Elite Equestrian magazine Nov/Dec 2022 issue

www.EliteEquestrianMagazine.com info@EliteEquestrian.us Main Office, Ocala, Florida

PUBLISHER Bill Vander Brink Bill@EliteEquestrian.us

Published since 2008

Riding a horse is not a gentle hobby, to be picked up and laid down like a game of solitaire. It is a grand passion.

EDITORIAL STAFF

Editor-in-Chief: Noelle Vander Brink

Creative Editor: RSD Media Group, Raymond S. Di Maria

Art & Antiques Editor: Dr. Lori Verderame

Equine Art Editor: Jeanne Chisholm

Fashion Editor: LA Sokolowski

Legal Editor: Avery S. Chapman,Esquire

CONTRIBUTING WRITERS

Richard Armentrout APF I, CJF I

Stephany Fish Crossman

Alessandra Deerinck

Kat Fuqua

Patricia Hechter

Marie LaCasse

Lynn Palm

Tom Scheve

Pie Truono Collier Wimmer

On the cover...

Kat & Consent have been named USEF Horse of the Year, won Grand Champion at Pennsylvania Na�onal, and Champion twice at the Na�onal Horse Show and Reserve Champion at USEF JR Hunter Finals. Na�onal Show Hunter Hall of Fame twice named Consent the “Best Junior Hunter”!

Photo By Elegant Equus Photography www.ElegantEquusPhotography.com

Ralph Waldo Emerson

ADVERTISING

Advertising Sales, N.E.Region: Kathy Dress 610-420-9964 kdress@ptd.net

Advertising Sales, S.E. Region Karen Eagle 352-812-1142

Advertising Sales, National: Diane Holt 713-408-8114 diane@eliteequestrian.us

CONTRIBUTING PHOTOGRAPHERS

Kari Bercik

Suzanne Carroll

Amy Dragoo Photography

Elegant Equuus Photography

Anne Gittens

Shawn McMillen Photography

Susan Stickle Photography

Don Stine

Janice Thompson

Lori Wadsworth

Hurricane Ian has devastated areas in Southern Florida. There are many equestrians who were able to evacuate their horses, but unfortunately their homes and barns were destroyed and they have no place to return to. They have lost all their tack and stable supplies. Donations of halters, buckets, bedding, hay, feed, fencing, medical supplies, fly spray, fly masks, etc. are needed and appreciated. Other farm animals are in need also- cows, goats, chickens, etc.

Go Fund Me: https://gofund.me/faeacde9

The Ocala, Marion County Equine Initiative, presented by Pyranha® from the The Chamber and Economic Partnership (CEP) of Ocala, Marion County is collecting financial donations.

100% of funds will go to the cause.

Checks can be made to CEP Foundation and mailed to: CEP 310 SE Third Street Ocala FL 34471 Mark envelope “ Equine Disaster Fund”

GRAPHICS Fran Sherman

A Piece Of Your Favorite Horse Can Go With You Everywhere Quality fashionable jewerly made with your horse’s hair. See our ad pg 25 ponylocks.com

Anni Lyn Sportswear

Spirited F/S Denim Breech. MSRP is $69.95 for kids and $89.95 for Adult. www.anni-lyn.com See our ad on page 25

Half Pass Horse

On circle leather cord bracelet. Sterling silver with custom end caps and lobster clasp www.tempidesignstudio.com See our ad page 82

Keep your horse or pony in the Christmas Spirit this season!

Come to Tack Shack of Ocala to shop a Christmas ou�it for your horse and check out our new look as well! Hurry these ou�its are while supplies last and they won’t last long!

www.tackshackocala.com

See our ad on page 7

HUGE VARIETY O

Well constructed and durable. Classy, comfortable and strong.

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Night Star Medallion

From Horsea, Karina Brez’s new mythology inspired fine jewelry collec�on.

See our ad on page 27

www.EliteEquestrianMagazine.com

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LAY-FLAT HOSE QUICKREEL

Bring Back The Base

Following their sell-out success last win ter, the Eqcouture Thermal Base Layers and matching Riding Leggings return as your winter riding wear saviours with their popular riding �ghts boas�ng their super cosy micro-fleece lining and a new water-re sistant coa�ng for added protec�on against the elements. All the details you’ve come to expect and love from Eqcouture, including extra wide comfort waistband, dual mobile phone pockets, carefully place seams and signature Eqcouture mo�f silicone seat and the op�on of belt loops, or without.

Going Out, Out

Embrace the changing season with Eqcouture outerwear. Keeping warm and stylish this winter in and out of the saddle is easy with the Eqcouture Puffer Gilet & Eqcouture Puffer Coat. Both styles feature a high quilted neck to keep that wind chill at bay, a quilted detachable hood, eco-friendly fill, fla�ering herringbone s�tch design and internal and external pockets. Both garments are finished with Eqcouture embroidery detail and branded metal wear. Func�onal winter wear that you’ll want to sport beyond the stables and into city life.

