Baroque Horse ~ Issue 12

ISSUE 12 SEPT/OCT 2013

THE LUSITANO

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Educational articles by - Manolo Mendez and Barrie Stratton | Tips by Top riders/trainers. | Royal Alter Real Stud w w w. bar o q u e hors e m ag az i nE.com

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7.

CONTENTS I ss u e 1 2 S e p t / O ct 2 0 1 3 8.

w h a t s

i n s i d e

12

The Lustiano

By Cátia Castro

32

Ponte Lima Horse Fair

By António Mendonça

40

Introduction to Pirouett’s

by Manolo Mendez with Caroline Larrouilh

48

Ali Baba’s Journey with Jody Hartstone

54

Tips by Top Riders/Trainers

58

The How and Why of Spanish Walk with Barrie Stratton

64

Review - The Balanced Horse

by Sylvia Loch, review by Robert Smith QC

70

To the Heart of a Mustang

by Kathryn Barrett

74

Photographers Profile of Gosia Makosa

80

The Atler Real Stud

By Catia Castro

84

Web Sites and Business with Peter Spinda

86 The International Festival of the Lusitano By Cátia Castro 92

The Lusitano and Traditional Portuguese Costume and Tack

By Cátia Castro

98

Sitting the Friesian Trot

By Natalia Evertsz

102

Horse Care

108

Feeding the Baroque Horse

By Mariette van den Berg

111

Horses of Interest

By Joan Sankey

113

Riz’s Rant

ISSUE 12 SEPT/OCT 2013

THE LUSITANO

&

Beauty, Strength Power $8.95 AUD

$9.95NZD

€7.95

£6.95

Educational articles by - Manolo Mendez and Barrie Stratton | Tips by Top riders/trainers. | Royal Alter Real Stud

On the Cover: “Coronel” from the Alter Real Stud - Portugal. Photo by Cátia Castro

E d i t o r s

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n this issue we are featuring the illustrious Lusitano and we have some great articles and amazing photos taken by Cátia Castro, starting off with the beautiful image on our front cover. Cátia has done a wonderful job in portraying the Lusitano and we want to thank her for her unwavering support and dedication. We have many stories covering the Lusitano throughout the years inside and hope you will enjoy this issue as much as we have in putting it together.

Last month we launched our new web page as we wanted to dedicate a page for each Baroque

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breed with our major aim for it to be a place to find out news and events on your favourite breed.

We are very open to feedback and if you have any news you want to share please contact us as we would love to hear from you. We also have a forum so all Baroque people can have their say so please don’t be shy come and have a chat and sure we will all learn together.

As so many readers have been contacting us wanting to get hold of the issues they missed out on we now have all of the magazines available online. With every subscription to the print version you will get an annual

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online access free. Of course, we realise that in today’s times many people are happy with just the online version so we have annual subscription to this which also give access from Issue 1 to the current magazine.

This being our 12th edition of the magazine signifies two years of bringing to you our stories and photos of these stunning horses.

We would like to thank all our readers for their constant praise and support and we look forward to many more to come.

erman Danielle SkEditor in Chief

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EDITORIAL

Editor-In-Chief Danielle Skerman editor@baroquehorse.com.au editing: Mel Hughes

ART & PRODUCTION

Design & Production Manager: Danielle Skerman Designers: Cristian Prutescu, Shane Cunningham

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Publisher: Baroque Horse PTY LTD ACN: 159 279 848 PO Box 18002 Clifford Gardens, Toowoomba QLD, Australia 4350 ©Baraque Horse Magazine AU. 2011 All Rigths Reserved. No part of this publication, editorial or advertisement, may be reproduced without the written consent of the publisher. The content of the advertisements within this publication is the responsibility of the advertiser. Although due care is taken in the preparation and publication for all advertising material, the publisher cannot be held responsible for any errors or for any consequential effects. Opinions and statements made by others in submitted text may not be the same as those held by either the publisher or the editor.

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THE

Article by Cátia Castro

B

eautiful manes, round neck, gentle eyes, courageous heart, elegant gaits, all this and much more have made kings, emperors, painters, and people all over the world to fall in love by this noble breed that many called the “sons of the wind”

tooth was found and was genetically compared with a tooth from the present Casa Cadaval Stud horses. The results came back and they matched— that is to say, genetically the Lusitano has changed very little over the centuries. Their blood is as noble with history of purpose, pride and honour today as it was thousands of years ago.

Selection

ORIGINS: Ancient Times Ridden for about 5,000 years, the Lusitano is the oldest saddle horse in the world. This breed reaches the 21st century with the same splendour it had 2,000 years ago, when ancient Greeks and Romans recognized the Lusitano as the best riding horse.

Today, many people look to the Lusitano for sport and leisure purposes.

They are used also in crossbreeding to improve other breeds because of their rare qualities of character and genetics.

The Lusitanos’ were highly prized mounts due to their bravery and great temperament in handling such challenges, and they were greatly sought-after war horses. Often r ridden by kings and emperors as they paraded into their cities claiming victories, they thus have been immortalized in the most famous paintings throughout history.

Recently the owner of the historic Casa Cadaval Stud, Teresa SchönbornWiesentheid, informed us that not so long ago a 5,000-year old Lusitano

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Originally bred as a hunting and fighting horse, the Lusitano was and is still bred as a versatile horse, with docile temperament, agility and courage. These traits enable this breed to compete in almost every modern equestrian discipline.

In the last centuries, the Lusitano was used and trained in the equestrian arts and in bullfighting. Due to the breed’s early years and use in bullfighting, it has marked a major step in its evolution, thus providing some of the most important characteristics they are known for today.

Being selected to perform in the bullfighting arena allowed this breed to differentiate itself from others due to the horses’ great mental resistance to stress, as well as their physical ability and great elasticity. This selection for bullfighting shaped the Lusitano breed with the ability to perform complex exercises with great resistance to stress, but also with courage, tenacity and willingness to please the rider with spirit of sacrifice.

The Lusitano has a great ability to “rassemblé” or collect, which explains

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‘Oxidado” photo by Cátia Castro w w w. bar o q u e hors e m ag azi nE.com

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their popularity in the arenas. Some of the best bloodlines of today are descendents of great bullfighters’ horses. This ability to collect has become a fast sought-after ability that can only be rivaled by its Iberian cousins.

The Lusitano is now rapidly becoming a highly sought-after sport dressage horse, using this natural ability to collect which enables them to have an unmatchable Piaffe and Passage by the Warmblood breeds, after all, the Iberian horse is the original dressage horse.

Stud Farms The fundamental stud farms that contribute to today’s great quality of the breed include Sommer d’Andrade, Veiga, and Alter Real Stud.

These founding studs and others like Coimbra, Casa Cadaval, and Ervideira, just to name a few, had their own stallions and followed a strict breeding program using careful selection

Photo by Amy E. Riley/STUDIO EQUUS 1 4.

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to maintain a particular breeding line that remained for their stud only. Other stud farms who didn’t have as many stallions went to the Coudelaria Nacional Stallions (Portuguese Government property), and those stallions were made available for everyone. Stud farms like Sommer and Veiga kept their own stallions and constantly tested the quality of their offspring. With the strict use and selection of stallions and mares, this resulted in exclusive and quality offspring with bloodlines of specific characteristics per stud. Today’s quality extends to many old and new stud farms, with both tradition and modern knowledge as their allies.

The Alter Real Stud is also a great mark for the Lusitano breed, as it was founded in 1736 by the Portuguese king D. João V, and is still going to this very day. The Alter Real Stud have maintained many unique particularities that are distinguishable to this particular bloodline.

STUD BOOK: The Lusitano stud book of today was made official in 1966. Before this the horses were registered in the Selected Breeds, and had always been under careful control. The APSL—Portuguese Lusitano Breed Association—is now responsible for the managing of the stud book. The stud book’s purpose is to ensure the preservation and improvement of the Lusitano Breed by evaluating its reproductive animals. There are 18 Lusitano Associations around the world, and all of them must follow the APSL - Lusitano Stud Book rules. For a horse or a mare to be registered in the Stud Book, the entire ascendant line has to be Lusitano purebred and registered as well. All Lusitanos’ are identified by the following: • A name, according to the letter of the alphabet representing the year of birth (the letter A corresponds to the year 1982). When the list reaches the end of the alphabet (excepting the letters K, Y, W, which are not used) it returns to the letter A again.; • An iron mark of the Stud Farm on the right thigh and a number (usually on the neck) or a microchip.

The “Livro de Reprodutores” (book of breeding/reproductive stallions) is a different register that is a sub-category of the stud book. The horses and mares in this book were evaluated by the APSL judges, and have a total score. In this evaluation, the APSL judges evaluate the morphological conformation and gaits/

All photo’s above by Cátia Castro

Photo by Cátia Castro w w w. bar o q u e hors e m ag azi nE.com

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MONTE BARRร O Coudelaria Monte Barrรกo Rua Feliciano Castilho, Nยบ3 APT 47 7440-022 Alter Chรกo

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www.montebarrao.com | Tel: 00351 917 217 653 1 6.

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THE

movements with a score ranging from 1 to 10, divided among the following terms: head and neck; withers and shoulders; chest and ribcage; back and loins; croup; legs; gaits. In case of the horses, the gaits and movements are shown on horseback; in case of the mares these are shown by hand. When a stud farm selects a reproductive Lusitano purebred stallion it has to have an account if this stallion is registered in the Stud Book (called blue book or book of origin) and if it is registered in the Reproductive Book, with a score based on the APSL evaluation. Most important, there must be given proof of the horse’s functionality, to make sure it corresponds to the stud farm breeding goals REPRODUCTION In the Reproduction Book there is three types of reproductive stallions: the approved stallions, the recommended stallions, and the merit stallions. Each can provide fresh and frozen semen: the approved stallions can provide for 20 mares/per year; the recommended stallions can provide for 40 mares/per year; the merit stallions can provide for an unlimited number of mares. The mares’ embryos may be transferred, with a limit of 3 per year.

COAT COLOURS Most typical are the grey and bay, but it can be found in numbers coats like chestnut, black, dun, palomino, cremelo.

The Alter Real Stud breeds only bay colours.

Daniel Pinto photo by Cátia Castro

Photo by Amy E. Riley/STUDIO EQUUS

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Sr. Jesus da Pedra Sanctuary in ร bidos - Portugal with Ricardo Moura Tavares & Embuรงado and the famous Portuguese bullfighter Ana Batista. Photo by Cรกtia Castro

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THE LUSITANO BREED STANDARDS TYPE Middleweight (around 500KG) “Medium lined”; sub-convex profile throughout the body (with rounded outlines, the silhouette of which can be fitted into a square).

HEAD Well-proportioned, of medium length, narrow and dry, with the lower jaw not too pronounced and the cheek tending to be long. Slightly sub-convex profile with the forehead in advance of the bones of the eyebrows: the eyes tend to be elliptical in shape (almond shape), large and vibrant, expressive and confident. The ears are of medium length, fine, narrow and expressive.

HEIGHT Medium, to be measured at the withers a measuring stick at the age of 6 years. Average height—Females—1.55m (nearest conversion 15.1 hh ); Males—1.60 m (15.3 hh ).

COAT

NECK Of medium length, arched with a narrow hairline: the junction between head and neck is narrow or fine. The neck is deep in the base and well inserted between the shoulders, rising up from the withers without any marked depression.

The most common colours are grey and bay.

WITHERS Noble, generous and ardent, but always gentle and patient.

Well-defined and long, with a smooth transition from the back to the neck. Always higher than the croup.

MOVEMENT

CHEST

TEMPERAMENT

Agile, elevated, forward, smooth and comfortable for the rider.

Of medium size, deep and muscular.

RIBCAGE

APTITUDE A natural ability for concentration, with a great disposition for High School Work; courage and enthusiasm for the Gineta exercises (combat, hunting, bullfighting, work with cattle, etc.).

Well developed, long and deep with the ribs obliquely arched into the joint with the column which promotes a short and full flank.

SHOULDERS Long, oblique and well-muscled.

“Rubi AR” photo by Cátia Castro Rider Gonçalo Cavalho rode “Rubi AR” at 2012 Olympics for Portugal, making it to the finail day and showing the world of the amazing caperbitlity of the Lusitano horse.

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BACK

LEGS

Well-defined and tending towards the horizontal, making a smooth union between the withers and loins.

The forelegs are well-muscled and harmoniously inclined. The upper arm is straight and muscular. The cannon is muscular and slightly long . The fetlocks are dry, relatively big and with very little hair. The pasterns are relatively long and sloping. The hooves are of good constitution, well-defined and proportioned without being too open; the line of the coronet is not very evident. The buttock is short and convex.

The thigh is muscular and tends to be short. It is orientated in such a way that the patella or gaskin is in the same vertical line of the hip bone, or point of the hip. The leg is slightly long, positioning the hock in the same vertical line with the point of the buttock. The hocks are large, strong and dry. The legs present relatively closed angles.

LOINS Short, wide, muscular, slightly convex, well-connected with the back and croup with which they form a continuous harmonious line.

CROUP Strong and rounded, well-balanced, slightly oblique, the length and width should be of identical dimension, the profile convex and harmonious with the point of hip relatively unobtrusive, giving the croup a transverse section of elliptical shape. The tail emerges from the same line of the croup, being of long, silky and abundant hair.

Alter Real Stud Stallion | photo by Cรกtia Castro

ESCORIAL CHAMPION OF CHAMPIONS

XXV International

Lusitano Horse Festival ~ 2013 ~

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Alter Real Stud Stallion Photo by Amy E. Riley/STUDIO EQUUS

THE LUSITANO BREED: TODAY AND FUTURE The Lusitano is gaining more and more fans around the world due to its unique traits of noble, gentle and courageous character.

One highly regarded character is their ability to understanding the rider, the Lusitano gives their all and some to their rider. With great rideability, versatile in the equestrian disciplines, making them a breed for anyone who likes to ride.

The Lusitano breed has spread all over the world and is found most in its native country of Portugal. Outside of Portugal the other countries with the highest population is in Brazil, France and Spain, but you can also found in Mexico, England, Belgium, Germany, Italy, the Netherlands, Sweden, Switzerland, Canada,

Australia, New Zealand, Colombia, South Africa, and in the United States.

Breeders all over the world are getting more partnership benefits from their own countries’ Lusitano Associations.

Developing a specific functionality and keeping the Lusitano traits are breeding goals for the breeder who is in search of quality. The riding of the reproductive mares comes as a strategic point: by testing their ability to be ridden and their other qualities, breeders are selecting the mares not only for their morphological terms.

Nowadays, the Lusitanos are even better than before due to environmental causes: better feeding; better care; better veterinary assistance. Having a follow-up post-selling a Lusitano horse can be a good selling strategy, as the Lusitano can be assisted by a trainer who understands this breed.

EQUESTRIAN TOURS • Classical dressage lessons • Lunging lessons for your position • Trail ride • Cultural visits around Lisbon • Portuguese gastronomy & wine

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• Additional program for non-riders

Facebook Valença EquestrianTours

• Water sports/golf/excursions

T + 351 919 361 862

Have the equestrian holiday you’ve always dreamed of …

THE

IMPORTANT LUSITANOS Strains and sub-types The Portuguese stud book recognizes 6 horses that are called the “heads of lineage”. These 6 horses are the foundation horses of the three main breed lineages: Sommer d’Andrade Stud, Veiga Stud and Coudelaria Nacional (Portuguese State Stud). Although each line meets breed standards, they differ from each other in individual characteristics.

The 6 foundation horses are: •

Agareno, year of birth 1931, Veiga Stud, out of Bagocha, by Lidador

•

•

Primorosa, y.b. 1927, Dominquez Hermanos Stud, out of Primorosa II,

by Presumido Destinado, y.b. 1930, Dominquez Hermanos Stud, out of Destinada,

by Alegre II

•

Marialva II, y.b. 1930, Antonio Fontes Pereira de Melo Stud, out of Campina, by Marialva

• •

Regedor, y.b. 1923, Alter Real Stud, out of Gavina, by Gavioto Hucharia, y.b. 1943, Coulderaria Nacional Stud mare, out of Viscaina,

by Cartujano

Photos (above & below) by Amy E. Riley/STUDIO EQUUS

Facebook - Coudelaria Mplusitanos | +351 912 750 569 | coudelariamplusitanos@gmail.com 2 4.

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Important Lusitanos Horse

Breeder

Achievements

Bailador

Manuel Veiga Stud

Bullfighting horse

Beau Geste

Ervideira Stud

Nuno Oliveira’s horse

Euclides

Sommer d’Andrade Stud

Nuno Oliveira’s horse

Firme

Sommer d’Andrade Stud

Born in March 1956, 1.64m high. Bullfighting horse with the rider D. José de Ataíde.

Galopin de la Font

Sylvain Massa Stud

Dressage Gprix with the rider Daniel Pinto—WEG2006 and 2010; won Dressage Las Vegas World Cup Dressage 2007; Olympic Games 2008 representing Portugal. European Championships presence.

Golias Fraque Favorito

Casa Cadaval Stud

Out of Vidago (Sommer d’Andrade stud), Fraque and Favorito won the gold medal of Felix Brasseur in the World Four-in-hand Driving Championship WEG 1996, and Golias won bronze medal in WEG 2004 with Felix Brasseur.

Guizo

Fundação Eugénio de Almeida

Juan Antonio Jimenez Cobo—Dressage. Won bronze medal—Spanish dressage team in WEG 2002, and silver medal on the Spanish dressage team on 2004 Olympic Games. Placed 10th as individual in the same Olympics with 71,292 points.

Hostil

Guilherme Borba Stud

Born in 1989, 1.65m high. Dressage. Known for having quality offspring like Soberano, Rico and Pastor (participated in the London Olympics representing Brazil). Hostil was ridden by Anky Van Grunsven when she came to Portugal.

Landim

Francisco Sousa Cardoso Stud

Dressage with the rider André Parada—Equestrian Games. European Championship presence in 2005.

Lidador

Manuel Veiga Stud

Bullfighting horse ridden by João B. Nuncio.

Maravilha

Manuel Veiga Stud

Born in 1970, 1,62 high. Many quality offsprings.

Naufrágio

Teixeira Stud

Won Bronze medal in Four-in-Hand Driving Championship WEG 2004.

Neptuno

Manuel Veiga Stud

Son of “Firme” was a bullfighting horse ridden by Alvaro Domecq

Nilo

Manuel Veiga Stud

Son of “Firme” was a bullfighting horse, Cagancho was one of his offspring that stood out in bullfighting. Ridden by Pablo Hermoso de Mendoza.

Nostradamus do Top

António Toledo Mendes Pereira Stud

Dressage with rider Nuno Vicente. European Championship presence in 2005.

Notável

José Correia Leite Stud

Dressage Grand Prix with Carlos Pinto—Olympic Games 2008, representing Portugal

Novilheiro

Manuel Veiga Stud

Born in April 1971, 1.65m high. (out of Firme (AS) and Guerrita (MV)). Was Great Britain’s champion in 1983 with John Whitaker in show jumping. Was 7 times European Champion. 12th place ranking in Show Jumping.

Oderoso

Oliveira e Sousa Stud

Won Bronze in WEG 2004 and Gold in Four-in-Hand Driving Championship WEG 2006, with Felix Brasseur.

Opus 72

Manuel Veiga Stud

Born in April 1972, 1.56m high—they called him the “litle big horse.” Alvaro Domecq bullfighting horse.

Orfeu

Carvalho Nunes Stud

Won Bronze in WEG 2004 and Gold in Four-in-Hand Driving Championship WEG 2006, with Felix Brasseur.

Orpheé

Roger Bouzin Stud

Olympic Games 1992 with the rider Catherine Durand, representing the French team. First time a Lusitano was in the Olympics.

Oxalis da Meia Lua

Meia Lua Stud

Dressage Gprix with Miguel Ralão, Olympic Games 2008 representing Portugal.

Oxidado

João Pedro Graça Rodrigues Stud

1.61m high. The horse with most titles in Working Equitation. 5 times European Champion in teams; 4 times European Champion individual; 3 times World Champion by teams; 1 time World Champion individual; all with his rider Pedro Torres.

Pincelim

Manuel Veiga Stud

Bullfighting horse with the rider João B. Nuncio.

Principe VIII

Sommer d’Andrade Stud

Bullfighting horse. Father of Firme and grand-father of the famous Novilheiro.

Quijote

Alter Real Stud

Won Bronze in WEG 2004 and Gold in Four-in-Hand Driving Championship WEG 2006, with Felix Brasseur.

Quo Vadis

Sociedade das Silveiras Stud

Won Bronze medal of the Four-in-Hand Driving with Felix Brasseur, in WEG 2004.

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Photo by Cátia Castro

THE

25.

Horse

Breeder

Achievements

Rico

Guilherme Borba Stud

Dressage GPrix. Born in 1998, 1.71m high. Kyra Kyrklund participated with Rico in several international competitions; they made a score of 76 in Freestyle.

Riopele

Francisco Sousa Cardoso Stud

Dressage with the rider Pedro Torres represented Portugal in the 2007 European Champioship held in Italy

Relâmpago do Retiro

Haras Villa do Retiro Stud

Dressage Gprix with Hayley Beresford—Olympic Games 2008, representing Australia.

Ripado

Ortigão Costa Stud

Born in 1980, 1.64m high. Carlos Pinto—Dressage Grand Prix

Rubi

Alter Real Stud

Gonçalo Carvalho—Dressage Grand Prix. FEI 21st ranking. WEG 2010.

London Olympic Games 2012, representing Portugal.

Sal

Internacional Gosto Equino Stud

1.65 high. International Dressage Gprix with the rider Nuno Palma e Santos.

Competing mostly in Germany.

