Kyra Kyrklund is one of those dressage characters who is not only a Champion rider in her own right but has an uncanny ability to impart her knowledge in a way that every person listening can easily understand and relate to. This teacher has a way with words that makes logical truth simple and understandable. 

Kyra begins the masterclass - Photo ©Roger Fitzhardinge

She is witty, humorous, honest and to the point and above all knowledgable and modest.  A woman who never holds back with her views, which seem to simply reinforce things that were being made complicated and bringing them all back into an obvious statement.

The clinic at EQUITANA was very well attended with a crowd which was knowledgable and interested and despite it being three hours without a break, there was not a person vacating from the beginning to the end.

Kyra had a variety of horses and riders to use for her demonstration and who were all lovely. And of course we must show our appreciation to these riders and demonstrators, as without their accepting attitude towards allowing us in to see the reality of training we would not have been able to gain a thing from this clinic. They were brave enough to let a crowd see their mistakes, which without we would have had no chance at learning.

What is so great about Kyra's presentation is, no matter what your focus is in your training, Kyra was able to show a little of it all. Of course she has specific strong ideas as to how it work should progress, but by the same token she has many answers for so many problem areas. She provides an extremely great experience with horses from every aspect. Her enthusiasm and love of the horse and all associated sports is infectious! Kyra is also open minded, she took the time ti attend other trainers clinics and also judged the Way of the Horse, and commented that she, "loved every aspect of this and was so interested in the way the different trainers handled their untamed steeds."

With the clinic underway, the crowd was introduced to the first combination. Ebony Park Abe is a friesian stallion who is ridden by Natasha Althoff.

This  stallion is big and upfront and Kyra spent the time explaining the importance of the correct position from the rider and also the importance of a round horse that was sensitive to the rider.

Kyra explains position importance to Natasha - Photo ©Roger Fitzhardinge

She explained, "the horse must carry the rider, not the rider carrying the horse. So you need a balanced rider and a balanced horse. Please be aware that tense muscles don't allow self carriage. Tight muscles, be it from the rider or the horse, will push the rider out of the saddle. It's as if you are a jelly fish and flop on to the saddle with your seat and legs long and light. This is where the independent seat is of the utmost importance."

She continued, "the horse must be strong over the back like a bridge and then the rider must be able to sit on him in a light and balanced seat. Is it the rider that improves first or the horse? It's the egg or the hen and if the horse is hollow then it's not possible to sit, as it's as if you are sitting in a hole! You need to make the horse shorter in the underline...neck and stomach and longer over the top line (ie. deep and round). So do you make the horse better first then ride or the other way around. It is a circle and goes hand in hand.

When talking about the collection, the rib cage is the spring and you need to keep a lid on it at either end so you can keep the collection, as well as keeping the lateral submission also."

She then went over the importance of the underline, stating is must be short, so that the upper line gets long, but she pointed out that you cannot do this with force, as you will make the muscles tight and lose the spring. She pointed out here that there must be a feeling that the horse is shorter in the underline, and longer over the topline so that then you can get the hind leg better under the horse and bring the centre of gravity more over the hind legs to raise the forehand.

Natasha works on creating better lines - Photo ©Roger Fitzhardinge

"There is no place in any dressage horse for showing an under neck muscle," Kyra said to the crowd, "every dressage horse should be over the back and through the poll and neck. It is in this way they will develop a strong and good looking top line, that can a carry the riders weight and the produce correct collection to move the centre of gravity towards the hind end."

Natasha and Abe then began some piaffe, however Natasha was sitting a little heavy so Kyra helped her here. "In piaffe sit very still and only use the lower leg. Like a jellyfish slapped on the saddle!" The steps almost immediately became better once Natasha's position was correct and the crowd clapped their appreciation.

Kyra concluded this session by saying, "A horse only learns by pressure and then release. Don't feel you get stronger once you get the response, as the release is the reward and encourages more. The constant pressure or nagging only creates a dead and dull/non reactant horse."

The audience were then delighted to see Kyra ride in on the magnificent stallion Rendezvous. Rendezvous is a chestnut stallion by Regardez Moi and just embarking on an FEI career. He is a very upstanding and sensible horse and is owned, trained and ridden by Cheryl Fort, who had kindly offered the horse to Kyra for the weekend to use as a demonstration horse and later in a freestyle demo in the break of the CDI dressage competition.

Kyra rides the gorgeous Rendezvous - Photo ©Roger Fitzhardinge 

Although sensible, this horse is a little green in this type of atmosphere and found the big arena a little intimidating. Kyra unpeturbed talked the crowd through this issue, "In the beginning if the horse is spooky, do not make an issue of the spooky areas until you get the horses confidence first. It is important to stay very still, as the horse will become dead to the aids if you are moving about or niggling with the spur. The weight influences all the time so you must learn to sit quietly and still. Good riders don't stay in the saddle all the time, they will let the horse bump them up little but always use their tummy muscles. You must push your tummy muscle forward and keep them strong."