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Karina Brez Launches a Mythology-Inspired Fine Jewelry Collection

Equestrian fine jeweler, appraiser, and gemolo gist, Karina Brez, is internationally renowned for her equine-inspired aesthetic, merging her passion for riding with a second-generation leg acy of exceptional jewelry design. Her signature fine jewelry collections are Huggable Hooves®™, Horse LUV®™, Bit of LUV®™, Lucky Horseshoe and the Garden Collection. Ahead of the holiday season, she is launching her most anticipated collection yet for those who love horses, mythol ogy, and the ocean, called Horsea®.

When Hellenic deities divided the lands so each would have a lot, the marvelous island of Atlantis was be queathed to Poseidon, the ancient Greek God of the sea, storms, earthquakes and horses. Atlas, Poseidon’s son, be came king of the Atlantis and the ocean, while his siblings were given land to oversee within the island. The Atlantic Ocean was named in Atlas’ honor. As the Atlantean em pire conquered other countries and cities, the Athenians resisted, forming alliances, while wars broke out against the empire. Then earthquakes and floods consumed the island, sinking Atlantean warriors and the whole island into the sea. From this tragedy, a magnificent creature was conceived—the Horsea. Honoring its beauty and memori alizing it into talismanic form, equestrian fine jeweler Karina Brez launches the Horsea collection, featuring three new medallion styles.

Poseidon, who created the first horse, could not bear to see the loss of his beloved animal. Therefore, as the horses descended into the ocean, he transformed each horse into a Horsea—a mythological, majestic creature that dwells amongst the sunken lost city. To protect the Horsea from the catastrophic earthquakes and floods, Poseidon collected the treasures of Atlantis—the pearls, gems, diamonds and gold, affixing them to the horses as they commenced their metamorphosis. Its golden scales have magical, healing powers, and wearing its likeness as a talis man is said to bring good luck and health to the wearer.

“The development of mythology and fusing of its stories to our lives is ever-evolving,” says Karina Brez. “The Horsea not only continues an ancient story, but it offers a tangible connection to it. Connecting those who have a passion for the equestrian, or the ocean, to storytelling is an expansion of creativity and human nature. These medallions cel ebrate the origin story of the Horsea and are the beginning of what will be an expanding collection, where modern mythology meets equine style.”

Under The Sea Medallion, 18K Yellow Gold, Turquoise, Moonstones, Diamonds.

Night Star Enchanded Medallion, 18K Yellow Gold, Lapis Lazuli, Diamonds. (Top: Front, Lower: Back)

Night Star Enchanted Medallion, 18K Rose Gold, White Mother Of Pearl, Diamonds. (Left: Front, Right: Back)

Karina Brez (above and right) wearing multiple pieces across her signature collections.

The Horsea Collection consists of three new medallion styles. The Under the Sea Medallion features a golden Horsea, surrounded by seven cabochon-cut gemstones (moonstone, opal, sapphire, garnet, emerald, ruby and turquoise) floating amongst a round center cut gem, with diamonds. The Night Star Medallion features the top half of the Horsea, as it leaps out of the sea in the evening. It is a solid gold medallion, with four gemstone cabochons and diamonds glittering on both the Horsea’s body and the stars. The Night Star Enchanted Medallion also features the top half of the Horsea, but with a round center cut gem stone background (lapis lazuli, black mother of pearl, white mother of pearl, malachite, and turquoise) and sparkling diamond stars. The Horsea collection is available online at karinabrez.com.

Night Star Medallion, 18K Yellow Gold, Saphires, Diamonds. (Left: Front, Right: Back)

Night Star Enchanted Medallion, 18K White Gold, White Mother Of Pearl, Diamonds.

Meet Stride Boot Wear

By LA Sokolowski

n 2021, Ireland’s South Dublin Local Enterprise Office (LEO) named Stride Boot Wear ‘One to Watch’ for a reason: This new line of eques trian footwear performance products by a fashion world professional knows how to marry contempo rary features and materials with a deep regard for tradi tional tall boot style.

Form, function and and fashion. Carbon fiber panels with full grain leather. Sneakers-worthy shock absorption and elegant Spanish tops. Elastic panels joined with air bubble heels. Bigger zippers and a squarer toe.

“I’d grown up riding and owning ponies, and would have competed and qualified for the Royal Dublin Horse Show,” says Stride Boot Wear founder, Emma Hedderman. But instead of the RDHS, her destiny led to DKNY. She was in the fashion industry for 15 years before she picked up the reins of the equestrian business world.

“My biggest problem was confidence. That’s why I feel so passionately about being a woman doing this, because my biggest challenge was myself. I knew there was a gap in the market for a tall boot brand.”

She was right. She expected a first order of 25 pairs. In stead, it was for 225.

