Western Horse - Beginner to Advanced

WESTERN HORSE B E G I N N E R T O A D VA N C E D

Vol. 1 No. 1 AUS $9.95*

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Horses of Gold We breed horses that win at halter and under saddle from local to national level.

Our horses are a pleasure to own whether you want to compete or have a reliable working partner.

Our stallions have over 25 national champions and titles between them and their progeny are winning many National and State titles, Royal Supremes, Futurities etc at halter and under saddle.

Days of Gold Q57273

Perlino Quarter Horse stallion. Over 15.3hh. The highest awarded Cremello or Perlino stallion in the world with many National and State champions/titles (led and ridden), sire of National and State champions (led and ridden).

Breeding tall, correct horses with wonderful temperaments.

100% Buckskin/Palomino foals from bay/chestnut mares

Nights of Gold Q57337

Cremello Quarter Horse stallion. 15.1hh.

Many National and State champions/titles.

Sire of National & State champions as well as four exported horses. Breeding well muscled Quarter Horses that halter and work.

100% Palomino foals from chestnut mares

Also, three dilute Australian Stock Horses for ASH breeders as well as ideal outcrosses for Quarter Horse mares.

Tintaras Chandra – Cremello 16hh

Ahrem Time Out – Silver (Taffy) 14.3hh

Driftwood Traveller – Amber Champagne 15.1hh

All horses registered with Dilutes Australia Ltd

We offer friendly advice to mare owners and first time breeders as well as those interested in learning more about competing. We can also help you understand equine colour genetics. Phone or email us today!

Chris, Leanne & Kate Owens – 1 Tommary Rd, Grandchester QLD 4340 (07) 5465 5117 0419 003 122 lea_owens@hotmail.com

www.horsesofgold.com.au

Contents The Appaloosa Horse – Totally Unique The Paint Horse – A Colourful Companion The Quarter Horse At the Show Choosing the Right Horse Buying a Horse Liz Keating – A Champion of Amateurs Tack and Saddlery Western Wardrobe Amateur Owner – Sonya Kinkade Western Pleasure Hunter Under Saddle The Halter Class Cutting Reining The Trail Class Amateur Owner – Lynette Dunn Training Tips with Ken Davison Training Tips with John Wicks Cutting Horse Trainer – Maree Rudd Maria Frazer on Halter Showing Natural Horsemanship Explained Directory

04 09 12 16 20 22 26 28 36 42 44 48 52 56 60 65 67 68 70 72 74 76 79

FRONT COVER: Stacey Bentley with Kunda Odette. Stacey and Odette were the APHA High Point Youth of Australia for 2008/2009.

PHOTO: Francene Neuendorf

The material appearing in “Western Horse Beginner to Advanced” is subject to copyright laws. Reproduction of articles in part or there-of is not permitted without prior permission of the publishers. The opinions expressed in this magazine are not necessarily those held by the publishers or staff. Any written material may be submitted, but no responsibility will be accepted for the return of solicited or unsolicited material. Photographs must have a return name and address written on the flip side, and must be accompanied with a self-addressed stamped envelope.

Although every care is taken, no responsibility is accepted by the publisher nor the staff of the “Western Horse Beginner to Advanced” for the loss of or damage to any material submitted for publication.

Publisher: Michael Vink Editor: Andrea Ferris Proofreader: Sue Wilson Graphic designers: Matt Limmer and Jeff Lin Advertising sales: Tania Hobbs VINK PUBLISHING PO Box 8369, Woolloongabba QLD 4102 General Enquiries: (07) 3334 8000

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The

AppAloosA horse

ToTAlly unique

by Andrea Ferris

A ‘leopard’ Appaloosa showing his versatility in the trail class.

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An Appaloosa competes in Hunter Under Saddle.

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he history of the Appaloosa horse is as colourful as the horse itself. Those that love the Appaloosa claim that it’s the oldest identifiable breed of horse in the world. Ancient cave paintings found on the walls of central Europe depict images of spotted horses and many works of art throughout the centuries provide undeniable proof of the existence of the spotted horse in many parts of the world long before the written word existed.

In Western Europe the spotted horse appears periodically throughout history. Pictures of the famous Lippizzaner horses from the sixteenth to eighteenth centuries show them having spots. The same spots still crop up today and the Lippizzaner often displays evidence of mottled skin, which is one of the Appaloosa’s unique characteristics.

The Spanish conquistadors took spotted horses with them as they blazed a trail through Mexico and South America and eventually they became the horses prized by the Nez Perce Indians of Washington, Oregon, and Idaho.

Although the Nez Perce can’t be credited with the ‘establishment’ of the breed, they certainly improved and developed it with a strict breeding program. As a war-horse the Appaloosa was conditioned to have unlimited speed, stamina and remain calm under the worst conditions. These traits, along with his steadfast loyalty to his master, were noted by Meriwether Lewis, one of the first white men to visit the Nez Perce. He also made mention of their ‘excellent race’ of spotted horses in his 1806 journal.

For three months in 1877 the Nez Perce Chief Joseph led several hundred of his people in an attempt to elude the US Cavalry and avoid war by seeking asylum in Canada. The small band fought valiantly, outrunning the cavalry for 1400 miles.

The Appaloosa carried the whole tribe over the steep and rough terrain in freezing conditions until finally, on 5 October 1877 in northern Montana just 40 miles short of refuge in Canada, the Nez Perce – sick, injured and exhausted – negotiated surrender.

The horses was confiscated and sold in a government auction at Fort Keogh. The courage of the Appaloosa horse had become well known and they were sold far and wide – those not sent to auction were shot.

It is thought that the name ‘Appaloosa’ comes from either the Palouse River, which flows through eastern Washington and north Idaho, or from the Palouse tribe. Settlers first referred to the horses as a ‘Palouse’ horse,’ which was shortened to ‘Appalousey’ – the name Appaloosa was made official in 1938.

Due to indiscriminate breeding, where animals of all shapes and kinds were crossbred just to get colour, the Appaloosa was almost lost.

In 1938, Mr Claude Thompson and Dr Francis Haines formally opened the Appaloosa Horse Club. They bred spotted horses with Arabians to regain the quality that had been lost and because of the dedication of these early enthusiasts, the Appaloosa rose in popularity to become one of the most desired breeds of horse in the world.

The first registered Appaloosas were imported from California to Australia in 1967. In 1971 the Australian Appaloosa Association Ltd was formed and in 1973 the first National Appaloosa Show was held. From these humble begins there are now more than 61,500 registered Appaloosa throughout Australia. With National and State Championship shows, 17 regional clubs and classes held at most agricultural shows, there are many areas for owners to enjoy their horses.

Usually recognised because of its spots and splashes of colour,

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The history of the Appaloosa is as colourful as the horse itself.

the abilities of the Appaloosa are more than skin deep. They have distinctive characteristics that set them apart from other breeds, namely, coat pattern, mottled skin, sclera of the eyes and striped hooves.

body; Roan – a mixture of white and dark hairs; Roan Blanket – a mixture of white and dark hairs usually over the hip area; Roan Blanket with Spots – a mixture of white and dark hairs over a portion of the body with white and/or dark spots within the

“The Appaloosa – if God made an equine more unique he must have kept it for himself!”

Interestingly some Appaloosas develop their colour over time, while some never do – one could say they have one big spot all over! But these horses are true Appaloosas underneath and should not be considered less of an Appaloosa than their colourful siblings. They have full registration and show rights and still have all the other wonderful traits of the Appaloosa, such as trainability, temperament and versatility.

No two Appaloosas are born alike, making them truly unique.

Coat patterns vary greatly, but the most recognised are: Snowcap Blanket – a solid white area normally over the hip with a contrasting base colour; Blanket with spots – a white area normally over the hip with dark spots within the white, the spots are usually the same colour as the base colour of the horse, however, a horse may also have more than one colour of spots; Leopard – a white horse with dark spots over the entire

roan area; Spots – a horse with white or dark spots over a portion of its body or over the entire body; and Solid – a horse that has a base colour with no contrasting colour.

Some Appaloosas may be a combination of more than one pattern; some may change from one pattern to another over their lifetime, while some develop their colour over time and what you think could be a solid-coloured foal may develop spots as it matures.

Balanced, symmetrical and graceful, the Appaloosa generally stands from 14hh to 16hh and over. Because of the varied outcrosses, the appearance of the Appaloosa can vary: some are shorter, compact and muscular – built for the rodeo or cutting pen, while others are tall, lean muscled and excel at the events like showjumping.

Amazingly hardy and are very willing to please the “Appy”, as it’s affectionately known, is regarded as having an easy-going and

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An Appaloosa with a ‘snowcap blanket’.

placid disposition, which makes them great for youths and people learning to ride. They are easy to train and their gentle nature makes them a pleasure to ride.

In the show ring they excel in western performance, but the versatile Appaloosa can also be found doing pony club, endurance, rodeo, campdrafting, showjumping and dressage.

An Appaloosa can be crossbred with a Thoroughbred, Quarter Horse, Arabian, Australian Stock Horse and Warmblood – as long as it meets registration requirements set out in the Australian Appaloosa Association Ltd Rule Book.

Some Appaloosas do suffer from inherited disorders. One of these is night blindness, which means they may have trouble seeing in dim or dark light. This has been discovered to be limited to certain coat patterns.

Other disorders that have occurred, such as HYPP, which originated from Quarter Horse bloodlines, have been controlled and almost eliminated due to strict breeding controls put in place by the association.

Some Appaloosas can be prone to skin cancer because of the sensitive pink skin around their eyes and lips. Applying a highlevel sun block to their pink skin, providing shelter from the sun, wearing mesh-type masks designed to keep flies away with flaps that cover the nose and putting on hoods that cover the pink skin will reduce the risk.

Like most horses, what you can expect to pay for an Appaloosa will depend on a number of factors that include age, level of training, quality and breeding. A good quality, educated show horse will cost anywhere between $5000 and $15,000 or more, whereas you will find a young, un-started horse, one that is not show quality or an older Appaloosa for around $1500 to $4000.

Colour can be a price factor too. Some coat patterns and colours

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are highly sought after such as black with a blanket or palomino with a coat pattern. ‘Few spots’ (an Appaloosa that has so much colour it is almost all white) that will produce 100% coloured foals, are sought after by breeders.

President of the Australian Appaloosa Association, John Etcell says: “History has shown the Appaloosa has been entwined with the great history of man since the dawn of time. They are as unique as the individual who owns them and, while you know you will have a horse of great strength, trainability and intelligence, you will always be suprised each and every foaling season when a new bundle of joy arrives cause they are just like a box of chocolates – until it comes out of the wrapper you just don’t know what your going to get!

Famous owners oF appaloosas include: John Lyons, (Bright Zip [deceased]), one of the most respected trainers around the world and known as ‘America’s Most Trusted Horseman’.

Model, Cindy Crawford, (Risqueschancellor).

Country singer Loretta Lynn, who owns 27 Appaloosas.

Actor, Richard Gere, (Sure I’m Silky) For more information about the Appaloosa horse: The Australian Appaloosa Association Phone: (02) 6765 7969 Email: info@appaloosa.org.au www.appaloosa.org.au

The PainT horse

a colourful comPanion

by Andrea Ferris

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o cowboy and Indian movie is complete without a bunch of coloured horses, but the fabulous Paint Horse goes way back – in fact there’s evidence the Egyptians of 400 BC used Paint Horses in everyday life.

Archeologists discovered references to the Paint Horse on ancient Chinese and Indian artifacts, while in Europe the great paintings of the 16th–18th centuries include the likenesses of many Paint Horses.

The Spanish conquistadores, led by Cortez, landed 16 war horses at Vera Cruz, Mexico in 1519 and records show that at least one of them was a Paint.

The Ranchos of Colonial Spain developed rapidly to the north and by the early 1600s horses were common and often stolen by marauding Indians. These horses, when they escaped from their captors, formed the wild mustang herds that spread across the Great Plains of America and gave the Indians a reservoir of breeding stock.

Horses changed the Indians’ way of life, transforming them into nomadic warriors and hunters. The Comanches, considered to be the finest horsemen on the Plains, favoured Paints and had many among their big herds.

Evidence of this favouritism is exhibited by the many drawings of coloured horses found on the painted buffalo robes that served as historical records for the Comanches.

In the late part of the 1800s, when cattle drives and forging the frontier was at its height, the American cowboy often chose a Paint and captured his love of them on canvas and in song.

When the motor car arrived on the scene in the early 1900s, the Indians, cowboys and their horses began to dwindle – the early solid-coloured breed societies thrived and the Paint, despite its colourful character, faded into the background.

It wasn’t until the late 1950s in America that a group dedicated to preserving the coloured horse was organised – the Pinto Horse Association. In 1962 another group dedicated to preserving both colour and stock-type conformation became the American Paint Stock Horse Association.

An Overo Paint.

In April 1973 the Paint Horse Association of Australia (PHAA) was formed and began registering horses in June 1974. Within a year more than two hundred horses and almost as many members were listed.

There are several different classifications of Paint Horse based on their coloured markings, which can be genetically identified. If you’re interested in Paints it’s helpful to have a basic understanding of what each term means.

A Tobiano will usually have a solid-coloured head with a blaze or some white markings. All four legs will usually be white, at least below the hocks or knees. Body markings will usually be regular and distinct, often oval or round patterns that extend down over the neck and chest.

They will usually have a dark colour in one or both flanks. The Tobiano looks like it has had its white colour poured over the top of him.

The term ‘Overo’ is used to classify three separate genetic conditions with similar coat patterns.

The Frame Overo Paint often has a great deal of white on his head. At least one and often all four legs will be the dark colour. His body markings are usually irregular, rather scattered and having splashy white markings. Usually the white will not cross the back between the withers and the tail, and the tail will usually be one colour. While not a very technically correct explanation, the Frame Overo looks like the white colour has been thrown up on the horse from underneath.

A Sabino has at least one white sock, and the back socks usually end in an upward shaped point. He will mostly have white on his bottom lip, a ‘coon’ (racoon) tail, white ticking in his

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coat, particularly on the flank, and a small blaze to bald or apron face.

A Splashed White Paint has two pale blue eyes, bald face and head, all white legs, a mostly white tail and its white coat pattern progresses from the lower abdomen, shoulders, hindquarters and lower neck, upwards, but the topline of the horse is a solid colour. One description of this trait is that it looks as if the horse has walked through a pool of white paint.

A cross between an Overo and a Tobiano can result in some puzzling colour combinations. Some produce perfectly marked Tobianos and some, perfectly marked Overos, while some show characteristics of both colours – these are known as Toberos. These horses are registered as a Tobero if they have Overo and Tobiano bloodlines or they test positive for both genes.

But, what happens to Paint Horses that are born a solid colour?

These are known as Paint Bred horses by the association and are in a special class of their own with specific criteria for registration.

A Paint can be a combination of just about any colour and white and, like the Appaloosa, no two horses are the same – something that makes them wonderfully unique and special. The PHAA Rule Book, available online, gives a comprehensive explanation of all the colour combinations.

Sometimes people confuse a Paint Horse and a Pinto. A Pinto may be of any breed or combination of breeds, while a Paint must have a registered Quarter Horse or Thoroughbred in its breeding.

The Paint Horse generally has the typical laid-back temperament of the Quarter Horse. Of course a horse’s temperament is only as good as the way it has been raised and handled, but in most cases you can expect the Paint to be easy to train, calm and sensible.

The size of a Paint ranges from 14hh up to 16hh.

There are a couple of health issues to be aware of when considering buying or breeding a Paint Horse.

Like the Appaloosa, or in fact any horse that has a lot of white hair and pink skin, they are susceptible to skin cancer, particularly around the eyes and nose. To reduce the risk, apply a high-level sunblock cream regularly and put a face mask with nose cover or a hood on them.

Hyperkalemic Periodic Paralysis Disease (HYPP) is a muscular disease that affects both horses and humans. In horses, HYPP has been traced back to the Quarter Horse named Impressive and is sometimes known as ‘Impressive Syndrome’. Symptoms of HYPP may include muscle twitching, unpredictable paralysis attacks that can lead to sudden death, and respiratory noises, however this disease is rare in Australia.

The PHAA require HYPP testing of horses carrying the ‘Impressive’ bloodline. If a HYPP-positive horse is advertised as a stallion at stud or for sale or lease, the advertisement must state that the horse is positive.

HYPP-positive foals cannot be registered.

Overo Lethal White Syndrome (OLWS) is a condition that occurs in newborn foals. The condition is genetic, and both parents carry the defective gene. Horses that carry this gene are most commonly Overo Paints. OLWS foals have blue eyes and are completely or almost completely white at birth. They initially appear normal except for their unusual colouring, however after some time they get colic because they cannot pass faeces due to an under-developed intestinal tract.

There is no treatment and the foal must be euthanased. Horses can be tested before breeding for the presence of the OLWS gene.

Paint Horses are extremely popular and this will affect what you pay for your horse. Expect to invest anything from $5000 upwards for a mature show quality horse and over $8000 for a horse that has some professional training and has been shown successfully.

The PHAA prides itself on being a family-friendly organisation that invests strongly in its Amateur Owner and Youth members. It provides funding to encourage its affiliated clubs to hold camps and clinics specifically for the amateur and youth members. These camps are

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a good way to learn more about showing and getting to meet other members of a similar age.

Since 2000 the PHAA has provided a team of youth members the opportunity to compete at the APHA World Championship Show in Fort Worth, Texas USA bi-annually. The teams have performed very well and have been great ambassadors for Australia and the Association. Part of the qualification process for selection on the team is volunteering at shows and group fundraising events. These activities are designed to foster a community spirit and encourage good sportsmanship amongst the youth.

Famous Paint Horse owners: Don Burke, of television show Burke’s Backyard American footballer, Terry Bradshaw Actor, Clint Eastwood Actor, Chuck Connors Actor, Viggo Mortensen (rode a Paint in the movie Hildago and bought one of the movie horses) Country singer, Shania Twain Actor, Billy Crystal (bought the Paint he rode in the movie City Slickers) For more information about the Paint Horse: Paint Horse Association of Australia PO Box 1088 DUBBO NSW 2830 Phone: (02) 6884 5513 Email: office@painthorse.com.au www.painthorse.com.au

Paint Horse Association of Australia Ltd PO Box 1008 Dubbo NSW 2830 Phone: (02) 6884 5513 Fax: (02) 6884 5517 Email: office@painthorse.com.au

s g n i r p S t l a S

JACK DANIELS 1993 Buckskin Stallion AQHA Q-29593, ASH 129452, Buckskin FR 0943

Successfully competed in various events from Halter, Western, Dressage, ASH, Speed Events and Campdrafting.

Sire - Jessies Kollibah Dam - Lady Beth (Cattle Camp x Anns Hollywood) Only available by natural service until November 2009 Service fee $700 AI - $750 Frozen semen available Standing at ‘Woolatoo’ near Dalby QLD Paul Barnes 07 4668 2420 woolatoo@bigpond.com

Owner D & C Boddie, 112 Earle Road, RD1 Pukeatua 3880 New Zealand 0011 64 7872 4307 chrisboddie@slingshot.co.nz www.sylvaspringsstud.com www.freewebs.com/saltspringsjackdaniels

Burke Stud Paints & Quarter Horses Burke Stud has spent many years selecting horses with great temperaments.

Tania Hobbs

Shane Rux

Tania Hobbs

Tania Hobbs

They are SAFE & VERSATILE, BEAUTIFUL horses suitable for Halter, Western Pleasure & the English disciplines.

If you are looking to breed or purchase your next SUPERSTAR, look no further than BURKE STUD.

Ph (02) 4579 7172 Mobile 0418 968 091 email burkestud@burkestud.com.au www.burkestud.com.au

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The QuarTer horse

by Andrea Ferris

The Quarter Horse excels in the western performance arena.

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he first horse I owned as a teenager was a Quarter Horse and my affection for them has stayed true for more than 30 years. In fact, I feel like I actually owned a little piece of the history of the Quarter Horse in Australia as my beloved King Ranch Hamlet was sired in 1974 by Vaquero – one of the first Quarter Horses brought to Australia in the 1960s.

However, the history of the Quarter Horse began more than 500 years earlier when Spanish explorers brought Arab, Barb and Turk breeds to America in the 1500s.

These horses were crossed with English breeds during the 1600s until a compact, heavily muscled horse that could run short distances faster than any other horse was developed.

The first records of horses racing a quarter of a mile (about 400 metres) in America are dated in 1674. They were races between two horses up and down village streets and country lanes. These exciting races became very popular and by 1690 winners were earning large amounts of money.

As the population of Englishmen in America grew and Thoroughbred racing over longer distances became more popular, the stocky quarter-miler horse was forced to consider a career change as a working horse.

The intrepid pioneers went west and so did the Quarter Horse. In the 1800s he found his place as a willing worker on the vast cattle ranches and cattle drives throughout the Great Plains.

Ranchers discovered that the Quarter Horse had an innate ‘cow sense’ – a natural ability to figure out how and where a cow was going to move – ensuring his place in history as the greatest working cattle horse.

Complementary to his ‘cow sense’ was his ability to travel long distances providing a comfortable ride for the cowboy and having a temperament that made him a great companion.

In the early 1900s the Quarter Horse’s career as a ranch hand peaked and began to fall away as the railroad took over the transport of cattle and settlement reduced the size of the ranch.

However, in 1939 in Fort Worth, Texas a handful of breeders met to lay the groundwork for an organisation to represent and preserve the Quarter Horse and in 1940 the American Quarter Horse Association was established.

In 1941 the grand champion stallion sixyear old Wimpy, owned by King Ranch, became the first horse registered and

The Quarter Horse is most recognisable for his broad chest, small neat head and large rounded rump. went on to become one of the world’s most notable foundation sires. He died in 1959 just four years after the first Quarter Horses arrived in Australia.