Soberano

Guilherme Borba Stud

Born in 1999, 1,74m high. Is ridden by Carlos Pinto on Dressage Grand Prix on international competitions.

Spartacus

Santa Margarida Stud

Jeanette Jenny—Dressage.

Sultão

Manuel Veiga Stud

Born in 1942. Bullfighting horse ridden by João B. Nuncio.

Túlipa

Quinta das Terras Stud

This mare won Gold medal in Four-in-Hand Driving with Felix Brasseur, WEG 2006.

Telmo

Alter Real Stud

Won Gold medal in Four-in-Hand Driving with Felix Brasseur, WEG 2006

Trinco

Sociedade das Silveiras Stud

Won the World Championship individual and by teams of Working Equitation 2013, with the rider Bruno P. Conceição. European Champion by teams 2008,2009,2010. Champion of Europe individual 2010. Vice Champion of Europe individual 2008,2009,2010. World Champion by teams 2011. All in WE.

Toleirona Beleza

Manuel Veiga Stud

Two mares that produced quality offspring like Opus (MV), Novilheiro (MV), Elmo (MV)

Ulisses

Basto Ribeiro Stud

Nuno Oliveira’s horse

Universo

Manuel Veiga Stud

Born in 1978, 1.58m high.

Vigilante

Alter Real Stud

Born in 1927.

Xaquiro

Ciparque

Dressage. Born in 1980. Has about 178 registed offspring. An important horse for the improvement of the Lusitano breed.

Xiripiti

Torres Vaz Freire Stud

nternational Dressage Grand Prix with the rider Maria Moura Caetano.

Several international presences in competitions, current 97th position on the World Dressage Ranking.

left: Pedro Torres & ‘Oxidado’ - right: Gonçalo Carvalho & ‘Rubi AR’ - Photo by Cátia Castro 2 6.

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THE

Photos by Amy E. Riley/STUDIO EQUUS

PEN-LLYN LUSITANO STUD AND RIDING CENTRE

Llaniestyn Pwllheli LL53 8SW. | Tel. 01758 730741 | Web www.lusitanocymru.co.uk w w w. bar o q u e hors e m ag azi nE.com

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THE

These and many more Lusitano horses that aren’t in this table make Portugal proud, no matter where the rider and horse maybe or whatever country they represent.

The Lusitano’s versatility has been shown in variable arenas: driving, working equitation, dressage, show jumping, and eventing.

In driving the Lusitano has placed in the first medals, as it recently the Iberian Driving Cup 2013 and CAIO in Saumur—France. In working equitation the Lusitano was several times European Champion both in individual and team events, as well as World Champion individual and teams, with rider Pedro Torres and “Oxidado” the horse in winning the most titles in world equitation. Most

Photo by Cátia Castro

VENTUROSO Approximately 17 hands. Venturoso has extremely expressive movement, outstanding conformation and a calm temperament. His youngstock have exceeded our already high expectations. Venturoso is currently working at FEI level with outstanding piaffe/passage.

Venturoso is available for AI. Fresh, chilled or frozen semen.

Fee: $2,200 Lusitano mares. $1,650 Outside mares.

lusitano.com.au facebook.com/lusitanohorseassociation

QUE CRAQUE (imp Brazil)

E-mail: info@lusitano.com.au PH: +61 2 4887 1042 PO Box 1857, Bowral NSW 2576 Australia

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FIDALGO

Sire: Mikonos Itapua.

Dam: La Cubanita Smar.

16.2 hand dressage stallion.

And winging his way towards us... FIDALGO, 3 1/2 year old purebred Lusitano colt expected to mature 170cms+.

Buckskin with tiger-striped legs. Super temperament and movement.

He competed at Prix St Georges/ InterI under his EFA registered name "Q.C". He was powerful, extremely gymnastic and has exceptional movement. Gentle, kind disposition. He was training Grand Prix and showing his inherent aptitude for piaffe/passage. Que Craque's progeny are showing height and great gymnastic movement.

Will stand 2014/2015 breeding season.

Registered APSL, ABPSL (Brazil) LHAA. Frozen semen available.

recently, Bruno Pica da Conceição and “Trinco” proved once again the natural talent the Lusitano has for working equitation. In dressage, Gonçalo Carvalho and “Rubi (AR)” have distinguished themselves, setting a record by achieving excellent results that a Lusitano had never before reached in dressage competitions. Maria Moura Caetano and “Xiripiti” and Nuno Palma e Santos with “Sal” are attaining fantastic results in the international dressage arenas. International dressage riders like Daniel Pinto, Carlos Pinto and Miguel Ralão have

been fundamental in making the Lusitano a dream and more popular for the modern day dressage by their performances at the highest competitive level internationally.

THE

The Lusitano is also the horse presented by the Portuguese School of Equestrian Art, one of the 4 most illustrious Equestrian Art Schools in the world with many people from all over the world coming to watch such amazing horses be performed at the highest level in classical equitation. a

Lusitano Sources:

APSL www.cavalo-lusitano.com

Lusitano Conference held in Lisbon, June 2013

Photo by Cátia Castro

HORSE ASSOCIATION OF AUSTRALASIA

THE LUSITANO HORSE ASSOCIATION OF AUSTRALASIA WAS FOUNDED TO PROMOTE ALL ASPECTS OF THE LUSITANO BREED IN AUSTRALIA AND NEW ZEALAND Help is available in a number of areas * ADVICE FOR PROSPECTIVE OWNERS ON FINDING A SUITABLE LUSITANO * INFORMATION ON PAPERS AND REGISTRATION AND MEMBERSHIP * LISTS OF BREEDERS INTERNATIONALLY IN PORTUGAL, BRAZIL, U.S.A, AND GREAT BRITAIN * IMPORT RESTRICTIONS AND INTERNATIONAL TRANSPORT

LUSITANO HORSE ASSOCIATION OF AUSTRALIASIA E-MAIL: info@lusitano.com.au PH: +61 2 4887 1042 PO Box 1857, Bowral NSW 2576 Australia

lusitano.com.au facebook.com/lusitanohorseassociation

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Imported APSL approved Lusitano stallion standing at15.3HH

Xerife has outstanding movement conformation looks and trainability all of which he passes to this progeny

$2300.00 Lusitano mares $1700.00 other breeds 20% discount for 2 or more mares

Jaquetao

Jamonero III Safira

Escudela II

Onjito Marrafa II

Idolo

Tuisca Xepa

Jaca

Batota

Justiceiro II

Perola

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PONTE LIMA

Ar ticle & Photos by

António Mendonça www.acmendonca.net

Horse Fair 2013

Fernando Pessoa, the most famous Portuguese poet of the Twentieth Century, once said

“God wants, the man dreams, and the work takes shape.”

That was what happened with the horse fair at Ponte de Lima. This is all about the dream of a man, Filipe Pimenta, in love with the horses since he was a young boy. His father gave him his first horse, a Garrano, when he was 10 years old (it was the happiest day of his life, he said).

Filipe Pimenta is a man from the city of Ponte de Lima, Portugal. He has dedicated his entire life to his passion for horses.

In 2001 he had the opportunity of creating his own riding center in Ponte de Lima, with the purpose of providing horse-related tourist activities. The dream of creating a prestigious international horse fair came in 2007 with the support of the Ponte de Lima Mayor Eng. Daniel Campelo, a man of vision who saw the importance of this type of fair as a touristic, economic and cultural

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promotion of the beautiful green Portuguese Minho region, located in the northwestern corner of the country.

Since the beginning, the versatile Lusitano horse has been the star of this unique horse fair, competing in multiple types of events. Soon the Ponte de Lima horse fair became, along with the Golegã horse fair and the International festival of breeders, one of the 3 most important horse fairs of Portugal.

Ponte de Lima is the oldest village in Portugal, recognized in 1125 as a village by the Countess D. Teresa de Leão, mother of D. Afonso Henriques, the first King of Portugal. Located near the city of Guimarães (where Portugal was born) and beautifully situated near the Lima River and the old Roman bridge the horse fair facilities were constructed. The facilities are used in national and international competitions.

The population of this traditional region, with a special love for the horse in general and for the Lusitano in particular, welcomes this event with open arms, and participate enthusiastically during the already customary pilgrimage (“romaria” in Portuguese) that takes place every year with a huge participation by riders and carriages This year, again due to the rising success of previous years’ fairs, the Seventh Annual Ponte de Lima Horse Fair was held from the 27th to the 30th of June. The four-day event boasted more than 400 horses and 70 Lusitanos from both native and foreign breeders, with an estimated

100,000 visitors. (We can’t forget that Portugal is a small country with only 10,000,000 inhabitants).

Ponte de Lima was founded in the Fourth Century BC, and there has been a bridge across the river Lima ever since. It is considered the oldest village in Portugal.

The current bridge was finished in the 14th Century and was the only safe passage through the Lima River till the end of the Middle Ages. Pilgrims on their way to Santiago de Compostela, Spain had to cross the river here. It was the bridge that promoted the importance of the village of Ponte de Lima through the ages.

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The Legend of the River of Forgetfulness The Roman legions that invaded the Iberian peninsula, commanded by General Décimus Junius Brutus, arrived in the year 135 BC. on the south side of the Lima river. The Romans believed this beautiful river to be the Lethe River, or River of Forgetfulness, which transported souls to Hades. The mythical Lethe River, it was believed, would erase all the memories of people’s families and country, so the Roman legionaries refused to cross it.

The general crossed the river alone and once on the north side, he shouted the names of the soldiers one by one until he proved to them that this was not the River of Forgetfulness.

There still exists a monument near the old bridge that remembers this legend.

2013 Ponte de Lima Competitions The Iberian Dressage Cup, a CDI 3* international competition by appointment of the FEI, open only to Lusitanos and PRE horses, was held for the first time this year. Gonçalo Conchinhas, riding Rubi, won it with 70.938%. In second place was another Portuguese Olympic rider Miguel Ralão Duarte, riding Rico, with 67.188%. In third place was Jorge C. Santos with Sardo, with 61.813%.

Lyn, won the Grand Prix Kur, and due to the 3rd place she had already achieved earlier this year in Toledo, Spain, she became the winner of the competition.

During the 4 days of the Ponte de Lima Horse Fair, several other competitions took place, such as:

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35 The Work Equitation National Competition - Masters - Won By Bruno Pica Da Conceição

With Trinco

- Consacrated Won By Nuno Avelar With Bogotá Won by Daniel Pinto (the Olympic Sidney rider) riding Xama NP It is important to emphasize the presence at Ponte De Lima of three Portuguese Olympic riders, demonstrating the importance of the competitions in this fair.

The Traditional Morphological Competition—for Lusitanos Won in Males by the one year old colt Horus Da Sernadinha (gold medal) Horus also won two previous competitions this year in Portugal, including the Expoegua at Golegã, the International Festival Apsl at Cascais, and now Ponte de Lima.

In the mares’ competition, Azeitona finally became the champion of the champions.

The best Lusitano breeder of the fair was Coudelaria Santa Margarida.

There was also a carriage derby.

Finally, the HORSEBALL 4 nation’s competition was won by the French team.

For Filipe Pimenta, the executive president of the Ponte de Lima Horse fair, the annual organization of this event requires a high level of demand. Year after year the Ponte de Lima Horse Fair’s main objective is to promote the Lusitano horse as a sport and leisure breed in Portugal and abroad.

And as Filipe Pimenta would say, the dream goes on…

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THE GARRANO Equus Caballus Celticus The name comes from the Celtic word “Gerran” meaning “horse.”

During the Iberian Peninsula invasions by the Celts in the Sixth Century B.C. brought along a very resistant small horse, that was crossed with the horses that lived on the north west part of Portugal (in the region of the l natural park of Peneda Geres) since the Paleolithic era when herds of horses got shelter there during the Ice Age. Thus originated a small but very strong pony, the Garrano. Later the Romans used them and considered them as excellent horses.

The Garrano is a pony of strong personality that lives part of the year in freedom in the Peneda-Geres mountains.

Usually it is bay coloured, with a few white spots, with long and strong black, shaggy manes and a small and expressive head. With strong but short limbs, he normally he measures between 1.20mto 1.35m. So he is called “a horse near the ground.” a

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www.acmendonca.net

Focus

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~ Equine Holidays Australia ~

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e s r o h r u o y h it w y a id Hol Nestled in a spectacular rural setting on the beautiful Mornington Peninsula, Howard’s Hill is the perfect holiday destination for both you and your horse.

The converted barn at Howard’s Hill is ideal for an intimate retreat, a rural reception or as a base to explore the surrounding Mornington Peninsula.

leisurely rustic lunch at the Pig and Whistle. Or simply soak up the tranquillity on the Merricks– Red Hill forest trail.

And you’ll be spoilt for choice with the nearby trails – all safe, of course.

Whether your stay be long or short, bring your horse and enjoy the adventure.

Take a relaxing beach ride at Gunnamatta and enjoy the stunning ocean views. Unwind on a forest trail to Main Ridge, stopping for a

For more information, call 03 5988 6737 or 0417 306 415 or visit howardshill.com.au

Howard’s Hill, 101 Curzon Road, Boneo, VIC 3939 Phone: 03 5988 6737 or 0417 306 415 Website: howardshill.com.au 3 8.

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FOR SALE

M A NO L O

MENDEZ Introduction to

by Manolo Mendez specialist in in-hand and classical Equitation & writer Caroline Larrouilh

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correctly executed pirouette is a thing of beauty, a perfect storm of collection, impulsion, suppleness, strength and balance. At canter, it is one of the most physically demanding movement we can ask of our horse. It is a test of a trainer’s ability to develop selfcarriage and a horse that is completely attentive and responsive to the aids. A horse filled with power and expression, yet focused and tension free.

Before we ask our horse for the more difficult canter pirouette, training logic and progression dictates that we first teach him the walk pirouette, beginning with the 1/4, then 1/2, 3/4 and then full pirouette.

A good pirouette is light, fluid and harmonious, it requires suppleness, strength and balance The FEI directions for the walking pirouette are almost the same as for the canter pirouette. According to article 413 of the FEI Guideline for Dressage Event “The pirouette (half-pirouette) is a turn of three hundred and sixty (360) degrees (hundred and eighty -180- degrees) executed on (2) tracks, with a radius equal to the length of the horse and the forehand moving around the haunches.”

For our horse to meet the objectives of this definition, there are several conditions that must be in place.

First however, it is important to understand what a pirouette is, besides being a movement in a test. Pirouettes are a part of the lateral work family along with shoulder fore, shoulder-in, shoulder-in out, halfpass, travers and renvers.

These are all movements that when used knowingly can allow the rider to develop, enhance or rehabilitate his horse physically: Supple, 4 0.

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Photos by Kathryn BaRrett

Close up view of a travers on 3 not 4 tracks. Clint’s shoulders are on the track. His hindquarters are slightly to the inside of the arena. The outside hind foot (wall side) is aiming to step in the track of the inside fore hoof.

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anolo Mendez was the first Head Rider, and one of six founding members of the Royal Andalusian School of Equestrian Art. Based in Jerez, Spain, the school is one of the four classical schools which also include the Cadre Noir in Saumur, the Spanish Riding School in Vienna and the Portuguese School of Equestrian Art in Lisbon. A master horseman with over forty years of experience spanning classical dressage, doma vaquera and jumping, Manolo is dedicated to a soft, sympathetic and thorough training method which prepares horses physically and psychologically for each stage of training from training to Grand Prix and Haute Ecole.

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anolo is using the corner to position Clint for the travers. He uses the travers as a preparatory exercise for pirouettes. w w w. bar o q u e hors e m ag azi nE.com

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loosen, straighten and even him out. Improve the regularity and quality of his gaits and his overall posture.

Lateral work makes it possible for us to single out specific limbs, muscles and joints.

We can ask for one hind leg to flex and carry more weight individually. This allows us to work on gait regularity and quality. We can release stiff or jammed lumbosacral(pelvis) and coxofemoral (hip) joints so our horse can collect more easily. We can unbrace the entire topline so that our horse can lower his haunches, flexion all the joints in his back and hind legs, engage his abdominal wall, raise the base of his neck and lift his forehand more easily.

Lateral work can help us gently release a tight abdominal wall and increase the freedom and range of motion of our horse’s shoulders which allows the horse’s withers to rise and his ribcage to swing freely instead of being pinned between two stuck shoulders.

Lateral movements allow us to shift a crooked horse’s center of gravity back between his shoulders and very importantly, continue improving our horse’s diagonal pairing.

I use lateral movements daily to improve my horses and the 1/4 pirouette is one movement in particular that I will ask for to test a horse’s through-ness, responsiveness to the aids, suppleness and independent balance.

Asked in slow-motion, the 1/4 pirouette can also help me reconnect a horse from brain to hind hoof or alert me to neurological issues.

There is no end to how essential to training lateral work and pirouettes are.

Suppleness and Evenness While executing a walk pirouette, the horse’s body is bent in the direction of the turn from ears to tail, in a harmonious curve.

It should not be over bent or crooked with

If retraining the pirouette, Manolo likes to ride a square with four square corners which he can turn into 1/4, 1/2/, 3/4 or full pirouette as wanted or turn into a circle - or ride simply as a corner depending on how the horse reacts. Here, he is preparing for a simple turn.

the neck going one direction and the quarters another. This requires the horse be supple and his muscles elastic enough to accommodate the extending of the horse’s body on the outside of the bend and the contracting of his muscles on the inside of the bend.

If the horse is stiff and his muscles are not pliable, this will impair the entire spinal chain and all the joints in his body. His tendons and ligaments will be tight, he will not be able to bend well longitudinally, deeply flex the joints of his supporting inside hind leg, and extend the joints of his outside hind leg to step over and around his inside hind leg.

If the rider insists, the horse will learn to dislike pirouettes and run the risk of tendon injuries in the hind legs, muscular tears in the croup, hamstrings, abdominal wall and pectoral muscles as well as possibly develop skeletal alignment issues in his pelvis.

We want our horse to already have a degree of straightness or evenness in his body before we ask for pirouettes so that he can carry his weight equally on all four feet and already

A corner turn. Clint’s outside hind leg does not cross in front of his inside hind leg. Properly riding a simple turn or square turn is PREPARATION along with lateral work for starting pirouettes. First, you must teach your horse to bend evenly throughout its body.

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be able to lower his haunches and collect. To preserve his health, we want him to be able to carry himself, bend evenly and step with regularity.

This need for bend and evenness or straightness is why we introduce the walk pirouette only once the horse has already been taught lateral work and can perform a good shoulder in,shoulder-in out, half-pass and travers.

Strength and Balance Even a walk pirouette demands substantial fitness from the horse.

As its front feet and its outside hind foot move around its inside hind foot, the horse’s inside hind leg functions as a pivot. The pivot leg should not be stuck into the ground, the horse does not spin around it. As the name indicates, it is a walk pirouette and the inside hind leg should remain active, lifting and dropping in the same place with the same clear walk rhythm

Simple turns, corner or circle are very important. We do not want horses anticipating that every corner is going to be a pirouette. Simply riding a turn or a square turn allows us to develop correct flexion thru the neck and through the body and correct rhythm so the inexperienced horse learns to slow down but keep his rhythm while bending.

as when the horse is walking straight. The hind legs should travel on as small a circle as possible while the front legs travel on the outside perimeter of the pirouette’s radius.

This means that posture wise, the horse has to bend laterally and stay in perfect balance while he raises his forehand, lowers his haunches and places more weight on his inside hind leg to turn. His pivot leg’s joints have to flexion deeply to support the added mass on his hindquarters - and the weight of the rider.

The horse has to have the physical strength and muscular control to take each step clearly and deliberately. To stay balanced and connected throughout the entire movement, while on on the bit, with his nose in front of the vertical and his poll at the highest point.

Precision and Geometry The need for balance, strength and selfcarriage is also manifest in the pattern and size of the pirouette. The horse has to go in and out of the pirouette precisely on the same line entering and exiting on the same spot. His transition from traveling straight to bending should be fluid without a break in the rhythm.

The number of steps in the pirouette are between 6 and 8 and they must be clear and regular.

Good and clear rythym From the beginning, whether I am performing a 1/3, 1/2, 3/4 or full pirouette or even a counter pirouette, I pay special attention to my horse’s rhythm and having a clear four beat walk (or 3 beat for canter).

The most important thing in dressage is gait purity so I am very careful to not destroy my horse’s walk by asking for work it is not ready for, or by drilling.

Keen and Attentive A good, healthy canter pirouette requires an elastic and strong horse but also a horse that is able to focus and listen to the lightest aids. That is true of the walk pirouette as well.

We are asking our horse to be present with us, to collaborate with us with every stride he takes so that the pirouettes look light and fluid rather then forced and tense.

As for the rider, he must understand the movement before asking the horse to perform it. He must be balanced, able to differentiate his aids clearly and sit evenly in the saddle without getting crooked in his effort to have the horse pirouette. He must be able to create the bend, place his horse’s shoulders and control its haunches as well as slow down or speed up the activity of the shoulders and haunches without blocking the horse, putting him on the forehand or confusing him.

When to introduce the walk pirouette I begin to teach the walk pirouette when the horse is confirmed in his lateral work. I begin at the walk and in the direction the horse is most comfortable bending in.

I pay attention to my horse’s overall posture and physical and mental state: is he tense, relaxed, nervous, settled, etc..

I ride my horse with his nose in front of the vertical in two light reins. I pay attention to how he reacts when I ask for a 1/4,1/2 or full pirouette, how his ribcage, heartbeat and breath feels underneath my thighs, how he carries his neck and head and how the contact feels in my hand.

How assuredly or not he steps forward, and whether he can maintain his self-carriage and collection through the entire pirouette.

