BH Dressage - Issue 28

2 Baroque Horse DRESSAGE | www.baroquehorse.com.au

C CHAPELHOUSE

P U R E I B E R I A N S TA L L I O N

Ph 0404 84 3636 | Danielle@baroquehorse.com.au

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M

MAJESTIC

SPANISH h o r s e s

MAJESTIC MATADOR

RAYADILLO SG (Imp)

Not just another stud...

Not just another horse...

EDITORIAL

Editor-In-Chief Danielle Skerman editor@baroquehorse.com.au

SUB-EDITOR

Patty Taylor patty@baroquehorse.com.au

ART & PRODUCTION

Design & Production Manager: Danielle Skerman

DESIGN

Kasia Misiukanis-Celińska

ADMIN & MANAGEMENT Patty Taylor patty@baroquehorse.com.au

ADVERTISING ENQUIRIES

advertising@baroquehorse.com.au +61 419 363 635

FOR SUBSCRIPTION ENQUIRIES subscriptions@baroquehorse.com.au

GENERAL ENQUIRIES

enquiry@baroquehorse.com.au

PHOTOGRAPHERS

Katarzyna Okrzesik-Mikołajek, Bruno Barata, Carol Froment, Rita Fernandes, Gabrielle Boiselle, Ivonka Dopieralski, Deborah Kalas, Kristen Fleet, Bruno Barata and Libby Law.

CONTRIBUTORS

Danielle Skerman, Patty Taylor, Sofia Valenca, Cath McDowell, Dr John Kohnke, Teresa Burton, The Nude Horse, Jochen Schleese, Filipa Jácome, Linda TellingtonJones, Ruby Goodsell, Jim Masterson and James Fillis .

PUBLISHER: Baroque Horse PTY LTD ACN: 159 279 848 PO Box 236 Millthorpe NSW, Australia 2798 ©Baroque 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.

photo by RITA FERNANDES

Guihzo d'Atela from Lusitanos D'Atela

contactus@lusitanoworld.com WWW.LUSITANOWORLD.COM

editors note S

ix years ago I had an idea to create a publication based on the breeds I love and adore.

The dream started as my passion for the Baroque horses, and to produce an online magazine (cue the corny music to go with the upcoming cliche comment.) It was just a dream, and I had no idea of where it would take me.

I had no intention to take it to print and do all that I have over the years. We are a small hard working team from all around the world. For those who don't know we're a mother-daughter team here in Australia (Patty and myself) and we have an incredible, hardworking team who help with design, articles and photography.

Over the years I have learnt so much, and it's always so interesting to have a look back at our early issues and compare to where we are today. I do wonder in another six years, and whether I'll look back at the magazines we're doing now and think we've grown so much more! I guess we won't know that for a long time!

Over the years one of the most common questions we get is, "how do we come up with what goes in the magazine and do we ever run out of ideas?" Well, I can answer both with one answer there is so much out there, and when it comes to picking what goes it, we try to put ourselves in the position of the reader, and what we'd find interesting and that has substance. Since producing the magazine and I regularly look at other magazines (not necessarily horse ones), and sadly I find so many articles very hollow. And when I say hollow, I mean that it just gives you the concept of things and more often than not there isn't much substance and not a lot you can learn from or do. Some give you nice ideas and some level of inspiration, however, for us, we want to give you more. We want you to feel that you can have a read and then go outside and give something you've learnt a go. Naturally, nothing is as good as having these amazing trainers in person, however, being able to have an insight into their ways of training and what they have learnt in their many years of working with horses is a great start and inspiration.

When selecting articles, we not only try to have something with substance but also with integrity. Those who are regulars have seen me rant on and on, issue after issue. It's something I/we take great care and pride in. You'll never see someone who

follow us on: www.facebook.com/BaroqueHorseMagazine www.pinterest.com/baroquehorse

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w e l c o m e

is a known Rollkur or LDR rider in this magazine. No matter how hard people try to tell you they are a good trainer - good trainers don't need to resort to that sort of force, and they obviously don't the horses' well-being as the most important part of their training.

So a long answer cut short is - no we don't have too much difficulty with what goes into each issue and we also we try to put ourselves in the position of the reader - while keeping our integrity in the type of content.

We also love to listen to our readers and give them more of what they've liked.

In this issue, we have a great variety of interviews, training, health and our 'of interest' section. I particularly enjoyed our interview by Ruby Goodsell with Janey Vermunt and hope you do too! We have a super health and training section in this issue. We have had very positive feedback from The 3 Part Valenรงa Method series, and now we have great tips from Sofia Valenรงa in encouraging people to work more productively.

Some equine massage with Jim Masterson on which to try out on your horse. Getting playful with Linda Tellington-Jones and some more historical text from Xenophone press with Jame Fillis.

We do hope you have enjoyed what we bring in our publication and this issue and as always we welcome any feedback.

/ Editor-In-Chief / Baroque Horse DRESSAGE / www.baroquehorse.com.au

contents

I S S U E

w h a t

28 i s

i n s i d e

01 Interviews 10 16 30

Jessica and Ben Werndl Lusitanos d'Atela - Francisco Bessa de Carvalho The journey of a lifetime with Janey Vermunt

02 Training It's playtime with Linda Tellington-Jones Optimise your dressage horse with Jim Masterson A simple approach to the complexity we create by Sofia Valenรงa Direct Ffexion with James Fillis Working in-hand - Part II with Nuno Cavaco

We Recommend page:

24 36 42 46 54

On the cover: HORSE: 'Xelim OC' PHOTO: Rita Fernandes for Lusitano World

04 52 60 82

page:

Saddle fit and technology with Jochen Schleese 5 handy hints by Dr John Kohnke Feeding the dressage horse BioGnosis - Part II with Cath McDowell Equine gut health by the Nude Horse Antioxidants

Of Interest

12 fun horse facts 10 signs of a healthy horse 10 Horse body facts

page:

62 68 70 74 78 84

page:

03 Health

10 16 30 42

10

I N T E R V I E W

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INTERVIEWER: Danielle Skerman PHOTOS BY: KATARZYNA OKRZESIK-MIKOŁAJEK

Horse

for the love of the

with

BENJAMIN WERNDL JESSICA VON BREDOWWERNDL

&

Every now and then you may get someone who will stand out from the crowd and starts to get noticed for their skill, ethics and all-around good person and in this circumstance, it's not one, but two. The ever-so-talented and dedicated brother and sister team Benjamin Werndl and Jessica von Bredow-Werndl are the epitomai of this.

T

heir love for horses and dressage all began from their horsey family and in particular their Aunt who was a breeder. At the tender age of six (Benjamin) and four (Jessica), they were given a horse from their grandparents and this long journey of learning and discovering horses began.

Here at Baroque Horse, we had the pleasure to talk to both Benjamin and Jessica on their life, horses and training.

BH: What is it about horses that make you get up and want to do this every day?

J&B: We love horses, and we love what we do, and it's our dream job, and we consider ourselves so lucky to be able to do this for a

living. We both have studied and tried out a few other things. However, we both kept coming back to horses, it's just a part of us and who we are. We both thought that this is what we want to do in life. Of course, you have to work hard to reach your goals, but that’s the same in anything you do. For us, the biggest achievement in our sport is not the success; it’s the way of working together with your horse as a partner and not as a tool or object. For us, the breeding is not so important as it is about the character of the horse and its abilities and their love to move.

BH: Being brother and sister in the same sport can it get competitive between you?

J&B: Of course it is competitive but in always in a good and healthy way, and we inspire each other. Luckily, we both have the same idea of how to work with horses, but

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I N T E R V I E W

J&B: That's a good question. We would absolutely be doing some form of sport, and we both love all kind of sports. We love animals, so we found our perfect combination ;-)

The secret is to TRAIN

EVERY DAY A LITTLE

differently and

DON’T TRAIN EACH DAY

the same as this is

when the boredom sets in.

sometimes we may have different approaches.

We work together running our business and with training horses and riders. So if one is successful, it’s also the success of the other. We have an excellent working relationship which makes it all that much easier and enjoyable.

BH: When a new horse comes to the barn how do you decided who gets to ride it?

J&B: We always try to find out who is the best partner for the horse. Of course, it’s also a question of the size. Jessi normally takes the smaller and Benni the bigger ones. But not always;-) It depends on lots of different things too. At the end of the day, we always try to make sure the match is right for horse and rider.

BH: What brings you the most joy with your horse? What always brings a smile to your face?

J&B: We love hacking out with the ponies as it is all about having fun with our horses. This is not only good for the rider however also very important for the horse to relax and have some fun too.

BH: If you weren’t working with horses what would be doing instead?

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BH: One of your trainers is Andreas Hausberger from the Spanish Riding School in Vienna, what is it about him as a teacher that made you want to train with him?

J&B: Andreas Hausberger is a brilliant trainer especially for piaffe and passage. His method of training is very patient; he ignores mistakes and praises the horse immediately for good reactions. That’s exactly our approach so is great to train with a likeminded person.

BH: What would you say is the most important training philosophies that you believe in with your riding/training?

J&B: Allowing the horse to carry itself and the ride to have soft reins.

BH: There is a lot of pressure to get a young horse going to the top level

Alizée, Jessica and 'Sultan'

Photo by Carol Froment

fast and in particularly the young horse competitions, how do you find all this and your thoughts on it?

J&B: We are not interested in having success in young horses in competitions. We are more interested in getting the horses accustomed to the competition atmosphere. That’s quite important to us, and our primary goal is always to reach Grand Prix level with our horses.

BH: What do you do for fun with the horses?

J&B: The secret is to train every day a little differently and don’t train each day the same as this is when the boredom sets in. It can not be good for the horse if you only train a few days for many hours. It's important not to overwork your horse.

BH: Jessica, recently you did a commercial for Hermes (https://youtu.be/ q2asjqUGyug) on a beach riding Alizée Froment’s PRE Sultan, how did all this come about and how was the experience for you?

J&B: We do a lot of different things for example jumping, galloping, hacking out, playing around and ground-work. Riding bareback is also a good way to feel the horse and yourself as a rider, plus it is also very invigorating.

JW: I am lucky enough to have Hermés as a sponsor, and they organised it to promote their new saddle. The saddle is amazing to ride in, and it was a fantastic experience in an incredible atmosphere. The Iberian horse was also so talented and beautiful too :)

BH: Do you have any particular training methods or workouts that are a good way to have some fun with your horse if they are getting a bit bored etc.?

BH: Benjamin, as a child showjumping is where you wanted to be, how is it you found your passion for dressage?

BW: As a boy, this was more interesting for

Riding bareback

is also a good way to FEEL

THE HORSE AND yourself

as a rider,

PLUS IT IS ALSO VERY invigorating.

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I N T E R V I E W

Experience will teach you that too much emotion won't help you to solve a problem.

If something goes wrong, step back, take a moment to think about it, and try to make it easier for the horse. If the horse doesn't understand you then sometimes you need to go about it differently. Don't put unrealistic pressures on yourself and say that this is something I have to achieve today. Time is your best partner in training horses. Give the horse and yourself time. Of course, you also have to have a training system.

BH: Benjamin you are very passionate about bringing and training young horses all the way yourselves - why is this?

BW: Our philosophy is to train our young horses to a Grand Prix level, and in our opinion, this is also the only way to become a world class rider and trainer. Making the full journey from beginning to Gand Prix not only enables you to have a deeper connection and understanding of your horse, but it also develops you as a rider and trainer. You can also feel comfortable that no corners have been skipped and that the horse has the right foundations that are required for the higher levels.

me. However, they told me that I had to learn dressage first, and that’s what I’m still doing;-), But today I’m really happy to ride dressage.

BH: What are you passionate about when it come to training horses?

J&B: Never force a horse to do something they don't want to do and never treat a horse with disrespect.

BH: Of your training philosophies which one would you most like to influence people with?

J&B: That's easy - Lightness - as it is the best and natural way for the horse.

Being heavy handed and rough is not only destructive and counter productive.

Harmony is not achieved this way.

BH: How important is it to control your emotions/nerves etc. when working with horses and how you two work on this?

J&B: To control yourself is very important.

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BH: You train with Andreas Hausberger who is a renowned classical coach and also Jonny Hilberath who is also known for being strongly classically orientated, can you tell why is it that you chose to have classical training for competition dressage?

dressage; it is the same thing. Jonny and Andreas are both very experienced and exceptional horseman. It’s important to have external partners who have the same idea not only in training horses but also to talk and train with.

BH: Do you have any recommendations for people who inspire to grow their riding to the top level?

J&B: Don’t concentrate on the success, focus on your development as a rider and then success will come. But you sometimes have to be really patient but never forget the fun factor! A horse is not a machine.

BH: What plans for the future do you have?

J&B: We have a lot of plans, but of course, we want to be successful and be at the top of our sport. But there are also other things that are important too, so this is not our only focus.

We also have a new DVD out with Pferdia tv called "Dressage - the holistic approach to success" more information be found on our websites. www.aubenhausen.de/en www.jessica-aubenhausen.de/en www.benjamin-aubenhausen.de/en

Here at BHD we would like to thank Jessica and Ben for taking the time to J&B: Classical training is not only about talk to us and we look forward to their making your horse look good and executing the correct movements; it's also a way to keep future success. a your horses healthy and sound, and this is very important. Classical dressage is competition

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16

I N T E R V I E W

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'Xenofonte d'Atela' | www.baroquehorse.com.au Baroque Horse DRESSAGE

AUTHOR: Filipa Jácome PHOTOS BY: Rita Fernandes from www.lusitanoworld.com

LUSITANOS

d’Atela

Bessa de Carvalho Stud was founded 28 years ago by the Portuguese School of Equestrian Art’s renowned rider Francisco Bessa de Carvalho.

Passionate about the Lusitano breed since he was a child, the history of the stud is intrinsically connected to his life and that of his family, with his wife and children actively contributing to the daily management of the stud. The love for his animals is unconditional, and the pride in the legacy that he has built is clear, as he walks amongst his mares telling us stories and anecdotes about each one of them.

LUSITANOS D’ATELA – BEST BREEDER AT THE INTERNATIONAL LUSITANO HORSE SHOW 2017

H

e divides his time between the Portuguese School of Equestrian Art, the iconic riding school of Quinta da Fonte Santa, (where the young horses over the age of four are trained) and the green pastures of Paul d’Atela. The Stud’s birthplace is where the 20 broodmares and young horses up to the age of three are carefully monitored.

Francisco Bessa de Carvalho leads a breeding project that stands out not only in Portugal but also internationally.

Aiming to breed horses with character, functionality and beauty that stand out in the international sports panorama, the Lusitanos born at Paúl d’Atela have been proving the merit of the stud. With several horses competing internationally at the highest level, 2017 has been a good year for Bessa de Carvalho Stud, they recently received the award of Gold Mare at Expoégua and reached the title of Best Breeder at the XXIX International Lusitano Horse Show, where they presented 15 horses of their brand.

Jovial and always friendly, Francisco opened the door to his home and told us a little bit more about the history of his Stud, which is also his history.

FRANCISCO BESSA DE CARVALHO

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I N T E R V I E W

LW: How did the story of Coudelaria Bessa de Carvalho Stud begin?

FC: It was the year of 1983 when I accompanied Master Luís Valença on a visit to the Visconde dos Olivais’s Stud, the property of Mr Eduardo Veiga de Araújo, with the objective of choosing some three-year-olds for Lezíria Grande Equestrian Center. These colts had no management at all, so I offered to begin their training. It was agreed that in exchange for my work, I could choose one of the fillies born to the stud that year. The filly I chose was 'Baunilha', and she was the first mare in my Stud.

And so the dream began. I presented her at the Agriculture National Fair, for the two-year-old female class of model and movements competitions where she obtained first place and a gold medal!

'Baunilha' remained as part of my stud until she died and to this day we still have some of her progeny in our herd. We had this agreement of trading a mare for starting the three-year-olds, and these were the mares that founded Bessa de Carvalho Stud.

The stallion that I used was 'Danubio' (MV) who was the property of Mr Francisco Sousa Cardoso and a horse I had the privilege to ride. He was Champion of Champions at one of the International Lusitano Horse Shows, in Lisbon.

LW: Why Lusitano horses?

FC: I was fortunate to be born in Portugal, the cradle of the Lusitano breed, and to have had the opportunity to ride since I was nine years old with Mr Fernando Ralão in Lisbon. Later I met Master Luís Valença Rodrigues, who had just set up his new equestrian centre. This gave me the opportunity and the privilege to be in contact on a daily basis with an equestrian professional that I could look up to; he inspired me to dedicate my life to riding and the Lusitano horse.