Mr Samuel Hordern and King Ranch Australia brought the first four Quarter Horses to Australia in 1954, they were Jackeroo, Vaquero, Mescal and Gold Standard.

Vaquero and Jackeroo went to stud in Warwick, Queensland and Mescal went to a stud at Bowral, NSW. Unfortunately Gold Standard died before the Australian Quarter Horse Association formed.

In 1961, King Ranch imported another three stallions and eight mares and two years later 15 more Quarter Horses arrived.

The Australian Quarter Horse Association (AQHA) was formed in 1964 in Bowral, NSW and now can be found in the heart of horse territory, Tamworth, NSW. There is no doubt that the Quarter Horse is popular. The AQHA has more than 6000 members and there are more than 152,000 Quarter Horses registered.

Quarter Horses are used in every discipline that you can imagine. While they excel in the western performance arena of cutting, reining, western pleasure and working cowhorse, they are also much in demand for pony club, hacking, dressage, show jumping, polo, polocrosse, rodeo and campdrafting.

The height of a mature Quarter Horse generally ranges from 14hh to 15.2hh, but it’s their wonderful temperament that makes them such a great all-rounder.

The official AQHA rule book describes the conformation of the Quarter Horse as “different from any other breed. It gives him grace and balance and enables him to do more things better than any other horse.”

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The Quarter Horse is a compact, well muscled horse that looks like an athlete.

Quarter Horses are compact, well muscled horses that look like athletes. Mostly recognisable for their broad chest, small neat head and large rounded rump, they come in a variety of solid colours including buckskin, dun, palomino and grey.

There are two distinct ty pes of Quarter Horse that you might hear about: the ‘racing bred’ horse tends to be taller and a little less stocky; and the ‘working or cowhorse’ is smaller and chunkier.

Excessive white markings, such as white legs that extend above the knees and hocks, are considered “uncharacteristic of the breed” and “undesirable” by the association.

Generally the Quarter Horse is a robust and healthy breed, however they can be affected by Hyperkalemic Periodic Paralysis Disease (HYPP), a muscular disease affecting both horses and humans. In horses, HYPP has been traced back to the Quarter Horse named Impressive, and is sometimes known as “Impressive Syndrome”.

Symptoms of HYPP may include muscle twitching, unpredictable paralysis attacks that can lead to sudden death, and respiratory noises.

The AQH A has several rules requiring testing for H Y PP and registration and, since 2006, any horse testing positive is required to be gelded or spayed.

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The cost of a Quarter Horse varies greatly depending on age, breeding, show experience and registration. Despite them being popular with plenty to choose from, you can expect to pay $2000 to $4000 for a young uneducated or ‘green’ horse and $6000 upwards to $20,000 for a good show quality horse.

President of the AQH A, Harry van Dyk, says that Quarter Horse ownership provides horse lovers with amazing and varied opportunities to compete or just enjoy the breed for its renowned temperament and tractability.

I n Australia the AQH A has over 50 affiliated clubs of general and specific disciplines in every state and territory and in 2008/2009 these affiliates conducted more than 300 shows and competitions.

The AQH A is itself affiliated with the A merican Quarter Horse Association and maintains strong links with the A marillo, Texas, USA-based organisation.

For more information about the Quarter Horse : The Australian Quarter Horse Association Phone: ( 02) 6762 6 4 4 4 Email: qhorse @ aqha.com.au www.aqha.com.au

Ronlea Park

Photo by Tania Hobbs

Presents

one of Australia’s best reining stallions

DocsFancy Roy

Docs Fancy Roy has won the following

Sentoritass Playboy

2005 Kara Kar Trailer Series Champion

Playboy Roy (imp) Genuine Rose

2005 Equitana Open Champion 2005 Open Futurity Champion VRHA 2005 Open Futurity Champion NRHA 2006 NRHA Open Derby Champion 2008 QRHA Open Champion 2008 SQRHA Open Classic Champion

Standing at Backhouse Training Stables 2009

$1250

LFG

Vet and agistment extra.

2008 QLD All Breeds Show Super Horse Champion Booking fee $250 2008 QLD All Breeds Show Western Dressage Champion non refundable

2008 QLD All Breeds State Show Western Riding Champion

Docs Spinifex (imp) Docs Spindolena

Pine Olena (imp) Bon Olena

War Bird Nina (imp)

All enquiries Errol and Tammy Thomas errol@hrkgthomas.com.au 0417 617 461

at the show an in-depth look behind the sCenes and as a Competitor

by Lyn Hoffmann© 2009

Club SECrEtary profilES

Feature Club

Burpengary Western Performance Club, Queensland Established: 2009 Annual Joining Fee: Membership Numbers: Membership Types:

1987 Single - $25.00, Family - $35.00 Youth - $17.00 Approximately 100 Adults, family, youth and life members

T

he Burpengary Western Performance Club has use of the facilities at the Burpengary Equestrian Centre, on Rowley Rd, Burpengary about 40km north of Brisbane. It has large indoor and outdoor arenas, a grassed arena, 48 modern stables, wash bays, cross country course, riding trails, canteen and camping facilities.

The club offers members a chance to advance their riding skills with training days twice a month on Saturdays with top recognised trainers. It holds four members-only shows (points days) each year catering for all riders from tiny tots on a lead line, through to walk-trot classes, beginner, improver and open classes culminating in an annual presentation night – a great chance for riders to experience a show at club level and a great stepping stone towards competing at open shows.

The club is an AQHA affiliate and usually holds four open AQHA approved shows annually for all western breeds and disciplines.

Membership fees include discounted rates on arena hire, use of the grounds’ facilities and generous discounts from participating western retailers.

In 2009, the club held the inaugural free Camp Quarter Horse, supported by the AQHA, where top trainers gave their time to coach youth in western disciplines. A youth show held on the last day gave the camp kids a chance to show off the skills they’d learned.

The club, through its AQHA affiliation, has comprehensive liability insurance, and cover for equipment on the grounds.

Keenly contested high point awards are held annually for club show participants. The open shows have prize money for many events, including futurity halter classes and feature performance classes.

To contact the Burpengary Western Performance Club Email: info@bwpc.org.au Website: www.bwpc.org.au Secretary: (07) 3886 7493

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Christine Sewell, Secretary, burpengary Western performance Club, QlD Duties: General secretarial duties, including taking and typing minutes of meetings and sending letters. family: Husband, Keith, four children and four grandchildren.

Horses: Mostly Quarter Horses – show halter and western performance, also broodmares of various ages.

Day job: Bookwork for family earthmoving business and housework!

Will i do this again next year? Yes. Committee and helpers are always needed. We have a great committee that pulls together. To survive and prosper all clubs need helpers especially on club days and at shows.

Narelle Nixon, Show Secretary, burpengary Western performance Club, QlD Duties: Book judges and arrange travel and accommodation.

Organise stewards and show helpers. Apply for show dates to AQHA and set programs. Compile and report results, take entries and assist on the day of show. family: Husband, Ian, five children and two grandchildren.

Horses: Three Quarter Horses Day job: Sizzlers Restaurant Will i do this again next year? Very likely.

Burpengary Western Performance Club Secretary Christine Sewell.

Burpengary Western Performance Club Show Secretary Narelle Nixon.

Advice from the office Christine Sewell and Narelle Nixon believe that at a horse show you and your horses are on show and officials notice your manner and presentation. A friendly, polite attitude is vital and you should be gracious at all times with officials and other competitors, regardless of how you have placed.

The idea is to have fun! If you haven’t had a successful day, learn from the experience. Judges have differing opinions and preferences – another show means another outcome. A successful show day is one where you and your horse have presented, prepared and performed to the best of your ability – don’t ever lose heart. Use each show as a stepping stone to the next show and plan to advance up levels as you go.

Preparation of your horse starts months before showing. No matter what events you compete in, months of conditioning and training go into a successful show team. You don’t need to spend a fortune on expensive gear. Appropriate, clean and tidy equipment and a beautifully presented horse can be achieved relatively inexpensively with simple effort and attention to detail. When at a show, ask questions of experienced competitors, and take note of how their horses are presented. Join a club and be introduced to trainers and take lessons – their knowledge will assist you greatly.

of an accident, get assistance immediately from the first aid officers and show manager. dogs and children – Check whether dogs are allowed on the grounds before you leave home. Keep dogs restrained at your camp.

Parents need to keep extra close control of small children at a horse show. When riding horses on the grounds, children should wear standard safety helmets and correct footwear. wash bay etiquette – Be considerate of others; conserve water; clean up rubbish and manure after use. exercise areas – The show arenas are usually open to warm-up your horse prior to the show, but will need to be cleared about half an hour prior to the start time. Be considerate of other competitors and observe safety at all times.

Spectators – Are encouraged to attend as they give wonderful support to exhibitors as well as to the western industry! Spectators and their children should be aware that sudden movements or noises in the stands can unsettle horses.

Show staff – Be helpful to show staff. All are volunteers and will give you lots of help if you smile and be courteous and friendly. Have your entries filled out correctly and on time! Be on time for classes and advise the gate marshall, prior to a class, if you are going to have a change of gear or horse that could delay you – they will try to hold the class if they know you are coming. Display your correct number in a position where the judge, stewards and gate marshall can clearly see it. (Incorrect numbers will cause you to be disqualified from an event.) Leave promptly when asked to clear the arena in the breaks or before the show. If you’ve finished showing you may like to assist to set up or dismantle show equipment. Make sure you tidy up around your camp or parking area before you leave the grounds. It’s helpful to have small change for the canteen, too.

the weSterN Show The beginning, the end and everything you need to know in between.

Show days run more smoothly for a well-prepared competitor.

Download a show program from the club’s website or call the secretary and ask for one to be mailed to you. Check the club rules for the show. Work out the events you want to compete in and have your entries completed and ready to hand to the show secretary on the day. Don’t forget to pack all this paper work as well as membership forms and your horse’s registration details. Establish a routine for preparing your horse and gear in the days before a show.

Check and pack your gear and vehicles early and make a list and tick it off. Try to organise a knowledgeable strapper (assistant) to take with you. If camping, take an alarm clock! Plan to leave home very early in case of unforeseen circumstances.

Show dAy tipS Stabling – If travelling a long distance to a show, it’s wise to book stabling and stay the night before as your horse will settle in the new environment and show morning is not such a rush. Check to see whether you need to bring your own bedding (straw or wood shavings). You will also need a rake and barrow. If booking stables for stallions or unsettled horses, advise the secretary that you require specific stables. Don’t tie horses up in the stable alleys as it makes it difficult for others to pass safely.

Show safety – Be aware that your horse might have a different attitude away from its usual environment. Be considerate and always give safe space to other horses. If you are asked to halt or move to the centre of the arena during a class for the safety of yourself or others, do so, as soon as practical. Observe speed limits when driving on the showgrounds. Be watchful of horses and children and, in the event

Patterns on display for competitors.

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enter the marshalling area to hold horses or assist you and remember to always be appreciative of them – whether family or friend.

The show day usually begins with the halter classes, progressing to led events – showmanship at halter, hunter in hand and lunge line classes. These are usually followed by a short break for judges and show staff. Competitors can now change into English attire and work their horses in the arena.

The program generally resumes with hunter under saddle, hunt seat equitation and hunter hack classes, which usually run until the lunch break. Riders then have their lunch and change into western attire. The arena is normally open to work horses during the lunch break. Western classes commence in the afternoon with trail classes usually run concurrently with a separate judge in another area.

During any planned program breaks the arena will generally be available for competitors to warm-up their horses. If you’re lucky enough to have a good strapper, they can prepare and saddle-up the horse while you get changed. If correctly attired, they may also be able to lunge or warm up the horse in the arena until you’re ready to ride. Allow time for your horse to be rested, watered or fed during the lunch break. Don’t forget to loosen the girth during breaks and tighten and check girths and gear before each class. Clear the arena promptly when asked.

Be near or in the marshalling area at least 15 minutes prior to your event – listen carefully for your class or number to be called. The gate marshall will usually call classes and competitors’ numbers for the class entering the ring. In a halter class you may be advised how the judge wants you to show your horse. In a ridden class, they will tell competitors how the judge wants you to enter the arena, so listen well and ask questions if you don’t understand.

Putting in a false tail requires practice.

On arrival at the show find a park in a suitable area – within easy access to the arena and work areas and where you can hear ring announcements is best. Unload and settle your horse, tie it up with about an arm’s length of lead. Check and adjust rugs and once you are sure it is settled and comfortable, find the show office to organise and pay your entries and collect your numbers and patterns. If you pre-nominated, collect the nomination package. Correct registration and membership numbers are vital for your results to be recorded accurately, so completing your nomination forms prior to the show ensures fewer mistakes and is a time saver on a busy morning.

A good show routine includes watering and feeding your horse and setting up your grooming gear and tack so it’s easily accessible to make final show preparation. Pin correct numbers to your jacket for the halter class and if you have your own numbers attach them to your show saddle pads. Tape or clip the show program up in a place where you can easily refer to it during the day. If the show provides patterns for your pattern events put these up also so you can study them. The printed show program will have the show information and rules, a list of events numbered in order, names of judges, and details of entry and office fees, prize monies and awards. For obvious reasons, don’t leave valuable gear lying around unattended while you are away from the float.

Always warm your horse up before entering classes as it really does take the edge off – allow plenty of time for this.

Strappers are invaluable for so many things: final preparations, assistance getting dressed, collecting and changing numbers and patterns; listening for announcements; ensuring you’re in the marshalling area on time; and getting you food and drink. Be sure that the strapper is dressed appropriately so that they’ll be allowed to

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Final preparation before a hunter under saddle class.

Who does What at a shoW?

A competent helper is invaluable on show day.

Most arenas have separate exits and entries for safety and efficiency.

The marshalling area, near the arena entry, is only for competitors that are ready to enter the ring. Be in the marshalling area prior to your class. Don’t crowd the arena entry or exit gates and allow appropriate spacing between horses when entering or exiting the ring. When leaving the arena, move away from the gate immediately so that competitors behind you can safely and promptly exit the arena and the next class can commence.

If you have a general question or problem, speak to the show manager who will direct you to the right person to help. If you have questions regarding any aspect of the show program, including what events you are eligible for, speak with the show secretary. If in doubt, ask another competitor – experienced competitors have a wealth of knowledge and are usually only too happy to assist. Also, constantly refer to your rule books as these have almost all of the answers.

Try not to be too nervous of the judge – aim for friendly, relaxed and polite. A friendly, but formal greeting, such as ‘good morning’ is quite acceptable in morning halter classes. When entering the ring for all individually judged classes, always walk to the start markers, squarely halt your horse and acknowledge the judge with a slight nod. Wait for this to be returned, which is an indication that you may commence your performance. If the judge commends you after a class when presenting ribbons, thank him or her. Be respectful and gracious and accept your placing in any class.

At the end of the show return your show numbers to the office; make sure your stables are cleaned and shut; collect cleaning deposit if required; clean up around your parking or camping area and observe speed limits on the grounds.

the shoW MaNaGeR is in charge of the smooth running of the show including stabling, parking, accident or first aid response, and dealing with disputes, complaints and protests. t h e J U dGe is usually appointed by the club hosting the show. Judges are friendly and enjoy talking horses with you, but if you’re showing your horse or have family showing, a judge cannot speak with you as they are employed to judge and it would be very unethical of them to speak with any of the competitors. If you do need to speak with the judge at any time during the show, do so through one of the show stewards or the show office. t h e shoW seCReta RY books and liaises with judges; organises show programs, show stewards and other staff for the day; and takes entries. On the day they are usually found in the office with assistants, taking entries, issuing numbers and patterns to competitors, liaising with competitors, handling enquiries, and verifying competitors’ points books. When the show is over, the secretary compiles the results and sends them to the breed associations. shoW steWaRds assist judges and help to position competitors according to the judges’ preferences. They record and tally points for the judge; assist with ribbons and trophies; and liaise between show staff, competitors and the judge. the shoW aNNoUNCeR makes announcements about classes, judges’ directions, scores and results. the Gate MaRshaLL organises competitors in the marshalling area; checks attire and show gear for legalities; gives directions from the judge for competitors to enter the arena; opens and closes the arena gates; and ensures the correct competitor numbers enter each class. the RIBBoN atteNdaNt organises ribbons, trophies and prizes to be handed to the stewards for awarding on completion of each class. otheR shoW staFF assist to set up show equipment; run messages between the office and the arena and obtain refreshments for judges and arena staff.

FIRst aId oFFICeRs have first aid training to help anyone that gets sick or has an accident and liaises with the show manager if an ambulance is required.

CaNteeN staFF order, prepare and serve food all day!

What Makes a Good shoW? From the viewpoint of the club, a well run show runs on time, has good entry numbers, has no accidents or incidents and receives positive feedback from the judge, competitors, spectators and show staff! Above all, have fun and enjoy showing!

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Choosing the right horse

by Andrea Ferris

Chris Baumann on Shameless Oak.

S

econd only to making a decision to start on the journey into horses for either yourself or your children, the next most important decision will be what horse to buy.

For most people budget is the determining factor – a horse can cost as little as $1000 or as much as $20,000 – and like most things in life you can expect the cheap horse won’t be as good as the expensive horse.

Buying a horse is a bit like buying a car: you need to consider who’s going to drive it, what you want it to do, how you want it to perform, what you want it to look like, how long you want it to last, how safe is it and what extras you want.

But a car doesn’t have a personality or a temperament, so when choosing a horse it pays to ask someone with some knowledge.

Chris Baumann has been around horses for more than 30 years.

She owns Dee Bar Paint Horse Stud near Tamworth in New South Wales with husband Wayne ‘Link’ Baumann – a well known Hunter Valley farrier.

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Until recently Chris bred and showed Paint Horses in halter and under saddle with great success, but has given up the Paints to oncentrate on helping Link train and show cutting horses. The pair was thrilled to win the 2009 Non Pro Futurity at the National Cutting Horse Association Futurity event in Tamworth with a horse they bred and trained, Dee Bar Isa Blue Cat. Chris has bought and sold many horses, but has also seen too many people end up disappointed because they bought the wrong horse or a horse that wasn’t suitable for what they really wanted to do with it.

She believes the first consideration should be who is going to own and ride the horse.

“A beginner adult or child needs a horse that is safe, reliable and experienced. A horse that has had many years of training and has been to a few shows can actually teach its rider a thing or two. Often described as ‘push button’, this horse will know what to do and can sometimes cover its rider’s minor mistakes. This

A seasoned campaigner will teach you ‘feel’. (Chris Baumann on Dee Bar Isa Blue). seasoned campaigner will teach you by ‘feel’ – he does things correctly so that the rider knows how each movement feels when it’s right.

“A rider that has more ability can consider a horse that doesn’t have as much experience so they can learn together. This combination will need a competent instructor or trainer that is interested in developing horse and rider as a team towards a goal in whatever discipline is chosen.

“A ‘green’ horse is usually young and has just been ‘started’ or ‘broken in’ to saddle. If

the horse is quiet and sensible, an amateur with some confidence and ability might look at finding a good trainer and learning with the horse. This can be very rewarding, but requires patience and time,” says Chris.

Size is an important factor – both the size of the horse and of the rider. Apart from looking silly, it’s difficult to give the horse the correct leg signals if the rider’s legs are too far below its belly or too far up its ribs!

Chris says not to be tempted to buy a horse too big for a child so that it can ‘grow into it’. “They’re not only difficult for the child to ride properly, but also difficult for a child to handle on the ground – it’s hard to put a bridle on when you can’t reach your horses’ ears!”

Choosing between a gelding and a mare is another decision to make, which Chris says often is just a personal preference.

“Some people believe that mares don’t have the consistent, even temperament of a gelding because of their oestrous cycle – and often this is true. But, there are many mares that have beautiful temperaments and there’s the added bonus of being able to breed from a mare.”

The age of the horse should not be a determining factor of the purchase according to Chris. “Certainly a young horse will not have had as much experience and training, but a 15-year old horse that has been a successful competition horse

The first consideration should be who is going to own and ride the horse. (Chris Baumann on Dee Bar Blue the Loot).

would be perfect for a beginner to learn on providing that it’s healthy and sound. There is no reason a healthy horse can’t be ridden regularly into its teenage years, but you may only have four or five years with him before he’s retired,” she says.

Colour – well that’s purely personal, says Chris. “Holding out for a particular colour of horse that fits all the other criteria of size, temperament, experience and ability will just mean that you wait longer – or never find the perfect one,” she says.

“What’s far more important is that you buy a horse that suits what you want to do with it. If you want to do western pleasure, buy a horse that has the temperament and conformation that suits this discipline. If you’re interested in cutting you’ll need a horse that is bred to be ‘cowy’ and if reining is what you want to do, look for a compact and athletic horse.

“My advice is to have someone knowledgeable in the area that you want to compete in to help you buy the horse. They will know the breeding lines to look for and be able to put you in touch with reputable trainers and studs that have or know of horses for sale.

“Don’t rush into buying the first horse you see – be patient, look at and ride several before you make a decision and try to go with your head rather than your heart if you can resist!”

It’s important to buy a horse that suits what you want to do with it. (Chris Baumann with Dee Bar Blue the Loot).

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Buying a horse

by Andrea Ferris

Ask the owner the best way to get the most out of the horse on a test ride.

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O

nce you’ve chosen the discipline you want to pursue, considered who’s going to ride the horse, thought about size, colour, breed, experience, sex, age and roped in some expert advice, it’s time to venture out and find your equine partner.

But where do you start? It’s not like buying a car where you can cruise down the road and check out the car yards on a Sunday afternoon – buying a horse can involve a lot of travelling, a lot of time, some expense and sometimes a bit of disappointment.