A point that Kyra was very strong about in regards to a secure position was that the leg and heel was never to be pushing down, as this simply produced tight muscles and in turn pushes the rider upwards and out of the saddle. The angle in the knee needs to be a little flexed and heel under the seat bone. She talked about how many times she had seen riders whose stirrups were too long, creating or no angle in the knee. To her, this position once again was allowing tension in the muscles, and pushing the rider upwards.

An exercise that Kyra used a lot in the stallion was leg yielding. She would use a combination of trot to walk, trot to walk again and so on, always making sure the horse is giving you clear steps and reacting to the aids.

Kyra begins the leg yield in trot - Photo ©Roger Fitzhardinge

When the stallion became strong in the hand Kyra explained to make sure to sit on the seat with the shoulders behind the hips and to use the body position in the half halt. "So many people become stronger themselves, when the horse becomes stronger in the hand, it does not work to pull on the horse, you must hold your position and use the half halt."

Kyra displays the half halt - Photo ©Roger Fitzhardinge

Throughout the clinic Kyra used a lot of work in the piaffe with all the horses at all levels. Depending on their strength and stage of training, she explained again that it is the feeling of being plonked down on to the saddle and then use the leg in piaffe remembering that once you receive a reaction then sit still. "It's the stillness of doing nothing that is the reward, put your leg too far back in the piaffe and it only creates tightness. You will also find then that once again as your weight is not in your seat, then you will be pushed out of the saddle."

She reiterated at this point that mistakes in training are fine. The rider must remember that when a horse makes a mistake or responds in an incorrect way to an aid, at least it's a reaction and then you can simply go back and repeat. "Remember that any reaction is better than none! To get a reaction, it's important to be able to take the leg away from the horses sides thus bringing the riders seat more onto the saddle, and then when you do put the leg on it's an obvious feel to the horse, a more clear aid and a more clear reaction."

She then brought up a very interesting and important point which was the explanation of holding the double reins. Kyra explained that it is far better for the rider to hold the snaffle rein to the top and the curb rein to the bottom, and not to have them crossed over as with them held the former way when the horse puts the poll down, the the snaffle rein comes in to action and the curb provides less pressure.

Here the reins are crossed and Kyra explained that it's not so easy to keep the independent actions you require when you hold them this way Photo - ©Roger Fitzhardinge

The Fillis way with the snaffle to the top and the curb to the bottom - Photo ©Roger Fitzhardinge

Kyra with them separated by two fingers and then if you need less curb simply take the little finger to the bottom of the curb rein and then back again if you need more - Photo ©Roger Fitzhardinge

here is a moment in time where the horse has gotten a little deep and you can see that the snaffle has automatically come in to action with no change in the position of the hand. So the snaffle acts already to bring the horse more uphill. The curb rein more importantly is in a neutral acting way - Photo ©Roger Fitzhardinge

Rendezvous showed some good work and the entire time it was obvious that there was a continuous confidence building between the two. Kyra was totally honest about her feelings she had in her riding and showed that schooling was about the feel and not always the look. Sure there are times that the horse was behind the vertical but as she explained that it's not such a disaster as people have the notion. She explained that the modern dressage horse is bred with a natural ability to compress and to be loose and elastic and it is very easy for the horse to be behind the vertical. "It's not a forced position. It's merely a moment in training."

Next in to the arena were two beautiful young horses, Danora ridden by Robbie Soster and Yaramee B Bear ridden by Sharyn McCombe. With both these two horses it was explained again about the ability to make the horse compress like a spring and make sure that the spring can bend equally to both sides as well as longitudinally.

Kyra explains to Robbie the importance of the spring - Photo ©Roger Fitzhardinge

With Sharyn it was mentioned that it is really the abdominals that are the most important and that she should, "sit as if you are sitting on the loo with a hard tummy." Of course the crowd laughed at this and Sharyn showed a big smile, but it certainly gave everyone the idea of what Kyra was trying to tell us. She continued, "The centre of gravity keeps you in the saddle, not the legs gripping, as that only pushes you up off the saddle."

Robbie was asked not to push into the heel so strongly as this was causing tight leg muscles and thigh, thus not allowing the seat to follow and relax onto the horses back. "It's that you must be centred and not be pulled forward. Be steady in the tummy and relax your leg, not force it to be stretching too down."