LW: What are the foremost goals of your stud? What type of horses do you aim to breed and what are the characteristics that you would like to retain in your bloodlines?

FC: The priority is to breed horses with type, beauty and functionality, giving particular attention to good temperament

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1

and develop big uphill moving horses. We focus on quality in the walk and canter, essential for the saddle horse, but without forgetting that modern use of the sports horse demands a quality and expressive trot. Alongside beauty and type, our aim is to breed horses with good size to ensure competitiveness and a great performance internationally.

LW: Which are the main reproductive lines that you use in terms of mares and stallions?

Photo1 Xenofonte d'Atela with Olympic Rider Miguel Ralão Duarte.

Photo 2 Eros d'Atela.

Photo 3 Idolo d'Atela.

Photo 4 Francisco Bessa de Carvalho receiving best breeder 2017 award.

Photo 5 Hercules d'Atela.

Above award for champion and founding mare 'Baunilha'

FC: Our broodmares originate from the mares from Visconde dos Olivais crossed with stallions from Veiga, Arsénio Cordeiro and Coimbra bloodlines. This basis was later mixed with the stallions Hostil, Rico and Soberano from Dr Guilherme Borba Stud.

All the stallions that we use nowadays are tested to the highest level, with special highlight to 'Soberano', a recommended stallion for his model and his movements. He has three gold medals, two titles of champion of champions and also awarded stallion of merit for dressage. He obtained his best results during the world equestrian games in Caen, France in 2014, where he earned the highest score for the Portuguese Team, ridden by Carlos Pinto.

LW: What is the importance of the mares for the results of the Stud?

FC: I believe profoundly in testing all the male and female breeding stock, this is because you can make better and more educated decisions on the pairing. By doing this, you can work at eliminating the unwanted flaws and giving priority to the essential qualities of a saddle horse.

The priority is

to breed horses with TYPE,

BEAUTY AND FUNCTIONALITY,

giving special attention to good

temperament and DEVELOP BIG MOVING

uphill horses

2

3

LW: How many broodmares do you have now at Paul d’Atela and do you plan on increasing or decreasing the size of the herd?

FC: At the moment we have 20 broodmares, and we intend to maintain this figure.

LW: We are aware that the stud has been using embryo transfer. Do you consider this strategy a catalyst for increasing the quality of your animals?

FC: The modern methods of assisted reproduction are a tool that acts as a catalyst for the breed’s improvement, as it allows the mares to be tested to a higher level competition, without hindering their reproductive life. This is the reason why we have used this method for our top mares, giving us some very impressive animals of excellent quality.

4

LW: Bessa de Carvalho Stud has horses with exceptional results both nationally and internationally. Recently, you received the title of Gold Mare at Expoégua with 'Guhapa d’Atela'. Tell us a little about this astounding mare and the perspectives for her progeny.

FC: 'Guhapa d’Atela' is a result of our embryo transfer program: a daughter of 'Quimera' and 'Hostil', we used a Lusitano surrogate mare that we kept in the herd to make sure the breed-specific and environmental factors remained the same as that of the other animals in our Stud. 'Guhapa' was ridden for one and a half years to test her qualities and assess the best pairing for her. We have now two fillies from 'Guhapa', the first by 'Destino dos Pardinhos' and the youngest by 'Escorial'. Both have displayed good breed-specific qualities and an exceptional temperament.

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I N T E R V I E W Photo 6 Gata d'Atela. LW: Additionally, you have also

Photo 7 Leste d'Atela. achieved the title of 'Best Breeder' Photo 8 Guerrita d'Atela. at the International Lusitano Horse Show 2017, where you presented 15 Photo 9 Eros d'Atela. horses. What does this mean to you?

FC: This title of Best Breeder feels even better as it represents the recognition of the Stud’s maturity by the breed experts. It was very gratifying to present 15 horses and have 11 of them achieve a classification within their classes, with four silver medals and two gold medals.

This title, which we feel very honoured to have received, is also a challenge for the future of the Stud.

LW: What were the horses that contributed to your victory and what are your perspectives on it?

FC: The horses that contributed to this title were: one-year-old filly 'Menta d’Atela'; two-year-old filly 'Luz d’Atela'.

The amazing 'Guhapa d’Atela', who received a medal again for her model and movements. We also presented Quimera’s progeny with the horses 'César d’Atela', 'Guhapa' and 'Isadora d’Atela'. In the class of ridden mares, we showed two very promising mares: 'Guerrita' and 'Gata d’Atela'. In the males classes, 'Idolo' and 'Instinto d’Atela' competed in the ridden fouryear-old males class. Lastly, in the three mares Cobra ( a group of the mares) we presented 'Bohemia', 'Xiclete' and 'Granada d’Atela'. We chose this group of mares because Bohemia is progeny of the first generation of the Stud (Garça VO by Hebraico MV), 'Xiclete' is a third generation (Queijada x Querer) and direct progeny from our VO lines and Granada is a daughter of 'Soberano' on 'Xiclete', i.e. a fourth generation of the stud.

Happiness

is NOT

SIMPLY an objective: it’s a

CONSTANT SEARCH...

LW: The objective to breed sports horses has been leaving a mark on some of your best products. From the horses that are still competing to date, which are the ones you would like to highlight and why?

FC: It is indeed our goal to breed horses with sporting potential. It was the main reason why we selected 'Soberano' – whose career we supported until he competed in the Dressage World Championship as the main stallion for the Stud.

At the moment, we would like to emphasise 'Xenofonte d’Atela'

20 Baroque Horse DRESSAGE | www.baroquehorse.com.au

competing at the international scene in 5* competitions with Olympic Rider Miguel Ralão Duarte.

Also, 'Cappuccino d’Atela' with Catarina Lopes had good results in young riders. 'Assirio d'Atela'a with Salvador Pessanha was vicechampion in Portugal’s Dressage Cup before he was sold abroad.

'Quartz d’Atela' in France with Bianca Roch, competed in GP FEI and was European champion in Masters du Cheval Iberique. 'Gin d’Atela', the property of Paolo Merli and now in Italy, did well in dressage and was Italy’s vice-champion of the breed.

We currently have two six-year-old mares in preparation to compete, and another is already competing in dressage at C level with great results: 'Guerrita d’Atela' with Salvador Pessanha. The other two are 'Geada d’Atela' with Miguel Ralão Duarte and 'Gata d’Atela' with Gonçalo Sampaio.

6

LW: Which do you highlight as your major accomplishments/ happiest moments throughout your path was a breeder?

FC: Happiness is not simply an objective: it’s a constant search and all steps achieved throughout these 28 years of breeding that have been the incentive to carry on that search incessantly. The fact that we have had horses classified in first places, male champions, female champions and champion of champions titles, as well as Lusitano European Champions, is a recognition that we are heading in the right direction, but always remain alerted to corrections and improvements that are within our reach.

We highlight just a few such as 'Xenofonte d’Atela', 'Hercules d’Atela', 'Guhapa d’Atela' in Portugal, 'Absinto d’Atela', 'Ehpico d’Atela', 'Exparta d’Atela', 'Conquistador d’Atela' in the UK, 'Galileu d’Atela' and 'Gin d’Atela', in Italy.

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FACTS & FIGURES •

28 years breeding Lusitanos

•

70 hectares of pastures

•

70 horses at the Stud Farm

•

20 breeding mares

•

15 to 20 new foals each offspring

•

15 horses sold every year

•

Horses from Bessa de Carvalho brand all over the world: UK, France, Spain, Germany, Belgium, Italy, Luxembourg, Czec Republic, Sweden, Netherlands, Australia, USA, Brasil, China, Jordanea, Mexico, Canada and Argentina.

•

Main Achievements in 2017: Best breeder at Feira da Trofa; Gold Mare at Expoégua; 2nd place at the National Competition of Portuguese Studs; Best breeder at the International Lusitano Horse-Show.

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I N T E R V I E W 10

One of the awards that we rejoiced over was given to 'Hercules d’Atela', which won the title of Lusitano European Champion in 2016, in Germany. This horse will be exported as a breeding stallion for Haras Vila de Sagres.

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At the beginning of 2017, we sold five horses to Argentina, three mares and two stallions and they will join a pioneer project of breeding Lusitano horses in that country: La Sagisciana. Two of these horses, both sired by 'Soberano' and will compete in dressage in this country.

LW ~ Every time we speak to a horse breeder, Lusitano or other breeds, we can’t resist asking their opinion about the evolution and potential of the Lusitano horse. During our conversation, we had the opportunity to exchange some impressions with Francisco Bessa de Carvalho about the evolution and future of our Lusitano Horse.

LW: How do you perceive the evolution of the Lusitano breed in the last decade?

FC: The improvements in the Lusitano breed have been steady since the studbook’s establishment. The genetic makeup is of great quality and the ability to organise a selection program that gave privilege to the zootechnical improvement, respecting the breed’s type and functionality was a focus since the beginning. This selection, through a grid of just eight parameters that weighted at 1.5 the characteristics that benefit type and functionality, was an astute foresight of its designers since with a small number of sections and a summary evaluation of the breeding stock, their objective of selection was achieved.

LW: In your opinion, does the Lusitano horse have a place in the upper levels of International Dressage Competition?

FC: I believe so, even though in the past

22 Baroque Horse DRESSAGE | www.baroquehorse.com.au

the breed did not have competition potential as an objective, however, now they have had several noteworthy results internationally.

Nowadays, with a competitive objective assumed and out in the open, the number of horses with a high level of sporting capacity will increase, and the likelihood of them being handed to riders with the ability to explore this potential will increase exponentially. A good pairing between horse and rider is compulsory to achieve success.

LW: Which are the characteristics, as a Lusitano Breeder, that you value most?

FC: Type, functionality and beauty.

LW: As a rider, would you say that the characteristics you search for as a breeder are the same?

FC: Yes, the better the raw material the greater chance of achieving what we desire in a ridden horse, no matter the discipline we practice.

LW: What do you wish your contribution to the development of the Lusitano breed to be?

FC: Through a consistent, objective and lasting breeding selection program,

Photo 10 d'Atela mares and foals in a field. Photo 11 Winning oneyear-old filly 'Menta d’Atela'.

Photo 12 Chamption mare 'Guhapa d'Atela' with filly foal by 'Escorial' at foot.

we seek to develop the characteristics of good saddle horses, developing the breed and bringing back the old type characteristics as initiated during the Foundation of the ‘Puro Sangue Lusitano’ Stud book.

Lusitano World would like to thank Francisco for taking the time to talk to us about his successful and forward thinking breeding program.

If you are interested in knowing more about Lusitanos d'Atela visit their website lusitanosdatela.com. If you want to dive into the World of the Lusitano follow lusitanoworld.com and like our Facebook Page. a

Willobie Lusitanos Australia is Proud to Present

Asceta d’Atela

Photo Credit: Lisa Sultana Photography

PHOTOS BY: Lisa Sultana Photography

Son of Soberano Who Represented Portugal at the 2014 WEG and carries the Hostil and Zico Blood Lines.

Dam: Rajada Born: 26th March 2005 Height: 16.3hh From the Stud: Lusitanos D’Atela and Francisco Bessa de Carvalho

Cost $1600

Asceta proves time and again the amazing ability of the Lusitano Breed.

His impeccable temperament, sensitivity, loyalty and willingness to please makes Asceta a pure delight to handle, train and compete.

Imported to Australia in October 2013 Competing Successfully at FEI PSG Training FEI Inter I and II Available for Cross Breeding

By AI Only: Fresh, Chilled and Frozen Includes LFG Will be available at Goulburn Valley Equine Hospital in October and November 2017 (Dates to be confirmed)

CONTACT US FOR MORE INFORMATION: Facebook Page Willobie Lusitanos Australia Email: rebeccawillobi@hotmail.com Mobile: 0413315033

24

AUTHOR: LINDA TELLINGTON-JONES PHOTOS: GABRIELE BOISELLE

T R A I N I N G

it ś

playtime! with

Linda Tellington-Jones how turning

Dressage Work

into

b r i l l i a n t

Dressage Play Yields r e s u l t s

You can find examples throughout the horse industry, regardless of discipline, of participants who demonstrate insufficient skill and poor attitude. But I am perhaps most troubled when it is apparent amongst dressage riders. Quality instruction needs to be more affordable and easier to find in order to better nurture young and aspiring riders as they choose dressage as their passionate pursuit in life.

Without an appropriate example set, many riders are at sea, overwhelmed by the sheer amount of information, methodology, tricks, and techniques presented. Where to turn? How to counter a difficult moment in the saddle?

When to move up and move on? More than anything else, aspiring dressage riders today need mentors they can count on for solid advice that has the horse’s best interests at heart. One of the reasons for the suffering we so often see on the part of the dressage horse, one of the reasons so many people resort to forceful tactics, is quite simply that riders do not have the skill necessary to control their mounts.

Neither do they have the attitude to achieve that skill easily.

24 Baroque Horse DRESSAGE | www.baroquehorse.com.au

SKILL

A

ny training technique used excessively can cause repetitivemotion stress in a horse. This has long been apparent in dressage, as well as other horse sports that emphasize repeated drilling of patterns and lateral movements, such as reining, cutting, and barrel racing. In particular, a heavy or unyielding hand and a driving seat leading to “chin-to-chest” positions on the part of the horse can contribute to tension and soreness throughout the horse’s body, especially in the poll, shoulders, back, loins, and pelvis.

For many years now I have been extremely concerned by the modern trends of training dressage horses —namely Rollkur (hyperflexion) and LDR. Why do some dressage riders force their horses into these uncomfortable frames? I believe it is often because they simply can’t restrain their horses any other way.

The horse may be considered “hot” or “reactive” —and there are any number of reasons why this could indeed be the case. It is my opinion that usually, hot and reactive are symptoms of some other problem, and attempting to “contain” or “mask” the symptom with devices or abusive training techniques does not suit the true and honorable goals of dressage.

Using Tellington Method techniques of Flat-Hand Body Exploration and Grooming with Awareness, as well as your powers of observation, riders should always be on the alert for symptoms such as body soreness, uneven gait, a tight neck, a sour attitude, explosive or resistant behavior, stocking up, and pinned ears. All of these problems, and others, can be avoided by alternating your dressage training schedule with trail rides, ground driving, or other types of crosstraining. In addition, my TTouches, Ground Exercises, and Ridden Work

IT'S PLAYTIME!

26 T R A I N I N G

1

Photo 1/ Working with French dressage rider and former star of Cavalia Magali Delgado and her stallion Nacarado.

Photo 2 & 3/ The combination of riding with the Lindell Sidepull and using TTouches adds variety to Nacarado’s dressage training, keeping him interested and willing in his work, as well as balanced and willing to stretch beautifully forward and down.

offer many opportunities for expanding your horse’s training routine, and keeping him interested and engaged in his work.

HERE’S HOW TO DO FLAT-HAND BODY EXPLORATION:

{step 1}

Beginning on the near side of your horse, place your left hand softly at the junction of the horse’s head and neck, just behind the ear. ■

{step 2}

Slide the hand smoothly over your horse’s entire body and legs. You can also alternate in a smooth rhythmical fashion between both your left and right hands. ■

{step 3}

Feel for hot or cold areas, swellings,

26 Baroque Horse DRESSAGE | www.baroquehorse.com.au

lumps, indentations, changes in muscle tone, and differences in hair quality.

Particularly note sensitive areas where the horse appears to avoid contact, raises his head, switches his tail, steps back or to the side, pins his ears, or threatens to kick. Record areas of concern for your attention later, once your “physical inspection” is complete. ■ I consider this form of Flat-Hand Exploration a means to monitor a horse’s sense of trust, as well as stress, soreness, and sensitivity. When your horse is reactive to this basic Flat-Hand Exploration, his trust in you is limited and his stress level is high.

ATTITUDE

I

feel strongly that a rider’s attitude is more important than his or her

raw skill or technical ability. The best technical rider in the world will limit a horse’s potential if her attitude doesn’t recognize and honor the horse’s individuality. On the other hand, if you have a compassionate attitude toward your horse that allows him the freedom to be comfortable and express his “side of the story, ” you’re well on your way to a rewarding relationship.

Change your mind, open your heart (allow yourself to feel gratitude and to achieve heart coherence), and you can transform your horse. Remember your potential for perfect functioning—and your horse’s. This takes you back to the idea of intention (the determination to act a certain way) and how holding a positive picture of what you want for your horse’s behavior, performance, and health, and for the relationship you share with him, can provide a meaningful path to the realm of success.

