RIDINGIN

ImproveHarmony your seat with tips from chief riders of the and Cadre Noir.

By Andreas Hausberger and Col. Christian Carde with Silke Rottermann

t is a typical picture which unfortunately can be seen in riding schools all over the world: absolute beginners on the longe line, riding a patient . They are trying to position their heels, back and hands all at the same time in textbook style, but this is an im- possible task for someone on a horse for the first time. The result Iis often a cramped rider going against the movements of the horse un- derneath. Quite often, this is the beginning of a future for a rider who will not learn to feel the horse and go with his movements, which is the precondition for allowing her to develop her full potential and be in unison with her horse. It is amazing how children in countries with no typical riding school tradition learn to ride bareback only by feeling the movements and trying to adapt to them. However, riding requires a lot more: moving with the horse in the correct position to be able to pro- duce the dressage movements in a seemingly invisible way. The problem is that there are riders who might go with the move- ment but lack a correct seat, while others have the opposite problem. In both cases, the result is a horse that does not move correctly. For a rider who strives for perfection—and this feeling should be instilled Col. Christian Carde, former in every dressage rider—it is of utmost importance for her to become chief rider at the Cadre Noir aware of certain weaknesses in her seat and position and how they in Saumur, France, warms up at badly influence the horse’s way of going. Regrettably, this still does

a show without . not happen often enough. Even worse, some riders do not seem to Silke Rottermann mind as long as they can produce spectacular movements and get the A rider demonstrates how an incorrect position dressage scores they have hoped for. can negatively affect a horse’s straightness. Courtesy, Col. Christian Carde 34 Dressage Today August 2013 August 2013 Dressage Today 35 Photos by Silke Rottermann Photos by Silke Rottermann Every rider has to learn “the feeling for the required Without feeling, “the horse will become stiff and will not A seat exercise practiced on the longe: The rider takes After repeating this exercise in both directions, the rider impulsion and the moderation regarding it,” says Col. swing through his whole body, and so not allowing the rider her outer hand over the topline of the horse and places it keeps this feeling of looseness as she returns to her correct Christian Carde. to sit comfortably,” says Carde. about 4 inches in front of the . riding position.

However, the biggest goal in dressage hip symmetry with the horse is mostly with the horse’s direction of movement expect him to move smoothly and bal- centimeters (about 4 inches) in front of you will be able to recall it when riding should not entirely be to be competi- seen on curved lines, such as circles and then she helps him to go where she has anced. So I strongly advise every rider to your saddle. on your own. tive, but to find total harmony and un- voltes, and any lateral work. asked. This is particularly important for regularly work on her personal fitness in 4. Remain in this position for a cer- derstanding with your equine partner. Most likely the rider’s outer shoulder advanced movements like half passes whichever way. Additionally, stretching tain period of time, depending on your Col. Christian Carde: The Right Riders following this aim are often trails back and she pulls at the inside and pirouettes. exercises can help to loosen muscles, balance and personal fitness. Feeling for the Movement confronted with the challenge to recog- . As a direct consequence, her inside When the rider’s shoulders and hips allowing the rider to sit better. 5. This exercise should be done Again and again, and even at the high- nize and improve weaknesses in their shoulder is pulled forward. are parallel to those of her horse, she is Even though it might present a repeatedly on both leads for no more est levels in our sport, we can observe seat and position. Andreas Hausberger, When this happens in lateral work simply supporting his balance. The more problem to riders who don’t have a than 30 minutes. the situation that a rider is not moving chief rider of the Spanish Riding School she now needs more push with her out- balanced the horse moves, the more suitable horse for it, I have to say that It is important for the rider to stop with her horse because she, unaware or in Vienna, Austria, and Col. Christian longe lessons are the most effective way before there is fatigue or tension. After consciously, does not put the right im- Carde, former chief rider of the Cadre In the art of classical equitation there is the rule to correct the problem of asymmetrical each change of it is useful to do pulsion into her position. Noir in Saumur, France, both discuss shoulders and hips. Whether we are some loosening work in the saddle (for This mainly happens in two situa- aspects of this problem and how to that the rider’s shoulders and hips should be talking about relative beginners or example, making arm circles) before tions. The first is when a rider wants to solve it. parallel with those of the horse. Grand Prix riders, if this problem returning to the exercise. lengthen her horse’s stride and creates occurs, it is best to find a horse and It is not enough just to do seat exer- too much impulsion with her seat by Andreas Hausberger: Parallelism trainer for longe lessons so the rider can cises because the problem might easily pushing with her buttocks and thereby of the Shoulders and Hips side leg to compensate for her pulling light-footed and elegant he appears. focus on this problem. reoccur when riding unsupervised or leaning back. As a result, her horse loses In the art of classical equitation there is outside rein. As a result, she gets tense. Then it becomes possible for the rider Here is one effective exercise that we off the longe. Never try to correct this cadence in the extensions. the rule that the rider’s shoulders and Often there is a yielding of the rider’s to give much finer aids. As a result, her practice at the Spanish Riding School in problem on your own, as you will most The second situation mainly happens hips should be parallel with those of her inside or outside hip to compensate. horse can become more elevated and be Vienna to help improve this mistake: certainly end up with even more mis- in movements of high collection, such horse. As simple as it may sound, this The negative result can best be seen in in lighter contact with her hands. 1. On the longe, begin without takes. Instead work to recall the feeling as piaffe and passage, when the rider is a rule that many riders find quite dif- half passes, where the rider’s crooked- How to correct the problem: Often or stirrups in all three basic gaits. you have on the longe when riding off gets the feeling she has to create energy ficult to fulfill and even at international ness hinders her horse’s forehand to underestimated, rider’s asymmetry is 2. Take your outer hand (the left, if of it. Have your trainer tell you exactly and puts too much energy in. The move- shows one can observe riders struggling slightly lead in this movement. often due to a lack of physical fitness. you are going right) over the topline of when your outside shoulder is turned ments then lack slowness and grace. with it. The effects of parallel shoulders It seems only logical that if the rider the horse. enough. When you have internalized The problem: In both cases, the rid- er lacks feeling for the optimal balance The problem: A lack of shoulder and and hips: If the rider’s seat is in unison lacks it, she cannot support the horse or 3. Place that hand approximately 10 the correct feeling during such lessons

