires to work at his absolute best.

Seamus and Karen have only begun working with Alison very recently and it was clear that they are both building self-confidence thanks to her knowledgable and patient approach. In the two ridden sessions I saw Seamus grow in confidence and offer work willingly that had apparently been something of a battleground in the past. A key factor in this was the rider’s tone of voice. How can something so subtle, that is not a body aid make such a difference? Well, I think it is because tone of voice reveals the rider’s underlying state of mind.  Alison picked up on some underlying mental tension and quietly reassured Karen, asking her to make a very specific change to her tone of voice if she uses it for upward transitions. From that moment on an upbeat, positive, friendly voice aid backed up the leg and it took both horse and rider onto an upward psychological spiral that was lovely to see. Seamus definitely needs a tone that says “you can do this” much more than he needs a tone that says”you will do this”.

 

Seamus offered much more sustained forwardness as the session progressed and many of the improvement that were coming into Seamus’ work were by products of this. Controlling his shoulders on the circles was an area that Alison and Karen focused on. Keeping the shape and dimensions of the circles depends first on controlling the shoulder mass of the horse and only then can consistent bend exist. By the end of the session Karen had a great deal more control of Seamus’ shoulders. He was flowing around the circles in trot better than ever before. The physical change in him was clear and he had a happy look on his face, as did Karen! Looking at Seamus I could clearly see his potential; given time to get stronger and lighter, fitter and even more confident he will make a beautiful quadrille horse or competition horse. There is no such thing as a dressage horse. Dressage is a process that exists to serve the horse and the rider. As they continue to train with Alison I am certain that this process will be the making of Seamus, mentally and physically. He showed a lovely hint of things to come in the free walk towards the end of the session when he stretched down, held the connection, lifted his back and his walk got a rather lovely swing to it.

“I really benefitted from the ridden sessions and then discussing and breaking it down into chunks. I feel positive about our future in dressage and excited to move on”  Karen Kendall

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Mindset Session

We chose to take the dismounted session outside. Once the horses were settled into their stables we found a bench in the shade. I took part in this session and so my impressions are those of a participant as much as an observer. Preliminary 13 was the test Alison had chosen to look at for the session. We began by talking about how we learn tests. For me letters don’t really come into it much because I learn patterns, usually linked together in blocks. Alison asked us to begin learning the test, she then stopped us part way through to focus on one particular movement. Our minds were in a focused state at this point. The movement that we focused on for the visualisation was the section of trot along the wall after the corner and a twenty metre circle halfway down the long side – working trot H to E, with the circle at E. There is a give and retake of the reins on the second half of the circle as you cross the centre line. We used this movement to create a visualisation.

Despite being familiar with visualisations and accustomed to using them in training I did something that surprised me. I set myself up in my mind, trotting down the wall and onto my circle. The sun was warming me, the scent of gently perspiring horse was rising to my nostrils, I could feel the stirrup treads gently under my feet and my seat bones  were moving with the horse, the birds were singing and all was well. The trot tempo was steady, the contact was nice and the bend was rather pleasing. Then I came to the give and retake. I did a quick, token arm gesture totally unlike anything I would normally call a decent give and retake. I need not have moved my arms at all during a visualisation. The phrase “what I should be doing” came up from one of the riders and although I hadn’t said it, I too had thought it. Alison suggested we reframe that as “what I would like to do”. The way we talk about ourselves and to ourselves is critically important; language really matters to mindset. When I went through my visualisation again I made sure that my give and retake was the real thing! In our visualisations we must not mark the movements but fully create them in our mind.

For riders who might not have worked with visualisation before, the main surprise and the main challenge too is that they must be in real-time. It must take you as long to ride your movement in your visualisation as it would to ride it on your horse. The second thing is that they are multi sensory. Alison encouraged the riders to think about what they could see, hear and feel through the visualisation. For the exercise to work it is vital to make the experience as real as possible. We all jotted down what we had been aware of. Because I have been trained to soften my eyes, look up and, on a circle I take my outside eye line to the inside ear tip of the horse, the view for me was a wide-angle, soft focus, constantly moving panorama of my current home arena. I was aware of hearing birdsong and the footfalls of the horse. The perceived sensation of movement revolved around my hips and seat bones primarily, with the pleasant rein contact and the stirrup tread contact being part of my awareness too. Overall I was aware of my body positioning for the circle. My thinking felt clear and calm because of the soft focus and the steady tempo. My state of mind could have been categorised as calmly alert. That is probably the ideal state to ride and also to compete in. This is one of the ways in which repeated visualisations really do help riders.

We were then asked to choose a movement in the test which we would find challenging. I thought of a particular horse I know and decided that the free walk would be our greatest challenge in that test. It is a quietly challenging movement and not to be underestimated. In Prelim 13 it carries a double score and that in itself says something about the challenges and importance of that movement as an indicator of quality training. One of my teachers used to say to us

“Remember it is free walk on a long rein, not long walk on a free rein!”

Whilst there will be less contact than in an extended walk, there is still a connection to preserve through the stretch. With a horse that is nervous and who can be inattentive it is often easier to ride an extended walk, where the horse remains on a more defined contact and therefore is more easily kept on the aids, than it is to ride a free walk. That was what I jotted down for my “issue” with the movement. I was asked to make a second column for what I wanted in the movement and it looked like this:

  • Staying focused, taking the contact down, moving freely into a good over-track, with the back lifting and swinging under me.
  • Remaining focused and on the aids for as long as I want the stretch to last.