Kyra then spoke about the release to the contact with the bit and how the mare (Danora) can get loose in the mouth when she carries herself. It was a sympathetic asking of the mare to stay in front of the leg in the same tempo and simply to maintain the contact until there was a release and a lighter feel. "Let the horse stretch but always being respectful of the contact, they are never to reef the reins away from the rider it's always a gentle following."

Robbie asks Danora to release - Photo ©Roger Fitzhardinge

Kyra then came back to the seat, "Stop Robbie, lift your leg from the hip away from the saddle. This makes for a lighter leg position, engages the tummy muscles and sits you fair on your seat." She turned back to the crowd, "This is an exercise that should be second nature and one that should be practiced daily. Do not tap tap tap with the legs and keep leaning back. If your horse has become hollow then you will sit in a hole and that's uncomfortable, and the self destructing circle begins - hollow horse = bad position and then it's back to the hen or the egg."

Kyra then made a statement that was so simple and had the audience clapping with approval, "If you always do what you always did, 

you will always get what you always got." For me, this was so perfect and it will stay with me forever.

The next horse in was a beautiful chestnut gelding known as Florinzz. Florinzz is by Pizzazz out of a Rancher mare and was ridden by the youngster Morgan Duell.

The biggest lesson that was conveyed to Megan was about the reins and to watch her hands height and levelness. Kyra made Morgan ride with the dressage whip held parallel to the ground between her thumbs and first fingers. It was a great way for Megan to get the feel as as soon as the whip moved, up, down, sideways it was made very obvious.

This combination caused Kyra to bring out some "one liners" that I have jotted down for my own use in the future. They really encapture some of the problems that most riders have at at least some point in their riding career, and she pin pointed them right away. Young rider Morgan, sits on the gelding very easily and the gelding is happily going around the arena, however Kyra wants more. From the beginning she points out that the collection needs to be more from the back to the front. The gelding is a little lazy and does not react from the leg quickly enough, "It should not be like shovelling a big container around the arena!" Kyra comments after Morgan gets no reaction from a leg aid. "If he steps on your foot, I bet you don't just say, hello and excuse me while you tap him on the shoulder and ask him would he mind to get off your toe. I am sure you swing immediately around and kick him one and get a fast reaction to jump off your toe! So be it when you are riding and nothing happens don't tap tap tap and say excuse me would you mind if you blah blah blah but get a reaction and even if it's not the right one any reaction is better than none."

She then asked Morgan to slow down the pace, "Before you can do it fast you must do it slowly. Many riders let their horses get faster and faster, but how can the horse learn to do things correctly when it is going so fast?" They then began to work on transitions. The gelding does what it is asked, but a beat slower than it is being asked and getting crooked, particularly in the changes, "Always make straight transitions, keep the outside leg active and prepare her for the new outside leg in the change. Focus on the straightness and keep your weight centred." A great improvement was seen in this combination by the end of their ride and Kyra was very complimentary about Morgan's riding.

Morgan collects Florinzz - Photo ©Roger Fitzhardinge

Second last to go was the duo of Robali Razzamatazz ridden by Robbie Soster and Belcam Cadel ridden by Bianca Barnes. These two young riders and super horses showed some great moments, with both obviously talented but it was the keen eye and feel that saw Kyra really get down to the fine points to help with their horses, riding and positions.

Robbie riding Robali Razzamatazz - Photo ©Roger Fitzhardinge

She begins this session by asking them to trot and canter whilst watching. "Robbie sit behind your knees, really on your bum, he is quite strong on the right?" she asks. "He needs to be more up and over the back. Not too much weight in the stirrup, it is easy to put the weight here if they are strong." "Robbie he has to come up in front of you, not you in front of him! Send him in to the hand."

Bianca Barnes aboard Belcam Cadel - Photo ©Roger Fitzhardinge

With Cadel Kyra wanted him more collected and lower in the hind quarters. "Bianca's horse needs to be more collected, he is too high behind," she informs the crowd and then asks both riders to walk. She both riders to the centre and asks what the "limiting factors" are. "They both need more collection." For ease of this she shows Bianca and Robbie two different ways to hold the reins. "Think of how the bits are working, the bridoon should take the horse up, and the curb down."

To Robbie she she asks that the hand be kept still without pulling back, "Feel him in the elbow Robbie, keep him in your pace. make him straight, now come on the circle. Keep both hands down, make the trot short, not piaffe/passage just short." She asks both riders to walk again so she can explain, "Robbie think you are on a rope, keep the straightness and sitting on the hindleg. With Bianca's horse we want him quicker, Bianca you must tell him the rythym, don't pull when he carries himself and make quicker steps." "Don't try to lift the walk up, it is the down step that influences the lift." Here she uses a basketball analagy, "You push when the ball goes down and if you lose the bounce then you do more quick small bounces. Don't let them get crooked, tap tap until he starts to carry you." She now begins on the importance of using the leg not the whip all the time and to be careful not to do more than the horse can do at the time.

