Baroque horse magazine ~ issue 2

Interview with

Anja Beran

Feike 395 Sport

3 nation ‘Arte Equestre’

Educationls with

Manolo Mendez David Finch Jean-Philippe Giacomini photographic tutorial

Inside - Spanish Riding School Vienna

Ervideira - The oldest private Lusitano stud farm

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Emai: warnes@live.com.au

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On the cover: Annette Coestet and Feike 395 sport photo by: Cally Matherly design by: laura Zugzda

Editor In Chief: Danielle Skerman Editors: Patty Taylor Design: Danielle Skerman Advertising: Patty Taylor Photograpers: Cally Matherly laura Zugzda Nadeen Davis Nikki de Kerf Spanish Riding School Direct Shots Photography Contributors: Sarah Warne Danielle Skerman Caroline Larrouilh Ysabelle Dean Manolo Mendez Chris Maudsley Ruby Goodsell Nadeen Davis

laura Zugzda Annette Coestet Jochen Schleese David Finch Mariette van den Berg Simmone Kalanj Jean-Philippe Giacomini

ŠBaraque 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.

DanielleSkerman

Editor

Welcome to issue 2 of Baroque Horse Magazine.

From baroque horse people for baroque horse people.

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Content

Anja Beran 20

9.

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3 nation - Arte Equestre

Ervideira 54

54. Ervideira Stud

20. Anja Beran

60. Where in the world - Riz Ilyas

31. Artist - FrĂŠdĂŠrique Lavergne

62. Feike 396 sport

40. Manolo Mendez - The importance of lengthening the neck

76. Spanish Riding School - Vienna

44. Manolo Mendez - Developing the basics: step by step

88. Getting started in jumping continued

84. Saddle Fit and Saddle length

SRS - Vienna 76

Feike 395 Sport 62

94. The Frederiksborg horse

126. Annwn Park

101. Just for fun

130. El Caballo Blanco

104. Readers gallery

136. Morgado Lusitano

106. Have fun riding and stay safe

140. Jean-Philippe Giacomini

110. The Forest Boyz

146. Photographic tutorial

124. Arte e Lusitano, Pedro Yglesias Oliveira

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‘Aramis’ * Trained in advance level of Dressage * Height 167cm, * Very functional with excellent character

Coudelaria Quinta Oliveira

Ph: +351938920119 geral@coudelariaquintaoliveira.com.pt

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www.coudelariaquintaoliveira.com.pt

Written by Sarah Warne

photo by: Pedro Yglesias de Oliveira

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3

n o i nat

Arte Equestre’

photo by: Pedro Yglesias de Oliveira ..10

comes to Portugal!

Written by Sarah Warne

Levades, capriole, croupade and courbette; movements that require the highest level of collection, were performed in front of a packed theatre of spectators, with a calm and ease that proved these specially bred horses are not only talented but also love to perform.

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Arte Equestre’

In a rare spectacular, the ‘art of Equestrian’ was and Alain Laurioux, the arena was brought to performed by three of the most historic riding life through the equestrian choreography and schools in the world, the result was something specially chosen musical accompaniment. truly special.

With each school comprised of a small team Uniting the skill and talent of the Cadre Noir of their countries’ most elite male riders, de Saumur - École Nationale (France), a Real these equine masters proved the benefits of Escuela Andaluza Del Arte Equestre (Spain) traditional riding, making the most difficult and the Escola Portuguesa de Arte Equestre classical exercises look easy.

(Portugal), the Lisbon audience witnessed a fusion of national pride, costume, top breeding Levades, capriole, croupade and courbette; and horsemanship. movements that require the highest level of collection, were performed in front of a packed I watched in awe as the methods practiced over theatre of spectators, with a calm and ease that centuries were performed to perfection, the proved these specially bred horses are not only crowd was lifted from their seats by the magic talented but also love to perform. they saw from within the saddle.

But the so called “airs above the ground” were In a joint project between the experts Filipe not the only thing that captured the audience’s Figueiredo (Graciosa), Jean-Michel Poisson attention.

photo by: promocaval@gmail.com ..12

sias de Oliveira

Ygle photo by : Pedro

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The showjumping displays from the bang and crash) from the top.

French masters gave insight into the discipline and focus instilled into the The school rides to music showed the accuracy and precision of the training, french training techniques. but also gave a feel of how the national One particular jumping display involved schools work together, creating special a horse jumping , undistracted, over a relationships not just between horse and fully set dining table; the scene set, it man, but amongst the riders as well. was then polished off with fellow diners What really increased the show’s appeal and their celebratory champagne. was the work performed in hand. As Having show jumped as a kid on my less a rider I was able to comprehend the that enthused pony, I was amazed by the complex training involved for the horses’ desire to jump for their master displays from the saddle, however the and was especially taken by one stunning long rein work showed the skill of true chestnut who jumped over a giant masters. With just a rope to keep control vertical fence...on the lunge! I couldn’t of the horse’s hind quarters, the men believe that this horse needed little more would manoeuvre themselves around that a point in the right direction. It left the horse, placing their hands at different me wondering where the person was, points to signal certain responses. since often many required to be kicked Making a horse do a canter pirouette and motivated (or in pony club case is hard enough when you are riding, photo by: promocaval@gmail.com

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photo by: promocaval@gmail.com

photo by: Pedro Yglesias de Oliveira

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but using just a rope around his backside is in a different class altogether.

The true stars were of course the horses. The Lusitanos and the Andalusians proved once again that they are a horse built for collection. I found myself wondering how my last horse, a warmblood, would respond if asked to perform the more advanced classical movements to such a degree.

And so it was an evening where each of the three equestrian schools, combined with their top national bloodlines, represented their countries with great pride and honour.

Founded in the late 1970’s, the Royal Andalusian School of Equestrian Art is known all over the world, famous for its show entitled “How the Andalusian Horses Dance”.

The ‘Escola Portuguesa d Arte Equestre’ (EPAE), is also centred around its special breed of horse, the lusitano. A reconstitution of the Royal Picaria, (the Equestrian Academy of the Portuguese Court of the century), the century old school prides itself on using only Lusitanos from the royal stud, founded in 1748.

Finally, the most diverse of the three, the Cadre Noir de Saumur, in France, was again built on a royal foundation in the 1970’s, and schools its horses in everything from dressage and ..16

photo by: promocaval@gmail.com

eventing, to driving and racing.

The opportunity to watch the three schools unite in a single display was a credit to the organisers, however some English commentary or even a program of the evening may have helped make the show a little more foreigner friendly.

Overall, the Spaniards had the showmanship, the Portuguese illustrated the product of true classical training, and the French pushed it up and over the top with their jumping finesse.

All in all, a three Escola production, that illustrated why man has relied on the horse for centuries, and why young riders like me are constantly inspired by the horse, and his many talents. a

photo by: Pedro Yglesias de Oliveira

photo by: Pedro Yglesias de Oliveira

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BHM talks to

Anja riding “Regedor”

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B

aroque Horse Magazine (BHM) had the pleasure to talk to Anja Beran, a world renown classical dressage rider and trainer about life, her horses and her training.

BHM: Hi Anja, thank you for taking the time to talk to Baroque Horse Magazine.

Anja, could you tell us what is a typical day for you? what do you do?

AB (Anja Beran): Sure, normally I start around 6.30 in the morning and feed my horses.

At 7.00 a.m. I start riding for the morning till about 1pm where I would ridden ride 5 or 6 horses. Then I have a lunch break for one hour. At 14.00 p.m. I’m back to work often which normally comprises of riding another horse, lessons with clients and with my students of the foundation we work together on the young horses for breaking them in. At 19.00 p.m. I have another lesson with a client and I try to finish the work in my indoor school at 20.00 p.m.

Then I take a shower and have dinner, about 9.00 p.m. I go to my office and work there until midnight. I work six and a half day per week!

BHM: WOW! you are very busy indeed!

With all the horses in your stables do you have a favourite one, and if so who?

AB: I like all of them very much! But “Regedor” a brown Lusitano stallion is one of my favourite horses.

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BHM: What about movements to ride, do you have a favourite on that you prefer?

AB: That depends always of the horse. I have horses with a wonderful galopp, with them the flying changes are great, others are better in Piaffe or Passage, it depends.

BHM: Can you tell us a bit about your foundation, how did it come about and how can people donate or help?

AB: We created the foundation, because we want to give classical dressage a home and a future! So even when I am not alive anymore, there should be money enough to keep our farm alive. Here we have barns, indoor and outdoor school, horse walker, round pen and big fields for the horses, so perfect conditions for the welfare of the horse and the training.

But classical riding needs also good trainers and they are not trained in 2 or 3 years! The foundation supports talented young riders and gives them the possibility to stay 6 years on Gut Rosenhof (our farm) and to learn how to train horses and riders. That means they learn how to break in young horses and how to continue with them to a level of Piaffe, Passage, Pirouettes, Levade or Flying Changes one by one. They have to know how to touch with a whip, how to make a good gymnastic with a horse and all this without any martingals, draw reins, fix reins and so on! Of course the first year exists only to train the seat of the young riders. Only with more and better teachers we can help the horses to get a better life! Actually in modern sports the good and correct dressage is very seldom. The horses move spectacular but the movements are far away of harmony and balance and the way the horses move destroys them. Old “values� are lost and we want to try to keep them alive and conserve our culture!

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To train these young riders the foundation has already 4 horses. Just one is ridden, the others are now 2 years old and we will start them when they are three years old. So the pupils can follow up the way of these horses from the start to high school. That is very important!

People can get more information on the website of the Anja Beran Foundation and there they also find how they can support it. http://www.anjaberanstiftung.de BHM: I understand you spent a lot of your child hood at your grandfather’s hunting lodge, is there where your passion for horses began? What about them draws you into them?

AB: Yes, I grew up in the forest and with animals. My mother was also riding and had a Frisian. So I always wanted to be a forester or rider and just work outside and with animals.

BHM: You spend a large amount of your time riding and training over 45 horses in your stables with the majority being stallions, would you say that you prefer to ride stallions? are they more sensitive than say riding a mare or gelding? ..24

AB: Yes of course I like to train stallions, they have a strong personality and they are very attentive on everything, that is good and bad at the same time… we have to try to get their attention. But I also love geldings or mares.

BHM: A recent discussion I was involved in was about spanish stallions and their interesting personalities, and their somewhat ability to sulk! Do you see a lot of this in your stable? Do you think this is a breed or stallion thing?

AB: All horses show their character when you train them in a classical way. You do not break the horse, no it is the contrary you try to work out his own character and you can find a great personality in most of them.

Of course stallions are not so easy to break, so people say they have more personality, but I found interesting characters in all of my horses. It is not a breed thing.

If you train the horses all in the same way you always have some who don´t fit in your methods so you have to break them or sell them, means you just work with one type of horse. But if you try as we try here to train horses in a classical way and you respect their nature and personality, you have to find an own way for each horse and then you are able to discover different personalities!

BHM: I would imagine that over the years you have riding and trained many baroque breeds, could you please tell us what you have in your stables now?

AB: Yes it is true, we have a lot of different breeds here!

We have all kind of horses: thoroughbreds, german warmbloods, Arabs and Ponies like Haflinger, Welsh Partbred or Dartmoor and also I had a Shire horse and another heavy horse. Sometimes we have also Quarter Horses or Appaloosas. Actually we have a “Leutstettener” stallion, these horses are on the “red list”. There are not many anymore, it was the breed of the Bavarian King and it is based on Hungarian horses.

Baroque horses we have a lot: Frisians, Lipizzaner, P.R.E., Lusitanos, Knappstrupper, Kladruber and a Frederiksborger (also on the red list!).

BHM: For someone wanting a baroque horse, what advise would you give them in this, is there a particular breed that you would recommend for different personalities and skill levels? would you say that a particular breed is more suited to beginners?

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AB: For beginners a well trained Spanish horse is normally very good. They have a nice character and are comfortable to sit on. The problem starts always when beginners buy young horses, it is much better to by a very well trained horse first. We learn a lot of these schoolmasters, more than a teacher can show us! But the horses really should be schoolmasters!

That means they should be trained to the highest level and react on fine aids.

Amanda Massey what types of saddles you find best...especially on the Iberians..?

AB: I have created a saddle with a very old german saddle factory: Passier. The saddle has my name: Anja Beran and I feel very comfortable in it and my horses like it too. It fits on small Arabs but you can also put it on Frisians. It is not a problem to make it more wide.

BHM: Now that classical is becoming increasingly more popular do you ever think about maybe Kimberley Peters competing in dressage?

If there are particular training issues Anja encounters with the PRE horse and how to AB: No, because in the modern competition world overcome them and also specific exercises she is no space for classical riding. True dressage means recommends? harmony, lightness and balance and horses who are happy and stay healthy for many many years! That AB: The P.R.E. horse is normally not very strong is lost! in his back and often they have problems in gallop, so we have to respect this and do a lot of gymnastic with them to build up muscles in the Anja, I have some questions here from some back. We should never ride them too fast, that is what riders often do and then they break their baroque horse readers for you! movements and the back. Often they have a big neck and shoulder and a back and hindquarters Crystal Michaux What are the most surprising or significant things not so sotrong. So it si not good to ride them with the neck long and deep, because there is that horses have taught you? already too much weight on the forehand and we AB: You never can hurry when you train a horse, will break balance completely! So the best is to do you have to wait for him! Relax, stay calm and all the gymnastic exercises I have described in my continue with a good and gentle gymnastic and the book. When we feel the P.R.E. horse starts to be in day will come when you will get results!

Balance and is light in the forehand and stronger in the back, then they are wonderful and can do all movements of High School like the other horses.

Anja Beran Saddle

by Passier ..26

Carol Raymen What physiological constraints do friesians have & how does classical training in comparison 2 other styles of training overcome them?

AB: The breed of Frisians was to create a horse for the coach. With a big neck, a trot with lots of action in the forehand and a horse that shouldn´t gallop. So they often have a high and strong neck, a back not so strong and sometimes long, good shoulders and sometimes they have problems with the gallop. It is heavy and they like to lose balance. As classical dressage works always with the nature and capacity of each horse it is not so difficult to train them. You respect their physiological constraints and try with an individual gymnastic to relax the horse and to bring him into balance. All the lateral work is very important for them, to bend and to give flexion to them and make them mobile, if not they become lacy.

And never work them in a boring way - they stop working then! Further you cannot ride them as long and with a lot of gallop like other horses, they get tired very easy. When it is hot it is worst.

A good gymnastic exercise for them is the Piaffe. Brings strongness to the back and hindquarters and helps them to find their balance.

Kylie Hill I would like to know more about Friesians personality’s ..The Friesians lingo! the way they express themselves...mine has different snorts, so he tells me how he feels!

AB: All horses have that. All in their way, we just have to listen! It is not just a special thing of Frisians.

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year a visit to the mountains and the famous Bavarian Fiona Edwards What would be her favourite basic exercise for creating castles. Some guests went for sightseeing to Munich.

Last year we had visitors from 13 different countries, bend and flexibility? but not one from Australia…!

AB: The best and most important basic work is a movement by side on a small circle. You can do it BHM: lol.. sorry can’t do to much about the snakes around you with the horse in hand or ridden. You do and spiders i’m afraid! does sound like you have a full a small circle (about 6 meters) and put the shoulders of on schedule! Thank you Anja for taking the time to the horse inside, then use your inside leg and move the talk to BHM. hindquarters by side. Do many stops and rein backs in For anyone wanting to know more about Anja and her between. training and clinics please do go to Anja’s web BHM: I’d like to know when are you coming to http://www.anjaberan.de or foundation site http://www.anjaberanstiftung.de a Australia!!

AB: When there are no snakes and spiders anymore… hahaha…

No I am joking, I don´t know, because actually I have so much work here and I am writing a new book and so on….but we never know!

But I don´t want to miss to let you know that in July 2012 we have the second English speaking Workshop here on our farm. For almost one week I will show the whole day different horses and how to train them. I will explain the work in detail and the guests have the chance to ask questions. One day is off and we organized last

Gut Rosenhof

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Anja’s beautiful property Gut Roxenhof

HORSE TRAINING

IN

DEFERENCE

You, too, can help to preserve “Classical Equestrianism�, an important part of our cultural heritage and the only form of training which fully respects the requirements of the horse!