Exploring the things I wanted gave me the blueprint for how to change the issue into the things I wanted. I was able to come up with a plan. I decided that I would not try initially to go for gold in that movement. In training I would ride it progressively from a smaller stretch, keeping the connection between horse and I, to a greater stretch as time went on. In a very spooky environment I would ride for a modestly respectable mark, so as not to wreck the movement altogether. I have always believed in knowing when to ride for a modest gain, a solid confidence building result. Showjumping taught me that. There is definitely a dressage version of the slow careful clear round and it is a valuable thing. Like all of the participants I had, through this exercise, found my own solutions. Therein lies one of the differences between coaching and teaching. An exercise like this helps riders to draw on their own reserves and that is something every rider can benefit from. It really creates confidence.

“I love the inclusivity of the session and the opportunity to discuss and process the ridden sessions. It was really helpful to share experiences and have the chance to learn from each other”  Tory Dobb

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The Group Ridden Session

We were all back indoors for the group ridden session. This was designed to have some shared objectives and some individual ones. Some of the shared objectives were about using the space and getting used to sharing the space. Sooner or later we all come up against others who warm up in a less than friendly fashion. Alison had some great, constructive advice for dealing with this. It involved positive body language and making a polite personal connection with the rider in question. A confident smile or a compliment can go a long way. It enables you to feel pro active rather than reactive to that person. Many riders don’t get the opportunity to ride in with others on a day-to-day basis and warming up arenas can come as a shock to the system. Having a group session built into the camp was a very good idea for this reason alone.

When it came to deciding the individual objectives it was clear how much confidence all of the riders had gained throughout the day. Rather than focusing on more of the same from their earlier session, they wanted to explore some lateral work with their horses. These choices were very appropriate extensions of what they had already been working on. There is nothing like shoulder in or quarter walk pirouettes to help gain control of the horse’s shoulders and increase straightness. For some horses it was the very beginning of their work in these movements and others had already made a start. By the end of the session all of the riders were more at home with the aids, more relaxed in their bodies and the horses showed some very nice responses. All through the session Alison built upon the basics that had been put in place earlier, keeping the riders aligned correctly and the horses on an even contact through both sides of their bodies. The work was approached very correctly and the horses all showed better walk, trot and canter as a result. That is the mark of correct lateral work, that it improves the forwards locomotion on a single track. You can’t ask for more after a day’s work than for greater longitudinal balance, better lateral balance and a marked increase in the beauty of  a horse’s movement.

Day Two – BD Competition at Moulton EC

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The second day of the camp was dedicated to the competition itself. Not all of the riders from the previous day were planning to compete and two new horses joined the group. The beautiful Stella, who belongs to Diane Underwood, totally lived up to her name. I watched Alison work with this combination at the start of the day and again through their warm up. Stella worked with great consistency and focus. She has the ride-ability factor and seemed, admittedly on short acquaintance, to be an absolute sweetheart. Her movement clearly had the potential to be big and I really liked that Diane and Alison kept her in good tempo and good balance throughout. Stella’s movement is cadenced, but soft, which shows that she habitually works in a state of relaxation.

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Stella clearly has a high level of confidence in Diane. She worked in a strange arena just as though she’d been there forever. That attitude to life is a wonderful thing to work with; it means you can focus on the technical aspects of training rather than on managing behaviours. I suspected that she might, at some point in her life, have been ridden in a way that had destabilised the base of her neck. This usually leaves a mark on the horse’s way of going that takes skill and determination to correct. As Alison put it “she is learning that we are not at home to wiggling the neck”! Stella was showing very sound Elementary level work with lots of promise for reaching the higher levels. Keeping the focus on straightness and balance is certainly the way to do exactly that! Diane and Stella produced a really lovely test to take second place in the BD Elementary Freestyle to Music.

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I also got to meet the very handsome Beau, who belongs to Tamasine Thompson. It is clear that Beau is a horse with a lot of personality. He and Tamasine clearly have a very strong bond. I can totally understand why someone would fall for this horse. Something that seems paradoxical in horses applies to him; I realised I had met yet another example of the brave but spooky horse. Beau had quite a career as an event horse and his courageous, idiosyncratic nature is written in every line of him and every gesture. His eyes have a powerful look I’ve seen in great racehorses. On the other hand he clearly finds the world a spooky place to live in. This paradox is familiar to me and I have ridden several horses who exhibited similar behaviours of high courage and high reactivity. My conclusion is that they are the ones most determined to remain alive, the successful ones in survival terms. When asked to do a job other horses would balk at, they get on and do it, but if a leaf blows off a tree then you’d better fasten your seatbelt!  That Beau showed some tension in his test was no surprise. From observing him outside of the arena I was pretty much expecting it. He’s the kind of horse that can give you fireworks, of the sort you want and the sort you don’t!

There were some issues with the sound system and before the test got going Beau was met with a screeching noise that would have put the wind up many horses! He dealt with that really rather well but I don’t think it increased his general happiness level with that particular environment. Each time Beau had a spook Tamasine handled it tactfully and effectively; encouraging him to relax and listen. You cannot force relaxation, it is impossible. If the tension comes from the mind of the horse then all you can do is ride correctly, confidently and reassuringly whilst you wait for it to pass. Of course the tension levels will have a domino impact on other factors in the horse’s way of going. It would be my hope that as Beau advances in his training he will offer more of his best and exhibit less of the tensions. I say this because when Beau settles he shows movement that is eye-catching, athletic, and cadenced. He has all of the presence you could ever want, but of course it tends to be the challenging horses who do.