If you don’t have a lot of horse knowledge or experience it’s strongly recommended that you ask around and find someone that’s willing to help. The local western performance club secretary would be a good place to start and any breed society will be able to give you a contact in your area.

Trainers often know of horses for sale and have excellent networks in their industry.

Horse studs are another source, again with excellent networks, and sometimes have horses for sale.

Auctions are another way to buy a horse, but make sure you have enough time to check the horse out thoroughly before the auction and seek expert advice on its value before you bid.

There are many good horses advertised in newspapers and magazines. These days it’s also easy to view photos by email and even watch videos of the horse for sale online before you commit to an onsite inspection.

Once you and the horse’s owner have agreed on a time and place to inspect the horse, ensure that you give yourself plenty of time to look it over thoroughly and ask lots of questions.

A genuine seller should have no problem putting the horse to any test that you require – and the first test should be watching the horse being caught. While it’s thoughtful of the owner to have it groomed and looking its best when you arrive, owning a horse that is difficult to catch is extremely frustrating.

Watch the horse have its rugs removed, being groomed, have its feet lifted and tapped and watch its reactions. It should be calm and quiet and the owner should move around the horse with confidence.

Ask if it’s alright to test its temperament by flapping a towel or jacket around, or if you have one, a plastic tarpaulin or an umbrella. Make a loud noise, like clapping or, if the owner is willing, crack a whip near the horse. Be observant –

The overall health and soundness of a horse can be a deal-breaker. watch its reaction to dogs and children, if they are about, or cars and machinery and other horses going past.

A horse should be happy to stand quietly tied up for long periods – it would have to if it was at a show.

When the time comes to have a test ride, watch the horse being bridled and saddled.

Note if it objects by moving sideways, throwing its head in the air, putting its ears back or swishing its tail a lot when the girth gets tightened.

A note of caution here – while it’s sometimes difficult to tell, make sure the horse has not been ridden before you arrived. Ask the owner if it has and look for signs such as sweat or saddle marks. It’s important that you see how the horse behaves when it is fresh.

Find out whether the horse has been ridden in an arena all its life or if it’s been out trail riding and ridden along roads with traffic.

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The owner or trainer should ride the horse first and put it through all its paces, whether out in the paddock or in an arena.

It should go in both directions at the walk, trot and canter, stop and back-up.

The next step is for you to have a ride. However, do not ride the horse if you don’t feel comfortable or safe to do so. Adjust the stirrups so you can ride comfortably and find out from the owner what to do to get the best out of the horse.

Ask lots of questions – leave no stone unturned! Find out what it’s being fed, if it’s been kept in a stable, the history of ownership, view the registration papers, ask how often it gets shod, what it’s like to worm, how it travels on a float or truck, if it has any likes and dislikes or strange habits.

Horses, like humans, have personality quirks: there are many that detest pigs or donkeys or camels, or won’t walk through water, or are scared of trucks or fireworks – the list is endless, but it sure helps to know before you get it home!

do a thorough clinical examination while the horse is at rest that includes a check of the heart, lungs, eyes (using an ophthalmoscope), legs and feet. Then they watch the horse trot in a straight line and in a circle to look for any signs of lameness.

The next stage is to have the horse do some light exercise for the vet to determine how it recovers and then the trot examination is repeated.

I n most cases the vet will telephone you with the report the same day, although it might take a day or more to get a printed report. The cost for a standard vet check is between $200 and $300.

If you are going to spend a considerable amount on a horse for competition there is an option to extend the examination to include x-ray, ultrasound, an endoscopy and blood tests, which will cost several hundred dollars, but is well worth the expense considering the investment.

A genuine seller should have no problem putting the horse to any test that you require – and the first test should be watching the horse being caught. While it’s thoughtful of the owner to have it groomed and looking its best when you arrive, owning a horse that is difficult to catch is extremely frustrating.

If you’re going to make a considerable financial investment in a horse then it’s worthwhile getting a second opinion.

A rrange for a knowledgeable expert to go with you on your first inspection or your second visit, which is recommended.

If you’re buying a horse for a specific discipline, such as western pleasure or reining, ask someone with plenty of experience in that area to accompany you – you may have to pay them for their time, but it will be worth the expense for their opinion.

The overall health and soundness of the horse can be the deal-breaker in the sale of any horse. No matter how much you like the horse, how much it’s won or how well-trained it is, if it’s not sound in the feet and legs or generally in good health it’s not worth buying.

A pre-purchase examination, commonly known as a vet check, conducted by an equine veterinarian is the best way to make a qualified risk assessment about the horse’s health.

A vet check is requested by the purchaser and is generally booked with a vet that is not the usual vet for this horse and owner to avoid a conflict of interest. You can choose to be present at the check, but it’s not necessary and can sometimes be impractical if the horse is not close by.

The check takes up to two hours and follows a standard protocol set by Equine Veterinarians Australia. The vet will

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A vet does not give you a ‘pass’ or ‘fail’ report – they will present their clinical findings so that you can make an informed decision about your purchase.

I n some circumstances a buyer can take a horse home or to a trainer for a ‘trial’. This gives the buyer a chance to thoroughly evaluate the horse prior to the purchase and is often when the vet check is performed.

Trials, however, can be fraught with problems from a legal perspective as the lines of responsibility can become blurred if something happens to the horse while it’s on trial.

The r isk can be m i n i m ised w ith a sale agreement that covers issues such as a deposit, the tr ial per iod l i m its, i nsurance, ac tiv ities al lowed w ith the horse dur i ng the tr ial, and who is responsible for what. The ow ner should also see where the horse w i l l be kept dur i ng the tr ial if possible, each should be i n regular contac t w ith the other and each should k now what happens at the end of the tr ial, particularly for pick up and del iver y.

Be pat ient – f i nd i ng t he r ig ht hor se t h at su it s you r level of ex per ience, i s ea s y to get a long w it h a nd h a s t he abi l it y to en able you to reac h you r compet it ive goa l i s t he u lt i m ate a i m – a bit l i ke f i nd i ng a husba nd or w i fe. perh aps we shou ld put t hem to t he s a me a mou nt of prepu rc h a se sc r ut i ny !

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Liz Keating a champion of

amateurs

by Andrea Ferris

L

iz Keating lives with her family in the picturesque Yarra Valley, east of Melbourne in Victoria. Like many thousands of people Liz began her life-long journey with horses at a very young age. She was a successful amateur competitor and is now a dedicated trainer of newcomers, amateurs and youth. This is Liz’s story: I was given my first pony when I was only four: a 24-year old horse that sadly only lived a few years. I nagged my father mercilessly for another horse and he finally relented when his racehorse trainer offered us a cheap old lead pony that needed a good home.

That horse and I were inseparable and we spent many days riding around the roads of Wonga Park. I’m still proud to say that she was one of the fastest horses in the area and when my friends and I raced bareback up Black Springs Road she and I would leave them in our dust!

I owe my love of helping other riders to a local riding instructor, Miss Tunbridge.

She was a lovely old lady and didn’t mind that I couldn’t afford lessons. She pandered to my love of horses by allowing me to ‘help out’ with the paying kids. Her little ‘shows’ – ribbons and all – gave me a passion for competition and comradeship and I went on to spend my teenage years successfully training and showing hacks and galloways.

Like many ‘English’ riding people I thought ‘western’ wasn’t really proper riding – until my dear friend and mentor, Norm Fisher, invited me to visit a western show at the Twin Arenas in Lilydale many years ago.

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I fell in love with the horses, which were all so well behaved. I thought the people wore fantastic outfits, there was a variety of different events to compete in and everyone was so friendly – I was a hooked!

Everyone starting out needs a mentor and mine for more than 25 years was Norm Fisher. His techniques and vast horsemanship skills proved invaluable to me as I trained my own horses.

I have successfully trained and shown in open and amateur events for many years, but I would have to admit what I like most about the western show scene is the people – I call them my extended show family.

Involved with a local Australian Quarter Horse Association affiliate for many years, I also became the secretary for the AQHA Amateur Division, a position from which I have only recently resigned to spend more time pursuing my passion to train horse and rider combinations.

My clinics range from a beginner level, which gives a basic overview of how a western horse is ridden and trained, through to the more advanced pattern and rail clinics catering for the competitive rider.

I have various coaching methods that are simplified and easy for the rider and horse to understand. I endeavour to train the horse and rider together as a team at a pace suitable for both. It gives me great delight to see my students achieve, whether it’s at a show or just at home in the arena.

There are many things I love about western performance: the competition; the comradeship; the horses; the dedication it takes to become top 10 in your chosen event; and the thrill of achievement.

Right now I have several horses of my own in work: a four-year old hunter horse, a three-year old pleasure horse and a reining-bred three-year old gelding that I’ve just started. I also have outside horses in training for the season.

My general advice to anyone starting out in western performance is to find an instructor that will develop a program to suit the ability of both your horse and yourself and one that is interested in helping you achieve your goals.

The most valuable lesson I have learned throughout my horse journey is that ‘Rome was not built in a day’, especially when it comes to training western horses. I believe the most important virtue is patience – keep your training simple and repetitive.

The most common mistake I see people make who are starting out in western performance is riding like they are in the show pen at home because they believe that because it’s western you have to ride on a loose rein. Not only can it be dangerous, but it doesn’t teach the horse to use its body correctly. My advice: do your training at home and when you get to the show you can ride on a loose rein and the horse will move correctly.

My personal ambition is to help others achieve their goals, ride to the best of my ability and hopefully reap the rewards of my efforts – oh, and a National Performance Horse Association bronze horse trophy would be nice too!

Mark Childs

Successful Amateur competitor and trainer, Liz Keating.

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Tack Saddlery

by Jo Johnson

A well fitted show halter.

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A beautiful western show saddle.

S

o you’ve got yourself the perfect western horse and are now hoping to start out in the world of western showing.

The next step is to purchase suitable tack and equipment for training your horse at home and competing in shows. It’s important to make sure the equipment you buy is not only the best quality you can afford and fits well, but also complies with show rules. The rules for tack at western shows vary depending on the classes you show in and the age of your horse, so it is imperative that you know what type of equipment to buy before spending your hard earned dollars.

Saddle Probably the biggest investment for any western performance enthusiast, besides the purchase of a suitable horse, is a western saddle. The saddle must be comfortable and a good fit for both horse and rider and appropriate for the event you’re competing in. It can be enhanced with silver and other adornment, but that’s not important for the show ring. In fact the AQHA rule book states: “Silver equipment will not count over a good working outfit”.

Many people have a “work” saddle and a “show” saddle, which is a good idea to ensure your show saddle stays in pristine condition. However, it’s important to ride in the show saddle regularly between shows. When starting out in Western, even though the saddle may be an expensive purchase, it is worth getting a good one so that you’re ready for the show ring when the time comes.

Personally, I have one saddle that I train and show in. It has a moderate amount of silver, including a false back girth with ornate buckle and conchos on the leather-covered stirrups/ oxbows. I use a good saddle cover that is left on all the time except when showing to prevent it from getting dirty or marked with rain spots – to which light coloured leather is susceptible.

A second hand saddle in good condition may be an option, as good quality western saddles will literally last for decades if looked after well. Again, a comfortable fit for the horse and rider is important, but you’ll need to make sure the tree is in good condition (not broken) and check all parts of the saddle to make sure there are no cracks in the leather or frayed stitching. If you’re considering a second hand saddle, but are unsure about its condition, take it to a reputable saddler to have it fully checked.

If you are having a new western saddle made, the saddler should be able to measure your horse and make available “test ride” models for you to try. If you’re unable to test ride a saddle you’ll have to measure your horse and send information to the saddler, as per his specifications.

Each saddle maker usually has their own way of measuring saddles and there is no rule for measurement. It should always be undertaken by a professional or under instruction from the person making the saddle.

If you’re buying a saddle from a saddlery they will quote terms such as semi-quarter horse and full quarter horse bars, which give an idea of what type of horse the tree should fit: a full quarter horse tree is for a broad, low withered, typical Quarter Horse type. However, the saddle still may not fit that type of horse so, if they are a reputable saddlery, they should have a trained saddle fitter who can bring a number of saddles to your premises and try them on the horse to determine which one is the best for your needs.

If you’re buying a second hand saddle, try it on your horse before purchase and have a ride – any reasonable seller should be happy for you to do this. Make sure it isn’t sitting too low on the wither (tree is too broad) or too high (tree is too tight) and sits snuggly across his back and doesn’t dig in to his flanks or sit out too far.

When trying the saddle, speak to the maker or seller about what type of saddle pad they recommend. A well fitting saddle should

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Western bridles. only need a single saddle pad made of flexible material that moulds to the horse’s body, such as koda felt. If you need to add extra padding all over or at the front or back this indicates the saddle does not fit your horse well.

A single thick felt saddle pad is comfortable for your horse, practical and is neatly hidden by a show saddle cloth on competition days. However, there is much technology in the saddle pad industry and you should take advantage of that technology if your horse’s conformation is making it difficult for you to achieve the perfect fit with a saddle.

When you take the saddle off the horse there should be an even sweat mark covering the whole area of the back where the saddle sits. If there are dry patches or extra sweaty patches or even worse, rub marks, this indicates the saddle does not fit well.

Another indicator is white hair growing, which is caused by a lot of pressure in one area over a long period. Pressure stops the blood flow, which kills the sweat glands and causes the hair to turn white. If you find a patch of white hair it’s very important to re-assess your saddle fit.

There are many different styles of western girths or cinches available, from fleece, string and felt-type fabrics through to rubber, neoprene and leather. To determine which is best for you and your horse try several different types. Your saddler or saddlery should be able to help with suggestions and it’s a good idea to have a couple of girths on hand. The leather or neoprene styles look neatest for showing, but you may prefer a fleece or felt one for working at home.

As saddles are a major investment in your horse life, always consult a professional before committing to purchase this most essential item.

To clean your saddle, oil underneath the saddle and fenders regularly to prevent the leather from perishing and cracking, but if you want to maintain the light leather colour of your

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saddle, do not use oil or any type of leather dressing on the visible parts – use a soft brush to remove dirt and dust and rub with a soft cloth and invest in a saddle cover. Silver should be cleaned with a good silver cleaning product. I like the tins that have small pieces of silver cleaner impregnated “wool”, which seem to last forever and it’s easy to control where the cleaner is applied.

Western Bridles and Bits In open western performance classes the type of bit you compete in will depend on the age of your horse. From two-year old to the end of a horse’s five-year old year (junior horse) he may be ridden two-handed in a snaffle bit or bosal. Whereas, all horses aged six and over (senior horse) must be ridden one-handed in a shank or curb style bit.

The AQHA rule book has some comprehensive information about what a snaffle bit is and what modifications are acceptable.

Heavy leather reins laced or buckled directly onto the snaffle rings are the best as traditionally we don’t “hang on” to western horses’ mouths and just lifting the reins is often enough to get a response without even touching his mouth. Western horsemen in all disciplines agree that heavy reins give more ‘feel’.

Bosals are a braided leather-covered oval-shaped noseband, in which the AHQA rule book states: “the core of which may be either rawhide or leather”, attached to a bridle head piece and the reins are attached under the jaw in the centre of the bosal, so it works on nose pressure rather than on the sides of the mouth as a snaffle bit does.

The mecate (pronounced me-car-tee) reins are made from a soft synthetic material (like lead ropes) or braided horsehair and they are looped around and tied under the jaw, with an extra length of rein being held by the rider as well as the loop. In soft-going, natural-moving horses, bosals are a great choice for the show

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A bosal and mecate. ring and look very impressive. However, it’s imperative that your horse is experienced in a bosal prior to showing. Assistance from an experienced trainer on how to tie the bosal reins and ride with a bosal is essential.

For senior horses, curb bits act on leverage rather than direct pressure to the corners of the mouth like a snaffle. Junior horses can be ridden in a curb bit if the rider feels the horse is going well enough, but for senior horses the curb is compulsory and reins must be held in one hand. Curb bits are also used with heavy reins, but for ladies or youth with small hands, if the reins are too heavy or thick, it is sometimes difficult to fit it all into one hand so you may need to purchase reins that are finer on the ends. A well trained horse will not need much pressure from the reins to respond to cues so you should never be really pulling on the reins. Used incorrectly, curb bits can be very harsh, so it is paramount that you introduce your horse to the curb gradually and allow yourself and the horse to get used to the change from a snaffle.

The AQHA rule book goes into detail about what is acceptable in curb bits and it’s important to consult these rules before purchasing a bit or showing in a curb bit. You will also need to accustom your horse to a curb chain or strap. The AQHA and HSAA rule books both state, in reference to the use of curb bits in all open classes – including all age groups and amateur classes: “only one hand may be used on the reins and the hand must not be changed. The hand is to be around the reins; index finger only between split reins is permitted. Violation of this rule is an automatic disqualification”.

If you’re eligible to compete in a beginner class or at a nonAQHA or HSAA show, like a western club “points” day, you’re usually allowed to ride in a curb bit with two hands on the reins. However, it’s important to check the rules for each particular show to ensure riding two-handed in a curb bit, in

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beginner classes, is allowed. If starting out in western with a senior horse and feeling uncomfortable riding one-handed, it’s highly recommended to ride two-handed in beginner classes and practice one-handed at home, during lessons and training days, until you feel comfortable and confident. Making sure your horse is going correctly in the bit before showing one-handed in open classes will also enhance your chances of having a good run and placing well.

Western bridles are available in browband, one-eared or twoeared styles and are usually ornate with silver buckles, plates and conchos. Browbands usually feature some silver and can be straight, “v”-shaped, have a horse hair tassle in the middle, or even be knotted. One-eared and two-eared styles have a loop of leather around either one ear or both ears and usually have silver plate or round concho-type beading. All styles look attractive and you can use the shape of your horse’s head to determine which style will suit best. The two-eared style is very popular at the moment and suits most western-bred horses as they usually have short, neat heads – this style also looks very elegant with a neatly banded or even naturally full forelock. If your horse has a longer head and not much forelock, the “v”shaped browband with silver plate is very flattering.

It is important to clean your western bridles regularly, especially the bits. Gunk can build up on bits and irritate the horse’s mouth, so be sure to rinse bits or rub with damp sponge after each ride. Work bridles can be cleaned with good quality saddle soap and leather conditioner or oil. This will darken the leather, but because the work bridles are used regularly and are often subjected to a sweaty horse or wet weather it is important to oil them. Show bridles should be rubbed over with a soft cloth and a conditioning cream (non-darkening) used on the underside only, to ensure they maintain their light colour, unless you’re intending to embrace the look of dark leather. The silver should

be cleaned as per the cleaning of silver on your saddle. Reins will also need to be oiled regularly to ensure they stay supple and “hang” properly.

SpurS As far as western spurs go there are many different styles and it’s very much personal preference what you want and need for your particular horse. If you’ve got a ‘hotter’ horse that is very responsive to the leg, if you wear spurs at all, you’ll want something with a fairly short shank and small, blunt rowels. Whereas, if your horse is a bit dull to the leg you’ll possibly need something with a longer, straighter shank and slightly sharper rowel. People with long legs that tend to hang below the horse’s belly, may need a longer, straighter shank to reach the horse, whereas if you have short legs that are up on your horse’s sides, the shank can be shorter and more angled as you don’t have to ‘reach’ so much for the horse. There are also many different types of spur straps.

Most importantly when choosing spurs, buy a pair that suit your needs, fit your boots well and are comfortable.

Show halter A good quality show halter is essential if you intend to show your horse in halter and showmanship classes. As with all western equipment, be sure to buy the best quality you can afford and it will last for years or you will be able to sell it without it losing value. A good show halter should complement your horse’s colour and conformation. A solid horse with a larger head and bigger jowls generally looks good in a heavier style halter with plenty of ornate silver-plating and buckles. However, this style would overwhelm a smaller-headed horse that would need something with finer leather and not so much silver. The age of your horse also needs to be taken into account.

You shouldn’t be showing a five-year old in the same halter it was shown in as a weanling. Not only will it be too small, it will probably be too fine for a mature head (this is when it’s handy to be able to sell your well looked after, good quality halter and buy a new one!).

The lighter-coloured leather with gold accents in the silver looks lovely on chestnuts, palominos and buckskins, whereas the darker-coloured leather and plain silver suits bays, blacks, browns and greys. The most important consideration when buying a show halter is that the style and colour suit your horse and that

An English bridle. it fits perfectly. You will also need a good quality leather lead with chain, which can be fitted in various ways depending on what best suits your horse. It is a good idea to try different methods at home or get help from a professional when setting up the chain to ensure you don’t irritate or harm your horse. In showmanship classes, the chain is to be attached to the ring under the jaw only (it can be looped back on itself if it is too long) and not touching any part of the horse. The rule book states, in regard to showmanship: “It is preferable that the exhibitor’s hand not be on the snap or chain portion of the lead continuously”. To keep your halter in top condition, refer to details on caring for your show bridle and be sure to keep your halter in a bridle bag or something similar (a pillow case works well).

engliSh Saddle and Bridle If you intend to compete in hunter under saddle, hunt seat equitation or hunter hack you will need a set of English equipment.

The AQHA rule book states: “saddles must be black and/or brown in colour and of traditional English, hunting or forward seat type, knee insert on the skirt is optional”.

It is important to purchase a good quality English saddle that fits you and the horse properly. A proper hunter saddle is a forward-cut saddle – a cross between an all-

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purpose and a jumping saddle. Again, most reputable saddleries will have a qualified saddle fitter that will help fit you and your horse. Usually they will bring a selection of saddles for you to ride in to make sure you get the style that is suitable. English saddle fitting for western bred horses can be a challenge because they are usually wide in the back and shoulder and low in the wither and many English saddles are made for narrower horses. Some brands are available with adjustable gullets and these are highly recommended.