This can only be made possible by passing on knowledge and experience to the next generation of trainers and riders.

Please support the work of the Anja Beran Foundation.

Further information is available under www.anjaberanstiftung.de 29..

DVDs by Anja Beran

Elegant Dressage Training

More about Anja Beran: www.anjaberan.de Part 1:The art of classical dressage training

The intention of this film is to give riders a different understanding of dressage and to make clear: Dressage is made for the horse and horses are not made for dressage! Anja Beran is a classical dressage trainer. Together with her mentor Manuel Jorge de Oliveira, she shows that only correct dressage work turns a horse into a riding horse. DVD Special: The veterinarian Dr. Gerhard Heuschmann explains the scientifically important aspects of classical training. DVD: PAL + NTSC · 90 mins

Part 2: Basic Training provides a solid foundation

Anja Beran and her team show how they work with young horses.

Following proper work at the lunge and a careful start under the saddle, the spectator can witness how first steps of lateral movements lead quite naturally to first steps of collection.

DVD: PAL + NTSC · 82 mins

Part 3: Schooling of advanced level exercises

Following the proper basic training see how advanced horses progress into higher exercises of classical equitation. Difficulties in training are also addressed.

DVD: PAL + NTSC · 87 mins

pferdia tv · Hehrenwiese 8 · D-27299 Langwedel · Tel. +49(0)4232-93100 · www.pferdia.tv

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FrédériqueLavergne Talks to BHM

How long have you been painting for?

I have been painting since 40 years, I am 43... But I paint as professional since 2000.

What is your preferred medium?

I mostly work with oil on canvas, but also draw on paper with black stone and chestnut ink, or oil on prepared paper (with ink) My methods of work, my artistic “way”: I begin my paintings by covering the canvas with black. Then each time I paint the eye. Sometimes the artwork stops there, though I have not managed to get the expression, the emotion I was looking for. The eye is a door that opens and lets in light and makes the exchange possible. Seek the light in the darkness, is the adventure of all my paintings, often almost monochromatic, because I reach my goal with a minimum resources and little repentance…

What drove you to paint horses?

From a rider father and mother stylist, I was born into a world inhabited by horses and sketches of fashion ... Before speaking, and I drew the picture became my language. Rider in my turn, I am in constant contact with horses since childhood and very close to the animal world. Love the expressions and to catch the soul in the look...

For me, horses are a mysterious miracle. I am trying to “understand” them since years. I realize that all I got are these kind of silent communication we have with them. I don’t know if i understand them, but I can say that some day I feel more horse than human...

Do you sell prints of your paintings?

Yes I sell prints of all my work on order.

(50€ for a 30X40CM for example) lavergne.frederique@gmail.com www.frederiquelavergne.com a 31..

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www.frederiquelavergne.com

www.frederiquelavergne.com

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www.frederiquelavergne.com 37..

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EDUCATIONAL

Schooling the Horse: The Importance of Lengthening the Neck

by Manolo Mendez, Specialist of In-hand and Classical Equitation with writer Ysabella Dean

Shoulder-fore. Manolo and Dinamico in shoulder fore. Note the attentive ears, relaxed tail and independent balance of both rider and horse ..40

I

n the paddock or in the wild, we can see horses playing or challenging each other with a naturally collected outline and a flexed poll. But a horse will hold this posture for moments only before returning to his most natural and comfortable stance - head and neck lowered and most of his weight on the forehand. And when he does collect, he will also instinctively lift his back and use muscles, ligaments, tendons and bones all over his body to properly support this posture.

We should never have too much contact. We should use the reins to gently guide the horse in the direction of the leading rein, then we should change softly, allowing the horse time to organize his legs and adjust all his vertebrae. Superior balance becomes even more crucial for the airs-above-ground, such as levade, courbette and capriole. Interfere with the mouth, have the contact too short at the wrong time, and you will cause the horse to shorten his neck and thus lose his balance.

In training for dressage, one of the most damaging things we can do to a horse - especially a young horse - is demand an “outline”. A beautiful outline is something that will, if the training is correct, develop naturally over a period of years. To insist on it before the horse is ready can and does lead to premature breakdown in body, mind – and spirit.

How short is “too short”?

Of course, training with too long a neck can cause problems, too. If the horse is not encouraged to seek contact with the rider’s hands, to lift a little, he will never learn to carry himself in a way that will help him develop the muscles he needs.

A green horse has natural balance, but all that is changed when we expect him to carry a rider as well. Now he must find a new balance.

This alone may take many months, depending on the horse, his conformation, temperament and natural ability.

be in front of the vertical AT ALL TIMES. If we force a green horse to work with a short contact he will go behind the vertical in an effort to evade the pain we are creating in his mouth, neck, and back.

how short is too short and how “A nose behind But long is too long? How much contact A short neck destroys balance to allow the horse the vertical isto theworkrightwithamount Horses have evolved to carry most his neck in the optimal of their weight on the forehand position? It depends on each individual causes the poll most of the time, and freedom of horse and the level of his training. the neck and head is a crucial factor in being able to balance this weight. to become stiff ” In any type of training, the nose must

Training a horse to perform the higher movements with grace and beauty is not possible without conserving the horse’s natural balance. For flying changes, pirouette, half pass, or any other advanced movement, the horse must have superior balance. A short contact used to create a short neck and to force poll flexion will interfere with this balance.

Take the flying change or the half pass, for example.

A nose behind the vertical causes the poll to become stiff. The neck rounds too much, which makes the topline muscles too tense. The muscles underneath the neck “suck up” as the horse tries to support himself in this uncomfortable posture. The seven neck vertebrae become stiff and tense, which causes the rest of the vertebrae (the horse has fifty-four in all, from the poll to the tail) to also become stiff and tense.

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

For more information and more articles visit: www.manolomendezdressage.com © 2011 Manolo Mendez Dressage 41..

EDUCATIONAL

With a horse working at a high level we may need Deep and round restricts the respiratory system more contact, but this is because a horse at a high and blood supply, and the horse can’t see where level has developed the ability and the stamina to he is going. The horse ends up weak in the spine. hold himself in a collected You cannot always see the damage outline with his poll flexed. immediately; it happens over time.

It is still a light contact: he does not need to be held In the beginning was the long neck there. Shorter contact should Dressage is an art form and, like any always be the by-product of art form, it needs time and the right physical development, not conditions in which to grow and the means by which physical flourish. The rider and his horse must development is achieved. work together, in harmony, to develop If it is the means, then it balance, rhythm, coordination and will be the wrong physical skill. We do not teach the horse passage development. or piaffe or tempi changes: movements he was born to do. But to do them with Even so, we should not work the same grace and beauty under saddle even a highly trained horse means we must work within his natural in a collected frame for the limitations, building his strength and entire workout but should willingness. If we don’t, we end up with instead integrate rest periods a pale copy of the real thing. Allowing from collection which will him to work with his neck long and low allow him to stretch out from is where it all truly begins. a time to time. In general for a horse that has not reached this level of collection, a lot of the work in leading up to collection should be done on a gentle, fine contact and we should also encourage him to stretch down and out with his neck and head, to seek our hands through the reins. This is called “long and low”.

“..when a horse is worked too deep in the neck, his back must arch down.

This will indeed cause him to work his back legs harder to compensate, but there is too much movement in the stifle and the hock, and not enough in the body.”

“Long and low” or “deep and round”?

Long and low is not the same thing at all as the “deep and round” principle, which relies on bringing the horse behind the vertical with a lowered head and a shortened neck.

Working a horse deep and round is often achieved with side reins and running reins, and is thought to lift the horse’s back and stretch the spine by enabling the hind legs to come through properly. In fact, when a horse is worked too deep in the neck, his back must arch down. This will indeed cause him to work his back legs harder to compensate, but there is too much movement in the stifle and the hock, and not enough in the body. The hind end is not working in harmony with the front end because the bridge between them - the back - is not moving. With the legs working so hard, they hit the ground harder.

This will over time cause concussion to the hock and stifle, along with stiffening of the spine and pelvic area. ..42

0422 726 132 : : annj@alphalink.com.au www.alphalink . com.au / ~annj

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EDUCATIONAL

Developing the Basics: Step by Step Manolo Mendez, Specialist of in-hand and Classical Equitation.

With writers Ysabelle Dean and C.Larrouilh

Dinamico XII is an imported Andalusian stallion. The photos from daily training represent only some of the exercices Manolo uses in his training. Dinamico is trained by Manolo and compaigned by his working pupil Chantelle Matthews. Dinamico was: 2010 Victorian State Champion, Led Spanish Entire, Andalusian State Competition; 2010 Victorian State Champion Ridden Spanish Entire; 2010 Victorian State Champion; Overall Ridden Andalusian, 2010 ASPR Dressage Competition, Lara, Melbourne; Novice Champion 1st 2B and 2nd 2D, 2010 Dressage Festival -National Competition Novice 2nd placing in 2C. Represented the Australian Andalusian Society in 2010 Equitana giving daily demonstrations and led the stallion parade. ..44

After a couple of more collected strides, Manolo asks Dinamico to move out into extended canter while maintaining the same quality of straightness, forward, and balance. This play between working, collected and extended gaits (walk, trot and canter) allows Manolo to develop the horse’s balance, elasticity,strength and confidence slowly and methodically.

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EDUCATIONAL ..46

Developing the Basics: Step by Step

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ust as we would never pressure a kindergarden child to jump straight into high school and expect them to be able to think critically and produce A+ essays overnight, we should never “jump steps” or rush the levels in the training of our horses.

work with regularity and evenness - and teach the horse what it feels like to travel straight and free again.

Once the horse is happy and confident going large round the arena, we can start a small flexion exercise coming out of each corner. Don’t make the corners It is vitally important to the success of the horse and too deep for a green horse; just ask him for a little rider partnership and to the harmonious physical, flexion to the inside as you go round the corner. mental and emotional development of the horse that the horse understands each aid, each request, Next we can start asking for the five metre loop. each exercise that he is asked to perform. It is the This may seem like a simple exercise, but it is not. rider’s responsibility to ensure that the horse is The rider must ensure it is performed softly and prepared properly and has the physical capabilities, the change of flexion (the degree of which depends flexibility and balance necessary to be successful on the size of the loop) throughout the body of before introducing a new request, the next exercise. the horse is not asked for abruptly at the apex of Instead of having a set of rigid expectations the loop but prepared for carefully. We need to based on the horse age, breed, pedigree and the take plenty of time to develop our horse’s muscles, rider’s goals and ambition, the rider should train tendons and ligaments so that the horse can easily the horse they have in front of them: what do its bend through every vertebra of the spine equally, muscles look like, how confident is it? what does from the poll to the tail. If the flexion is not soft it understand? How long does it take to warmup? and the spine cannot bend naturally, we are not What working routines work better for him? Only creating suppleness, we are creating problems by knowing his horse and adapting his training to ranging from stiffness to early arthritic changes as his individual needs will the rider truly be able to well as destroying the quality of horse’s movement forge a partnership with his horse. as our horse’s legs movement can be determined by the condition of its topline. How you ride your Just as important is not to start any bending and horse’s spine and the use of contact determines if flexion exercises until the horse is able to walk, trot your horse will be a back mover, very desirable, or and canter around the arena in a nice, comfortable a leg mover, very undesirable. rhythm with light and even contact. It is vital that the rider learns to use the reins as a pair, not The five metre loop should be introduced down one individually. The reins must be of absolutely equal side of the arena only, and performed here and there length and the contact should follow the horse but not repeated over and over again. The purpose and help shape his posture but never constrict of this exercise is to help us develop SOFTNESS in him or support him - the horse’s balance, his self flexion, and to introduce the horse to the bend that carriage should be independent from the rider. will, over a period of time, get larger. It requires the Riders need to look first to themselves when their rider to FEEL his horse’s balance and rhythm and horse is crooked. Very often a rider will use too help him meet the change of bend evenly. much inside (or outside) rein, which causes the horse’s head to tilt and the poll and spine to stiffen, The five metre loop introduces the first steps of inhibiting the horse’s head carriage and ability to a three-loop serpentine. But it is ONLY when flex throughout its entire body. After a short time, the horse is truly comfortable, with an easy the horse’s muscles begin to set in patterns that head carriage (Nose in front of the vertical, neck can shorten one side of the body and pull it out of telescoped forward, down and out with soft alignment. The longer the rider’s crookedness is “swimmer” muscles) on a nice following contact left un-adressed, the harder it will be to release and that we consider building the size of the loop to lengthen the bunched up, tight, braced muscles and 10 meters, 15 meters, and then to the three-loop restore symmetry so that both sides of the horse serpentine (with 15 meter loops). But this is further

Introducing collection. Manolo rides Dinamico on a 10 or15 meter circle and asks for a couple of strides of more collected canter before asking him to move out straight and forward out of collection. Note Manolo’s light seat and slight weighing to the inside of the bend.

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EDUCATIONAL Shoulder-in. Manolo is gently shaping Dinamico’s posture and asking for a set amount of angle and bend through his body without interfering with his selfcarriage. Note the rider’s head and torso’s alignment with the horse’s head and chest and the even, light contact which guides but does not restrict the horse. ..48

down the road: the 15 meter loop should not be done with a young horse.

two first two joints in the body. An easy way to think about how your horse work is to remember that the hind legs follow what the forelegs do and the nose If the horse has a little more trouble flexing more to dictates how much freedom the shoulder of the horse one side than the other, we must not force the issue, has -ideally if you drew a line down the profile of your but instead find ways to work around any resistance. horse and one down the angle of its shoulder, the lines For instance, if you are doing 3 loop serpentine and should be parallel to each other. Instead of rushing your horse is a little stiff to the right in the three-loop your horse around thinking “drive the hind leg under, serpentine, start this exercise on the left rein and turn more, more” think of riding the whole horse with a the middle loop into a 15 meter circle. This will give soft arch in the neck and energy traveling throughout you time to gently correct the problem, and allow the the whole horse without being blocked. This means horse the chance to build confidence about not breaking the horse’s neck at the third “It is the rider’s flexing to the right. You can then continue vertebra or causing the hind leg to trail the serpentine and finish with your last loop job to not get behind or to hit the ground too soon to the left. by trying to put the horse on the bit or locked into “make him” round with a short, ungiving, It is the rider’s job to not get locked into a conflict restricting contact. a conflict with his horse when he cannot with his The repetitive nature of circles, if too many perform an exercise. Too often I teach riders who will accuse the horse of trying to “get horse when are performed, puts a terrible strain on the away with something” or of being lazy or ill horse’s muscles, ligaments and tendons – he cannot and can destroy his confidence. Too often, willed when the horse is physically not ready for the work asked or not understanding perform an we see hock injuries from performing too what is being asked of him. The rider uses many circles. exercise.” his spur or whip and gets frustrated and the horse gets more confused, anxious and In the same manner, incorrectly applied reactive. A rider who wants a good partnership with half halts will also damage the horse’s legs by stopping his horse should take a step back and observe what is the motion of the leg at the wrong time and causing it happening. Is my horse able to perform this exercise to him to hit the ground hard. Instead of thinking of on one side but not the other? is he crooked or not half halting all the time, use your feel to know when stepping evenly? Which leg does he favor or not? your horse is loosing his balance and decide what How is he in the bridle? Am I asking correctly? Am I exercise, pattern, action you can take to help him, asking for perfection instead of accepting good work how you can set him up for the exercise differently in progress? Does my horse understand me? Am I without using the reins to carry him. blocking him? What patterns and exercises would help him so instead of fighting to “make him” do an On too short a rein, the young horse does not have exercise, I build up to it gradually so when I “ask him” the room to use his neck to compensate for loosing he is willing and able to work with me. If you ride to his balance while he figures out how to carry the rider help your horse, your horse will recognize this and as and develops the strength to do it easily. Too much his trust grows so will he desire to please you. unrelenting contact means the horse will not be able to develop independent balance, self carriage and Going straight eventually correct collection.

The horse must learn to travel straight very early on.