Without a mind open to the possibilities presented by the next fresh new idea; without an attitude of willingness to embrace something that might deviate from your “norm” or push you out of your comfort zone; without a sense of excitement at the thought of change, rather than gloom, resistance,

or trepidation; without these things, you may become a technically skilled rider, and you may be very successful indeed—but you will never be as successful as you really could be.

The sky is not your limit, your attitude is. You will only climb as high as the positive intention you project before you. Dreams shouldn’t be constrained by reality. Reality should subsist of the dreams you make come true.

Part of establishing a means of caring for and training the horse that improves his well-being in mind, body, and soul, is acknowledging that “Drill, drill, drill” may get you an efficient soldier who obediently follows orders—but don’t you want more than a soldier for a partner? Dressage as art requires inspiration, enthusiasm, and my favorite word—“sparkle.”

This means practice and preparation must be infused with joy every day, and every step of the way. How best to make dressage fun for your horse and fun for you? The secret ingredient is simple, really.

lateral movements with brief moments of frivolity. Juxtapose several days’ hard work in the ring with a relaxing afternoon stroll on the trail. Surprise your horse with a morning where you hand-graze him and treat him to some soothing, recuperative TTouches that you know he loves. It may be hard to imagine a top-tier dressage barn where smiles and laughter reign, despite ambition and serious application to riding study. But in fact, it is just such a scenario that might ensure dedication to equitation and proper training of the horse would some day add up to the glorious partnership of which dressage dreams are made.

Of course, play isn’t simply an alternative to your usual schooling

PLAY

T

hat’s right. Incorporate games in your training regimen. Intersperse 2

3 routine—it is in some ways the alter ego you want to invite to Sunday dinner. You can transform what you think of as dressage work into dressage play, by simply changing the way you think of your workouts. Your horse will sense your shift in attitude, and you might be surprised to find how much more quickly you conquer training goals when “have fun” is your priority instead of an unusual side effect.

Magali Delgado and Frédéric Pignon —the founding (and married) stars of the stage show Cavalia that took the world by storm when it began in North America in 2003—have become my very good friends since I first met them in Los Angeles on tour a number of years ago. In my opinion they are two of the finest horsemen in history. Their unique ability to relate to the heart and

28 T R A I N I N G

Photo 4 & 5/ Magali’s partner in riding and in life, liberty star Frédéric Pignon, uses Ear TTouches (4) and Nostril TTouches (5) to instill calm, build trust, and make an immediate connection with his horses.

5 4

brain that controls emotions, and Ear TTouches have long proven to instill calm in nervous or frightened animals, invigorate the tired horse, and alleviate pain and shock from illness or injury.

HERE’S HOW TO DO EAR TTOUCHES:

{step 1}

mind of their horses has astounded and inspired. Their repeated displays of artistry with stallions at liberty, usually in front of large crowds in cramped quarters, are legendary.

I have been lucky enough to spend a lot of time with Frédéric and Magali at their home in Southern France, and to witness how they interact with their horses in both training and performance scenarios. I love the way Frédéric always “waits” for his horse to be ready before expecting him to perform—he always gives the horse a few moments to romp before inviting him to stand beside him, where Frédéric likes to start their work together with some Mouth, Nostril, and Ear TTouches.

The muzzle has a direct connection to the limbic system, the part of the

28 Baroque Horse DRESSAGE | www.baroquehorse.com.au

Slide your hand from the middle of the poll over the base of the ear all the way to the very tip emphasizing contact with the tip as you slide your hand off the ear. ■

{step 2}

If your horse allows, fold the ear together to give him a feeling of the inside of his ears. ■

{step 3}

Some horses enjoy having your finger sliding or circling on the inside of the ear, as well as the outside. ■ Beginning this way allows Frédéric to make an immediate connection, build trust, and help the horse relax (very important when performing in front of a crowd of thousands, as Frédéric and his horses often do!) Then, he will suggest a little game, something he knows the horse enjoys and something to ensure the horse remains interested in the learning process and intended lesson.

In the book he wrote together with Magali, Gallop to Freedom, Frédéric says: The essence of a brilliant performance by two people is not just that they do dance steps perfectly and in time to the music, but that they add an emotional quality that lifts the performance into another realm. I strive to achieve this emotional element with my horses. We both have to be totally concentrated on what we are doing. I can suggest games and sometimes the horse will show me he wants to try something…

My job is to create the background, the mood, the feeling of security, and a readiness to respond and to reward with my approval. The ‘dances’ are not always the same… at any time, a horse can come up with something new, unexpected, and wonderful. ■

This excerpt from Dressage with Mind, Body & Soul

by Linda Tellington-Jones with Rebecca M. Didier is reprinted with permission from Trafalgar Square Books.

TSB equestrian books and DVDs are available in Australia and New Zealand at www.horsebooks.com.au.

TRAFALGAR SQUARE BOOKS |

NORTH POMFRET, VERMONT, USA WWW.HORSEANDRIDERBOOKS.COM

For the good of the horse

AVAILABLE IN AUSTRALIA/NEW ZEALAND @ WWW.HORSEBOOKS.COM.AU DLS AUSTRALIA PTY LTD.

30

INTERVIEWEE: Ruby Goodsell PHOTOS BY: IDPHOTOS.NL & NIEK VERMUNT

H E A LT H

JaneyVermunt

THE JOURNEY OF A LIFETIME

When you meet Janey Vermunt, her passion for living a full life is infectious. So much so, that you take a moment to re-evaluate your own goals and dreams because anything seems possible if you just believe in making it happen. She grew up in a small village in Holland near the Belgian border where she had a wonderful childhood and competed in many horse events with the support of her loving family.

30

Baroque Horse DRESSAGE | www.baroquehorse.com.au

In

2012 Janey was the first female outsider to be accepted in the prestigious Fundación Real Escuela Andaluza del Arte Ecuestre as a student.

Here at Baroque Horse, we chatted with Janey about her love for the PRE breed and her journey from that small child riding her ponies in Holland to now living the dream in sunny Jerez de la Frontera.

BH: Tell us about your early years as a competitive young rider?

JV: When I was younger, I rode many ponies to the highest level. One that stands out the most for me was, Prins Melride V. I rode this horse internationally, and we made it into the top 10, and I am very proud of achieving this. Unfortunately, the quality of Prins' movements made it very hard to reach any higher; nevertheless, he will always be my number one.

In hope to pursue my ambitions, we purchased 'Lian Epona', an older Warmblood mare of whom was to be my schoolmaster for me to continue to learn and grow on. While she had the quality and the experience, she didn’t have the best work mind, partly because she had been under a lot of pressure during her past as a competitive dressage horse and this had soured her work ethic. Although she didn't turn out to be the schoolmaster we had hoped for, I still learnt a lot from her. We decided she deserved an early retirement as a riding horse and we bred two foals out of her, she is now 24-years-old and living a comfortable life of retirement out in the fields.

BH: Being based in Belgium you really had the competitive world at your feet, what made you step away from this and re-evaluate your goals as a rider?

JV: What I have always loved about competition is getting the best out of yourself and your horse, but I have been disappointed on many occasions due to the role money plays in the dressage world.

My mare wasn’t what I had hoped for, and we couldn’t just buy another one due to the large costs involved. So I bought a young pony with the idea to train him up and sell him. I was also training another young mare (five-years) that had been injured physically and mentally due to harmful training, and due to this, they weren't sure if she could be ridden again. I didn’t promise anything

32

I N T E R V I E W

to the owner; however, I said I would go and take a look and depending on her first reactions I would decide if I would start training her. The mare was convinced that riding would always result in harm, but after my first ride, I was able to give her some confidence and begin to gain her trust. In a short time we were able to create a great bond and relationship, and together we won many competitions and championships. After this

of my life. We have successfully competed in competitions and performances with a lot of good results. But I won’t lie it hasn’t been easy, and it still isn’t. He is a horse with such quality, intelligence and with such a strong mind to train. He has cost me a lot of time, and many trainers to get him to work at a higher level. Now, maybe because he is getting older (13-years) and I’m getting wiser, and it is getting easier! Now that he is calmer in the canter this makes the flying changes and the pirouettes so much better. He naturally has a spectacular trot and passage, and his piaffe is getting stronger as well. The dream is still to ride Grand Prix with him one day.

experience, it changed the way I looked at what good dressage meant to me; it wasn't about being first in a competition, it was about the partnership with your horse, and that is translatable in so many ways. This is something that I still feel very passionate about today, no matter what sport you do, the most important part is the relationship and how you treat your horse.

BH: You used to ride ponies and Warmbloods, what was it that made you decide to buy a PRE? JV: Well, I wanted a good dressage horse with a future eye for performances, but knowing the breed as I know it today: they don’t get the merit they deserve. I purchased 'Yayo II', a PRE stallion with a lot of Carthusian bloodlines. He is just such a big character and little bit naughty but only with purely good intentions. I don't think I realised back then when I bought him that he would become such a big part

BH: Where did the dream of Spain first begin?

What is it you love about the country, the culture and the horses?

JV: After deciding I wanted to buy my first PRE I started travelling to Spain. What I felt for this beautiful breed was translated in its cities, its culture, its countryside, its food in everything! I think it’s a way of life that captures you.

was looking forward to improving as a rider and also to experience the Spanish culture.

BH: Living in Spain you've had the opportunity to work with many different horses from different stud farms. Is there a line you prefer?

JV: I have to say that horses of the Carthusian line have something special, but for me, personally as a rider, lines are irrelative as a good horse is a good horse no matter what their breed or ancestors are.

I have a lot of respect for great breeders who bring (because of their excellent selection) top horses into the world.

BH: What was your favourite horse at the school?

Tell us about him.

JV: Tematico, he was a horse from Yeguada Militar with a lot of quality. Not the typical PRE as he

no matter what sport you do, THE

MOST

important part

IS THE RELATIONSHIP

and how you treat

YOUR HORSE.

The first time I went to Spain I did a riding course in Carmona, close to Seville. There I had the opportunity to have a lesson with Rafael Soto and a visit to the school to see the famous performance “Como Bailan Los Caballos Andaluces”. During the tour, I learnt that the school organises an intensive two-week riding course. This is an exceptional opportunity to ride the high schooled horses and get trained by their riders and the teachers of the school. I applied immediately and did the course - twice; which made me realise I wanted to do the four years traineeship.

BH: Only four students are selected each year, usually Spanish, but here a girl from Belgium with big dreams that made it into the prestigious school, how did that make you feel?

JV: Of course I was very happy and proud as I made my dream come true, but aside from that I

was quite tall but very elegant. I adored him. We connected, and his mindset reminded me of my great pony Prins Melride V. BH: You’ve had the opportunity to work with many well-recognised trainers of international and national success. Who has had the most influence on your riding?

JV: I have to say Rafael is one of the best teachers I have met. I didn’t only just love my lessons with him, but I learned a lot from seeing him teach others as well. Furthermore, every rider has his/ her own qualities and it is great to see so many professionals train different horses. Also seeing mistakes and seeing them solved is of great help because we all make them. That is what makes riding so exciting - nobody knows it all and every horse is a new challenge.

BH: What is it you enjoy most about working with this breed? What are their strengths and weaknesses?

BH: They have such characters and big hearts.

How do you keep their spirit and encourage their personalities while still achieving good results under saddle?

JV: This is indeed very tricky with these horses.

You have to keep in mind that work is work and they need you to be clear with them. Let them know when they do good but tell them when they don’t as well; you have to be strict. It starts, for example, with getting on a horse he should stand perfectly still until you tell him otherwise.

These small details will give you an obedient horse who respects you. Of course in the stable, you can hug him as much as you want and give them all the attention they deserve and need.

JV: They are very talented for the high school work, but just working day to day with them makes you enjoy yourself.

They have an enormous talent to collect which is very important aspect given that collection is one of the main pillars of dressage. They are very versatile and trainable because of their incredible mind-set.

However, they don’t have this clockwork regularity like Warmbloods tend to have. They also have weaker backs and in general not a very amplified walk.

BH: Does the training differ between PREs and Warmbloods?

JV: I’m not of the opinion that just because you ride a PRE, you should train him differently. You have to look at the horse you have in front of you. What are his qualities and his weaknesses? Does he use his body correctly? If not how do I correct this? What should I do to improve? These are the questions every rider should ask themselves when they start to work a horse no matter the breed. Yes, maybe your answers, in general, will be different from different breeds, but in the end, it is all the same dressage you are looking for: the correct one. Like my teacher Rafael always says: “There are only two kinds of dressage: the good one and the bad one.”

BH: What exercises do you find particularly useful?

JV: It is important that they stretch and use their backs properly, to be able to ride them in round forward positions, with a lot of lateral work and tempo changes. The basic work it is very important for these horses, and with this, they tend to learn the more difficult exercises easily.

BH: What characteristics in both temperament and morphology do you look for?

JV: To me, the perfect quality is a horse with a calm and stable mind and to also have what the Spanish call"chispa" (spark).

I have seen many horses arrive at the school at three or four years old and we are all drawn to look at the well muscled and pretty ones. But let me tell you, nine times out of ten it is the ugly ducklings who turn out to be the beautiful swans. Don’t get misled by seeing a young horse looking very strong and muscled because when they start to get trained, they will often become overbuilt. When you are looking for a dressage horse look for the athletes instead of the bodybuilders.

BH: What is your training philosophy?

JV: The art of dressage is when both horse and rider are working together in the moment, not just with respect but with a bond, which of I am convinced, can’t be created with every combination nor horse. Either way, I think that is the real goal we should be aiming for.

BH: What have been the highlights of your work with horses?

JV: Those short and few perfect moments with the horse has created my dressage addiction. To make

experience for people that imagine visiting this fair one day?

JV: I can tell you one thing for sure it is addictive, and you will want to experience it again and again. The fair is just pure joy while SICAB has a more professional purpose, but it is also a lot of fun. You get to see so many beautiful horses, and I have to be honest, it is also those crazy fun Spaniards. It is very easy going, and although it is a gathering of professionals, it is mainly a gathering of friends. I highly recommend it - go as you will love it!

nobody knows it all and

EVERY HORSE is a new

CHALLENGE.

that happen in a dressage test or performance is the most difficult, but more of these moments occur while training or warming up or before a test or performance.

BH: You’ve ridden in the ferias (festivals) and been several times to SICAB (international PRE horse fair). How could you describe this

BH: What advice could you offer our readers about life in general?

JV: If there is anything I’ve learned the past year is that you can’t plan everything and that is ok. Just go where life takes you and make the best out of it, but especially do much of what makes you smile.

Here at BH we would like to thank Janey for talking to us and we wish her all the best for the future. a

Established in 1972 and the only Association in Australia to hold the stud books for the Purebred Spanish Andalusian, the Australian Andalusian, the Partbred Andalusian, the Hispano-Arabe and the Purebred Iberian (this registry is shared with the Lusitano Horse Association of Australia)

FOR INFORMATION ON THE BREED

Contact Andalusian Horse Association of Australasia (inc) PO Box 266, Torquay, Victoria, Australia 3228.

Telephone: 61 5263 3402 Email: ahaa@iprimus.com.au www.ahaa.org.au

36 T R A I N I N G

optimise y o u r

DRESSAGE HORSE with the

Masterson

m e t h o d

ÂŽ

Jim Masterson, Equine Massage-Bodywork Therapist for the 2006, 2008, 2010, 2012, and 2014 USEF Endurance Teams, has worked on thousands of horses competing on the AA level and in FEI World Cup, Pan American, and World Equestrian Games competitions. Jim recognized early in his career that the horse exhibits certain visual, neurological responses to touch as the horse releases tension in the body. Using those responses to guide his work, he developed a system in which the horse participates in the process by showing the practitioner where tension has accumulated, precisely how much pressure is needed to release it, and when it has been released. The result is an effective method of equine bodywork called the Masterson MethodÂŽ, which anyone can learn to use and that improves performance while at the same time opening new levels of communication and trust with the horse.

36

AUTHOR: JIM MASTERSON PHOTOS: DEBORAH KALAS (www.deborahkalasphotography.com)

J

im teaches his unique method to horse owners and therapists around the world so they are able to:

• achieve a release of accumulated stress in deep-seated key junctions of the horse's body that affects mobility, comfort, attitude, training and performance.

• restore muscular and structural balance, and natural alignment.

• enable the horse to perform optimally and respond to training without stiffness and pain.

• achieve new levels of communication and trust with the horse that spill over into other areas of interaction.

38 T R A I N I N G

TRY THIS: LATERAL CERVICAL FLEXION (LCF) GOAL: To get lateral movement of the poll, atlas, and the rest of the vertebrae of the neck by asking for movement in a relaxed state.

