The art of horsemanship
- Related Topics:
- forward seat
- whip
- posting
- bareback riding
- short stirrup
The basic principle of horsemanship is to obtain results in a humane way by a combination of balance, seat, hands, and legs.
Fundamentals
The horse’s natural centre of gravity shifts with its every movement and change of gait. Considering that a mounted horse also carries a comparatively unstable burden approximately one-fifth of its own weight, it is up to the rider to conform with the movements of the horse as much as possible.
Before one mounts, the saddle is checked to be sure that it fits both the horse and its rider. Experienced riders position themselves in the saddle in such a way as to be able to stay on the horse and control it. The seat adopted depends on the particular task at hand. A secure seat is essential, giving riders complete independence and freedom to apply effectively the aids at their disposal. Good riders do not overrule the horse, but, firmly and without inflicting pain, they persuade it to submit to their wishes.
The horse’s movements
The natural gaits of the horse are the walk, the trot, the canter or slow gallop, and the gallop, although in dressage the canter and gallop are not usually differentiated. A riding horse is trained in each gait and in the change from one to another.
During the walk and the gallop the horse’s head moves down and forward, then up and back (only at the trot is it still); riders follow these movements with their hands.
Walk
The walk is a slow, four-beat, rhythmic pace of distinct successive hoof beats in an order such as near (left) hind, near fore, off (right) hind, off fore. Alternately two or three feet may be touching the ground simultaneously. It may be a free, or ordinary, walk in which relaxed extended action allows the horse freedom of its head and neck, but contact with the mouth is maintained; or it may be a collected walk, a short-striding gait full of impulsion, or vigour; or it may be an extended walk of long, unhurried strides.
Trot
The trot is a two-beat gait, light and balanced, the fore and hind diagonal pairs of legs following each other almost simultaneously—near fore, off hind, off fore, and near hind. Riders can either sit in the saddle and be bumped as the horse springs from one diagonal to the other, or they can rise to the trot, post, by rising out of the saddle slightly and allowing more of their weight to bear on the stirrups when one or the other of the diagonal pairs of legs leaves the ground. Posting reduces the impact of the trot on both horse and rider.
Canter
As the horse moves faster, its gait changes into the canter, or ordinary gallop, in which the rider does not rise or bump. It is a three-beat gait, graceful and elegant, characterized by one or the other of the forelegs and both hindlegs leading—near hind, off hind, and near fore practically together, then off fore, followed briefly by complete suspension. Cantering can be on the near lead or the off, depending on which is the last foot to leave the ground. The rider’s body is more forward than at the trot, the weight taken by the stirrups.
Gallop
An accelerated canter becomes the gallop, in which the rider’s weight is brought sharply forward as the horse reaches speeds up to 30 miles (48 kilometres) an hour. The horse’s movements are the same as in the canter. To some authorities, the gallop is a four-beat gait, especially in an extended run.
Other gaits
There are a number of disconnected and intermediate gaits, some done only by horses bred to perform them. One is the rack, a four-beat gait, with each beat evenly spaced in perfect cadence and rapid succession. The legs on either side move together, the hindleg striking the ground slightly before the foreleg. The single foot is similar to the rack. In the pace, the legs on either side move and strike the ground together in a two-beat gait. The fox trot and the amble are four-beat gaits, the latter smoother and gliding.
Training and equipment
Depending on the abilities and inclinations of horse and trainer, training may include such elements as collection (controlled, precise, elevated movement) and extension (smooth, swift, reaching movement—the opposite of collection) at all paces; turns on the forehand (that part of the horse that is in front of the rider) and hindquarters; changing lead leg at the canter; change of speed; reining back, or moving backward; lateral movements; and finally the refinements of dressage, jumping, and cross-country riding.
Communication with the horse is rendered possible by the use of the bit and the aids. The rider signals intentions to the horse by a combination of recognized movements of hands and legs, using several articles of equipment. By repetition the horse remembers this language, understands what is required, and obeys.
Bits
There are several types of bits, including the snaffle, the double bridle, and the Pelham.
The simplest is the snaffle, also called the bridoon. It consists of a single straight or jointed mouthpiece with a ring at each end for the reins. The snaffle is used for racing and frequently for cross-country riding. It is appropriate for preliminary schooling.
The double bridle is used for advanced schooling. It consists of a jointed snaffle and a straight bit placed together in the mouth, first the snaffle, then the bit, both functioning independently and attached to separate reins. The mouthpiece of the bit can have a port or indentation in its centre to give more control. The slightest pull on the bit rein exerts pressure on the mouth.
The Pelham is a snaffle with a straight mouthpiece; cheekpieces with rings at the lower ends for curb action; and a curb chain, with which pressure may be applied to the lower outside of the mouth. The Pelham gives control with only slight discomfort and is popular for polo.