If I feel my horse bracing, the rhythm

Notice Manolo’s alignment. Clint is bent evenly from ears to tail. Manolo is sitting in the middle of his horse, mirroring his horse’s shoulders and bend. His waist is rotating his shoulders to the left. He is NOT collapsing at the waist. As a result of his position, he has a little more weight on the inside of the bend. His inside (left) shoulder is back and his outside (right) shoulder slightly forward. His outside (right) leg is slid slightly back behind the girth, keeping the hindquarters from swinging and encouraging the outside (right) hind to step over the inside (left) hind which is the pivot leg to the left.

Coming out of the simple corner turn changing or my horse laboring to bend and carry himself, I adjust my training. I do not drill.

If my horse runs into the following problems, I know I have to take a step back and reevaluate whether he is straight, supple and fit enough as well as confirmed enough in his lateral work to take on the demands of the pirouette.

I watch to see if: - He loses his balance or cadence, dives on the forehand, stays in place or on the contrary rushes on, but loses his impulsion.

- He is crooked and weighs one shoulder more then the other.

- He steps wide behind.

- His pivot leg wobbles under his mass and he steps backward or stays glued to the ground.

Manolo is riding a pirouette to the right.

His contact on the outside (left) rein is light but connected.

The outside rein is controlling the amount of bend in the neck while the inside opening rein guides Clint in the turns. Note the listening ears, and softly closed mouth with a properly adjusted noseband and flash: loose not tight.

While the inside opening rein guides Clint in the turns.

Note the listening ears, and softly closed mouth with a properly adjusted noseband and flash: loose not tight.

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Look at Clint’s footfalls. He is crossing his outside (right) hind leg over his inside (left) hind leg in image 1 and crossing his front outside (right) fore leg in front of his inside (left) fore leg in image 2 and 3. Note he is calm and balanced: his left ear remains perfectly upright during the turn and his tail sways gently from hock to hock in walk.

- His front end freezes.

- He cannot extract himself from the pirouette and over turns.

- He bunny hops with his two hind legs jumping together for one or two strides.

-He loses power while pirouetting and stops completely.

- He comes out of the pirouette crooked.

- The pirouette turns into a large circle.These are all symptoms that my horse is either not ready, or that I am not guiding him properly.

If I do not take my horse’s responses into account and keep drilling the same incorrect work, he will get increasingly confused. He will lose his interest and confidence and become surly. The pirouettes will remain incorrect and without expression and beauty.

How I introduce pirouettes There are different ways to introduce the walk pirouette. Some riders ask for a turn on the haunches and then make the turn smaller and smaller. Sometimes the term turn on the haunches is used to describe a pirouette. This is not quite correct. A turn on the haunches is different from a pirouette in two ways: it is asked for in a slowed medium walk instead of a collected walk, and the hind legs travel on a wider circle then what is required in a pirouette which requires the inside hind leg lifts and drops in the same footprint.

I do not use this approach because in my experience, teaching pirouette like this interferes with flexion and the correct bend of the

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whole horse’s body. The horse goes into the movement anticipating no flexion and they do not understand the bend we are now asking for to make the movement a correct pirouette.

As a result, they tend to want to take over and struggle.

Pirouette can also be taught by asking for haunches in on a 10 meter circle. I do not use this approach because it is not appropriate for a young or inexperienced horse (below Medium/3rd level). They should not be expected to maintain flexion and bend on a 10 meter circle for so long. It is too small a circle and it is physically too demanding. This exercise can be adapted and used in increments that break up the 10 meter circle but it should only be used with a horse that has extensive experience doing lateral work. Never with a young or inexperienced horse.

In all my training, I like to make the work very simple for my horse, and as easy physically as possible.

As a preparation for working on pirouettes, as previously mentioned, I make sure my horse is confirmed in his lateral work and travers in particular.

I like to use travers because it is an easy introduction for my horse to learn to move in the same direction as his body’s flexion and bend. I can ask for just a few steps in the beginning in walk, trot or canter without stressing him. This is a prelude to what we will ask for in half-pass and pirouettes.

To ride travers, I bend my horse so that his forehand is on the track and his hindquarters are off the track, inside the arena. I position him so that his outside hind leg crosses over the inside hind leg and steps into the track of the inside fore leg. This increases the engagement of the inside hind leg so that its joints have to flex more deeply and carry more weight. With

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an inexperienced horse, I ask for this movement as I turn into the corner, from the short to long side.

As he understands this work, I can ask my horse to do a few steps of travers, go straight and do a few more steps of travers again without needing a corner to set the movement up.

Once he is fluent in travers, I am ready to start working on my pirouettes.

One figure I like to use is a square with four square corners. Square corners I can turn into 1/4, 1/2, 3/4 or full pirouettes if I want to, or turn into a circle or ride simply as a corner, depending on how my horse feels. I use this square not only to teach the walk pirouette from scratch but also to retrain a horse who does not understand how to execute a correct pirouette but can do a bad one.

I begin by riding around the arena and warm up my horse. Then, in a good active but not over active walk, as I turn onto the long side, I ask for a couple of steps of travers.

Then I go straight, then a couple of travers steps again until the next corner.

The travers helps prepare my horse for the pirouette as it improves the crossing of the outside hind leg and creates more engagement for the inside hind leg - it has to carry more weight and its joints have to flexion more deeply.

I turn the corner onto the short side, walk straight and make a square corner right, walk straight, make another square corner to the right, go straight, slow down, turn right but I do not ask for a pirouette yet, I continue straight, and the next corner I slow down and ask for a quarter pirouette checking that the outside hind leg stepped under and over well. Then I go straight, do a square corner without asking for anything, then straight and at the next corner I ask again for a quarter pirouette.

I consider if my horse is listening to me. I go straight and ask for no pirouette and at the next corner, I ask for a half. I go back to the long wall and ask for travers at the walk, not too steep.

I vary the walk, sometime working walk, sometimes a more collected walk, I ask my horse to slow down and ask for a quarter pirouette again, then ask for a half pirouette.

I vary the size of the pirouettes I am asking for because I am training, not competing and I want to develop my horse’s suppleness, willingness and keep his attention. My pirouettes may be a bit bigger or smaller then 3 meters and I am not concerned about it. I am not drilling, I am suppling my horse.

I do not want my horse to anticipate and brace against what comes next. I am constantly listening to what his body is telling me. His ribs against my leg..are they stiff or loose?, Is he struggling to bend or carry himself over his inside hind leg or is it easy for him? How does he feel in the contact. Is his mouth soft or is he locking his jaw and poll? If he tells me I am asking for too much bend for him today, I ask for less.

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In this stride, Clint’s inside (left) fore shoulder is back and lowered and his outside shoulder is slightly lifted to allow his outside (right) fore leg to step out and around his inside (left) fore leg. Note how Manolo’s body reflects Clint’s position.

Inside shoulder lowered, outside shoulder up and forward.

If my horse is finding the 1/4 and 1/2 pirouette easy, I ask for 3/4 and then a full pirouette. If I feel him struggle, I do not try to fix the pirouette while in it, I step out of it and go large, perhaps pick up the canter and work in a light seat forward, down and out to release and relax all his long muscles.

I may work on something else for the rest of the lesson - or come back to the pirouette after a while. Whatever I choose to do, I know I can go back to a square corner any time I want.

My aids...

To ride a pirouette, if I am turning to the right, I sit in the middle of my horse but because my body mirrors that of my horse, my weight is slightly to the right, in the direction of travel, in the inside of the bent.

In this direction, my horse’s pivot leg is his right hind leg.

I keep my right leg closer to the girth to control my horse’s activity and bend. My left leg is slightly behind the girth to prevent his hindquarters from swinging out, encourage his outside hind leg to step in front and over the pivoting inside hind leg and to prevent his hindquarters from swinging out.

My legs pulsate, they do not kick or press hard, I remember to use my walk aids. I sit without tension in my seat and all the way down to my heels.

My upper body is very slightly turned at the waist to reflect the bend in my horse’s body with my outside hand controlling how much bend in the neck my horse has while my inside right hand guides the horse in the direction of the turn with a light opening rein. My arms follow the movement of my horse’s neck and head in walk. My shoulders, arms and hands work together, and as my torso turns very slightly to accompany the turn of my horse’s shoulders, my own shoulders mirror his.

My outside rein is against my horse’s neck but it it is not short or tight, my inside rein is leading him in the turn but it is not long or loose. I keep a soft, accompanying contact.

As I go from a straight line in and out of the pirouette, I continue to follow my horse’s movement and I ride every stride of my horse’s walk.

Entering and exiting the pirouette is as important as the pirouette itself, especially exiting. It is important that I prepare my horse so that he goes from bend to straight without losing his rhythm, balance and activity.

Sometimes a horse will anticipate the end of the pirouette and step wide behind, trying to be done faster, it may rush or on the contrary, lose power - or it may lose its rhythm. If this happens, I check the size of my pirouette and the amount of bend I am asking for, it may be too small and steep for where my horse is at today.

I ride a larger pirouette and if that does not help, I go back to schooling 1/4 or 1/2 pirouettes and focusing on clear steps and balance and then give I give my horse a break.

Pirouettes are hard on the body, I do not want to teach my horse to dread them.

Sometimes, I see riders who become stuck and forget to ride the walk and follow it with their seat and hands. They stiffen and block the horse. They pull on the outside rein as a habit and pull on the inside rein to try to create the bend instead of using their seat and leg to channel the horse and position him properly.

TThis creates a bend in the neck only instead of a harmonious bend from ear to tail. They seat to the outside of the turn with their torso and shoulders turned to the outside of the turn.

Sitting to the outside of the turn and using the seat and leg aids incorrectly results in pirouettes that do not have enough or true bend.

If the rider is not using his legs properly to create and maintain the bend and impulsion, the horse loses energy and the pirouette just putters into nothing.

If a rider over bends the horse, he may also find it hard to get out of the pirouette in time. And/or, the rider may rush the pirouette which is very common. The horse spins in and out of the pirouettes and loses balance and self carriage This creates confusion, fear and upset in horses which then have to be retrained. This takes more effort and time and is not easy.

A learning rider can also get overwhelmed and become confused and upset when starting to learn how to ride a pirouette because of all the elements that have to come together: the pattern, the precision, the collection, the rhythm.

The same advice for training the horse apply to the rider. Break the learning in small chunks, give yourself time, step away if you get frustrated and know that it takes a long time to perfect a good pirouette. Not days and weeks but months and years.

A front view of a right pirouette. Manolo’s inside leg is at the girth. He is mirroring his horse’s bend with his upper body. You can clearly see the left fore and hind legs stepping across the right hind and fore legs.

If a horse is properly prepared from the beginning to work on pirouettes, and the work is introduced progressively, the rider will find it much easier to learn and teach his horse and become ready to introduce the canter pirouette. a Next time: The canter pirouette For more information and more articles visit: www.manolomendezdressage.com

Manolo Mendez wishes to thank Alex and Sandra Wolfe for their friendship and patronage; and Wolfe Civil for its support and sponsorship. Featured in this article is stallion Clint. Cliint is part of the WolfeMen Stallions stable and is owned by the Wolfes. For more information on Dinamico and other WolfeMen stallions visit www.manolomendezdressage.com

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IN-HAND LESSONS WITH MANOLO MENDEZ

TO GET YOUR 10% DISCOUNT

simply email your name and contact information to sales@manolomendezdressage and let them know you are a Baroque Horse Magazine subscriber.

You will receive a special code via email which you can then apply to your DVD purchase online at www.manolomendezdressage.com To learn more about in-hand work and Manolo's training philosophy, please visit: www.manolomendezdressage.com ŠManolo Mendez Dressage. 2013.

Oer expires September 30th, 2013. No returns on DVDs.

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Photo by Debbie Stevens

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BRIN IT ON G !

49

makes his first entrance into the public arena

By Jody Hartstone

New Zealand Grand Prix rider Jody Hartstone continues her story of the purchase and importation of her first-ever Lusitano stallion.

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Photo by Debbie Stevens

P

eople often ask me “why a Lusitano?” What has made one of New Zealand’s most successful riders of Warmblood stallions suddenly turn toward the Iberian horse and decide upon a future of riding the Lusitano horse? My answer to them: it is the piaffe and passage, the ability to collect, the ability to reach the pinnacle of dressage - the bit we are all aiming at- the Grand Prix.

After over ten years of riding Warmbloods in the FEI grades of dressage internationally, it was time for me to find the type of horse that could guarantee me success at the highest level of the sport. I was used to big moving Warmbloods that, although having magnificent paces, seemed to struggle where the “big” marks are in the test - the piaffe and passage. In the grand prix test there are three sections of piaffe/passage movements with four lots of marks for each tour, totalling 120 marks in the test. In comparison, there are only 20 marks for the collected walk and 30 marks for the extended trot.

I first saw a video of Ali Baba working as a six year old. He was a bit gangly and green, but showing a very good aptitude for the collected work. Combined with the fact the he is a son of Hostil, sire of so many great dressage horses, and that he was owned and trained by Carlos Thomas from the Portuguese School of Equestrian Arte, I knew I was onto a winner.

In my previous articles for BHM I have written about how I came to purchase Ali Baba from Portugal and ship him to the far side of the world to start his new life in New Zealand. Once he had landed and was released from quarantine the real work was about to begin - our future together had started. My job was now to turn this wonderful seven-year-old stallion who had never been to a show, nor seen or done much outside of his home picadero - into a competition stallion who would proudly fly the Portuguese flag in Australasia and do his Lusitano ancestors proud. The weight of his nation was on our shoulders.

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Acclimatisation...

My stables in New Zealand could not be more different to what Ali Baba was used to in Portugal. Lush green pastures and miles of hills and beaches awaited him. I had to be careful to introduce both his body and his mind to the new world in front of him. Even in a small field Ali Baba would sometimes go crazy, picking up an alarming speed and leaping and bucking the way I’m sure he did as a baby before the confines of a stable were upon him. Some days it would be impossible to catch him - he would get so worked up with the other horses on the farm coming and going, mares and foals in the distance, and all the hustle and bustle of an outdoor life.

I would often hold my breath and pray that he would stay safe as he tested the boundaries of his near-adult body for the first time. But eventually he settled, and now he is not happy until he is outside in the field for a few hours a day at least, even in the pouring rain.

My plan was to expose him to as many situations as possible in his first year with me. And that’s exactly what we did. He travelled many miles: by van, horse truck, trailer and even ferry. He saw beaches and hills, hounds and cattle; he went inside marquees, did some working equitation exercises and learned to show off in front of large crowds. There were parades down main streets, TV cameras and performances under lights - Ali Baba had to grow up fast. And you know what? He never let me down once!

His first trip to the beach was exciting, but I was filled with trepidation.

How would this horse that had always been in an arena cope with the black sand expanse of the Raglan coastline? What about the waves and the kite surfers who appear en masse on a breezy day? I needn’t have worried. He lapped it all up. Until, that is, I decided to open him up a bit and go for a “hand gallop.” I was thinking, “He won’t ever have been out of a collected canter - I’ll have to use a lot of leg to really teach him to gallop in the open spaces.” How wrong was I?! He fairly flew!

Straight on out into the biggest, most powerful gallop I have felt on any horse, thoroughbred or otherwise. I marvelled at the power, the length

Jody Hartstone Jody Hartstone is a full time horse trainer and dressage rider rider based in New Zealand. She specialises in teaching Equitation Science and Learning Theory - the study of how horse’s learn. She gained her knowledge in this field through her close association with Dr Andrew McLean of the Australian Equine Behaviour Centre who has been her trainer and mentor for the past 7 years. It was through the help of Dr McLean that Jody was able to “turn around” the somewhat difficult Holsteiner dressage horse Landioso and get him to the point where he qualified for the World Equestrian Games. She has won titles at Grand Prix level on several warmblood stallions and has now turned her focus to Lusitano horses.

Jody has qualified through Equitation Science International with an Associate Diploma in Equitation Science. She specialises in helping with “problem” horses and this work as a trainer and a coach takes her to all corners of the world where she teaches riders from amateur level right up to Olympic participants.

of stride, and the sheer enjoyment that the stallion seemed to have possibly for the first time ever really feeling his muscular body in full flight.

Pulling up was not so easy, and with only a nice thick snaffle bit at my disposal I thought perhaps I was heading for trouble, but 100 metres after first applying the brakes I had him back with me and we were once again in control.

On another occasion I took him out with a pack of hounds - I had him up at the kennels standing happily on the front lawn as the Huntsman let out 14 couples of hounds (that’s 28 of them!) for their daily exercise. Most horses I know would get upset or excited, their hearts pounding. Not so Ali Baba. He looked at the pack of hounds causing a mêlée around his feet and seemed to say, “well, if you’ve seen one dog, you’ve seen ‘em all.” That day he trotted up the road with the hounds, happily following beside the four-wheeler bike; galloped up his first hill, and made more fans. On his way home from that trip I took him to some of New Zealand’s best Western riders and we had a go at cattle penning. Again more fans ensued.

Amongst all these “worldly” activities, Ali Baba had to learn to be a competition horse as well. His first-ever show was not what I would call a great success. He was perfectly behaved and took it all in his stride, but as the first Iberian horse to be competing in the “big time” shows in New Zealand, it was clear that both the judges and the dressage public would take a lot of convincing. This was going to be hard work! Clearly the love for the Iberian horse was not as far-reaching as I had hoped. I had a lot of work to do...

A new type of horse...

Judges in New Zealand are not used to seeing high-octane type horses. Some loved him but the majority of judges labelled him as tense.

Yes, the walk needed working on, and the piaffe wasn’t required, but in general Ali Baba was happy, with pricked ears and a closed, soft, foaming mouth (no tight nose band need). But the movements of the Lusitano horse are very different. Whilst I knew in my heart he was never going to be a sensation at Prix St Georges level, we had to start somewhere to

get him out and about. The walk was one pace that needed improving.

Although his walk was good, with no signs of laterality or loss of rhythm , he would often spring into a lovely piaffe when it came time to collect the walk, and he would never really stretch out in the extensions - I mean, why bother when collection was so easy for him? I also found it hard to do anything but smile when he threw some piaffe or Spanish walk into the mix; he will need the piaffe in the arena soon enough! One way I have helped his walk is by getting to shows a day early and just walking and walking and walking. I felt that in Portugal he just never got to practice it - and now that he is spending his days in the fields, he is much more versed in simply walking. It’s just practice, practice, practice.

On to the trot. Ali Baba has lots of trots, from a slow, going-nowhere trot, to a fast and flat version of the same. He also has a wonderful “passagy” trot and a super collected trot, if and when we find the “button.” In comparison, a Warmblood often has only one trot and is much easier just to sit on and keep a rhythm. Our problem was to find the trot the judges liked best and to be able to maintain it throughout the test. I had a lot to learn.

The canter work was fine, just keeping the rhythm at the right speed, but the collection was there for the pirouettes and the changes were straight and clean with hardly a mistake to be seen.

I know now what I have to do - just not worry about the competitions at this level and press on to the Grand Prix - the place where I know in my heart we will shine. But the next problem: where to find a trainer. I have a fairly specific way in which I want to train - legs without reins, reins without legs - and I am not into the horrible tight nosebands and strong contacts so often seen in competition arenas around the world these days. I am on the lookout for a classical-type trainer who is accepting of my lofty competition goals, someone who believes in both Ali Baba and me - and someone who knows the intricacies of the Lusitano horse. Does this person even exist in my homeland? I have a lot of work to do here too it would seem.

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He will steal Hewill willsteal steal He your heart... yourheart... heart... your Ali Baba AliBaba Baba Ali

Puro Sangue Lusitano PuroSangue SangueLusitano Lusitano Puro 16.2hh Bay Stallion 16.2hhBay BayStallion Stallion 16.2hh

Temperament *Versatility Versatility**Power *Power Power**Versatility *Versatility Versatility * Collection Collection* *Versatility * Versatility Versatility Temperament ** Versatility * *Collection Temperament Height, presence and paces.

Intelligence and courage.

Height, presence and paces.

Intelligence and courage.

Height, presence and paces.

Intelligence and courage.

Baba sired by one Portugal's best breeding stallions - the the Ali Baba isisis sired by one of Portugal's best breeding stallions - -the Grand AliAli Baba sired by one ofof Portugal's best breeding stallions Grand Prix trained Hostil.

His dam lines are famed in the bullfighting Prix trained Hostil.

His dam lines are famed inin the bullfighting ring.

Prix trained Hostil.

His dam lines are famed the bullfighting ring.

Lusitanoisisisaaahorse horselike likeno noother. other.

A AALusitano Lusitano horse like no other.

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HartstoneEquestrian Equestrian Ltd Hartstone Hartstone EquestrianLtd Ltd Raglan, New Zealand Raglan, New Zealand Raglan, New Zealand www.HartstoneEquestrian.com www.HartstoneEquestrian.com www.HartstoneEquestrian.com

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A star is born...

One of the best nights I’ve had with Ali Baba thus far was at our Horse of the Year Show, which is an international dressage and jumping show with thousands of spectators - and over 2,000 horses competing .

I was invited to present him to the huge evening crowd under spotlights alongside New Zealand’s eventing superstar - the newly knighted Sir Mark Todd.

It takes a special kind of horse to cope and not run amuck in that atmosphere. Screaming crowds, loud music, lights - the works! Ali Baba is still so young and inexperienced - remember that 6 months ago he had never been to a horse show. When it goes well out there it’s brilliant - the best possible advertising for your stallion and your training; a huge audience with all eyes on you (I thrive on that kind of thing) and a real chance to show off and shine. However, I am also acutely aware of how wrong it can all go - how bad both you and your horse can look if he is tense or unsettled or works poorly. It was a risk I was willing to take - I had faith in my horse, and I think he was starting to have some faith in me, too...