 The cervical vertebrae and the scapula /photo 1/

RESULT: Improved bending and suppleness in the poll and neck, and extension and suspension in the front end.

Release of tension in the poll and atlas will release tension in the entire body.

1

This Technique seeks to restore lateral flexibility to the horse’s neck.

From Part I on anatomy, you know that the cervical vertebral column runs low in the neck (photo 1).

You want to ask for relaxed movement of each vertebral junction in the neck: between C1 and C2, C2 and C3, C3 and C4, and so on. This Technique can be challenging at first because your two hands are doing very different things. For the left neck flexion, your left hand is on the nose and your right hand works down the neck vertebrae, finding the junctions

4 2 The difference between a tense horse /photo 2/ and a soft horse is often subtle. The key is in your hands /photo 3/.

Start at the top. Soften your hands until the horse relaxes / photo 4/. Wiggle the nose.

Stop. Slide your fingers down.

Soften your hands until the horse relaxes /photo 5/.

Wiggle the nose. Stop. Slide your fingers down. Soften your hands again /photo 6/.

Repeat until you reach the lowest vertebra of the neck / photo 7/. Step back and see what the horse has to say / photo 8/.

38 Baroque Horse DRESSAGE | www.baroquehorse.com.au

between the vertebrae by feeling a slight dip between the vertebral bodies.

1.

Starting on the left side of the horse, place your left hand on the nose, and the fingertips of your right hand on the bony part of the atlas (first vertebra of the neck). You can locate this as a bump about 2 to 3 inches below and behind the ear (photo 2). ■

2.

3.

Now soften both hands (and arms), until the horse softens (photo 3). ■

If the horse moves his head around, keep your hand on the nose with a gentle grip—without letting your hand come off—until the horse stops fussing, then consciously soften your hand again.■

4.

Next, bring the horse’s nose slightly to the side toward you (to about eleven o’clock for the left side), and soften your hands again. Without clamping on the nose, perform a “wiggle, wiggle” movement (for two seconds) of the head with your “nose hand, ” then soften—don’t wiggle (photos 4 & 5). This is done with the fingers and wrist to keep it rhythmical and gentle, and not with the biceps of the arm, which would make the movement strong and rough. ■

5.

Release pressure from the nose (soften hands) during the “don’t

3

5

wiggle” moment (without letting go of the horse) to prevent him from bracing.

The “wiggle, wiggle … don’t wiggle” movement is slow and gentle (photo 6).

It moves the vertebrae of the neck under the fingers of your other hand through a tiny range of motion in a relaxed state, and loosens up the small and large muscles that connect the vertebrae.

The amount of movement isn’t what’s important. It’s the amount of relaxation that gets the release. For this reason, you don’t push against the neck with your neck hand, but rest your fingers lightly there to focus the wiggling of the “nose hand” on that spot. ■

6.

Repeat this movement in stages, following the vertebrae down the neck, pausing on each vertebra (approximately on it), focusing the loosening “wiggle” effect of the nose into the vertebra under your right hand (photo 7). Don’t worry too much about being on the exact spot; the vertebra will wiggle as long as you’re in the area.

Note, as you work down the neck, you must step back toward the horse’s shoulder, moving your body back so

6 the horse’s head and neck can come around in an arc. You should end up standing perpendicular to the shoulder facing forward with the nose coming back to you.

When you come upon an area of the neck where there is significant tension or discomfort, the horse will 8

7

40 T R A I N I N G

9 10

Keep moving your body back toward the shoulder as you bring the nose toward you /photo 9/.

Grand Prix dressage rider Betsy Steiner on Bacchus /photo 10/.

40 Baroque Horse DRESSAGE | www.baroquehorse.com.au

brace against the flexion. You will feel him stiffen in your hands. You must immediately soften your hands and stop asking for the lateral cervical flexion, wait for him to relax (which you will feel in your hands), then proceed with the process. As you bring the nose farther back, you are moving the lower vertebrae of the neck. If the horse braces against the flexion and you don’t respond fast enough with softening, or if your “nose hand” gets to hard and your wiggle too harsh, he will pull away from you. No matter.

Just start over again and soften your technique. When in doubt: GO SLOWER. GO SOFTER. You can let go and stop the process at any time to give the horse a break, then pick up where you left off. ■

with your right hand, and don’t add pressure in your left, or “neck hand.” The “nose hand” is still gently wiggling—and stopping. The “neck hand” is just focusing the wiggle. The horse must be relaxed through the movement of each vertebral junction.

Tension is released through relaxed movement. Because the right side is generally harder for the horse, it could take longer, but the process remains the same. ■ ARENA BENEFITS

T

he Lateral Cervical Flexion Technique restores flexibility to the poll and neck, allowing the horse to remain supple, balanced, and able to use his entire body (photo 10).

7.

When you reach the bottom of the neck and the horse’s head is around toward his shoulder, step back and see what the horse “has to say” —that is, look for his release responses (photo 8). ■

8.

Do the right side (photo 9). Your right hand is now the “nose hand” and your left is the “neck hand.” Often, the horse will be stiffer on the right. Don’t try to force your way through the increased tightness

This excerpt from Dressage with Mind, Body & Soul

by Linda Tellington-Jones with Rebecca M. Didier is reprinted with permission from Trafalgar Square Books.

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42

PHOTOS: KRISTEN FLEET

T R A I N I N G

A

Simple

Approach

TO THE COMPLEXITY WE CREATE

by Sofia Valença From my experience with many riders and horses of varying levels and disciplines (from many countries all over the world) the issue is usually the same…. there seems to be a lack of structure and acknowledgment of desired outcome when people are training their horses and we also need to be able to enjoy the journey and look for and celebrate the wins no matter how small.

Even if you are going for a ride in the countryside and decide to do a half pass on the trail…know the form, know the structure, know where you are going, be with your horse for each step.

E

ven if you are going for a ride in the countryside and decide to do a half pass on the trail…know the form, know the structure, know where you are going, be with your horse for each step.

Those moments that are so special, when a beautiful, strong animal is at one with you and willing to take a journey with you are built on trust. This is truly what we all aim for - a great relationship with our best friend.

Here are some tips where you can build structure and measurable outcomes into your rides no matter what discipline you follow or what breed you ride.

*ZENTANGLE* (a triangle with the power of ZEN) This exercise is easy to set up in any field or arena.

All you need are 3 cones/markers, a lunge rope and a cleared area. Having a friend to video is also really helpful. First mark a 4-5 metre point from the clip on your lunge rope.

Actually draw the circles in the sand to follow by placing the lunge rope clip on the top of the cone (or get a friend to hold it) and then walk around the cone at the 4-5 metre mark dragging a foot to make a visible circle in the sand. To make the next circle reverse the process…stand at the edge of the first circle

and measure to the middle of the next and then walk around and so on. The cones should form a triangle and the circles only touch.

Having visible circle lines to follow is helpful and will keep you focussed on the shape.

Complete the first circle at the walk- be sure that your horse is following ONE TRACK only - when you are happy with the cadence and consistency of the walk and the form of the circle - change your flexion to the next circle. Always have a moment of straightness before you change the flexion to the other rein and try to keep the transition points at the centre of each side of the triangle (see Diagram A).

When you are happy with the first 2 circles move onto he 3rd and then complete the pattern. Try this at walk and when you are happy try adding a circle at a time in sitting trot, then canter (with simple or flying changes). Be accurate and look for balance and form.

Move in and out of the pattern during your riding time…do your usual long side work, half passes, shoulder-in/out, trot and canter work in the arena area but come back to your circles.

Use the ZENTANGLE to work on transitions, train the halt (you can be more assertive working on the circle), practicing

44

The inside rein should mainly control the flexion but the key is riding with your seat first shoulders parallel to the horse´s shoulders and always with soft hands.

T R A I N I N G

accuracy and balance.

This exercise will make your horse more focussed, relaxed and responsive giving you a sensation of ZENNNNNN !!!

The outcome is that you are more aware of your horse´s body, you will be become more accurate and your horse more in tune with you.

As you advance through the process you can challenge yourself more by changing flexion to the outside of the circle - for example on a circle to the left change the flexion to the right (Diagram 2) and all your aids should follow that change.

This means that your inside leg (right) is working more forward and your outside leg (left) slightly behind holding the haunches to ensure the circle line is still one track.

Bear in mind your inside leg is to the inside of the flexion not the inside of the circle (See Diagram B).

Remembering your outside rein is THE most important rein and will guide your horse.

You should NEVER cross your inside rein over the neck.

Riding the circles at the canter with simple or flying changes is a great way to improve your canter work including canter-walk-canter transitions.

TIP - To help you to control the inside rein place your index finger on your horse’s neck to avoid crossing your hand over the neck.

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46 T R A I N I N G

Direct Flexion

OBJECTS TO BE OBTINED BY

'PRINCIPLES OF DRESSAGE AND EQUITATION' by

1

James Fillis

.To balance the horse by the height of his neck.

It is very rare that horses are naturally well-balanced.

Fig. 5. — Muzzle on a line with upper part of shoulder.

On 46 46

account of their conformation, all horses have a tendency to be heavy in front, and the majority of them have this defect; the cause being the distance which the head is removed from the base of support. The further the head is away from the center of gravity the lower it is, and the more weight is on the shoulders.

Baroque Horse DRESSAGE | www.baroquehorse.com.au

The result of raising the neck, so as to bring the head near to the center of gravity, is to more or less equalize the distribution of weight. As good horsemanship depends on the distribution of weight, as we shall see further on; the first step in training ought to be the equal distribution of weight, so that good equilibrium maintained during progression may later on give lightness to every movement.

1834 - 1913

Raising the neck and putting equal weight on the forehand and hind quarters will allow them full freedom and energy, and will put the horse in such a position that he will only require to be stimulated. With the neck high, the hocks are easily brought under the center of the body, and the action of the fore legs becomes lofty. In a word, raising the neck gives good equilibrium and grace by lightness.

A horse which is heavy in his

hind quarters IS

BEHIND HIS BIT,

In racing, one’s sole object is to gain in length without paying any attention to high action. Consequently, in training, one guards against raising the neck. Here we prove the principle that a horse extends himself as much as possible by “daisy cutting.”

But there are horses which are heavy behind, and one might think that if it is good to raise the neck of a horse which is heavy in front, it would be necessary to lower the neck of the animal which is heavy behind; but this is not so. As I have just explained, the conformation of the horse and the relations between his levers are such that the equilibrium of his mass can be obtained only by raising the neck.

good horsemanship

DEPENDS on THE distribution of

WEIGHT

The horse which is heavy behind is inclined to get behind his bit, and has his hocks either too far removed or too near his center. In the former case the horse is too much stretched out, and in the latter the croup is unduly lowered, and the points of the buttocks are much further back than the hocks.1 Here, instead of a naturally bad distribution of the weight of the mass, as with a horse heavy in front, we have a position that is dangerous, because the horse is ready to rear. The danger of being behind the bit is restiveness, which causes rearing, with the probability of the animal falling backwards, a bad voluntary distribution of the forces in an animal which holds himself back and which does not wish to advance; and his hocks do not do their work of pushing the mass forward.

If we overload the forehand by lowering the neck, we add still more to the weight, and consequently we increase the difficulty of the work required from the hocks.2 We must therefore raise the neck in order to lighten the forehand; but we should raise it from below upwards, and not from front to rear, while taking care not to exaggerate the movement and to keep the hand very light. A high position of the neck is the first condition of good equilibrium, and having obtained it, we should seek to give freedom to the hind quarters, while bringing them

and if he does

not wish to go forward,

HE IS BEHIND THE LEGS. into action, and making the horse go freely forward, which we do by the flexions of the well-placed head, by the loosening of the jaw, and especially by the legs. A horse which is heavy in his hind quarters is behind his bit, and if he does not wish to go forward, he is behind the legs. With such an animal we must employ great lightness of hand and great energy of the legs, so as to change his distribution of weight by making him go up to his bit.3 We cannot obtain this result by a low position of the neck, which is the chief obstacle to lightness.

2

. To fix the neck in the axis of the body by connecting to the shoulders the head rendered light by flexion.

The unbent head is heavy at the end of the neck, which has become too movable.

Hence the proverb, “ Heavy head, slack neck.” This is a case similar to that of holding a fishing-rod by its thin end. The flexed head, on the contrary, moves with lightness on the high neck, which is kept without stiffness on the axis of the body by the sole action of the good equilibrium of the levers. Head, neck, and shoulders fixed in the axis of the well-balanced body, and making a supple and homogeneous whole.

This is the action of flexion.

3

. To obtain lightness by the relaxation or flexion of the Jaw. Having the body balanced and connected in all its parts, the flexion of the jaw enables us to regulate collectively with extreme lightness

.This position is dangerous, because the horse is ready to rear. The danger of being behind the bit is restiveness, which causes rearing, with the probability of the animal falling backwards. 2. Without taking into consideration that a depressed position of the neck will give only more spring to the act of rearing 3. In such cases the driving whip, which obliges the horse to go forward, is a good preparation for the use of the legs.

1

T R A I N I N G

Fig. 7. Preparation for Baucher’s direct flexion

all the movements from rear to front, and from front to rear, by receiving on the hand the impulsion of the mass which the legs throw on the bit, and which the hand, in its turn, partly sent back to the rider’s legs. The hand only retains and sends back to the center the amount of impulsion which is necessary to maintain equilibrium. The greater portion of the impulsion is naturally employed to propel the body forward. The flexibility from front to rear of the arm of the bent and jointed lever formed by the neck, head, and jaw, progressively increases from rear to front; that is to say, from the shoulders to the neck, from the neck to the head, and from the head to the jaw. In other words, we hold the fishing-rod by its butt end.

4 . The head ought to oscillate from a position a little beyond the perpendicular to the perpendicular, but never in rear of it. The position which I have indicated enables us to get by the shortest way to the end of the lever, and to obtain the greatest effect by the smallest effort. 5. Alas!

The faults of masters are acquired more easily than their good qualities.

Thus, all the force developed by the horse is concentrated in the hand, the slightest action of which on the bars bends, first, the jaw, proportionately to the impulsion; secondly, the head4 by the jaw; and thirdly, by the head, the neck; the neck reacting with its greatest effect on the shoulders. The expression employed to define the reciprocal position of the horse and rider is most exact. We have really our horse in hand.

With respect to these remarks it is necessary to point out that the position of the head is singularly favorable to the action of the reins. In fact, the curb, which acts almost like a second snaffle, if the head is low, presses freely on the bars, and develops all its power when the head is raised, provided always that the head is kept a little beyond the perpendicular.

The moment the axis of the head comes behind the perpendicular, the action of the curb is false, because it works from below upwards. Then the horse begins to draw his chin into his breast.

Such, I consider, is direct flexion and its object.

We can see that this flexion, as I practice it, is not done by chance or simple routine. On the contrary, I have carefully given my reasons, and I have touched on all details to justify my practice.

Unfortunately Baucher, who was the first to improve the art of flexions, by making it the base of his method, did not give a complete account of its mechanism. This did not matter much to him, because his marvelous equestrian tact remedied every deficiency. Where his theory was false, his hands and legs by themselves rectified, more or less conscientiously, the error of his doctrine.

Baucher, however, could not put his tact into his books, in which he left his good and bad doctrines. I consider that by criticizing him and by showing where he has failed, I shall render increased homage to the great horseman. I maintain that the flexion which Baucher has described, and which is practiced every day5, has done much to discredit in the minds of horsemen this most useful exercise, which I consider to be the first condition of good equitation.

Baucher’s faulty flexion, which is in very common use today, is made at the withers instead of at the poll. It lowers the neck, and causes the horse to place the weight on his shoulders, that is to say, it aggravates the natural fault in equine conformation, and it makes him liable to fall by carrying his head low, and to draw his chin into his breast by bringing his head behind the perpendicular.

We must note that this fault was originated

by Baucher, who, during the greater part of

Fig. 6. Correct preparation for direct flexion.

48 Baroque Horse DRESSAGE | www.baroquehorse.com.au

Fig. 8. Incorrect and frequently employed flexion.

his career, made the flexions at the withers by lowering the neck. Compare Fig. 6, which shows the flexion I have described, with Fig. 7, which illustrates Baucher’s flexion, and which I have taken from his book. It is well to note that Baucher’s horse in Fig. 7 has his legs stuck out in front, and consequently it is impossible for him to go forward.

Nothing could be worse! Compare the correct flexion, shown in Fig. 5, with that in Fig. 8, which is the more frequently practiced of the two.

Fig. 9. Lowering the head — a faulty practice.