This is where he develops much of his gymnastic It is very important not to repeat any exercise too ability. A young horse should do more straight work many times. Not only does it put too much strain on than circle work, and should not be asked for any the same muscles again and again, but also it creates flexion on straight lines, just to go straight. The rider’s boredom and sourness. No one wants to do the same hands should have gentle, light contact on even reins thing over and over, and neither does the horse. when traveling on a straight line.

We must always keep the work fun and interesting, so To be able to go straight, the horse’s topline needs the horse comes back to the next session with great to be de-contracted so that the legs can move with enthusiasm. good rhythm, good freedom. For the topline to be decontracted, the spine cannot be blocked and so the A natural walk is the foundation for good paces TMJ and poll should not be blocked as they are the It is also important to encourage the walk. It should be 49..

EDUCATIONAL ..50

nice and relaxed, with great beauty. You must allow the horse to walk free and relaxed and not drill or drive too much, each horse has a different rhythm, find your horse’s and let it flourish. Your pelvis should be relaxed so each seat and hip bone can move independently, in time with the horse. Allow your shoulders, elbows and arms to move softly, so as not to obstruct the horse’s movement. We must remember never to restrict the horse’s natural head nod at walk and canter (there is no head nod at the trot). The rider must have equal contact on both reins, and follow the horse’s normal head carriage, so as not to block the head movement in any way.

timing, can we start the sitting trot. Some horses will take longer than others to find these qualities. Some take longer because their riders are stiff or have not yet found the right balance themselves.

Too often riders insist on sitting the trot because they believe posting is for novice riders and they believe being able to sit the trot is a sign of being a good rider. That is not correct. A good rider is someone who learns about the body of its horse and makes every effort to ensure they ride it in a way that will make him stronger, fitter, suppler and happier. This means posting on a horse with a weak back whether it is a young horse or an Once the horse is comfortable and relaxed, older horse coming back to work or one that we occasionally halt, then walk again and had a saddle fitting problem. give a pat.

Good breathing leads to good work Encouraging a free walk is the foundation Riders very rarely concentrate on their for good movement in all gaits. A good trot breathing, and they often don’t think about and canter both develop from a good walk. how the horse is breathing, either.

We can also gradually teach the horse to distinguish between free, extended, medium The rider must learn to breathe deeply, with and collected walk through becoming “softness in the air”. We must also listen to, attentive to the movement of the rider’s body. and feel the horse’s breathing. A young horse When the rider becomes stiller, the horse will will often breathe too fast, because he may be learn to still and collect his own movement, a little tense about what is expected, and he is and vice versa. not yet completely fit. It is important to give a young horse plenty of breaks to recover his Sitting trot makes young horses hollow breath. It is terrible when the horse is taking To sit the trot on the young horse is not good. stiff, frightened breaths. He cannot relax and When a horse is only three or four, his bones become soft and attentive to what is being are not even completely formed. At this asked of him; he cannot discover enjoyment stage the horse’s muscles are not developed in his work. properly, either.

A rider can feel the horse’s ribcage between The young horse is naturally a little on the its legs, opening and closing with each forehand, and perhaps a little hollow through breath, feel the horse’s heart beating softly the spine. To sit the trot will only encourage or like a hammer. Because of this we should those “hollow” muscles to develop. not tighten our girths too strongly, or for that matter the noseband or flash. We should make The horse has to be able to flex and bend, every effort to make the horse comfortable. and the spine must be supple in every single Imagine having a belt on that is very tight and vertebra. If we do sitting trot on the horse having to run, do sit ups, etc..how long would before the horse has developed the correct you be able to keep it up? muscles, we will start to jam the vertebrae together.

Proper breathing encourages athleticism and mental concentration because it helps Just imagine if someone sat on your spine supply oxygen to the muscles and brain. All … You would have to be very fit, very strong, athletes work on their breathing. Don’t forget and yet very flexible to be able to cope, and that your horse is an athlete, too. It is most not to get sore in only a matter of minutes! important to be soft, to be natural. Be careful Only when the horse has found his natural never to instill fear in the horse, so that his balance under the rider, and has rhythm and natural breathing will develop and he will

Canter half pass right.

Manolo setting Dinamico up for canter half pass right working on moving forward and sideways fluidly and in rhythm.

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EDUCATIONAL

never learn to shallow breath or simply block his breath altogether.

By encouraging the horse’s softness, and following the young horse’s natural movement, rather than enforcing unnatural movement, or stiffening or stopping the horse’s movement, we will help the horse develop his natural breathing.

If the leg is too tight, then the horse will rush. If the rein is too tight or too loose then that is not “balanced” either.

Later, balance becomes about learning how to develop feel, so that we are using the hand and the leg together – in total unison. But we have to build up to this stage slowly. We must be careful never to apply too much pressure.

Develop soft transitions early Good breathing is very important for transitions. We Above all, we must learn how to release at the must keep our own breathing very soft, otherwise appropriate time, so that the horse is never held the horse will become very in between hand and leg.

Instead he receives the reward of tense and stiff very quickly. release, which makes him more comfortable and confident that he It is very important that we start to think about our is doing what is being asked. transitions carefully at an early stage. Transitions should In later years and advanced be soft and very careful. We training, e.g., in piaffe, it is the should practice transitions on balance between the leg and the a straight line, and make sure hand that creates true brilliance. that the horse is not rushing or In flying changes, if we use the running away from the leg. rein only, we will create great problems. If we use the leg only, With a young horse, ask for we will also create great problems. transitions on a straight line only – not on a circle. He will Beautiful music It is only when the hand and not understand how to keep leg are used together, in total the bend and do the transition, harmony and in total unison, in the way that is and you will create tension and resistance. appropriate for each horse at each stage of training, Transitions must be done with softness, either with that we will develop the horse correctly. the leg, OR with the rein only. To a young horse, the leg means “go forward” and the hand means “slow It is like playing the guitar. Think of the hand on down”. We must not confuse the horse in the early the strings as the legs on the horse. The hand on the stages by using both at the same time – this is would frets is like the rider’s hands on the reins. When we be like driving with the handbreak and accelerator are just learning the guitar, we keep the tune simple. at the same time. However, before asking for the As our skill levels increase, we learn to play chords transition, we do ask with the hand for the horse to and more complicated tunes, and develop a better go a little lower with his head and neck. We want feel for creating a more harmonious sound. We the nose to be in front of the vertical, not on it or must work the frets and strings separately and yet behind it. Then we give a little release with the reins together to get the desired sound. and ask the horse to go forward from our leg.

Our horse is the guitar. It is up to each rider to become a fine musician, and to treat our instrument Balance between the hand and leg One of the greatest challenges for the rider is to with care and respect so that it will last a long time, learn how to balance the horse “between the hand and help us create truly beautiful music. and the leg”. Initially, balance is about making sure the young horse can differentiate between hand and Center pic: Dinamico representing the Andalusian Society leg aids, and the rider learning what is too much or at Equitana, Melbourne 2010. Dinamico and his young rider trotting confidently forward showing the result of kind, too little aiding. empathetic and methodical training.

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www.manolomendezdressage.com

Lusitano

Matchmaker

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Ervideira Stud

Written by Sarah Warne

The oldest private Lusitano stud farm with ‘complete records’ in the world, is the famous Ervideira Stud, After the count’s death in 1941, the breeding mares were located in the heart of Portugal. divided amongst his three sons; Jose, Arthur and Luis.

“My great grand father founded the stud in 1888, “says the current stud owner, Luis Maria Sousa Cabral.

“He used some mares already in our family’s possession, that is, before 1888, and bought a few more to make up a total of 17 mares. These mares are considered the founders of the Ervideira Line.”

Officially established over a century ago by Luis’s ancestor, the first count of Ervideira, the stud is not only historical but extremely unique.

“Since 1888 we managed the Stud Farm with all the requirements that a modern Stud Farm would apply to breeding nowadays. In other words, we started selecting our mares and stallions with the objective of creating the best riding horse possible.”

But it was the youngest son, Luis’s grandfather, that inherited his father’s passion for the Lusitano, and quickly set out to reclaim the mares inherited by his brothers, and continued to grow upon the unique bloodline that his father had created.

Luis Maria Sousa Cabral took over management of the Ervideira Stud Breeding in 1967, forty four years ago, but didn’t become it’s sole owner until 1992.

“The love I have for the Lusitano Horse has been with me since birth ….. at least this is what I believe,” says Luis.

“I was lucky because I was born into a family that dedicated most of it’s life to this very special horse. That allowed me to learn, from a very early age, to not only admire and take care of this horse, but more importantly to respect and honour the Lusitano as one of the most Luis says this orientation was quite pioneer in those times, wonderful animals in the world.” when the horse was in most cases considered a tool to be used on the fields.

One of 23 grandchildren that could have inherited the Evideira stud, Luis was the one chosen to take the reins.

“The Ervideira stud broke away from conventions,” says Luis.

“The Lusitano was always seen as part of my family’s identity, but I believe that I also received some kind Furthermore, this strategic breeding method allowed the of genetic chromosome that made me, from the 23 stud to keep detailed records, and as a consequence of the grandchildren my grandfather had, the only one that has very strict and novel approach described above, Ervideira really dedicated his life, from the very beginning, to the was able to register all it’s breeding products right from Lusitano,” says Luis. day one.

“I’m proud and honoured to be the 4th generation taking “We can therefore say we have all the documents care of the Ervideira Stud.” necessary to prove our horse’s origins, right back to 1888.

In our opinion a true quality certificate!”

But Luis’s duty to the Lusitano extends beyond the stud

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gates, and he is also proud of his contribution to the of the Ervideira Lusitano: the functionality and the Lusitano Association. temperament.

“I was one of the founders of the Association and one of the seven people that established the Lusitano’s characteristics as a breeding model. I also served as Vice-President of the APSL (Lusitano breeders Association), President of the supervisory board, International Judge, and spent five years as President of the Stud-book Inscription Commission,” says Luis.

To ensure the horses excel in these signature traits, Luis applies a strict and well managed breeding regime, which has been perfected throughout the 4 generations.

“In our Stud Farm we have normally a minimum of two to three stallions in use, with one or two in a trial period,” says Luis.

“It was intense, and lots of work, but I feel honoured and happy having had the possibility to give back to “In terms of mares, we have a universe of 25, but we the Lusitano Horse, considering how much it has given only put to breed 15 to 18 each year. The reason is to to me!” allow the mares to rest from time to time. It’s important that the mares are in good physical and psychological Even with his vast degree of outside knowledge, Luis shape to breed. By having these periods of rest the old says breeding is an art, but gradually Ervideira has been mares can be spared to help the young ones develop able to improve the features of it’s breed, producing properly.” some champion Lusitano’s along the way.

With an average annual number of 15 new foals, it “In Genetics everything is about working hard and in a is difficult to pin point exactly what determines an disciplined way; following strict criteria, but also being Ervideira foal’s future. able to adjust your view so your methods don’t become outdated,” says Luis.

“The process is best divided into objective and subjective parameters,” says Luis.

“This means a big technical search of what can, and should be improved, and also maintaining the constant “Objectively we have established 3 pillars, which ambition to do better.” we try to combine in a balanced, continuous and dynamic manner. Although we always start with the After it’s 123 year history, Luis says the Ervideira stud Temperament factor, we do not favour any of the works hard to impose two key qualities in all it’s horses, below points more than another, since only through qualities which have became the genetic identity a harmonious combination and balance of the three..56

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ADDED BEET FOR CONT RO ENERGY RE LLED LEASE

can one achieve success.

These pillars are: Temperament – Ability to learn; concentration levels; capacity to deliver Movement – Balance in the 3 gaits; ability to cover ground; ability to engage the hindquarters Morphology – Strong sound limbs; strong back; wellrounded shoulders; sloping croup Subjective parameters are not so easy to explain. It rests on the feeling and experience passed down from generation to generation within our family, it’s about the soul that the Ervideira horse should have. Kind of a secret recipe …. !”

I wondered then how a foal could be chosen as one of the elite 25 breeding mares?

“The decision of choosing a new mare is particularly demanding. My 44 years of experience as a breeder tells me, and please take this as my personal opinion rather then any technical truth, that the mare transmits with more accuracy their qualities to descendants, rather than the stallions, and the stallions tend to sometimes pass the negative factors and not always their qualities.”

Luis thus believes that the female element contains greater weight in breeding selection, and must therefore be of the highest quality.

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“For the stallion side I have a different approach,” says Luis.

to select the best characteristics for the practice of riding.

“I believe that having a great horse doesn’t mean success in the long term. I always pick a horse with as few negative factors as possible, from lines I recognise as performing well and being physically harmonious.”

“This dominating purpose has created a horse with courage and a strong personality, with athletisism and flexibility, but also a very friendly temperament that makes the rider feel pleased at all times.”

I would even say that one of the things that In conclusion, the Ervideira stud mares are selected distinguish the Lusitano from other breeding is the in the sense of what qualities they could possibly willingness this horse has to please his rider. transmit, and the stallions more in the sense of the In these demanding times we’re living in we demand bad things that don’t want to be transmitted. for efficiency and the results in competition are a Even after all this hard work, Luis says the reward is constant requirement, but most of the time this goal well worth all the effort, and can’t imagine a life not becomes something achieved with no harmony or joy. In horses it’s the same. Can you imagine a breeding the horse he loves. horse that can be performing but at the same time “It’s a passion, a way of living. It’s a positive disease. feel happy and pleased with you riding it? Can you It’s a reward in life and above all something that imagine a horse that you can ride at a high level at any age? The Lusitano will be that horse !!!” changed the way I am.”

What makes the breed truly special though is it’s ability to perform in such different disciplines.

Bullfighting has been a very rich part of the horse’s history, but more recently other disciplines have been gradually introduced and have encouraged the Lusitano to show off it’s versatility. For example in Luis says the Lusitano, being the oldest saddle carriage driving the Lusitanos were 2 times world known horse in the world, means the breed has put champions in the four horses category and won the in a big genetic effort, throughout it’s long history, World Cup 3 times in the one horse category.And “Having spent 44 years managing one of the main Lusitano lines in the world, I have been so rewarded for my sacrifices in the name of the Ervideira’s Stud Farm, and I’d definitely feel very sad and a big emptiness without this in my life.”

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in this last case it was from Ervideira Stud breeding,” Luis adds.

“In Dressage, despite having started just a few years ago, the Lusitano is already the 8th breed in the FEI’s Ranking. But the interesting thing about this is that it was achieved with a universe of only 5000 lusitano mares compared with, for instance, 600,000 mares of German breeding. This shows the enormous potential the Luitanos have, and the unique contribution the breed could give, as a pure breed, to other breeding in the world!

I really feel grateful and lucky, and I don’t doubt for a second that this fantastic horse has shaped my life!” http://www.coudelariaervideira.com/

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“I will not pronounce that you should or not buy a Lusitano,” says Luis.

“What I can say is that experience tells me when someone tries a Lusitano, they begin to see riding in a completely different way. The Lusitano horse is an easy horse to like, because it’s an intelligent horse that learns with pleasure, showing to the rider at all times that he enjoys to be ridden. Additionally, and as time goes by, the relationship that is established between rider and horse creates a bond difficult to achieve with other breeds, because most of the time you don’t find average horses that can be performing whilst maintaining a kind temperament and a willingness to please and learn. This also allows the Lusitano to be suitable for a lot of riders, not only in terms of the multiple disciplines it can perform, but also for the different levels of riding skills. Finally it is a horse that can be enjoyed by all ages, because it doesn’t demand so much from the rider physically.”

“Even today, when I ride my horses, which I do every day, I end each lesson with the feeling of wanting to ride again and again.

So and to conclude I would not say buy, but I will definitely say TRY.

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Where in the world .....

Riz Ilyas USA

great y people doing About every da . es rs r ho things with thei

Name: Ryz Ilyas Where in the world are you now and how long have you been there?

Dallas, TX. 22 years and counting!

I am lucky enough to have a good friend, Daniel Garcia, who is as passionate an curious about horsemanship as I am. We board our horses together and are able to learn together and from each other. Most of our free time is spent hanging out with our horses and trying to outdo one another. It is the kind of friendly competition that really pushes us both to develop strong relationships with our horses and keep striving to become better horsemen.

What sort of horses do you have?

