Military Seat Riding |
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THE SEAT IN MARTIAL ARTS RIDING The “seat” is an important part of any riding
technique. Two processes are jointly defined by this term. Primarily
the techniques of the seat are to stay on the horse in the most efficient
manner. Secondarily the techniques of the seat are to control the horse.
Martial arts riding is a discipline of its own. Any other equestrian
art allows some sort of posting or other means to meet the rhythm of
the horse. Martial arts on horse back allow no such luxury. By the very
nature of martial arts a constantly secure seat is required. Any technique
such as posting or two pointing creates a geometric disadvantage on
one hand and a mechanical articulation disadvantage on the other. By
raising the center of gravity and disconnecting the torso from the horse
the Martial artist becomes a geometrically easier target to apply leverage
against and not able to use the weight of their horse as shock force.
Only by using techniques of training and mechanics can a rider learn
to stay in tune with every movement of the horse sufficient to keep
their butt planted firmly in place during all phases of each gait. This
requires a very dynamic relationship with the movements of the horse. The goal is to, at all times, maintain centered balance
for both horse and rider and a communicative union of the center of
gravity of both. This can only be maintained by very active movements
on the part of the rider or suppression of the horses movements. In
Martial arts as an equestrian discipline the natural movements of the
horse are used not compromised. The rhythm of the horse is expressed
in three factors; forwards and backwards movement, up and down movement,
and side to side movement. Each factor must be addressed by individual technique.
Each technique must be addressed by training. The only way to learn
the rhythm and movements of the horse is to ride bareback. Riding a
horse bare back while it is being lunged can be a most enlightening
experience. Under those conditions the movements of the horse are smooth
and evenly timed. This allows the rider time to study and react to the
movements till a smooth interaction is achieved. The mechanics are achieved by two simple control elements,
the thighs resist the horses movements and provide leverage and the
spine flexes to maintain pressure against the horses back and to meet
the horses movement. All other rider movements are either to; react
to the horses movements, anticipate the horses movements, control the
horse, or perform some secondary function such as joust or rope. The
legs from the knee down either squeeze the horse with the toes in or
give leg cues with the toes out. Spurs with large blunt rowels are used
so kicking the horse is never done. This allows the legs to be used
to hold onto the horse at all times. Levering with the feet against the stirrups leads to
imbalance and should only be the last resort. Levering with the feet
against the stirrups is admitting you are no longer in control of the
situation with your balance. In a fight on horse back leaning into the
stirrups is sometimes necessary but never well done. Stirrups are there
to save your ass, not to ride on. Adjust them long. The cavalry manual says to sit on your pockets, rolling
the hips and flexing the back to stay with the rhythm of the horse.
The balance is naturally thrown forward by this so it must be consciously
compensated for by pulling the legs back and pointing the toes down.
The English practice of arching the back the other way and putting the
heels down puts the body in a martially impossible position and defeats
the whole purpose of flexing the back to maintain contact with the saddle.
However the Martial arts seat requires strong leg muscles and can be
physically exhausting. In practice the momentum of the torso is kept stable
in relation ship to the forward movement of the horse but kept distinct
from the up and down movement. Movement back and forth is an expression of acceleration
and deceleration and so it follows its own rhythms. Broader and slower
these movements are addressed by leaning forward in anticipation of
forward movement and leaning back to stop. Side to side movement is an expression of either slow
momentum in turns or fast movements in response to outside stimulus.
The slow movement as in turns is countered by leaning to the inside
of the turn as the horse does and increasing the pressure on the outside
thigh to compensate for the natural increase in pressure on the inside
leg.. Fast moves as in a spook are countered by pressure on the thigh
and heel on the side of the direction of movement in an attempt to drive
the horse back under center. At the same time the torso is forced ahead
of the momentum. This also works when applications of force cause the
rider to lose center. In all cases the seat is firmly pressed against the
saddle. Any air between the saddle and the seat is in error. This does
increase the friction against the saddle and huge blisters are the rule
till the technique is mastered. Low cantles significantly increase this
blister effect. In martial horsemanship only extremely deep saddles
with long stirrups are appropriate. Close contact saddles cannot allow
the sort of leverage and cues necessary. Forward seat saddles require
a martially impossible position for both horse and man. Any saddle based
on an English design will have stirrup straps that are fastened to the
saddle far to far forward to position the legs for leverage. The control of the horse by the use of the seat is of
extreme importance and cannot be over stressed. Only when completely
in tune with the movements of the horse can the rider use this marvelous
tool. The principle is extremely simple. Once the horse is able to accept
you as part of its natural balance and movement, all your balancing
movements effect it as much as its own. To speed up the rhythm you drive
with your hips slightly ahead of the existing rhythm putting rhythmic
pressure on the front of the saddle. The horse will speed up to make
this imbalanced movement go away. To slow the speed, the hips are driven
against the back of the saddle slightly behind the movements of the
horse. By this means the stride is shortened to perfectly align the
rhythms of both horses for the impact. Leaning slightly to one side
produces the effect of imbalancing the horse with one of two results
depending on the speed and alternate instructions. The horse moves in
the direction of the lean. It can lean that way if the speed allows
for it resulting in a turn. Or the horse can move sideways in that direction.
As movements to the side and at angles are very important to the martial
equestrian this balance/control technique is very important. It cannot
be stressed enough that this is impossible without perfect union with
the horses movements. The balance instructions must be seen as small
imbalances, that the horse makes subtle corrections to, that are not
necessarily conscious on the horses part. Without balance being the
normal state, any deliberate imbalance is just confusing and difficult.
The key to achieving balance with the horse can be seen
in many ancient paintings. The riders body bent in a dynamic ”S”
with the back bent forward, the legs bent back, the toes down, and the
butt firmly planted on its pockets. This dynamic pose requires a great
deal of attention and a great deal of strength. This sort of riding
is not for the casual rider nor is it of any use in many riding competitions.
However in a strictly mechanical way Martial arts riding makes for a
rider that is unequaled in their ability to stay on the horse and it
is equal to any discipline in the ability to stay with the horse. |
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