Whatever he did and

whatever errors

he made, HE WAS an incomparable

horseman.

Towards the end of his life Baucher recognized this mistake (see his last edition, 1874); but he restricted himself to raising the head of the horse, without making the flexion when it was high.

Whatever he did and whatever errors he made, he was an incomparable horseman. The people of today who make faulty flexions succeed only in ruining their horses. There is no reason for stopping when one has started on this road. Certain authors have thought it right to systematically lower the neck, than which there is no better means of ruining a horse! As a great curiosity, I have shown in Figs. 9 and 10 two illustrations which appeared in recently published books, and which show the lesson of lowering the neck. That could be called the art of teaching a horse how to break his knees!

This explains how it is that many people say that they have made their horses perform flexions without any good result, a fact which should not surprise us. As we have just seen, the flexion is such a delicate thing that an

T R A I N I N G

incapable horseman who practices it, will often spoil a horse instead of improving him. If, on the contrary, the reader understands the principles and practice described in this chapter, he will always be certain to obtain by flexion the benefits which he has a right to expect.

To thoroughly explain the mechanism of flexion, I have been obliged to suppose that the horse was halted. But I must explain, contrary to what is everywhere practiced, that I begin the direct flexion while going forward. With this object, I place myself at the shoulder of the horse, which I stimulate by a click of the tongue, while drawing him forward by a stronger feeling of the reins of the snaffle (Fig. 11). Apart from this, the flexion is done exactly as I have indicated.

When I have obtained a certain number of flexions of the jaw, I let the horse walk freely beside me for a few moments, and I carefully avoid prolonging the flexions, although I frequently begin them again. When the horse has got into the habit of readily doing the direct flexion at the first indication of the reins by relaxing his jaw, the trainer should modify his method in order to make the animal assume as nearly as possible the conditions he will be under when mounted. This will be a new form of work.

holds the end of the snaffle reins and the cutting whip, the point of which he keeps on a level with the animal’s side. Under these conditions, at the moment when the right hand demands the direct flexion, the whip performs the office of making the horse go forward, as before described (Fig. 4).

We are then placed under the same conditions as when mounted. No longer, as was recently done, the forehand draws forward the hind quarters, which now get under the body, and propel the forehand on the head held by the reins6, i.e., by the hand of the rider. In this manner the horse learns to go forward without leaning on the bit, and is then perfectly light, in the same way as we ought to make him later on when he is mounted. The work which I have just 4

The trainer, always in the same position, and being on the near side of the horse, holds the reins of the curb and snaffle in his right hand at about six inches from the jaw. The left hand 10 Fig. 4. Going forward when mobilising the lower jaw, so as to prevent the horse getting behind his bit.

Fig. 10. Lowering the head - a faulty practice.

Fig. 11. Direct flexion when going forward.

11

described not only prepares the mouth of the horse in an admirable manner, but also makes the hand of the rider skillful. There is no doubt that it is easier to make the jaw supple when standing still than during movement; but there is the risk of making him keep behind the bit, which inconvenience, or rather danger, is avoided when going forward (Fig. 4). I insist on this point; because, if the work of loosening the jaw during movement is certainly longer and more difficult, it guards us against the great danger of putting the horse behind the bit, which is always the inevitable result of the first flexions. Therefore, take your time and do well. a If you 'd like to contiune to read more please visit www.xenophonpress.com

. We will notice in Fig. 4 the manner in which the right hand of the trainer holds at the same time the reins of the snaffle and those of the curb. The former are held between the thumb and closed index finger, and keep the neck high by their upward pull. The latter are held more or less horizontally, and serve to loosen the jaw, the left curb rein being passed between the middle finger and the ring-finger; and the right, underneath the little finger.

6

50 Baroque Horse DRESSAGE | www.baroquehorse.com.au

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12 fun HORSE

{1}

Horses can learn and memorise human words and can hear the human voice better than dogs.

{2}

Horses remember people who treated them well.

{6}

Horses can not vomit.

{7}

A horse can see better at night than a human.

However, it takes a horse's eyes longer to adjust from light to dark and from dark to light than a human's

{3}

{8}

{4}

{9}

{5}

{10}

Studies showed that horses have excellent memories – possibly even better than that of an elephant!

Did you know that horses hooves are made from the same protein as human hair and fingernails?

Because horse’s eyes are on the side of their head, they are capable of seeing nearly 360 degrees at one time.

Horses like sweet flavours and will usually reject anything sour or bitter.

Horses are social animals and will get lonely if kept alone, and they will mourn the passing of a companion.

Horses have 16 muscles in each ear, allowing them to rotate their ears 180 degrees.

52 Baroque Horse DRESSAGE | www.baroquehorse.com.au

FACTS

{11} {12} Horses are not color blind. At one time people thought that horses were colorblind.

Although it is more difficult for them to see purples and violets, they have less trouble with yellows and greens.

Horses have 16 muscles in each ear, allowing them to rotate their ears 180 degrees.

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54

CONTENT NUNO CAVACO AND WRITTEN

BY TERESA BURTON PHOTOS BY: BRUNO BARATA

T R A I N I N G

Hand WORKING IN

C O N T E N T

PART II

P R O V I D E D

B Y

Nuno Cavaco 

In the first article Nuno showed you how to get started with your horse using a cavesson and a snaffle bridle. Teaching your horse to walk calmly alongside you, on a straight line, on a circle and standing in a square halt. Now that you have achieved this it is time to begin lateral work.

T • • • • •

•

•

54

here are many benefits to lateral work both ridden and in hand which include:

Improved agility and movability Better attentiveness and responsiveness to the aids.

Improved suppleness and balance.

Improved straightness.

Release your horses’ hips by the crossing and engaging of the inside or the outside hind leg.

Release your horse’s abdominal muscles as a result of the required lateral bend of the spine.

Strengthen the muscles on the

Baroque Horse DRESSAGE | www.baroquehorse.com.au

•

inside and outside of the hind legs and front legs.

Improves the shoulder freedom by the increased engagement and flexion of the haunches

In all In Hand Work like Ridden Work you need to understand and perform the ‘Half Halt’ The half-halt is best described as a bracing of the horse’s back, a halt and release that is made within a stride.

This increases the horse’s attention and balance before the execution of a

nuno cavaco

Nuno & Garboso

Nuno is a former rider at the prestigious Portuguese School of Equestrian Art (EPAE).

Where he worked for 25 years training with many masters such as Dr. Guilherme Borba, D. José de Atayde, Dr. Filipe Graciosa, Master Luís Valenca and present day’s master chief riders João Pedro Rodrigues. Not to forget - António Borba Monteiro, Nuno Palma.

1

2

Image 1 - Here Nuno is asking Acarus to move his quarters out of the circle. You can see that Acarus is crossing his inside hind leg in front of his outside hind leg and that he is bending inside.

Image 2 and Image 2A - Quarters out from behind here you can see Acarus's inside hind leg crossing more clearly while maintaining an inside bend Image 3 - Garboso a young Lusitano Stallion beginning shoulder in. You can see his hind legs stay on the outside track, his shoulders are on the inside track and his step in quite dynamic Image 3A - Fado a Lusitano Gelding is just beginning in hand work and is starting leg yield. Fado has a tendency to over bend or come behind the vertical, when he does this Nuno always gently asks him to lifts his head until vertical and pats him when he is in the right position.

56 Baroque Horse DRESSAGE | www.baroquehorse.com.au

2a

3

movement or transition. It checks the engagement of the hind legs and the balance on the haunches improving the lightness in the forehand and therefore the horse’s overall balance.

Nuno regularly uses a half halt when working horses in hand for instance asking for the shoulder in as the shoulders move in he half halts the horse to prevent him carrying on in a circle instead continue forward. To achieve a half halt in hand you can use the outside rein against the neck to ask for the half halt. It is a very slight movement to check your horse mid-stride.

QUARTERS OUT ON A 10 METRE CIRCLE (RENVERS) To begin position yourself beside your horse’s shoulder facing his hind quarters. Your goal is for your horse to cross over the inside hind leg with the outside hind, his hindquarters move off the line of the circle outwards hence quarters out. You achieve this by tapping him very lightly on the belly where you would ask with your leg when riding the movement. However with young horses sometimes you will need to tap lightly on the hind quarter somewhere

3a

between the hip and down the inside leg. This depends on your horse’s reaction to the whip and sensitivity.

Eventually you can move this aid to the position of the leg when ridden.

Walking slowly ask horse to continue on the circle with quarters out. You are walking backwards so that you can observe how your horse is moving, where he is placing his inside leg and his overall position and you are maintaining the shoulders on the circle.

The aim is the beginning of

4

5

collection and achieving a more supple top line. You don’t want your horse to cross too deeply, you are softly asking for a greater suppleness, elasticity and more seated movement. More experienced the horse the more they can cross. In an older horse with a back that has dropped this can help to strengthen it again and encourage

6 Image 4 - Nuno is asking Acarus for leg yield. You can see Acarus has an inside bend whilst crossing over to move diagonally across the arena Image 5 - Zagal a pure bred Lusitano Gelding. Here you can see Zagal is in leg yield, he is a very sensitive horse that has a tendency to be quite fidgety in his head and neck. Nuno tells us 'It is important always to remain very calm and each time your horse moves out of the correct position to gently encourage him back to the correct it is about partnership never force and punishment'.

Image 6 Holding the single reins - Here you can see how to hold the reins when using a single bridle.

more flexibility. “throughout all your work you are looking for looking for softness and correct posture, softness can be identified by no tension or bracing, lightness, relaxed bouncy muscles and willingness”.

Do this exercise on both reins and when you are ready you can move to the arena walls or to the quarter or centre line. keep the work equal on each side. Don’t do it for too long remember it is about a correct slow dynamic, precise action for better the long term benefits to your horse.

SHOULDER IN In shoulder-in you are aiming to have your horse walking in a forwardsideward movement, in which the body is bent gently and laterally from neck to tail. Shoulder-in is a side movement on three or four tracks.

The ‘shoulder in’ is considered a straightness exercise.

Nuno trains ‘shoulder In’ on the long side wall of the arena as you are working on a straight line. The aim is to move your horse’s shoulders off the track to the inside with a slight lateral bend to the inside. It is very important that this exercise is through the shoulders to tail and not just a bending of the neck. The horse is bending to the inside, away from the direction of travel.

T R A I N I N G

7

To begin the shoulder in you need to take your horse onto the short side of the arena wall. You are positioned alongside his inside shoulder facing his shoulder or facing to the hind quarters. Ask him to walk calmly forward on the arena line with a slight inside bend as you reach the corner coming to the long side you use the outside rein to move the shoulder in asking him to move his shoulders onto the inside track, then ask a half halt and tap your horse on his side behind the girth asking him to move forward.

The hind quarters stay on the track.

Once again this is a slow dynamic exercise keeping your horse relaxed and soft. Travel down the long side if your horse breaks stop the exercise and begin again. Work equally on both sides ensuring not to do it for too long.

Image 7 and Image 7A Holding the reins on a double bridle - When working in hand it is not so different to holding the reins on a single bridle the reins are held evenly being careful not to use too much curb rein.

58 Baroque Horse DRESSAGE | www.baroquehorse.com.au

THE LEG YIELD Leg yield teaches the horse to move sidewards off the leg or whip when working in hand. The aim is to move your horse laterally staying parallel to the arena long side wall from the centre line.

To teach the leg yield you come from the short side of the arena onto the centre line positioned at your horse’s shoulder (his left shoulder

if you are going right and visa a versa). You begin the leg yield as you come onto the centre line with the aim to finish on the wall at the other end of the arena on a diagonal. The movement needs to be even through head,neck and hind quarters not one leading the other basically moving parallel to the wall. Facing your horse’s shoulder you ask the horse to laterally bend his neck slightly towards you then use your whip along his side to tap behind girth where you would position your leg to ask him to begin moving laterally. Keep an eye all the time on the position of his head, neck and hind quarters they must remain parallel to the wall. Do not force any movement and try and keep the neck straight out of the horse’s shoulders, look for a defined reaction of the hind leg yielding away from

7a the whip.Perform the exercise on both reins.

We hope that you and your horse enjoy training these exercises, performing this work every week will greatly improve you and your horse both in communication and performance. For the next addition Nuno covers Half Pass, Quarters In and walk Pirouettes. a

Nuno Cavaco and Teresa Burton are Directors in Lusitano Horse Finder where they give equestrian holidays, lessons in classical dressage, in hand work, horse training, Individual Lusitano Finding Services to clients throughout the World, articles and equestrian events.

For more info www.Lusitanohorsefinder.com

Lusitano

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

Rebecca Kriegs | 0401076488 | rebeccakriegs373@gmail.com

PO Box 1857, Bowral NSW 2576 Australia

lusitano.com.au facebook.com/lusitanohorseassociation

60

AUTHOR: PATTY TAYLOR PHOTO BY: ISTOCKPHOTO

O T H E R S

10 SIGNS FOR A

healthy

HORSE {1}

BEHAVIOUR // Is your horse's behaviour as normal? Most horse owners know what is normal of their horse and whether they are happy or showing signs of lack of interest. They may be lying down more than normal or even not lying down at all. Other signs of problems can pawing at the ground or appearing anxious or sweating for no reason or a lack of appetite. ■

60 Baroque Horse DRESSAGE | www.baroquehorse.com.au

{2}

MANURE // A horse's intestinal tract is almost 30 metres long so in not surprising that they will pass manure many times a day – 10 – 12 times. Mares usually go less than foals or stallions. Reduced motions could be a sign of gastrointestinal upset. Their manure should be in well-formed balls. No massive pieces of undigested feed and reasonably little odour and fairly uniformed in colour. The colour will also depend on what the horse is eating.■

{3}

TEMPERATURE, PULSE AND RESPIRATION It is good to know what is normal of your horse's temperature, pulse and respiration should be.

Temperature: • Normal 37.2°C to 38.3°C/99 – 101 F for adults • Normal 37.5°C to 38.9°C for foals A temperature higher than that may indicate an infection.

A healthy horse's temperature can vary by 3 degrees depending on environmental factors. Horses tend to have higher temperatures in warm weather and during/after exercise, stress or excitement.

To take its temperature insert a thermometer into the horse's rectum using a bit of lubricant.

It is a good practice to tie a string to the thermometer with a clip on the end of the string to attach to the tail. Leave in for approximately three minutes.

Heart Rate: A normal resting horse has a heart rate of 38–40 beats per minute, foals (70–120 bpm), yearlings (45–60 bpm) and 2-year-olds (40–50 bpm). Maximum heart rates can exceed 180 beats per minute, but a rate above 80 should be considered serious in most nonexercising. Using a stethoscope listening to just behind his elbow on the left-hand side, by the girth area. Or you can access his pulse on the underside of the jaw where it crosses the bone (lingual artery).

Take the pulse for 30 seconds and then multiply the number by two to determine the number of beats per minute or for 15 seconds and multiply by four.

Respiration: • 1 0 to 24 breaths per minute for adults • 2 0 to 40 breaths per minute for foals You can watch the horse's flank move in and out, watching the horse's nostril flare with every

breath. Each inhale or exhale is one breath. Ensure that your horse's breath sounds clear and not wheezy. ■

{ 4}

GUMS // The gums should be moist and salmon pink. If you press with a finger the normal capillary refill time is approximately 2 seconds or less to return to the pink colour. Any other colour you should call a vet.

Pale pink can indicate shock, deep red can indicate toxicity, blue/purple can indicate low oxygen and yellow can indicate a liver problem. Toxicity can also appear as deep red dots. ■

{5}

GUT // How does your horse's gut sound? You can listen by ear or a stethoscope. Listing to both sides of the abdomen – high and low. A horse's gut sound should be gurgling, talking sounds and the occasional roar are normal.

A length of silence can indicate an abnormality. Regularly listen to your horse so you know what is normal and you can listen to other horse to compare. ■

{6}

HOOFS // Like us, horses can have many shapes and sizes. What is a health hoof? The horn is healthy, the connection with the coffin bone is tight and strong, and the balance of the hoof matches the rest of the horse's body and allows for maximum movement. Hooves change all the time due to weather, diet, exercise and the time of the year. Talk with your farrier or vet to determine what is normal for your horse.■

{7}

EYES AND EARS // As with us again, they

should be clear and bright and free from discharge. The eyelashes are perpendicular to the corneal surface – not downward pointing. Weeping or swelling can indicate pain and is best to contact your vet. If you horse is frequently shaking his head or rubbing on rough surfaces, it is most likely a problem with his ears. Common ear issues are ear mites and infection. This can be painful and cause general discomfort and can comprise the horse's co-ordination. If not treated it can lead to deafness. ■

{8}

HYDRATION // You can test your horse's hydration by pinching the skin on the base of his neck or shoulder.