I have a variety pack. A wild Burro, over sized Miniature, Pure Spanish Horse, Two Lusitanos, an American What do you love about your baroque horses?

I love all horses but there is something special about the Warmblood, an Arabian Cross, a Purebred Saddlebred Baroque Horses. They have been bred to connect with people and it shows. Veiga bred horses are my favorite. T .

How long have you had horses for?

I have been crazy about horses for most of my life and They are noble friends and have a lot of pride. Once they rode every chance I could. For a few years I got away from want to be with you the sky is the limit on what you can do together. them during college and did not have any until I was 25.

What do you do with them?

I have recently finished an instructional DVD set titled Piaffe Revealed.

It is available at www.piafferevealed.com. I do pretty much anything I can think of with my horses. Liberty training, work in hand, long lining, cattle work, trail riding and putting together exhibitions. ..60

If you could say 1 thing that you have learnt from a horse, what would that be?

People should be more like horses. A horse doesn’t care if you are skinny or fat they don’t care what kind of car you drive or how much money you make. They judge you on your actions every day, nothing more, nothing less.

Whats your most memorable baroque horse moment to date?

I was riding my Black Lusitano Khnum BBBMF stallion down the road. A lady was driving by in a truck that had a Lifetime American Quarter Horse Association Member sticker on the window. She was like a deer in headlights, staring at Khnum so hard she almost wrecked her truck.

She stopped her truck and I nodded hello as I rode by.

She remarked how beautiful my horse was asked me what breed he was, I replied a Lusitano. She just kept staring at him and then she asked how does anyone put a Quarter Horse next to a horse like him. I just smiled and said “You Don’t” and kept on riding. a Riz can been found here www.piafferevealed.com

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Feike 395 Sport

E

Photos By Cally Matherly www.callyspictures.com

ver since I can remember, I always had a powerful emotional response whenever I saw horses in movies, photos or especially in person. My uncle had horses that I visited, but even driving by a horse was enough to set my heart reeling. I tried to play like I was a pretend horse for my lil sister & made her be my play horse too. As long as we were playing horsey, nothing else mattered.

I loved to read about horses, especially the black stallion series! Living in the suburbs, not having any horses around at all, I never thought it would be possible to live my dream of sharing life with a magical black stallion.

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www.royalcarouselfriesians.com/

Annette on Feike 63..

My Uncle had around 40 morgan horses in his breeding and showing program, but he lived too far from us for me to be involved. He knew I shared his passion, it was an understanding we shared at a deep level. I got my first horse as a gift from my uncle when I was 23 years old and five months pregnant. Unfortunately, I was afraid and allergic to the most beautiful Morgan mare I had ever seen! It was another several years before I really was able to conquer the allergies & gain riding knowledge. Shortly after, I developed a passion for Dressage and dancing with horses. A big part of this love affair was discovering my love for Friesian horses! Up to that point, I just loved horses. From the first time I laid eyes on one of those magnificent black beauties, I knew this was the breed of my childhood fantasy. It hit me like a ton of bricks, along with knowing that love at first sight does exist.

The first time I saw Feike, my knees nearly buckled & tears were hard to fight back. I knew I was not leaving the Netherlands without him! It was my second trip to Friesland and I had seen hundreds of Friesians, but there was something about this stallion that just struck me to my core. Like a blazing fire that has never stopped, his presence still affects me with the feeling that I am in the midst of a magical magnificent being. I feel his heart beat like thunder. It’s a love so powerful, it can shake your body, like the strongest storm or the power of ocean waves crashing onto the shore. That’s the best way I can describe it.

In recent months, I am finally enjoying being Feike’s rider, and I’m falling in love with him all over again. Previously I have hired professionals due to his status as an approved Stallion. Since I got a late start in my riding career, I lacked the confidence needed and I didn’t want to embarrass him or the breed. But we aren’t getting any younger, and now that Feike has proven himself as a sire and performance horse, I am getting the chance to Annette riding Sam

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Feike rearing with Annette

really be one with him and I’m enjoying every single minute with this King of a Horse. He carries me on his back with a feeling that we are truly dancing… I’m in Love!

Working through the stallion approval process with the FPS/FHANA, getting approved on offspring and obtaining the Sport title has been a long road with a lot of emotional gifts and strife. But I could just pinch myself because Feike not only met those requirements, but exceeded over and beyond what was required. And now, he has produced his first approved son, Wybren 464, who is standing in North America.

So the last couple of years have been very exciting and my own dreams in this equine dance of life have also exceeded what I ever thought! I say dance, because it’s how I feel about this journey. I feel like the “my cup runneth over” with gratitude for the gift of this journey… this dance of life!

Sam came across the ocean next, as a gift from the heavens, sight unseen. There is a story why I sent for this beautiful spirit… he is so different from Feike. Although I didn’t hand pick him with my eye, he is every bit a beautiful soul. He is loving, playful and so special in his own way. He is the happiest horse, a lover of life and has the most willing, wonderful energy. He lights me up like I am going to burst. I feel so playful every time I’m in his presence. Sam loves people more than horses… he’s a 65..

in sunset Annette and Sam

ham for attention. It’s so comical how he loves to stand in front of the mirror… he hardly knows he is such a magnificent stallion! It’s like he is happy and content to be in the moment. His linear score sheet from the offspring keur of Fabe is a 92.2, and to my knowledge no approved stallion has that score? He is like a stick of dynamite if you ask him to be, but in the next moment he’s calm & sweet as pie.

I could write a book on all the little details and memories of this magical journey with my love of horses and where it has taken me, from my greatest sorrows to my most magical moments. I just feel so blessed to be living the dreams of my childhood everyday, & sharing the loves of my life with others who have the same passions. I still can’t believe it sometimes… it’s overwhelming. I am in a state of awe and gratitude for the gifts and the opportunity.

Gallahan was the last stallion I imported and although he isn’t currently approved for breeding, he is absolutely a fabulous boy too! He thinks he is too sexy for his shoes… oh my, does Gally think it’s all bout him! He is full of attitude and is a big mover and shaker when he wants. He has beautiful feathers and forelock too.

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Annette and Gally in a field of flowers

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‘Gally’

Rembrandt

Zeus

- Feike

n 464 Wybre ..68

son roved p p a 5 39

Rembrandt & Zeus both by Sam & owned by Jim & Donnette Hicks of Sagecreek Equestrian

‘Sam’

‘Feike’ Each of my stallions has something really special. I love each one like a parent loves individuality in their children.

They are part of me like a family member is and so the story goes on. I am finally enjoying riding my own horses and the dance goes on until the music stops. I just hope that won’t be for a long time! a 69..

Annette and Sam

Annette on Feike

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‘Sam’

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Photography by Cally Matherly www.callyspictures.com/

Cally on Feike 395 It’s not often I see relationships with horses like the one Annette has with her stallions. Her horses are her family to her, and I think if there were room in her pocket they all would jump right in it to be closer to her! Each of them has something special and different than the others, and it has been my privilege to capture that in my pictures. I am so thankful to have had my experiences with them, and I love sharing my best work through special people like Annette, who has a heart so big and so much love that she just shines!

The pictures show it, and she makes my job easy. I am always dying to return to Utah, and I hope I can continue my work with them as we all grow older!

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it would be slow and gentle, and he would be much like a loving grandfather, always there to help you, to teach you, and play with you. Feike is always happy to participate in all the photo shoots and pose just perfectly every time. Sometimes it is hours of travel, hours of primping, changes of clothes, brushing, braiding and re-braiding. Mosquitoes too have attacked poor Feike on one occasion as the sun went down! He is always ready to do whatever is asked of him.

I’m so proud of Annette for the things she has accomplished with her stallions. She has always worked hard in the show ring competing, and she has put on exhibition’s all over the country for thousands of people many times at her own expense. She has invested much time and energy into training of the horses and herself, and now she is riding and showing them and enjoying her time in the limelight! She is one of my favorite subjects because she is ready to dream big and make the photos magic. I couldn’t do it without her!

Each photo shoot I have had I see a little bit more of Annette’s relationship she has with her horses, and I also see how genuinely sweet she is too about sharing her horses with people. Crowds usually gather where we take them for photos, and Annette is always first to jump into her trailer and emerge with free posters and pictures to share with everyone. She does not ever mention breeding or selling horses, but she is just sincerely wanting to share her love of her boys with others.

The Friesian world is blessed to have Annette Coester in it, as am I, and I hope my photos of Annette and her Annette’s horses are all very special to me, but Feike stallions bring to life her love and emotion and beauty, 395 has a very special place in my heart and always as they do for me. a will! He is like a wise, gentle owl, sitting in the tree, happy to share his wisdom. I think if he were to speak, Cally Matherly

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$6,600 Sire: Chapelhouse Centauro - Pure iberian Foaled: 08-12-10 (irreal imp - grand prix Dressage) Mature 16.2hh + Dam: Bella (lander imp- holstiener)

Pic of Sire

ph: 0404843636 - Danielle@directshots.com.au

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F

or more than 430 years the art of classical horsemanship has been practiced and perfected, passed down from generation to generation in an ancient setting envisaged by a king.

The holy grail of Equestrian treasure is the world renowned Spanish Riding School in Vienna, where training and riding horses is not only a philosophy, but a way of life.

“The Spanish Riding School is the MECCA of horsemanship, a philosophy, and it is an honour for me to be a part of such a school,” says Chief rider Andreas Hausberger.

The 45 year old master says he received his knowledge from his superiors, and is now proud to pass that knowledge to forthcoming generations.

“Everyone knows the Spanish Riding School in Austria. I started riding at 7 years of age at my parents farm in lower Austria, and by the age of 12, decided I wanted to work with horses professionally. My dream, even then, was to become a rider at this prestigious institution.”

A significant part of Austria’s cultural heritage, the school is not only the oldest riding academy in the world, it is also the only one where the High School of Classical Horsemanship has been cherished and maintained for over four centuries.

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Spanish Riding School Vienna

Written by Sarah Warne photos by: Spanish Riding School http://www.srs.at/

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However the school wouldn’t be what it is without its greatest treasure....the Lipizzaner stallion. In fact the school takes the ‘Spanish’ part of its name from the breed, a breed that originated on the Iberian Peninsula during the 16th century, and were considered especially noble, spirited and willing, and thus well suited for the art of classical horsemanship.

chosen for the top positions because of their longterm dedication to the school that forms their life.

“I applied at the age of 15. However, there weren’t any openings, so I had to wait until I was 19. Then I was invited for a ride in front of a panel at the Spanish Riding School.”

But even if you get a spot in the school, it’s a long Todays Lipizzaner stallions are the descendants of way before you get to perform for an international this proud Spanish breed, a cross between Spanish, audience, and as chief rider, Andreas is there to Arabian and Berber horses, and according to guide the younger ones into the spot light.

Andreas are the “ideal horse for the High School “A rider starts as an Eleve, then he becomes an as we practice here in Vienna”.

Assistant Rider and then a Rider. This can take up The Equestrian performances are made all the to 10 years. Only if you are able to train a horse more grand with the help of some 18th century from the beginning to the highest level (Grand Prix Level), then you can reach the rank of a rider.” royal vision.

In 1729 Emperor Charles VI commissioned the Andreas says there is so much he loves about the architect Josef Emanuel Fischer von Erlach to school and the weekly performances, and that design the magnificent Winter Riding School in NOTHING at the school is in need of change. the Hofburg Palace, which was completed in 1735.

“I love the level and quality of training, the Today the brilliance of that monarch is still philosophy of the riders to train horses and the celebrated, captured in a portrait that hangs in more than 400 year-old-tradition (from 1565).” the splendid baroque hall, watching over the elite riders of the Spanish Riding School as they train Spectators at the show should expect to see the Lipizzan Stallions performing at the highest level. their Lipizzaner stallions.

The performance is a masterpiece of classical With 15 riders who perform on a rotation basis in horsemanship in an extraordinary architectural the show, Andreas is one of just two chief riders, and historical atmosphere. “I have been at the

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79..

school almost 27 years and I want to stay with my stallions as long as possible – at least until the age of 65.”

competence.”

But the bond between riders isn’t the only important relationship, Andreas said his best ever experience was That is the only problem for the chief rider, who has when he was able to perform with his first Lipizzan given his life to the Equestrian institution, that they Stallion which he trained fully himself.

make you retire at 65.

“My WORST ever experience was the moment where “This is what I dislike, as all of us would like to stay the stallion mentioned above passed away.”

longer.

But this institution will surely survive!

But for the next 20 years, my future at the School is of course to train horses and riders, to perform at the Having entertained its audiences for over four centuries, the passing of new government legislation School, and tour world-wide.” in 2001 will secure the future of the spanish riding With 7 eleves currently in training, the future of the school of Vienna, hopefully for many more centuries school looks bright, and Andreas says the relationship to come. among the riders is something special.

“We are a great team based on friendship, respect and http://www.srs.at/ a

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EDUCATIONAL

Saddle Fit and Saddle Length Written by: Jochen Schleese, CMS, CSFT, CEE

Saddle length is an issue I have been noticing more and more in the past few years, as breeding seems to have really concentrated on making somewhat more ‘compact’ (i.e., ‘shorter’) horses. This is especially prevalent in the ‘baroque’ style horse – the Lusitanos, the PRE, the Andalusian.

So – other than the obvious visual “short-backedness” of a horse, ask yourself...

Does your horse have a “4-beat” canter?

how long the panels of this particular horse’s saddle must be.

Breeds that commonly have a short saddle-support area are Friesians; the Baroque-style horses such as Andalusians, Lusitanos, PREs, and Lippizaners; Arabians; and more and more frequently, “moderntype” Warmbloods. One common saddle fitting issue faced by these breeds is that the panels on dressage saddles often are too long for their backs. In order that Does your horse have tense back muscles which these horses may develop to their fullest potential, and work willingly, happily and without pain, it is impair movement? crucial that they have a saddle with panels that are the If you answered “yes” to either of the above questions, correct length for their backs, without impinging on you may be faced with a saddle length issue. The first the ovaries or the kidneys. is more of a visually obvious result; the second more In order to identify your horse’s saddle-support area – of a ‘feeling’. the area where the saddle must sit – do the following: Many of us are familiar with the term “short-backed” to describe a horse, but few of us are aware that even a 1 - With a piece of chalk, outline the edge of your horse with a back that appears to be of normal length horse’s shoulder blade (pictures #4 and #5) may actually have a very short saddle support area. 2 - Locate your horse’s last floating rib (picture #3).

The length of the saddle support area (the area where To do this, find where his hairlines come together in the saddle must sit) is what saddle makers and saddle the area of his flank and draw a line straight up to his fitters are concerned with, since this will determine spine. ..84

The above pictures help demonstrate some of the important aspects of saddle length: 1 - A skeletal diagram showing the proper saddle support area with respect to a horse’s rib cage.

2 – I am pointing to the last supporting rib on a horse with a saddle that fits properly within the boundaries of the saddle support area for this particular horse.

3 - The red lines represent the changing directional pattern of hair on the horse’s body relative to the last supportive vertebra (notice the panel of the saddle does not extend past this point).

4 - The first chalk line represents the front of the scapula (shoulder blade) whereas the second chalk line again represents the last supportive vertebra.

5 - My left hand it pointing to just behind the shoulder blade where the saddle ideally should be placed and not extend past the last vertebra outlined.

6 – I am drawing “pain lines” from pinched nerves that appear on some horses when they have an ill fitting saddle.

Jochen Schleese, CMS,CSFT, CEE Certified Master Saddler and Equine Ergonomist Jochen Schleese teaches equine professionals in the expanding global network of Saddlefit 4 Lifeâ Affiliates, who share his passion and mission to protect horse and rider from long term damage.

85..

First, the saddle must sit behind the shoulder. But, and particularly at the canter, a saddle that is too long often will get driven forward into the shoulder. This can produce a buildup of scar tissue on the scapula, and over time, the scapula may actually be chipped away by the tree points of the saddle.

Second, the saddle cannot extend past the last floating rib. If a saddle is too long for a particular horse, the rear of the panels will extend past the horse’s saddle support area. This is extremely uncomfortable for the horse, as it puts pressure on his lumbar region.