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Sardra’s test in the BD Preliminary Freestyle to Music was absolutely lovely to watch. In spite of being recently back in work, having travelled on both days of the weekend and having worked fairly hard on the first day, she was if anything more forward. Her canter work was enthusiastic and she looked like she was really enjoying herself. Some horses just come alive to music and I wonder if she is one of them. All of the improvements that Alison and Tory had worked on through Saturday were visible in the test and it was great to see everything fall into place. Not only was the test a pleasure to watch, it had a very successful outcome; a good score and a red rosette, but most importantly of all a happy horse and rider!

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The level of support that Alison gave each of the riders was wonderful. Having a coach on hand to help you warm up is something that many riders don’t get to experience very often. Knowing that they will be there to talk through their impressions of your test is valuable too. What a rider remembers of a test is often a little at odds with what an observer sees. The judge has no context on you or your horse, they must comment and mark within fixed parameters. Your coach knows the background and context and can offer vital input as well. It is ironic that the riders with the most experience, who may well be coaches themselves, are the ones most likely to have coaches of their own in attendance when they compete. This particular camp format gave the riders a taste of what it is like to have the support system that some, though by no means all, professional riders experience.

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Reflecting on the experience of the camp in general I would absolutely recommend it. I did so beforehand because I firmly believe in Alison’s capability as a coach. Now, my conviction is even stronger. Although I was there as an observer I felt very included. The company was great. I realised that it did me a lot of good to sit and chat with other riders. Had I been planning to compete on that Sunday I would have felt like part of a team. Camps offer us a chance to be open, to share, to support one another. One of the things I wanted to do when I began writing was to show the connections and common ground that exists between all riders. The two days of the camp were full of opportunities to learn, to build confidence and to have fun. I won’t be able to be at the next one, but I really wish I could. I will look forward to hearing how all of the horses and riders are getting on though and hope to meet them again before too long!

There was a lovely goodie bag for each of the riders and one for me too! A big thank you to Alison and to Equissimo, Laura Mary Art and Equilibrium Products for putting this together; it made a great weekend even more memorable!

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Dressage Perspectives – Delighted to be featured by Pegasebuzz!

Dressage Perspectives has been chosen by Pegasebuzz founder Roxanne Legendre to join a hand-picked group of equestrian brands whose content is featured on the app! It was a lovely and unexpected compliment to be asked to join this group because in Roxanne’s words “We select each of them for their renowned experience in a field or their expertise on a specific subject”. It has been a pleasure to connect with some of the other brands who have been chosen by Pegasebuzz; some like Mirror Me PR are already familiar and others such as Pierre Beaupere Dressage , who has a training philosophy I love, and Ecuerie Active , who are designing stable environments with the needs of the horse in mind, were delightful new discoveries!

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I absolutely love Pegasebuzz, it is a visually stunning app, available in both French and English. Your experience is tailored exactly to reflect your personal interests. The content is diverse, chosen to appeal to equestrians across disciplines, but it is all brought together in a delightfully elegant online environment.

Your personal profile is the centre of your experience, where you tailor your preferences and create your world! It is really easy to navigate within the app. It is easy to comment, share and save your favourite posts to your profile. Moving from one post to the next is simply a matter of swiping across.

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My feed is built around my interests; the blend of articles about dressage, fashion, people and events keeps me amused and engaged. I love that I can be reading a technical article about dressage one moment, exploring an upcoming Show Jumping event the next and then looking at beautiful images from a high fashion shoot. I even found myself falling in love with a stunning pink jumping saddle from LGM Sellier.

 

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Pegasebuzz is a wonderful resource if you are looking for a job within the industry. There are positions listed all over the world from entry-level and internships to boardroom positions, from niche equestrian brands to national governing bodies. You set the filters to focus on exactly what you are looking for. Employers should certainly keep Pegasebuzz in mind when they are hiring. It fills a gap in the market for business focused recruitment within the equestrian sector. As a marketing graduate with an equestrian background I found this particularly interesting. I found my finger hovering over the apply button on a few occasions. Whether you are just browsing like me or searching with a stronger intention, this is a great place to look!

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If you would like to discover Pegasebuzz you can download the app free via the App Store and Google Play. I have the IOS version and have found it to both user-friendly and stable. Even the loveliest design concept needs to be strongly functional and this app really is.

You can connect with Pegasebuzz across all of the major social platforms too. I particularly love their Instagram account – roxanne.legendre  where I can get lost for a while in a world of beautiful show jumpers, dream barns and luxury brands. Roxanne Legendre is a photographer with a talent for capturing unusual angles and curious details and I really like this. Not only is this high quality photo journalism from the most exclusive sporting events, it has originality and a distinctive vision. For me as an artist and a keen amateur photographer this is really inspiring.

I enjoy following all of the Pegasebuzz social accounts because they each deliver a subtly different experience whilst keeping the same sense of community. There is always something new to discover and share.

Pegasebuzz will be a great way to keep up to date with our posts and so much more – make sure that you don’t miss out on being part of this beautiful equestrian world!

Download on iOS here 

Download on Google Play here

 

 

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Are You Winning on the Warm Up?