If it doesn't snap back to normal within one to two second, it may indicate dehydration. In strenuous exercises, horses can lose up to 15 litres of water per hour. Some of the signs of severe dehydration can be excessive sweating, minimal gut sounds, anxiety, no manure being passed and loose stools. ■

{ 9}

NOSE // The nostrils should be free of discharge or the discharge should be clear. If you have a greenish, yellow, or white ‘snotty' discharge, this could indicate that there is a disease or respiratory problem.■

{10}

WEIGHT // Your horse's body condition can be checked visually and manually. His condition can be an indication on how he is feeling. Feel the fat covering his ribs, shoulder, withers, neck, loin and tailhead. Has his condition changed lately? Does his coat have a shine or is it dull? All these can be signs of health issues.■

62

AUTHOR: JOCHEN SCHLEESE, CMS, CSFT, CSE ©2017 Saddlefit 4 Life. All Rights Reserved

H E A LT H

saddle fit AND

TECHNOLOGY How Technological Advances are Changing the WAY SADDLES ARE FITTED

Many tools have been developed over the years to assist in the diagnosis of saddle fit, however, as ‘sexy’ as they are, they are just that – tools – providing information that exemplifies the situation at a given moment. Unless you have someone that actually knows what to do with this information to provide you a solution to your issue, it’s pretty much without value. Many people can tell you what’s visually wrong with your saddle but there are very few who can analyse the data to actually tell you why you are having the issue you are.

M

ost saddle fitters will come out to take a look at your horse and measure his withers size and shape using a flexible wire curve.

This is pretty much the minimum measurement you should expect during a saddle fitting session. This does not however, tell you much more about the horse’s three-dimensional back shape (size and length of the saddle support area) and really only works to determine whether you need

62 Baroque Horse DRESSAGE | www.baroquehorse.com.au

a narrow, medium or wide tree in most saddle brands.

Several of these tools can be subjectively manipulated so that in the wrong hands they become simply a marketing tool to show you exactly what the technician wants you to see.

Thermography is one of these tools which can provide a very pretty picture filled with lots of colours, but the interpretation is open to error unless you have someone well-trained in the

use of the instrument. Computerized saddle pads to measure pressure points – integrating sensors in every square inch of the pad which are linked to a computer readout – are also not without fault, as pressure will change according to the gait and rider balance.

One of the newest tools on the market is the HorseShape® laser which is truly an interesting piece of machinery, reading the three dimensional shape of the horse’s back within seconds and transmitting this information back to the main computer for analysis.

It is used best when a full custom saddle is being made to accommodate a particular horse’s back, but also allows the horse owner the option of getting a ‘cut-out’ form of the shape which clearly allows comparisons of changing conformation over time.

The Arc Device ™ is a manual measuring device, fitted to each

The Arc Device (or "lobster claw") also measures the angulation all along the back 

The Topographer

by Equi Scan – also used to measure the 3-D back shape but somewhat awkward in its usage 

The BVFR uses this standardized but also somewhat unwieldy device to measure the horse's topline 

individual horse’s back while the saddle fitter or saddle ergonomist records the angles. This is also used to ensure that a saddle is refitted properly to accommodate the horse’s back shape.

There are a couple of other devices available commercially (only in Europe at this point) to ascertain the shape of the horse’s back, but they are somewhat convoluted and unwieldy with several kinks to be worked out before they are acceptable for general use.

The Topographer® by EquiScan consists of 11 individually moving sectioned arms which are laid across the horse’s back. Each individual number on each segment is recorded.

Until this can be done automaticallyelectronically it becomes prohibitive (time-wise) to do this – although the results are very good. Many more saddle manufacturers are starting to use this tool as it is one of the most comprehensively accurate on the market.

There is a device approved by the Association of Saddlers and Harness Makers in Germany called the BVFR which determines the horse’s topline.

 The HorseShape® laser captures the 3-Dimensional back shape with a computer printout that can be compared over time as the horse changes

(photo used with permission)

H E A LT H

diagnostic experience’ as an option for a complete and detailed analysis. The MediLogic® pad enables us to see the pressure distribution on the horse’s back while in motion. It allows us to see where undesirable pressure peaks occur and how riding technique influences pressure distribution.

We also use the Pegasus Gait analysis software, the Rein Tension Device, and the Port Lewis impression pad.

It can sometimes seem like overkill, but there are clients who want the full deal and peace of mind that knowing what is going on brings with it!

It’s still a matter of working with someone who knows what they’re doing to ensure proper saddle fit for you and your horse – regardless of the devices that are available to make this ‘easier’.

There are no shortcuts to expertise – just tools to make it all come alive! a

 Rein Tension Device

(photo courtesy of www.kivakuva.com)

But since this device always needs to be used in conjunction with another device to also determine the actual shape of the saddle support area, it too becomes a bit complicated to use accurately.

For most saddle evaluations we do, we prefer the simple Sprenger Withers Gauge to determine withers shape and angle to ensure enough room at the pommel of the saddle, and a combination of the Arc Device, an LWT (leather withers tracer) and the HorseShape® Laser (if the client asks) to determine the actual accurate three dimensional shape of the horse’s back and the saddle support area.

We are also integrating the MediLogic® computerized saddle pad into our diagnostics and offering ‘the ultimate

The Medilogic Horse Saddle Pad

(photo used with permission)

 Using the Sprenger Gauge to measure wither angle and ensuring the shoulder angle lines up with Sprenger Gauge.

 Port Lewis Impression Pad

(photo courtesy of PortLewisWorkShop.com)

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66 Baroque Horse DRESSAGE | www.baroquehorse.com.au

3

IMPRESSIVE STALLIONS

ridden by FEI Para Dressage rider

Victoria Davies Australian High Performance Para Dressage Squad 2013-2016 and Australian Shadow Squad for the Rio Paralympics 2016

68

5 H E A LT H

Handy

HINTS

P O P U L A R H A N D Y H I N T S A N D P R A C T I C A L A D V I C E F R O M K O H N K E ’ S O W N ~ D R J O H N K O H N K E B V S C R D A

Check out some great tips from one of Australia’s most popular and knowledgeable veterinarians! You can also find more great advice on his Facebook page www.facebook.com/johnkohnkeproducts

1

. HOOF ABSCESS

Cold wet weather provides the ideal environment for the development of hoof abscesses.

An abscess develops when bacteria from the soil, especially mud or stable bedding invades the internal hoof structures. Entry by the bacteria is possible through small cracks in the sole or hoof, seedy toe, a stone bruise, or penetration of the sole or heels by stones, sticks, a nail prick or other sharp objects. Internal pressure from build-up of inflammatory exudes and white cell ‘pus’ causes can result in intense pain and lameness. If left undrained, the abscess will find a weak spot in the hoof lamellae and burst out through the heels or coronary band. It is unwise to treat a hoof abscess in a horse with antibiotic injections before it has ruptured as it is likely to kill the outer layer of bacterial build-up and leave an infected core or a ‘cold’ abscess, which can develop into another abscess or cause a hard lump to form under the sole which can cause discomfort and lead to lameness.

Consult your vet or farrier for advice.

Once the abscess has ruptured, the area should be cleaned with a 10% Iodine solution and a poultice applied to draw out the infection. There are Animalintex poultices available or you can make your own poultice using 1/3 cup of wheat

68 Baroque Horse DRESSAGE | www.baroquehorse.com.au

bran and 2 tablespoons of Epsom salts, this should be dampened in a cup and microwaved for 90 seconds to sterilise the mixture. Once cooled, apply a 1cm thick layer to the sole and wrap with a bandage or kitchen wrap to hold in place for 12 hours.

This can be repeated if necessary. The horse should be kept in a clean, dry stabled area for a few days to allow healing without further contamination. A twice weekly application of 10% iodine solution to the sole to reduce microbial contamination, especially in wet weather, followed by a coating of Kohnke’s Own Hoof -Seal can help to provide a protective film to the sole.

2

. WOUND CARE

Some horses appear to be experts at being able to injure themselves, especially with cuts on their lower legs due to the thin skin stretched directly over the hard bone surface. Minor cuts or abrasions should be cleaned with a 10% Iodine solution to remove any bacteria that could cause infection. There are many creams, sprays and lotions available for wound care, but depending on their ingredients, some may not be suitable for every situation as they can harm newly developing cells as the wound tries to repair, which can increase the healing time.

Manuka honey has been found to be very beneficial in natural wound healing as it is known to contain natural antibiotic type properties which can help to reduce the risk of infection and will not harm newly developing skin cells as the wound heals. Apply a mix of 70ml Manuka honey and 30ml of 10% PVP iodine (eg BetadineÂŽ) to the wound and cover with an padded dressing or bandage for 24 hours to promote healing and prevent any further contamination and irritation from flies. Change the dressing daily until the wound heals over, then apply 10% PVP iodine daily to limit ongoing surface infection until the wound dries up. Consult your vet for further advice.

3

. SAND INGESTION AND REMOVAL

Sand ingestion can be quite a problem for horses, particularly for horses located in coastal, sandy areas with fine beach -like sand or horses grazing close to the ground during drought conditions. Sand does not move through the digestive system very well and tends to accumulate within the caecum and the bends in the hindgut. This accumulation of sand can damage and devitalise the intestinal lining and lead to impaction colic and peritonitis. Symptoms may include low grade diarrhoea, dry dull coat, weight loss and signs of colic.

A natural and very successful way of removing sand from the digestive system is with the use of psyllium husks. The psyllium husks contain sticky mucus once saturated with digestive juices. Psyllium should be fed at a rate of 70-100g per 100kg bodyweight for 2 consecutive days per month for best results. The husks should be mixed with a coarse roughage or long chop chaff to at least triple its volume to maximise sand removal. Consult your vet for advice.

4

. REDUCING WORM BURDENS

There are a few things you can do to help reduce the number of worms that may infect your horse, which helps to reduce the frequency of worming pastes required to control the parasites. Stables and paddocks should be kept clean with regular collection of manure. This manure should be composted for at least 3 weeks and kept moist as the heat from the composting process is enough to kill any worm eggs or larvae. The composting also can also destroy a lot of the weed seeds, so the compost can then be added to your garden or back onto the horse paddock as a natural way of fertilising.

Chooks and other birds like to scratch around in horse paddocks and help to reduce the worm larvae.

Dung beetles are also very good for reducing manure in the paddock. Some medications and worming pastes can harm dung beetles, so try and avoid the use of these. Do not feed your horse close to any piles of manure, as the worm larvae and eggs can migrate up to a metre or more from these manure piles, which increases the risk of ingestion. Always use an appropriate rotation with your worming pastes to avoid resistant colonies of worms developing.

5

. AVOIDING WINTER COLDS

Horses are at an increased risk of developing viral infections such as colds during the winter months. These viruses can spread between horses by aerosol droplets sneezed or snorted out up to 5-7 metres away, so it is essential to separate sick horses with at least an empty stable space between other horses. It is helpful to know the normal resting temperature of your horse before the winter starts so that you can use this temperature as a guide to determine if the horse is suffering from a raised temperature or not. Cold or virus symptoms can include, elevated temperature, loss of appetite, runny nose, reduced performance, as well as stiff joints in some horses.

You should always consult your vet, and any horses that appear unwell should be isolated. Provide plenty of fresh drinking water and keep them in a warm dry stable. Reduce the dust within the stable area by using suitable bedding, dampen the hay and feed as this will also reduce dust. The inhalation of dust particles, especially while the horse is suffering from a virus can increase the risk of respiratory infections gaining entry to the throat and lower airways. By using a feeder on the ground, encourages the horse to lower its head more often, allowing drainage of the airways and will reduce the risk of infection. Allow the horse to rest for a few days to aid in a faster recovery. A course of the supplement Kohnke’s Own Activ-8 given in the feed for 3-4 weeks will help to support the immune system and aid recovery. a

70 H E A LT H

Jody Hartstone and Lusitano Stallion 'Alibaba' photo by Libby Law ď ´

THE ARTICLE WAS BROUGHT TO YOU BY: MITAVITE

feeding THE

dressage HORSE c r e a t i n g

M U S C L E P O W E R

The science of feeding for performance is well advanced in all species.

Most trainers and owners understand that the way they feed their horses has a significant impact on performance – but do they understand the science of why feeding correctly is so important?

D

ressage requires a number of qualities including good conformation, gaits and behaviour. Some specific characteristics of conformation and gait have a genetic basis, others require years of training, such as increased collection and the execution of complex figures. Genetics has some influence according to moderate and high heritabilities for gait and conformation for example speed at the trot is 30%, while stride length is 29% and stride frequency is 20% inherited (table 1).

However, genetics has a low influence on performance in competition compared to the effects of training, environment and diet.

Training must improve coordination, suppleness and collection so that the forward movement becomes a more upward movement and stride frequency slows down. The dressage horse needs to easily execute complex exercises, gait variations and gait transitions while maintaining equilibrium and suppleness. The increase in dorso-ventral action

72 H E A LT H

(elevation) increases after the first year of training corresponding with an increase in muscle power (table 2).

MUSCLE POWER = MUSCLE MASS X MUSCLE ENERGY SUPPLY

F

atigue and poor performance can be due to not enough muscle mass. The power-to-weight ratio is determined by the ratio of lean muscle mass-to-fat. So, as well as energy supply, sustained performance depends on a strong and muscular body. Whether a horse develops muscle or lays down fat is determined by the quality, quantity and bioavailability of the dietary protein.

the horse receives 300g of protein. If another feed is 20% protein and a horse eats 1.5 kg, it again receives 300g of protein. In addition, the dietary protein must contain the 10 essential amino acids.

The quality of any feed is determined by the number and amount of each of the 10 essential amino acids.

Picture a wooden water barrel – or if you prefer, a wine or beer barrel! The barrel can only hold water, wine or beer to the level of the shortest slat.

Now, think of each wooden slat as an essential amino acid.

Regardless of the% protein of a feed, if there is not enough of each essential amino acid, a limit to protein synthesis is set, therefore the other essential amino acids cannot

Mitavite® Cool Crusada™ has been formulated to address the power-toweight ratio through attention to the essential amino acid array and the steam-extrusion-related increased digestibility.

• Energy is provided by ingredients that are delivered via 3 separate digestive systems, providing a balanced combination of fast acting, medium and slow release energies.

• Super-Fibres provide support for hind gut function whilst supplying a cool energy source.

• Mitavite’s® revolutionary supplement Bonafide® is included to support bone and cartilage integrity, and assist in maintaining soundness for the dressage horse.

table 1 HERITABILITY OF DRESSAGE VARIABLES (%) Stride characteristics

walk

trot

Speed

0

30%

Stride Length

0

29%

Stride frequency

0

20%

canter / gallop

32%

DORSO-VENTRAL (VERTICAL) MOTION

The following table shows the heritabilities of some characteristics 

Symmetry

10%

12%

Regularity

10%

12%

Displacement

16%

14%

Dorso-ventral activity

41%

22%

Gait Rhythm

29%

5%

Propulsion duration

69%

38%

Longitudinal activity

0

44%

LONGITUDINAL MOTION

T

• Protein quantity • Protein quality – amino acids deficiencies place a limit on the amount of muscle and bone a horse can build and increase fat cover.

• Digestibility in the small intestine.

72 Baroque Horse DRESSAGE | www.baroquehorse.com.au

46%

TRAINING AND NUTRITION

THE ‘MUSCLE BUILDING’ POWER OF A FEED DEPENDS ON:

Amino Acids are the key factor in protein delivery. Horses require a certain number of grams of protein a day, not a percent. Using the percent protein of different feeds to assess adequacy of protein intake is a futile exercise unless the weight of feed is factored in. For example, if one feed is 10% protein and a horse eats 3kg,

50%



Picture a wooden water barrel

be used and are degraded and stored as fat. Muscle-building power is totally dependent upon protein – the amount fed, the amino acid profile, the processing method and the site of digestion.

he key to training and development of the dressage horse from novice through to International Grand Prix is gymnastic exercises that aim to strengthen the muscles and nutrition management must support this, from before birth onwards. Horses do not grow only in weight and height – specific tissues have specific periods of maximum development.

Correctly fed yearlings achieve greater gains in wither height, reach mature height earlier and deposit less fat because their essential amino acid requirements are met.

Maximum bone growth occurs from 3 months before until around 9

months after birth; maximum muscle development from 2 until 22 months of age. Steam-extruded Mitavite® Breeda® is a complete feed for breeding and can be fed with a variety of pasture types.