And so, on to the performance. After a brief warm-up in the back I stood Ali Baba under the archway entrance to the Premier Arena.

We were in the dark, looking out onto what was indeed a very scary and demanding spectacle. Floodlights light up that arena at night into a bright green vista and it’s a huge space when it is empty of show jumps. The grandstand along the back wall was simply heaving with people, an absolutely massive crowd. Not to mention the thousand more people lining the outsides of the arena, leaning on and hanging over the sponsored perimeter fencing. The big screens were delivering coverage to those with a less spectacular view, and TV cameras were staged at various locations and up on cherry pickers. The sound system was booming as the commentator announced our entry. This was our moment, Ali Baba and I - the eyes of the equestrian nation were directly upon us and only us.

I was dressed in a pink flowing dress with a corset in the style of “Medieval Wench,” so the costume hire shop said. I had plaited pink flowers through Ali Baba’s mane and we had put glitter through his coat;

he looked magnificent. I was nervous and excited at the same time.

How would my young horse cope? As I stood under that entrance way I prayed he would not let me down. He seemed to say to me, “are you sure we can do this?” and I said, “yes, young man, just trust me.” I took a big breath and we stepped out into the brightly lit stadium. Ali Baba put his best foot forward, Spanish Walking along the perimeter as we headed towards the imposing grandstand some one hundred metres ahead. The first part of our performance went without a hitch - some medieval flute music floated from the sound system as we piaffed, passaged and pirouetted our way around the arena. We did a few lines of changes and even managed ten one-tempis. Ali-Baba was on fire. I had to try and concentrate on the task at hand, when all I really wanted to do was watch him fly on the huge TV screens above us.

He then stood stock-still while I announced the entry of the star performer of the night, and the crowd went wild as Sir Mark Todd rode into the arena. The pas de deux was a big hit, but unfortunately Mark’s borrowed horse was not up to the task, being frightened by the big atmosphere. Still, as our rock music continued - Adele followed by Black Eyed Peas - his horse settled more and the crowd simply loved it. I had a ball, Mark Todd was a good sport, and now the equestrian public of New Zealand knew exactly who Ali Baba was and just what he was capable of.

Ali Baba had arrived, and a star was born that night. At last some of my pathway ahead was laid and the future looks very bright indeed. a

Jody Hartstone Hartstone Equestrian Ltd Raglan, New Zealand www.HartstoneEquestrian.com w w w. bar o q u e hors e m ag azi nE.com

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Juan M Muñoz To create a bond with his rider, the young horse needs to trust and be confident in that rider. That trust is created right at the beginning from the ground up with the management and care of the young horse. That confidence will be very useful when it comes to being ridden. The horse will be alert, yet docile, and it creates, for want of a better description, a symbiosis of dialogue between horse and rider.

When warming up before riding in the arena, you can do many fun things to prevent a horse’s routine from becoming too boring. You might try hacking out in the field, or getting the horse’s attention by touching his ears, his croup, and his tail. All these little things will make training easier and more bearable for the horse.

Tips by top

riders

trainers Anja Beran A very good exercise is to work the horse in hand from the side before riding. I often let the horse go next to me on a small circle around me. I am standing in the middle like a pillar and I touch the horse (on the hind leg or on the place where I have my leg when I ride the horse) to start overstepping from left to right. When the horse is stiff on the left side, I try to give flexion and bend him a little to the left. That´s why I work in hand with a snaffle or double bridle.

If the horse has his good side on the left and is naturally bent to this side, I use a stronger outside rein to keep the neck almost straight. I do many stops and starts, until the horse goes very easily next to me and until he starts to chew on the bit and is light in my hand. From right to left I do the same. When the horse is fine and flexible at a walk, I repeat the whole process at a trot. That’s a very good gymnastic exercise for the horse and helps him a lot to put his body in balance—a perfect warm up!

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JP GIACOMINI The bond between horse and rider is desired by all and often explained in romantic terms. Bonding has very constant components that must be understood and developed if we want to be successful at creating the big picture in our relationship with horses. The first one is respect. The horse will not bond with an animal or person she/he does not respect. In fact, the greater the respect from the horse to the human and vice versa, the deeper the eventual bond will be. Respect means that the horse respects the space of the person but the person has to reciprocate. We want our horses to move in whatever direction we ask them to, but we must be polite about it. We must ask for all those movements with the smallest aids as possible, so it progressively becomes the horse’s idea to perform every exercise that she/he learns.

For the rider to do less once the horse has started to obey is the most immediate form of reward. It is also showing the rider’s trust by exercising less and less control.

Trust is the next big component of the bond. As soon as the person steps away, the horse must be willing to come back to the handler.

This exercise should be repeated from greater and greater distances.

The interest in staying close to the handler shows that the flight instinct has been forgotten by the horse, at least with that person. In the herd, the horse respects his leader (gives him or her precedence at the waterhole, or at feeding time, or during mating season), but still follows that leader and sticks with him or her for the sake of safety through the herd connection.

This combination of respect and trust is what constitutes the bond.

When those two elements are well established, pleasure can be added: scratches reminiscent of mutual grooming, occasional treats and, above all, love. But without establishing respect and trust FIRST, providing scratches is no more than being a scratching post; giving treats is no more than being a food dispenser and unrequited love is a bore.

Jenny Rolfe When do the children in the classroom really listen and learn?

When they are interested and the subject is portrayed with fun.

The horse is similar, and if he can feel our enthusiasm and joy, he will become a mirror of these emotions.

So let us look at a basic in-hand exercise, practiced for centuries within the classical riding schools.

The horse will have the opportunity to gain confidence from the close contact with the handler. He will learn to work with energy and with a greater understanding of the whip and voice aids. The touch of the whip will eventually be replaced by the seat and leg aids of the rider.

This work is the perfect opportunity to teach lateral movements and enhance self-carriage without carrying the weight of a rider.

Work on the circle

Prepare to circle left by positioning yourself in front of the horse and turned slightly to face him from the right-hand side.

Hold the horse with the left hand, with his head and neck on your left. Holding the whip in the right hand, encourage the horse, with your outward energizing breath, body language and whip, to commence walking a circle around you. He should use his inside limbs laterally to cross in front of the outside limbs. The front legs should cross over as if performing a turn on the forehand. After a few strides, ask for a halt by standing taller and taking a deep, inward breath.

He must have sufficient space to mobilize his shoulders, to step forwards then across. If he is given too little room for movement, he may take a backward step, which is totally incorrect.

Work for a few minutes and show him your enthusiasm and joy when he responds to you. Keep the pace steady and calm. This type of work can also be used with no tack. It is very rewarding and fun to gain this connection! The horse will soon perform these movements with no tack, from a connection with your body and breath awareness. This is developing a friendship, building trust and harmony.

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Manolo Mendez Follow the Leader When I was asked for an exercise I could suggest to riders wanting to have fun with their horses, I immediately thought of “Follow the Leader” which is a game Chantelle Matthews, my assistant trainer, and I play when the horses feel like they could use a little levity. Follow the Leader is easy enough: one rider leads and one rider follows. (You can switch.) The leader chooses different figures and decides on gaits, transitions and halts. The follower... follows.

While this is fun for the rider, I have found that it is also quite beneficial for horses that are a little nervous alone in a new arena, or just a little tense learning new ways of using their bodies.

Following another horse is a natural thing for a horse, and they find it easier to bend this and that way or speed up and slow down while mirroring their buddy.

So, pick a horse yours gets along with, discuss what is comfortable to both riders, and start playing. Soon enough, what you will notice is that the riders, too, are looser and more comfortable. Mirroring each other, keeping an eye on the person in front and an ear on the person behind, translates into less focus on oneself and more focus on the experience, on being in the moment, and having fun. It is a win/win for horses and riders.

Sylvia Loch

As regards affiliated competition, there was only one other rider in the UK competing on Lusos at this time and she had been one of my late husband’s students. He was no longer around to give me guidance, and the only training I was getting was from a former member of the Spanish Riding School who never found fault with my leg position.

It took a couple of years for me to finally “see the light” and realise that my leg position had contributed to the fact my mare did not always go forward as much as I would have liked. By this time I was schooling her to piaffe and passage, but often in the middle of a competition she would go into a passage when we should have been doing an extended trot!

It became a real problem.

I turned again to my equestrian library. I had some wonderful old master books and it dawned on me that time and again, they spoke of the descente de jambes to “let the horse go forward.”

It was like a light bulb switching on. I’d read this before but sometimes things have to go wrong before you actually grasp the truth for yourself. By bringing my legs behind the vertical, I was effectively stopping my horse from going forward. On the other hand, legs a little back was the correct aid for passage...and, er...for rein-back! Duh....

When I was younger, I used to have a tendency to bring my lower leg back to contact the horse’s sides to say “forward.” This was because I have relatively long legs and my Lusitano horses were not as big or as deep as, say, a Warmblood. For me, it was the only way of contacting their sides. I knew it looked wrong, but I saw no other way to make that important contact.

I had one particular mare with whom I used to compete, taking her up to Advanced Dressage—despite the enormous prejudices of the judges back in the 1980s—when Lusos were few and far between in the UK. “Stuffy little horses,” I was told on more than one occasion.

“Why not get yourself a proper horse?”

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Since then, I have been able to help so many riders achieve better forwardness in all their riding. I’ve also helped them with their aids for passage! The point is, unless we make mistakes ourselves it’s often hard to correct faults in others. In all my books and DVDs I have also taken time to explain biomechanically what a huge difference leg position makes to how the horse interprets our requests. So let your legs hang for all forward movement. If this means your lower leg is in less contact with the horse—like me—so be it. You just teach them to respond to the ”top of the boot” rather than the bottom. But make sure your knees and toes are pointing forward first! a

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The 3 C’s of D r essage

Spanish Walk

The ‘How’ and ‘Why’ of

By Barrie Stratton

Calm, Confident and Connected A simple formula used to school and assess horses, as well as coach riders.

“Mozart” doing the Spanish Walk

Barrie Stratton: Full-time international dressage coach and trainer. National ‘A’ level Dressage Judge, Judge Educator and Mentor

This article in the 3Cs series follows the previous discussion on “Improving the Paces.” I will now proceed to describe why I find the Spanish Walk to be a useful exercise to incorporate in the schooling of some horses and how it relates to the previous topic.

Photos of KC by Jessica La Pia, of Leo by Anna Melton 5 8.

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Recognising a well-executed Spanish Walk

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The specific Spanish Walk which I find useful in the schooling of a horse comes from a very well-engaged and collected walk, at the same time displaying a high degree of self-carriage. From this engagement and collection comes a Spanish Walk which is finely balanced, allowing the horse to maintain a welldefined four-beat walk while lifting a front leg to a level close to, or above the horizontal. The lifting of each front leg is done swiftly and energetically, with the knee almost straightened when at full height. Then as the horse is moving forwards in the very collected walk, the raised leg seeks to return gently to the ground, Above shows the beginning of a Spanish Walk step. Note the while the horse continues to maintain a positive forward desire. The leg clearly defined correct footfall sequence of the walk pace is lowered so elegantly and gently, that the placement of the hoof on the being preserved. ground is inaudible. The rider’s hands have an extremely light connection to the horse’s mouth. The rider’s pelvic region gives the control and Why Teach the their torso the strength in their Spanish Walk? communication. (See “Harmony with the Horse,” Article Two.) The horse The necessity of a horse being trainable executes these delicately executed was highlighted in Article Two of this steps of the Spanish Walk via their series. The importance of the horse very well-engaged back, connecting having a good work ethic was also the hindquarters to the forehand. This discussed. In some cases, we may well gives the horse its balance and the hit a stumbling block with a particular finesse of the movement. The walk part of the horse’s schooling which, continues to flow seamlessly although being a willing pupil with as the other front leg a good work ethic, clearly lacks the commences its energetic lift. physical athleticism to allow it to Performed in this precise manner, the adequately develop certain paces and Spanish Walk is a useful exercise in movements. These horses should often the horse’s schooling, and is far from be left to perform only what is natural Above shows showing the front leg lifting higher being categorised as a “trick.” to them and avoid unnecessary stress in their lives. In some cases a skilled rider may help those horses realise hidden potential by using exercises Prioritise the which may help it to grasp a concept, leading the horse to performing a horse’s needs pace or movement competently, that Before introducing the Spanish was previously quite removed from Walk to a horse, a solid foundation the horse’s natural way of going. This in its schooling, incorporating the 3Cs would have been the case whether of dressage, needs to be already in being ridden, or at liberty in a place. The horse should display wellpaddock. Spanish Walk can be such an defined walk, trot and canter paces, exercise. and should have acquired a balanced way of going with rhythmical paces, If a horse lacks elastic suspension in suppleness, looseness and good its trot, the Spanish Walk may often self-carriage. The horse’s training be a stepping-stone that can lead to level would give a clear indication the introduction or enhancement you can now sees the commencement of the decent of the leg that the six elements of the Training of that desirable quality. This can, Scale have been a basis of any prior in turn, lead to horses displaying a schooling. As previously defined in far more expressive passage, often Article One of this series, those demonstrating considerable amplitude. elements are rhythm, suppleness, Globally, in the last 7 years, more than contact, impulsion, straightness and one horse has been schooled using this collection. Prior to introducing the method, and then proceeding to win or Spanish Walk, I usually have most place in major International dressage of the horses already performing competitions. shoulder-in, half-passes at trot and canter, walk and canter pirouettes, I also find that a well-performed flying changes and a good variation in Spanish Walk helps a horse to improve walk, trot and canter paces. So before the ”focus on its work” (see Article commencing Spanish Walk, the horse Two), as well as enhancing the way already has a considerable level of the horse uses its back and further understanding and sophistication in develops its balance. relation to what constitutes being a dressage horse. showing extension of the leg during decent w w w. bar o q u e hors e m ag azi nE.com

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Improving the Trot This method of improving the elastic suspension and impulsion in the trot is achieved by systematically schooling Spanish Walk and Spanish Trot, then progressing to an expressive passage. It is the task of the dressage judge at competitions to decide if such a horse is executing the paces correctly, performing the movements as a supple back-mover or merely a leg-mover, which lacks those desirable qualities of looseness and a swinging back. While I have successfully trained many horses to improve their trot and passage using the Spanish Walk, I would like to clarify at this point that I still usually prefer to school those paces simply via the “natural” development of the paces of the trot. Having said that, I conclude this observation by adding that horses seem to really enjoy the process of skilfully being schooled in the Spanish Walk. It can thereby enhance the special relationship between horse and rider.

Schooling the Spanish Walk Training the Spanish Walk encompasses a journey through at least four phases. I purposely leave open the idea of how many phases we may need to employ, depending on the individual needs of each horse, and we as riders and trainers adapting to those needs. (See Adapting to the Horse’s Needs, Part 4 .)

• Introducing the Horse to the Concept of Spanish Walk

Shows initial work in-hand with Kitzalano halted square and parallel to the wall on the outside track, as I am about to request an initial lift response of her leg to the whip cue.

I like to stand the bridled, unmounted horse in a square and balanced halt on the outside track of the arena with its spine parallel to the wall. While standing adjacent to the horse’s head and facing its shoulder, I hold the snaffle rein approximately 10 cm from the bit and then touch several points on the horse’s front leg with either the handle or tassel end of the dressage whip, until I get

a lifting response. These variables are determined by whatever location on the leg, and end of whip, most readily obtains a modest lift. Ensure your safety by not standing in line with a front leg that might respond in an over-active way.

In cases where there is no reaction, I may need to resort to bending down and lifting the foot as either I, or a helper, touches the horse’s leg with the whip. As soon as a response is obtained, the horse is rewarded with praises and a pat and perhaps a morsel of food. Soon the horse associates that when its leg is touched with the whip and they respond by lifting their leg, which might still be ever so slight, they receive a reward and/or praise.

Be patient and concentrate on one leg at a time, achieving a clear result before changing the way the horse is facing to teach the lifting of the other front leg. It is very important that the horse is treated in a skilful and respectful way, so that it remains calm throughout the entire training process of Spanish Walk.

• The horse is now mounted, together with an assistant on the ground The horse is again placed on the outside track, now with a rider holding the reins and a whip. A ground assistant also has a dressage whip and plays the role of the trainer as was highlighted above in Phase One. In this second phase, the assistant usually does not need to hold the reins any more, as this is done by the rider.

KC’s response to the whip indication

As the ground assistant touches the horse’s leg to obtain a lift, simultaneously the rider touches their whip on the horse’s shoulder. When a successful lift is given, a reward reinforces to the horse that a touch of the whip on the shoulder is also a cue to lift its leg. Systematically, the ground assistant reduces their influence, resulting in the rider being able to obtain a lifting response to a tap of their whip on the shoulder.

As in Phase One, concentrate on only one leg at a time, and face the horse on the other rein to school the horse to lift the other front leg. In each case highlighted so far, it is the horse’s inside front leg that we would normally work on. Once the horse shows a consistent understanding of a response to my whip on

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Barrie rewarding KC which immediately follows the positive response.

the shoulder, I then coincide whip placement with a slight rotation of my pelvis, taking a little more weight on my seat bones and slightly tightening my stomach muscles. The weight on my seat bone on the same side as that of the leg being lifted is less than the other seat bone which is located on the side of the grounded front leg.

Through consistent repetition of these aids by the rider, and the horse’s association of both the whip and pelvic/seat placement, the rider may begin to obtain a result by not having to touch the shoulder with the whip anymore, but merely manoeuvre it adjacent to the shoulder as their pelvic/seat aids are used. Eventually, the horse will become so familiar with the rider’s subtle, yet precisely applied pelvic/ seat aids, the whip may be almost completely eliminated as part of the Spanish walk process.

KC’s lift from the halt in her 4th training session of Spanish walk. The walk is not employed at this early stage. Confidence and balance is being established.

At this stage, the exercise is still being taught from a well engaged halt. A step of rein-back from the halt prior to asking Spanish Walk can improve the horse’s engagement, thereby assisting with the lightening

of the forehand and freeing of the shoulders. Alternatively, the rider may employ a well-engaged trot or canter prior to halting. Either way, the important issue is a well-engaged horse at halt, which will then enhance the quality of the lift.

• Developing a forward step as a front leg lifts

I like to introduce a “forward moving” desire in the horse very early in the schooling of the Spanish Walk. As soon as the horse has a clear understanding that it is to lift its legs to the aids described above, then it is the time to develop a forward step as a leg is being raised. A skilled assistant on the ground who is holding a whip, may be of benefit if they can co-ordinate well with the rider and the rider’s aids. As the horse is requested to lift its leg, the rider also applies some lower leg pressure to encourage a walk step. The walk is of a slow tempo, enabling the horse to remain balanced during the delicate stage of lifting, and then subsequently, gently placing the foot to the ground. As there is a little more weight on the seat bone on the opposite side to the lifting leg (see previous bullet point), that same opposite side leg of the rider may also be a little more influential in obtaining a forward step, rather than the rider’s leg on the same side as the lifting leg. It is still important to concentrate on the schooling of lifting just one front leg at a time. Keeping things simple will help give the horse confidence, and so the 3Cs qualities are again preserved.

The energetic lifting and elegant replacing to the ground of the front legs during Spanish Walk, as described in the first paragraph, must be comprised of a correctly sequenced four-beat fluid walk pace. The walk footfall sequence of off hind followed by off fore, then near hind followed by near fore, must be clearly evident during the exercise.

Showing that KC has progressed to walking forwards while lifting. This is taken just prior to the straightening of the leg, and the correct sequence of footfalls is displayed.

KC lifting from the halt in an early schooling session of Spanish Walk.

During this fourth phase of education of

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the Spanish Walk, the rider may need to temporarily ask for, and expect, a less pronounced lift of the front legs, while the continuous walk steps are progressively coordinated. Patiently aim for two, three and then four steps of Spanish Walk in succession.

The key at this stage of schooling is to build confidence in the horse’s ability to maintain balance during subsequent lifts, while maintaining a fluid and correctly sequenced four-beat footfall. Once a combination of steps of Spanish Walk with a modest lift is established, and the horse shows confidence in the movement, the amplitude and expression of the raised steps can once again be carefully requested.

A Spanish Walk that Can Lead to our Pure Pleasure When performed well, displaying elevated, rhythmical and balanced steps, the Spanish Walk engages the horse’s back and thereby lightens the forehand. This in turn enhances any walk, trot or canter pace that may follow. The movement of Spanish Walk can therefore be said to be one of real value when schooling a dressage horse. This enhanced engagement from the horse gives the rider a unique and rewarding feeling of a truly wonderful connection through the horse, which originates from well engaged hindquarters. The harmony the rider can experience with their horse when Spanish Walk is performed with true excellence is one of those rare moments that a passionate dressage enthusiast searches for in their lifetime. In that moment of oneness, both horse and rider are Calm, Confident and Connected. a

Showing a relaxed rein and caress, rewarding KC after her fine effort.

As a professional coach and trainer, Barrie has guided riders and horses to achieve Grand Prix level dressage. Many have competed successfully at National Championships, CDI-N and CDI-W competitions.

www.academyofdressage.com.au

The above text is © Barrie Stratton 2013

Calm, Confident and Connected Contact details: Email barrie@thestrattonfamily.com | Mobile 0400 639 909

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“The Aids by Feel not Force� ..................................................................

Review by Robert Smith QC

Sylvia Loch with Queijada displaying correct application of the outside leg and the outside rein as an indirect rein aid

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T

he equestrian book market sees new publications virtually every month of the year. Among them there is always a spate of attractive sounding titles being offered to a prospective world wide audience. Most riders want and need to improve all the time and good books of this type are in demand. This remains true not only for the novice rider but also for those riding and competing at the higher levels.