No more stressage! Here we will explore the art of making show days fun and productive.

It is often said that competitions are won or lost in the warm up arena. There is a perfect point at which to leave the warm up and go ride your test. The trouble is that, even when you have learnt to identify that moment, you realise it will be different with every single horse. Not only that but, even with the same horse, it may be quite different from one competition to the next. There are variables outside of your control. Day shows and stay over shows both have advantages and challenges built-in. On the whole I would say that the longer you spend in a particular environment, the more relaxed you and your horse will be.

Relaxation is key because it is the foundation of good dressage; which is why good dressage is harder to produce in an unfamiliar place. Relaxation for your horse starts with you. There is a learning curve with competitions that is quite unique; no matter how experienced a rider you are when you begin competing there are pitfalls to avoid and best practices which will make your life easier. Chatting to other riders, to professional grooms, reading blogs and watching the Vlogs of competitive riders could yield really good ideas and advice. Take on board a lot of ideas, filter it all to work out what suits you and your horse.

For my part I think you can distill the raft of important things down to two main elements:

  • Time – you will need more of it than you think. Take your class time and work back from it. Allow time for each necessary activity and add an extra ten minutes to each. I have arrived with less than two hours to spare before a test, but I don’t like to. Two and a half hours for a day show suits me best. The Forty Five mins for warming up is absolutely sacred. You might not need it with every horse but allowing for less is unwise.
  • Organisation – make lists and don’t check anything off of them unless it is already in the lorry. If you delegate anything to anybody make sure they know exactly what they need to do or pack and when. Only delegate to people you know will be efficient and timely.

Your state of mind at the competition is going to help define that of your horse

Some horses don’t care if the humans around them flap like budgies but the majority will. Generally speaking a flight animal is not going to be a steadying influence. Your horse will look to you for the leadership and reassurance that it needs. Be there for your horse and be calm at all costs. Organisation and timing are the things which will allow you to do this more easily. You might know that your heart rate is up and your voice has turned shrill because you forgot thread and a plait has come out; your horse will possibly suspect that imminent death is looming because you’ve spotted a mountain lion on the edges of the lorry park.

One familiar sight at day shows is a bunch of horses getting into social mode because they are in the presence of horses they have never met before. It is a bit like walking into a full bar or nightclub. You have fairly formidable competition for your horse’s attention. The stronger your leadership / friendship bond is on a day-to-day basis, the more of a chance you stand of keeping your horse’s mind on you.

Your test depends on the warm up and your warm up depends heavily on the kind of day your having. So plan well, be calm and happy. You’re well on your way to a good warm up and a successful test!

Take a moment to connect with your horse

Get the horse tacked up in the stable or on the lorry. Get yourself ready to go, down to the last detail, and then wait a moment. Take a moment with your horse and send everyone else away. Look your horse in the eye and have a quick friendly chat. Remind yourself that you are there with your beloved animal who does not understand what winning or losing even means. You are just going out there to do what you do everyday in training. It is no big deal, even and perhaps especially when it is a big deal. Ground yourself and take a few deep breaths.

Now you are ready to go warm up for your dressage test

I’m going to quote the wonderful Charles de Kunffy again!

When competing, ride the horse, not the test. Charles de Kunffy.

Your test, however accurately you ride it, can only reflect the quality of your horse’s way of going. We will assume that the test is at a level that is quite easy for you and for your horse to do. We will assume you know that test inside out and backwards. There are three times to think about a test prior to riding it:

  1. To analyse it strategically – this is done weeks or even months before you ride it in competition.
  2. In positive visualisations – in the days and hours running up to the competition you can ensure that your sub conscious mind has built-in ‘memories’ of you riding the test optimally.
  3. When your horse is warmed up and ready to go through you will factor in five to ten minutes to walk around on a long rein. Use this time to make the final mental preparation to ride the best test you can.

From the moment you enter the warm up until the moment described in point 3 above there is one rule – you will not think about your test at all.

You will think only of riding your horse as well as you can. Ride as though the test were cancelled, or as though it had never existed in the first place. Horses live in the moment and you need to be in the moment 100% with your horse, not thinking about something that is about to happen in half an hour’s time.

This advice is probably going to be superfluous for the more experienced competitors but for anyone who feels that they are not yet warming up in an optimal way then here is a quick checklist of things to include:

  • A relaxing walk on a long rein – to start, to rest occasionally and then for a few minutes at least before you go in to ride your test.
  • School figures – they will help you get your horse to the best degree of straightness and suppleness that you can on that day in that place. Although the best result comes from responsive, adaptive riding you could simply work through a list of movements if you suffer from nerves and or find that your mind goes blank.
  • Lateral work – stay away from anything your horse is just learning but use whatever is already established to your advantage. It can be combined with the school figures to help not only with suppleness and throughness but most importantly with balance.
  • Transitions – between the gaits, within the gaits, progressive and then direct, your transitions should be many and carefully ridden. They are there to help get your horse on the aids to the degree that you will need for the test to go well.

You need to feel that you have control of the shoulder mass, that the horse is able to bend both ways as well as possible and that the longitudinal balance is good enough to navigate the test movements at your chosen level. At the most basic level you need brakes and steering; everything else is a progression from that! Hopefully with your focus off of the test and onto the horse instead you will have a much better way of going by the end of your warm up. Knowing when to stop warming up is very important too.