I f you don’t have the assistance of a professional sadd le fitter, make sure the sadd le sits even ly on the horse and you can fit your fist i n the gul let (under the pom mel) and the back panels sit f lush w ith the horse’s back, when you’re mounted.

You will need to purchase a saddle pad to suit your saddle and the AQHA rule book states: “saddle pads should be white, black, cream or grey to fit size and shape of saddle, except where necessary to accommodate number on both sides”.

There is a trend at the moment to move away from traditional “numnah”-style saddle pads (sheepskin pads shaped to the saddle) to the hunter pad, which is white, shaped to the saddle at the front and square at the back with clear plastic slots for inserting the competition number. It is highly recommended to invest in one of these as they enable the judge to see your number clearly.

English bits and bridles must be traditional and the AQH A rule book states: “in all English classes, an English snaffle (no shank), kimblewick, Pelham and/or full bridle (with two reins), all with cavesson nosebands and plain leather browbands must be used”.

(No ribbon browbands as previously mentioned). The rule book goes into further details about measurements and types of mouthpieces allowed in English classes and has images that show suitable bits. Reins must be traditional English style, but once again, most western performance people like a heavier rein and it is a good idea to get a longer than usual pair as western horses travel long and low rather than collected and elevated, so extra length of rein is needed compared to traditional English disciplines.

Regarding spurs, the AQHA rule book states: “Spurs are to be of the unrowelled type”. This means they must be English ‘dummy’ spurs. They can have

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An English saddle and bridle. a longer shank than traditional dummy spurs and even a blunted end, but under no circumstances are they allowed to be rowelled, even though English spurs are available with rowels.

To care for your English saddle and bridle, wipe over after each use and use a good quality leather conditioner. If you have lighter-coloured leather, be sure to use a conditioner that doesn’t darken the leather too much. All conditioners will darken the leather slightly, but this tends to improve the look of English tack – giving it a well cared for appearance. Synthetic saddle pads and numnahs can be washed and sheepskin ones can be dry cleaned by specialist dry cleaners. Depending on the material of your girth, these can be wiped over or washed. As with all tack, be sure to check the stitching, buckles and folds (especially stirrup leathers) regularly and organise repairs immediately.

Once you have the appropriate gear, it’s all systems go to get you and your horse trained and ready for the wonderful world of western performance – happy showing!

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western wardrobe

Michael Vink

by Jo Johnson

Make your base colour either black or neutral sand colour.

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Michael Vink

I

f you intend to compete at western shows, you will not only need western and hunter gear for your horse, but for yourself as well. It’s important that you have the right “look” and essential that you obey the rules for western performance showing attire.

Western Gear The AQHA rule book states, “In halter, speed events, team penning and other western classes, it is mandatory to wear appropriate western attire, including long sleeves and collar (ban, standup, tuxedo, etc) western hat and cowboy boots. The hat must be on the rider’s head when the exhibitor enters the arena. Spurs and chaps are optional”. Regarding the wearing of chaps in western performance events, it is important to check the show rules you are attending as “A A” shows generally require the wearing of chaps. The wearing of chaps is mandatory at state and national shows run under HSA A rules. Spurs are a matter of personal preference and traditional western spurs with rowels (not too sharp or fine) are permitted at shows and must not be used in front of the cinch. Excess use of sharp spurs can be seen as abuse and horse maltreatment is strictly forbidden at western shows.

If you are going to show western it is a good idea to purchase an AQHA and HSAA rule book so you are familiar with the rules before entering the arena. Also be sure to read the rules for the particular show you are attending.

In the Australian western scene, with today’s competitive showing environment, it is paramount that you and your mount reflect a polished and professional image to the judge.

First impressions do count. Of course, in ridden western classes the judge will mostly be watching your horse and your riding, but a messy, uncoordinated appearance will detract from any performance. You should use your appearance as a positive tool to attract the judge’s attention from the minute you enter the arena and as an enhancement to your run. For example, in a class where there are 10 chestnuts, you want to make sure that you and your particular chestnut stand out from the crowd, in a positive manner – not because your hair is flopping, your chaps are too short, your work saddlepad is showing outside your show cloth and your hat just fell off! Perusing magazines and websites (especially from the USA) and consulting specialist western saddleries are excellent ways to determine what fashions are going to be “big” in the western show pen and help you develop your own look. This will help to ensure you stay up to date and ahead of the pack and you can adapt the trends to suit your own personal style and budget.

Further to the above tips, when starting out in showing, even though following trends helps present a polished image at shows, at this stage it is more important to purchase the best quality essential items you can afford. For ridden classes, these will include western-style boots, chaps, belt and felt hat. Pick a colour that best suits you and your horse for these basic items as you will wear them again and again and can coordinate trendier items, shirts and jewellery with your base colour. It is a good idea to make your base colour either black or a neutral sand or light tan colour, whichever suits your horse or you the best. Black is very slimming, durable and goes well with most horse colours. Neutral or sand tones look particularly good with chestnuts, palominos and buckskins, but do show the dirt more than darker colours and will need more thorough cleaning.

Good quality black or neutral boots, chaps, belt and hat will last you year after year, providing you take good care of these

Show saddlecloths can match your outfit and enhance your horse.

items. You’ll be wearing them for many show seasons and will only need to update your shirts and jewellery or scarves. No one will ever know it’s the same basic attire when you update each year with seasonal items – a new shirt style, shape or colour teamed with unique jewellery or a scarf can totally transform your look.

Whatever base colour you choose, wear jeans or show pants in the same colour under your chaps. Even though a lot of showies wear blue Wrangler jeans under their chaps, for a really professional and flattering look the same colour is best and presents a sleeker picture. Achieving a streamlined and coordinated look is also the reason for having boots and belt in the same colour – even though you will see people showing with contrasting belts and boots, all the one colour from toe to waist is more flattering on most people and helps elongate your leg, presenting a more elegant riding position. Of course, if your budget allows, you can have basics in all the colours of the rainbow and have fun wearing different outfits for each show!

When choosing show saddlecloths there are beautiful colours available that can be coordinated with your show shirts to add colour to your neutral basics and, like your shirts, you can update these less expensive items seasonally. Once again make sure the colour of your saddlecloths enhance your horse, try bright turquoise or orange on a grey, pale palomino or mainly white leopard Appaloosa; or red on a buckskin or bright green on a chestnut or just about any colour on a dark bay, brown or black. Of course, once again, plain black or sand (maybe with leather trim along the bottom or in the corner?) looks professional and smart on most horse colours. Match your cloth to your mood! Always make sure your show saddlecloth is large enough to cover your underneath saddlepad so as not to detract from your professional look.

As far as hairstyles for ladies go, long hair flopping around does not present a polished appearance, so if it’s long make sure you tie it back in a neat low pony tail (very fashionable at the moment) or in a braid, roll or bun. Shorter than collar length hair usually just needs to be sprayed with hairspray to maintain a neat professional look. If your hair is too short to be put up and can’t be tamed with hair spray, use bobby pins to stop it flapping around during your class.

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The correct turnout for a Hunter Under Saddle class.

When it comes to purchasing your show gear there are several western-orientated saddleries across Australia stocking good quality clothing from USA and Australian companies. When buying, ensure everything fits correctly, is well made and comfortable to wear while riding, not just standing in front of a mirror! Make sure your chaps are comfortable around the waist, easy to zip up the legs (not too tight with legs bent in riding position) and long enough so that when you are in the saddle they hang below your boots as too short chaps is a bad look.

It is important to buy a hat that fits perfectly because it is hard to focus at shows if your hat is so tight it gives you a headache or it is so loose it keeps abandoning you mid-class! Once you are sure on the fit of your hat ask the saddlery staff to shape it for you there and then (all good western saddleries have a steamer machine) and make sure you achieve a shape that suits you – also purchase a hat box, plastic hat cover and hat cleaning pads or brush.

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HAT TIP: At the show, spray your forehead and hair with hair spray immediately before putting on your hat. This will help your hat “stick” to your head even in windy weather. Be warned though,it may feel like you are waxing your forehead when you take it off!

Western boot styles come and go and it is really a matter of personal preference what style you decide to purchase for showing, but to maintain the streamlined, coordinated look in ridden classes, the plainer the better. Save the chunkier, more ornate styles for casual wear and choose a plain pullon or lace-up roper with a smooth sole in your chosen colour (black or neutral) to go with your chaps and hat. You also need to purchase a belt and the best ones for ridden showing are plain with no tooling or “bling”, in your chosen colour, with snaps for attaching different buckles so you can wear a plain or ornate buckle, as required. Every western showie’s goal is to win a trophy buckle so when you win one, if you have a belt with snaps, you’ll be able to attach it to your existing belt.

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There are beautiful “bling”-encrusted belts available at the moment, but unless you fall into the super slim category, these can make riders look a little chunky around the middle, so best to save these for after-show activities.

When choosing jackets, blouses and shirts, make sure they have some type of collar (as per the rule book) and that sleeves are the right length when your arms are in riding position, not too short, and they give you room to move (plenty of room across the back and shoulders, without being baggy). Anything with stretch is highly recommended.

As well as visiting saddleries for new clothing, it is also a good idea to keep an eye out for good quality secondhand gear that may come up for sale in club and association newsletters and websites, as well as national magazines. You can even find good quality secondhand western clothing on websites such as eBay. Halter show clothing can be a little more flamboyant, style-wise, than ridden attire. You can wear coloured jeans and chunkier style boots in different, but still coordinating, colours if you desire.

Blue, black or fawn Wranglers are very popular with the men. You can also wear a longer jacket than is suitable for ridden classes. Otherwise, the same rules apply as for ridden, except there is no need to wear chaps or spurs, of course.

For showmanship classes, neat hair is paramount and it is a good idea to stick with the coordinated boots and show pants or jeans teamed with a matching well-fitting longer jacket for a more polished look and sleek appearance.

Good grooming for yourself and your horse is essential in this class!

Care of Western Gear Make sure you clean your hat with a brush or hat cleaning pad after each show and keep it in a good shape that suits your face. If your hat needs reshaping, do this yourself over a boiling kettle or steamer or better still, take it to a reputable saddlery and ask them to reshape it for you. Don’t try to reshape your hat without the aid of steam or you may crack the felt. Always store your hat in a proper hat box and remember to keep a plastic hat cover on hand for rainy days – they look a bit daggy, but certainly protect your investment at wet shows.

Boots should be cleaned and polished after each show and checked regularly for any necessary repairs.

Suede chaps can be brushed with a special

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A beautiful colour coordinated outfit suede brush to keep them clean and in show-ready condition. If you have smooth-out leather chaps, condition these regularly with good quality leather conditioner. Chaps can also be drycleaned by a leather specialist drycleaner as required. Make sure your valuable show gear is stored in a cool dry place to prolong its life between shows and not squashed into a damp corner of your float!

enGlish Gear English attire at western shows for hunter classes is very traditional. The AQHA rule book states “Riders should wear hunt coats of traditional colours such as navy, dark green, grey, black, brown or tweed. Maroon and red are improper. Shirts shall be conservative in colour.

Breeches are to be of traditional shades of buff, khaki, canary, light grey or rust (or jodhpurs), with high English boots or paddock boots of black or brown, with or without gaiters which must be of high quality. Black, navy blue, brown or green hard hat (with harness for youth in any over-fence classes) is mandatory. A tie or choker is required. Gloves, spurs of the unrowelled type and crops or bats are optional. Hair must be neat and contained (as in a net or braid). Judges must penalise contestants who do not conform”.

So when competing in English classes at western performance shows, leave the

Francene Neuendorf

flamboyant shirts, jackets and ribbon browbands (popular in the hack ring) at home and stick with basic traditional attire. As with the western clothing, it is important to purchase the best quality you can afford because, if you look after it, you will wear this clothing year after year, as the trends do not change like they do for western attire. I purchased my latest English show attire in 1999 and am still happily wearing it and not looking out of place. You can still choose colours that suit you and your horse – I am a red head and ride a chestnut so the dark green jacket and hard hat with light canary jodphurs suit us. You can wear a tie, stand up collar with pin or stock with pin, which looks very professional.

Short hair to collar length should be encased in a hair net, while longer hair should preferably be contained in a bun with a net for maximum neatness. It is very important to present a traditionally polished look for English classes, especially hunt seat equitation. You can wear spurs, but they must be traditional English dummy spurs (no rowels). Once again refer to the rule book for details on types of spurs allowed.

In hunter under saddle and hunt seat equitation classes the judge will once again be judging your horse and your riding, but it is important that your appearance does not detract from the performance. Also, if you fail to abide by the rule book with your attire, you may find yourself severely penalised or even disqualified.

You can purchase your English clothing at almost any saddlery and, as with western gear, it is important that everything fits perfectly, especially the jacket – sleeves not too short and plenty of room to move without being baggy.

There are different styles of English top boots available and it is important that these fit perfectly – not just in the foot, but in your calf length and width. It is worth investing in a good quality pair of leather boots that will last a lifetime.

Jodhpurs or breeches are available in many different styles and it is very much personal preference for what “style” you go for, whether they are all the same fabric or have suede inserts at knees and/ or seat.

On the topic of safety helmets, western seems to be the last horse sport that hasn’t made Australian Safety Standard Approved safety helmets mandatory at all competitions. At western shows it is rare to see anyone riding in a western

English clothing is traditional. class in a safety helmet although they have become more popular in English classes. The AQHA states the following, “It is optional that an exhibitor may wear a safety helmet which conforms to the current Australian Safety Standards in all classes. However, it is mandatory that all exhibitors wear such helmets in over-fence classes and when schooling over fences”. So if you feel more confident in a safety helmet, please, go ahead and wear it.

When you enter for a show, you will be given a number that is your horse’s number for the day. The committee usually provides safety pins to attach the number/s, but you can buy custom “western” pins from western suppliers that look much neater and more professional than safety pins. It is important that you neatly pin this number to your jacket or shirt for every class you enter. However, some shows issue two of the same numbers, in which case for western classes, you pin one on either side of your horse’s saddlecloth. If you have an English saddlepad that has the section at the back for inserting numbers, insert the numbers on each side, as per your allocated number and you don’t need to worry about pinning a number on your back.

Now all you have to do is put in the training at home on you and your horse, then go to a show and have fun!

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AmAteur Owner

SOnyA KinKAde Interview by Lyn Hoffmann© 2009

WHBA: When did you become interested in horses?

Sonya: I grew up in Sydney, but we had a family property just out of Cessnock in the Hunter Valley where my uncle had trotters. I spent many weekends and school holidays on the farm working with the horses, cleaning stables, feeding up and so forth and also heading to the track for training and race nights, which were great when you were a horse crazy kid! I still feel weird in a dress at the races as track pants and gumboots were the attire for a little kid at the stables. I’ve been able to ride since being able to walk, but I was just a paddock basher.

plans to show him. Unfortunately, he had an accident in the paddock and after thousands of dollars in surgery was unable to be shown as he was unsound. I then bought another little Paint gelding, Fancy L Copy, that was a green-broke gelding with only basic training, but I wanted to learn more so I also bought a fully trained western horse, Bar N Bailey. He was 18

When did you discover western performance and decide to show in this discipline?

When I was 15 I went camping with my family to Gundy in NSW. It just happened to be a Quarter Horse stud. I nagged the owners to ride one of their horses. The only one that was able to be ridden was their beautiful palomino stallion, so I hopped on board. This was my first experience with any western trained horse. I wanted the horse to go faster so I kicked with my outside leg so the people wouldn’t see, only to go flying sideways across the arena! I’d never been told about using legs when riding apart from kicking to go. I was riding a fully trained cutting horse and learned very quickly about leg aids after a few minutes. I fell in love with this beautiful horse, which I found out later was the imported cutting stallion, Cutters Could.

This is where I began to truly admire the western breeds and western style riding. I showed my first western horse at the age of 29 – I’m now 41.

What was your first western horse like? Was it already trained and how much did it cost to start out?

I bought myself a Standardbred that looked like a Quarter Horse and I used to go and watch the ACT and Southern NSW Quarter Horse Club shows. I sold my mare and bought a Paint Horse gelding, Kaleidescope, with

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Sonya Kinkade on Sioux City Bandit

when I bought him and I believe that he’s still alive today, living in the Hunter Valley with one of his previous owners. Bailey was very scary to ride at first because he knew so much and I knew so little. I was also learning reining with Chris and Rachel Bell who were part of the ACT and Southern NSW Reining Horse Association based in Murrumbateman just outside Canberra. One of my first shows on Bailey was a NSW Reining Club show in Sydney. I was terrified, as he carried his head very low and all I could see was the top of his neck.

Every time we came through the middle of our circles he would do about three flying changes. He would run quite fast in his circles.

This old boy was the best horse that I could have had as a teacher.

I had all of the budget gear we seem to use when starting out so the cost was minimal. I have grown as an exhibitor and now use only the good gear and wear the nicer western outfits.

Do you have a mentor and a support crew?

My mentor for western pleasure would have to be Rodney Conolan.

Rodney (Rocket) patiently spent many Sunday mornings putting

about to join the two Hunter Valley clubs.

Do you chase show points?

I’ve chased points previously, but with the way equine influenza affected the showing so much, I’ve just shown when I can. Both Bob and I work and run a stud, so the breeding season can also interfere with showing. It’s not always that easy to head off to a show, so point chasing is a little difficult at times.

What do you think about present day western shows?

Most of the western shows are pretty laid back and the people are great to hang around with. It’s good to see friends supporting each other and having a great time as well.

How important is it to have current rule books on hand.

Everyone needs to be aware of current rules and if there’s a problem it needs to be addressed at the time of competition. It would make life so much easier if all four associations (AQHA, PHAA, AAA and HSAA) ran under one set of rules.

“National and state titles are dreams for so many of us, so hopefully a few more titles will come my way.” up with training a few of us girls who were out there having a go and trying to learn. Warren Backhouse has also been a mentor in reining as he is great to learn from. He teaches and trains in a way we can all understand. My partner, Bob, is part of my support crew.

I’m very lucky to have a great boss and work team at the Gloucester CRT who help me out with my horse habit. Also, a great support are the guys we camp with at the state and national shows. We celebrate and commiserate together.

What have you done and won at the state and national shows and what did it feel like?

Karalinga Kolom was my show gelding for around five years. We won many state and national titles including reining, hunter under saddle, hunter in hand, western pleasure and trail. I was also awarded Amateur Owner Champion No. 25 while owning him. I now own a lovely Paint stallion, Sioux City Bandit. We’ve won a few state and national championships in reining and placed well in other classes. It was and is always a great feeling.

How do you plan your showing year?

I’m planning to get to my first show at the end of August, show throughout the season and then do the state and national shows next year.

What has been your most exciting moment?

My most exciting moments would’ve been when my filly won a trail class at the Paint Horse Nationals this year. I also placed third on Sioux in the open cutting, beating a cutting trainer from Victoria, so that was exciting, too. There were lots of happy tears as I love my horses – especially when they win.

Is it difficult to combine family, work, a horse stud and showing?

It’s hard to do all that and what I want to do in the show ring.

Necessities like work, running the stud and doing the paperwork side of Bob’s business limit my time, so the showing time gets reduced. Oh, I forgot the housework!

What are your ambitions and goals in the future?

I am hoping to be competing out there for a while yet. National and state titles are dreams for so many of us, so hopefully a few more titles will come my way.

What breed of horse do you show and why?

I breed and show Paints as I love the temperament, versatility and, of course, the colour. They are a breed that suits most types of riding. They are a laid-back breed of horse and very trainable.

How far do you travel to show and what horse(s) are you showing now?

I try to stay fairly close to home, so I mainly cover the Hunter Valley and Wauchope show areas. I’ll be showing my mare, Karalinga Dunupinplatinum, and my yearling filly, KP Curli Sioux.

Do you use a horse trainer and/or attend training clinics?

I use Steve Howe as our local trainer in the area and also Brian Patterson who has now moved to Victoria. I can’t speak highly enough of clinics and have done many over the years and have enjoyed them immensely.

What clubs do you belong to? Are you also a committee member or helper at the shows as well?

I’m a member of the Paint Horse Association of Australia and the NSW Paint Horse Association. I’m also the current president of the Holiday Coast Western Performance Horse Club on the Mid North Coast and

Is there any advice you can offer a new Amateur Owner recruit or novice rider?

Just get out there and have fun and enjoy showing your horses. Ask lots of questions if unsure of anything. Never stop learning. Also, purchase updated rule books every year to stay in the ‘know’.

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WESTERN PLEASURE

by Lyn Hoffmann© 2009

B

ack in the day when a cowboy rode long distances across various parts of the USA he required a horse that would give a comfortable ride.

Smooth-moving, well-trained horses were highly sought after and, as time went on, competitions emerged at rodeos to see who had the smoothest, most comfortable western-trained horse. Here was the birth of the western pleasure class – named simply for the fact that it honoured just that – a western horse intended for pleasure riding.

Throughout the world the western pleasure class has definitely become one of the most popular events in the western horse industry. It’s a good class for newcomers to introduce themselves and their horse to the show ring and to become accustomed to other competitors working around them. Gear and presentation is all important, but fancy silver doesn’t count over a good working outfit. Your hat should be shaped, your attire colour coordinated and fashionable (see “Western Wardrobe” by Jo Johnson on page 36).

To be competitive in a western pleasure class you need to know what the judge is looking for and what the judge is not looking for.