The Right Boot for Every Occasion

Function, performance and quality are central to the Stride Boot Wear Collection. “We have designed a tall boot for every event,” Emma assures.

The Training Boot provides comfort and support, and is spe cifically tailored for everyday training, with pebbled leather grip panels for closer contact, stretch panels for closer fit, and anti-bacterial Thermy-tex liners breathability.

The Sport Boot combines traditional styling for Show Jump ing and Eventing riders, with contemporary features like close-contact panels with carbon fiber breathability, and molded rubber soles for increased grip.

The Competition Boot, embodying tradition and elegance in Dress or Field style, is the only boot to wear in the com petitive arena.

“There are very clear differences between American and European design and styling of boots,” Emma explains “The US market has retained a classic design whereas European markets require more ornate design and detailing. I want to remain respectful to American equestrian etiquette while gently nudge towards a contemporary European signature.

“When designing a boot I am mindful to combine contem porary features and materials while respecting classic style. There are innovations like breathable lining, a 3-point spur guard, and an exposed, larger zipper for a more contem porary style expression.”

One Word, Three Great Passions

Emma says the name for her company, Stride, came eas ily. “I could see a picture in my mind’s eye of the move ment of the products I was developing, on a ride in sync with the movement of the legs of a horse. I could see the interchange of words: A rider in stride with the stride of their horse.”

From there, Stride evolved from three great passions..” De livering elegant design using quality materials. Our love for horses (they are simply magical), and our passion to lead a kinder way of working together.”

Give the gift of harmony this holiday season, with boots ready to go stride for stride with the horse lovers in your life, at www.stridebootwear.com.

EQUINE Art

Eduardo Márquez

Eduardo Márquez over laps the world of art and equestri anism, crea�ng a body of work that ranges from pain�ngs (using techniques such as oil on linen, graphite, water color and char coal on paper), to sculptures.

Eduardo had a tradi�onal upbringing in Cali, Colombia, where his early work and ar�s�c inspira�on began to take shape. He a�ended the Massachuse�s College of Art and Design in Boston Massachu se�s, where as he likes to say: “the academic and ar�s�c inputs from extraordinary professors not only helped me sharpen my technique, but also opened my mind to the infinite world of interna �onal art. This was priceless to me as a young painter.”

From an early age, the ar�st was immersed in an amazingly s�mula�ng environment in the Pacific region of the country called Valle del Cauca, famous for its sugar cane planta�ons, salsa music, Paso Fino horses, and a par�cularly rich mixture of cultures. All of these elements have a palpable influ ence in his works.

A passionate horse breeder himself, the ar�st’s latest body of work delves into the explora�on of this magnificent animal as an ar�s�c subject, to gether with the equestrian scenery and its singular lifestyle. The result is an intricate mix of explora�on and inspira�on, ul�mately finding their way into ar�s�c expression.

“I am fascinated by the years and even decades of intricate prepara�ons and coordinated team efforts that make events such as a single polo game even possible. No ma�er the hardships, the result is always worthy, fulfilling and memorable for all those that can be present and enjoy such a spec tacle. I am proud to take part of such a tradi�on, and feel myself commi�ed through my work to promote horses as an everlas�ng symbol of freedom, strength, love, and beauty without boundaries.”

Wellington Place, 13532 Fountain View Boulevard Wellington FL 33414, USA 845-505-1147 www.ChisholmGallery.com

Tyrel Johnson

Storytelling lies at the heart of all of Tyrel Johnson’s artwork, which often explores the dramatic and emotion-rich interaction between people and animals, as well as themes of overcoming adversity that feel especially timely now. One of his pieces specifically titled “Undivided Love” made with bronze and walnut, expresses the deep connection between a horse and a girl. The sculpture’s backstory began with a friend of Johnson’s who launched a horse therapy foundation following her loving bond with a lone horse in a field she came across while driving to work, bonded with and who eventually became her own.

Where do you find inspiration for your subjects?

Being a sculptor was a childhood dream, an obsession in young adult hood, and now a reality for which I am extremely grateful. I get inspira tion everywhere. Often inspiration comes from people. I love people in general and want to appeal to their softer side. The timing of inspira tion, as you can imagine, is most often when I am nowhere near clay

What is your favorite back story on a piece you have done?

I would have to say that “Undivided Love” is the most touching back story. Undivided Love was originally created as a smaller one-of-a-kind sculpture for my friend’s charity. She had told me the story behind her horse therapy foundation, Angel Horses. I wanted to surprise her with something meaningful to her. One day while heading home from work, she saw a lone horse in a field, so she stopped to greet it. This turned into a daily ritual that continued for a couple of years until the horse’s owner found out. The owner was moved by the bond they shared and gave the horse to her. He is the horse that she started her charity with. I wanted to create the division that was once the fence between them in a unique way. The design that followed is profound, elegant, and meaningful.