If you are going to give your horse a little while to relax before going through to the test arena, deciding when to do that really matters. There are some horses who you couldn’t let down at all once you get them to the right pitch but they are rare. There are no rules to this business, only generalised guidelines. Identify the point in daily training that you think would be optimal if you were going in to ride a test. Memorise the way your horse’s body feels, how the contacts feel. There is always that sweet spot where the horse is tuned in mentally, physically supple, balanced and pinging off the floor. Now work out what you did to reach that point; there is the blueprint for your warm up. It will need some adaptation for sure, but there you have the basis. So many people say that the horse they ride at home is not the one they ride at competition. That is true, the horse has challenges there that don’t exist at home, but we are often not the same rider or even the same person to our horse that he or she has at home. It cuts two ways. We can understand this and work on it, the horse cannot and so the ultimate responsibility lies with us.

Nobody knows your horse as well as you do, with your coach probably a close second! Every horse warms up differently and changes over time as well. That is why they say it takes a year to really get to know a horse. Talk through your ideas with your coach or even consider paying them to go along and help you warm up a few times. Ultimately success is down to thought, to honing your show day strategies, and careful experimentation until you find what works.

Listen to your horse, keep an open mind and be responsive to its needs.

Good luck and most importantly, have fun!

Christine xx

 

 

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“Dressage Formula” by Erik Herbermann

 

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When I was eighteen years old I bought a copy of Erik Herbermann’s “Dressage Formula”. At that point in my life I was trying to train a grumpy 14hh show jumping pony and a green 6-year-old OTTB. I had a great thirst for knowledge but knew very little. I was earnestly trying to put into practice what I read and so the wrong books could have been a real problem. I could not have bought a better book than “Dressage Formula” though. There is such a wealth of information in it that I will always be able to pick it up and learn. It is written by one of the world’s greatest horsemen after all. But if you are new to dressage, as I was then, it is accessible and the format is absolutely reader friendly. As you can see in these photos, there are illustrations throughout, bullet point lists break down the ideas very clearly, everything is streamlined and simplified. You could not possibly end up confused by this book.

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One of the things I have always loved about this work is the choice of horses that Erik Herbermann chose to feature throughout.

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Atlantis – a 16.1hh Percheron – Thoroughbred cross. Atlantis is described as having ‘Klunky’ gaits, he was a family hack and hunter who started his training with the author at the age of 10.

Meteorite – a 15.3hh Standardbred cross who had been down the severe bit route and utterly ruined. Herbermann states that his ‘mind and body were knotted with tensions’ but that he was by far the most athletic mover of the horses featured in the book.

Barty – a 14.2hh Arab x Pony with choppy gaits and a thick-set throat area. Barty is described as having a very willing disposition.

Not only are these horses relatable for so many riders but, through the pages of the book, we get to see them transformed in the hands of a master horse trainer. Sadly this is not something that we often see! I have this book to thank for the initial understanding that there are great riders out there who love and totally see the point in training the ‘ordinary’ horse. If anything it helped a young person validate her instinct that these horses are perhaps the most interesting of all to work with and help.

Erik Herbermann’s love and respect for the horse shines through in every line of this book. It is a serious work, suited to the most expert riders and yet it made sense to me when I knew very little. That is rare too and I suspect it is a reflection on the brilliance of the author. Whatever stage you are at in your dressage education and whatever the challenges you face with your horse I would absolutely recommend buying a copy!

Christine xx

“Dressage Formula” by Erik Herbermann was published by J A Allen and is available from ABE Books and Amazon as well as from Trafalgar Square Books as an audio CD

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#wednesdaywisdom from Erik Herbermann

Our riding will more consistently embody beauty and joy when we are motivated by respect and love for the horse. This outlook, above all, helps us to overcome the inevitable difficulties

Today’s quote comes from ‘Dressage Formula’ by Erik Herbermann. I chose this photo of Emile Faurie because he is a rider who embodies the spirit of the quotation – in his work there is beauty and joy because there is love and respect for the horse. As riders we all inevitably encounter difficulties in training but it is how we approach those challenges that comes to define us.

Photo Copyright – Dressage Perspectives.

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Riding Renvers & Travers.

Renvers is an often neglected lateral movement. Travers by contrast is something most riders use a great deal. Why would this be? Well, I’m tempted to be a little cynical and say that Travers is easier (though not necessarily easier to do well). Done correctly these movements are identical; if you rode travers down a narrow corridor, just wide enough for your horse, travers relative to the left wall would be revers relative to the right wall.

So, if they are the same, why would some riders find Travers easier? It is often a perception problem. Naturally enough the rider often focuses on the one part of the horse they know must move off the line.

“One of the keys to dressage training is that the horse learns to move towards you weight and away from your leg.”

The two elements of this advice are blended together for best results but each  also works in isolation. The first element, drawing the horse towards the weight, is the really valuable one. It is always a great feeling when a newly trained horse begins to understand this concept. The second element is the easier one for many riders to grasp in the beginning. Though it continues to be important throughout the training of the horse, and is in no way an inferior type of aid, it is also the more dangerous and can lead us into difficulties. We are faced with the issue that the hindquarters of the horse are generally far easier to displace than it’s shoulders. It is temptingly easy just to push one part of the horse or other away with the leg.