WHAT THE JUDGE IS LOOKING FOR The Horse To earn a place at the top of the judge’s card a good western pleasure horse must have a balanced, flowing motion that is not too fast or too slow. He should be bright, alert and carry his head and neck in a relaxed, natural position, keeping his poll level with, or slightly above the level of, the withers, while his nose should be held slightly in front of the vertical. A judge wants to see a horse that is easily controlled at all gaits on a reasonably loose rein, seemingly responding to invisible cues. Credit is given to a horse that shows a balanced, true, consistent rhythm to his stride at all gaits.

The walk should be natural, exhibiting a flat, ground-covering four-beat gait.

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A western pleasure horse should be just that – a “pleasure” to ride.

The jog, a two-beat diagonal gait, must exhibit smoothness, cadence and consistency.

A straight, forward movement of the feet is pleasing to the judge’s eye. If asked to extend the jog, the horse must move out, with extension, showing the same relaxed, smooth movement. The lope (a slow canter), must be a naturally smooth, relaxed, easy and rhythmical, three-beat gait. When moving around the arena to the left, the horse should be on the left lead and vice-versa.

When a transition – changing from one gait to another – is called for, you need to make it happen smoothly but promptly. Most often it’s in the transitions that problems occur,

so you need to practise these at home to make them as smooth as possible.

The Rider A s the r ider you need to have a natural ly relaxed seat i n the sadd le w ith good posture. You should look sl ightly ahead toward the d irec tion you are goi ng w ith your ch i n level and your head up. You should r ide w ith a correc tly balanced, func tional position regard less of the gait bei ng performed.

With your back f lat, relaxed and supple, your position needs to be upr ight, i n the centre of the sadd le, so that when v iewed from the side, one could draw a straight l i ne from the ear, through the centre of the shoulder and h ip to the back of the heel. Your heels should be lower than the toes, the k nee sl ightly bent w ith the lower leg d irec tly under the k nee.

Hold your hands and arms in a relaxed manner, keeping the upper arm in a straight line with your body. If riding one-handed in a bridle, your free arm may be carried, bent at the elbow in the same position, or straight down at your side, whichever feels the most natural and comfortable. Your rein arm should be bent at the elbow to form a line from the elbow to the horse’s mouth. You should keep your wrist straight and relaxed, holding the reins slightly above or in front of the saddle horn.

You should note that excessively tight or loose reins will be penalised.

A western pleasure horse should carry its poll at about wither height with the nose just in front of the vertical.

PENALTIES IN WESTERN PLEASURE Some of the undesirable faults that will be scored, according to severity, are as follows: • At any gait, an excessively low head carriage, excessive speed or slowness.

• At the jog, horses that jog in front and walk behind.

• At the lope, horses that four-beat or travel on a wrong lead.

• At any gait, horses moving with their noses behind the vertical (over-bent) and horses that don’t seem to cover any ground at all.

• Horses that look unhappy and pin their ears or switch their tails.

• Breaking gait or a failure to take gait when called for.

• Rough transitions.

There are other penalties that occur in this class so check your current breed association or HSA A rule books as they are updated each year.

If you need to pass a slower horse, do so on the inside at a consistent speed.

WESTERN PLEASURE CLASS PROCEDURE Horses are shown on the arena rail at the walk, jog and lope in both directions all called for at the judge’s discretion. The class officially starts when you are informed that you are ‘now being judged’, or a similar directive, is announced. The announcer will call directions, so you need to listen carefully and not be distracted by anything else. These directions will be something like, “walk your horse”, “jog your horse”, and “lope your horse”. You’ll also be asked to “reverse your horse”. Don’t be confused and mistakenly back your horse up, as this is a common error with beginner and novice exhibitors.

When you’re asked to “reverse” you’re expected to turn your horse away from the rail, make a relaxed and careful turn and go back onto the rail in the opposite direction. You must not break gait, but continue on at the gait you were travelling in. This can be from a walk, jog or even a halt. You’ll never be asked to reverse at the lope.

You’ll also be asked to halt . You may be asked for a “reinback” or “back up” on the rail or from the line-up. Nearing completion of the class, you’ll be asked to line up, where you’ll proceed, at the gait you are travelling in, to line up in the centre of the

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arena. Judges will walk along the front of the line-up or stop momentarily in front of each contestant individually. Here, you’ll be expected to back-up your horse for as long as the judge is evaluating you.

Ringcraft – using the arena to your advantage You are selling your overall picture to the judge, so always make it easy for the judge to credit you. Using ringcraft shows that you’re in total control of the exhibition of your horse. Riding into the arena with confidence attracts the right attention from the start.

Sometimes you’re requested to walk or jog into the arena on the rail, being judged at the point of entry. Other times you’ll be able to come into the arena and ‘choose’ a place on the rail. If this is the case, be sure and find a place with enough space around you. Stay calm and on the rail at all gaits, riding into the corners neatly and cleanly. Softly ask your horse to flex through the corners as this will gain you credits. If you need to pass a slower horse, do so on the inside at a consistent speed then, when you are able to, move back onto the rail without cutting off any exhibitors. When a change in gait is called don’t just change immediately without preparing your horse. Gain more credits by making each gait transition as soft and smooth as possible. Sudden commands can surprise your horse and cause him to stiffen and raise his head and neck or switch his tail.

If you see a problem ahead of you, such as an unsettled horse, you can quietly and neatly make a full circle to the inside to regain a position on the rail, avoiding a potentially hazardous situation and placing you away from trouble. Some exhibitors, travelling too close behind another competitor, can almost run into the back of another horse if a halt is called. Train yourself

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to be aware of what’s going on around you in a class to enable you to stay out of any problems. Also, keep an eye on the judge – any minor corrections you need to make can be done when the judge isn’t watching you. Bear in mind, this does not mean you should be constantly looking around at everyone else as well as the judge.

When all exhibitors are called in to the line-up, continue riding at whatever gait you were in and line up in the centre of the arena, coming to a nice, soft, square halt. At this stage, don’t touch or pat your horse, even if you are ecstatic at his run, as you’re still under the eye of the judge until hopefully, your number is called out in the placings.

When asked to ‘back your horse’ take a brief glance behind you, as a safety precaution, and then back your horse gently and quietly in a straight line. Now, wait for the winners and placegetters to be announced.

CLASS TIPS • Don’t talk to spectators or anyone in the class.

• Plan to have a good run every time and stay calm no matter what happens.

• Present your horse well for every show – large or small.

• Spend some thought on your outfit and overall look.

• When training, don’t sour your horse with constant circles – work out on the trail also.

• Show with a winning attitude, no matter where you place – show boldly, but win modestly.

YOU’D LIK E THIS CLASS IF your horse is quiet, soft and slow to ride and you love to be relaxed, while showing in a stylish or glamorous way. Enjoy your western pleasure class – after all, it is a pleasure!

HUNTER UNDER SADDLE

by Lyn Hoffmann© 2009

A Hunter Under Saddle class lines up.

O

ne of the most elegant classes in the western arena is the hunter under saddle class, which is designed to exhibit the gaits of a hunter-type horse on the flat. Particular emphasis is paid to a willingness to perform with a free-flowing stride and smoothness of gait. In this very popular event, exhibitors must turn out their horse and themselves in traditional English riding gear and attire, which consists of breeches or jodhpurs, a hunt coat, high English boots and a hunting cap (see “Tack and Saddlery” by Jo Johnson on page 28). Horses must exhibit and perform each gait while travelling the perimeter of an arena at the judge’s discretion.

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One of the most important points that should be noted is that this class is not simply “exhibiting a western pleasure horse in English gear”. If you show any English-style horse its paces must be English as stated in any of the current western industry rulebooks description of “gaits”. Reading this part of the rulebook is very important, especially if you are coming across from the traditional hack ring where the outline of the horse’s frame and its head and neck are held quite differently to the hunter class horse.

WHAT THE JUDGE IS LOOKING FOR The Horse Judges want and like to see a true English-style hunter horse moving forward well and covering ground with ease in a long, low elegant frame. Your horse should show its ability to increase its stride when requested. Your performance will be awarded credits if your horse shows calmness, obedience, a willingness to respond to your cues and has an interested, alert expression. A request from the judge to exhibit your horse at an extended trot or a hand-gallop should see you move out strongly with the appropriate forward impulsion. To achieve sufficient impulsion from the hindquarters, your horse’s poll should be held level with or slightly above the withers, while his face should either be on or a little ahead of the vertical.

The Gaits Walk – for hunter under saddle, this fourbeat, flat-footed gait should be ground covering and energetic, while still being straight, true, soft and smooth. The length of stride should be consistent with the size of the horse.

Trot – this should be a balanced, twobeat, diagonal gait. Evenly cadenced, smooth movement should go hand in hand with a long, low, ground-covering stride. A smooth action is more desirable than speed, but the horse must show good, forward movement.

Extended Trot – extension at the trot should show a definite lengthening of the stride.

Canter – this should be a smooth, natural, free-flowing and relaxed three-beat gait with your horse travelling straight on both leads.

Hand-gallop – this gait should show a definite lengthening of stride, with a noticeable difference in speed. Your horse must remain under complete control and be able to halt in a smooth, balanced manner.

Upward or downward transitions – changes from one gait to another – should be performed as soon as possible, but smoothly and with ease.

The Rider The judge wants to see you riding with a good hunt seat and good hands. This means that you need to sit well in the saddle, maintaining good contact with the horse through your calves. At the walk you need to be in an upright position with your shoulders back. Your hands should be held just above the withers and slightly apart, your knuckles rotated about 30 percent inside the vertical. There should be a straight line from the horse’s mouth to your elbow. The seat, in these classes, is a little more active and the stirrups are a little shorter. Flex your ankles, keep your heels down with your toes slightly out and your legs slightly behind the girth. You should be looking up and in the direction in which you are travelling.

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At the walk: R ider should be i n a vertical position.

At the trot: The upper body should be inclined about 20 percent in front of the vertical.

At the canter : The rider’s body should be slightly more in front of the vertical.

At the hand-gallop: The rider’s body position should be about 30 percent in front of the vertical.

Note that you must not, at any time, pat or touch your horse between entering the arena and ribbons being awarded.

PENALTIES IN huNTEr uNdEr SAddLE Some of the undesirable faults that will be penalised, according to severity, are as follows: • A “jiggy”, inconsistent walk.

• O ver-collection and extreme speed or slowness in any gait.

The hunter horse should move forward well and cover ground with ease.

• H orses moving with short, choppy strides and in an artificial frame.

at anytime during the performance. You’ll be asked for a “reinback” or “back up”, either on the rail or from the line-up. On completion of the rail work you’ll be asked to line up, where you’ll proceed, still at the gait in which you were travelling, to line up in the centre of the arena. Judges will walk along the front of the line-up or stop momentarily in front of each contestant. Here you are expected to back up your horse for as long as the judge is evaluating you.

• I ncorrect gear or attire (see your rulebooks for illegal gear and attire).

ShOWING YOur huNTEr uNdEr SAddLE hOrSE

• H orses showing excessive knee action at the trot.

• F our-beat canter, excessive speed and pulling on the bit.

• Stumbling; switching tail.

• Consistently showing too far off the rail.

There are other penalties that occur in this class so check your current breed association or HSAA rule books as they are updated each year.

huNTEr uNdEr SAddLE CLASS PrOCEdurE Horses are to be shown on the arena rail at all three gaits. The class officially starts with an announcement of ‘you are now being judged’, or similar. As with most rail classes, the judge’s instructions will be called out by the announcer. These directions will be something like “walk your horse”, “trot your horse”, and “canter your horse”. At some stage, you will be asked to “reverse your horse” where you are expected to turn your horse away from the rail, make a relaxed and careful turn and go back onto the rail in the opposite direction. You must not break gait, but continue on at the gait that you were going in. A reverse can be asked of you from a walk, trot or a halt. You will never be asked to reverse at the canter. You may be asked for an extended trot or a hand-gallop at any time. Bear in mind that only the top twelve will be asked to hand-gallop.

You may be asked to “halt your horse”

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Impeccable rider turnout is very important in any equine event so pay particular attention to this area and tie up and or pin back your hair. Make sure all your gear is neat and clean, bits and boots are polished and your number is easily visible to the judge. If you’ve properly prepared your horse mentally for the show ring, he should work well on the flat at all three gaits, be obedient and, when required, stand quietly without movement. To have your horse physically prepared means that he should be fit, well groomed and shiny with a braided or banded mane (although this is not mandatory).

Remember that, from the moment you set foot in the showring until the moment you walk out, you are being judged. First impressions are important, so make your performance count from beginning to end. Find your place on the rail and really work at showing your hunter horse to his very best. Stay relaxed, and look comfortable and happy to be out there.

Ride with a loose rein and soft contact, giving the impression that riding your horse is easy.

If you need to pass, do so, and get back onto the rail as soon as you safely can. Remember to watch other exhibitors. Ride boldly, but with care. All your transitions should be smooth and seamless. This is the appearance you want to convey to the judge. Position yourself on the rail well and ride into your corners, at all times using ringcraft (as described in “Western Pleasure” by Lyn Hoffmann on page 44) to actively show off your horse’s talent as a true hunter under saddle horse.

CLASS TIPS • I f you can get into the arena at any time before your class try and do so, even if it is straight after the halter classes. This will familiarise your horse and you with the arena and make him more inclined to feel calm.

• Work your horse down before your class so he works well in the ring. You can do this by either lungeing or riding him for as long as you think is needed.

• M ake sure your horse and yourself are impeccably turned out.

• I f your horse has standout gait or movement, make sure you show it off well.

• G o in and totally enjoy the class.

• U se some of the show tips featured in the western pleasure article.

YOu’d LI K E T h IS CL ASS I F you appreciate a correct, forward moving English-style horse and you enjoy riding in an English saddle.

LIFESTYLE

Performance Horses Pty Ltd Training Horse and Rider Specialising in: Amateur Select Amateur Improver Youth LESSONS, CLINICS, HORSE TRAINING Catering for beginners to advanced levels Contact Liz Keating 0418 354 917 Yarra Valley—Victoria liz.keating1@bigpond.com

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tHe

Halter Class

by Lyn Hoffmann© 2009

Trot your horse out well for the judge.

T

he halter class is the beauty pageant of the horse world. The horse is judged on conformation, balance and soundness.

Judges will select and place horses depending on their resemblance to the breed ideal stated in its current breed association rule book. As the handler, you’ll be required to present your horse to the judge for inspection.

Your halter horse should be in perfect show condition with good manners and represent overall balance, sound conformation, muscle, good movement and eye appeal. He should possess an attractive head, with well set eyes and ears. He should have a slender muzzle and good-sized nostrils and a fairly long, slender neck with a clean throatlatch set well on good sloping shoulders.

His shoulders should be at about a 45 degree angle. Your horse should show good muscle in the inside of the front leg, as well as the forearm. These should tie in smoothly well down the leg.

The chest should have a well defined ‘v’, the withers prominent and he should have a short back that ties into a strong loin. He should be fairly deep through the heart girth with a clean and

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tight underline. His hip should be fairly long, at about a 45 degree angle. The hip area should be well covered with good muscle down the back of the hip tying in low and smooth. The gaskins should be pronounced, but smooth and your horse should stand squarely.

He should possess good bone structure through the legs and have good sized hooves, not too large and definitely not too small.

Correct leg conformation is very important. To complete a balanced appearance, the tail should be well set, not too high or too low.

PREPARATION AND PRESENTATION Preparation and presentation is an important part of halter showing (see article “Maria Frazer on Halter Showing”, on page 74).

You’ll need to have your horse prepared and presented for halter physically, mentally and visually.

Presentation includes a fit, healthy and halter–trained horse with a short, shining coat, correctly clipped bridle-path, ears and muzzle, a pulled and banded mane (although banding is not mandatory), properly prepared and dressed hooves, a correctly fitted show

SHOWING YOUR HALTER HORSE

The halter class is the beauty pageant of the horse world.

halter, good manners from both horse and handler and an overall good workout.

To show, you’ll need to correctly fit your horse with a well made, adjustable, leather western show halter. Leads can be fitted with a chain, but make sure the chain isn’t too long. Many western show halters are decked out with silver. For a stallion, colt or gelding you can choose a more masculine style halter, but the same halter on a feminine mare would look totally out of place. A fancy halter won’t and shouldn’t make any difference to a placing.

HALTER CLASS TRAINING REQUIREMENTS You’ll need to train your halter prospect to lead quietly from the near side, at the walk and trot.

When leading and showing you should be positioned between the horse’s head and shoulder.

You’ll be required to halt your horse at the appropriate point then set him up squarely for inspection by the judge. Although there are no rules to say that you can’t manually place your horse’s legs, try to train at home so you’re able to square him up quickly in the show arena.

Your horse will need to stand quietly to enable the judge to inspect him. Train your horse to pivot on his hindquarters either way, but generally away from you. Make sure your horse will safely allow you to open his lips in case the judge asks to see his teeth. Manners must be displayed by horse and handler. Halter classes can run for any length of time depending on how many are in the class.

Be in the marshalling area about 15 minutes before your class with your number securely pinned on. Listen for your class. Watch the halter classes before yours for class procedure. There are usually two markers at the start. Ask the gate marshall if you aren’t sure what to do for your workout.

It’s hard to see the correct action of a horse if the handler is leading the horse incorrectly. When leading toward the judge make sure you travel in a straight line. Don’t jog but make sure to trot your horse out fairly well. The judge may stand in a position in order to step to the right as you trot past and then watch your horse trot away. Halt cleanly to square your horse up in the line-up and make sure it’s done quickly and quietly. Be certain that your horse isn’t resting a foot. Most of the time in the line-up you’ll present your horse’s profile to the judge. This means the handlers will need to stand their horses’ one behind the other. For safety be sure to leave room between the horse in front of you and the horse behind you. As the judge moves toward your horse keep him as still as possible.

If you have seen a halter class you’ll notice the exhibitors moving from side to side as their horse is inspected so the judge can get a clear view of the horse’s conformation.

Only move from side to side when the judge is inspecting your horse. When the judge moves to the right, you step over to the left and vice-versa. This is called the half method because it’s as if you’ve halved your horse from nose to tail and each time the judge is in your half you move to the other side – a simple showing method.

As the judge moves along the line to look at the other horses, keep presenting your horse as they will often return to have another look. Once judging is completed, wait to hear the results. Regardless of where your horse places, smile and congratulate all other exhibitors. Always respect the judge’s decision. Learning to accept results from various judges shows true sportsmanship.

CLASS TIPS • Never show an underfed or under prepared horse.

• In the line-up, some horses look better if they have one hind foot positioned a little more underneath from the other as it accentuates a good hip.

• Always give the judge the impression that you are proud of your horse.

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While not mandatory a banded mane looks neat.

YOU’D LIKE THIS CLASS IF you enjoy showing and don’t mind your horse being critiqued and compared to others.

ShowmanShip at halter Showmanship at halter isn’t just another halter class. It’s a class individually judged strictly on the handler’s ability to correctly prepare and show a halter horse. In this class, conformation of the horse plays no part in the placings.

The purpose of showmanship at halter is to train and prepare exhibitors in the proper manner of showing halter horses. Prepare your horse as if you’re preparing for a halter class. His body condition, fitness, grooming and general appearance will count toward a winning performance. As for presentation of yourself as the handler, you should be neat, clean, attentive and courteous and wear a well coordinated outfit suitable for a halter class.

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The training requirements for this class are basically the same as for a halter class but with a few added difficulties. Your horse will need to learn to work around markers and to stand squarely, on all four feet in around 4-5 seconds. He will also need to stand motionless allowing you to move from one side to the other as the judge moves around him for inspection. The pattern may require you to back or pivot your horse. The entire pattern must be completed in a correct and efficient manner.

method when the judge is inspecting your horse. Imagine a line directly from nose to tail and another across the girth area. You’ll need to always be one quarter away from the judge. When the judge is walking up and down in front of or behind the line-up it is preferable to use the half method. See your rule books for more tips.

ClaSS tipS

ShowinG YoUr ShowmanShip horSe

• Check the current rules.

• Don’t ever touch your horse.

• Know the pattern.

• Stay alert and keep your hands and your horse’s head up.

A pattern will be posted by the judge at least an hour before the class so familiarise yourself with the pattern as well as the arena.

Show exactly to the pattern prepared and posted by the judge. Keep direct eye contact with the judge when you can.

For maximum credits use the quarter

YOU’ D L I K E T H IS CL ASS I F you enjoy the perfection of preparing and showing a halter horse as well as the challenge of pitting your showing talents and abilities against other exhibitors.

SHOD TO WIN

W I T H

D A N

R O W E N

P R O F E S S I O N A L

FA R R I E R

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This is to promote sound performance and longevity of your horse or pony.

90 minute DVD sets out in easy to follow segments: • Anatomy of the horse’s lower leg • Tool selection • Shoe selection • Nail selection • Balanced trimming • Removing shoes • Shaping shoes • Foundation shoeing • Answers to frequently asked questions

$55.00 incl p&p (within Australia) Eftpos available Dan & Lynda Rowen Tuff Hoof Pty Ltd 9 Hinchliffe Ave, Bouldercombe Qld Australia 4702 Phone: 07 4934 0431 Mobile: (Lynda) 0429 724 715 Email: tuffhoof10@bigpond.com

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Cutting

Glenn Mandl Photography

by Andrea Ferris

A champion cutting horse must be able to make fast turns to stop the cow returning to the herd.

T

wo hundred years ago cowboys on the vast ranches of America would never have imagined that part of their everyday job, working with cattle on their horses, would one day be a booming world-wide multi-million dollar sport.

The cutting horse evolved during the 1800s at a time when there were few fences and thousands of cattle grazed the open range in the south-west of the United States.

Twice a year the cattle were rounded up and sorted out to send to market or moved to better grazing land.

This involved the cattle being held together in a herd by several cowhands and their horses, from the neighbouring ranches, while one cowboy ‘cut’ or separated each cow from the herd and moved it to another holding area.