One of the things which many novices do not realise is that not only those at elementary level but advanced riders in the equestrian world, in whatever equestrian discipline they practice, need, despite their expertise, good teachers and trainers. This is true of any discipline but particularly so with the art of riding. All riders also need a firm grounding in academic equitation, particularly in the field of dressage and classical riding. How therefore does any rider choose from the many publications entering the market, some of which are of little real value and some of which are, frankly, second rate?

A valuable starting point is to assess the record of the author. With Sylvia Loch her record speaks for itself. When I look at the shelves of my equestrian library, displaying as they do the fruits of hundreds of years of accumulated wisdom, they include books written by a number of notable modern masters of classical riding but it needs to be said that the modern masters are few. The art of classical riding was devised and refined to a state of perfection well before our time. However, we cannot constantly look back and the modern masters have much still to teach us in how to understand and to apply the guidance of centuries, grounded as it is in the long history of academic equitation. Thus there remains a need for good teachers and riders to pass on their own accumulated wisdom to all of us. Sylvia Loch is one of these.

One can begin by asking which current teacher, horsewoman and author has been invited to write either a foreword or an introduction to the work of three of the modern masters of equitation as well as publishing foundation works of equestrian literature herself? Sylvia Loch is unique in this regard. On my shelves sit the works of Alois Podhajsky, who was the Director of the Spanish Riding School for nearly a quarter of a century [The Complete Training of Horse and Rider]; Charles de Kunffy, the international judge, all round horseman and teacher of the equestrian arts [The Ethics and Passion of Dressage]; and Philippe Karl, a former Ecuyer in the Cadre Noir de Saumur [Long Reining - The Saumur Method].

Sylvia Loch has written the foreword or introduction to each of these modern classical works which in turn form only a small proportion of the writings of these outstanding men. She has also written, among many of her publications, two very fine books which I consider to be among the foundation works devoted to classical riding and to the horses that gave the world the ability to develop and refine the art. These are, “Dressage - The Art of Classical Riding” which was first published in 1990 with a foreword by Brigadier Kurt Albrecht and “The Royal Horse of Europe.”

The former provides an authoritative guide to the history of the development and refinement of classical riding and the latter is the most detailed and authoritative text relating to the Iberian horse that has been written by any author from outside the Iberian Peninsular.

Sylvia Loch has one outstanding ability as a teacher and as a writer.

She writes for all levels but in doing so she has developed the ability to give clear guidance for the elementary student which the advanced rider will also find valuable and, in turn, she writes about advanced work in a way which any elementary student will understand and follow. This is a skill which is not easily developed but she has brought this skill, with her new book ‘The Balanced Horse’, to a state of perfection. I have sometimes heard publishers or riders say that a particular work might be unsuitable for a particular rider because it was “too elementary” or “too advanced.”

When equestrian guidance is published it can never be “too elementary” or “too advanced” if it remains, nevertheless, well written and authoratative. All riders know that when we take up the reins on mounting and ask for the horse to walk forward we are engaging in something that may be considered by some to be “elementary.” On the contrary, the walk was correctly described by Jean-Claude Racinet as the “mother gait” in preference to the trot. I note that Sylvia Loch also adopts this terminology in the context of the walk. Even the most advanced rider strives to achieve perfection at the walk. The rider should never minimise the importance

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Sylvia Loch riding ‘waist to hand’ with Prazer, both horse and rider in perfect balance.

of the basic gaits and of perfecting them. What Sylvia Loch’s new book does is to reach to a broad audience of riders at all levels and there is thing new to learn in here for everybody.

First of all therefore, to whom is Sylvia Loch’s new book directed?

The answer is that it is directed towards every rider who aspires to constantly perfect his or her skills and to ride and work in complete harmony with the horse. There has been a significant increase in interest in the art of classical riding in recent years. Sylvia Loch has been in the vanguard of that movement, promoting the Classical Riding Club, lecturing and writing, both nationally and internationally, and in so doing she has opened up to many people the realisation that classical riding provides the opportunity to perfect one’s riding skills by sympathetic contact with and management of the horse, regardless of one’s basic abilities and experience and regardless of the breed or experience of the particular horse. The mysteries of competition dressage have also largely fallen away under the renewed influence of classical riding, promoted by a handful of International riders and teachers such as Sylvia Loch and due in no small part to the results of the 2012 Olympic Games which have demonstrated a move by the International Judges to honour the principles engrained in the rule book of the F.E.I. So many riders, with this combined impetus, now realise the importance of a systematic and sympathetic approach to riding, to schooling and to improving.

When I opened and began to read the preface I was reminded of just how good a teacher Sylvia Loch is. Instead of professing her own abilities as a teacher she explains what she derives from her teaching.

“Developing your student’s sense of feel, by opening doors for them and doing so in partnership with a kind and generous horse takes you, the trainer, to new heights. Best of all, is the knowledge that you are not just helping your student, but other horses; all horses with whom they will come into contact for the rest of their lives.”

This is very humbling indeed and many who profess to be teachers should pay careful regard to her approach and learn from it.

Sylvia Loch reminds the reader of the elements of the management of horses which are a key to successful riding. I very much like the fact that she makes the point that classical riding is open not only to every rider but to every horse. I am reminded of the efforts that she has repeatedly made over the years to explain two important principles that every rider, new to classical equitation, should remember. Firstly, it is not the movement that is necessarily classical, but the way it is performed and secondly, classical riding is not reserved for horses of exceptional ability. Five horses feature in her new book and all can be seen in the splendid photographs taken by the renowned equestrian photographer, Nathalie Todd. They were photographed at two locations. One was at Contessa stud in Hertfordshire and the other at Ladykirk’s magnifi-

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cent riding hall in Berwickshire where Sylvia Loch has provided, for two consecutive years, a display of ‘Dressage in Lightness’ for the annual BHS Borders Festival. None of the photographs have been ‘stage managed’ and she has, like any good teacher, utilised some of the photographs to demonstrate not only perfection but also, on occasions, to show how her seat or the application of the aids may have been better at any one particular moment. The five horses included in the illustrations in the book are, firstly, her ‘old favourite’, the home produced Lusitano stallion Prazer, who displays all the finesse and elegance of the breed which she has done so much to promote, and to whom this book is also dedicated; her daughter’s immaculately schooled and professionally produced Lusitano mare, Queijada; a fine Dutch warmbloood gelding, Bingh; a young Dutch warmblood, Colkitto; and finally, Porridge, a coloured cob of 15 years of age who had never before been introduced to classical riding in the whole of his life. Thus, the spread of experience and talent of these five horses has been utilised by Sylvia Loch to show not only the art of riding with a schoolmaster and with horses at intermediate and elementary levels of training but of the transformation of a completely unschooled horse of advanced years in the hands of his own rider. This is one of the great advantages of this book. There is not one elementary rider who will feel ‘left out’ and every advanced rider will utilise the guidance contained within it. This is a remarkable achievement in itself.

But what of the structure of the book? The chapters are skilfully arranged and begin with the concept which the title also bears, that of ‘balance.’ Great emphasis is placed upon the importance of merging our own balance with that of the horse in everything he does. The reader is guided through the early days of training of the uneducated or young horse and the importance of relaxation for both horse and rider. Sylvia Loch provides informed guidance in relation to one of the critical aspects of the schooling of young or inexperienced horses and that is the gradual transfer of weight away from the forehand. Here we find the influence of the great masters of equitation with emphasis upon a systematic approach to training and the gradual development of the skills associated with lateral work, longitudinal and lateral suppling. Softening and yielding to the bit, she reminds us, has a rebound effect on the horse throughout his body. Her explanation of the importance and meaning of ‘contact’ is absolutely clear and is a pleasing contrast to the unsatisfactory methods and descriptions provided by so many people who profess to teach and to school horses for competition and pleasure. The short section entitled ‘On the Bit’ is a prelude for later chapters in the book dealing with suppling and flexions and introduces the rider to the importance of waiting for that feeling of lightness in the rider’s hands. The dangers of overbending, a problem so common at all levels, including Grand Prix competition dressage, are mentioned here and developed later in the book where the subject of rollkur finds its place. Likewise, the author rightly condemns another common problem, that of the overly tight noseband, and hints at what can be found in the academic literature in the search for lightness, namely, the gentle ‘champing’ of the bit which corresponds with the submissive and giving horse, correctly flexed at the poll and in complete balance.

The flow of the chapters continues logically into “The Aids for Impulsion’ and from here on each chapter concludes with short points of guidance which the publishers have highlighted in the text. These are generally headed ‘things to guard against’ and ‘think positive.’ The simplicity of these terms should not be misinterpreted. They are ‘bullet points’ which pull together the key guidance within the chapter itself and this is a useful reminder of what has gone before. This chapter is followed by ‘The Rein Aids’, a valuable chapter which not only guides the rider in relation to the direct and indirect use and effect of the reins but always returns to classical roots, emphasising the importance of ‘respect for the mouth’ and the harm which is associated with ‘force’ rather than ‘feel.’ The whole of this chapter is devoted to key aspects of flexion, lengthening and the need to relax the horse by ‘stretching’ at regular intervals when working in a concentrated way in the school. Once more we find the use of

Sylvia Loch with Prazer, displaying a true, deep classical seat and absolute harmony between horse and rider

“Developing your student’s sense of feel, by opening doors for them and doing so in partnership with a kind and generous horse takes you, the trainer, to new heights. Best of all, is the knowledge that you are not just helping your student, but other horses; all horses with whom they will come into contact for the rest of their lives.”

gadgets rightly condemned. In the following chapter entitled ‘The Role of the Inside Rein and Inside Leg’ the guidance here really gathers pace. Adherence to the principle that the horse must be straight, while absolutely fundamental to all training, has resulted in a misplaced understanding of the idealistic view of ‘straightness.’ The author makes this point at the beginning of this chapter. She cites the common example of the novice horse and rider who are constantly drilled in ‘so-called straight lines’ up and down the school at walk trot and canter thereby achieving little by way of ‘straightness’ and certainly nothing to promote ‘forward’ movement but instead producing tired and dispirited riders and horses. She points out that the Viennese and French classical schools generally accept that if the horse is to appear straight on the track or to attempt any form of figure work there must be a degree of inside bend. The author begins by reminding the reader that the horse cannot be straight until he has learned to soften and bend equally on both reins. I found the whole of this chapter particularly valuable. It deals with the correct degree of bend, how we are to identify it and the application of the leg aids, including, invaluably, the weighting and position of the inside leg. Logically, this chapter is followed by ‘The Role of the Outside Rein’. This is often the most difficult concept for students to understand yet the author helpfully leads the reader into the subject by reminding us that the use of the outside rein not only controls the horse’s shoulders but its influence extends to the hindquarters, the ‘power house.’ Here the photographs come firmly into play showing, for example, riding from the inside leg to the outside rein and the importance of the

outside rein to retain the horse in balance. There are cautionary words that accompany this to remind the reader that the outside rein serves to maintain and that its role is defeated by over-tight application. The role of the outside rein when asking for ‘shoulder-in’ and its value when it is also opened is all dealt with here. The reader then makes the transition, after ‘The Role of the Outside Leg’ to the ‘Weight Aids of the Seat.’ Here is the real test for the value of any work on equitation since the nuances of the ‘half halt’ and the concept of ‘collection’ are demanding for any teacher to explain. I like the way this chapter almost leaves you with a feeling of incompleteness only to find that it is no more than the logical prelude to the chapters that follow. Taking the reader on to ‘The Indirect Aids’, Sylvia Loch spells out the detail of riding the ‘shoulder-in’, travers and half-pass.

She is a strong promoter of training for the shoulder-in on the circle and there are good reasons why. She explains that with shoulder-in on the track, once successfully accomplished, we only need to correctly place the horse and ourselves once whereas on the circle adjustment is required step by step. She deals briefly with the differences between the shoulderin in three track and four track and other aspects of this vital method of schooling for collection together with the value of riding shoulder-in through the school corners before returning to the long wall. I am without doubt that this book is intended to strike a balance between teaching the method correctly and venturing too deeply into advanced training. That balance has been struck admirably. Later chapters deal with ‘lengthening’ and ‘extension’ and correcting the common faults of the rider and then

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‘Refining the Weight Aids” deals with perfecting the ‘flying change.’ The end of the book is reserved for ‘The Higher Airs’ of pirouette, piaffe and passage. Sylvia Loch tells us that by this point we have now reached the stage in riding where we should never have to push the horse to do anything for us. Instead, true to classical origins, she reminds us that “our aids merely invite.” I very much enjoyed reading the final chapters which serve to summarise the whole concept of classical riding, from the importance of the walk to the value involved in studying the work of the old masters and the well placed criticisms of some modern training methods. She does not lightly criticise the exponents of rollkur or those practitioners and Judges in competition dressage who fail to comply with the ideals identified by the rules. Her message is very clear. One particular quotation deserves to be cited:

Demi-pirouette at the walk, the reins held in one hand. Note the position of the rider’s legs and the indirect effect from the application of the outside rein

“For the future, it will take some serious self-examination and imaginative forward planning amongst the governing bodies of the discipline to eradicate stress and promote better riding practices in the arenas of the world.”

The book concludes with a valuable series of ‘school exercises’ which provide an absolutely sound basis for systematic training at all levels. Many riders will find this to be a ‘blueprint’ for successful schooling of their horses. Going over it mentally is a very useful exercise in preparation for daily schooling.

Neatly drawn together at the end of each chapter are quotations from the academic literature produced by the great masters. I liked this. Short fragments of wisdom are an important teaching aid and they act as an introduction to the academic grounding that all riders should also seek.

Herein is a spread of short commentary by French, German, Dutch, Viennese and Portuguese masters of equitation, both old and modern, ranging from the classical texts of François Robichon de la Guérinière, whose teachings and methods are still practised daily in the Spanish Riding School at Vienna, to General Decarpentry, a founder of the FEI and probably the foremost academic master from the French School of Equitation at Saumur. Here too are quotations from one of the greatest works of modern equestrian literature, ‘The Complete Training of Horse and Rider’, written

by Alois Podhajsky, together with men such as Arthur Kottas-Heldenberg, former chief rider at the Spanish Riding School, and, inevitably, the great Portuguese master of equitation, Nuno Oliveira.

Sylvia Loch’s emotions are firmly anchored in Portuguese equestrian art and understandably so. Her equestrian skills were rooted there. She has devoted the majority of her life to the promotion of the Lusitano horse, founding the Lusitano Breed Society in the United Kingdom and acting as an unofficial ambassador for the promotion of Portuguese equestrian art throughout the world. I found it an absolute joy to see that one of the first photographs in the book shows her mounted on her Lusitano stallion, Prazer, the rider relaxed and demonstrating an absolutely ‘classical’ seat, while one hand caresses this noble horse’s neck. At the back of the book is another beautiful photograph of Prazer. True to the classical teacher and rider that she is, the caption simply reads: “Without this horse, I wouldn’t have written this book. Thank you Prazer, for all your sense of fun, generosity and wisdom.”

The photographs provide the necessary teaching aids to accompany the text and they are in themselves hugely informative. Carl Hester MBE has provided the foreword, and rightly points out that the quotes at the end of each chapter from riders and trainers from previous centuries to present day make a fascinating and inspiring addition to the book and also provide proof that correct communication will work with any horse, whatever his breed, colour or size. This is a remarkable book which will be invaluable for riders at all levels and will serve to achieve precisely that which Sylvia Loch intended, not just helping the riders who gain from reading her work, but their horses as well and all the other horses they will come into contact with during their lives. a

Robert Smith Q.C. July 25th 2013

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Prazer” has been asked for forward movement by a ‘quick close’ of the rider’s lower leg.The rider’s knee is deep and the thigh turned inwards to ensure that the forward aid is effective”

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69.

To the heart of a mustang Written by

Kathryn BaRrett

Www.marcielewisphotography.com

heartofamustang.wordpress.com

Last issue I introduced you to my wild mustang Aries. Here is part two of his story.

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ost people who work with wild horses will tell you, once you get your hands on them, the rest goes very quickly. In the weeks that followed our first touch, I had to repeat the same routine each time. I’d stand in front of Aries and hold my hand out at about my chest-level, palm facing him. He’d lower his head until his forehead was at the height of my hand, and I’d close the distance and rest my hand on his head. Once he was better with this, I began to rub more of his head.

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ries was very protective of his nose. Every time I would run my hand down the front of his face, he would curl his nose away from my hand and turn so that I could no longer touch him. He refused to let me touch his nostrils at all. The chin was fine, but not the nostrils. During the long months of not being able to touch him, I’d examined his face and body very closely. I noticed a pattern of scars around his muzzle, including one big chunk missing from the right upper lip. Had he gotten into a fight with another stallion? Had a predator grabbed him? Whatever the case, his nose was off limits.

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spent a lot of time hand-walking. We would explore all over the ranch, walk up and down the roads, and walk through the horse playground with bridges and tires and logs.

I did as much with him in-hand as I could. Showed him tarps and kiddy pools, ground poles and mounting blocks.

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he would let me put the bit in his mouth, so long as my hand stayed on his chin. Aries was quite easy off the leg and rein. It was clear to me he enjoyed being ridden. He seemed to enjoy the learning and figuring out what I was asking for.

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hree months after first getting on Aries, I moved him to a 400+-acre ranch, and we went on lots of trail rides. He really enjoyed getting out and exploring. He never spooked at trees or birds like many domestic horses. He knew there was nothing to fear.

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t took six months to touch Aries and just two short months after that, he wore his first full saddle. He didn’t protest; he just wore it. And two short months after first putting a saddle on him, on Christmas Eve 2011, I sat on him for the first time. Many people told me, “You’re going too fast.” But I’d stand on the mounting block and have this feeling of, “Oh, just get on already.” It felt like it was coming from Aries. I started out being lunged by Lena, and over time I moved to riding by myself. I started Aries out in a halter.

I didn’t want to complicate his learning by using a bit. For the first month or so, I rode Aries in the round pen. We worked on walk, trot, turns, and halt. He readily went forward without a whole lot of asking. Just some clicking and a little leg. I stayed away from the canter because, even at this stage, I could not get Aries to canter when I was lunging or on the ground in the round pen , so asking for it under saddle was not a good idea. Cantering was very scary for Aries. I think, in the wild, horses only canter to evade danger or defend the herd. For whatever reason, Aries did not like cantering. He would run wildly in the trot and then burst into a panicked, unbalanced canter for a few strides before returning to an erratic trot. Since I couldn’t find a way to help him, I just didn’t ask him for it for the time being.

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ries taught me to never go into the arena with a plan. If I said, “Today I am going to get the saddle on him,” Aries would invariably show me seven other areas that we needed to address first. If I went in with a rigid plan for the day, I’d be dismissing all the information Aries was giving me. I learned to just go in and start and see where the work took us. The day I taught Aries to trailer load, he hopped in quite quickly, so the session was over within 20 minutes. I decided to try putting a bareback pad on with a girth for the first time. The day was going very well; why not try? And Aries wore that bareback pad with pride. So in one day, with no plan, I taught Aries to load in a trailer and wear a girth for the first time.

nother important lesson Aries taught me was that it’s my job to protect my horse.

Not that I wasn’t protective before, but with Aries I had to be very careful who I let handle him. He is sensitive and responsive. He reads every signal a person gives off and will react if he thinks he should.

And there are also people he doesn’t like. Over time, there have been a few people who I have had to tell not to approach him because he didn’t like nce Aries became reliable in them. I felt bad, but Aries was very clear. Ears back, the round pen, we graduated to the outdoor arena, which was a little body tense. “I don’t like that person.” If I were to larger than a dressage court. Aries never let them take him anyway, that would be breaking his trust in me. It’s our job as horse owners to once offered to bolt or buck. I could tell he was a bit unsure, but he seemed protect our horses and keep their trust by listening to them. to enjoy riding, so he accepted pretty much everything I was teaching him. A ild horses are what I like to call “pure couple of months after I started riding, horse.” They don’t have a whole lot of I introduced Aries to a bit. I didn’t plan human-created baggage. Once you earn their trust, on riding with it, but wanted him to they will follow you through fire. But to say they get used to it. He was understandably are a “clean slate” is not accurate. Wild horses in confused about the metal thing going America are rounded up by helicopter and driven into his mouth, but he took it easily. I at a dead run across miles of rugged, rocky terrain. used a sweet iron bit so that it tasted Then they are run into pens and separated from better than straight metal. Although their family bands. They are packed into trailers Aries was still protective about his nose, and hauled to holding facilities where they are

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“...it’s

my job to protect my horse.”

sorted, branded, and the studs are castrated.

It’s a gut wrenching process to witness.

And what astounds me every time… these horse who have experienced nothing but life-threatening terror at the hands of people are still willing to trust… still willing to take a risk and make contact with a human being.

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bout 4 months after first sitting on him, things started to go wrong. One day, while tightening the girth, Aries just exploded, bucking frantically. After he calmed, I took the saddle off and replaced it. No bucking. I rode.

No bucking. A few days later, it happened again, wild frantic bucking after tightening the girth. I stopped riding him. I knew there was something wrong, and now I was terrified to get on him. He felt like an unexploded bomb, ready to go at any moment.

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ltimately, I discovered Aries had developed ulcers.

He probably got them originally when he was rounded up, and because of the increase in work we were doing or because of a change in feed, or some other mysterious reason, the ulcers resurfaced. When he would react to the pain from the ulcers, there was no calming him, no reasoning with him. His wild instincts for selfpreservation would take over and for him it was life or death.

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nce I confirmed it was ulcers, Aries began treatment and recovered very well. But some damage had already been done, to both of us. He was very nervous about the saddle and more specifically the girth. I spent months with just a bareback pad and fluffy girth trying to reacquaint him to the feeling. He would allow the pad and girth, but was still very clearly worried about having the girth drawn under his belly and secured, even very loosely.