A horse ridden in a saddle that is too long will often tighten his lower back muscles; in some cases, you can actually see the horse hollow and drop his back in an attempt to get away from the pressure of the saddle.

(For an example of this, watch the video “How to Tell if Your Saddle Hurts Your Horse” on the Schleese Educational YouTube Channel at http://www.youtube. com/mjpschleese). He may even buck in extreme cases, in an effort to get the weight off his lumbar area.

Finally, he may have difficulty moving forward into

the canter, or may simply be persistently “off ” for no readily apparent reason.

If these are issues you have been facing, and have been unable to actually attribute them to anything ‘real’ (like illness of some sort for example) then perhaps you might consider that it could simply be that the saddle is too long for your horse’s back and is making him extremely uncomfortable – which is why this ‘acting out’ occurs. Think about how you would feel if you had something constantly pounding into your kidneys. That is why we actually can make our saddles with two distinct customizations: for example, an 18” seat for the rider who needs a little more room, with a 17 _” panel to accommodate the horse’s back. This issue has become so prevalent that a couple of our models actually incorporate this ‘option’ as standard!

Sometimes you have to look past the obvious symptoms to find the cause.... www.schleese.com www.saddlesforwomen.com a

Saddles for Baroque Horses Twenty one years ago, Heather Moffett designed the Seatbone Saver saddle pad, in recognition of the problems many riders face in comfortably attaining the correct classical seat in conventional saddles. The memory foam used was also an ideal material for the formation of saddle seats, so two years later Heather began to design her own treed saddles using this, a seamless seat and set-back stirrup bars, later going on to design the SoftTree saddle range.

All this combined to give the rider greater comfort and security while enabling them to sit effortlessly in the correct ear/shoulder/hip/heel alignment. ..86

www.enlightenedequitation.com

Saddles for Baroque Horses

Visit Viva Iberica’s webshop for all your ‘Baroque’ saddlery and riding clothing. Established 21 years and now based in Spain, Viva Iberica already supply a growing number of customers in Australasia and are pleased to reach a larger audience through Baroque Horse.

As worldwide distributors for leading Spanish and Portuguese saddlery manufacturers we supply equipment for all disciplines to suit the Baroque horse.

Our Spanish Tack Guide is used by PRE Associations around the world and we are Baroque horse enthusiasts ourselves, with 50 Spanish and Portuguese horses at our stud and training centre.

Tobarra, CastillaLaMancha, Spain www.webshop.viva-iberica.com E-mail: info@viva-iberica.com

Saddles for Baroque Horses

The great thing about purchasing a PHS Saddle is that each saddle is created from the finest traditions of craftmanship. Hand made each saddle is fully adjustable, and can be refitted over and over to accommodate changes in a developing horse or adjusted to fit a new horse. PHS saddles are hand made in Australia and individually fitted, providing superior fit precision and control. The features in a PHS saddle extend further than the saddle itself, with Peter Horobin Saddlery providing you with the answers you need for a correctly fitting saddle and the after-service following the purchase of your saddle that will keep you and your horse happy throughout your riding career. * PHS customises for short backed horses http://horobin.com.au

Anja Beran Dressage Saddle.

Beneficial forSaddle.

Horse and Rider.

Anja Beran Dressage Anja Beran Dressage Saddle. Beneficial for Horse and Rider.

This beneficial dressage saddle has been developed

by Passier in close collaboration with Anja Beran.

The optimum cut, deep seat and ideally positioned thigh supports ensure that the rider sits comfortably in the correct riding position – whilst at the same time enjoying the benefits of being able to move freely. The flocking guarantees that no pressure

is accumulated behind the horse’s shoulder and the advantageous girthing arrangement means that the saddle always remains in the correct position. A certain proportion of the money received from the sale of every Anja Beran Saddle is donated to the Anja Beran Foundation. More information is available from our stockists or under www.passier.com.

This beneficial dressage saddle has been developed by Passier in close collaboration with Anja Beran. The optimum cut, deep seat and ideally positioned thigh supports ensure that the rider sits comfort ably in the correct riding position – whilst at the same time enjoying the benefits of being able to move freely. The flocking guarantees that no pressure is accumulated behind the horse’s shoulder and the advantageous girthing arrangement means that the saddle always remains in the correct position. www.anjaberan.de 87..

EDUCATIONAL

Jumping into the future with David Finch

Getting Started in Jumping ..

Continued

Written By David Finch

Continuing on working on the riders and working in harmony with their horse. As the rider gets more comfortable with getting in and out of two point to three point position we can start to work on some little exercises to help with the balance and communication and improve the ride-ability and technique of our horse.

We as riders are responsible for our position on the horse. This in turn is reflected by our vision which we need to have a wide view. By this, we don’t want to get tunnel vision. We want to look where we want to ride but still have a good awareness of the surroundings you’re riding through. Tunnel vision will take the softness out of your ride and will affect your breath. We need to look around the turns, but not turn until we see the line that is going to us the line to the fence which is going to give the best time and create the best jump while allowing the best departure to get to the next jump of part ..88

of the exercises, whether it be a circle or a series of transitions.

Apart from our position we are also responsible for the line and the speed that we are travelling on the horse. With good basics of dressage of riding you’re inside leg to outside rein and controlling the shoulders of your horse. Even as the rider if you try to visualise that you keep the shoulders of your horse parallel with yours and the same with the hips.

A good exercise is simply just some trot poles to start with; four to six poles in a straight line 90cm to a metre apart. Our job is to find the rhythm to approach these poles in a centred position with a nice contact that’s not thinking backwards with your hand riding your legs to your hands and giving the horse a nice guide with both reins and legs to create a nice channel for the horse to trot down. The rider needs to keep the weight on the ball of their foot keeping their pelvis square. An easy way to do this is to

Above Jackson Stern jumping is Andalusian gelding.

David Finch has been EFA Australia Coach of the Year. He is the current Queensland EFA Coach of the Year and has been on five separate occasions. He coaches throughout Australia and many countries and his clinics suit a wide range of riders. Finch is also an EFA NCAS Level II Show jumping Specialist and he has ridden and developed show jumping horses to World Cup standard. Coach, Judge, trainer and course builder www.finchfarm.com.au

David Finch 89..

Muddy Creek Cutting

i

Dinner B&B

Address:

3275, State Highway 85, Lauder

Tel:

+64 (0)3 4473682

Website:

www.muddycreekcutting.co.nz

E-mail:

muddycreekcutting@clear.net.nz

Contact:

Kevin Scott & Ross Campbell

Stay self-contained in this 5 bedroomed 1930s mudbrick farmhouse. Cheerfully modernized, characterful,local artwork and stained glass, openfire and woodstove, equipped kitchen , delightful garden-room and gardens. Share 2 toilet/bathrooms, and sauna or book the whole house.

Expect hospitality, comfort, peace, space, quiet, surround-scenery, hot showers, a homely relaxing ambience. Expect also a quality dining experience.

The food is mostly all grown and prepared on site with passion. The menu (at our website) includes our lamb, duck, chicken, vegetables, cheese, salami, pickles fruit and nuts.

On the rail trail at Lauder. Perfect for a cycle or walk to the tunnels and viaduct.

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ADDED BEET FOR CONT RO ENERGY RE LLED LEASE

On departure from the poles it is also very good to have a plan. Simply this could be doing a 10 or 15 metres and a transition from trot to walk then back to trot and changing of the reins. This is a good idea to keep the horse and rider communication for being comfortable on course. Once we feel comfortable on the straight line poles we can put three or four poles on a curve. Still maintain the same distance but the distance on the outside of the curve will be longer and on the inside shorter. So it’s a very good exercise to control the horse’s shoulders making any stiffness problems more supple and any bulging shoulders straight. This exercise also gives the rider a much greater awareness of the outside and the inside of the horse and gives the rider a better opportunity to develop a greater contact and leg with the horse.

• We are responsible for our focus and position.

• We control the speed and the line of the horse.

• We keep the weight on the ball of the foot giving us a good support base allowing us control of

our upper body.

• Be very conscious of your BREATH. This will help you and your horse.

• Slow your mind down and enjoy the inflight entertainment. a

EDUCATIONAL

think of pushing your belt buckle forward, maintaining square shoulders. Concentrate on their breath and be conscious about where they put their focus.

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A gift that brings precious memories.

Priceless‌ But not expensive..

Unique artworks in pastel, charcoal, scraperboard or pen & ink, delivered to your door.

phone: 0422 726 132 www.alphalink . com.au / ~annj email: annj@alphalink.com.au 93..

The Frederiksborg Horse

‘Engkildegårds Piló’

A

rare tranquillity radiates from the eye of the Frederiksborg horse. Standing strong with raised neck and ears pricked it observe the world from a safe distance while keeping its peace. In the glance of the horse’s eye you can almost read its obedience and submissiveness which are true expressions of this horse under the saddle. Reliving their history, the powerful, ground covering and high action of this magnificent horse makes you feel like you’re facing battles and parading in court ceremonies for Kings & Queens of Europe. The Frederiksborg horse a rare ancient horse breed!

Written by Mariette van den Berg Photos: Nikki de Kerf In this article I will introduced you to one of the oldest European horse breeds in the world!

History The Frederiksborg horse is Denmark’s oldest horse breed and can be traced back to the horses of the Royal stud farm at Frederiksborg. King Frederik II (1534-1588) founded the Royal stud farm at his newly build castle estate Frederiksborg (previous called Hillerødsholm) in 1562. Frederik II developed the Frederiksborg stud by crossing Neapolitan and Iberian horse breeds. The son of Frederik II, Christian IV (1577-1648), continued the horse breeding and introduced some other fine Spanish stallions. Christian IV improved the breed significantly and may be considered as the actual founder of the Frederiksborg stud farm due to fact that he introduced an actual stud administration.

I was introduced to this beautiful breed when I started my classical training at the Classical Breeding & Training Centre Moravita in The Netherlands. The owners of the centre, Ton & Aletta Duivenvoorden, have an incredible passion and love for horses and classical training and are fascinated about preserving old baroque breed like the rare Frederiksborg horse. Ton & Aletta are sole breeders The main goal of the Royal stud farm was to produce in the Netherlands and one of the largest worldwide of beautiful and noble riding and coach horses for their royal Frederiksborger horses. events, transportation and warfare. In the beginning, the ..94

breeding system was relatively random. At various Royal stud farms groups of broodmares would be kept in fenced off forest fields and pastures and each Spring selected stallions would be set free in the broodmare’s enclosures.

During the Renaissance and baroque period, there was a higher demand for the Frederiksborg horse by a number of European courts like the French. The breed was considered a luxury and many royals wanted to display these horses at their ceremonies. After 1660 the breeding was strongly directed by the colour of the horses, so that they were able to present a complete team of 6 or 8 horses of the exact same colour. At that time the Frederiksborger could have all kinds of colours and studs would have divisions for blacks, whites, bays, greys, chestnuts, cremellos and palominos. Especially the white horses were desired for the royal carriages.

In its prime, the Royal Frederiksborg stud farm was one of the finest breeding establishments in Europe. Frederiksborger horses were highly valued for its agile and trainable character which made them perfect for the Haute Ecole, Royal ceremonies, carriages and military. The breed was popular in Europe and many of the Frederiksborg horses were used as improvement on other horse breeds including the Lipizzaner (Pluto).

The Frederiksborg horse became so well-liked that too many horses were exported to other European countries, which caused a decline in the breeding population in Denmark. In the mid 1800’s the Frederiksborger population was too small to continue successful breeding and the stud farm closed. Around 1860 the breeding of the Frederiksborg horse continued on a private basis by farmers, who used the stallion material from the Royal stud to improve and continue the local mare material. The horses were primarily used for stagecoach and agriculture work. The stud book was kept regionally and for all local horses including the horses of Frederiksborg pedigree. In 1894 the first studbook for horses of Frederiksborg Type and Stamp was issued. By 1900 the Frederiksborger was mainly bred as a pureblood and not long after the studbook changed the name to Horses of Frederiksborg Breed. At that time the type of horse become so consistent that it could be called a breed. It remained almost purebred up until 1960, but the breed was changed to a very heavy type to be used for intense farm work. In the 1950’s most of the gene pool was disposed and replaced with machinery. The left over breeding material was too heavy for the new demands of riding horses and the remaining breeders started to use Hanoverian and Arabian stallions to create the more rideable type, which probably also saved the breed from inbreeding depression.

Even though Royal history is appealing and the thought of purebreeding is thrilling, it is today not possible to find a Frederiksborg horse that is pure bred back to the days of the Royal stud. It is estimated that there are approximately 2000 Frederiksborg horses worldwide, which are considered to be purebred, meaning that there may be a slight influence from Hanoverian and Arabian stallions in the first 5-6 generations. To put it into perspective it is possible to find Frederiksborg horses that are purebred in up to 13 generations,

Above: Mariette van den Berg

Equine nutritionist/animal scientist: Mariette van den Berg B. (Hons), MSc. (MB Equine Services ) www.mberg.com.au Mariette is a nutrition consultant, dressage rider and coach who graduated at the Wageningen University in The Netherlands specialising in animal/ equine nutrition. In 2009 she moved to Australia and founded an independent equine nutrition consultancy which she combines with her dressage coaching and training work. MB Equine Services offers specialised and effective consultancy services for horse owners seeking integrative horse nutrition and holistic property design and pasture management.

Mariette also writes independent articles for a number of national horse magazines.

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‘Valentin Vejvad’

after which there is some mingling with horses of unknown or foreign descend. Of these horse there are approximately 50 left.

has a broad, robust build and expresses great quality and strength in the hind legs. The head is very expressive and proportioned, with a wide muzzle, straight or slightly convex nose-line, large round jaw line, pointed mobile ears and speaking eyes. The muscular neck is slightly arched and is carried on strong shoulders with the withers blending in smoothly with the body. The back is medium long with a level and broad croup. The legs are muscular and have a solid bone structure with broad joints and clearly defined tendons.

The limited gene pool is the greatest concerns for the preservation of the breed. To maintain a healthy population, Frederiksborgers are crossed with other breeds. In Denmark the Frederiksborg horse is only allowed to be crossed with Hanoverians but you can apply for permission to use other breeds. In Holland they breed the Frederiksborger with Lipizzaners or other baroque breeds, to maintain the talent for the The Frederiksborg horse has powerful and groundcovering gaits. Especially the high-stepping action classical school. in trot is impressive. Their strong and athletic build, The Frederiksborg horse has a noteworthy history and keen working mentality and calm-nature makes the played an important role in advancing other breeds. Frederiksborger an excellent horse for many sport It left a stamp in Europe’s horse breeding and can be disciplines including dressage, jumping and carriage still traced back in pedigrees of a number of European driving. breeds including modern Warmblood breeds such as the Danish, Holsteiner, Swedish and Hanoverian. The Future of the breed Frederiksborg horse has also been used to develop the The breed is considered rare, but there are dedicated breeders, like Ton & Aletta Duivenvoorden, that try and remarkable spotted horse the Knabstrupper. preserve the breed with a carefully selected breeding program. The main goal of these breeders is to maintain Characteristics Frederiksborger horses are most often white marked a healthy population and promote the importance flaxen chestnuts, but there are also bay, palomino, grey, of this old European breed. The Frederiksborg horse black and buckskin coloured horses. The Frederiksborger played a significant role in the improvement of many ..96

Moravita

Classical Breeding and Training Centre Breeding of baroque horses Selling of horses and ponies with high quality Training, revalidation and correction Instruction for all levels and breeds up to Grand Prix Clinics, shows and demonstrations all over the world

Moravita is known for it’s high quality (baroque) horses. We have got several horses for sale. If you are interested in buying a horse and you are looking for professional help in ďŹ nding your magical match please contact us at info@moravita.com

Moravita.com Vlieghuis Europaweg 38 7742 PR Coevorden, Holland Tel.: + 31 (0)524-221287 Mob.: + 31 (0)6-12498972 info@moravita.com www.moravita.com

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European breeds and even today the breed can be considered important for its potential enhancement on popular breeds including our modern Warmbloods.