The best cutting horse had a special sensitivity to the cattle. It became interested and athletic around the cows, pricked its ears, dropped its head and followed the cow with its eyes. It was aware of how the cow would move and seemed to know instinctively which way it would go.

As ranches got smaller in the 1900s and cars, fencing and cattle yards became more popular, the old way of managing cattle began to fade away, however cutting competitions had already begun.

In 1898 the first known cutting contest for money was held at

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the Cowboy Reunion in Haskell, Texas. Fifteen thousand people attended the event – a large crowd even by today’s standards – and most had to travel by horseback or wagon to get there.

There were 11 entrants and the prize money of $150 was won by a 22-year old horse that had to walk for two days to get to Haskell!

According to the American National Cutting Horse Association, the first record of cutting as an arena spectator event was at the Southwestern Exhibition and Fat Stock Show in Fort Worth, Texas in 1919 and the sport became competitive in 1920.

During the next 25 years cutting grew to be so popular that a group of enthusiasts formed an association and the American NCHA was born, holding its first show in 1946.

From these relatively humble beginnings a whole cutting horse industry has developed throughout 22 countries and is now worth hundreds of millions of dollars.

The NCHA was formed in Australia in 1972 and is an affiliate of the American National Cutting Horse Association. It has 1311 members, 55 affiliate clubs and holds over 200 competitions around the country.

In a cutting horse competition the contestant has two and a half minutes to demonstrate his or her ability to cut cattle and prevent them from returning to the herd.

NEWSFLASH

$10,000 will be paid to the highest advancing horse by HICKORY’S SPOONFULL IMP at the 2014 NCHA OPEN FUTURITY

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An alert and athletic cutter in action.

The contestant is assisted by four riders of their choice. Two are designated as ‘herd holders’ and are positioned on either side of the herd to keep the cattle from drifting into the working area.

The other two riders stay between the cow that is being worked and the judges’ stands. These are the ‘turnback’ riders; they turn the cow back to the contestant if it tries to escape to the far end of the working area.

Contestants usually work two or three cows before their time expires. The clock starts when the horse crosses an imaginary line approximately 15 metres in front of the herd.

The horse and rider quietly walk into the herd, then the rider begins the process of selecting one cow to ‘cut’ out and drive it forward, away from the herd.

When the separation has been made the rider must loosen or ‘drop’ the reins and allow the horse to work without any guidance or cues. The horse then takes control of the contest and, with incredibly fast starts and turns, prevents the cow from returning to the herd.

When the cow turns away or stops trying to return to the herd the rider may lift the reins and signal for the horse to ‘quit’ the cow, which is then allowed to return to the herd and the process of selecting a new cow begins.

The event is scored from a range of 60 to 80 points. Every horse enters the herd on 70 points and qualified judges then add or take away from the run to determine the score.

Horses receive extra credit for their skill and style and the exertion used to keep the cow under control. The rider may decide when to stop working a cow, but will be penalised if he quits when a cow is moving toward the horse, which is known as a ‘hot quit’. The rider also incurs a penalty for picking up the reins before he quits a cow. A horse will be penalised if it ‘loses’

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a cow – the cow returns to the herd before the rider quits it.

Competitors will spend time watching the cattle herds before their turn and memorise which ones are ‘good’ and ‘bad’. A ‘good’ cow is curious and alert and looks for a space next to the horse to get back to the herd, while a ‘bad’ cow will wildly try to bolt and run.

A good cutting horse controls the cow by matching its moves without being aggressive. When the cow runs, the horse must be quick and agile to stop it returning to the herd.

Cutting demands extraordinary control, lightning-quick movement and a real ‘cow sense’ by the horse. Nearly all the top cutting horses are Quarter Horses, although there are some Paint Horse and Appaloosa cutters. Quarter Horses that have been bred for cutting excel at this sport.

The NCHA has 55 affiliates that conduct shows, practice days and clinics. All levels of competition, including youth classes, are catered for in more than 200 shows throughout Australia, including the Sydney Royal Show, culminating with the NCHA National Finals.

The Australian showcase of cutting is the NCHA Futurity held every May/June at Tamworth, NSW. The Futurity Show has grown into the richest indoor three-year old performance horse event in Australia. It’s at this show that you’ll see the best cutting in the country – not to mention the huge rural trade displays, restaurants, bars, big screen, live webcast, country music entertainers, and the NCHA sale that auctions some of the best bred performance horses in Australia.

The NCHA Australia is a great place to find out all you need to know about cutting.

Visit their website at www.ncha.com.au or telephone their Tamworth office on (02) 6765 9356.

Q-57287

Home of KS’s Dash’s Double OSeven (IMP) POA Reg. Australian Palouse Pony Association Inc. International Grand Champion 3 Yr Old POA Stallion 2007 National Grand Champion Palouse Stallion 2009 National Supreme Led Exhibit Palouse 2009 National High Point Junior Pony Under Saddle 2009

Sire:

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Contact Kevin & Edan Wilson Phone 0419 022 641 or 07 3288 0152 Fax 07 3288 0752 Email wilsonek@gil.com.au

KS’s Dash’s Double OSeven

and his son KS’s As Handsome As Bond

Elsewhere Stud prides itself on breeding Palouse Ponies of high quality.

We breed for Conformation, Disposition and Performance – it is only a bonus if we get colour!

Our ponies are broken in at 2 years old to immediately start training in western pleasure, trail, hunter, hacking and dressage.

All our ponies have been or are being shown at halter with outstanding success. These Western Ponies are one of the most versatile breeds I have ever encountered and encourage all those looking for a youth’s pony or for an adult to have a look at this breed.

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Ser vice Fee $880 inc GST

His bloodlines include: ROC OLENA (IMP) • Cutting register of merit • Performance register of merit • Cutting superior horse • Performance award of honour

MR GUNSMOKE • Reserve world champion offspring • Superior performance offspring • AQHA high point performance offspring • AQHA and ROM performance offspring • NRHA, NCHA and NRCHA money earners • Halter point earners

Blue Rock Equestrian Trafalgar Vic Wayne and Julie Powell Phone: (03) 5635 2351 Mobile: 0419 392 585 Email: wpowell@dcsi.net.au

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Reining

by Lyn HoffmannŠ 2009

The reining spin is a 360 degree turn on an inside pivot leg.

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anagement of cattle from the back of a horse has always been a prominent feature in USA cowboy history. On the open range there was no means of holding cattle, so a cowboy required a quick, smart horse that could stop immediately, change direction and chase down an ignorant bovine. To enable the cowboy to focus his attention on the cattle-handling tasks at hand he needed a well-trained horse that could be controlled mostly by his legs and weight, ridden with only one hand and a light touch on the reins. At ranch and rodeo gatherings proud cowboys showed off the talents and abilities of their mounts to reveal who really had the best and most versatile horse. These demonstrations have evolved into the sport of reining as we know it today.

Reining has spread as a sport across many countries to become one of the most popular and fastest growing equine events in the world. I n Australia, the sport is governed by Reining Australia. Reining has progressed to such a point that it was a demonstration event at the 1996 Atlanta and 2000 Sydney Olympic Games. I n 2006, Reining Australia

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affiliated with the international reining body to support its bid to have reining selected as the fourth Olympic Equestrian discipline by 2009. Australian reining horse riders now have the opportunity to compete on the world stage at the 2012 Olympic Games in London.

Reining competitions draw large numbers of spectators to the major events throughout the country. Although the western breeds dominate the competition, this event is open to all breeds of horses and shows the athletic ability of each horse.

To go reining your horse must be responsive and in tune with you as its rider. He’ll be judged on his abilities to perform a set pattern of movements incorporating spins, circles, flying lead changes, rollbacks, pivots, rundowns, sliding stops and back-ups.

Work is performed at the lope and the gallop.

Your horse must be able to be easily and willingly guided and controlled with little or no apparent resistance. When performing all movements, the head and neck of your horse should be held in a relaxed frame and there should be no gaping of his mouth.

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A spectacular sliding stop.

Markers are used in all reining patterns. Failure to run circles or figure-of-eights within the markers is not considered a fault depending upon the arena size and conditions. However, a failure to go past the required markers for rollbacks and stops is considered a fault and will incur a penalty.

Reining MoveMents There are several basic reining movements: Circles: All circles should be perfectly round, controlled and performed at the lope in the designated area and speed described in the pattern. When performing circles and figure-of-eights,

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there must be a common centre-point, usually the centre marker.

The circles performed are large, fast circles and smaller, slower circles. There must be a notable difference between the size and speed of the circles with the rider required to make sure that the left circles match the speed and size of the right circles.

Flying change: The horse changes its leading front and hind legs at the lope mid-stride, during the suspension phase of the gait.

There should be no break of gait or change in speed. Precision is the most important factor in judging and the change should be performed at the exact geographical position in the arena as specified in the pattern. A horse taking more than one stride to

complete the change, or a horse that changes early or late or that changes only the front feet and not the hind feet will be penalised.

Rundown: The horse should perform these as required in the pattern; either down the side of the arena wall, through the centre of the arena to the end, or along the side and around the ends at least 20 feet (6 metres) from the fence or rail. A rundown should be performed at around the same speed as the large, fast circles and is a required movement prior to a sliding stop and a rollback.

Sliding Stop: This movement is usually a spectator favourite and is the end result of slowing a horse from a lope to a stop. A horse will need to have been trained to stop correctly. A good sliding stop will see him bending his back upward, bringing his hind feet and hocks underneath in a locked position and sliding on his rear shoes while maintaining forward motion and ground contact with his front legs. His movement should finish in a straight line and his position should not change.

Back or Backup: This movement is performed after a sliding stop. The horse backs up quickly for at least 10 feet (3 metres).

The horse must back in a perfectly straight line, stop when asked and hesitate a moment before the next movement, if there is one.

Rollback: A rollback is a 180 degree turn over the hindquarters and is the exit maneouvre from a sliding stop, the horse immediately going forward again into the lope.

There must be a continuous motion with no hesitation or backup prior to the rollback.

Spins or Turnarounds: Spins are a series of 360 degree turns executed from a standstill over a stationary inside leg. A pattern requires at least one set of spins in each direction. The horse’s rear pivot foot basically remains in the same location throughout the spin. Generally the horse can pick it up and put it down as it turns. The spin is propelled by the outside rear leg and the front legs, and continuous contact should be made with the ground and one front leg. The location of the horse’s hindquarters should be fixed at the beginning of the spin and maintained throughout the spins. Spins are judged on correctness, cadence, smoothness and speed.

Hesitate or Pause: This demonstrates the horse’s ability to stand relaxed and motionless for a few seconds between certain movements in the reining pattern, particularly after high adrenalin spins and sliding stops.

Horses are judged on attitude and correctness of prescribed manoeuvres as they are guided through one of ten prescribed patterns. Judges are looking for smoothness, temperament, quickness and authority in the execution of each individual reining manoeuvre. Controlled speed in the pattern raises the level of difficulty and makes the reining horse more exciting to watch.

5 Points • Holding saddle or touching horse with free hand. Blatant disobedience including biting, bucking, kicking or rearing.

2 Points • Break of gait. Freeze up in spins or rollbacks.

As there are too many to list here, be sure to check your rule book to see the other penalty deductions.

Reining horses are judged as they complete a selected pattern. Each horse automatically begins the patterns with an average score of 70. As the judge watches a horse and rider perform the pattern, a scribe records the score on a scorecard.

Maneouvres are judged individually on precision, smoothness, correctness and finesse. Additionally, penalty points can be deducted for incorrect execution of manoeuvres. Scores are tabulated and announced at the end of each run. The judge’s scorecard, showing separate and detailed scoring for each individual manoeuvre, is posted at the end of each class for the benefit of competitors. Credits will be given to your horse for exhibiting smoothness, finesse, quickness, a good attitude and authority in performing the various maneouvres while using controlled speed.

Point scoring ranges in half point increments from -1½ for extremely poor execution to +1½ for excellent.

You’D like this class if you enjoy watching or showing off a horse’s abilities as a versatile, well-trained horse in a fast-paced, adrenalin-rushing event. With various classes for professional and non-professional riders, beginners as well as youth, reining is definitely an equine sport for the whole family.

Shaw’s Performance Horses

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Penalties Penalties will be given to any horse that is not being willingly guided, pins his ears, refuses to go forward, runs sideways, bounces his rear, kicks out, wrings his tail in irritation or displays an overall poor attitude.

Here are just a few of the penalties along with their deduction values: no score (Disqualification) • Failure to provide horse and equipment to the appropriate judge for inspection. Use of illegal bits, bosals or curb chains.

Son of a Gun (imp)

Stud fee $1760 inc gst

Progeny available score 0 • Failure to complete pattern as written. Performing the manoeuvres other than in the specified order.

Woodstock NSW Phone: Rod & Gail Shaw (02) 6345 1703 email: slidnshaws@harboursat.com.au www.shawsperformancehorses.com

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The

TRAIL CLASS

by Lyn Hoffmann© 2009

PENALTIES IN TRAIL CLASSES You and your horse may incur various penalties throughout the trail course. The severity of the penalties will dictate how many points are deducted from the total of the obstacles score. The penalties will be assessed each time they occur. Here are just a few of the more common penalties and their deductions, but there are more, so check your rule books for all of them.

0 Score: • Performing the obstacle other than in the specified order.

• Failure to follow the correct line of travel within or between obstacles.

• No attempt to perform an obstacle. ½ Point • Each tick of log, pole, cone or obstacle.

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An alert, confident trail horse walks over the “bridge” obstacle.

rail is a challenging arena event to test your horse’s ability to negotiate various obstacles with style, smoothness and efficiency. Because the obstacles chosen simulate things and situations you may find out on a natural trail in the bush, it confirms the suitability of your horse as a safe, well trained, adaptable and obedient individual.

The main objective of the class is to exhibit your horse’s talent to be attentive and obedient to your commands, while also proving his capacity to carefully pick his way through a course, getting from one place to another, regardless of what obstacles are in his path. Credit will be awarded to a horse showing these attributes. A judge will also give credit to horses that show good movement and possess a quiet, safe and alert attitude as well as willingness, kindness and patience.

The trail course patterns normally comprise of a minimum of six obstacles including three that are mandatory, these being: ride over at least four rails; open and close a gate; and back through an obstacle.

Check the rule book for the spacing and height of trail obstacles as well as some of these other optional obstacles: • Serpentine obstacle at walk or jog.

• Carry an object from one part of the arena to another.

• Ride over a wooden bridge.

• Put on and remove slicker (rain coat).

• Other obstacles using rails, such as a box, zigzag or elevated rail • Water hazard (no metal or slick bottom boxes shall be used).

• Any other safe and negotiable obstacle that could reasonably be expected to be found on a trail ride and meets the approval of the judge.

Scoring in a trail class is on the basis of 0 to infinity, with 70 denoting an average performance. You will receive a score for each obstacle, on the following basis, ranging from a plus 1.5 for an excellent performance to a minus 1.5 for an extremely poor performance.

The obstacle scores will be assessed and determined independently of penalty points.

1 Point • Each hit or step on log, pole, cone or obstacle.

• Break of gait at walk or jog for two strides or less.

• Both front feet in a single-strided slot.

3 Point • Break of gait at walk or jog for more than two strides.

• Stepping outside the confines of, falling or jumping off or out of an obstacle with one foot.

• Knocking down an elevated pole, cone, barrel, plant obstacle or severely disturbing an obstacle.

5 Point • Letting go of a gate or dropping rope gate.

• Use of either hand to instil praise or fear.

• Failure to complete an obstacle.

THE TRAIL CLASS PROSPECT A good trail horse must have good balance, movement and possess a kind, willing attitude. He can’t be “spooky” as the trail obstacles at different shows will vary and he needs to be calmly adaptable. He must be well trained and able to be manoeuvred and guided in and around various obstacles. He must also have patience and be smart enough to pick his way through a course without too much assistance from the rider, as this will earn him extra credits. As the rider of a trail class horse, you must be able to control the placement of your horse’s feet using leg and rein aids only and guide him carefully through a course of at least six obstacles from start to finish.

TRAIL CLASS TRAINING REQUIREMENTS To show your horse in a trail class he will need to have been trained to walk, jog, lope, halt and back as in western pleasure. He will also need to know how to sidepass, pivot on the hindquarters and the forehand, walk on and over a trail bridge, walk or jog over rails (elevated or on the ground). He should allow you to carry an object from one part of the arena to another. He should allow you to open a gate from his back, walk him through and close it – all without losing a handhold on the gate. He will need to be trained to back

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between or around any set obstacle in a calm and collected manner, trusting you to patiently guide him with almost invisible leg and rein aids. Your horse needs to be able to walk, jog or lope from one obstacle to the next, or over obstacles such as poles.

He needs to be able to halt at any point in a relaxed, balanced and square manner, standing quietly and awaiting his next command. The end result is a cooperative, coordinated, highly trained horse, brought about by care and patience.

TRAIL CLASS PROCEDURE Familiarise yourself with and memorise the course pattern. It’s a good idea to copy the course pattern down and go over it as many times as you need to. When the trail course is set up, go and have a look at it and go over the course again in your mind. Make sure your number is pinned on securely and is viewable by the judge. Once the class starts, depending on how the hosting club is running the show, your number may be called or you can go in when you are ready.

You’ll need to make your way around the course using your memory only to complete each obstacle in the order and direction set out in the course pattern. Each obstacle must be completed for you to be scored. Due to the scoring and penalty system you’ll need to check your breed association or HSAA rule book to see how and when you’ll be awarded credits and how and when you’ll be given penalties. At the end of the class you can ask to see the judge’s score sheets.

This will help you determine how you fared in the opinion of that particular judge and help you see where you can improve in your next trail class.

• Give your horse a chance to look at each obstacle he is expected to negotiate.

• When negotiating trail obstacles proceed one step at a time.

• Approach and leave each obstacle cleanly.

• Watch your rein handling and never touch your horse or saddle.

So, now you know – the key to the trail class is to train and practise, never become frustrated and always be patient. Start with simple objects when training at home and stick to a one-step-at-a-time method using lots of standing in and around obstacles. This will build your horse’s patience and confidence. Progress well with your training and you and your horse will be tackling more difficult obstacles with ease in no time. Trail is a class for everybody.

YOU’D LIKE THIS CLASS IF you love the idea of improving your horse’s training and versatility and you like to be challenged.

The trail horse needs to have solid western pleasure training.

SHOWING YOUR TRAIL HORSE If you’ve spent the hours required to patiently train your horse you should have no problem negotiating any trail course.

Beginner classes are set out at many shows and you should find them quite easy to negotiate. Snaffle bit/hackamore classes, set for the younger, less experienced horses, will generally be easier too. As the horse rises in age and gains more experience you can expect the trail courses to get a little bit tougher. The same goes for youth exhibitors – generally the younger youth will not always be expected to tackle a course as difficult as the older youth.

TRAIL CLASS TIPS • Set up mock trail courses at home and practise. Teach patience by standing and relaxing in and around obstacles.

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The gate obstacle – the trail horse can’t have a spooky temperament.

AMAteuR OWneR

Lynette Dunn

Interview by Lyn Hoffmann© 2009

KC Montgomery

What was it like working in the USA? I spent two years in Culleoka, Tennessee working as the barn manager for Johnny Rodgers Paint Horses. I really learned a lot and had a great time showing pleasure and halter horses. We had multiple world champions in our barn and I’m proud to have been a part of that. It’s indescribable, the overwhelming feeling of achievement you get being handed that championship belt buckle. I’ll never forget those moments and feel like Johnny is a part of my family now.

When and why did you stop showing?

I stopped showing five years ago when my first child was nearly two. I was finding it really hard to cope with the pressure of raising a family and being a first-time mum.

Lynette Dunn & Indigo Blue Paint Horse World Championships 2000.

WHBA: When did you become interested in horses?

Lynette: One of my earliest childhood memories is dressing up my desk as a horse pretending to ride. It was always so natural to me – there was never a “light bulb moment” where I thought, “I want a horse”.

When did you first discover Western?

When I was eight my family lived on the Sunshine Coast hinterland in Queensland. I had begged for riding lessons so Mum found the Bentley/Anning family at Kunda Stud where I started Western lessons.

Tell us about your first western horse.

Kunda Twist ‘N’ Roll (Twister) was a Paint Horse gelding. He was my tenth birthday present. He taught me more than any horse has since (even though he did buck me off more times than I care to admit).

As a youth, what were your ambitions?

My biggest ambition was to represent Australia. At 19 I was chosen as part of the first Paint Horse Association of Australia Youth Team to go to the Paint World Championships in the USA in 2000 – truly a defining moment in my life.

When did you compete in your first show?

It was the 1993 Queensland State Paint Championships – I did the walk trot class and won State Champion. I couldn’t wipe the smile off my face for weeks!

Have you won at the Nationals?

My most memorable win was the 1997 four-year old and over Bridle Maturity at the Paint Nationals on Twister. As a youth, I was proud that we could take on the trainers and hold our own. Twister won the youth and senior horse western pleasure, walk trot and lead line that year. I was very proud of us as a team.

What have you been doing since you stopped showing?

Only a few shows here and there. I won High Point Amateur at the NSW AAA State show in 2006 and won a few classes at the Winderadeen Classic the same year, but I’ve been too busy with my family and career. I got married recently to Ben Dunne and have had a second child. Ben is the most wonderful and supportive man.

Lane is nearly seven and Austin is one. We’ve recently moved and I’m now starting to feel like it’s time to “get back on the horse” and start showing again.

Has marriage and motherhood changed your thinking about anything to do with horses and western shows?

Yes, definitely. Horses were my whole life and I felt that I wasn’t complete without them. It took my wonderful husband and children to make me realise that I can have a full and happy life in spite of the horses and not because of them.