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nd still this horse had not let me into his heart. He trusted me to a point, but I could tell he was holding back. It wasn’t until the summer of 2012. His ulcers were healing, and I was doing a lot of body work and massage therapy with him. One day, while I was scratching his shoulder, his upper lip pursed, and he started to twist his head like so many horses do when you find their itchy spot.

He leaned into my hand and just let go and groaned, clearly enjoying being scratched. I’d been scratching and petting this horse for months and NOT ONCE did he show any sign that he enjoyed it. He would just stand there and take it. But that day there was a change. It was also around this time that Aries started to let me touch his nose. It had been a full year since I first touched him, and he was just NOW allowing me to touch his nose without pulling it away. Over

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the following months, he got more and more generous with his nose. He began to explore with his nose. I was told that one sign of confidence and trust in a horse is when they investigate things with their nose. Almost a year and a half after coming to me, he finally trusted me enough to surrender that last little bit of himself.

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think there is something unique about wild horses that is rarely, if ever, seen in domestics. They have a “settledness” about them. They know who they are. With some domestic horses, you can easily upset them and make them doubt themselves. Crush their sense of self. Sadly, many, many horses end up with lots of self-doubt because their confidence has been broken somewhere in life. But horses that grew up wild know who they are and you can

Www.marcielewisphotography.com

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hen people first meet him, they are usually struck by his powerful presence. He has a quiet power to him. He always felt that way to me. But once he started to trust me with his heart, this soft side came out. He is quite loving and very protective. When I spend time with him, I feel like he’s always watching out for me. It’s in the quiet moments when we are alone that he allows himself to express and receive affection openly.

He will rest his great head against my arm, or place it over my shoulder, just being there.

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n November of 2012, I spent a month in Australia learning from Manolo Mendez. I had met Manolo when he cliniced in California, and I jumped at the chance to learn more.

He gave me some great advice on how to help Aries. When I went home, I used my new knowledge to teach Aries how to carry himself with more balance and help him continue to progress. I had not ridden Aries since April 2012. Even after it was clear the ulcers were pretty well healed, his distress about the girth clued me in that Aries wasn’t ready to ride again yet.

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anolo’s in-hand work opened this horse up even further.

By teaching him how to carry himself better, he felt more confident about moving. He actually felt more IN his body. Cantering had always caused anxiety for Aries. But now he was starting to canter peacefully. His muscles still had to change, which would happen over time, but his MIND was there. Aries kept getting more and more open, more and more trusting.

The To the Heart of a Mustang project has been one of my greatest challenges. Aries has forced me to really examine what kind of person I am and who I want to be. The saying “the horse is a mirror for you” applies doubly for wild horses. Sometimes that mirror is harsh. Some horses will ignore your moodiness, but a mustang will react to what your heart is telling them. And you might not always like what you see.

It’s humbling and eye opening to gentle a wild horse. There is no better feeling in the world than when a wild, free spirited horse chooses to give you his heart. It’s a gift and an honor.

One day late in December of 2012, I was standing on a mounting block, just playing with Aries. A friend had asked me to show her how to get a horse to step up

heartofamustang.wordpress.com

feel it when you’re with them. Once Aries opened up to me, he felt totally different.

close to a mounting block. As I stood their stroking his back and talking, I got that feeling again... that feeling I got before I first sat on him. “Oh just get on already.”

I looked down and smiled. Aries was ready again. a

GM Equine Art & Photography

Gosia MAkosa

BH: How long have you been photographing horses and what got you started?

GM: I have been photographing horses since 2005. I started with an analogue camera, and at that time I had to develop plates and photos by myself. At that time I was at university and I was studying painting. I was allowed to use the university’s darkroom for developing my plates.

After my studies, I switched to a reflex camera (my first was a Nikon D50) mainly because I could develop photos at my house, and it was less time-consuming than analogue photography.

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BH: What drew you into photographing horses?

GM: I started to paint and photograph horses because they are an inseparable part of my world. By profession I am a horse breeder and instructor of horseback riding. I cannot imagine my life without horses.

I am fascinated with horses’ movement. When one of them seems to be aware of his or her beauty and presents that beauty in an amazing way in front of the lens, it makes me really happy.

The very first thing that I pay my attention to before I start photographing horses is the light that I will be working with, and the background. Moreover, I try to observe movement and specific gestures of my horse model to show him or her in the best way. I always try to photograph horses in a way that makes them look better than in reality. With the right perspective I try to hide build defects. Also I try to emphasize a spark in the eye and catch the character of my horse model.

BH: What aspect of equine photography do you enjoy the most?

GM: I must confess that I don’t keep any rules while photographing.

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Horses are fast and timid animals so when it comes time to show them well, one should have good reflexes, a sense of composition, and a talent. Of course one can train proper photography techniques, but without ability of creative thinking it won’t give good results.

Taking a picture of each horse or man-horse duet, I have an exact idea about the current model in my head. For that purpose, I try to get to know my future models earlier, in order to have suitable ideas for them.

BH: What do you find most challenging about photographing horses?

GM: An ideal match of all components that combine to create a satisfying picture is the hardest part of photographing horses. I always have a concept of what I want to do, but sometimes the light is not good enough, the horse has had a bad day, or a human model cannot act as I want him or her to act. My human models must be like real actors—they should forget about reality and completely devote themselves to our work at the photo session. When it comes to the horses, I always have to accommodate them.

BH: Of your photographs, do you have a favourite photo shoot and why? What made it a stand-out for you?

GM: I don’t have my favourite photo session or picture, but the most of all I like to have photo sessions in dark, gothic style, somewhat like in Burton’s films.

When it comes to horses I have my favourite model. It is the twelve-year-old Friesian gelding Daan. I leased this horse for six years while he was a stallion and at this time I reached with him a complete, I would say even magical, understanding. We exchanged glances and that was enough to communicate with him. He already knew what he must do to involve and present himself. And above of all, he seemed to be happy in all our work.

Unfortunately, last September Daan returned to his owner and now I don’t have such a horse with whom working would bring such satisfaction.

BH: What are you most proud of in your equine photography?

GM: I am pleased when I manage to fulfill a photo exactly as I planned.

Sometimes even better than that!

When it comes to my photos of horse-human duets, I think that my style is somehow recognizable. I must say that many people try to copy this style… with various effects.

BH: What sort of camera gear do you use?

GM: I use Nikon D300s, Nikon D300 + Nikkor 70-200/2.8, Helios 50mm/2.0. If I don’t have these it could be any camera that is within my reach.

BH: What advice would you give someone wanting to get into equine photography?

GM: Of course it is good to have so called technique, which means a theoretical knowledge and ability to use it in practice…but at the moment of taking the picture, there is no spare time to think about details or whether you have the appropriate aperture or timing.

You should be aspire to show an object, such as a horse, in the way you want it to look

BH: Is there an artist/photographer that inspires your work?

GM: When it comes to equine photographers I have the highest admiration to for Robert Vavry’s works. Aside from him I don’t have one favourite person.

I have though my favourite authors among modern horses painters. I highly value Sally Martin and Bogusław Lustyk oeuvre as well as the Polish sculptress’ works – Anny Dębskiej a

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Alter Real

The

Stud

Ar ticle & Photos by

Cรกtia Castro www.cmcequinephoto.com

The Portuguese National Stud was founded in 1748 by King Joรฃo V, with the purpose of improving the national breed and creating an equestrian academy that would meet the highest standards of royalty.

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The lands for this stud farm were chosen to be in the village of Alter do Chão, due to its quality pastures and good water. After 250 years, the Alter Real Stud has become the oldest stud farm in the world to remain in the same place, keeping the character and quality of the Alter Real Lusitano, and preserving its vast environmental heritage and architectonic facilities. This Stud stands the highest importance for the Lusitano breed.

The Portuguese government has consolidated both its national stud farms—Alter Real Stud and Coudelaria Nacional Stud—together under single management.

We can enjoy the magnificent Alter Real Stud facilities not only as visitors, but as guests, and have our holidays in the “Casa de Campo,” a house that serves as a cozy hotel inside the stud.

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The Alter Real Lusitanos

have been the exclusive horses of the Portuguese School of Equestrian Art since the 18th century.

In the year of 1771, this school reached its zenith with the Alter Real Lusitano horses by performing equestrian art with the guidance of D. Pedro de Meneses (4th Marquis of Marialva). Under his tutelage they reached great accuracy in applying the classical riding techniques, with the most beauty and elegance of gaits and movements.

The Alter Real Lusitanos have centuries of breeding for the purpose of providing classical riding horses for this equestrian art school, one of the top four equestrian art schools in the world.

In the last 30 years, the Alter Real mares have improved, by careful attention to the selection of the best quality mares. Alter Real horses are bay in colour.

Alter Real Stud has 800 hectares of land, with a vast pasture for the mares and their foals. The mares graze freely and then are herded every morning in to the mares’ courtyard—Pátio das Éguas—to be administrated feeding supplements and have their reproductive checkups. When the mares come from the pastures, it’s an exciting moment in the Alter Stud, not only because of the beautiful sight of seeing the mares all together walking through the amazing landscapes, but also to see if there were any births during the night.

Foaling occurs from January to mid-June every year.

Alter Real Lusitanos have been seen in many different equestrian disciplines. Alter Real Lusitanos won gold in the four-in-hand driving with Felix Brasseur, while in dressage, Rubi with Gonçalo Carvalho is number 21 of the FEI ranking. Rubi’s ancestral line (through his father Batial) were from Alter Real Lusitanos who performed excellent collecting exercises, such as the piaffe. The quality of morphology and functionality has been passed on through generations, and the Alter Real Lusitanos improve each year.

This stud has registered reproductive stallions: Beirão,

Coronel, Helxir, Jacaré II, Miano, MuiBom, Oheide, Rabelo, Tufo and Viheste, which are available for purchase of semen. An annual auction is held each April that is the only time people have the opportunity to purchase an Alter Real Lusitano horse or mare. Currently on dressage competitions are such horses as Aljustrel, Beirão, Coronel, Douro and Zaoto, all with the talented rider/trainer Duarte Nogueira.

hat else can you see more W at the Alter Real Stud?

• Falconry, a noble art where you can see in motion some of the fastest creatures in the world, like the pilgrim falcon, royal eagle, goshawk, black kite, eagle owl, and many more.

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• Museums and galleries: horse driving cars from the 19th century; “the horse and the man—a millenary relationship” exhibition and more seasonal exhibitions.

• Different equestrian disciplines arenas see the Alter Real Lusitanos performing and being tested.

• Research and investigation of the breeding line with the collaboration of several national and international universities.

• Medical clinic and molecular genetics laboratory for the Alter Real breed. a

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What does your web say about your business?

In my last article I discussed the importance image plays in your business.

I would like to continue on from that article by discussing 6 of the most common mistakes which I often see businesses make when it comes to their websites.

Mistake #1: Website clutter. Displaying too much information, or too much ‘stuff ’ happening on your pages simply annoys visitors and makes you look disorganised and unprofessional. Clutter can make it hard for the visitor to make a purchasing decision (or even to work out how to buy from you!), resulting in lost opportunities.

Mistake #2: Stuck in the 90’s. The internet has grown up and as a result of the significant improvements in online technology there is no excuse for having a website that looks and feels like it was created for a dial up modem based consumer. As a rule of thumb, I recommend businesses review the look and feel of their websites every year, allowing them to look modern, fresh, exciting and innovative. Our consulting website, for example has changed 3 times in under two years! And remember: many countries now have super fast internet access readily available, so why not develop sites that take advantage of such bandwidth?

Mistake #3: Website focus is solely on being ‘pretty’. Don’t get me wrong, I love a nice looking, pretty website. But, if the purpose of the website is to help you make more money, then the prettiness must be matched with practicality. The purpose of a business website is to educate visitors on your offerings and to convert those visitors into either paying customers or as a minimum into warm leads. If your website lacks conversion prompters (for example buttons such as act now, buy it here, click here etc), or, if it doesn’t make it easy for me, the customer, to do business with you, then you might as well not have a site.

Mistake #4: Outdated and/or Incorrect Information. I see this far too often: A business website where the information is old, outdated and /or incorrect. I have even been in a situation where I placed an order with a website, only to find out about 2 weeks later when I still hadn’t received my order that the business had shut down about 6 months prior. If you are going to have an online presence, remember to keep all of the information up to date and accurate (such as correct email addresses, product descriptions, pricing, images etc), and make sure that if you have things like a blog section that the last blog entry isn’t 5 years outdated!

Mistake #5: Poor performance. This one is mainly due to poor internal processes than the website itself, but, is very important to mention as it is another big issue that I often come across. Have you ever been in a situation where you engaged with a website in some manner (for example: completed a contact us form; purchased a product; signed up for an e-book etc), only to never hear from that website/business again? I have, and it is not only unprofessional, but can also be considered fraud if the customer’s paid order doesn’t actually arrive. If you are going to have anything on your website with which a customer can engage with, then

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make sure the tool works correctly and that you (your business), takes the necessary steps to action whatever the customer requested.

Mistake #6: No engagement. Similar to a website that is very pretty but lacks business functionality, a website that is uni directional in it’s approach (that is, you provide information but don’t ask for any return engagement from the visitor), will not deliver any significant results. If you want to maximise the potential of your website then make sure you have points of engagement readily available throughout your site. If you have a look at our consulting website, you will see that we have numerous such engagement points, such as: sign up for our 3 step profit improvement emails; complete our online contact us form; pre register for our workshops; buy our book online etc.

Developing websites, especially ones without complicated e-commerce functionalities, are nowadays relatively inexpensive and quick to do. Just remember: Often customers will encounter your business for the first time via your website, or, will check you out online before making a call to your shop or office. As such, it is essential that your website promotes you exactly how you want to be perceived, and that it acts to generate warm leads or sales whilst looking aesthetically appealing.

Peter Spinda Peter is an entrepreneur with a passion for business education.

He currently owns two companies, Realities of Business (www.realitiesofbusiness.com) a unique entrepreneurial business consulting and education firm, and Digital Duet (www.digitalduet.com.au), a specialist small business website development and digital services company.’

STRATEGY!

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The 25th

International Festival

of the Lusitano Pure Breed horse 2013

Ar ticle & Photos by

Cรกtia Castro www.cmcequinephoto.com

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87 The International Festival of the Lusitano horse, the most important event dedicated to the Lusitano breed, was held from 20 to 23 June, in the facilities of Quinta da Marinha in Cascais, Portugal.

This admission- free festival was a meeting point for national and international breeders, Lusitano associations, riders and experts coming from all over the world.

The weather was warm and sunny, and set the tone for the 25th year of this important festival for the Lusitano in Portugal. Crowds were excellent, even though the Cascais and Estoril beaches were appealingly close. The Lusitano fans visited the festival and enjoyed this 3 days of a Lusitano display.

The APSL, the Portuguese Association of the Lusitano Pure Breed, is the organizer of this festival and counted among sponsorship partners, and for the first time Baroque Horse Magazine (BHM) sponsored all first prizes of the Models and Gaits competition with a half-year subscription of our magazine. We were happy to be part of this international festival of such a beautiful baroque breed.

Maria Moura Caetano and Miguel RalĂŁo

Many national and international breeders and owners have participated with their horses in the Model and Gaits competitions—these are the major competitions of the festival. Classes of fillies, mares, foals, stallions, offspring of stallions, offspring of mares, ridden mares’ class, all were evaluated under the watchful eye of the APSL judges. At the end, all first prize winners competed for the champion stallion and mare. And finally, the top prize, the Champion of Champions title of the International Festival of the Lusitano Pure Breed, was presented. w w w. bar o q u e hors e m ag azi nE.com

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Gonçalo Carvalho Conchinhas

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he festival had a full schedule with a working equitation international competition, jumping and dressage competitions.

Demonstration of the functionality of the Lusitano took place in a variety of shows that demonstrated the versatility of the Lusitano horse.

The Portuguese School of Equestrian Art was represented by the rider Paulo Perdigão and the Alter Real Lusitano “Que-Jovem” in long reins. This year the Portuguese School of Equestrian Art had an international show so they didn’t have time to perform the typical carrousel. Maybe next year we will have the pleasure to watch their elegant performance of high school exercises.

The horses of the Charanga GNR parade (Portuguese national guard) put on a delightful show; this Charanga is the only one in the world that performs music while performing riding exercises in the three gaits (walk, trot and gallop).The three riders of the piebald horses hold the national and GNR flags.

Campinos (field and cattle work demonstration) One-in-hand driving performance was also honored this year.

The equestrian art performance of Morgado Lusitano with a pas-de-deux and a pas-de-trois, with the riders Rui Almeida, Jenny Almeida and José Miguel Silva, had the revivalism inspiration of the 18th century.

The Campino’s (herdsman) demonstration riding Lusitanos herding cattle were challenged in the middle of the performance by the announcer to cross the working equitation bridge. They succeeded on all counts, giving the public a thrilling performance.

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João Pedro Rodrigues giving the 1st prize of the 4 y.o. stallion Model and Gaits competition winner - Escorial - owner Luis Filipe Bastos

Mrs. Piedade Pidwell & Rogério Samora

Caroline Brun & ‘T Mundo T Commun’ Alexandra Santos & ‘Zorro’

The international dressage riders Maria Moura Caetano and Miguel Ralão and the international working equitation riders Pedro Torres and João D. Rafael performed an amazing pas-de-quatre. This was a show with great accuracy and graceful, flowing movements that displayed the elegance of the Lusitano horse in piaffe, passage, flying changes, and other beautiful exercises.

A bullfighting demonstration with a “tourinha” (a fake head of a bull in a wheel) made the public applaud viewing such jineta—the art of horse and rider.

Matilde Timóteo

"Xama, Zuca and Zelosa" mares and their foals, from Ferraz da Costa Stud Farm

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Portuguese School of Equestrian Art Paulo Sérgio with Que-Jovem (AR)

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he working equitation riders performed in a breathtaking carousel, accompanied by an epic music background that put our hearts even more in love with the Lusitano horse.

This year the festival honored Gonçalo Carvalho and Rubi (AR), together with Rubi’s owner Christine Jacoberger-Kleyr, for the important contributions of this prestigious horse and the importance effects it has had for the Lusitano breed.

The big winner of the festival was the 4 year old

‘Escorial’ champion of champions of the festival- owner Luis Filipe Bastos

Bruno Pica da Conceição & ‘Trinco’ 9 0.

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“Escorial” (Spartacus x Jiboia), a licensed stallion with 78 points, of the breeder Coudelaria Santa Bárbara stud, owned by Luis Filipe Marques Bastos. Escorial was the champion of champions of this 2013 festival. This horse had also been “champion of champions” at this festival in 2011.

The 2 year old mare “Golegã” (Violino x Roma), by the owner and breeder Francisco Sousa Cardoso herds, was awarded the gold medal and elected the champion mare of the festival.

Driving

Portuguese National Guard GNR - Charanga — The Coudelaria Santa Margarida stud farm was the most-awarded, with their fillies’ and mares’ class, and by the offspring of Spartacus, their stallion.

In this festival Santa Margarida stud won 13 gold medals. Again the Coudelaria Santa Margarida stud was awarded the best breeder of the festival.

José Miguel Vinagre was awarded the best horse presenter of the festival.

This year’s festival was a great success. We look forward for the next! a

working equitation carrossel

Pedro Torres & ‘Ulisses’

THE

Article and photos by Cátia Castro

The Portuguese traditional costume, saddlery, bridles and reins, braiding: all of this enhances the natural elegance of the Lusitano.

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n this article we would like to lightly approach some of the Portuguese equestrian tradition, because the all costume thematics would be a book: indeed it forms the book “The Portuguese Riding Costume” from Lina and João Gorjão Clara, which is the basis for some of this article.

The setting: Óbidos is a village in Portugal that is known for its medieval architecture.

It was founded in the year of 1195. The narrow streets are full of colour, joy and “ginjinha de Óbidos” the typical cherry drink in chocolate cups.

The view is magnificent: traditional tiles, stone walks, centenarian catholic churches, the castle outline in a grand extension…and it made the perfect setting for the two Portuguese riders to show us the traditional costume and tack on two beautiful Lusitanos. We had the honour of photographing Ana Batista, a famous Portuguese bullfighter, and Ricardo Moura Tavares with the Lusitano Embuçado.

The Portuguese Traje: We are going to focus on the Portuguese costume in use today. It dates from the year 1890. We found in a document archive a photo of the Portuguese queen, D. Amélia de Orleães e Bragança, wearing this kind of costume.The costume or “traje” was worn for hunting and riding.The jacket and breeches of the men hint at earlier baroque roots, being a cultured dress of the year of 1690. The basic structures of the loose jacket and pants were altered to better suit the functions of riding. Fabric colours are more used in the women’s traje, but in general due to cultural reasons, the colours of the traje are a darker color, characteristic of the 19h century.

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Where it can be seen • The Golegã fair in Portugal is the main place to see all Portuguese saddlery and traje in its full splendor. There are Lusitanos with plaited manes; amazons and riders wearing gallant hats and seated on saddles of excellently crafted leather; the saddle cloths of badger hanging down over the horses’ quivering flanks—it’s a grand display of tradition, beauty and elegance.

• In the Portuguese working equitation, riders and amazons use the Portuguese costume and tack.

• In religious and other ceremonies, and traditional equestrian displays.

Women’s Portuguese Traje There are two types of traje, for the two different types of saddles: the side-saddle and for the riding astride saddle. There is the “true riding attire for the amazon” (traje de amazona propriamente dita) for the side-saddle; and the traje of the amazon attire for riding astride (traje de amazona para escarranchar). The shirt has lace and ruffles.