As proteins are provided in a complete form muscle development is favoured.

Research shows that steam-extruded feeds are well utilized by young horses as they are primarily digested in the small intestine. Steam-extrusion increases feed conversion efficiency, so less feed is required compared to pellets or unprocessed feeds. Mitavite® Promita®, also a steam-extruded feed, acts as a ‘nutrient balancer’ and is usually fed where improved pasture is available.

The major periods for development of hock and stifle OCD are from 2 months before until 3 months after

sequence. The main qualities of the trot are regularity and elasticity of the steps, hind-quarter engagement and good propulsion. The vertical displacement of the trot is achieved through the storage of elastic strain energy in the fetlock, hock, stifle and hip joints and increases after the first year of training.

Gait transitions are some of the most difficult basic exercises in dressage. The energetic mechanism is triggered when musculo-skeletal forces reach a critical level with abrupt changes in stride frequency, braking and a large change in vertical activity. The transition duration increases with training for the walk-trot, canter-halt and canter-trot transitions.

This allows a slower decrease in stride frequency and a smoother decrease in vertical activity, enabling a smoother

and consequently, soundness can place a limit on performance at any level or stage or age. Low endurance predisposes to fatigue and increases the risk of injury.

However, a few days of entirely different work can help prevent problems.

The main energy pathways utilised in dressage are aerobic and increasing endurance conditioning means horses can work more intensively and longer during dressage exercises. Two to three 90 minute (which includes 30 minutes warm-up and 15 minutes cool-down) sessions per week are likely to better develop and maintain specific dressage skills than 5 to 6 dressage-specific sessions. A positive diagonal advancement occurs in horses that travel with an elevated forehand.

The best way to increase over-tracking

table 2 TROT VARIABLES AND STAGE OF TRAINING Stride frequency (number of strides per second) Stride regularity (similarity of acceleration patterns between strides) Dorso-ventral activity (height of vertical movement) Longitudinal activity (power of the action relative to braking and acceleration) Propulsion acceleration (% of the stride that is acceleration) Dorso-ventral action (power, amplitude & frequency of movements)

4 years

5 years

6 years

< 7 years

basic

basic

increased

increased

basic

basic

basic

increased

basic

basic

basic

increased

basic

basic

basic

increased

basic

basic

basic

increased

basic

increased

increased

increased

birth and from 5 to 8 months of age, respectively. A lighter condition is preferable at this age. Muscle growth in terms of size and number of fibres continues until 2 years of age. It is wise to protect bone and joint development during the first 12 months by controlling body condition, and, muscle development will not be affected as it continues well beyond the yearling stage.

Growth in terms of achieving genetic potential in terms of muscle fibre size and number, continues as the young horse enters work, so the diet must support growth and work. The regular acceleration pattern at the walk requires a high level of co-ordination and stability in the rhythm of the footfall

deceleration. In contrast, younger horses are not skilled at preparing their gait transition (slow decrease in stride frequency) and brake suddenly, producing high peak deceleration. To execute the technical requirements for good performance requires a finelytuned, well-prepared and well-fuelled muscle mass.

Through the years of training, the diet must continually support the development of muscle mass to avoid injury to joints and tendons as workload increases. As horses tire and muscles fatigue, weight is shifted onto other musculo-skeletal structures, risking tendon strain and abnormal joint loading.

Back problems and repetitive loading of joints increases the risk of injuries

and stride length is to prolong the suspension phase. Although some horses naturally have more ‘lift’ than others, the upward propulsive power can be improved by hill work or trotting over cavelettis.

The science behind our dressage athletes is impressive. Genetics and temperament obviously play an important role, but what you feed your horse should be the basis of consistent and positive development. Mitavite are proud of the science that goes behind their products, so for more information about Cool Crusada™, Breeda®, Promita® or for any nutritional assistance in how to assist your athlete further. go to their website www. mitavite.com

74

AUTHOR: CATHERINE MCDOWELL – HERBALIST

H E A LT H

Bio

By Catherine McDowell 

G N O S I S

PART II

ADDRESSING THE CAUSE OF

Inflammation AND Oedema

I

was first introduced to the concept of Herbal Lore when I was very young. I think one of the earliest influences I can remember was from my grandparents, who were very traditional Bathurst farmers of the well known Cox family. My grandfather had the “people’s home library” which was a compendium of all kinds of home cures. Herbal Medicine is, at its core, studying nature and the humanities. It’s about observing our diet, our environment and how we respond.

Keeping a balance is difficult in the modern era as we are no longer interacting with our environment in the same way as we may have done even as little as a 100 years ago.

As a Dorothy Hall graduate working along side the well known Robert McDowell for many years and furthering my education with Dennis Stewart, I have developed my own unique application of herbal remedies. Working primarily with animals (Horses and Dogs) has been the most rewarding. Having seen herbs work so well in so many cases has proven to me time and again the under-utilised power of herbal medicine. It is heartening to see now Vets, and some Medical Doctors seeing the traditional application of herbs as useful. My comprehensive service includes free animal consultations 24/7 via my web site, and face to face consultation in Bathurst – www.mcdowellsherbal.com ■

74 Baroque Horse DRESSAGE | www.baroquehorse.com.au

We already know that increased permeability in the cell wall and poor elimination of the lymphatic system result in odema. We also know that toxins, immune reactions, bacterial infections, vitamin c deficiency, trauma, liver and kidney failure are often a cause of this increased permeability. (Biognosis article Baroque Horse Issue 27) What we may not be aware of is that if the above causes have been ruled out, we need to look at normal metabolic process and a sluggish elimination (include skin and lung as well as bowel, liver and kidney) system as a possible cause. The slower the elimination system, the more likely the system is burdened with parasites ( and their waste ), myco-toxins as well as a myco-

micro-biome that contains parasitic microorganisms that proliferate in the gastrointestinal tract.

The extra burden this creates on the systems of elimination is huge impacting the general wellness of any organism. The result can be allergy, lumpy skin issues and itching, laminitis, lowered immunity and a compromised metabolism predisposing the organism to chronic disease as well as damage to the gut itself by way of inflammation and ulceration. This can cause pain, which results in tucking up, behavioural issues, anxiety and even compensation injury.

Detoxification is always the first step on the road to recovery.

The idea of Detoxification is a very confusing subject – so I have broken this down into several categories familiar to most people.

• Fasting (used therapeutically in the cases of human and dogs- not advised for horses or cats) • Best applied in situations of digestive upsets, liver issues, pancreatic problems, diarrhoea and vomiting.

• Keeping up nourishing fluids are essential, and herbal teas like Chamomile, Rosehips, Ginger and Peppermint are ideal.

• Prolonged fasting needs to be supervised appropriately and is not recommended in many situations.

Knowing when to apply this method of detoxification is critical to the success. Periodic fasting in humans when healthy has numerous benefits, as studies are now showing.

Dogs also benefit from fasting as their digestive systems have evolved coping for periods of time without food.

Horses cannot be without roughage for any longer than 12 hours otherwise chemical changes can occur not only within the gut and microbiome, but also can impact blood sugar levels negatively.

Clean Foods – in this day and age of fast foods, a simple whole food eating plan is now considered detoxing. By simple I mean keeping to whole foods and eliminating foods known to cause digestive issues. . Foods like Wheat, Sugar, Coffee and Alcohol. I promote this kind of diet as a standard way to eat, incorporating the idea of 80-90% is whole food, and 20-10% can be “cheats” so long as you’re generally healthy. You can’t cheat if you’re trying to achieve a healthy outcome in a specific period of time, or if you’re chronically ill.

For horses a clean diet is actually proving to be much harder to achieve- this is due to lack of clean natural grasses and an oversupply of hard feeds that are usually soybean meal, grain or lupin based. High fibre/low GI is best, preferably free of chemical herbicides Using herbs is ideal and is preferable for the mono-gastric herbivore that has evolved grazing on grasses and herbs

Colon Cleansing (people and dogs) - Colon Cleansing is very useful for people ( and dogs) who are prone to constipation and inflammation such as Irritable Bowel .

Toning up the colon with a cathartic cleansing program can have wonderful benefits. Clearing out stagnant waste improves the overall bowel ecology, settles excessive mucus and helps to promote cleaner nutritional uptake by helping to repair the “leaky gut” syndrome.

It’s useful to consider the whole Gastro Intestinal tract as you would your external skin. Even though the system is well moistened, the skin and mucosal lining suffer from irritation, blisters, parasitic damage and atrophy. Herbs like Wormwood help to make the lining very unattractive to parasites, and the lovely slippery elm powder will add a pre biotic benefit as well as protect an irritated GIT from ulceration. Raw Apple cider Vinegar which has been used a base for all our herbal extracts of garlic, wormwood, chinses rhubarb and tansy are ideal to create the desired environment for a healthy Myco-Microbiota.

Soothing herbs like slippery elm and Chamomile are critical if doing a cleansing with Senna and Cascara otherwise these herbs can also irritate an already sensitive lining adding to the problem.

In horses soothing the gut is essential, as studies are now recognising that upward of 80% of our domesticated horses have gastric ulceration.

The prebiotic and soothing benefits of slippery elm powder make this the most critical treatment for the horse’s microbiota and repairing leaky gut, responsible for all kinds of chronic disease processes.

Giving Chamomile supports the parasympathetic nervous system – it’s important to shift from the sympathetic nervous system ( high awareness flight /fight) to a resting parasympathetic responsive suitable for healthy peristalsis.

Organ Support - when an herbalist discusses ideas of stimulating elimination, it’s essential that the organs that are responsible for this task are well supported. The kidney and liver are the most obvious to support, and both respond well to the right herbs.. Dandelion, Rosehips and St Marys Thistle are considered the easiest and cheapest to source and use as teas.

How well we breathe (and our horses) to make use of the oxygen in our blood and the elimination of carbon dioxide is also important, so lung health is critical. The process of energy release and the subsequent metabolic waste are areas often overlooked when considering elimination.

Through iridology and appropriate questioning you can see find weakness and therefore provide the most relevant support. Elecampane, Nettle, Rue and Hawthorn may be prescribed for lung strength and heart health with the aim of improving overall metabolic waste elimination by improving oxygenation in the blood stream.

Blood Cleansing - This is where we start to become a little medieval. The term Blood Cleanser is certainly one of

T RE A H A IL N T IHN G those terms that seems like a medieval myth, and gives rise to the idea of the â&#x20AC;&#x153;quackeryâ&#x20AC;? with herbal medicine.

some of the more popular Alterative.

Blood Cleansing simply means that certain herbs (classed as alterative) nourish the metabolic process to increase elimination and stimulate the immune functions of cleaning up viral debris, bacterial debris and of our own cells that are dying off all the time. Specific lymphatic herbs like Violet leaves and Fenugreek are also used. .

Recent study I have undertaken suggests that the microbiota actually is responsible for stimulating certain functions of the metabolism ( via the microbes residing in the appendix of humans or in the caecum in horses) and it is my assertion that herbal tonics enter the gut and stimulate these areas first, preparing the system via messages to all other parts of body involved- triggering the healing response.

Itâ&#x20AC;&#x2122;s not known really how these herbs work, but it can be assumed that the nutrition the herbs provide are essential for these functions. What we do know is that blood cleansing herbs contain high levels of iron and sulphur and seem to help the immune system clean itself.

Consider herbs like Echinacea, Garlic, Horsetail, Red Clover and Burdock as

I make a beautiful equine herbal alterative tonic for horses that contains stimulating alterative herbs which I prescribe regularly for the purpose of clearing oedema, infection and metabolic waste. The results speak for itself when infections are cleared, lumps and bumps disappear and animals are healthy and glowing. a

76 Baroque Horse DRESSAGE | www.baroquehorse.com.au

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78 H E A LT H

equine gut h e a l t h by the

Nude Horse

Emerging research gives growing support to the importance of healthy gut. It’s implicated in everything from effective digestion to good mental health and a strong immune system. Stressful equine lifestyles, processed feeds often high in grains or sugars and antibiotics all mess with the balance of bacteria in the body. Supplying feeds sources high in good microbes help to right the gut balance.

Bad digestion is the root of all evil H i p p o c r a t e s

G

astro-Intestinal (GI) dysfunction is known to cause many diseases common in horses. High risk situations for GI disturbance come with the administration of certain antibiotics, various drugs and wormers.

Loose droppings represent a sign of disturbance to the environment within the large intestine and the balance between the many microbial species present. This is likely to cause a decrease in the efficiency with which feeds are digested and may lead to a loss of condition and interfere with the metabolism and absorption of vitamins and minerals.

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( c i r c a

4 6 0 – 3 7 5 B C )

GASTRIC ULCERS

G

astric ulcers have been found to be a common problem in performance horses, affecting up to 93% of race horses in one study.

Best management strategies may be useful in decreasing the incidence and severity of gastric ulcer occurrence and in treating ulcers once they are detected.

It has been found that transporting horses, keeping them confined in an unfamiliar environment and feeding diets high in grain has resulted in an increased incidence of gastric ulcers.

Feeding grains is known to increase fermentable carbohydrates leading to

a decrease in pH, reducing grain intake may help keep pH higher and hence decrease the incidence of gastric ulcers.

Feeding quality lucerne ad lib has been found to result in less severe gastric ulcer cases in performance horses.

COLIC

C

olic has been a common cause of illness and death in horses, some linking colic to the development of laminitis. Risk factors for colic that have been identified in a variety of studies include change in stabling conditions, recent change in diet and level of activity, decreased exposure to pasture

and lack of access to water whilst on transit. Prevention is the best strategy for horse owners. ‘It has been noted antibiotics may lead to colic because they alter the microbial population in the gut, which in turn affects starch digestion. Symptoms to look for if colic is suspect: • Pawing • Rolling • Bloating • Sweating • Distress • Uneasiness • Loss of interest in food and water • Peculiar postures (sitting, stretching) • Absence of gut sounds Many cases of colic can be treated successfully with medication, while others involving severe impactions or twists may require immediate surgery’.1 (Adapted from the Online Equine Nutrition Course, My Horse University.)

EQUINE COLITIS

Ed

Kane Phd in DVM360 magazine says Serious colitis causes severe diarrhea, which accounts for huge water loss, and can cause rapid loss of fluid from the circulatory system. Once colon health is disrupted, its ability to carry out the normal functions of digestion and absorption are critically affected.

Colitis disrupts the integrity of the mucosa. Once a horse is affected, the ability of its colon to absorb water and nutrients—the colon's normal function— is compromised. In addition, major shifts take place with respect to the bacterial population needed for normal gastrointestinal (GI) function.

Any time you put a horse on antimicrobials (antibiotics or wormer), it can have flora shifts within the GI tract, says Magdesian. When the flora shifts, then particular bacteria may overgrow. In some cases, the most common known shift is to E. coli, C. difficile, Enterobacter, C. perfringens and Salmonella. The most common theory in racehorses is they're put on antibiotics for respiratory or other infections and they develop a secondary colitis from the [flora] shift.

gut-bacterias-microbiome 

A horse rolling can be a sign of

discomfort which they will often do in server cases of colic

Horses tend to have more sensitive reactions to antimicrobials with resultant flora shift compared with most animals such as dogs and cats—or even people—because they're hindgut fermenters. Experimental models show that other hindgut fermenters such as rabbits and guinea pigs when given a tiny dose of certain antibiotics predictably get colitis.

Basic treatment for equine colitis includes administering fluid therapy and electrolytes, restoring flora imbalance (Synbiotics) and providing supplemental protein because the animal's serum protein concentration decreases rapidly.2 Many bad bacteria can migrate up from the large intestine and there they are not

IMPROVING

gut health THROUGH

FEED

supplements

compatible with small intestinal epithelium, resulting in a diarrhea that is referred to as small intestinal bacterial overgrowth.3 ENDOTOXEMIA IN HORSES

T

he presence of endotoxins in the blood is referred to as endotoxemia.

These toxins are generally due to the presence of certain types of bacteria in the horse's gut that have breached the gut wall and entered the blood stream.

If not treated promptly, endotoxemia can lead to shock, laminitis, and death.

This condition is seen both in adult horses and in newborn foals.

Pet MD recommends During cases of endotoxemia, horses must be treated immediately for it to have any success.

There are several courses of treatment and supportive care, including intensive antibiotics, IV fluid therapy to help maintain hydration and support the cardiovascular system, and administration of a non-steroidal anti-inflammatory drug, which helps with the horse's pain, controls inflammation, and counteracts the endotoxin. Plasma transfusions are sometimes used.