It wasn’t long before I decided to make a larger version. By some form of fate, it has its own unique and beautifully fitting story. I went to my local horse barn to look for the perfect horse. I found a horse that stood out to me due to something in his eyes and contacted the owner to ask permission to sculpt him, Lucca, from life. I met his owner and her mother for our first session. Her mother pulled me aside to express her excitement. She proceeded to tell me that her daughter, a senior in college, had only just reunited with her horse the week prior after a battle with cancer. She had been confined to her mother’s home to avoid infection for most of a year. Her mother told me that my phone call the week prior had made her daughter extremely excited. To me, it seems it was not by coincidence that I chose Lucca. A few days after the first session I called Marissa, Luca’s owner, to ask if she’d pose for the sculpture as well. I am grateful for the chance to work with Marissa and Lucca, and feel so glad to have brightened her life temporarily with my trade.

Can you explain your technique for sculpting? How do you marry different mediums such as stone and wood?

Growing up in and working at my family’s bronze foundry taught me a wide variety of skills that I use. We sculpted and cast many bronze monuments as well as cast small sculpture for a great deal of artists including the art of my father and siblings. I trained in all phases of custom carpentry after we shut the foundry down. The skills passed on to me are a unique combination that allows me to tackle anything that I or a client can dream up. As a kindergarten student once said, “Art is seeing your thoughts.” Skill is usually the only limitation we have in representing those thoughts. I’m very fortunate to have had the privilege of being immersed in highly skilled trades. That which I lack, I study.

https://tyreljohnsonfineart.com

HIS HERS &

Special FX: An Animated Chat with USEF President

Thomas F. X. O’Mara

with L.A. Sokolowski,

equinista

In 2021, the first year of his tenure, U.S. Equestrian Federa�on President Thomas F.X. O’Mara reassured members, “Equestrians show up. We don’t se�le. We strive every day to do be�er.” This former president of the Frac�onal Currency Collectors board, threedecade veteran of global capital market trading desks, maple syrup maker, horse show dad, and 21st century Renaissance man is keep ing his word. Naviga�ng large problems in what horse people know is a very small world, in March he unhesita�ngly helmed crea�on of the USEF Ukraine Relief Fund. Addressing key concerns expressed by USEF members, he named two Presiden�al Task Forces: a Compe��on Task Force, effec�ng drama�c change to compe��on formats (par�cularly for Hunter/Jumpers star�ng December 2022), and an Amateur Task Force commi�ed with bringing amateur rules forward into today’s horse world. It’s part of that promise to strive every day to do be�er and he proudly notes those changes are spurring “other equestrian organiza�ons to follow suit.” He ap pointed a USEF Even�ng Elite Program Task Force, par�cipated in the expansion of the USEF Safe Sport and Minor Athlete Abuse Pre ven�on Policy (MAAPP) campaign with new video messages, and has seized on recent momentum in -- and for -- the horse industry to introduce a fresh, new theme of “Ride United. Grow Together.”

HERS: Do you remember your first horse?

HIS: First horse was for our children. Kohl was old, yet steady and wise, and taught a few children how to ride at the introductory level. He was kind and gentle and made me feel that my children were safe on his back. I recall watch ing one of my daughters almost fall off him over a small jump and somehow he quickly moved himself under her and caught her. I thanked him profusely. What a great horse!

HERS: What do you like best in a horse?

HIS: Their ability to work with and trust humans. It’s a special bond, unique in so many ways.

HERS: What do you like best in a person?

HIS: Sharing wellbeing with others

HERS: First job?

HIS: I always seemed to be doing part-time work for any one at any price, doing weeding, painting, shoveling snow, etc. (I wanted a car someday). I was in my teens when I earned my first actual paycheck. It was from a job at a farm market in my hometown, Delicious Orchards. I was a bagger and picked peaches in the summer, and eventu ally got promoted to cashier.

HERS: If you worked outside the horse world what would you be doing?

HIS: Anything at the Smithsonian Institute.

HERS: Favorite quote?

HIS: “If this is coffee please bring me some tea, but if this is tea, please bring me some coffee” A. Lincoln

HERS: Who inspired and/or mentored you as a kid?

HIS: Easy, my dad. He set the bar high.

HERS: What makes you get up and keep doing what you do each day?

HIS: In the horse world you can learn something, or meet someone new, every day. And I do!

HERS: How has America’s place in the Olympic arena evolved? Where can we do better?

HIS: In the U.S., the riders, horses, owners and support ers from all facets of creating an Olympic, Paralympic or World Championship-caliber pair are truly world-class. The enthusiasm for U.S. success at the highest levels of global equestrian sport is remarkable. In many countries, the gov ernment does much of this work but in the U.S., we have enormous support from the U.S. Equestrian Team Founda tion, which works tirelessly to connect individual and corpo rate supporters with Team USA. We couldn’t be where we are today without them; they are our equestrian “village.”

Ready to saddle up?

Trailers 2022

HERS: What role will greater diversity have on the USEF of tomorrow?