‘Valentin Vejvad’

Only a few Frederiksborger horses and descendants like the Knabstrupper have been exported to countries outside Europe including USA and Australia. For more information about the Frederiksborg horse breed visit www.fhf.dk, www.frederiksborger.com www.moravita.com. a

‘Moravita Staccato’

'Højbak's Paztinak’ ‘Salto Vejleby’

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Puzzel Maze - Puzzel Maze - Puzzel Maze - Puzzel Maze - Puzzel Maze - Puzzel

Puzzel Maze!

Help the hungry horse find the apple!

Puzzel Maze - Puzzel Maze - Puzzel Maze - Puzzel Maze - Puzzel Maze - Puzzel

t s Ju Fu n

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Cross Word - Cross Word - Cross Word - Cross Word - Cross Word - Cross ..102

Spot the 5 differences

Answers: 1. Dark tail grows longer, 2. White belly patch dissapears, 3. left pony looses an ear, 4. yellow flower gets smaller by fence, 5. Black knee hair area gets bigger on front pony.

Find the words below in the letters.

nd A Word - Find A Word - Find A Word - Find A Word - Find A Word - Find A W

Find a word

F U N T K F O O H B M A N E S G K C O L E R O F A T K L W S E Q T E O I J Q X Y N D T I B F P A L O M I N O O I Y O L R Z R K D H T K Z I R P G R D A I B J D G P R L B G U M R Z I K U T A M E L O N R L S A E D C C U S F A L I T O N S C G V A K N C T P P E R I C Q F A A L S T S V M M D E A W F S S P B K S Q U L A R N E I E S S M M I E J E P A T Y E V T T E U A N H H P M E E H O I U N R R R R C L V R R B L B J R H D M E Z E G L G R G V X T N F M M APPLE CARROT MANE FORELOCK BRAID FRIEND SADDLE BRIDLE

GLOVES HELMET RUG CANTER TROT WILD TAME MARE

STALLION BIT REINS DRESSAGE JUMPING FUN RUMP

HOOF BAY BLACK GREY BUCKSKIN CHESTNUT PALOMINO

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aroque horses

This section is to show fun photos of the readers baroque horses. If you have a photo and would like to add to next issue please email photo/s to danielle@baroquehorse.com.au

‘Weibert’ , South Africa.

THE GOLEGÃ HORSE FAIR photos by ACM

photo by AC

M

Catherine Licata-Grobarek’s friesian “Jouke”

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Miguel Neves &“Ungido”

Tunisian Barb

lay stallions at p Darius, Mab rouk & Mou za

photos by M artine Brouw er Noomane

JACKSON STERN ON CURIOSO DYNASTES

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EDUCATIONAL 4 kids ..106

Have fun riding and stay safe!

by Chris Maudsley Written by Ruby Goodsell

In the first issue of Baroque Horse Magazine we talked about how to read a horse’s body language. This time we will look at how to ride and care for horses while having fun and staying safe.

rider was “bored” and dismounted. The horse was unsaddled and turned back out into the paddock - still hot and sweaty from the ride. It’s muscles were very sore and stiff because it wasn’t used to being ridden very often, only on Horses look to us for companionship. They weekends. want to be our friend and they want to enjoy the time we spend with them. When The second horse was just as excited as the they see you walking to the paddock with young rider when it was haltered, groomed their halter they are already aware that and talked to kindly about what they were something is going to happen. Let’s look going to do that day. Before the horse was at two different scenarios: saddled up the rider spent some time playing with him on the ground, doing some The first horse sees the rider coming and circles and even some jumping. When it runs away to the far corner of the was time to ride, the horse was listening to paddock. He is more interested in eating what the rider wanted and waited patiently the grass then seeing what is planned for to be saddled and mounted. They had the day. a really great ride and did fun and exciting things together. After the ride the horse

The second horse sees the rider was cooled down and given it’s favorite coming lifts his head out of the grass, treat - a carrot! pricks his ears forward and starts to walk towards the rider. He can’t wait to be Now that you know what happened haltered up and have fun! it is easy to understand why the first horse wasn’t looking forward to being Why do you think these horses both caught. The horse had lost his confidence reacted differently to being caught? Let’s in the rider because every time it saw the look at what happened the day before: halter it meant really hard work and not much fun. Isn’t the friendship between

The first horse was caught and the second horse and it’s rider lovely? saddled up straight away. The rider Would you like to have fun with your mounted the horse and kicked his horse, and your horse have fun too? It’s sides - off they went at a canter. They easy! Just remember to treat your horse cantered around the arena until the like you would treat your best friend.

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EDUCATIONAL 4 kids ..108

feeling. To do this you can play some games. In a safe area, like a round yard or arena you could do some circling to see if the horse is feeling playful and fresh. It is better to do this on the ground first, not when you’re on it’s back!

Here are some tips and hints on caring for your horse:

• It all starts from the moment you halter your horse and prepare for the ride. Spend time grooming your horse start on the left side of the neck behind the ears and work your way along. Don’t forget to clean under the belly behind the front legs because this is where the girth sits. If you follow the direction of the hair your horse will shine!

• Lateral flexion, or emergency stop, is a very important exercise that should be done on the ground and on the horse’s back. Standing at your horse’s shoulder you can bring your hand out wide and to your side, gently wriggling the lead. Your horse should bring his nose around to you. This should be done both sides - three times on the ground and when you first mount to check that your horse is listening to you. If you are riding along and your horse takes fright, knowing this exercise can make you safe.

• Always talk to your horse and keep one hand on his side as you move around, this helps your horse know where you

• When you feel confident that your are. You don’t want to move suddenly as horse is happy and listening to you it is time this could surprise your horse and it may to put the bridle on and mount. Remember take fright. that when you mount your horse it should stand quietly and wait until you’re

• After you have groomed both sides ready. To do this shorten your inside rein a of your horse and all the mud and dirt is little so you can see the corner of the horse’s out of the coat you will need to clean the eye. When you are in the saddle, before you hooves. By running your hand down the walk off, ask your horse for lateral flexion leg when going to clean out the hooves it both ways. Your horse should give it to you is a good opportunity to check for any softly - it shouldn’t be a fight. unusual bumps, lumps and heat that will need attention.

• Remember that your horse can read the energy you are sending out: how

• Now that your horse is sparkling you feel, whether you are happy to be with clean (at this point our clothes are normally him or scared of him, whether you are likely dirtier than our horse was when we started!) to hurt him or admire and respect him and it is time to saddlle-up. Well fitting gear is whether you are honest with him or are essential because a saddle that is too small lying to him. or too big will make your horse sore. Just like your school shoes when they don’t fit

It is like when you are at school and anymore! the bell rings for lunch, you often can’t wait to get to the play ground to see your

• Before you put on the bridle it friends. You have energy to play! Then the is a good idea to see how your horse is bell rings for a class that you don’t like as

horse put it on before turning him out. It is much, your energy will often drop and you walk slowly without the same enthusiasm that best not to offer your horse a drink just after a ride as this could upset it’s stomach. Wait until you did for lunch. Try to imitate the same feelings with your horse. When you want to your horse has cooled down. walk, trot or canter rather than kicking your • Your horse would love a treat and a horse lift your energy and squeeze your legs. If your horse doesn’t respond squeeze again cuddle too! before gently bumping his sides with your leg.

When you want to stop or slow down breath We hope you have found these tips and hints out and relax, your horse will too. helpful. Remember, have fun and stay safe! a

• It is very important to vary what you do - try a little bit of everything so your horse doesn’t get bored!

• After your ride cool your horse at a walk and when he isn’t too hot you can either give him a good brush or on a sunny day give him a bath (make sure the horse isn’t hot because the cold water could make him sick). Check and clean the hooves to make sure there are no stones and dirt from the ride. If you rug your Lateral

making the horse go sideways

flexion

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The Forest Boyz Meike, Menno and Saphire are 3 young Friesian stallions that live together in a bachelor herd in the forests of the Northern California coast. Meike and Menno are both sons of the approved FPS stallion, Feike 395.

They were born 2 weeks apart on the same farm, and have been raised together. Saphire, owned by a fellow Friesian lover, joined them as a yearling, and the three quickly became best of friends. They live outside 24/7 on approximately 20 acres, and have a 3-sided shelter they share when the weather is cold and harsh.

Living in a bachelor herd is a great life for a stallion. They share deep intimacy and companionship, they’ve developed all their own games, and the forest is a great playground to develop muscle and agility.

Their diet is very diverse, and at seven years of age, they have never had an injury with each other, never been sick, nor ever seen a vet for anything. The very things we love most about stallions — their free spirit, their beauty, pride and unique personalities — are cultivated in this type of environment.

Truly, there is nothing like the heart of a stallion. I never dreamed the boyz would evolve into such a magical bachelor herd.

They taught me what they needed to be happy, and all I did was give it to them. I feel blessed to share life with them and my desire is to give them the best life I possibly can... to be their friends, watch them live free, and share their incredible hearts and unique relationships with the world.

Laura Zugzda a

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The Forest Boyz

www.forestboyz.com

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www.forestboyz.com

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The Forest Boyz

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Video of ForestBoyz.som

phone: 0422 726 132 www.alphalink . com.au / ~annj email: annj@alphalink.com.au Unique artworks in pastel, charcoal, scraperboard or pen & ink, delivered to your door.

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Pure Iberian Stallion P/SP 003 Chapelhouse CENTAURO. DOB: 19.1.07 Sire: Irreal (imp Portugal) Dam: La Querencia Pamperita.

Contact: Danielle Ph 0404843636 Danielle@directshots.com.au ..120

facebook.com/Chaplelhouse-Centauro

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Arte e Lusitano, Pedro Yglesias Oliveira

By Sarah Warne

With a dream to fuse the art of painting with the art of The 140 page masterpiece then takes it’s audience on an equestrian, Pedro Yglesias de Oliveira has created a book artistic journey, all the way from these first historical 18th century images, right through to the sporting equitation that is itself a work of art. of today. “i wanted to combine the two forms of art to create something that would last forever,” says Pedro.

“The art is not only in the image itself, but is captured in every small detail, from the Lusitano’s progression “So many times I had a really nice picture of a Lusitano, throughout the book, right down to the selected performing the perfect piaffe or pirouette, but found backdrop for each photo.” says Escola Portuguesa de Arte myself thinking...pity about the background.”

Equestre’s riding master, and Pedro’s best friend, Joao Pedro Rodrigues.

By placing his beautifully photographed Lusitanos in front of both historical and modern works of art, Pedro Author Pedro, who trained with the great Nuno Oliveira, was able to present a book that truly showcases the says he has spent his life riding horses, and went to a lot Lusitano through history. of dressage competitions. It was at the competition that Pedro was inspired to better capture the moments of The first part of the book unites the art of the 18th century equestrian perfection. with the work of the Escola Portuguesa de Arte Equestre, a traditional school that presents the Lusitano in it’s 18th “It’s wonderful to freeze the perfect piourette, or capriol, century form. movements that are so fleeting, it’s as if we can keep that moment of perfection forever.”

“I thought it was a great way to capture that moment in time; with the horses illustrated just as they were in Originally the project was designed for exhibition, but those days, with the 300 year old saddles, and traditional once he started collecting the shots and backdrops, Pedro costumes,” says Pedro. decided a book was more lasting. ..124

“I love books. Books allow you to see things, things you may never get to see for yourself.”

A horse photographer needs to consider not just the lighting and shade, but all three things; perfect technique, perfect horse position, perfect rider position.”

From the outstanding 70 chosen Lusitanos Pedro says he took around 20 shots of each horse, and that it didn’t take With these things in mind, Pedro was able to capture the perfect equestrian moment, and then choose the art that him long to get the perfect moment. would compliment the horse or the movement.

“I have been taking pictures of horses professionally for more than 8 years. My career started when I decided to “I chose the art that matched the horse, that brought out create my first book in 2000. I asked three of my friends the strength of the chosen movement. For example, I who were photographers to help me. But they were not thought a horse performing the perfect pirouette would experienced with horses. While I helped them learn go well with a painting that contained a lot of action. And what was the perfect ‘horsey’ shot, they helped me learn I then chose colours and textures to match the horse and the technique with the camera. And from then on I took it’s personality.” the pictures myself.”

With the perfect matches in place, Pedro put the pieces in Pedro says it helps a lot if you have a background order, and created a timeline of equestrian magnificence training and riding horses if you intend to be a that is now selling throughout Europe and the USA. To professional equestrian photographer, because without order Arte e Lusitano you can contact Pedro directly on that knowledge you never know when the shot is perfect. ppyo@sapo.pt.

“If you don’t ride, you don’t really feel when the horse is right.

A rider knows when the horse is correct, when the rider is seated correctly.

Pedro is currently completing his second book, based on the Portuguese Riding School, which will go on sale at the end of July. a

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Annwn Park Lipizzaner Stud – Living the Dream

Annwn Park had a humble beginning in 2000 in the Central Western town of Bathurst. In an you remember when you dreamt with the 2004 the Stud was relocated to a beautiful 30 acre Property innocence of a child? Annwn Park is literally a at Stuart Town, NSW. While always a work in progress our child’s dream come to fruition. From the Welsh current facilities boast 3 secure & close foaling paddocks, stud name (pronounced An – Noon & meaning Avalon) 3 stallion paddocks, 10 electrified rotational a 60 x 20 to the magical white Lipizzaner horses that call it home. outdoor arena, round yard, two 3.6m x 3.6m stables, Annwn Park was alive in a young girls mind before she indoor wash area, outdoor cross tie area/wash bay, 6m even knew about Lipizzaner horses. x 6m foaling & weaning stable & yard, all with power & lighting & a strong crush You know your doing something right when the much revered & respected Head Chief Rider of the Spanish Why the Lipizzaner?? Honestly, I think for me having Riding School in Vienna – Andreas Hausberger emails grown up owning Arabians & being amongst some of you & says; the top Arabian studs during the late 70’s & 80’s there was ‘Simmone your photos of the stallion and the mare are always going to be that connection with the Arabian horse. stunning! You are really lucky that you have got such good What has this got to do with Lipizzaner’s? They share a total breeding stock’ of 23% Arabian blood within their genetic makeup. My

C

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therefore you have to earn the respect & be willing to learn from them.

Annwn Park – The Present This is one of the best Lipizzan stallions I have ever seen Head Chief Rider of the Spanish Riding School in Vienna – Andreas Hausberger. What more could we possibly hope to add?

Introducing 257 Favory Pallavicina ‘Merlin’ - the corner stone to our studs breeding program. A Multi Champion & Supreme Champion in hand & now under saddle. An exceptionally beautiful young Lipizzaner stallion born in 2007 & admired by many worldwide he is a superlative example of the much sort after Modern/Baroque Lipizzaner with an abundance of natural talent & trainability.

‘Merlin is on the taller side for the breed with an expectation of maturity at around 15.3hh >16hh.

1st ‘ B a r o q u e’ horse was Moonbah Rustino 2002 Junior National Champion Partbred – an Arabian x Spanish gelding. I was in love with that classical round strong appearance & trainability. However, I wanted more of the Arabian characteristics IE elasticity & complete lightness in the movement as well as the ability to focus all neatly wrapped up in that baroque outline.

This is what brought me to my 1st Lipizzaner mare in 2001- 202 Bonnie (dec.)

He possess an extraordinary strength & disposition for dressage. His movement is absolutely effotless displaying engagement, elasticiey, swing, suspension, elevation, extension, lightness & flaxibility. His conformation is extremely hard to fault with a natural uphill inclination.

“Merlin’ has that illusive ‘Look of Eagles’ with the temperament of a lamb. The stallions trainer & rider is Michael Godding of Baroque Classical Horse Training.

The pair are currently preparing to compete at the 2012 CDI 4 year old classes. I believe ‘Merlin’ will be the 1st Purebred Lipizzaner to compete at the CDI which is a massive achievement for the Lipizzaner as a breed within Australia. It is also ‘Merlin’ that demonstrates the correct definaition of the Lipizzan on Wikiepidia.

Working with a Lipizzaner must always be a partnership.