Will it be for fun for you to return to showing or do you have higher ambitions?

I always enjoyed showing so I‘m really looking forward to being back in the ring. I think that I won’t do a whole lot though – probably just the main shows, like the state and national. I’ve won almost everything that I’ve wanted to achieve so it’ll be more for the love of the game this time around.

Returning as an Amateur Owner competitor, do you think you’ll show differently to how you used to?

Yes, because I’m less competitive now so I’m here for the love of it.

I’d still like to win, but it’s not as important to me as it was.

Will you use a horse trainer, go to clinics, ask questions or seek out an instructor?

I always want to learn what other people know, so yes. Helen Bentley is and always will be my trainer. I feel total loyalty to her and will not change from that as she took me to the top as a youth.

Is there any advice you can offer a new Amateur Owner?

I’m a strong believer in “don’t do anything you don’t enjoy”. So, my advice is, do the classes you enjoy the most and have heaps of fun!

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TRAININg TIPS WITH

KEN DAVISON

by Lyn Hoffmann© 2009

A

QHA Judge, Ken Davison, of Gympie, Queensland, offers full horse and rider training and showing services. He stands, trains and shows resident AQHA stallion, Invitation to Blaze, that won the three-year old western pleasure futurity at the Q7 national show. Ken trained JMF Bob's Cadillac to win the three-year old western pleasure futurity, junior pleasure and open western pleasure classic at the 2008 PHAA Nationals. Success was his again, riding Moonglade Spot On to win the three-year old western pleasure futurity at the 2009 Appaloosa Nationals. At present Ken successfully shows Invitation to Blaze and BPS Stage Freedom in pleasure and trail and BPS Pretty Neat Stage in hunter under saddle. Ken also trains halter and western riding horses.

He has three mentors whom he credits with steering him down a successful seven year training career path. “My father, John, taught me about horses and good work ethics and I use that knowledge every day,” says Ken. “I grew up watching Ian Francis and was always amazed to see the control, discipline and finesse he used. Finally, Ross Gould, a man with a true passion for the western pleasure horse, taught me the finer points of showing.”

wHERE TO START “The atmosphere at a western show is so relaxed compared to other disciplines and the rewards now are a big draw card,” says Ken. ‘If you’re new to the industry join a western performance club, talk to experienced exhibitors at shows and ask questions. Become knowledgeable with the events by reading the rule books, watching training DVDs, going to training clinics, reading club newsletters, equine and breed magazines. Don’t hesitate to go to a professional trainer and ask for help. Know what your goals are – is it to compete at a higher level or just have a good time showing? Learn to set and focus on your goals and always aim for something.”

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Ken Davison, partner Emma Taggett, daughter Georgia Rose Davison, Elle the dog and Quarter Horse YLS Embers.

Ken describes training clinics as invaluable for learning. “Approach clinics with an open mind so you can learn horsemanship skills and develop confidence and arena etiquette. It’s often like a show atmosphere with 10 to 15 people working horses at one time.

“It’s important that your gear fits your horse properly and your saddle seat size fits you. To show well you must both be comfortable. Ask someone knowledgeable to help

you choose a legal showing bit that will suit your horse. Most bits serve a purpose for the different needs. Also, use leg protection every time you train or ride because you don’t want your horse getting splints or becoming sore as a result of knocking his legs – but remember to take them off before a class.”

Ken’s advice is to seek certain traits when looking to buy a ridden performance horse.

“Make sure the horse is bred to do the job and has a good trainable mind. Core body strength gives the horse the ability to use power and drive with his hocks and hold his back up when weight is added. Slow-legged, rhythmic movement and the ability to be ridden softly with light contact is an advantage. A supple horse is important as the rider needs to move all parts of the horse’s body with little resistance.”

Ken believes the foundation training for all western events is similar and is a good fundamental for any discipline you choose.

“My training sessions start with flexion exercises, like front and hind horsemanship pivots, reverse arcing and side-passing. I want body control in a stationary position before asking for forward motion and I like to keep the horse soft through the reins. I’ll then progress to medium trotting while sitting, then move up into a rising trot, trying to enhance a long, slow stride. I’ll work in serpentines and circles, positioning my horse where I want him.”

Ken says he then moves into the lope or canter, teaching the horse to stay centred between his reins and legs.

“Body control of the horse is being able to move the horse’s hips, shoulders and ribs while in motion. I’ll circle and serpentine doing transitions from trot to canter then back to the trot. I like to do a lot of transitions into the lope to transfer the horse’s weight to his hindquarters. I’ll use pivots and reverse arcs and then lope off as this creates power and strength. I counter-canter [deliberately cantering on the wrong lead] a lot of squares to help to move the horse’s hip and keep his shoulders up. I’ll lope circles to create position then lope straight lines.”

For Ken side-passing is an important element: “Because it moves off my legs, I’m able to keep the horse’s head and neck straight while still moving forward.

This creates shape and helps him hold his position and frame when showing.”

Ken says it’s important to bear in mind the length of your training times.

AQHA judge and western performance trainer Ken Davison exhibits Kings Private Dancer owned by Murray and Terry Tamblyn.

“I do think there is a set time for training horses and always try to create a happy medium. I’ll always quit a session on a good note. Horses are like people and sometimes have bad days, so keep the horse in a positive frame of mind so he’ll want to come back out the next day. Skip training sometimes and take a relaxing trail ride to keep you both fresh in body and mind.”

When training a trail horse Ken adds the obstacles he feels a horse is ready for.

“I’ll do a lot of stopping and waiting when training in obstacles to position the horse and teach him patience. Trotting over elevated poles, loping over straight poles and poles in an arc teaches him to be aware of where he is putting his feet. Basically, I do everything at home that I’ll face in a trail class. If my horse touches any part of an obstacle, I’ll stop, take him out of the obstacle and go back to basics. This eliminates resistance to my hands and legs. I’ll work him through the basic exercises, until he softens – only then will I go back to the obstacle and complete it.”

He is a firm believer in going back to foundation work to fix problems that may have been created in the show arena.

“Riders often make horses go too slow, which inhibits their movement. I use a lot of leg to help my horse around the show arena. Lack of suppleness can cause a horse to stick his nose to the outside rail and hollow his back, which will make him go faster, lose self carriage and show poorly. If you constantly show a horse like this he may begin to associate the arena with discomfort and can become ring-sour, so evaluate and address problems immediately.”

KEN’S ARENA TIPS In all classes ride to your horse’s ability and always stay calm and relaxed, remembering to use your legs.

For the hunter classes you need to ride your horse with soft hands and try to get into a rhythm with your horse’s motion. His stride should be long, slow and give the appearance he’s covering the ground well without going too fast or slow.

In the trail class, the way a rider approaches and leaves each obstacle are key elements to a good trail run. Keep your trail class flowing and don’t stop-start. You can walk your course beforehand and choose how you will approach each obstacle – my advice is to approach them with intent and commitment.

Learn from each show. Go home and work on any problems. Spectators and peers are often your best critics so have an open mind and listen to all advice. It’s a great improvement method when showing and training.

Finally, have fun! If you hunt for the pleasure in showing, I’d say you’re on the right trail!

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TRAININg TIPS WITH

JOHN WICKS

by Lyn Hoffmann© 2009

T

he beautiful Biddaddaba Valley in south-east Queensland is the backdrop for the John Wicks Training Stables. John offers extensive reining education for all levels of horse and rider through training, clinics, private and group reining lessons and often has his own young reining prospects for sale.

John has had outstanding success in the sport of reining including three national futurity wins: in 2001 riding Jessies Recall owned by John’s father Bob Wicks; in 2005 riding Whizz Peppy owned by Charles Kalnins; and in 2007 aboard Poco Blue Moon owned by Ramornie Quarter Horses. Another memorable win in 2002 saw John take out the National Derby Championship on Lethal Lil Calboy where he defeated a strong field of past and present reining champions.

Trainers who’ve willingly advised and influenced John’s approach to training are Mick Connelly – for his no fuss approach to showing, and Ian Francis for his work ethic.

STARTING OUT “When looking to buy a reining horse,” says John, “seek one with balanced conformation, athleticism, a strong back and hip, strength in the stifle area, a moderate slope to the shoulder, a good length of rein and a pretty head. Add soundness, correct legs and feet, and a willing attitude and you’ll pretty much have yourself a great reining prospect.”

Most average newcomers come from another discipline, so have an easier transition to reining, needing only to master the manoeuvres, John explains.

“Try to find a schoolmaster – an older horse that has been showing well. He’ll have a good knowledge of the manoeuvres so you can enjoy learning through lessons or clinics while perhaps competing.

“A more advanced rider has the same option or may wish to purchase a younger horse that has shown in its futurity year with a professional trainer. With the aid of a trainer for lessons or clinics, this type of rider may be capable of training their own youngster,” John says “A trainer can tailor

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Professional reining trainer, John Wicks demonstrates a spectacular sliding stop. a training program for you and your horse, critique your progress, give you the go ahead to show, and tell you what classes you’re eligible for. Leaving your horse with your trainer can improve his overall training and can help you to find out if he has the ability to be competitive in open classes.

If so, you might prefer to let your trainer campaign him [show him] before taking the reins yourself.”

John says that this often works well with young stock. “Your horse can be assessed quickly to determine whether it has the ability as a good non-pro or open class horse and it can save you time and money to find out if it’s the right horse for you.”

John reveals that Reining Australia has recently adopted beginner reining patterns 1 and 2.

“These easier patterns will enable you to start showing earlier, but you should check the rule

book regarding gear and apparel. Specific reining saddles can be designed, but you can use any western saddle you desire, along with a leather bridle and split leather reins.

All Reining Australia-sanctioned events have specific bitting rules for the age of the horse. Apart from the beginners’ patterns and three-year old horses, all classes are ridden one-handed in a shanked bit.

Beginners can show a horse of any age, twohanded in a ring snaffle bit or a shanked bit.”

John stresses the importance of leg protection in training and competition.

“Splint boots protect the front legs while spinning. In hard sliding stops, rear skid boots are essential. Special “slide” shoes are used to enable the reining horse to slide on the base of the arena through the sand surface. They are a plate horse shoe that comes in different widths depending on your horse’s stopping capability. On a big stopping horse a ¾ inch wide shoe is preferable whereas a 1 ¼ inch wide shoe may better suit a horse having difficulty staying in the slide.”

TRAINING “My basic training sessions may begin with a light warm up, walking and jogging small circles, cantering large and small circles, paying attention to my horse’s concentration on softness and direction,” John says. “Once this is achieved I’ll work on speed control – the difference between fast and slow circles.

I’ll do this with most horses regardless of their stage of training. I’ll follow with spins, with a series of 360 degree turns around an inside hind leg paying attention to moving the shoulder freely with the front legs in a cadenced movement.”

John says he then moves into lead changes in straight lines and figure eights. “For stops and rollbacks, I’ll lope my horse up and down the arena asking him to slide, maybe with a rollback, but always rewarding an improvement in effort with a rest. Once perfected, I may only practise two manoeuvres a day giving him more time for rewards.”

When training your horse, John stresses to use commonsense. “Some horses find certain manoeuvres easier to negotiate than others, but give these equal training effort – work equally on improving your poorer manoeuvres. Ride your horse for an hour or so, but never let him run out of air [get too tired] as they can do serious damage to muscles, tendons and ligaments. Riding outside the arena reduces stress and keeps the horse relaxed. You’ll find that when you return to arena work the horse will concentrate better.”

John Wicks shows how a spin is performed.

IN THE ARENA John says it’s important to keep your horse focused, but relaxed at a show.

“Before your run, check on the correctness of each manoeuvre rather than overtraining him. It can sometimes be difficult to peak a horse for competition, but don’t ever push him into more than he is capable of as that’ll only cause ring-sourness, a form of resistance against what you’re asking of him. If this happens give him a break from reining competition for a while. Find some cattle to work around where there is a definite reason for moving forward and off your leg, like stopping and turning with the cow, then go back to reining.

“Keeping in mind that we also ride for fun, it’s always nice to improve your reining scores,” John explains. “You can do this by studying where you’ve incurred penalties and asking your trainer for help to prevent penalties and eliminate rider error.”

JoHN’s TIps STOPS: For a smooth sliding stop stay relaxed and focused on the end of the arena. The stop is only one part of a manoeuvre. Practise a straight approach to it and remember to put a correct rollback or backup on the end of it.

SPINS: Make sure your horse is soft and guides well off the neck rein. Practise shutting down the spin in the designated area to avoid penalties.

ROLLBACKS: In practice make sure you leave on the same tracks as you arrived to the stop with.

CIRCLES: Practise lead departures as they are the start to the manoeuvre. Open and close your circle by guiding one-handed. If you can do this with little effort a circle should be easy to stay on.

BACKUPS: Simply practise them until they improve. You can do this at the end of most stops.

HESITATES: Teach your horse to relax in between each manoeuvre as a reward.

LEAD CHANGES: When changing leads make sure you have a good foundation of body control so you can drive his hip up into the next lead. Practise “D”-shaped circles to teach your horse to straighten out before lead and direction changes.

Watch a class from behind a judge and you’ll see what they see. You’ll learn a lot about the execution of reining patterns.

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Cutting horse trainer

Maree rudd

by Andrea Ferris

“A fully trained horse is the easiest way to teach a rider”: Maree Rudd riding CD’s Cost a Bob at the 2009 Futurity.

I

t wouldn’t be stretching the truth too far to say Maree Rudd was practically born in the saddle. Shadowing her father, Les Rudd, a great horseman and of one of the founders of the cutting industry in Australia, Maree grew up surrounded by horses and cattle on huge properties in Australia’s outback Gulf country.

Quarter Horses entered her life as a young teen when her dad took on the management of a King Ranch property at Toowoomba in the late 1970s. By age 15 Maree had left school, was training horses full-time and had won three Australian titles.

Thirty years later she is one of only four professional female cutting horse trainers in Australia and has her own training business at Springsure, south of Emerald in Queensland where she trains 15 cutting horses and runs stud and commercial cattle on 3000 acres.

Anyone that has spent a lifetime pursuing a passion, whether it’s sport or art, has been influenced by a special person or two. Apart from her father, Maree says two people in particular were her early mentors – cutters Joe Davis and the late Wally Leeson. “Both Wally and Joe taught me so much when I was young and just starting out,” she recalls.

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“When I was in my twenties, Donald Gunn played a huge part in my training career and most recently it’s been Roger Wagner [US-based cutting trainer].

“I don’t believe you ever stop learning”, says Maree. “Buster Welch, probably the most famous cutting horse trainer ever, said ‘no cutting horse trainer can train a horse on their own and ‘the day you stop learning is the day you die’. I really believe both sayings to be true.

“Every horse I ride is different and I have to try and find different things that work for me and the horse – I think that if you stop learning you fall behind.”

Maree says her greatest successes were with King Ranch’s Peppy Snake in the early 1980s and her own horse, Docs Wild Orchid in the 1990s.

Due to her hectic schedule, Maree isn’t showing one of her own horses at the moment. “I’m really busy with the property and I prefer to have a maximum of 15 horses in training at any time,” she says.

“I like to ride every horse most days and I also like to spend time to really get to know the horses’ personalities so I can get the best out of each one,” she explains.

Sally H

Maree on one of her most successful horses, Docs Wild Orchid.

Ray Cooper

The length of time a horse stays in training with Maree varies. Some just stay long enough to have a problem fixed, while others arrive on the property as a youngster and leave years later as accomplished competitors.

There’s no doubt that Maree Rudd really likes her ‘non-pros’ as she likes to call those that entrust their precious horses to her care. Non-pros – short for nonprofessionals – are the amateurs or ‘rookies’ of the cutting world.

She says her non-pros are ‘inspiring’ because they are all country people with similar values and lifestyle. “My non-pros are fantastic. They’re all country people, like myself, and they’re all nice people.

They don’t wait for me to do everything for them, they jump in and help”, she says.

Maree is generous with her advice and time for anyone genuinely wanting to take up the sport of cutting. She recommends when buying your first cutting horse it should be fully trained, older than six years and kept with a trainer or be taken to a trainer regularly.

“A fully trained horse is the easiest way to teach a rider and is more forgiving when a rider makes a mistake,” she explains.

“The ideal situation is for the non-pro to leave their horse with a trainer while the shows are on and have lessons as many times a week as they can. That way the horse continues to be ‘tuned’ by a professional.”

The sport of cutting doesn’t come cheap: Maree says to expect to spend $20,000 to $40,000 on the horse plus board and training costs at around $250–$350 per week.

“If someone buys the right horse to suit them and their ability and they’re willing to put in the effort to learn, they can expect to become competitive with that horse and not have to replace it for up to three years,” she said.

A busy and obviously fit person, Maree rides most of the horses she has in training five days a week. Each gets worked on cattle everyday, although she says the older experienced horses sometimes only need three days a week on cattle and some time riding out of the arena so they don’t go sour.

She believes the ‘pamper factor’ for cutting horses takes as much effort as you want to put into them. Maree shampoos and conditions all her horses once a week; keeps cotton combo rugs on to keep the sun off their coats; and keeps their tails braided and in tail bags so they stay clean.

Training a cutting horse can’t be done out of an arena. A horse can be kept fit by

“Every horse I ride is different”: Maree aboard Jasmine Sugar Belle. riding it out on trails, but a cutting horse needs to be worked on cattle regularly and this requires purpose-built yards and an arena with a good quality surface.

“Just the usual gear is needed”, says Maree. “A saddle made for cutting because it has a flatter seat that allows some room to move with the horse, a bridle, saddle pad and protective boots for the horse’s legs.”

“The most important advice I can give anyone is to communicate,” says Maree.

“Communicate with the horse and communicate with your trainer. If you don’t have a good relationship with your trainer, then find another one.

“The second important thing is to make sure the right horse is matched to the right person. You must have a trainer help you choose the right horse. Too many people get quickly disillusioned with the sport because they don’t have the right advice and support,” she says.

“A common misconception with people starting out in cutting is that a trained horse will stay trained – this is definitely not the case,” she says. “A person that doesn’t know what they’re doing can ruin a trained horse, so it’s important to find a good trainer to keep the horse working well.”

When asked why she is so devoted to the sport, Maree says it’s because it’s a constant challenge. “One day I think I’ve got it right and three months later I’m training better. I like starting babies [two-year olds] a lot – working out each one’s personality and how to get the best out of their mind and their ability.

“I work hard and I get tired, but if I had to feel this way about doing anything else – well it just wouldn’t be worth it.”

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Maria Frazer on halter showing

by Andrea Ferris

74

Tania Hobbs

M

aria Frazer has the image of the perfect Quarter Horse in her mind. Striving to breed a horse to fit that image has become a life-long passion that has followed her on a journey from a “horse mad” teenager to a well respected Quarter Horse breeder with a list of halter showing accolades too long to include in these pages.

Like so many little girls, Maria was introduced to horses when her dad took her on a pony ride. “I grew up desperately wanting a horse, but it wasn’t until I was a teenager that my wish was fulfilled. My fascination for Quarter Horses began when I picked up a copy of the Australian Western Horseman Stallion Directory and I saw some pictures of cutting horses,” she remembers.

“I bought a Cassius Deck mare, the great, great grandmother of my foundation broodmare, and started showing at agricultural shows.

“I knew nothing – Dad drove me to the shows, dropped me off and came back at the end of the day to pick me up. Looking back I can see how naive I was and would have welcomed someone to point me in the right direction.

“Even though I didn’t know a thing about western pleasure or halter classes, I went in every event I could enter. I had no mentor or teacher, I watched what people were doing, read a lot and listened to the comments the judges made,” she says.

In 1996, after a long break, Maria returned to horse showing with the Quarter Horse stallion, Assert-N-Te, which she sent to Andrew Perkins to train – she hasn’t looked back since and credits Andrew for much of her knowledge.

Now with a family and busy lifestyle, she runs Wilkinson Farm Stud at Kempsey on the north coast of New South Wales, standing the multi-award winning stallion, Statement (iiu)[Statutory x A Designer Copy], at stud and shows horses she breeds at halter when she can.

“I like halter horses because I love balance combined with muscle. I think Quarter Horses are the “body builders” of the horse world. Most people that show halter horses

Maria Frazer. have an image in their mind [of the perfect horse] and I try to breed a horse that fits my image.

Halter showing probably originated as a way of marketing stud horses way before we were able to buy a magazine or log on to the internet to buy a horse or send our mare to stud. Maria says that nowadays halter showing is a way to gauge a horse against the standard of excellence for the breed.

If you’re interested in showing your horse at halter, but you’re not sure whether it is suitable, Maria suggests going to a few shows and looking at what type of horse is being shown.

“There’s no reason why, if you’ve bought a horse for western performance, you can’t have a go at halter classes,” she adds. “Just go out and have a go.”

Halter showing requires a fair bit of “pamper factor” and Maria believes the type of person to enjoy this discipline would be particular about how their horse looks as well as competitive.

However, she’s also certain you’ll get enjoyment out of halter showing by knowing that you’ve got a nice horse and from making lots of new friends.

Everyone that shows horses has their own special formula, a well-tested routine and a few neat tricks that they’ve honed after many years of trial and error. Some treat their knowledge as top secret and other, more generous, competitors are happy to share – luckily Maria Frazer fits the generous category.

“Firstly, when it comes to feeding a halter horse, just use good quality feed and try different products until you find what works for you. Look at other halter horses to see what condition they’re in – which shouldn’t be “over the top” fat, but fit looking with a good shine to its coat.”