HIS: Horses affect so many people from so many backgrounds in the U.S. This was true yesterday and today, and will be tomorrow. Many don’t know the stories of others, so I like to think we are simply getting better at connecting horse people from all walks of life with other horse people.

HERS: You can invite three guests (past or present, real or fictional) for dinner. Who joins you and what do you serve?

HIS: I’m a history buff and like good stories, so really, any three U.S. Presidents. Not because of who they are individually, but because of the stories they could tell about our country during the periods of time they sat in that seat. It would be good if they like a good burger, wings and beer!

Interested in learning more about the USEF family and supporting its teams? Visit usef.org. Have a His & Hers suggestion for our award-winning equinista? Share it to latheequinista@gmail.com.

In the horse world, you can learn something new every day.

ART ANTIQUES&

By Dr. Lori

BIG SPIKE in the

Barbie Doll Market

By Dr. Lori Verderame

Barbie has been in the news lately ahead of the upcoming release of the Barbie movie. Barbie who was introduced in the late 1950 and skyrocketed in popularity in the 1960s has made big strides in the collect ibles market lately. The German Bild Lilli dolls, adult fashion dolls of the post-war era first inspired Barbie to be born.

These German dolls have skyrocketed in value in the auction market. Recently, a Bild Lilli doll sold for a whopping $5,000 making all the Barbie collectors sit up and take notice. From where I sit, appraising 50,000 objects every year, this auction news about the German Bild Lilli doll predicts a big spike is on the horizon in the Barbie doll market ahead of the new Barbie movie. The American Barbie doll market reacted with great interest in many early and vintage Barbie dolls made by Mattel Inc. Appraised value for a vintage collectible Barbies are high, well into the thousands for just one doll. The original Barbie no. 1 with her black and white striped bathing suit (1959) still brings high values. Be sure to check the marks on a Barbie doll’s back or buttocks for information about the date your Barbie was made. Don’t disregard post 1990s Barbies as they have value too.

Valuable Barbies

Barbie was a different type of doll Barbie was inspired by an adult fashion doll called the Bild Lilli dolls which were popular in Germany. Teenage girls were not what tradi tional dolls typically looked like during the 1940s and 1950s. Prior to Barbie’s introduction, most dolls were baby dolls, china dolls, or dolls geared to young children. Popular dolls were not dolls depicting teenagers and certainly not dolls that looked like adults.

Barbie highlighted teen and young adult issues, an interest in contemporary clothing, and how young people thought about jobs and the future. Barbie was different from other dolls of the era. Barbie had her own character. She wasn’t a doll imitating other characters from literature or film. This is Barbie’s great appeal. Barbie was not following the pack; she was a leader and young girls and teens were attracted to this new doll concept.

The different Barbie concept made Barbie an unknown in the marketplace and this gave market insiders pause. Such dolls were untested in the market but Barbie persevered. Quickly, it became obvious that the new doll concept put

forth by Barbie was desirable. Buyers bought Barbie dolls. Unexpected, but a great result for the new Barbie doll and its makers at Mattel, Inc.

Barbie remains influential today because Barbie changes with the changing tides. Barbie has adapted to changing times. The collectible toy market and major movies have kept Barbie in the front of people’s minds. Barbie adapts to cultural and social changes of the decades from the 1960s to the early 2000s. Barbie had various careers, changed over time, even embraced new technology. Mattel Inc. has done an excellent job of allowing Barbie to change with the times too.

Collectors or people hoping to sell a vintage Barbie doll should look for good condition, rarities, and quality. Condi tion is most important when it comes to appraised value. Barbie dolls must have no stains, dirt, or damage. Collec tors like to collect dolls and their accessories like clothing, shoes, sunglasses, etc.

Advanced Applications of

Pulsed Electro-Magnetic Field Technology

on Horses.

A vast number of clinical studies now support the use of PEMF therapy in both animals and humans. These ben efits range from bone healing, wound healing, arthritis and associated inflammation, and even improving re covery times post surgery by reducing pain and edema.

PEMF energy penetrates through tissue of all types, allow ing for effective non-invasive delivery of the therapy. Other physiological benefits include; high increases in blood flow, an accelerated reduction of inflammation (in the locally treated area), increases in cell metabolism, cellular mem brane permeability, and production of more nitric oxide re sulting in a more regulated blood flow to promote healing. It’s been well established by modern science that the root of most diseased states is chronic inflammation.

Any natural therapy that reduces inflammation/swelling and increases circulation will have a profound effect on healing and the overall health of the body. For the equine athlete, the beneficial effects of PEMF are harnessed to treat tendon/ ligament injuries, sore backs, stifles, shoulders, chronic hock soreness, non-union fractures, laminitis, stone bruises/ abscesses, ulcers, slow healing wounds, and even colic.

PEMF therapy is a natural alternative to drugs and invasive medical procedures and is becoming widely accepted and utilized among natural health advocates. This safe, natural, and noninvasive therapy is worth exploring for yourself and your animal friends.

