Equitation - Cheval > LA CHEVAUCHEE FANTASTIQUE
Fhoenix Saddles
Elfik:
Je crois pas qu'il y ait des distributeurs francophones.
Et effectivement les prix ne sont pas affichés sur le site. J'enverrai un mail pour demander.
Elfik:
Heather (la conceptrice des selles sans arçon) rapporte l'expérience suivante (je traduirai + tard, si quelqu'un a la motiv' pour le faire d'ici là, qu'il ne se prive pas) :
As a classical dressage trainer and remedial riding trainer first and foremost, I was especially interested in how the way in which the rider sat, and interacted with the movement of the horse, also affected the pressure and therefore, the efficacy of the saddle. I experimented with a number of different riders and horses, at varying levels of riding, and my findings were as I suspected. I could easily see how the rider was sitting, and especially the way in which they absorbed the movement of the horse, by the moving pressure patterns on the computer screen, without even having to look at the caption.
I have always taught the rider to sit deeply, but lightly, synchronising their own movement with that of the horse, producing a quiet, elegant classical seat, ideally placed to give effective but invisible aids.
The pressure patterns in both well fitting treed and treeless saddles were similar, when the rider absorbed the movement in this way, with the rider being very light ( light pressure showing up as dark blue through to slight pressure, light blue) in the saddle and an even pressure pattern. When the rider started to ‘drive’ with the seat, so often seen in the dressage arena, and the cause of the flailing lower legs and nodding heads to be seen as well!- the pressure patterns altered radically, with ripples of red, showing considerable pressure, moving from the back of the saddle to the front in both sitting trot and canter. In rising trot, when the rider came behind the movement- far more obvious in treed saddles as the stirrup bars were further forward than on the treeless saddles- the pressure on the cantle region was immense, and stopped the horse moving forwards. This was also evident when the rider tried to remain too upright in rising trot, and had to thrust the pelvis back and forth to catch up with the movement. Any asymmetry in the rider, showed up very marked ‘hot’ spots on the back of the horse.
Treed saddles with the stirrup bars recessed to avoid them sticking into the legs of the rider, showed far more pressure under the bars, than any of the treeless makes we tested, all of which came out very favourably in the tests we carried out, when used with the recommended pads and accessories.
Infuriatingly, the moving pressure patterns of the Pliance system, were unable to be stored once the months software licence ran out, with only the static patterns being left. The equipment broke down at the end of the second week of testing and had to be sent back to Germany for repair, so did not help our programme either. However, I would love to be able to afford to buy the equipment, as I think that it is invaluable to be able to prove to a rider how their bad riding affects the performance of both saddle and horse!
Interestingly, I was asked to take part in a gait analysis day for a student’s thesis. We worked with twelve competition horses belonging to elite students at the college, testing them first in their own saddles, all fitted by qualified saddler fitters, and with the same German dressage rider on board each horse. We then changed each horse to one of my Fhoenix saddles. Whilst the stride length did not alter with each horse, what was especially noticeable was the overall shape and carriage of the horses, and the significantly greater expression in the strides of the horses we tested.
Out of the twelve saddles at that testing day, I found only one that was actually straight. Varying from two twisted trees, one stirrup bar lower down on one side than the other, another with a bar further forward than the other, two with girth billets that were further forward on one side than the other, and several others with panels totally squint, seats stitched over to one side more than the other. The students were astonished as I pointed out the faults to them, and which they could clearly see for themselves once made aware of them. Two of the saddles were less than a fortnight old. This is by no means unusual. Frequently, I find that the reason a rider cannot sit straight on the saddle is due to one or more of the above faults.
Elfik:
Bon allez, je traduis :
As a classical dressage trainer and remedial riding trainer first and foremost, I was especially interested in how the way in which the rider sat, and interacted with the movement of the horse, also affected the pressure and therefore, the efficacy of the saddle. I experimented with a number of different riders and horses, at varying levels of riding, and my findings were as I suspected. I could easily see how the rider was sitting, and especially the way in which they absorbed the movement of the horse, by the moving pressure patterns on the computer screen, without even having to look at the caption.
I have always taught the rider to sit deeply, but lightly, synchronising their own movement with that of the horse, producing a quiet, elegant classical seat, ideally placed to give effective but invisible aids.