They do not suffer fools & are wonderful teachers. When they are in work that is all that consumes them (stallions included) the focus & work ethic these horses have still to this day astounds me. Like a four legged sponge they soak up every piece of information offered & it is always there the next day where you left off ready to learn the next step.Unlike many other breeds, Lipizzaners do not differentiate one human to another. You’re a new person

Our mares are just as precious & important. With ‘Merlin’ going into more full time work & competition our breeding will take a slight back seat in the interim. Our base breeding mares are the lovely purebred Lipizzaner 279 Monza who is sired by the imported stallion 224 Conversano Allegra (2002 Junior European Champion Stallion) along with the stunning Arabian Warmblood filly Buckwell Park Girl Power (AHSA, AWHA, EFA) sired by Highborn Powerlifter (dec) whom with we are 127..

aiming to offer a good diversity of open performance stock. Both fillies are of the highest calibre & from exceptional performance based pedigrees.

Annwn Park – The Past How we arrived to this point in time is now history.

However it all knits together in what makes Annwn Park the stud & breeding program it is today & will be in the future.I will always be grateful & feel lucky for the horses that have come into my life. For what ever purpose & for however long they all had a lesson to teach.

As a breeder its you are always learning it would be arrogant to say otherwise. Through breeding with the lines available within Australia (remember we have approx 80-100 Purebreds out here in total) I became acutely aware of which lines were stronger in certain areas & what would come of particular crossings.

This gave me that ‘sneak peak’ as to where I wanted to go from that point. It also gave me the knowledge the certain lines within the Australasian genetics that I have chosen to omit completely from my breeding program. This isn’t an easy feat by any means with so few Lipizzaners (especially mares) within the country & many of them bearing the lines I wish to avoid.

Start small & grow big with quality!! For any breed to flourish people need to have both foresight & hindsight.

Foresight in order to be able to ‘semi predict’ & see the outcome of current actions & hindsight to not make the same mistakes again!

We have a strong focus on breeding purebred Lipizzaner horses with type, temperament, the trademark Lipizzaner movement & trainability, substance & some height. With our derivative program we hope to offer the before mentioned traits as well as the more open competition option. *Did you know that Belcam Cadell the 2009 5 year old DWTS Champion was from a Lipizzaner cross mare?

My goal within the Lipizzaner breed it is to promote & preserve them to the best of my ability & resource. One step at a time. The next will be to introduce a new line to Australia.

Simmone Kalanj - www.annwnpark.com.au a

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El Caballo Blanco ~ The dance of the white stallions ~ Photos and story by Nadeen Davis

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El Caballo Blanco ~ The dance of the white stallions ~

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ith the end of a recent tour to parts of Australia, El Caballo Blanco has entertained thousands with their majestic performing horses, , showcasing a number the Andalusian, Friesian, Lipizzaner and Arabian Breeds.

Following on from the success of Gala of the Royal Horses, Rene & Barbara produced Lipizzaner’s with the stars saw the horses perform with a live 356 piece orchestra while Equestra took a more theatrical approach.

Since its conception in 2002 Rene & Barbara Gasser of Hercules Entertainment have toured both Australia and abroad with a variety of productions including: Gala of the Royal Horses, Lippizaners with the stars and Equestra, sharing their two greatest passions with the general public, horses & live entertainment.

Rene Gasser

Originally established in Perth in 1971 and late in Sydney, El Caballo Blanco gave Australian’s a chance to witness the beauty of the Spanish horse “El Caballo Blanco meant a lot to people so we wanted to make sure we got the show right. But at the same time we didn’t want to just give them the same show they saw 20 years ago, we wanted to make some improvements to the show yet still maintain the respect its history” Back in February 2003 with their maiden production, Gala of the Royal Horses embarked on its first major national tour, which commenced with performances at Melbourne’s Rod Laver Arena. A total of over 12,000 people attended the performances and by the end of the tour, tens of thousands of people across Australia had seen the show.

Born in the Swiss town of Shaffheusen near the banks of the river Rhein, Rene is a 6th generation horseman.

He was first introduced to horses at the age of 6 when his Grandmother gave him a small pony as a gift.

Since then his love of horses has grown stronger and stronger every day.

Over the years Rene has worked alongside some of Europe’s best trainers and riders. Although he has ridden and performed all over the world he continually found himself being drawn to Australia. With his parents & younger siblings to call Australia home Rene’s ties grew even stronger and so he chose to make Australia his permanent home.

In 1995 Rene set himself the goal of putting together his own show, similar to those he had worked with in Europe. So he set about the arduous task of locating and training the necessary horses required for such a show. Although it was considered by many to be a difficult task Rene was up t the challenge and was prepared to do what ever it took to achieve his goal.

Barbara Gasser

With 25 years experience in the entertainment industry, Polish born, Barbara has since retired from the performance aspect in order to concentrate on running the business side of the operation. By doing this it allows her husband Rene to spend the necessary

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time with his horses to ensure that their skills BH: Do you have a favourite when training? Rene said that he trains each as an individual, and remain of the highest standard. enjoys the challenge. Finding the right horse, and Aside from running an international company finding the spark is fantastic, The older I get the Barbara is also kept busy running a family. While better you get at it and it’s a joy to fine each special the couple’s young daughter shares their fathers thing that each horse can give you. love of horses their young son prefers to ride on two wheels rather than four legs.

BH: What have horses taught you? Rene replied with a smile “ They are still teaching me, but of We were lucky enough to have an interview with the best teachers of all the horses is the Lippizaner, you have to be so patient, and you feel when its Rene after watching a show. right” BH asked Rene of the breeds he works with, to briefly describe then in regards to training. “The BH: Can you share with us a magic Equine Lipizzaner, he said, with a smile is on of the moment? toughest horses, they are proud and head strong, “I have worked with 100’s of horses, and there are so many special moments they have given me, you have ne a politician with them”.

The Friesian he loves, “They handle pressure, and often bringing tears to my eyes. Getting that the crowds and the noise and have extravagant special moment, like a super capriole is the best movement, our friesian has a massive piaffe. feeling” People come to see the Lipizzaner, but leave loving the Friesian!”

Rene said “The andalusian is beautiful to work El Caballo Blanco will be heading to with, lovely movement, finer features, and the New Zealand early in 2012. a Arabian’s have plenty of energy, a bit of spark with them and a little bit cheeky”.

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The holy grail of Equestrian treasure is the world renowned Spanish Riding School in Vienna, where training and riding horses is not only a philosophy, but a way of life.

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Find one in Baroque Horse Studbook

“The Spanish Riding School is the MECCA of horsemanship, a philosophy, and it is an honour for me to be a part of such a school,” says Chief rider Andreas Hausberger.

The 45 year old master says he received his knowledge from his superiors, and is now proud to pass that knowledge to forthcoming generations.

“Everyone knows the Spanish Riding School in Austria. I started riding at 7 years of age at my parents farm in lower Austria, and by the age of 12, decided I wanted to work with horses professionally. My dream, even then, was to become a rider at this prestigious institution.”

A significant part of Austria’s cultural heritage, the school is not only the oldest riding academy in the world, it is also the only one where the High School of Classical Horsemanship has been cherished and maintained

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Written by: Sarah Warne

“Integrated in a south facing hillside, we get mild temperatures most of the year and our modern facilities make for a very pleasant stay. At Morgado Lusitano you don’t just ride Lusitano horses; you live amongst them.� ..136

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Created as a ‘gift’ to the community in the early 1990’s, Morgado Lusitano offers it’s visitors the opportunity to learn and improve riding techniques on Lusitano stallions; techniques practiced in Portugal for centuries.

With a capacity to cater for up to 25 guests per day, Vasco says some months are busier than others but that overall, they have a 60% capacity all year round.

And the center is not just for riders. The Morgado property is open for anyone wishing to see Lusitano “In 2005 we relocated to our current address, in Quinta horses and watch them being prepared for competition. da Portela, a farm situated in Alverca do Ribatejo,north of Lisbon,” says Press and Public Relations Officer at “We have also started to present an Equestrian Show, Morgado Lusitano, Vasco Rodrigues. based on the teachings of the traditional Portuguese methods dating back centuries,” says Vasco.

“The move enabled us to offer riding holidays, where guests can stay in one of our 14 double bed rooms and And for the non-horsey? immerse themselves in riding culture.”

“We have a great swimming pool and a library full Besides a great location and perfect conditions to ride of books, not all related to horses. Plus with wi-fi Lusitano horses, Vasco says the riding centre provides connection on the farm, chaperones can bring their outstanding riding instructors. laptops and work, leaving their friends free to improve their riding skills.”

“Our instructors belong to the Portuguese Riding School and are eager to help riders, from amateur Canadian Joanne Lorraine heard about the centre status to Grand Prix level, develop both style and skill.” from a friend, and loved her first experience so much she now returns at least once every year.

“And our scenery is second to none!” says Vasco.

“My friend recommended it so highly that I just had “Integrated in a south facing hillside, we get mild to visit. My first time was in the beginning of the new temperatures most of the year and our modern millennium, circa 2001, when they were still at their facilities make for a very pleasant stay. At Morgado old centre. After that, when they moved in 2005, I Lusitano you don’t just ride Lusitano horses; you live have visited every year, sometimes more than once a amongst them.” year; I am addicted.”

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An intermediate rider, Joanne says the sight of Morgado gives her such a sense of relief, because it is such a peaceful and relaxing place.

“Morgado offers a very relaxed atmosphere, where you can sleep surrounded only by the noises of nature, wake up to a very nice breakfast in an 18th century house, ride in the morning and the afternoon, enjoy your meals in an outside courtyard overlooking the river, and then relax by the pool or have a cup of tea in the cosy library, by the fireplace.”

But the best part, according to the Morgado regular, is the instruction.

“They have two excellent master riders in Rodrigo Matos and Paulo Sergio Perdigao. Both have unique styles and both do their upmost to help you improve and develop.

Every one will benefit from visiting, because it does not matter what level of rider you are. You will always learn something new and leave thinking, ‘My how the time flew!’”

Joanne would definitely recommend the centre to horse enthusiasts, and says “not only are the staff genuinely friendly, but cater for your every need with a smile.”

“And the horses available are simply gorgeous!”

Apart from a bit of required maintenance, and a few coats of paint on a wall or two, Joanna says the centre looks pretty good all year round, and she will continue to look forward to the Morgado experience.

“It is definitely worth coming and staying there. I always leave with a feeling of losing a part of me, and when I get home I find myself booking to visit them again.” a

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EDUCATIONAL

PIAFFE & PASSAGE How they were shaped by FASHION, HISTORY and GENETICS

A Three Part Article by Jean-Philippe Giacomini © 2011 Part 1: THE HISTORICAL ROOTS OF HIGH SCHOOL ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Jean-Philippe Giacomini - Master Horseman and Former Olympic Coach Over 40 Years of Experience with More than 11,000 Horses & Riders JP Learned from Master Nuno Oliveira and was an Assistant Trainer at the National Stud of Alter Real in Portugal.

www.equus-academy.com/

WHAT ARE PIAFFE AND PASSAGE? They are the two movements that put Art in Equestrian Art and epitomize the successful training of the High School horse. In French they are called “airs”, for which the closest English translation is: a “look”, an “attitude”, a “tune”, all words that express the allure of Piaffe and Passage. In relation to horsemanship, “air” means a gait or an exercise and is the stylization of the fleeting natural displays frequently performed by groups of excited stallions playing at liberty, particularly Iberians. Such mock fights also result in the rears that anticipate Levade, the kneeling-down that precede the Reverence (equine curtsy) and the “jambettes” that inspired the Spanish (or Suspended) Walk. The dressage-style form of these movements has become the archetype of The Riding Horse presented in all its glory. To this day, Piaffe and Passage are the jewels of the 3 Olympic Dressage tests (Grand Prix, Grand Prix Special and Grand Prix Freestyle) and they are attributed a considerable proportion of the total marks. Levade and the other Airs-Abovethe-Ground (Ballotade, Cabriole and Courbette) are the mainstay of the classical schools of the Baroque Tradition (Vienna, Lisbon and Jerez) while the Spanish Walk and Spanish Trot, the big crowd favorites, are seen in the exhibition programs of baroque horses the world over.

THEIR IMPORTANCE IN THE DEVELOPMENT OF COLLECTION Beside their inherent beauty, Piaffe and Passage are fundamental to horsemanship because they represent the summit of Collection. This often poorly understood word means that the rider has transformed the innate energy of the horse (either used in his natural environment to flee from danger or fight it) into a symmetrical energy that can be deployed on instant request, forward, vertically or laterally, in any desired degree of activity and at any gait. The other essential attributes of Collection are cadence (the slowest – or sometimes fastest – even tempo relative to each gait that a horse can perform on request and without visible strain), self-carriage (the ability for the horse to remain balanced without the constant help of the rider) and self-propulsion (the permanent desire to go forward within the parameters of the desired gait). Collection is achieved by eventually developing the relaxation of the top-line, the elevation of the front-end and the activity of the hind-end trough a series of progressive gymnastic exercises. The practice of Piaffe and Passage and the transitions between them considerably helps the realization of those 3 essential goals through the enhancement of the horse’s symmetrical diagonalization. The main value of diagonal movements resides in the fact that the entire top-line of the horse swings from side to side: one side shortens while the other lengthens, creating an alternate sequence of contraction and relaxation that keeps the spine flexible. This in turn contributes to lifting the back (rounding of the topline), a position necessary for carrying the weight of the rider efficiently.

A PERFECTLY NATURAL MOVEMENT

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Horses, particularly hot-blooded animals, have piaffed from impatience when kept away from company or passaged in displays of sexual excitement since the beginning of time. Clever riders who enjoyed the feeling of these contained, yet intense activities, have found ways to entice their horses into some kind of prancing for reasons of sheer pleasure or pure vanity, to attract the eye of the ladies, the aggression of enemies or the respect of their comrades on a day of victory. Horses who offered this kind of movement have always been sought after and this is probably why most cavalry officers preferred to ride stallions, even in civilizations that knew the benefits of gelding.

A frequently repeated myth is that Piaffe is a natural behavior related to the anticipation of fighting between 2 stallions. In reality, horses provoking each other or facing a bull in the arena do hardly ever piaffe instinctively: more naturally, they lower themselves and keep their feet close to the ground in preparation for moving in the direction the fight may take them. As a result, performing a cadenced Piaffe or Passage under saddle at the moment of the horse’s excitement is a feat of excellent horsemanship and utmost control, not natural equine aggression.

It is obvious today that the way Baroque breeds of

Iberian origin perform Piaffe and Passage has become the universal standard for those movements, just like trot extensions and one-tempi changes are the clear hallmark of Warmbloods’ genetic ability. More than any other population, Iberian riders have enjoyed the admiration created by their riding skills and the talent of their horses for collection and agility. The history of Spain and Portugal is part and parcel of the development of Horsemanship. The ancestral riding ability of Celtiberian warrior chieftains had assured their superiority in combat, the admiration of conquered people in victory parades abroad and secured their political power at home. They are reputed to have invented the side-reins (probably around the 5th cent BC), and maybe the precursor of the stirrup (a sort of surcingle under which they could slip their feet or their knees. They famously defeated the Greek Cavalry commanded by Xenophon when Sparta hired them as mercenaries during the Peloponnesian Wars against Athens. Xenophon acknowledged in his memoirs that the unique fighting technique of the Iberian warriors, apparently based on the athleticism and obedience of their horses, was superior to the Greek approach to mounted combat.

In other historical periods, Iberians loaned their cavalry to Hannibal who defeated Rome, resisted

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EDUCATIONAL the Moor invasion and taught bullfighting to the Islamic occupant. Dom Duarte of Portugal wrote probably the first European riding book in 1345 and mixed his equestrian knowledge with moral and political advice. It is quite obvious to anyone who has visited a country fair in Spain and Portugal that most riders, either from formal education or from genetic memory, can perform Piaffe and Passage with varying degrees of proficiency and enjoy doing it at the drop of a hat.

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THE BEGINNINGS OF PIAFFE AND PASSAGE AS FORMAL EXERCISES How did Piaffe and Passage transform from the expression of joint equine and human exuberance to formal exercises of horsemanship? It was all due to the unexpected consequences of one of those accidents of history. In the 16th century, King Fernando of Aragon sent troops to ‘protect’ the Kingdom of Naples from French invaders.