GENERAL EQUINE APPLICATION

Over the last several years, the equine industry has seen the introduction of High-Powered PEMF systems into race tracks, stables and barns. Using specially designed deliv ery loops, a technician can target known problem areas like joints and major muscle groups on the horse. For most equine athletes, after short treatments over several days, owners and trainers can generally see and feel an im provement in the way the horse moves.

The PEMF Field provides beneficial outcomes on equine tendon and ligament injury, sore backs, sore stifles, chronic hock soreness, sore shoulders, non-union fractures, laminitis, stone bruises, and non-healing wounds.

THE EFFICACY OF A MULTI-POWERED PEMF DEVICE

To be effective, the device must create a PEMF strong enough to completely penetrate the injured area at a therapeutic level. The challenge is that the strength of a PEMF signal dissipates rapidly with increased distance from a PEMF loop. Many times an injured area can be several inches or more below the skin. If the PEMF device is not properly designed, the PEMF will drop below therapeutic levels before reaching the site of injury, rendering the PEMF therapy less effective.

Deep blockages, scarring and trauma of connective tissue, ligaments, etc., may be present in the area being treated. The magnetic field radiates only so far, as the body’s skin, muscles, sinew, fat, bone and muscle tissues hinder the

penetration of the magnetic field. When using a MultiPowered PEMF device, maximum penetration can be achieved as the intensity setting and resulting gauss levels are increased.

Equine Use

After 20 years of Equine PEMF applications Veterinarians and Equine Care Specialists are now requiring very specific application protocols on targeted body parts as follows:

• Hoofs - The hoof is a primary anchor in the overall health and well- being of a horse. Without healthy hoofs a horse will inevitably suffer. Popularity and effectiveness of the Hoof Pro System where PEMF applications are delivered from under the Hoof.

• Poll - use of PEMF on the Poll has shown to be effective in reducing stress and anxiety.

• Jaw - Applications for TMJ are challenging when a tradi tional loop is applied. The Mag Disc is a perfect ergonomic fit and able to properly target the area requiring treat ment.

•Stifle - The inside of the stifle is too small an area for a tra ditional PEMF loop to fit. The Mag Disc easily fits inside the stifle.

• Under the abdomen - Application for Colic can be chal lenging. The Mag Disc is able to target very specific areas of the abdomen and provide deep penetration into the intestinal tract.

Elite Equestrian does not endorse or confirm content suggestions in any articles. See credit page for disclaimer.

Richard Armentrout APF 1, CJF 1

Story and Photo By Richard Armentrout APF I, CJF 1

The HERO and Hyper-Targeted PEMF

Newly released HERO PEMF Technology has been de signed for Hyper-Targeted applications on both humans and animals. When an area of the body requires a highly focused PEMF signal, the use of traditional PEMF loop ap plications becomes unwieldy, as the area the loop covers is too large. Proprietary series of Mag Discs now focus the entire PEMF signal into an ¾” to 1 ½ “ in diameter area increasing the Gauss output by a measure of 5 to 8 fold over that of a traditional loop applicator. A highly focused PEMF signal then penetrates much deeper into the tar geted body part. Where the traditional loop application generates 800 gauss at a high setting, a Mag disc (at that same setting) will generate 5,100 gauss. A white handheld 2.5” diameter Wand, with a 6” handle, can be used as an alternative accessory.

While the Mag Disc and Hoof Pro Kit have been available since 2015, it required the purchase of an EquiPulse PEMF model ranging from $10,000 to $25,000. While EquiPulse PEMF Technology is a versatile device applied for a variety of medical indications, the cost can be prohibitive for Buyers who seek a high powered PEMF device at a more economical cost.

The HERO is now available in 2 models with a base price of $1995.00 for the HERO X1 and $2495.00 for the HERO X2. The new HERO NANO is a very small X1 version priced at $2250, with $200 of the NANO PRO sale being donated to an Equine Charity.

Buyers can then build their HERO with optional accessories. All HERO devices can be powered by a 12-Volt adapter or the optional HERO Power Bank, which is capable of providing a HERO with 3-15 continuous hours of power and eliminates the need for access to an electrical outlet to operate!

Summary

Both small and large animal veterinary practices are adapting to the currently evolving animal care landscape. Unsurprisingly, the priorities of pet owners and large ani mal caretakers are critical drivers of change and include preference for non-invasive, non-toxic, at-home treatments that are as feasible and well-tolerated as possible. There is also increasing emphasis on rehabilitation for chronic con ditions and postoperative recovery and “prehabilitation” to reduce the risk of injury or chronic disease, or to condi tion an animal before surgical repair, competition or work.

