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IN OUR TOP-TO-TOE GUIDE TO RIDER BODY TRAINING, WE’VE REACHED THE LEGS. ANDREA OAKES LOOKS AT THE ROLE THE LEGS PLAY AND HOW, WITH SOME SIMPLE TIPS AND TWEAKS, RIDERS AT ALL LEVELS CAN USE THEM TO MAXIMUM EFFECT.

The magic line from shoulder to hip and heel is considered the gold standard in dressage, describing the perfect positioning of the rider’s legs in relation to the body. If your refl ection in t e arena irrors reveals a kink in this vertical alignment, with your lower leg creeping forwards or back, or

even rotating outwards, where might the problem lie?

“Most issues with the lower leg relate to basic balance,” says Grand Prix rider and coach Bobby Hayler. “If something is awry with your leg position, look up before you look down. Investigate the upper body for clues; if you’re crooked on top, your hips and your heels will be wrong.”

To understand where things are meant to be, Bobby suggests adopting a standing squat while unmounted.

“In a basic squat, not too low, your legs will be where they should be when you’re in the saddle,” she explains. “You cannot force the lower leg into the correct place if there are problems

further up the body, so the aim is a balanced, neutral position, with your weight distributed equally across your seat bones and down through each leg.

“Your legs are there to keep a positive contact, to link to the hand and the hand to the bit,” adds Bobby, emphasising the vital role they play in creating energy and direction. “When we think

ABOVE: THE ‘MAGIC’ LINE FROM SHOULDER TO HIP AND HEEL IS CONSIDERED THE GOLD STANDARD IN DRESSAGE.

what the horse has to do to collect, lifting his stomach and his core to work over his back, we realise that this is physically impossible for him to achieve without correct use of the leg.

“Every part of your legs should be touching your horse’s sides,” s e says o ering a uic osition refresher. “Your thighs play a big part in your balance, so try opening your legs really wide and dropping them each side of the saddle to deepen your seat. Your thighs and knees should close without gripping and your calves should remain relaxed against your horse’s stomach, ready to s uee e and use when needed.” Signs are usually clear if something is amiss. “Sticking one foot out or both indicates tightness through t e i fl exors a common problem that can also cause the upper body to tip forwards,” says Bobby. “Another tell-tale is losing a stirrup, which is usually due to a balance issue. If your weight is uneven through your seat bones you’re likely to sit more to one side, shortening the opposite leg and gripping with the knee.

“If your lower leg is generally unstable, you’re probably compensating for lack of balance,” she adds. “We also commonly see the lower leg used too far back. You will get a response from the horse, as it’s a very sensitive area, but it won’t be a positive reaction.

“The best way to identify and correct these position issues is to sit on a large balance ball, in

front of a mirror, as if you were in the saddle. You will instantly see where you are crooked and start to understand how to sit straight. Another out-of-saddle test is to stand on one leg with your eyes closed and your arms out to the sides; this will probably be harder on one leg than the other.”

“Developing symmetry is the key to improvement,” adds Bobby.

“It’s all about balance and breathing, and learning to distribute your weight evenly,” she says. “Pilates and yoga are really useful, as are any other activities that involve balance. ou ll also bene t fro nding a physiotherapist for yourself as well as your horse, whether you’re at grass roots or Grand Prix, to iron out any physical issues that can create a vicious circle of crookedness. ec ni ue is ore i ortant than strength when it comes to the legs, since a horse will learn to respond to the amount of pressure you can apply,” adds Bobby. “A good trainer will help you understand what you’re asking of your horse at the level you’re competing at. Moving the legs to apply the aids is not al ays di cult but e can do it a lot uic er en e understand

why and when.”

Competition nerves can prompt bad habits to re-emerge in the heat of the moment. What does Bobby advise? “If you’re prone to becoming tense and tight through your seat, think ‘heavy heels’ to encourage that long, loose leg position as you trot around the outside of the arena,” she suggests. “And if you tend to take your legs o en under ressure t in of s uee ing t e orse as if you want to pop him. I sometimes commentate the test under my breath, to calm my nerves, describing each movement and how I will ride it.

“Work at home will help, but try not to stress about your lower leg position,” she adds. “The problem is further up the body, 99% of the time, and can always be improved by focusing on your balance.”

ABOVE: GRAND PRIX RIDER AND COACH BOBBY HAYLER.

“Think of your knees as springs, which absorb impact at trot and canter,” says Bobby. “Rise to the trot with the knee, rather from from the ball of the foot, as there’s no stability in the stirrups. “The knee can also be likened to the clutch of a car during a hill start: there to allow the horse to go forwards, but also to ask him to collect,” she adds. “To understand how this works, experiment with adjustability in the trot. If you quicken your rising and release your knees, the horse can travel forwards. To rise more slowly, however, you need to squeeze with your knees to support yourself, and the horse will slow down.

“It’s a bit like sitting down on a chair, but, just before your bum hits the seat, stopping mid-air. To seat, stopping mid-air. To do this, you automatically do this, you automatically use your knees and use your knees and squeeze your squeeze your tummy, or tummy, or core. It’s core. It’s the same in the same in the saddle the saddle – try changing changing the speed of your the speed of your rising to see how rising to see how your horse your horse reacts.” reacts.”

RIGHT: IN A BASIC SQUAT, YOUR LEGS SHOULD BE WHERE THEY ARE IN THE SADDLE.