Maria grooms her show horses every day, uses rugs to keep their coats out of the sun, plaits tails and uses tail bags. “I’m not keen on too much bathing and I’m particular about keeping rugs washed and clean. If you’re serious about showing through winter, I recommend keeping the horse stabled and using lights to keep the coat short.” [Keeping lights on a horse for few hours after sunset tricks their body into thinking it’s still summer] “Make sure you’re horse is fit rather than just fat,” she advises. “It doesn’t matter whether you ride it, lunge it or trail it behind a quad-bike, as long as it’s getting worked regularly. When I’m preparing for a big show like the Nationals I work the horse six or seven days a week.”

Halter horse showing requires as much homework as any ridden class and Maria is adamant that the more training you do at home, the better prepared you’ll be in front of the judge.

“You can’t just rock up and take your horse into the ring and show it, and expect to do well, if it hasn’t been trained.” she says. “You need to teach your horse to stand still and square up properly. Your horse needs to know what you expect it to do.

“This is taught with repetition: start by getting the horse to stand still in any position then graduate to teaching it to move one foot at a time by using where you stand, voice commands and signals with the chain on the halter. For example, to move the nearside front foot, stand on the near-side, with your left hand move the halter chain on the nearside of the horse’s face, in the direction you want the foot to move (forward or backward) and touch the nearside shoulder. For the offside front use the chain in the same manner but place your hand on the horse’s wither. The chain alone will move the offside back. The nearside back is the leg to square the horse to.

“When you do take it out the first time, things won’t always go as planned. Your horse may be unsettled in the unfamiliar surroundings. Be firm and don’t let your horse push you around – the more you show, the better both you and your horse will get.”

The night before the show is when the work really begins, according to Maria, who has a routine and a comprehensive checklist.

“I work the horse, usually with a neck sweat [a neoprene wrap that fits on the horse’s neck, which causes them to sweat and lose fat in that area]. After a cool down comes a good bath with particular attention paid to white socks and the mane and tail,” she says.

• Maria tip: don’t use conditioner in their mane as it can make it too slippery and difficult to band.

“Next, trim the mane and clip white socks and bridle path [lie the ear along the length of the neck and clip the bridle path to that length] and shave whiskers.”

• Maria tip: practise clipping and trimming many times before you get ready for a show.

The current fashion for halter horses is to have a “banded” mane [see photo above], but Maria says it isn’t mandatory, it just looks nice. If you’re keen on mane banding it takes a lot of practice and you’ll need someone to teach you how it’s done.

“After the banding is done, the hood and rugs go on, plait the tail and put in a bag and then put the horse away,” she says.

• Maria tip: don’t plait a wet tail – it ends up curly and kinked the next day, and will be impossible to put right.

The next stage in the preparation is to pull out the checklist and start ticking it off! The Frazer checklist includes: show clothes and hat, entry papers, horse registration papers, and show grooming kit – which has a checklist of its own!

The outfit for halter showing is governed by the breed association rule book, but generally includes long pants, shirt with long sleeves, hat and boots. Jackets are optional and usually worn at bigger shows.

Maria’s advice is to look at magazines to see what people are wearing before you buy your outfit, remembering to choose colours that complement your horse. [See “Western Wardrobe” by Jo Johnson on page 36] The only gear for the horse is a western show halter, which Maria says should be good quality, but more importantly must fit well.

• Maria tip: if you don’t know how to fit a show halter properly, ask someone at the show for advice.

Finally, the day of the show has arrived and Maria’s important tip here is to be early. “Get to the show with plenty of time to spare and arrange for the paperwork to be done,” she says. “Check your mane bands, brush the horse and comb out the tail.”

Like all gorgeous runway models, horses too get to use makeup! A gloss spray is used on the coat and makeup goes around the muzzle and eyes and inside the ears. “Baby oil is still a good product,” says Maria.

“White chalk or a white aerosol product is used on white socks.”

A banded mane.

• Maria tip: look for baby oil in a gel form at larger pharmacies.

“The feet are “blacked” with hoof black – except if you show an Appaloosa as the judge needs to see their striped hooves, so clear lacquer is used.”

• Maria tip: use hairspray to shine up blacked feet.

“Next, I put the halter on and make sure it’s fitted properly and tie the horse up with his rope halter while I get myself dressed and put my number on.”

• Maria tip: don’t get your horse ready while wearing your show outfit – there’s every chance you’ll get covered in baby oil or hoof black!

Despite many years of successful showing, Maria admits to suffering nerves before a class so she likes to get to the marshalling area early and walk around a lot.

“Read the rule book to know what is expected when you are in the ring,” says Maria. “But if you make a mistake – don’t panic – they all do something wrong at some stage. Watch what other people are doing; line the horse up and do the best you can. Correct how the horse is standing if you need to, but don’t fuss too much – near enough can be good enough most times when you’re starting out.

“Make sure the horse is not too stretched out and be aware of where the judge is all the time. There are two showing methods in the rule book: the quarter method and the half method. If you find the quarter method too confusing just remember to basically be on the opposite side from the judge. Don’t crowd the horse in front, give yourself room in case the horse in front or behind plays up. Always be polite, and do your best, not matter what happens.”

• Maria tip: acknowledge the judge, look them in the eye and present your horse like you’re really proud of it.

“I still make mistakes”, she admits. “The more you practise and the more you get out there, the better you’ll get. Watch instructional DVDs, read articles, watch other people and ask questions – generally people will be happy to help.”

A general perception about the halter horse is that it has to be fat, but Maria says this is a trend that is being discouraged in the USA: “If you’ve got an all-round horse that you ride as well as halter he doesn’t have to be obese.”

Another misconception is that the halter horse can’t be ridden.

“Rubbish,” says Maria. “If it’s big and fat then it probably won’t be competitive, but there’s no reason why it shouldn’t be able to be ridden. It all comes down to form for function and my personal belief is that we have one standard of excellence for our breed, against which all our horses are measured. If they conform to the standard they should be competitive no matter what they do.”

Maria admits she’s always happy to help people. “It’s because I started out the hard way, so if I can help someone I’m happy to do so.

And, after all the preparation and showing advice Maria Frazer has generously shared, she says she really only has four pieces of wisdom to end on: get out and enjoy your horse; don’t be frightened to ask for help; go to training days and clinics and learn from experience; and most of all have fun.

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Natural horsemaNship

explaiNed

by Andrea Ferris

T

he term ‘natural horsemanship’ is one that’s been increasing in popularity for the last 20 years.

There are a number of people in Australia that make their living from ‘natural horsemanship’ by holding clinics, giving lessons, training horses and marketing all sorts of equipment and merchandise.

Sometimes a horse will be advertised for sale as ‘natural horsemanship trained’ – but what does this term really mean and is it something someone starting out in the horse world needs to know.

While ‘natural horsemanship’ is widely used and globally understood to refer to a gentle method of training and communicating with horses, it actually has no literal or specific meaning. It has evolved into a generic phrase much like ‘Hoover’ – the name of a vacuum cleaner

manufacturer – became synonymous with vacuum cleaning.

A brilliantly effective world-wide marketing campaign by Pat Parelli to promote his book and training method, Natural Horse-Man-Ship, is attributed to the term becoming a household reference for a ‘non-traditional’ style of horse training.

Natural horsemanship also has close links to ‘horse whispering’, made famous by the movie adapted from the Nicholas Evans novel, The Horse Whisperer, starring Robert Redford – a term that is now treating with some derision and amusement in the horse world.

Leading international equestrian journalist and author, Tom Moates, has written a comprehensive article for The Long Riders Guild Academic Foundation website, ‘The Myth of Natural Horsemanship’ (www.lrgaf.org/training/moates-myth.htm), which is well worth reading.

Moates’ summary cannot be put any more succinctly: “Ultimately, what natural horsemanship is, if anything, is a shift in the language of horsemanship. How people change the language of horsemanship at large and share ideas as an attempt to impart ways of improving the horse/human relationship is where some consistency may be found under this heading. But, the frequent application of the term “natural horsemanship” to all kinds of people and methods muddies the waters.

“It might be best for those of us seeking a better way to get better with horses to narrow our focus to a clearer understanding of what individuals are really doing with horses. Specifics are truly telling, and it’s perhaps best to leave the enormously broad über-headings out of the arena.”

Carlos taberNaberri a Naturally good horsemaN

C

arlos Tabernaberri, through more than 20 years of what he describes as ‘horses training him hard’, is now firmly established in Australia and internationally as an exceptionally talented horseman.

Born and raised in Argentina, Carlos has several generations of the gaucho culture in his blood. “I grew up seeing the beautiful, traditional Spanish way that horses are worked and from which many so-called natural horsemanship gurus got their ideas.”

However, the young Carlos became discouraged by the way a lot of horses were treated in his country and made a promise to himself that if he got to work with horses he’d do the opposite of what he’d witnessed.

Luckily for a few thousand horses, the Tabernaberri family moved to Australia in

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the 1980s and Carlos kept his promise.

Quietly spoken, his words delivered with the deliberation of someone for whom English is not their first language, Carlos Tabernaberri is confident and forthright in his conviction to his personal principle, “help ever, hurt never”.

He doesn’t term what he does with horses as natural horsemanship. “Natural horsemanship has been marketed and overpublicised, but has been around for many years,” he says.

“I don’t call it ‘natural’ because there’s nothing natural about what we do with horses. I believe there’s good and bad horsemanship: the essence of good horsemanship is where the horse’s interest is at heart and bad horsemanship is where the horse is a second choice for people.

“Everyone gives it [natural horsemanship] a different meaning. I don’t use bits, spurs, whips or sticks, so that’s pretty natural, but I am working with a prey animal and I’m a predator so I can’t call it ‘natural’.

“I had no idea who these [natural horsemanship] gurus were when I came to Australia because I grew up in a different horse culture. The only influence I had were the horses. Many years after I began working with horses I heard the phrase ‘make the right things easy and the wrong things difficult’ – the horse does that for me. The horses that I’m exposed to are my teachers because they are the masters – I follow the horse.”

It was more than 16 years ago that he began riding other people’s horses for five dollars – now he manages a successful training

Carlos Tabernaberri with Spirit, owned by Annette Hodby.

facility, Whispering Acres, in Victoria and is in constant demand for clinics, lessons and demonstrations all over the world. Despite his success, Carlos says he never stops learning.

“Learning never finishes. I would need ten lifetimes to say that I know it all. I’m fortunate enough that I get to work with literally thousands of horses each year so I see a lot of people and a lot of horses and I believe everyday I learn something different from every horse.”

Refreshingly humble, Carlos says his personal ambition is not to be the world’s number one. “I just want to be the world’s number one on every horse that I work. I do the best for every horse and person that I work with. I just love the horse – it’s in the moment and tomorrow’s another day where I start all over again. Whatever is meant to be is meant to be and I don’t push it. My ambition – to be healthy and do this for another 40 years.”

The way the revolution in ‘good horsemanship’ is growing around the world, Carlos can certainly expect to be in business for many years. He believes this popularity is due to more people becoming

aware that horses cannot continue to be trained the ‘traditional’ way.

“People follow traditions, but traditions don’t make things right. I grew up with a lot of traditions but they mean nothing to the horse. It’s the same way that ‘natural’ means nothing to the horse: it’s about the results we achieve with the horse.

“I find that people want a gentler approach to training where it’s about relationship building with the horse, not master and slave.”

The people that attend Carlos’ clinics, which are booked out six months in advance, represent a variety of horse disciplines from dressage and eventing to western performance.

The common denominator is that all are looking for a way to get into the mind of their horse and achieve a result that’s not based on a spur or stick or whip.

Carlos believes what adds to his credibility is that he never takes his own horse to a clinic.

“I work with whatever horses are at the clinic so people know that I’ll be riding different horses. I prove my methods with their horses.

“When people leave my clinic I want them to go home thinking that their horse is number one – to see things through the eyes of their horse.”

There’s no-one Carlos can’t or won’t help and he won’t listen to the excuse that old dogs can’t learn new tricks.

“I start horses at any age – the horse doesn’t make any excuses about age. Being set in your ways is for people. If you do the same thing for many years and you get the same result you should look at a different way.”

Children have the curiosity and capacity to learn and Carlos thinks of them as ‘the horsemen of the future’. “Children have an attention span like a young horse so I have to explain things in a way they understand and also by demonstrating because children are very visual.”

No matter what their age, those seeking help from Carlos generally do so because their horse won’t do something. The two most common problems he says are trailer loading and the horse not going forward because of fear from the rider.

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DIRECTORY He likens this to a language barrier. “I look at how they are doing things and when we correct it they can see that the task was presented to the horse a better way with more understanding.”

If you find yourself frustrated and wishing you had a bit more understanding, you’ll want to find an instructor that speaks your language, but this can be a daunting task.

The advice from Carlos is to go and watch a clinic – commonly known as fence sitting – and see how the trainer interacts with the horses and the people.

“Talk to people, but beware of bad advice. Look for someone who is gentle to the horse, gentle to the person and is encouraging and positive.”

He also believes that for the best result it’s important to find one instructor or trainer and stick with them to reduce the chance of confusion or contradiction.

Sometimes a horse will be advertised with ‘natural horsemanship’ training and some newcomers might wonder how to continue the training and whether they could ruin the horse. Most trainers will give the same advice as Carlos: you need to find out what the horse has done. “I like to get them calm, soft and responsive rather than hard and reactive. If someone has been working with me they will be able to pass on what they have learned and what the horse has learned.”

But can a little bit of knowledge be a bad thing? Apparently in Argentina there is a saying, ‘anyone can ride a horse, but not everyone can train a horse’. Carlos provides a translation: “You can have a lot of horse knowledge, but it doesn’t mean you know horses – you can get knowledge from books and DVDs, but doesn’t mean you understand horses.

“DVDs and books are good to get knowledge, but to know horses you have to work with them. You can philosiphise about horses, but you might only have ridden two horses – my goal is to know horses, not just have knowledge of horses.

Like everything, acquiring knowledge requires a cost and commitment – Carlos prefers the term ‘dedication’. “Time is not the problem if the work you are doing is right for the horse.

The only cost is attending lessons and clinics, which is nothing if you consider the cost of not being safe. All the tools you need to work with a horse come from inside of you and that doesn’t cost anything.

“I wish people if they are embarking in the endeavour for the first time or getting back into horses... I wish them a lot of success and to remember to look at things from the point of view of the horse. It will get you a lot further, cost you a lot less and be a lot more rewarding. Things don’t come to you overnight.”

AUSTRALIAN PALOUSE PONY ASSOCIATION INC.

Website: www.palousepony.org.au

BEACHFIELDS GOLDEN QUARTER HORSES

Last year my horse HONEYJONES BLACK OTOE was the club High Point Senior Horse, Open Horse, English Horse, Western Horse, Amateur Owner, Buckskin Halter, AQHA Halter, ANSA Halter AND Overall Halter Horse. All this after a 12 year lay-off sitting in a paddock serving mares!

He’s still serving mares and showing at the same time with his impeccable manners.

Contact Bev Davis www.hjblackotoe.com www.northcoastwesternridersclub.com

Carlos believes in a gentle approach to training and building a relationship with the horse.

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DIRECTORY CROWN K QUARTER HORSE STUD

BARQUE EASTA SONITA Approved Paint Sire Quality prospects available Reg AMQHA Reg Dilutes Australia

Ph: 02 6548 3128 www.crownk.com

Greenbanks Paint Horses

WILKINSON FARM INTERNATIONAL

QUARTER HORSE HISTORY BOOK

TRIPLE L QUARTER HORSES & APPALOOSAS

STATEMENT (IIU) Q59250

HERE AT LAST! “Australian Legends - Our History of Outstanding Quarter Horses” An impressive full colour, 336-page publication designed to preserve the history of this magnificent breed.This unique book covers the development of the breed and profiles the most influential early stallions and mares, and the innovative people behind them. It is packed full with wonderful historical photographs, many that have never been seen before.

The perfect gift idea! Order now for $69.99 plus $12 p/h.

“A Continued Commitment to Breeding Champions from World Class Bloodlines” Standing at Stud: PHENOMENAL TOUCHDOWN (imp USA) Multiple Halter & Performance Champion Producer and THE RESOLUTION (imp USA) Multiple Futurity Champion/Grand Champion in USA. Contact us for your next Champion at realistic prices

Ph: 02 6567 1117 Mob: 0428 520 057 www.wilkinsonfarm.com.au Kempsey NSW 2440

Contact the author, Karen Thrun Ph: 08 8556 9092 Mob: 0438 569 092 www.quarterhorselegends.com.au

Ph: 03 5829 9455 Mob: 0418 339 873 Email: triplelappy@bigpond.com www.triplelqhstud.com

Q46453

PAINT HORSE ASSOCIATION OF NEW ZEALAND

AUSTRALIAN QUARTER PONY ASSOCIATION

Sire: The Yellow Stone

The official registry for the Paint Horse breed in New Zealand.

Undeniably the best “Statutory” in the Country.

• 2009 World Show Qualifier (Open & Amateur) • 2009 QLD All American Grand Champion (Open & Amateur) • ROM Halter • ROM Amateur Halter • 3 x National Champion • 3 x Res National Champion • 5 x State Champion • Multi Supreme Champion

ING ND STA STUD AT

(Fortyniner Doc IMP x Murrumbo Brenda [Bills Cutterr IMP])

HARD ROC N DEE JAY PHAA 5889 Versatile quality Tobiano stallion with excellent bloodlines.

Grandson of Roc O’Lena (IMP) and Lee Van Dee Dee (IMP).

Lovely natured with good conformation. $660 inc GST plus agistment & vet costs (costs may vary) LFG Youngstock usually available Contact Jenny: (03) 5577 5202 Email: greenbanks@ aussiebroadband.com.au Bessiebelle Victoria 3304 WWW.GREENBANKPAINTS.COM.AU

Dam: Idle Oak (Gamble Oak (Docs Freckles Oak IMP x Brunette Lois [Mentiroso IMP])

Gambel is a multiple National and State Champion with numerous AQHA ROMs and awards including AQHA Quarter Horse Champion. Gambel has proven to breed his gentle easy going nature and trainable mind on to his progeny and they all have his looks to die for.

Service: $700 LFG (includes handling fee), agistment / vet extra.

Shanda-lee Quarter Horses CALLIOPE QLD Ph: (07) 4975 6380 Mob: 0439 488 384

The Paint Horse is one of the world’s fastest growing and most popular breeds, bringing quality, colour and versatility to a wide range of equine disciplines.

The 15th Annual National NZ Paint Horse Show is being held on Friday 26th, Saturday 27th and Sunday 28th February 2010 at Tauranga, with judge Ken Davison.

Contact Secretary Donna Boddie PHANZ Ph: 0011 64 7872 4307 Email: office@phanz.co.nz www.phanz.co.nz PO Box 70, Putaruru 3443 NZ

AQPA registers Western and Quarter type ponies of ALL colours, be it solid, dilute or one displaying Paint, Appaloosa or a combination of colour patterns.

This means ONE membership for all people breeding and showing Quarter Ponies.

Breeders have the option of breeding different colours without having to register in separate associations.

We offer separate colour sections under the ONE banner of the AQPA. Contact: Australian Quarter Pony Association 54 Candlebark Crt Axedale VIC 3551 info@australianquarterponyassociation.com www.australianquarterponyassociation.com

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Garraka Park Stud is proud to introduce our 2 outstanding imported stallions

Mr Confidential (imp)

One Awesome Moment (imp)

15.3h Bay Paint Stallion OLWS, HYPP & Herda N/N

15.3 Palomino Dual Registered AQHA & APHA Stallion

2008 APHA WORLD CHAMPION YEARLING STALLION

OLWS, HYPP & Herda N/N, carrier of the Pearl Gene Multiple World Show Top Five, Multiple Grand Champion Sire

Both horses books are closed however we have sold breeding shares to the following studs: Mr Confidential TNL Paints Acorshe Park Stud Stadan Park Stud

Intensity (IMP) 2 x Reserve World Champion PHAA National Champion Top 3 Worldwide Painthorse Congress winner of 25 AmPHA Futurities PHAA Superior Halter NSW, QLD & VIC State Champion

One Awesome Moment Acorshe Park Stud Kadancha Quarter Horses Baerami/Maverick Park

FOALS BY THESE TOP STALLIONS WILL BE AVAILABLE FOR PURCHASE IN 2011 We currently have a selection of top quality weanling futurity prospects and outstanding broodmares for sale.

PLEASE CONTACT US FOR MORE INFORMATION. MICHELLE & ADAM O’CONNELL - GARRAKA PARK STUD www.garrakapark.com.au - garrakapark@bigpond.com Ph: 02 4930 8115 - Mobile: 0409 325478

CENTRE

2009 Sat 14th – Sat 21st Nov

8 Day Supercamp

Esk QLD

Ken Faulkner

Kathy Stewart

0427 732 394

2009 Tue 24th – Sun 29th Nov

6 Day Horsemanship Course

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Ken Faulkner

Mel

0011 64 3315 6565

2009 Fri 11th – Sun 13th Dec

3 Day Horsemanship Course

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2010 Fri 8th – Mon 11th Jan

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2010 Fri 22nd – Mon 25th Jan

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2010 Sat 13th – Tues 16th Feb

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0011 64 3312 6211

Gold Coast QLD

Ken Faulkner

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07 5533 8401

2010 Fri 19th Feb – Mon 22nd Feb 4 Day Savvy Weekend 2010 Sun 28th Feb – Wed 3rd Mar

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0417 415 355

2010 Sat 13th – Wed 17th Mar

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2010 Tues 6th – Mon 12th Apr

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2010 Sat 24th – Mon 26th Apr

3 Day Horsemanship Camp

SA

Ken Faulkner

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08 8821 2369

2010 Sat 1st – Fri 14th May

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Ken Faulkner

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0427 732 394

PO Box 99, Esk QLD 4312

Phone: 0427 732 394