Early PEMF devices lacked systematic evidence. Natu ral skepticism of the utility of PEMF was compounded by unscrupulous marketing, unsubstantiated claims, and unproven, unregulated devices. However, in the last 30 years, clinicians and scientists have developed a significant volume of research involving cell models, animals, and humans demonstrating the biological effects and clinical value of PEMF treatment for a variety of conditions.

Advancement of this field has significance for both human and veterinary medicine, particularly in the areas of pain management, mitigation of inflammation, bone healing, and wound healing. The most rigorous and compelling research has been conducted on devices that are regu lated by the FDA.

STALL HEATERS

Economic and the 110 Volt Outlet Alternative

The Balancing Act: Finding the Fulcrum for Horse and Rider Success

It’s a warm, humid day in Florida as I walk up to my client’s barn. Gathering some of my tools, I watch intently as the owner goes to catch her horse. Her gelding accepts the halter willingly, but hesitates when asked to walk on. On the lunge, he doesn’t wish to move forward; he throws his head to the sky in the upward transition, leans more of his weight to the right, and his left foreleg swings towards the midline, struggling to position itself in alignment with the left shoulder. Later, when we get hands on, he feels tight through the upper portion of his shoulder. His right shoulder is pinched into his neck, and he has knots on the right side of the chest. When reviewing my client’s own bodywork notes, I see multiple similarities in the body maps of the horse and his human: Tension in the left shoulder, knots on the right side in the base of the neck, and ropey tightness in the chest; all impede range of motion.

Is this just a coincidence?

No; it’s an example of the balancing act that happens in the human-horse partnership.

Balance

plays a key role in many aspects of the performance success of horse and rider. It doesn’t entail just sitting upon a horse, but the way we approach our own health, our horse’s health, our well-being, and the way we bal ance our lives. I often encounter riders who are deeply concerned about their horse’s well-being, investing time and money in body work for their equine partners, while neglecting their own physical imbalances. Where does the investment in balance lie? Your horse, yourself, your saddle, your farrier? The short answer is: a bit of every thing

We balance in our own bodies emotionally and physical ly, but our horses are also balanced with their own bod ies, their habitual posture, the shape of their feet, their freedom of motion, the saddle fit, and their mental state. Much of the emotional and nervous system of the horse is deeply impacted by how the horse feels in its body, its comfort and ease of mobility, and its ability to think criti cally, both in the sympathetic and parasympathetic state and how they process trauma.

After a decade of studying equine behavior and han dling reactive (and sometimes dangerous) horses, I’ve learned how much a horse’s physical well-being affects

how they respond to the outside world. I found that a majority of my equine clients had physical difficulties or limitations that led to their explosive and reactive be havior, leading me to the world of equine body work. After just one session of Equine Structural Integration, many horses show enormous improvement in character, work ethic, and ease of movement. Owners contact me weeks later, thrilled that their horses spooked less, main tained respect, stopped nipping, and maintained better balance and movement. This not only exemplified how important it is for our equine friends to receive body work, but it demonstrated the continued benefits over time, as well.

An implication from my experience of handling the prob lem children of the equine world was noticing the defen sive postures in my own posture and realizing the impor tance of addressing our horses’ bodies and our own. This evolved into the mounted fetal position due to tight flexors. The inability to sit up and support my horse when nervous was a disservice to my horse. This only confirms the need to find equilibrium within ourselves. It’s important to bring awareness of what we’re doing on the ground and under saddle, as this could improve communication and balance.

Story and Photos by Maria LaCasse

Balance starts from the ground up: through our feet. It’s amazing how much we notice by simply closing our eyes and noticing how we are standing. Is our weight evenly distributed through our feet? Does our weight tip us so that we fall forward or back? Do we place more pressure on the ball or the arch of the feet? By expanding our awareness, we can see the importance of proper hoof care and balance for overall performance. From there, we examine how we and the horses move through space on the ground, where our awareness lies when communicating with each other.

As we move up the body, we must address how bal anced our shoulders and hips are, how that influences our aids, and how our horses respond. Perched atop our neck is our seat of consciousness, an 11-pound bowling ball that influences where we look and the balance in our bodies. I frequently see riders constantly looking down at their horses’ heads, seemingly waiting for their them to give some indication of what they might be thinking. Many don’t realize that the neck tipping forward can put an extra 20-60 pounds of strain on their own spine, much less the impact on their horse, who carries 60%+ of his own weight on the forehand.

With all these aspects, how can we improve our equine partnerships? By taking the time to maintain a lifestyle of self-care and mindfulness. We can take responsibility for our role, realizing that body work for ourselves will help move freely with our horses. We can build a care team of vets, body workers, trainers, and coaches who are willing to collaborate to help you and your horse perform at your best. A team that’s willing to examine your program and make changes can help inspire ease in the work and greatness in the ring.

Now that we’ve examined some of the facets related to balance, I imagine the next question would be: how do I prioritize my resources? In my opinion, the answer lies in the success of your current program. Are my horse and I progressing with steady progress or does my horse continually struggle?