The costume has many variations; the cloth colour is usually in dark tones. The type of hat, the design of the jacket, the width and the cut of the collar-bands, the type of the placement of the jabot of the lace on the blouse, the hair style, the

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shape and length of the boots, the placement and application of the buttons, all vary from model to model. With all this variation, is still possible to distinguish the common features that make the Portuguese riding costume.

bow. At the waist, covering part of the chemise and the waist-band, is worn a satin cummerbund with horizontal pleats, fastened with buttons and loops covered in the same cloth. A gold or silver double button adds the decoration and closes the collar.

• The hat The hat is in dark tones, usually black or grey, or matching the costume colour to, can be adorned with two silk pompons.The women hair is usually secured by a web, or it can be braided.

The earnings are usually small and discreet.

• The jacket It has two-pointed lapels and two fittedin pockets with vertical openings, lined with the same satin as the waist band, and it has no buttons. The jacket is completely edged with the black ciré braid. The sleeves, absent of buttons at the wrists or with a vertical velvet strip of decorative buttons, have a sharply cut shoulders, with the top of the sleeve near the shoulder rather full, almost ballooning.The sleeve is narrow and cuffless, closely fitting the forearm. The lining is made of natural silk in the tone of the fabric.

• The chemise Has a small collar and is embellished by a jabot of lace or cotton worn under the jacket. The collar is decorated with a brooch or a black satin

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• The skirt Is different from the two basic styles. The skirt for the side-saddle amazon is the same fabric as the jacket and it has a complicated design. It has two slits at knee-length, the one on the right higher than the one on the left, so that when the amazon was seated in the saddle the skirt would adjust itself around her knees, the hem remaining in a regular semicircle, almost completely hiding the left boot, which was supported by the stirrup.

On the reverse side of the skirt, the points of contact with the knees are reinforced with silk.

On the lining for the right knee, an elastic garter is sewn to fix the skirt to the thigh, preventing its disarrangement by the wind or progress of the horse. The skirt is fastened on the left by four buttons. This skirt falls in a semi-circle over the horse, which is why it is longer in the front than in the back. This side-saddle amazon usually rides with leather gloves and a thin stick in the opposite side where her legs are placed.

The skirt for the amazon who rides astride came into being after 1940. The skirt we see Ana

Batista wearing completely covers the breeches, fits the hips closely, and buttoning from the side, and is slit from the top of the thigh in the front and back to be open over the saddle when the amazon sits astride. The skirt is designed so that the two halves that constitute the skirt cross over one another as the amazon dismounts.

Men Portuguese Traje We can see Ricardo M. Tavares wearing the collarless jacket, one of the many jacket types, the most popular having the two-pointed lapels.

• The jacket

• The sash

The most common, the two-pointed lapel collar, is frequently enriched by the application of velvet or velveteen on the upper half. The jacket usually has two breast pockets set-in vertically or horizontally, and sometimes a smaller third pocket. The jacket is buttoned over the chest with silk braid buttons, the sleeves may have a strip of velvet with adorned buttons, or may instead have a velvet-bound cuff.

Sashes are worn at the waist, in cotton or silk in dark tones. The red sash is typical from the “campino” or herdsman. Floral patterns are not common in the Portuguese costume.

• The trousers/breeches Knee-length breeches are used with the traditional Portuguese riding costume, in a lighter colour and tone than the jacket. After the French revolution’s (1789) influence, the men started

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to wear long trousers that varied in length over the years. Now they are usually worn cuffless, cut straight, ending just above the ankle (without any fold), worn with half-boots and gaiters.

• The hat The Portuguese hat style is round in crown shape (more or less 10 cm) and flat-brimmed (about 9 cm). It is cylindrical, secured by a string which is tied into a bow under the chin. It can have an optional band around the crown that closes in a bow without buttons.

• The shirt Up to the 18th century, the shirt was an undergarment with no collar. The neck was covered by a scarf tied round in folds. In the late 19th century, the collar of the shirt was completely folded down, with gold or silver double collar-links, and the scarf was eliminated.

• The gloves Gloves are made from fine cloth or leather in discreet colours, matching the outfits of the riders.

The Portuguese Traditional Tack The Portuguese saddle, the leather bridles, breast plates, tail raps, stirrups, girths, bits, chaireis,

head-collars, even lunging cavessons, are works of art of true masters.

The Portuguese saddle had its origins in the traditional Moorish saddle. Its current decoration of metal nails (most common in silver or gold colours) in the front and back of the saddle are linked to the 10th century Moorish caliphs. It has been used since the early 1700s by kings and other monarchs, the baroque saddle style has kept its main features until today. The saddle can be made of plain leather or in suede material stitched with vertical light colour lines, in squares or other types of designs.

The Portuguese saddle and tack is used by the Portuguese School of Equestrian Art, with bridles and breast plates adorned as they were in the 1700s.

Many people search for the Portuguese saddle for its advantages of comfort in simple horseback riding and for its beauty and baroque style.

BHM Visits Two Masters of the Portuguese Traje and Tack Craftsmanship Ercilia dos Santos Ferreira, has been working in the Portuguese traje for about 40 years. She works by hand and according to measure for the Portuguese traditional traje, she was been known by her beautiful chemises and shirts all made by her own hands and art.

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Ezequiel Libório Inácio, is a Portuguese saddle and tack manufacturer. Beginning his craft at age 12, today he is one of Portugal’s oldest craftsman.

His passion is producing the carriage tack, but he makes all types of Portuguese saddles and tack with the perfection of a great master. Today, Ezequiel, his wife and daughter Maria Helena own the company “O Mundo da Equitação,” which produces the saddles and tack for the Portuguese School of Equestrian Art, the Master Luís Valença Rodrigues School, and for some well-known Hollywood films like the “Lord of the Rings” and others.

Acknowledgment BHM would like to thank to Maria Helena from the “O Mundo da Equitação” Portuguese tack shop, her parents, and employees Maria João and Luis Capinha, who helped organize the riders and horses as well as providing the tack for the Óbidos photo shoot. Additionally, BHM thanks Mrs Ercilia Ferreira to have shown us her studio and some of the tailoring costumes she was making.

We also have a special thank you to Ana Batista, for her making herself available despite her busy schedule and honouring us with her presence.

Thank you, Ricardo Moura Tavares, for your availability, as well as Mr. Mário Franco, who provided us his beautiful Lusitano “Embuçado” for this photo shoot.

Thank you, Eduardo Castro, for your help in the photo shoots.

We also would like to offer our thanks to: Óbidos National Guard GNR. Obidos city hall (Camara Municipal de Óbidos)— tourism department.

Contacts: Ana Batista: http://tertuliadaana.blogspot.pt To order your Portuguese traditional costume and tack you can send an email to geral@ omundodaequitacao.com, they ship world wide.

To see more about Óbidos, Portugal go to www. obidos.pt Credits: The costume information on this article was based on the book “The Portuguese Riding Costume” by Lina and João Gorjão Clara, 1995 (2nd edition) Prolisipo—Marketing Cultural Lda, Editors. a

GIDGEE EYES See the difference

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SITTING THE

FRIESIAN

something so that you don’t fall over! Lift the leg. You will likely find it much more difficult this time.

This is essentially the predicament a Baroque rider finds themselves in when attempting sitting trot on a wide horse. When riding a wide horse, you may find it easier to engage your inner thighs by taking more weight through the stirrups.

This will activate the muscles in your inner thigh and help you to engage them so you can open and close your hip more effectively.

By Natalia Evertsz Sitting trot. It’s one of the many things in riding that are easier said than done. If you find yourself bouncing around in the saddle then don’t worry, you’ve got company and lots of it! There is no doubt that some horses are harder to sit to than others. Friesians, with their elevated movement, high head-carriage and barrel-like confirmation, are certainly not the easiest of breeds when it comes to sitting trot. Yet with an awareness of what your body needs to do in order to sit easily, along with some targeted fitness work, you’ll soon find yourself sitting in perfect harmony with your horse.

The Friesian Trot

The Friesians are known for their brisk, high-stepping trot. Their historical use as trotters and draught horses demanded powerful, sloping shoulders and the ground-covering stride that characterises their trot. Today however, many Friesian owners now choose this majestic breed as a riding horse and adapting to their trot is a new and sometimes unexpected challenge.

Whilst every horse’s trot is different, there are two aspects of the Friesian that place very different demands on the rider’s body as compared to other breeds.

1. The Friesian Confirmation

The ribcage of the Friesian is wider than many other breeds. This forces the rider’s legs to open further, making it more difficult to open and close the hip joint and stabilise the spine.

In order to stay centred over the horse, the rider’s hip joint must open and close to absorb the kinetic energy from the trot. Many Friesian riders find it difficult to get “back down” (closing their hip joint) in time with the trot, leading them to bounce around in the saddle. This is not necessarily

Open hip joint

Friesians have a very distinctive gait in trot, though this can vary between the modern and baroque types. However, as compared to other breeds, the force of the Friesian movement is up and forward as opposed to virtually straight up.

This movement requires the core muscles of the rider to stabilise the spine in a different way than they might be used to. With respect to some other breeds such as warmbloods, our spines are accustomed to stabilising against compressive (up and down) force.

This is a natural stabilising mechanism and is often more instinctive for the rider. Friesians on the other hand, place more of a shearing force on the spine. This can feel quite unnatural and may be difficult for the rider to adjust to.

In trot horses move their legs in diagonal pairs, meaning that the action of the foreleg is matched by the action of the opposite hindleg. Accordingly, this means that one of the rider’s hips will push slightly forward of the other and this will alternate with each stride.

You can also practice this on a stability ball. Sit on the ball with your legs wrapped around the sides and toes pointing forward.

Shearing force

Compressive force

Closed hip joint

because the Friesian’s movement is any more lofty and airy than some of the other breeds, but because the rider’s legs are so far apart it becomes more difficult to engage the hip flexors in order to close the joint. This happens because the psoas muscle that flexes the hip is attached to the inner side of the thighbone.

When the legs are positioned further apart the psoas is lengthened, making it more difficult to engage. You can feel this for yourself. Try placing your legs hip width apart. Now lift one leg. Note how difficult/easy it is to do. Now try the same exercise with your legs far apart. Hold on to 9 8.

2. The Friesian Movement

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Rock your pelvis over the ball and direct your right hip towards the right corner of the room. Return to your starting position and now direct your left hip towards the left corner of the room. Feel how one hip opens more than the other throughout the movement. On the horse this will be more subtle, yet still noticeable.

If you have tight hips, sitting astride a wide horse like a Friesian can be painful. Pain causes tightness and rigidity as your body naturally tries to avoid it. To relax and follow the movement of your horse you must be pain free when riding.

Here are some stretches that will help to mobilise your hips.

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In The Saddle – A Note Before You Start Let your horse go nice and slow when you begin your sitting trot work.

Allow him a soft, long contact and encourage him to stretch for the bit.

This stretch will encourage the horse to lift his back. Sitting trot is much more difficult on a horse that is hollow and can also cause damage to your horse’s back. The high head carriage of the Friesian can fool riders

A hollow back makes sitting trot much harder.

into thinking their horse is round, though he may actually be hollowing his back. An easy way to tell is if you feel you are being held in the saddle, or scooped in the middle of a spoon, it is likely that your horse is holding his head high and proud without rounding his back. Instead, encourage the horse to stretch and feel him lift underneath the saddle.

Ask the horse to round and stretch before commencing your sitting trot work.

Stretching For Sitting Trot Kneel in a lunge position, right leg forward. Keeping the chest lifted and the stomach firm, inhale.

Exhale and push forward, pressing your weight into your right hip. Inhale and bring the right hand up, stretching to the ceiling. Exhale and bring the right hand over, maintaining a lifted chest. When you are ready to release the stretch, inhale and drop the arm. Repeat to the left.

Lying on your back, place both feet flat on the floor with your knees bent at 90 degrees. Place the right ankle on the opposite knee. Rest your hands on the knee and ankle to support the stretch.

As you exhale, push the right knee away from the body. To increase the stretch, pull both legs towards the chest. Repeat to the left.

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Hip flexor stretch

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Lying gluteal stretch

Stand up and place your right foot on a chair or a low table.

Maintaining a slight bend at the knee, exhale and reach forward towards your toes until you feel a stretch at the back of your leg. Turn your toe out to stretch your inner thigh. Do not straighten your leg at any time during this stretch. Repeat to the left.

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Hamstring stretch

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Sitting on the ground, place the soles of your feet together in front of you. Clasp your hands around your toes and draw your feet as close to your body as you can. Stretch the top of your head towards the ceiling and maintain a straight back.

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Strengthening For Sitting Trot

Sitting trot requires a stable core and legs that are long and strong. As each side of your body needs to move independently of the other, you must also strengthen separate sides of your body. You can prepare your body for the demands of sitting trot with the following exercises:

Lower abdominal activation

Lying on your back, place both feet flat on the floor with your knees bent at 90 degrees. Place your hands between your two hipbones. This is the muscle you want to activate. Breathing deeply, draw this muscle inwards and upwards toward

Leg slide

Lie on your back with one leg outstretched and the other bent. Press the foot of your bent leg against the floor but be sure to maintain the slight concave curve in your lower back. Draw your navel towards your spine. Slowly drag the heel of your

Leg raise

Lie on your back with one leg outstretched and the other bent. Press the foot of your bent leg against the floor but be sure to maintain the slight concave curve in your lower back. Place your hands on your hips to ensure that they remain level throughout the movement and do not hike up toward the ribcage. Draw your 1 00 .

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the ribcage. As you do this, you should feel the muscle contract beneath your fingertips. Breathe deeply, hold for 5 seconds and relax for 10 seconds. Repeat 10 times.

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outstretched leg back towards you. Place your hands on your hipbones to ensure they stay level and do not hike up towards your ribcage. Stop when your knee is bent and your foot is flat on the ground. Repeat 10 times and switch sides.

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navel towards the spine. Keeping your leg straight and your toes pointed, lift your leg as though you are drawing a quarter of your circle with your toes. Make sure your lower back doesn’t lift away from the ground as you do this. Slowly return your leg to the starting position. Repeat 10 times and switch sides.

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Horse stance

Sumo squats

Position your hands under your shoulders and knees under your hips. It’s important as you do this exercise to make sure you maintain good posture. Keep a very slight concave curve in your lower back (but not too much!) and push the floor away from you with your hands. Gently draw your stomach towards your spine and activate your pelvic floor. When you feel stable, raise your opposite hand and leg from the floor. Hold for as long as you can, then switch sides. Take care not to drop your hip as you raise your leg and try to maintain your leg and hand at an angle parallel to the floor.

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The sumo stance

Sumo deadlifts

The sumo deadlift is another great exercise for sitting trot as it strengthens your back so you can maintain an upright position. You will need a light weight to begin with. If you don’t own any dumbbells, make use of one of your horse’s feed buckets and place a few unopened cans of food in it. Once again, place your feet in a wide stance with your toes turned out. Taking the weight in your hand, draw your stomach towards your spine. If you can’t reach the weight with a straight back, put it up on a platform. Breathe out, push through the heels, squeeze your glutes together and straighten up to a standing position. To return the weight, bend your knees and slowly hinge forward from your hips, keeping your back straight.

www.briandfit.com

The sumo squat is great for Friesian riders as it positions the legs in a wide stance. It’s also very good for stabilising the junction between your pelvis and spine. To begin, stand half a foot in front of a chair. Place your feet in a wide stance with your toes turned out. Draw your stomach in to support your spine. Cross your arms and place your hands on your shoulders, this will help you keep your chest up. Keeping your elbows lifted, bend your knees and push your bum back towards the edge of the chair. Stop just short of the chair. Then, pressing through your heels, push your hips forward to return to a standing position. Repeat 20 times. a Whilst these exercises are designed specifically to help you with your sitting trot, they will benefit all other areas of your riding. Practicing them regularly will improve your balance, effectiveness of your aids, position and core control, making you a better rider in all aspects. Practice makes perfect!

Natalia is a certified personal trainer and an Equestrian Fitness Coach. She specialises in sports-specific training and corrective exercise. She has been riding horses for most of her life, trains in dressage and is a baroque breed enthusiast.

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101.

Horse

Ask what you can do for YOUR horse, not just what your horse can do for you

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wnership of a horse is a responsibility not to be taken lightly. Many people can jump into ownership with or without proper consideration or understanding as to what might be involved. I have always said a horse can be as expensive or inexpensive as you like, all depending on what you want to do with it.

People have horses for many reasons, whether it is a family tradition, high-level sporting aspirations, or simply because you love them.

Whatever your reason, it’s a commitment you make to care for a living creature.

An equine companion always requires a commitment level, and the same basics are required from big to small or pleasure to performance: food, water, heath and care of your horse.

I always say that something is easy once you know how; it’s just that learning part that can feel rather challenging. However challenging learning can be, the fulfilment of knowledge and skill can be rather satisfying and pleasurable.

Over the next few issues of Baroque Horse International Magazine, we are going to continue to look into different aspects of health, nutrition and care of our horses. We’ll look at grooming, alternative therapies, nutrition, training and general horse care and wellness. We will also take a look at new products available and what they can do for your equine mate.

Technology is constantly evolving, and ideas are changing or being re-evaluated as to what is the right way to care for your horse. Today it is becoming even more prevalent that people want to do more for their horses to ensure they are healthy and can enjoy a quality of life on many different levels.

If there is something that you want to learn more about or just don’t quite fully understand, please send us an email at enquiries@baroquehorse.com.au and we can look into it for you in upcoming issues. a

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Stallion’s

peak form with

Equissage.

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reeding season is upon us and the key to a successful season is a healthy, strong horse maintaining their health, circulation and condition. Equissage Cycloid Vibration Therapy (CVT) will be the ideal tool to assist your stallion and mare through this season.

Stallions work overtime during the season and their condition most probably declines over those months because of daily serving, which is a very rigorous routine both on the body and mind of a stallion.

For mares, being transported to and from the studs for serving and insemination can cause nervousness and anxiousness, which potentially leads to an unhappy mare thus an unhappy breeding season.

Equissage leads the way in equine therapy and have been helping people and animals since 1949, enjoying a strong following worldwide as it has been recognized as the most versatile, safest and easiest do it yourself equine therapy tool.

Equissage CVT devices are a multi-unit horse massage system specifically built for equine use to stimulate blood circulation, assist with lymphatic drainage, relax

muscles, help with increased joint mobility and is designed to provide natural relief and benefits to the whole skeletal, muscular, circulatory and lymphatic systems.

In particular with stallions, lack of relaxation and ‘down’ time, weight loss, muscular tone loss, nervousness pre and post service, cramping, fatigue and loss of performance and stamina are all common recorded problems in which Equissage can help with.

With mares, regular treatments will prove to be the key to relaxing her during the transport days and stimulating blood circulation in order for her condition not to lack through the course of the breeding program and continue to be in peak condition ahead of pregnancy.

Unlike other therapies, Equissage is completely safe to use throughout all stages of pregnancy and can assist in treating injuries and the health and wellbeing of the mare and foal.

Equissage offers a complimentary, obligation free consultation.

Find out today why Equissage is such an important factor to an horse’s recovery by visiting www. equissage.com.au and be sure to follow us on Facebook facebook.com/equissagetherapy.

For all Equissage enquiries and demonstrations please contact Equissage Head Office 1800 178 528 or info@equissage.com.au

Let us lead your horse to better health and performance.

IMPROVE PERFORMANCE MAINTAIN PEAK CONDITION SPEED-UP RECOVERY

Lead the way today!

AUS 1800 178 528 www.equissage.com.au

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105.

It’s all about

the shine

By Shannon Godwin BaAppSc GDTL

A

common outcome that is desired by all horse owners regardless of their equine discipline of interest is a horse in full bloom with a healthy, shiny coat. Aside from looking fantastic, a shiny coat is indicative of a horse that is healthy inside and out.

The skin and hair of a horse is the body’s first line of defence against natural elements and these are the most visible signs of a horse’s overall condition.

Balanced Nutrition Many nutrients have a direct impact on the health and shine of a horses’ coat. One of the first signs of inadequate nutrition is a dry, dull coat and cracked hooves. Horses that are consuming adequate energy to maintain appropriate weight can still be missing the vitamins, minerals, fats and proteins required to support a shiny coat and tough hooves. Certain ingredients such as fatty acids, zinc, biotin, methionine, lysine, copper and vitamin A must be present in the correct amounts in a horses’ diet or skin, hooves and hair will suffer.

Horses that are supplemented with additional zinc and biotin have been found to demonstrate superior fine hair growth. This in turn results in softer, finer hair that is demonstrated by a glossy coat. Biotin is an essential B vitamin and a deficiency in horses will usually appear in a dull, lacklustre coat and/or dull, cracked brittle hooves. Biotin is essential for the maintenance of connective tissue found in skin, hooves and hair. It has been suggested that biotin stimulates the production of keratin which in turn provides for the production of smooth soft hair in the coat. Zinc is associated with the integrity and health of skin, hair and hooves and the immune system. Zinc deficiencies retard the synthesis of DNA, RNA and protein which are necessary for correct coat condition and repair.

Hyfeed Equimin Plus is a superior vitamin and mineral supplement formulated with sufficient levels of Biotin and Bioplex™ Zinc to improve hoof, coat and skin conditions in horses.

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High Quality Protein and Fatty Acids If a horse’s diet is low in oils, particularly the essential fatty acids omega 3 and omega 6, it will probably be displayed by a dull, listless coat. Hyfeed Soy Gize is high in fat and easily digested by the horse and contains all the essential amino acids and essential fatty acids required for healthy skin and a glowing coat.