A rider participating in a clinic with me put it this way: “When I am asked to ride a lateral movement I still feel under pressure to get it right, to make it obvious. I feel silly if I don’t get ‘enough’ of the movement when lots of people are watching. I’m not thinking about setting it up properly. If you say Travers I think leg back and push. So thats what I do and I hope for the best.” Whilst some riders tend to panic a bit, because they don’t feel totally at home with lateral exercises, there are also a lot of experienced riders who fall into this fault for the opposite reason; they become blasé and can become mentally disconnected from the movement because it is so familiar.

That susceptibility of the horse’s quarters to displacement leads to a number of problems. These are just a few, off the top of my head.

  • In pirouettes at canter a heavy outside leg can cause lateral steps. This looks like a little sideways stagger on the circle the hind legs are describing.
  • In the counter change of hand, when we change direction, the quarters can start to lead even if they were not doing so in the initial half pass. This happened to me a lot in canter! My outside leg was too heavy in the change.
  • Haunches flying all over the place in tempi changes – and in single changes for that matter. Again I speak from experience of committing the error and then patiently working to correct it.

So you get the picture! This a problem for a lot of riders at absolutely all levels.  The answer for everyone is relaxed, focused preparation.

Renvers challenges riders in part because they have to move the shoulder mass of the horse away from the wall whilst keeping the bend towards the wall. Bottom line is, you can’t just push one end of the horse away from the line and hope for the best. In Renvers, just like in the Pirouette and the Half Pass, it becomes necessary to draw the horse towards your weight in the direction of interior bend. Relying on the ‘push’ element of the aid in not sufficient. The gymnastic value to the horse is only part of the benefit; I have found that getting good quality Renvers helps riders to make better Pirouettes and Half Passes. We get habituated to motion in the direction of bend and get better at drawing the horse towards the direction of travel with our weight aid. 

There are two particular exercises I like to use in teaching this movement. One is to ride in shoulder in, then gradually change the flexion, change the bend, but keep the position relative to the wall. I certainly didn’t invent this one, its a classic! You can transition gently from Shoulder In to Renvers and back again; which is great for suppling. The second exercise is really a perception trick. Imagine that corridor, or create one with movable boards, a little wider than the length of your horse’s body. Ride Travers away from the boards. Now glance at the wall or fence of the school and you are in Renvers relative to that wall. Once you get used to the movement you can get rid of the boards but keep them in your mind if you ever feel confused or flustered by the exercise.

To create higher quality lateral work in general we need a whole body approach to the movements. Don’t think about one part of your horse. The positioning for the movement involves its entire body.

Here is a quick checklist to run through:

  • As you prepare for the movement, have you got inside flexion?
  • Check your body position and weight distribution.
  • As you begin to deliver the aid which will displace the haunches or the shoulders, is your outside rein gently monitoring the degree of bend in the neck. Most importantly is it preventing excessive bend at the base of the neck where it joins the shoulders?
  • Is your inside hip relaxed, your inside hand relaxed enough to let the horse step under with the inside hind, closing the stifle and enabling the quarters to sit around your softly relaxed inside leg?
  • Does the gait you are in continue to flow forward in the same tempo?

In all lateral work the quality of the gaits is paramount – once you have got to grips with a movement, forget it and focus on the walk, trot or canter that you are riding it in.”

If the gait is really deteriorating through the movement it is worth riding straight out of it and getting the quality movement back. When you try again go for a little less angle and/or a little less bend. Make it easier and let it flow. As you get more proficient and the horse gets stronger and more supple you can ask for a bit more.

This really isn’t designed to be a ‘how to’ guide; it is just a few reflections on the subject. If you have very little experience with lateral movements and want to do them I would recommend finding a good teacher, ideally one with a schoolmaster horse. In my opinion, riding regularly with a coach is the very best way to understand all of this. Books and articles are only really designed to support that practical learning.

Successful Lateral Work

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If you are finding that you lose impulsion, balance and cadence as soon as you start riding a lateral movement it might be because your focus is on how to ride the movement and not on the gait that you are riding it in. Internalising the movement means practicing it on as many horses as possible, maybe going for a schoolmaster lesson with a good coach, and getting to the point where you can ride that movement in your sleep. You might already be there and not realise it. Many riders keep focusing on the how to, or the how to not go wrong, for far longer than they really need to.

Getting your mind off of the movement, trusting yourself to know what to do, is really important to riding it really well. What makes all the difference to the quality of the movement and therefore the score that you are likely to get is the horse’s way of going. It is the quality of the walk, trot or canter that reflects success in both the competition arena and daily training.

Key Stages of Learning

A key factor for success is to recognise where you are on the scale from unconscious incompetence to unconscious competence. For anyone unfamiliar with this, there are four stages:

  1. unconscious incompetence – eg: when I knew what a Half Pass was but did not really know that I lacked the skills to ride Half Pass. A lovely pupil of mine told me that when she began learning to ride she anticipated learning all of the dressage movements in around six months. I met her three years after that and eleven years after that she could ride Grand Prix!
  2. conscious incompetence – eg: when I realised that I did not have those skills but wanted to acquire them. When it looks easy but you discover it isn’t!
  3. conscious competence – eg: when I could ride a Half Pass if I focused consciously on what aids to give the horse.
  4. unconscious Competence – eg: when I could breeze into a Half Pass and focus on keeping the trot expressive, the tempo regular and the horse loose over his back.

Which stage are you at?