En tant qu'entraîneur de dressage classique et d'équitation thérapeutique (pas sûre de moi là), je me suis tout particulièrement intéressée à la façon dont le cavalier s'assoit et interagit avec le mouvement du cheval, agissant ainsi sur les points de pression et donc l'efficacité de la selle. J'ai mené des expériences avec un grand nombre de cavaliers et de chevaux différents, de niveaux variés, et mes conclusions ont rejoint mes intuitions. Je peux savoir comment le cavalier s'assoit et comment, notamment, il absorbe le mouvement du cheval, grâce aux déplacements des points de pression sur l'écran de l'ordinateur, sans même regarder les légendes.
J'ai toujours enseigné au cavalier à s'asseoir profondément mais légèrement, en synchronisant ses mouvements avec ceux du cheval, ce qui produit une assiette classique calme et élégante, idéalement placée pour donner des aides discrètes et efficaces.
The pressure patterns in both well fitting treed and treeless saddles were similar, when the rider absorbed the movement in this way, with the rider being very light ( light pressure showing up as dark blue through to slight pressure, light blue) in the saddle and an even pressure pattern. When the rider started to ‘drive’ with the seat, so often seen in the dressage arena, and the cause of the flailing lower legs and nodding heads to be seen as well!- the pressure patterns altered radically, with ripples of red, showing considerable pressure, moving from the back of the saddle to the front in both sitting trot and canter. In rising trot, when the rider came behind the movement- far more obvious in treed saddles as the stirrup bars were further forward than on the treeless saddles- the pressure on the cantle region was immense, and stopped the horse moving forwards. This was also evident when the rider tried to remain too upright in rising trot, and had to thrust the pelvis back and forth to catch up with the movement. Any asymmetry in the rider, showed up very marked ‘hot’ spots on the back of the horse.
Treed saddles with the stirrup bars recessed to avoid them sticking into the legs of the rider, showed far more pressure under the bars, than any of the treeless makes we tested, all of which came out very favourably in the tests we carried out, when used with the recommended pads and accessories.
Les relevés des pressions tant pour les selles avec arçons adaptées et les selles sans arçon sont similaires, quand le cavalier absorbe le mouvement de cette manière (ie de la manière dont je lui ai appris), avec un cavalier très léger dans sa selle (une pression légère apparaît à l'écran comme bleu foncée, bleu claire quand elle est plus marquée) et des relevés de pression très homogènes. Quand le cavalier commence à agir avec l'assiette (ce qu'on voit souvent sur les rectangles de dressage - et qui est la cause des bas de jambes "battant" et des têtes "hochant" que l'on voit aussi souvent), les relevés de pression changent radicalement, avec l'apparition de points rouges (pressions fortes) qui vont de l'arrière vers l'avant, tant au trot assis qu'au galop. Au trot enlevé, quand le cavalier est derrière le mouvement (plus flagrant avec des selles à arçons où les couteaux d'étrivières sont trop en avant) la pression à l'endroit du troussequin est énorme et le mouvement en avant complètement bloqué. Ceci est aussi évident quand le cavalier essaie de rester droit dans son trot enlevé, en envoyant le pelvis en avant à chaque fois qu'il se lève, pour coller au mouvement. Toute asymétrie du cavalier apparaît aussi avec des points rouges très marqués sur le dos du cheval.
Les selles avec arçon aux couteaux d'étrivières déportés pour qu'ils ne gênent pas la jambe du cavalier montrent des pressions beaucoup plus fortes au niveau des couteaux que toutes les selles sans arçon que nous avons essayées, celles-ci se tirant très favorablement des tests que nous avons effectués tant qu'elles étaient utilisées avec les pads et accessoires recommandés.
Suite à venir.
seera:
merci pour les non anglophones, c'est très interessant!
le pire pour moi dans la position, c'est les cavaliers qui poussent leur cheval avec leur bassin, c'est completement contre productif, cela entraine enormement plus de pression et de frottement sur le dos du cheval.
Un peu comme un enfant que vous portez sur vos épaules et qui bouge sans arret, cela vous desequilibre, vous fatigue plus vite, alors que s'il se tient tranquille, vous pourrez le porter bien plus longtemps.
Guylène44:
c'est pourtant ce qu'enseigne les moniteurs d'équitation de pousser avec le bassin pour donner de l'impulsion au cheval !!!! :blink:
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