Soy Gize contains 38% protein and is rich in amino acids such as lysine that is essential for muscle growth and maintenance as well as methionine & cysteine that are essential for hoof and hair condition. The oils in Soy Gize contain substantial amounts of Linoleic, Linolenic and Oleic (the Omega) fatty acids that are essential for a horse’s health and particularly skin and coat condition. The Omega fatty acids are known to help the maintenance of elastic skin and slick, glossy coats.

Worm Regularly Internal parasites (worms) that affect horses are everywhere and horses are continually being exposed and infected with worms.

It is very important to maintain a regular worming schedule as nothing will take the shine of a horses coat faster than a heavy worm burden. To help prevent resistance, rotate drenches every twelve months. Make sure the class of drug is changed, not just the brand name.

Brush Regular brushing stimulates the sebaceous glands which release oils that cause the hair to lie flat and shine. Brushing will also remove the dead hair from the horse’s coat, improving the health of the skin and coat.

It cannot be clarified enough that it is essential for a horse’s health and nutritional requirements to be met in order to obtain the glossy, shiny coat that is desired throughout the world by equestrians. a

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107.

Feeding the

baroque horse Part 2: Nutritional requirements of horses

By Mariette van den Berg, B. (Hons), MSc. (Equine Nutrition) MB Equine Services – Equine Nutrition Consulting www.mberg.com

I

n the previous edition we highlighted that different breeds of horses, such as the baroque horse type, can respond differently to modern-day feeding regimes. However, no matter if you are dealing with good doers, normal or hard keepers, feeding your horse properly starts with evaluating the weight and body condition of your horse. The next step in creating a feeding plan is to review the nutrient requirements of your horse. In this part we will briefly describe requirements for sporting horses, stallions, broodmares, lactating mares, and growing horses.

Nutrient requirements of horses The nutrient requirements of horses have been established from research on the nutrition and feeding of horses that has been conducted over the last 50 years.

The National Research Council (NRC) has published so far five editions of the Nutrient Requirement of Horses.

The sixth edition was published in 2007 and contains not only information about requirements but also information on feeds, feed processing and feeding behaviour of horses.

Horses play an important role in human society and are used for various reasons, such as recreational purposes, sport (e.g. racing, polo, Olympic events), exhibitions, breeding, farm work and even therapy. The type of use, age and physiological state all affects the nutrient requirements of horses. The NRC has an online program that you can use to obtain a more detail list of requirements for your horse(s). (http://nrc88.nas.edu/ nrh/) Feeding the sporting/performance horse The horse has an enormous capacity for physical work.

Its athletic potential for speed, endurance, and agility renewed its popularity in sports events such as dressage, show jumping, endurance, three-day events, and cutting competitions. A horse’s inherent athletic ability is highly dependent on genetics. Certain breeds and lines of horses are better suited for specific events.

When we are sporting with horses we challenge the horse’s performance abilities, so it is important that we have a proper training and conditioning program. Two very important systems help determine the success of a performance horse: 1) Nutrition/energy metabolism—the supply of energy and its utilization.

2) Conditioning/fitness—the mechanics of gait, coordination, and muscular strength.

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Nutrition and conditioning development programs are closely related to and dependent on each other. In Table 1 we provide a breakdown of the major nutrient requirements of exercising horses (light to very heavy workloads).

Adequate dry matter intake is important to obtain the necessary energy and bulk for the digestive system.

Horses can voluntarily consume up to 3 % of their body weight as dry matter daily. However, the voluntary intake can be influenced by individual energy requirements, palatability of feed and weather conditions. As a guideline, a minimum amount of long-stem pasture or hay at 1% of the body weight per day should be fed. Performance horses can be sustained on a forage-only diet, but those that are doing moderate to very heavy work may need supplementary feeds (e.g., concentrates, protein supplements and/or vitamin and mineral supplements).

This will largely depend on the body condition of your horse and quality of pastures and/or conserved forages.

If you supplement your horse with a cereal-based concentrate, care should be taken that the amount of starch per meal given is not higher than 1-2 g/kg live weight. This means that a 500 kg should not receive more than 0.5-1 kg of starch/meal. When increasing the amount of concentrates, no more than 0.3 kg per day should be taken as a guideline. High amounts of starch and rapid dietary changes may cause digestive problems.

Feeding the stallion The energy requirements for stallions are generally higher than for mares and geldings. In the breeding season it is estimated that stallions need 20% more digestible energy than off-season (maintenance). The main diet of the stallion should contain good quality forages (pasture and/or hay). Both non-breeding and breeding stallions can be maintained entirely on a forage diet, provided that the stallion has an acceptable body condition and that the forages offered are of a good quality. If the quality of the pasture or hay is low or the stallion has a thin body condition, it may be necessary to provide some concentrate feed. Typically a cereal-based or low GI concentrate with a protein mineral supplement, usually up to 0.5% of the body weight per day, can be sufficient to satisfy energy, protein and mineral requirements.

Supplementation may also be required for stallions that are in training.

Feeding the broodmare The maiden/barren and early pregnant mare have the same nutrient requirements as the mature horse at maintenance. During the first months of pregnancy the foetus is only small. However, with gestation progressing,

109 more foetal and associated mammary and placental tissue will be synthesised. This will slightly alter nutrient requirements after 5 months of gestation. The early pregnant mare should be maintained in a moderate body condition. It is recommended to feed broodmares long-stem roughage at 1.0-2.5 % of the body weight per day. On pasture broodmares can voluntarily consume up to 3.0 % of their body weight as dry matter daily. However, overfeeding the early pregnant mare has to be avoided as it may lead to obesity and foal difficulties. If broodmares are “good doers” the access to high-quality (improved) pasture should be restricted, and adjustments have to be made with supplementary feed that are low GI and provide enough bulk. Exercise is important and assists with maintaining an optimal body condition and muscle tone. All mares should have the opportunity to be turned out daily. Riding is also a good form of exercise. Most broodmares can be safely ridden up to 6 months, but this may vary individually.

Broodmares should be offered a supplement if they are kept on poor quality pastures or high-oxalate pastures that have low availability of calcium such as kikuyu. Concentrates or supplements can be fed to correct the nutrient deficiencies.

Typically a cereal-based or low GI concentrate with a protein and vitamin and mineral supplement, usually up to 0.5% of the body weight per day, can be sufficient to satisfy energy, protein, vitamin and mineral requirements of the maiden/barren and early pregnant mare.

The mare in late pregnancy After seven months of gestation the nutrient requirements increase significantly. In these last 4 months about 80% of the growth of the foal in the pregnant mare takes place. The energy, and to a greater extent, protein, calcium and phosphorus requirements increase because of foetal tissue being synthesised.

It is common that mares in late pregnancy are overfed.

Breeders should maintain mares in late pregnancy in a moderate to “moderately fleshy” body condition. The main diet of broodmares should consist of good quality forages (pasture and/or roughage). Roughage can be fed at 1.0-2.0% of body weight per day. Depending on quality of the pasture and forages, mares in late pregnancy may need to be supplemented with concentrates or supplements to meet nutrient requirements.

The protein quality and amount of amino acids, especially lysine, is very important in the diet of the mare in late pregnancy. Feed the pregnant mare always an adequate amount of minerals.

Inadequate and inappropriate levels of minerals in the diet of broodmares can cause abnormalities in the skeletal growth and development of the foal, a condition commonly known as Developmental Orthopaedic Disease (DOD).

Feeding the lactating mare The daily nutrient requirements of lactating mares are very high and can be compared with those of racing horses in heavy training. The mare will produce approximately 3.0-3.5% (early lactation) and 2.0-2.5% (late lactation) of her body weight in milk per day. Important nutrients are secreted by the mare to supply her foal with energy, protein, fat, carbohydrates, vitamins and minerals for optimal development and growth. To correct these nutrient losses and at the same time support maintenance requirements, lactating mares must consume adequate amounts of quality feeds.

The lactating mare should receive high quality forages (pasture/ legume hay) at 1.0-2.0% of the body weight per day. However, on pasture they can voluntarily consume up to 3.0-3.5 % of their body weight as dry matter daily. Grazing lactating mares may have to be supplemented with forages, concentrates or supplements to meet their nutrient requirements.

A positive energy balance will support the reproductive performance and the development and growth of the newborn foal. A negative energy balance in the lactating mare should be

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avoided because it affects not only the milk production, but it is also known to impair the reproductive performance. Lactating mares that have difficulties maintaining body condition can be given a fat supplement. Vegetable oils (e.g. linseed, sunflower seed or canola) or feed products such as copra meal and rice bran can be added to the concentrate diet to increase the energy density. Fat-enriched diets can assist with maintaining a positive energy balance and adequate milk production.

Feeding the growing horse The growth of a new born foal is exceptional. A healthy foal grows quickly; at 6 months the foal has already attained 40-50% of his mature weight and 75-80% of his mature height. Young horses must receive adequate amounts of nutrients to support sound growth and achieve full athletic potential. Feeding high quality forages and concentrated sources of energy, protein, minerals, and trace minerals are essential for optimal development. Young horses should be fed for a moderate rate of growth and be maintained in a moderate body condition. Avoid overfeeding young horses because excess weight and a rapid rate of growth can place more stress on the bones and joints. In addition, some horse breeds have genetic predisposition for skeletal defects, and overfeeding can cause rapid early development which may lead to DOD. Poor nutrition may increase the risk of DOD in young horses. However, there is not one single diet that cures all bone and joint problems in young horses. A sound feeding program starts off with feeding the broodmare properly throughout pregnancy and lactation. This is followed by proper feeding management of the young horse during first 2 years of life. An individual well-balanced diet and regular monitoring of the growth rate, body condition and general appearance assist with reducing the development of DOD in young growing horses.

Nursing foals To develop into a strong and healthy athlete the foal should consume 15 to 25% of his body weight in milk daily. The new born foal should drink colostrum from his dam for the first 48 hours after birth. Colostrum is the first milk of the mare and contains not only energy and protein but also essential immunoglobulins.

When the foal is born his immune system is not fully developed to cope with pathogens from the environment. The immunoglobulins in the colostrum provide immunity against bacterial and infectious diseases during first weeks of life. The ingested immunoglobulins also provide gut protection to cope better with dietary changes once

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the foal starts eating solid feeds. At two weeks of age the foal will try to nibble grass or feedstuffs from his mother. The mare’s milk production will decline after 3-4 months of lactation and the foal must start eating solid feeds to meet its daily nutrient requirements.

Weanlings Most breeders start weaning their foals at 5 or 6 months of age.

Weaning is a stressful period for the foal and may cause a decrease in the foal’s growth performance (post-weaning slumps). Insufficient intake of nutrients may increase the risk of bone and joint problems.

In particular, between 5 and 12 months of age higher risks of DOD are observed. The foal must eat sufficient quality forage (hay and/or fresh pasture) and creep/concentrate before weaning to minimize the risk of post-weaning slumps.

Yearlings At 12 months of age a young horse has already achieved 85-90% of its mature height and 60-65% of its mature weight. At this stage the growth rate will slow down, but young horses will continue to grow until they are approximately 4-6 years old.

Yearlings can be fed less concentrated rations and more bulky feeds because their digestive system has grown. Yearlings can meet the majority of their nutrient requirements from high quality forages (pasture or legume hay). Yearlings that are exercised or that receive poor quality forages need to be supplemented with a concentrate.

Summary The development of a proper feeding plan for your horse starts first with regularly reviewing of the body condition and weight of your horse(s). In addition, you need to be aware of their nutritional requirements. This may change from time to time, so it is essential to make adjustments accordingly to avoid overfeeding or underfeeding.

For more detailed information about the requirements of breeding and growing horses check our article achieve database www.mberg.com.au.

The next stage of developing a feeding plan for your horse is to review feed products. We frequently emphasise that the most important ingredient in the diet of the horse are forages; fresh grasses, browsing and/or conserved forages. Therefore, in the following part of this series, we will review pasture and forages for horses, followed by supplementary feed products. a

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Horses of

Interest Terracotta Army

Photos and Text by Joan Sankey

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n the 29th March 1974, a group of farmers were digging for a well outside the town of Xi’an in the Shanxi province in China when they made a discovery of one of the most significant archaeological finds of modern times. They came across the tomb of Emperor Qin Shi Huangdi, the first Emperor of China (259-210 BC). Coming to the throne at the age of 13 in 246 BC, Qin Shi Huangdi began the construction of his mausoleum. It took over 11 years to finish with more then 700,000 workers. Filled with a Terracotta Army to protect the Emperor in the afterlife, there were over 8,000 soldiers, officials, chariots, horses, cavalry horses and even acrobats, strongmen and musicians to entertain the Emperor.

The figures were made by creating separate heads, arms, legs and torsos (each with a different hair style and facial appearance) and then joined together. One belief is that when opposing armies came to fight the Emperor in the afterlife, they would be overawed by the number of soldiers (made up of so many districts) each looking different. With their loyalty to the Emperor and fierceness, they would cause the invading armies to retreat.

Three major pits have been made accessible covering an area of around 20,000 square meters and with over 8,000 soldiers alone. Along with the pits, Qin Shi Huangdi’s tomb mound lays at the foot of Mount filled with offices, halls, animals and even stables. A complete facsimile of his court was created for his afterlife.

On his ascent to the throne, prince Ying Zheng (later renaming himself Qin Shi Huangdi, which translates as First Emperor) was surrounded by small provinces of different ruling families. His own kingdom was renowned for its horsemanship and on assuming full power at the age of 22, Qin Shi Huangdi commenced conquering surrounding warring states. In conjunction to combining the provinces under one state, he introduced unified Chinese characters so that all people could communicate, standardised coinage and linked the different sections of the Great Wall together to protect from invading armies.

His tomb remains unopened as preservation of the artefacts that remain inside. On uncovering the warriors, the paint on some of the figures faded and flaked at an extraordinary rate of seconds once exposed to the dry air. a

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R R Riz’s Rant

Riz’s Rant A s ta b l e l i f e www.piafferevealed.com A calm, balanced horse is a joy to be around, and I contend that some basic training principles—as well as proper horsekeeping techniques—can lead to a happy, healthy and willing partner. Ulcers, colic, weaving, cribbing, and pacing, as well as many behavioral problems in horses, are all symptoms of an unbalanced equine lifestyle caused by the way we train and keep our horses.

As far as training is concerned, for centuries there have been horsemen who have recognized that some behaviors and/or responses are “hardwired” into horses. Hardwired, in this case, is being used to describe an automatic response, not the result of a cognitive decision. Most have accepted the belief that there are, indeed, certain behaviors hardwired into all animals. .

interacting in the form of play while reinforcing or changing the pecking order in the herd, almost 80 percent of their day is spent grazing… usually walking slowly with their heads down and chewing. When something does catch their attention that may be cause for concern, they will raise their heads and stop chewing—even if there is food in their mouths. They raise their heads, allowing them to use their binocular field of vision to get a better look and help them determine whether to continue grazing or to flee.

Why is it that one can put the horse in a position that he would normally take if he were in a calm, relaxed or submissive state and it will induce a calm, relaxed or submissive attitude in the horse?

During this time, the horse’s central nervous system (CNS) has been sending messages stimulating arousal and energy generation while inhibiting digestion. Inhibition of digestion will manifest itself through the slowdown in production of saliva and digestive fluids, starting the process of glycogenolysis. Horses store excess glucose by polymerizing it to form glycogen. During glycogenolysis, the body breaks this glycogen back down into glucose when it determines energy is needed for flight.

Allen Pogue, an exceptional horse trainer and mentor of mine, believes very strongly in teaching a horse to perform an “obeisance” (circus bow) as a preliminary exercise for every horse as part of his “Imagine A Horse” training system. He believes this posture helps to create a calm and willing attitude in the horse. His philosophy is consistent with other trainers, both past and present, who also believe that by lowering the horse’s head, you will create a submissive or relaxed attitude in the horse. (“Submission” describes agreeing to be agreeable—NOT being dominated).

Around my farm, I call it the “Theory of Reverse Inevitability” which assumes that many physiological as well as psychological and emotional conditions can be induced or relieved by simulating the symptoms. I believe many common problems people have with their horses are simply manifestations of anxiety and/or stress.

In the past couple of decades, a movement to study equine natural behavior as well as herd interaction has become very popular, and many horses have benefited from these studies. By the same token, if you study horses in their natural environments, certain physical actions and postural patterns become apparent as well.

While horses will spend time napping, sunning, mutual grooming, and

But when the horse is chewing, the horse is relaxed, which is why chewing, and likely the posture assumed with it (i.e., head lowered, swallowing and muscles relaxed), is key to overall relaxation and the emotional, physical and psychological well-being of a horse.

This is why the use of food rewards during training can be used not only as a form of positive reinforcement, but also to initiate relaxation.

When a horse becomes nervous or is approaching the flight response, his decisions will be based upon subconscious or instinctual response rather than a conscious or evaluative decision. The food triggers the chewing response, and since the horse only chews when it feels safe, the CNS responds by initiating the act of relaxation.

Go out and try it on your own horse. Stimulate him in some way and then stick your finger in the side of his mouth (where there are no teeth) and tickle his tongue. Instantly he will not only begin to chew and lower his head, but also you will likely notice his entire body relaxing.

Those educated in the use of jaw flexions, made famous by Francois

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Riz’s Rant A s ta b l e l i f e Baucher, also have reported that a flexion of the jaw can be used not only to relax a horse, but also as a test to check if the horse is relaxed.

In their natural environment this “stress/anxiety position” is only assumed for short intervals, and their systems are not equipped to deal with extended periods of anxiety/stress.

Jean-Claude Racinet, a staunch proponent of the flexions, explained that a true flexion of the jaw is not just a champing of the bit, but it “involves a whole, very specific process which starts with the opening of the mouth, continues with an up-anddown movement of the tongue under the bits (which makes them jingle as if the horse were swallowing his saliva) and ends with the shutting of the mouth.”

In humans, extended periods of stress can manifest themselves in physiological, emotional and psychological traits. Restlessness, shaking, developing tics, blinking of the eyes, depression, mood swings, irritability, anxiousness, impatience, hostility or violence, development of ulcers, digestive problems, and so much more can ensue. Horses react much the same as humans in their response to stress.

This action stimulates the nerves and muscles that are the same ones used grazing. So, if you feel your horse starting to tense up, you can activate the chewing reflex via a treat or even use a Baucher-styled flexion of the jaw. An autonomous system within the horse then signals the CNS that the horse is eating, and the CNS assumes that if he is chewing, then he must be relaxed.

This triggers the physiological and neurological responses associated with relaxation, thereby relaxing the horse.

In the wild, the horse is able to balance himself by burning off any excess energy created, and then to relax even further by returning to grazing. This is not the case when confined to small spaces like a stall, thereby triggering the stress responses that lead to many of the behaviors for which people seek help.

Another student of Equine Behavior, JP Giacomini, has noted that he can calm an excited breeding stallion down by moving his top lip in a circular side-to-side motion. Again, this is likely due to the same principle, as a horse will use his top lip in a similar manner when grazing.

However, nothing works just one way. If it is possible to relax a horse by simulating grazing, or by inducing a calm state through assuming postural positions he would naturally take in a calm or submissive frame of mind, then it is not a stretch to believe it is equally possible to induce the opposite response.

I doubt anyone will argue against the fact that horses in stalls are far more likely to suffer colic than horses kept in a pasture or natural setting.

It is also far less likely for a horse kept in a pasture ornatural setting to develop physical problems such as ulcers, cribbing, weaving, or pacing. Additionally, horses kept in a more natural environment are less likely to be “hot,” nervous or jumpy than they would be if kept in a stall.

This has often been attributed to the feeding of grain or the fact that horses in stalls don’t get enough exercise. These factors no doubt contribute to those behaviors, but many horses kept in a stall setting generally do not eat hay throughout the day, even if hay is always available.

Another factor involved in this horsekeeping issue is that wet grass weighs many times more than dry grass. A horse grazing at pasture will have to consume, and therefore chew, much more to take in its body requirements and satisfy natural cravings with wet grass than with dry hay. Conversely, horses kept stalled will spend the majority of their days with their heads up looking out of their stalls and not chewing—a posture very similar to the position that a horse will take when sensing danger! The postural change and lack of chewing triggers a horse flight response even if the horse does not cognitively perceive a threat. The messages being sent to the CNS by receptors are that the body has assumed a posture of stress oranxiety and is not chewing.

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A look back in history shows that the more advanced our civilization becomes, the less we live as nature designed, and not always for the best. This is true for our four-legged friends as well. It usually means that an animal that spent centuries grazing in herds on open plains is kept more and more frequently in a box stall.

More often than not, turnout is either unavailable or very limited, and it is rare for stallions to be able to romp and play with other horses.

We try to justify this to ourselves by building pretty barns, making sure the bedding is clean, and providing the best feed we can, but all of that doesn’t change the fact that the equine digestive system, as well as the equine emotional system, were designed around walking, grazing and living as part of a group.

Yes, some horses, like people, are able to adapt to stress better than others, but the reality is that the more you can help your horses live a more natural life, the better off they will be.

Ideally, horses should be kept in large pastures to graze throughout the day, living in herds with other horses, although the reality is many of us cannot provide this for our horses.

Here are some other suggested alternatives: • Even though you may not be able to provide turnout all day, offer as much turnout as possible • Try to make sure stall walls are low enough that horses can see out without straining •

Offer feed in smaller, but more frequent portions

•

Keep hay in front of them at all times

•

Offer stall toys that encourage licking and chewing

These suggestions for training and keeping your horses are merely suggestions. I want to be very clear. I am not a veterinarian. I have no Ph.D. in Equine Studies. I am just a guy who likes to spend as much time as he can learning from and observing horses. In my experience, most of the time a little common sense, compassion and patience will get you further than peer-reviewed studies. Horses will tell you all you need to know if you listen to what they have to teach you. a

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