Bridles
The bridle is a set of straps that makes the bit secure in the animal’s mouth and thus ensures human control by means of the reins (see ). The upper portion of the bridle consists of the headpiece passing behind the ears and joining the headband over the forehead; the cheek straps run down the sides of the head to the bit, to which they are fastened; in the blind type of driving bridle the blinkers, rectangular or round leather flaps that prevent the animal from seeing anything except what lies in front, are attached to the cheek straps; the noseband passes around the front of the nose just above the nostrils; and the throatlatch extends from the top of the cheek straps underneath the head.
Aids
The principal features of a horse’s mentality are acute powers of observation, innate timidity, and a good memory. To a certain extent the horse can also understand. Schooling is based on these faculties, and the rider’s aids are applied accordingly. The natural aids are the voice, the hands through the reins and the bit, the legs and heels, and the movement of the rider’s weight. The whip, the spur, and devices such as martingales, special nosebands, and reins are artificial aids, so termed in theory, as the horse does not discriminate between natural and artificial.
Horses are easily startled. A good horseman will approach them quietly, speaking to them and patting them to give them confidence. Silence on the part of the rider can even cause disquiet to some horses, but they should not be shouted at. The rider’s voice and its tone make a useful aid in teaching a horse in its early schooling to walk, trot, canter, and halt.
To keep the horse alert at all times, the rider’s hands keep a light, continual contact with its mouth, even at the halt. The hands are employed together with the legs to maintain contact, to urge the horse forward, to turn, to rein back, and generally to control the forehand. The horse is said to be collected and light in hand when the action of the bit can cause it to flex, or relax, its jaw with its head bent at the poll, or top.
When pressed simultaneously against the flanks, immediately after the hands ease the reins, the legs induce the forward movement of the horse. They are of the greatest importance in creating and maintaining impulsion, in controlling the hindquarters, and for lateral movement.
Riders achieve unity of balance by means of the weight aid, that is, by moving the body in harmony with the movements of the horse, forward, backward, or to the side. Thus, in cantering to the left, the rider leans to the left; or when about to descend a steep slope, the rider stays erect while the horse is feeling for the edge with its forefeet, but as soon as the descent starts the rider leans forward, leaving the hindquarters free to act as a brake and to prevent scraping the back of the horse’s rear legs on rough ground. Meanwhile the hands keep the horse headed straight to maintain its balance.
The whip is used chiefly to reinforce the leg aid for control, to command attention, and to demand obedience, but it can be used as a punishment in cases of deliberate rebellion. A horse may show resistance by gnashing its teeth and swishing its tail. Striking should always be on the quarters, behind the saddle girth, and must be immediate since a horse can associate only nearly simultaneous events. This applies equally to rewards. A friendly tone of voice or a pat on the neck are types of reward.
Although normally the leg or the heel, or both, should be sufficient, spurs, which should always be blunt, assist the legs in directing the precision movements of advanced schooling. Their use must be correctly timed.
Martingales are of three types: running, standing, or Irish. The running and standing martingales are attached to the saddle straps at one end and the bit reins or bridle at the other. The Irish martingale, a short strap below the horse’s chin through which the reins pass, is used for racing and stops the horse from jerking the reins over its head. As the horse cannot see below a line from the eye to the nostril, it should not be allowed to toss its head back, particularly near an obstacle, as it is liable to leap blindly. A martingale should not be necessary with a well-schooled horse.
The noseband, a strap of the bridle that encircles the horse’s nose, may be either a cavesson, with a headpiece and rings for attaching a long training rein, or a noseband with a headstrap, only necessary if a standing martingale is used. A variety of other nosebands are intended for horses that pull, or bear, on the reins unnecessarily.
Seats
The saddle, the length of the stirrup, and the rider’s seat, or style of riding, should suit the purpose for which the horse is ridden. The first use of the stirrup is to enable the rider to get on the horse, normally from the near (left) side. With the raised foot in the stirrup the rider should avoid digging the horse in the flank on springing up and should gradually slide into position without landing on the horse’s kidneys with a bump. With an excitable horse, the rider may wait, resting on knees and stirrups, until the horse moves forward.
Forward seat
The forward seat, favoured for show jumping, hunting, and cross-country riding, is generally considered to conform with the natural action of the horse. The rider sits near the middle of the saddle, his torso a trifle forward, even at the halt. The saddle is shaped with the flaps forward, sometimes with knee rolls for added support in jumping. The length of the stirrup leather is such that, with continual lower thigh and knee grip, the arch of the foot can press on the tread of the iron with the heel well down. A wide and heavy stirrup iron allows easy release of the foot in case of accidents. The line along the forearm from the elbow to the hands and along the reins to the bit is held straight. As the horse moves forward, so do the rider’s hands, to suit the horse’s comfort.