If you are at the first or second stage with a particular movement then this is a wonderful phase of learning too. In discovering dressage as a sport what you have really discovered is a process, a whole load of valuable things to learn and to teach your horse. Approach each at the right time, with the help of a good coach. You will be able to establish the skills you need to ride the movement, practice them and move in turn from riding them competently to riding them beautifully.

When you are learning a new movement you will be at the third stage and holding there for a while. That is valid and necessary; don’t be in too much of a hurry to move on from competent to spectacular just yet. Get it fluent, become familiar with how the movement feels at all training levels by riding different horses. The Shoulder In of a young horse will feel very different to that of a fully schooled horse. That of a pony will feel different to that of a Thoroughbred or Iberian horse. Gain lots of diverse experience and hone your skills.

It can be difficult to know when you have become unconsciously competent, because you remain always consciously competent too. I know innately that I can ride a Pirouette but naturally I know it consciously too. One key shift can be determined in the way you describe how to do something. If asked how to ride some movement that I have a level of unconscious competence in I will have a sensory memory pop up, which I then have to put into words. When I was at the stage of conscious competence I would have been more likely to think in words rather than in memories. If someone asks you how you ride Shoulder In and your mind supplies a strong memory, a muscular memory then you are almost certainly already there.

If you suspect that you are one of those many riders who might be getting stuck at the third stage then the message in this post is most of all aimed at helping you. Sometimes we stick at that stage out of sheer habit or because we are too self -critical. Can a dressage rider be too self-critical? Yes, I think they can in this case. If you are getting a sub-optimal result it could be the result of over thinking the movement itself. So trust yourself, let go of analysing the aids you are giving because your body already knows what to do. Success will follow when you get your focus onto the beautiful walk, trot or canter that you could be in.

When you know that you know, you can relax into the movement and really set your horse up to shine!

If you would like more help with your lateral work then check out these articles in the #BetterDressage series:

Riding Renvers & Travers.

Better Dressage – Shoulder In

Better Dressage – Exercises for improving lateral work.

Better Dressage – Key Skills for Lateral Work

#Wednesdaywisdom from Charles de Kunffy

Charles de Kunffy is a rider, coach and author who has inspired me a great deal over the years. Back in 2016 I was at a training seminar that he gave and I found it utterly fascinating. So much so that I took down pages and pages of notes! He is truly one of the greatest horsemen of our time and his love of horses shone through in every last detail of his work.

I discovered that he has shared a number of interviews on YouTube. There is a lot of valuable information in them for all riders. It made me reflect that there is no real link between the quality of content and the number of people who connect with it online. Unless you go looking, as I did, or unless the marketing is right then it will sit there undiscovered except by a fortunate few.  Although Dressage Perspectives is not a YouTube content creator (yet) it has a presence there in order to curate interesting and valuable content from other people.

Here is a link to one of the Dressage Perspectives playlists, which features some of the interviews which Charles de Kunffy shared. I really hope that you enjoy the wisdom and dry humour of this wonderful man as much as I do!

https://www.youtube.com/playlist?list=PLKb41zORXi-P0A4Rj9ObjnWDZE7MMKrsM

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Review of the Passion K Dressage Saddle from Prestige Italia.

Needing a Dressage Saddle often starts with a saddle fitting problem…

At the end of January a pupil of mine took over the ride on a very interesting little dressage horse who really needed a new saddle. Her owner had already tried just about all of the high quality second-hand saddles she could find and it was obvious that the fitting was going to be too complex for that approach, so I recommended calling in a very good saddler. Undoubtedly the best saddler in the region happens to be a Prestige Italia stockist. I had ridden in one of their gorgeous saddles before and really admired it for comfort, lightness and the design. As the coach and someone who rides the horse regularly I had a vested interest in making sure that the saddle was as great for the rider as for the horse. I was optimistic that he would be able to find us a really good saddle to take both the horse and my pupil’s training forward in.

What I look for in a Dressage Saddle & why I love with this one.

You will notice that this particular saddle does not have an excessively deep seat. I believe a rider must develop a seat that is independent of the saddle, otherwise the saddle is just masking problems and even contributing to tensions. My ideal saddle is barely there; it is pared down, minimal and close contact. In my late teens I was told by my coach that a saddle cannot give me a deep seat and nor can it keep my limbs under control, those things are down to me. It is equally now my responsibility as a coach to make sure my pupils develop good seats. A saddle that gives me the freedom to sit well, if I can, is all I can really ask for.

The saddle must not make us sit badly, beyond that it is our responsibility to sit well.

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There is a relatively flat space at the deepest point of the seat. This ensures that the pelvis of the rider can be held upright, which in turn allows the knee to drop down. The twist of the saddle is wide enough to encourage the rider’s hips to open, but not so wide as to be uncomfortable and thus create tension. The cantle is not excessively high, which I like. The saddle with a high cantle behind you can become a trap under the wrong circumstances. I have seen a rider, in the process of being thrown, get her leg caught around the very high cantle of her saddle which frightened the horse ever further and prolonged the problem for them both. Easy in and easy out is preferable for me! So the seat of this saddle ticks several boxes for me. I think it is an excellent choice for my pupil because it will offer her the freedom to sit well but will not influence her seat excessively.

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Given my love of close contact saddles, the fact that this is a mono-flap was always going to be a selling point. The less that there is between your leg and the horse the better your communication will be. As I discussed in Better Dressage -Contact the leg is a two-way interface, not just a means of issuing instructions. Through a mono-flap saddle you can read the horse more easily and give an aid more easily; a small aid will be more easily felt. I often aid through my inner thigh and knee too, and this is inherently easier to do in a mono-flap saddle.