Bianca now begins some changes but they are not clean and Krya does not accept this. "He must be straight without doing the change. Stay inside track so that you can do some leg yield." Cadel thinks he knows what is coming and anticipates the change, "Keep him in the counter canter, make him listen to your leg." Here Bianca lets him change, "Did you ask him for that? I don't want you to change until he is straight." Kyra wants the process of the change to be followed correctly, "you must prepare the horse and he must listen, the steps should be 1. activate the outside leg, 2. inside leg back, 3. horse should change." The horse quite obviously finds the left changes much easier and performs some beautiful easy changes, however Kyra pushes the importance of getting the same to the right. "Don't do too many changes, you don't need to get so worried, get one change and make him listen. Make sure he is straight!" She also points out at this point that you cannot stop riding, then give a big aid and expect the horse to perform a smooth, perfect change. The changes are getting better but Kyra warns that it is important to be strict with yourself. "It has to be your leg aid that he responds to, not the change of the flexion, keep him flexing in the new direction but don't let him change." It was interesting from a spectator point of view to see how quickly Cadel wanted to change when a new flexion was introduced.

Bianca keeps Cadel in the counter canter - Photo ©Roger Fitzhardinge

"If you want to win not the sequence it is the straightness, elasticity and balance that is so important." Much of the lesson for this combination was spent on keeping the horse on the riders canter aids no matter what was happening. "You own the frame and the flexion, not him. You let yourself get crooked when he goes to change." So Kyra made Bianca really turn her body and look in the opposite direction, to get the body position first and then the change followed.

Kyra explains that it's not about throwing the horse about in the change! Photo ©Roger Fitzhardinge

Kyra concludes this lesson with some changes with Robbie and Razz. She points out that Robbie is almost standing up in the saddle, as she lets her leg come back when he pulls down in the change. The next set are better when she adjusts herself and sits in. "Even if he does a mistake it is ok, you are trying to change what he has always done. With very sensitive horses you must stay with them, ptherwise it is too big of a shock. Keep you leg forward, hands still and use the leg instead, push him until he comes up, let it be his problem not yours!" The small changes in Robbie's riding here mean a big change when she does the next set and he performs them beautifully. Kyra decides this is enough for these two and welcomes the final combination in to the ring. 

The final combination is Shannon McKimmie and Ambassie. This was another young rider who is competing small tour and embarking on the big tour work. The changes were well established and again Kyra was helping with her position in the changes and making Shannon really look to the outside before the change.

Shannon begins the changes - Photo ©Roger Fitzhardinge

Here Kyra was explaining that you should get the body in the new position and then at the moment of the change, simply move the leg. Don't do everything at the same time and remember to keep it simple and basic. "You must have a good and supple canter first."

After some great changes and some one tempos that were expressive and uphill it was onto the beginnings of passage. It was here that there was a degree of resistance a lack of honesty in the forward work. As a resistance Ambassie would canter and then be very very behind the leg and not trot at all. Kyra told Shannon, "It is forward to the leg no matter what and not to allow her to influence the your attitude."

Kyra again turned to the 'less pressure and more basics'. "Let's go back to slower steps, not passage, we will come back to it. You must have a forward desire from the horse, but in a slow form with energy converted upwards by half halts and in a contained, elevated feeling."

Ambassie took a while to cotton on but there were some great moments and through patience and understanding from the trainer and the rider, it was delivered here in the form of normal training. It must be remembered that the road to Grand Prix is not always smooth and perfect, there are problems along the way that are normal and simply need patient and attentive, sympathetic but definite direction.

She encouraged Shannon to use the posting trot in coming back to some more cadenced steps, as it helps with the rhythm and the horse finds it easier. "Don't forget you can use your whip to tap on the shoulder if she moves out."

After a while in the posting trot then the sitting and the passage really showed understanding and cadence - Photo ©Roger Fitzhardinge

The steps became more cadenced - Photo ©Roger Fitzhardinge

And so ended the clinic. It was jammed packed with food for thought and positivity. Kyra showed the reality of the training and as always her explanations easy and informative and simplistic. Kyra is truly a master and such an enthusiast and empathy and interest for the horse and the rider. It all ended too soon and we thanked the riders, owners and horses for allowing us the privilege to learn from them and of course the huge crowd was so appreciative for her wonderful expertise. I for one can't wait to see her again and hope she visits Australia soon.

Roger and Kyra winding down after the masterclass - Photo ©Roger Fitzhardinge