36 Dressage Today August 2013 August 2013 Dressage Today 37 that she needs to give the horse and equestrian discipline, although a sport keep it throughout the movement. It is of its own, is excellent to supplement something every rider has to try to learn: the education of young riders, but may Col. Chris- the feeling for the required impulsion not be ideal for all dressage riders. tian Carde and the moderation regarding it. In my opinion, another great way was born into If a rider is not able to get the correct to get a feel for the horse’s movement a horse-loving feeling through practice or even ignores is to ride without stirrups. This kind of family in it to push the horse to move more spec- practice is suitable for everybody. Ad- Bordeaux, tacularly, the result will always be the ditionally, unlike with lessons, France. He same. No matter at which level or in no second person is necessary to prac- started competing as a teenager which dressage movement, the horse tice it. Just cross the stirrups in front of in jumping and three-day eventing will become stiff and will not swing your saddle for a certain period of time before taking a close interest in through his whole body. As a result, at the beginning of a training session, dressage after joining the prestigious the rider cannot sit comfortably, which for example, to get a feel for your horse. Cadre Noir formation in the 1960s. creates a picture that is far from the har- You will automatically make your legs In the ’70s, Carde, who lives near mony one should aim to achieve longer and sit deeper in the saddle. Saumur, France, was a member How to correct the problem: Of If you are united with your horse’s of the French dressage team at international championships with course, the following depends on the movement, it feels like his motion just his Budjonny gelding, Solitaire. He character and training level of the pulls you into the saddle and takes you became the French national coach horse, but a well-trained and happily with him. This will not come overnight, from 1985 to 1989. From 1991 to working one requires only light aids but done regularly, the effect will not 1999 he was the chief rider at the from the rider. Still, many riders think only improve your position, but also the Cadre Noir. Carde is also an FEI judge and conducts regular clinics in The famous Dr. Reiner Klimke often Europe and North America. warmed up without stirrups at Andreas Hausberger international dressage shows. comes from a family of that they have to apply a more or less way you give aids. horse breed- high level of impulsion through their It is even possible to work without ers in Austria. seats and end up with lots of body ten- stirrups or the longe as a warm-up at He joined the sion transmitted to the horse. Instead of shows. There is no reason to be intimi- prestigious Spanish being united with the horse in a supple dated because this work is not reserved Riding School in Vienna, Austria, in and harmonious way, the rider experi- for beginners. 1984 and was named its chief rider ences tension on both sides. The famous Dr. Reiner Klimke often in 2007. Hausberger’s long-line The first thing to practice is to re- warmed up without stirrups at interna- displays, especially with the Lipiz- lax. This doesn’t mean to lack positive tional dressage shows. Christine Stück- zan stallion Conversano Dagmar body tension, but to (re)learn to feel elberger warmed up on the longe line became world famous within the the horse’s movements. When we try to with her Olympic Games gold-medal equestrian community. His par- follow them with our legs, hips, back, partner, Granat, and her trainer during ticular talent is to be found in the shoulders and arms, then these parts of the world championships in 1978. They in-hand work of , but he trains our body automatically will relax. became world champions the same day. international Grand Prix riders and There are a few ways to get a feel for The rider knows that she is truly conducts clinics all over the world. the horse’s movements and the amount with her horse when she feels that his of impulsion or energy every individual back is supple and swinging. This is horse needs from his rider (ideally, as only possible if the rider herself does allows his rider to follow the movement little as possible). Vaulting is a good way not have any stiffness or tension in her smoothly. This allows the rider to sensi- to practice balance and get a feeling back or chest and thereby does not dis- tively follow the horse’s mouth, which for the movements of a horse and how turb the horse’s way of going. results in what we are all looking for: to follow them smoothly. This kind of When a horse has a supple back, he harmony when riding.

38 Dressage Today August 2013