They later installed themselves there to stay, importing Spanish Jennets and their national customs into Italian life, like bullfighting, which became all the rage. Amazed by the talent and willingness of Spanish horses, Italian horse masters of the Renaissance: Federico Grisone, his student Count Fiaschi and later Pignatelli,

slowly devised the first crude training systems aimed at reproducing on demand, the naturally collected and brilliant movements of the Jennets that their own heavier mounts did not offer so willingly. This is very probably the circumstance in which the concept of artificial collection (or “rassembler” in French) was born. It later became the backbone of the artistic riding style we now call “Dressage” (a French word that means training, or to prepare).

Grisone went on to teach at the Spanish Court after the 1550 publication of his book (“Gli Ordini di Cavalcare” or “The Rules of Riding”) and hence became known as the “Father of Equitation”. His book was rapidly translated many times into all the main European languages – eleven versions exist in French! Grisone’s international success demonstrates the power of the written word and the early evidence than any expert must be born at least 100 miles away from where he or she teaches. The respect this first “clinician” enjoyed in Spain stemmed from the fact that Grisone had created a (somewhat) reliable training method that could produce a stylized form of riding (known as “A la Brida” - “in the bridle”) in the Iberian Peninsula. The practice of this dressage approach became known later as “Equitation a la Francaise”, in reference

to the French dominant influence on horsemanship in the 17th and 18th centuries when the School of Versailles’ ecuyers became the epitome of Equestrian Art. It was practiced in Spain and Portugal in parallel with the more instinctive “Gineta” tradition, which was taught for the purpose of combat training. The Portuguese author Antonio Galvao de Mello wrote: “The Art of the Gineta Horsemanship” in 1678, an important book that describes military exercises still practiced today by Mexican Charros, such as ‘Roman’ riding (standing on the croup of 2 galloping horses), vaulting from horse to horse, etc. Until the end of the 18th century, “La Gineta” was prominently displayed at the Portuguese court in games called la “Picaria Real” that included high school carousels, sword and pistol practice from horseback, and the famous Escaramuchas (challenge from rider to rider) an Iberian tradition that goes back to the highest Antiquity. Escaramuchas has given root to “skirmish”, a Turkish word since adopted in English to describe quick horseback fighting between isolated riders.

During the Renaissance, European aristocrats had traveled to Naples to learn “the New Way” of riding that they later brought back to their own country.

Notable among them were four of Pignatelli’s most distinguished pupils. Three Frenchmen: the Chevalier de Saint Antoine (later Equerry to King Henry the 4th), Salomon de la Broue (author of “The French Rider”, the main inspiration of La Gueriniere), Antoine de Pluvinel (who went to Italy at age 10 and later became the equestrian tutor of Louis the 13th and reported his theories in the very famous “Teachings to the King in the Exercise of Horse Riding”), and the German, George Englehard Lohneysen. The latter brought equitation to Germany and published the first German riding treatise, titled: “Della Cavalleria”.

All of these pioneers, although greatly influenced by Grisone’s views, did reject several of the more forceful approaches employed at the time and developed kinder methods. The notion of kindness is a very relative judgment that must be seen within the moral rules of a period dominated by brutal wars of religion and the exactions of the Holy Inquisition, a time in which justice used torture routinely (a legal practice universally known as “the Question”).

THE BAROQUE EQUESTRIAN ERA ENDS, BUT ITS SPIRIT SURVIVES The observations on the equestrian versatility of Iberian horsemen of Antiquity are still true today: they have always been able to absorb external influences and often improve on them. After the Renaissance, they clearly remained superior Riders to the Italians who returned to some obscurity until

Federico Caprilli produced the second (and equally great) Italian contribution to equitation: the “Forward Jumping Seat” that negated the undesirable effects of excessive collected work for military cross-country riding. During the Baroque era, Iberians absorbed the French method and made it their own.

MARIALVA EMBODIES THE SPIRIT OF PORTUGAL. The 4TH Marquis of Marialva’s teachings at the Royal Palacio of Belem inspired “The Light of the Liberal and Noble Art of Horsemanship” written by Manuel Carlos de Andrade published in 1790, 50 years after La Gueriniere’s “School of Horsemanship” that it surpasses in clarity and technical value. As a rider, Marialva was unequaled in his time and rode young horses well into his later years. As a breeder, he is responsible for the glory of the breeding program in the Royal Portuguese farm of Alter do Chao that was started in 1748 by King Dom Jose 1st. His work as ‘Royal Master of the Horse’ resulted in the Alter Real horses (who are still the exclusive mounts of the Portuguese School of Equestrian Art) becoming known as the best high school horses of Europe. As a man of character, he descended into the bullfighting arena when in his seventies and put to death with his sword the bull that had just killed his son. It is since that famous day, known for “the last Bullfight in Salvaterra”, that bulls are no longer killed in Portuguese arenas due to a Royal edict made in the emotion of the moment. In our time, the Marialva name evokes the Baroque style of riding, the Art of the Corrida (mounted bullfight) and the 17th century dress still used today by bullfighters and equerries.

Above all, a ‘Marialva’ is a man whose lifestyle reflects a noble character attached to traditional values. He was, by all testimonies, the consummate horseman and gentleman.

While France was engulfed in the Revolutionary torment of 1789 and the rest of monarchic Europe declared war on her, Portugal survived in a reasonably peaceful mode. In 1806, Napoleon invaded the Iberian Peninsula while the British defended Portugal against the French. Unfortunately, defenders and aggressors destroyed a great part of the equine population in both countries. The Prince Dom Joao was exiled in Brazil and could not protect his cherished Alter horses. As a result of all those political changes, the Baroque tradition disappeared. Piaffe and Passage slowly lost their importance as an equestrian goal in most of Europe, except in the heart of people in Spain and Portugal who kept on breeding the baroque horse they loved and showcasing his ability in country fairs.

THE OLD WORLD ENDS IN THE TURMOIL OF 143..

EDUCATIONAL

THE FRENCH REVOLUTION. French aristocrats, fleeing the guillotine, established themselves in Germany, Holland and England, taking along their horses, their riding masters and the practice of high school. The wars during Napoleon’s imperial adventure ushered the start of a simplified form of horsemanship strictly designed for military purposes around simple parameters: teaching many recruits rapidly, training an ever-changing remount (both were often killed in incessant wars) and charging the enemy as heavy, rather than light, cavalry. The disappearance of court entertainment announced the end of artistic riding at the School of Versailles. The end of opulence for the Spanish Empire and the ravages of war nearly destroyed the baroque horse at his source. Napoleon started a new passion for the Arabian horses he brought back from Egypt and his defeat at Waterloo marked the beginning of England as a new world power that imposed thoroughbreds and steeple-chasing to all admiring nations. In France, the Count d’Aure, a classically formed rider and the last chief equerry of the Versailles School (where equitation was an art), became the proponent of cross-country riding. He later became Saumur chief rider and laid the principles of equitation as a sport.

THE SPANISH RIDING SCHOOL, ONLY STEWART OF THE BAROQUE SURVIVAL FOR THE NEXT 150 YEARS. The Hapsburg family reined over Spain, Burgundy, Holland, Austria and a part of Germany, notwithstanding the American colonies. In 1556, Charles the 5th divided the Holy Empire, leaving Austria to Ferdinand and Spain to Philip II. This long-lived king created one of the greatest breeding projects in history by establishing the Pure Spanish Horse in his stud of Cordoba. In 1562, Maximillian II brought the Spanish horse to Austria and founded the court stud at Kladrub (still in existence in the Czech Republic). His brother Archduke Charles established a similar private imperial stud farm with Spanish stock in 1580 at Lippiza near the Adriatic Sea. These establishments and the Spanish Riding School of Vienna served exclusively for the needs of the Imperial family until the establishment of the Austrian Republic in 1916.

At a time when equestrian fashion had completely changed in Europe, Max Ritter von Weyrother was first a rider, then the director of the Spanish Riding School in Vienna between 1814 until his death in 1833. Formed in the French tradition,

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this remarkable man’s reputation reached well over the borders of Austria. A famous painting shows him teaching the Piaffe and the Levade in hand by keeping his horse walking near a platform he stood on, maintaining his height advantage without putting any weight on the horse’s back. He also recommended the use of draw reins to his students, but later regretted it. Amongst his most prominent students, lets mention Louis Seeger, himself the mentor of Steinbrecht who is considered to be the father of modern German horsemanship. He became a link between the baroque age and the modern era by advocating the development of the gaits as we understand it today in the training of dressage horses. Weyrother’s strong personality helped the Spanish Riding School remain the only formal institution of the baroque tradition in Europe. It later survived two World Wars and the annexation of Austria by Germany. Thanks to the efforts of Alois Phodajsky, it reemerged in the 20th century as a beacon of light and a major presence in the modern equestrian landscape.

THE LINGUISTIC SIDE OF THINGS. How did Piaffe and Passage get their name, instead of just be called some equivalent of ‘prancing’?

Like most other equestrian terms: “Appuyer”, “Courbette”, “Parade”, “Levade”, “Cabriole” (or “capriole”), their etymology, like their historical origin, is truly Italian. The words “de piede fermo” mean firming one’s feet and were used in the context of “trotting on the spot”. They were later transformed phonetically and shortened to ‘pie-fer’, which became Piaffer in the mouth of the French students traveling to Naples to learn the ‘new art’.

In the same vein, “Passegiatta” (‘passegi”) became Passage and means taking a leisurely and stylish walk. Since the 17th century, these movements have been known by their French spelling, because at that time France exercised a considerable cultural, political and equestrian influence on the rest of Europe, (French was the semi-official language of most European courts as far as Prussia and Russia).

As a result, the cream of European aristocracy seriously interested in horses came to study at the Royal Academy of Versailles near Paris and took all the French jargon back with them when they returned home. The English later adopted the derivative German spelling: Piaffe. “Passage” remained unaltered in all languages, including Spanish, Portuguese and modern Italian.

THE MANY PURPOSES OF PIAFFE AND PASSAGE IN THE BAROQUE WORLD THEIR TECHNICAL USE. As already hinted at, Piaffe and Passage had important functions in the Baroque world. Either La Noue or Pluvinel invented the pillars as the main tool for teaching collection and developed the Piaffe as the systematic exercise needed to shift the balance of the horse onto his haunches. This approach prepared him for the “Airs Above the Ground” that had practically become the entire purpose of Baroque horsemanship in the courts. Piaffe permitted to facilitate both the progressive flexion and the engagement of the hind legs, while alleviating some of the problems that came with that exaggerated balance on the rear end. Because Piaffe is dynamic (as a ‘troton-the-spot’), it palliates the stiffening consequence of the levade, which is entirely static. It also facilitates the preparation of the Passage, a forward movement.

THE ARTISTIC VALUE. A horse piaffing rhythmically under a quiet rider, then moving forward into a majestic Passage and returning to Piaffe, without losing the cadence and grace that are the cornerstones of the Art, is undeniably one of the most glorious spectacles given to observe to the lovers of Horsemanship. Piaffe, Passage and the transitions from one to the next represent together the very essence of Classical Horsemanship. In order to fulfill this ideal, horse, rider and spectator must clearly share in the obvious pleasure provided by the display of equestrian harmony. Such work is a glimpse of the Nature of the Centaur!

PIAFFE AS BEHAVIOR CONTROL. As was mentioned earlier, using Piaffe appropriately counteracts the resistance of a horse that refuses to remain active, particularly in the research of Collection.

Tom Dorrance, the “Patron Saint” of the Natural Horsemanship movement, said that to keep a horse at attention and under control, one must maintain “the life in the horse’s feet”. No better description can be given of Piaffe as the most elegant form of behavior control and as an effective way of transforming a resistance into an extremely beneficial exercise.

admiration. Piaffe, Passage and Terre-a-Terre (a very collected and elevated canter in which both front legs and both hind legs move nearly simultaneously) corresponded exactly to the requirement of the parade and were the favorite pauses used for official equestrian portraits. These movements are easy to sit on, hence their even greater favor with riders who preferred to maintain their elegant posture rather than appeared worried about their balance in the saddle. In the late 1500’, Philip II of Spain developed his own superior strain of Spanish horses, both active and obedient, mainly for the purpose of serving as his parade mounts.

Spanish horses of the better casts became fundamental tools for displaying the majesty of the absolute monarchy that was the political European system of the Baroque period (16th to 18th century). French master Francois Robichon de la Gueriniere best expressed the opinion of the times: “Equestrian authors have given unanimous preference to the Spanish horse, and have considered him to be the best for the manege work because of his agility and the strength of his hind legs, combined with their elasticity. His natural cadence and pride make him the first choice for the pomp of the parade where he can display his grace and his nobility. His courage, combined with utmost docility, is the foremost requirement for war on a day of battle”.

COLLECTED MOVEMENTS AS SOCIAL AND MORAL SYMBOLS. Because jousting had been banned in 1559 in France after the accidental death of King Henry II, aristocrats were looking for another way to prove, not just their valor, but also their superior intelligence, through a social pastime that made them appear above the common people. Pluvinel, in the same vein as King Duarte of Portugal two centuries earlier, explained in his famous “Instruction of the King in the Exercise of Riding Horses” the technical improvements made in the way of training horses, as well as the moral precepts needed for the education of a Prince. As a strange consequence of the moral theories emerging from the renewed interest in ancient Greek and Roman literature, the picture of a man sitting on a piaffing horse became the symbol and the testimony, not only of his skill as a rider, but also of his social status, of his elegance and most importantly, of his character. a

THE POLITICAL PEDESTAL. Until the 20th cent, parades were frequent functions of political and Part 2: PIAFFE AND PASSAGE IN THE EQUESTRIAN military life. Leaders required horses capable of gaits SCHOOLS OF THE 20TH CENTURY - in next issue. that were animated and majestic, while gaining little ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ground so the chief could stay longer in front of the troops or the public from whom he wanted to elicit 145..

Photographic Tutor ials

by Direct Shots Photography www.directshots.com.au

Danielle Skerman - AIPP Accredited and Multi Award Winning Photographer

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EDUCATIONAL ..148

photographic turorial - Perspective

By Danielle Skerman of Direct Shots Photography In this issue we are going to look at a very common problem that I see many people do, a lot of the time.

And that is distortortion of perspective in the photo.

Basically, once you go into “wide angle” it distorts.

How to correct this..

If you have a digital SLR and have attachable lens you’ll see that on your lens it has a focal length in “mm” the general rule is to never go under 50mm.

This happens when taking a photo, the camera is set to the furthest away in the zoom or other wise known as wide angle. What this does is create distortion to objects to close. It does happen to all 50mm is traditionally the 1-1 perspective. Meaning of the image however if most obvious to the closest that what you see in your viewfinder is of exact proportion - what you see is of correct perspective. of subjects.

If we look briefly at the definition of photographic perspectives from wiki, this is what it says..

Anything above is classed as ZOOM or below is WIDE ANGEL.

“In photography and cinematography, perspective distortion is a warping or transformation of an object and its surrounding area that differs significantly from what the object would look like with a normal focal length, due to the relative scale of nearby and distant features. Perspective distortion is determined by the relative distances at which the image is captured and viewed, and is due to the angle of view of the image (as captured) being either wider or narrower than the angle of view at which the image is viewed, hence the apparent relative distances differing from what is expected.”

The wider you go the more the distortion that is created. When you zoom it doesn’t create distortion, you are literally filling the frame (frame is the area that takes the photo) more with the subject.

For standard instamatic/point and shoot cameras it is hard to know what is the 50mm or 1-1 mark.

What I suggest is that you try to keep your zoom above the 50% or middle area of the zoom display in your camera’s viewfinder. A good idea would be to step back and zoom in. By doing this you would increase your chance of not getting distortion. a

Take a look at the two photos below.... these are a good example of the wrong prespective

looking at these photos you can see that by going into wide angle make the horse look like he has a big head and tiny body, which isn’t correct. With the middle photo you can see that by doing so has elongated his nose and showing distortion. All 3 photos were taken on a point and shot camera on the widest angle.

By following the rule of not going into wide angle, stepping back and zooming in you can see that the photos not look “right” and is in the correct prespective.

This photo was taken with a large zoom lens from across the paddock.

This photo was taken with a point and shoot instamtic camera, of which I stood back and zoomed in.

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