SYNBIOTICS – PRE AND PROBIOTICS

S

ynbiotics is the synergy of Pre and Pro Biotic. The pro biotic microbial organisms (good bugs) depend on the availability of pre biotic to stimulate their growth and colonisation. Horses

80 H E A LT H

develop GI upset on medications such as antibiotics, to horses around the time of worming, when changes to diet are made, for poor doers, older horses that lose condition and horses that develop loose droppings.5 MYCOTOXINS AND BINDERS

M

?Mycotoxins ?Mouldy Hay

 Marshmallow root

rely heavily on fermentation of fibre by good bacterial microbes in their large intestine and this can supply around 2/3 of their energy in the form of volatile fatty acids (VFA’s) and lactic acid. In an adult horse, the whole gastro-intestinal tract represents around 12% of the total bodyweight. A recent study on humans reveals about 100 trillion bacterial cells live in and on our bodies, which means ‘we are only 10% human cells and the rest of us is made up of bacteria.’4 Research is yet to show the direct comparison in our equine friends, but it certainly gives food for thought.

In 2014 a landmark review paper on the microbiome published in the Journal of Clinical Investigation from New York University said: The composition of the microbiome and its activities are involved in

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Baroque Horse DRESSAGE | www.baroquehorse.com.au

most, if not all, of the biological processes that constitute human (equine) health and disease, as we proceed through our own life cycle.

Dr David Marlin a Scientific and Equine Consultant reveals The benefits of feeding live yeasts to horses include stabilisation of the conditions in the large intestine resulting in the stimulation of natural fermentative activity, improving fibre digestion of forages such as hay and haylage and improving the efficiency of digestion. He recommends It is worth considering feeding a gut balancer type of product to horses under stress, horses prone to colic or laminitis, horses that

THE School of Food AND Biological Engineering FOUND THE RESULTS

ycotoxins are typically molds capable of causing disease and death. The use of mycotoxin binders, or adsorbents, may have the greatest use for avoidance of exposure to low levels of multiple mycotoxins. The use of adsorbents to prevent effects of mycotoxins has been actively researched for over 20 years. A number of binder products have been shown effective and their use offers one of the greatest potentials for preventing animal toxicity.

Reviews of mycotoxin binders has been published (Avantaggiato et al., 2005; Ramos et al., 1996a; Ramos and Hernandez, 1997; Huwig et al. 2001).

The addition of mycotoxin binders to contaminated diets has been considered the most promising dietary approach to reduce effects of mycotoxins (Galvano et al., 2001). The theory is that the binder decontaminates mycotoxins in the feed by binding them strongly enough to prevent toxic interactions with the consuming animal and to prevent mycotoxin absorption across

the digestive tract. This approach is seen as prevention rather than therapy.

Potential absorbent materials include mannonoligosaccharides (MOS), clay, zeolite and diatomaceous earth.

MARSHMALLOW ROOT

of feeding Of BETA GLUCAN might exert

favorable effects

on improving INTESTINAL functions and HEALTH.

recent years interest in Marshmallow Root has been talked about for GI disturbances in horses and for good reason. Traditional internal uses for marshmallow root include urinary tract infections and gastrointestinal irritations and inflammations. Marshmallow Root has known demulcent+ and emollient@ properties. Both in the root and the

leaves there are acidic polysaccharides forming mucilage, but the concentration is highest in the root (Bone, 2003). In vitro studies have indicated that the adhesion of polysaccharides to mucous membranes might have a part in the therapeutic effect of mucilage on irritated membranes (Schmidgall et al., 2000).

The Naturopathic Herbalist states: These polysaccharides have a ‘slippery’, mild taste and swell in water, producing a gel-like mass that can be used to soothe and protect irritated tissues in the body, such as sore or inflamed mucous membranes. Most mucilage is not broken down by the digestive system, but absorb toxins from the bowel and give bulk to stool. The major effects of mucilage-rich herbs in the body include: • Lower bowel transit time by absorbing water in the colon and creating stool a bulking & softening effect • Absorb toxins in the colon • Protect against gastric acidity • Regulate intestinal flora and protect against ingested toxins or bacteria • Relaxes and soothes via the endodermal lining of the gut • Demulcent+ & Vulnerary^ action internally, soothes and protects inflamed or irritated nerve endings in mucous membranes or epithelia.6

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T

Footnotes: #A demulcent (derived from the Latin: demulcere "caress”) is an agent that supposedly forms a soothing film over a mucous membrane, relieving minor pain and inflammation of the membrane. @ Emollient definition “any preparation or substance that has a softening or soothing effect”. ^V ulnerary a medicine used in the healing of wounds.

Reference Materials: 1 http://www. myhorseuniversity. com/resources/eTips/ January_2010/ Didyouknow 2 http://veterinarynews. dvm360.com/equine-colitiscauses-consequences-andmanagement-challengesveterinarian?id =&pageID=1&sk= &date= 3 http://vet.uga.edu

yde, J. The Gut H Makeover 5 http://davidmarlin.co.uk/ portfolio/2313/ 6 https:// thenaturopathicherbalist. com/plant-constituents/ mucilage/ 7 http://www.ncbi.nlm.nih. gov/pubmed/23113683 4

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BETA GLUCAN he School of Food and Biological Engineering found the results of feeding Beta Glucan glucan might exert favorable effects on improving intestinal functions and health.

The trial also revealed that the population of Lactobacillus and Bifidobacterium increased (p < 0.05), whereas the number of Enterobacteriaceae (pathogen) decreased (p < 0. 05) in a dosedependent manner during the period of cereal β-glucan administration.7

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82 T RT A O H IENR I SN G

10

HORSE BODY

facts

{ 1}

Horses can not vomit because they have a bank of muscles around the oesophagus and it is a one-way valve. Food can pass down the oesophagus into the stomach but when the valve relaxes it squeezes down the opening and cuts off the passage going back up. ■

We thought it would be fun to put together some facts on the body parts of our beloved horses. Many are truly fascinating, and we hope you also find these interesting.

How many can you tick off that you knew already?

{2}

HORSE'S TEETH //

• They fully develop around the age of five.

• They have somewhere between 36–44 teeth.

• Their teeth are designed to wear as the horse chews.

• Male horses have more teeth than females.

• The best way of working out a horse's age is by examining its teeth. Their teeth also take up more room in their head than their brain. ■

{3}

HORSE'S EARS //

• They have 16 muscles in each ear.

• They can rotate their ears 180 degrees (but us humans only have three muscles).

• They can then focus on the direction from where this sound is coming from.

• Their ears are used to express their mood. ■

{5}

{8}

• There are over 300 different blood groups, however, there eight major red blood group types – A, C, D, K, P, Q, T & U. • In addition to their particular blood type, they can also have a type from each of the other blood groups.

• Specific breeds have certain blood types, for example, a Thoroughbred is 15% Aa- and 39% Qa- compared to an Arabian that is 18% Aaand 79% Qa-. ■

• Horses can not breathe through their mouth as they are 'obligate nasal breathers'.

• The tear duct drains tears from the corner of the eyes down through an opening in the nose.

HORSE'S BLOOD GROUP //

{6} {4}

HORSE'S EYE //

• Are approximately 5 cm in diameter.

• When measuring their volume, their eyes are up to nine times larger than a human's eyes.

• They have three eyelids – two ordinary ones, and the third called the nictitating membrane.

• The third eyelid is located in the inner corner of the eye and is used for lubricating and cleaning.

• They can see 350 degrees at one time as their eyes are on the side of their head.

• Their eyes are used to express their mood – same as us.

• A horse can see better at night than a human as it takes their eyes longer to adjust from light to dark. Horse have the largest eyes of all land mammals. ■

HORSE'S HEART //

• The normal heart weighs between 4–4.5kgs.

• The heart grows until a horse is four years of age.

• Their heart rate can range from 20 (rest) to 240 (maximum rate) beats per minute.

• The heart has four chambers – the right and left atrium at the top that receives blood and the two ventricles at the bottom that pumps blood.

• The average horse has approximately 35 litres of blood.

• Horses are not colour blind – they have a 'two coloured' vision. ■

{7}

HORSE'S RESPIRATORY SYSTEM //

• A horse moves an average of 5 litres of air with each breath.

• They breathe on an average of 10 times per minute.

• At full speed, a horse can move 1,000 litres of air per minute. ■

HORSE'S NOSE //

■

{9}

HORSE'S HOOF/FEET //

• It takes 9–12 months to re-grow an entire horse hoof.

• The triangular shape area under the hoof is called the 'frog'.

• The 'frog' acts as a shock absorber and pumps blood back into the leg.

• A horse is an ungulate which means a mammal with hooves.

• The feet grow until a horse reaches the age of six.

• The weight on the feet increases three-fold when it is galloping.

• The hoof contains moisture (water) = 25% in the hoof wall, 33% in the sole and 50% in the frog.

• The hoof is made from a strong material called keratin and has a low water content approximately 25%. ■

{10}

HORSE'S TASTE BUDS //

• Horses like sweet and salty flavours and will usually reject anything sour or bitter and are also influenced by smell and texture.

• Their sense of taste is closely connected to their sense of smell.

• Their taste buds are located in three places – the tongue, the soft palate on the roof of their mouth and the back of their throat. ■

HORSE BODY FACTS

84

ARTICLE BY: KER

T RE A H A IL N T IHN G

Antioxidant Spotlight THE VALUE OF VITAMIN E

What is vitamin E?

Vitamin E, a powerful antioxidant, is not synthesised by the horse, which means it is an essential dietary nutrient. Horses with an inadequate reserve of vitamin E may experience muscle soreness or stiffness during an exercise bout and prolonged recovery following strenuous work. In addition to its antioxidant responsibilities, vitamin E is vital to immune, cardiovascular, circulatory, neuromuscular and reproductive functions. Even idle horses need a steady supply of vitamin E for routine tissue maintenance and healthy immune status.

Dui blam veliquisim nos duis nulla alis acidunt alit ad modit dolobore delisi bla feugiamet

84 Baroque Horse DRESSAGE | www.baroquehorse.com.au

Where is vitamin E found?

Vitamin E is abundant in fresh, green grass and horses grazing fresh pasture usually consume enough of this vital nutrient to meet their daily requirements.

Of course there are numerous reasons as to why a performance horse does not have sufficient access to green pasture throughout the year, including climate, season and housing situation (stabling etc).

Horses grazing adequate fresh pasture usually consume enough of this vital nutrient to meet their daily requirements.

However, when pasture is replaced with hay, it is important to note that vitamin E is quickly lost as forage becomes dormant or is dried and stored as hay and may mean that supplementation is required.

When is vitamin E supplementation recommended?

• Vitamin E supplementation is recommended for: • Horses in confinement or those not receiving fresh, green grass • Horses recovering from injury or illness • Prior to or following stressful events such as foaling, weaning or travel • Horses with neurological or neuromuscular disease •

Let’s have a look at one specific reason that a horse may require additional vitamin E – oxidation. Oxidation is a normal metabolic process that allows horses to transform the carbohydrates, fats and proteins they devour in meals into the energy they need for growth, reproduction and performance. Unfortunately, with the good comes the bad. Oxidation also results in the creation of free radicals – unstable, highly reactive compounds that have the potential to irreparably damage cells and cell membranes. Fortunately, under normal circumstances substances called antioxidants are able to minimise the destructive path of these free radicals and protect the vulnerable cells.

Antioxidants to the rescue!

Oxidation speeds up during athletic effort due to increased oxygen consumption and accelerated aerobic metabolism. So, when we are asking our horses to work hard, we are initiating a cascade of free radicals in the body, which can quickly overwhelm the horse’s natural stores of antioxidants. Antioxidants are the horse’s major defence system against oxidative stress. Without antioxidants standing in their way, free radicals can leave behind a wreckage of damaged cells causing muscle fatigue and soreness, and ultimately compromised performance.

Vitamin E, a powerful antioxidant, is not synthesised by the horse, which means it is an essential dietary nutrient. Horses with an inadequate reserve of vitamin E may experience muscle soreness or stiffness during an exercise bout and prolonged recovery following strenuous work. To put it into perspective, think about how your muscles feel the day after intense exercise – you barely want to move at all, let alone do it all again! Vitamin E supplementation is therefore necessary to help support your horse through the rigours of training and improve recovery following hard work.

What are the different types of vitamin E? Vitamin E actually refers to a family of substances, of which only two – alphatocopherol and gamma-tocopherol – possess the potent antioxidant properties that make the nutrient so important in the equine diet. Alpha-tocopherol is the most biologically active and is found most abundantly in the horse’s body, therefore it is the most appropriate for use in supplementation. Because of the irregularity in vitamin E content of forages and other feedstuffs, the nutrient is often added to fortified commercial feeds, but is this enough to support your horse’s requirements?

T RE A H A IL N T IHN G

...THE PROBLEM IS: how can a hydrophobic vitamin be absorbed in a WATER-BASED ENVIRONMENT such as the horse’s gastrointestinal tract Does the source of vitamin E matter?

The answer is – yes! Research has indicated that the source of vitamin E has an impact on its digestibility and availability to the horse. Natural and synthetic alpha-tocopherol are not molecularly identical, which has an impact on the bioavailability and potency of the vitamin E. Natural forms of vitamin E have superior bioavailability, being more highly digestible and preferentially metabolised by horses. Depending on the preparation, supplemental natural vitamin E can be up to six times more bioavailable than synthetic vitamin E. Moreover, natural vitamin E is retained in tissues for longer periods of time, creating a reservoir that allows it to be instantly available when horses need it most, namely in times of stress or during periods of confinement.

How can you tell the difference between natural and synthetic vitamin E? Natural alpha-tocopherol is designated by a ‘d’ (d-alphatocopherol) on labels and synthetic is designated by a ‘dl’ (dl-alpha-tocopherol). In a situation where a product does not indicate the type of alpha-tocopherol, assume that it contains the synthetic source. Natural alpha-tocopherol is more expensive than synthetic sources, so manufacturers will usually advertise its inclusion in the product.

Can the horse utilise supplemental vitamin E right away?

Vitamin E is typically added to equine feeds and supplements in an esterified form (chemically joined to an acid, often an acetate and thus added as alpha-tocopherol acetate) to prolong shelf life. The acetate acts as a padlock or protective cap that shields alpha-tocopherol from the damage caused by exposure to oxidative forces.

In order for vitamin E acetates to be utilised in the body, two steps are necessary: 1. The ester has to be removed.

2. The alpha-tocopherol has to be made water soluble by that action of bile salts in a process known as micellisation.

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Each of these steps may limit vitamin E absorption in the horse.

Vitamin E is also a fat-soluble vitamin, which presents a challenge in itself. Because of its oily nature vitamin E is hydrophobic (water-shunning) and we are all aware that oil and water don’t mix. So, the problem is: how can a hydrophobic vitamin be absorbed in a water-based environment such as the horse’s gastrointestinal tract?

Kentucky Equine Research has the solution!

KER Researchers have developed a method by which fatsoluble vitamins can be absorbed with greater efficiency. KERx Nano-E is a revolutionary natural vitamin E liquid supplement that utilises proprietary technology to encapsulate the vitamin E in nanoparticles and then surround each nanoparticle with a hydrophilic (water-loving) outer layer. The hydrophilic outer layer allows nanoparticles to be rapidly and evenly released in the horse’s gastrointestinal tract for increased absorption and bioavailability.

Research has shown that KERx Nano-E is six times more bioavailable than synthetic vitamin E, allowing a lower dose to have the same effect, or a larger dose to be more effective.

KERx Nano-E not only results in a greater peak in serum vitamin E, but also a more sustained rise in the serum vitamin E status, making it particularly beneficial for eventing and endurance horses that require long-acting antioxidant support.

In addition, supplementation with KERx Nano-E has also been shown to boost blood levels very quickly with levels more than doubling within six hours!

To receive a free complete diet and ration analysis for your horse, or for more information on vitamin E, contact our KER nutrition advisors by email at advice@ker.com or phone 1800 772 198.

Nano•E® The best substitute for a natural source of Vitamin E. Bottle up the goodness of green grass with Nano•E®.

Nano•E® provides rapid absorption natural source of vitamin E to horses through a unique nanodispersion delivery system.

Ideal for horses recovering from illness or injury.

For use prior to or following stressful events such as foaling, weaning or travel.

Only

80¢ per day*

Available from leading saddleries and stock feed stores.

Visit our website ker.com to find your nearest outlet. *Based on a daily 4ml serve.

Nutrition Consultation Service 1800 772 198 | advice@ker.com www.ker.com | www.kera.equinews.com

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