Now I come to one of the few things that I do not like about this saddle, the relatively big knee block.  To put my tastes in perspective, the following photo is of another student of mine riding in a different saddle, a Podhajsky by Ideal. I first encountered these saddles through my coach and I have recommended them ever since. They are perhaps the perfect saddle to suit my preferences.

M3391M-1011This saddle allowed me to ride advanced dressage, hack out and jump small to medium-sized obstacles in it with equal ease. It was, after all, designed by a person who believed in all round riding and training for dressage horses. Although clearly not the saddle for a specialist show jumper or event rider, it is brilliant for the advanced dressage rider who likes to vary their routine without changing saddles to do so.

 

When it came to fitting a saddle for the mare in question however, I wasn’t about to quibble over knee blocks! If it had been a knee roll I might have done. A roll, if it is too big, can push the knee away and can contribute to closing the back of the hip, thus blocking the energy flow over the horse’s back. Ideally, the inner thigh of the rider should lie as flat as is possible. A block should act only in a worse case scenario, for example if the knee is suddenly displaced by a more than usually violent movement. Under normal riding conditions I would expect the knee to sit with its inner surface flat on the saddle flap, not exerting any pressure on the block. If a riders knee is jammed against a block then there is pressure, upwards and backwards through the thigh bone, which can act against the horse’s attempt to push the seat-bone forward. Whenever we grip inwards into a knee roll or jam the knee against a block we reduce the free movement of our hips, which the horse needs in order to move freely forward.

It is important that, however much it sticks out, the block doesn’t sit in a place that affects the rider’s usual leg position. The block on this saddle actually allows the knee to sit softly on the flat of the saddle flap and is therefore no problem at all.

 

 

The fit of the saddle for the horse was very good. I was really hopeful as we went into the arena that it would prove to be the solution we were looking for. It all depended on how the horse moved in it and how my pupil felt when it was her turn to ride in it. Everyone knew from my smile that I’d fallen in love with it at least! The difference a really good saddle makes to the way a horse works is massive. I knew quickly that the saddle was meeting with the horse’s approval too. Her hind legs were engaged, her back was lifting and swinging, her shoulders were free and she was working happily with plenty of power.

From a rider’s perspective I found the saddle comfortable and easy to ride correctly in. My hips could move freely with the hips of the horse, I could feel her back clearly and my leg felt relaxed and stable. The location of the stirrup bar in relation to the deepest part of the seat is one factor which can influence your leg position and stability a lot. Having a saddle that is the correct size for you has a great bearing on that as well. I was able to use more seat and less seat at will to influence her movement through collection and extension. When there isn’t enough room in the saddle you can end up wedged on your seat-bones and unable to either emphasise or de-emphasise them. When I engaged a little more seat we had big open extensions there for the asking, which meant that she was reading my seat as easily through the saddle as I was able to read her back. The seat is the primary communication interface and it is vital that the saddle lets all of the messages through clearly, both ways! This saddle certainly does that. The leg contact was great too, as you’d expect with a mono-flap saddle.

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How the saddle is working out and why we need a jumping saddle now.

Three months down the line it has proven to be a sound investment. It is a great saddle to ride in and also supports my role as a coach very well. Now that it has been in my life for a while I can say there is nothing I dislike about this saddle. It is comfortable and does absolutely what we need it to do. The little mare is progressing well in her training and seems very happy with our choice.

Do I like this saddle as much as the Podhajsky by Ideal? I’d have to say almost. The Podhajsky remains my absolute idea of perfection! In terms of the seat the Prestige is equally likeable. The main difference, for me is that knee block. I know that if it were the Podhajsky we were dealing with, I’d be able to pop my stirrups up and go for a gallop, or jump a little grid, without that knee block getting in the way. But then, on the other hand, I wouldn’t have the excuse to be tempted by the gorgeous Prestige Italia jumping saddles either! I am now feebly resisting the idea that a  jumping saddle is necessary. After all cross training dressage horses over jumps is really important and you can’t do that in just any old jumping saddle. That is my story and I’m sticking to it 😉

For this particular horse the Podhajsky would not have been a viable option. It starts at 17″ and the Passion K that fits her so well is 16.5″. Sometimes for the smaller horse it is not just the seat length that is an issue with a larger saddle, it can be the length of the points. The points on a saddle designed for a larger horse can obstruct the shoulders of a smaller horse or large pony. The fact that the Passion K was available in 16.5″ makes it a good choice for the larger dressage pony too.

We know that along with all of the other benefits, the Passion K dressage saddle has built-in adaptability as our little mare develops her physique. This is a really practical advantage, that I imagine would appeal to a lot of horse owners. The adjustment requires a saddler to visit of course, but that would always be the recommended course of action anyway.  In terms of price the Passion K, like the Podhajsky, costs a substantial amount, but is not especially expensive in comparison to many specialist saddles. If you are looking for a saddle that will support correct riding, only cost a small fortune, and let your horse move to the best of its capabilities then these are both very good options to check out!

https://www.idealsaddle.com/assets/brochures/Ideal_Dressage_Saddles.pdf

https://www.idealsaddle.com/catalogue/view/2/dressage-saddles

http://www.prestigeitaly.com/#

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