Awareness is a key foundation in balance. Without it, we don’t know where the problems or solutions lie.

Equine Hanna Somatics® - Part 4 Flexion and Extension of The Tail

By Patricia Hechter Photos By Lori Wadsworth

Figure 1

The tail sways with the hindquarters in the balanced move ment of a healthy horse. As he bends into a turn, his tail fol lows in the same curve. The tail has an essential role in the horse’s proprioception, the unconscious sense of position in space.

The 15 - 25 (18 is the average) caudal vertebrae of the tail play a role in the impulsion and propulsion of the horse. The powerful “hamstring” muscles attach to the first few tail vertebrae and the surrounding dorsal ligaments and fascia.

The tail is part of the nervous system through a bundle of spinal nerves from the end of the spinal cord through the sacrum into the caudal vertebrae (tail bones). The first cau dal vertebra creates the first joint at the end of the sacrum.

Evaluate your horse’s tail position by standing behind your horse, at a safe distance. Is it clamped, lifted or held to one side? Once you determine how your horse holds his tail, choose the first exercise that matches how the tail is held, before completing the remaining movements.

Some horses will not allow your fingers to be near the top of their tails. Do what you can from the location he accepts. EHS creates a space for the horse to participate in an ac tion that is comfortable.

Flexions of the Tail release contractions affecting the muscles on the underside of the tailbone. Standing on the left side of your horse’s hindquarters, gently place your right hand over the top portion of his tail. Slowly press his tail down toward the rectum. Release the light pressure to a count of 5, returning to the place of rest. Repeat two ad ditional times. Figure 1

Extension of the Tail lengthens the muscles on the top and sides of the tail bone. Standing on the left side of the horse’s hindquarters, place the fingertips of your right hand along the right side of your horse’s tail slowly moving them down and under toward the center of the tail, being aware of your horse’s response. Figure 2 Use your left hand to support his tail as you drape the tail bone over your right wrist, use your wrist to raise and lower the horse’s tail. Gen tly and slowly, invite the tail to lift, only as far as the horse is comfortable, stop when you sense any amount of resis tance. Slowly return the tail to its resting place to a count of 5. Repeat two more times. Figure 3

Lateral Flexion of the Tail (right and left) help release ten sion in the small muscles attached to each side of the individual caudal vertebra. These muscles allow the tail to be flexed to the right and left. Standing on the left side of the horse’s hindquarters, place the fingertips of your right hand along the right side of your horse’s tail slowly moving them down and under toward the center of the tail, being aware of your horse’s response. Gently ask the tail to move toward your body. Figure 4

Some horses have very rigid tails, others can make a complete circle with their tail. Continue gently and slowly moving the tail in an arc as the long as the horse is com fortable and there is no resistance in the tail. Slowly return the tail to hanging straight. Repeat two more times. Move to the right side of the horse’s hindquarters, invite the horse to flex his tail from left to right, three times as you did with the lateral flexions to the left. Figure 5

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The fourth Equine Hanna Somatics® (EHS®) movement for you to do with your horse is a series of three movements extension, flexion and lateral flexion, of the tail. Always handle your horse’s tail with gentle respect.

Figure 2 Figure 3

Lay The extended tail across your wrist to lift during the Extension of the Tail Movement.

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Figure 4 Figure 5

The four sets of movements in this series show how to assist your horse to lengthen, relax and return elasticity and strength to muscles in the entire body. EHS asks the horse to shift from the cerebellum to use their (voluntary) motor cortex in the brain to change their body to a more comfortable posture.

The first movement is the Initial Pick-ups engaging up to fifteen muscles with each limb. (May/June ‘22 issue) The second is the Lateral Neck Flexion, engaging seven muscles in the neck with connections to the head and into the chest. (July/August ‘22 issue)

The third is the ribcage using Kinetic Mirroring of the Inter costal muscles between each rib. (September/October ‘22 issue.)

Trish Hechter grew up riding and working with her mother in Maryland who was renowned for working with “problem” horses. In the mid 90’s Trish earned her Reiki 1 and 2 cer�ficates becoming a Reiki Master in 2020. A�er mee�ng Ryan Moschell, a Cer�fied Hanna Soma�cs Educator® (for humans), in 2015, Trish turned her focus to Equine Hanna Soma�cs® and will be a Cer�fied Equine Hanna Soma�cs Educator in 2023.

For more informa�on about Trish’s work and clinics to educate people how to improve their horse’s postures, please visit www.HechterEquineMobility.com.

Trish Hechter and Ryan Moschell, CHSE have created a partnership working with equestrians and their horses. Dates are available for their workshops and clinics in 2022.

To contact Ryan Moschell and learn more about his work, please visit, www.GetOutOfShape.com.

To purchase a video introduc�on of EHS please visit, www.HechterEquineMobility.com/video.

To learn more about Equine Hanna Soma�cs, and to find an equine educator near you, please visit www.EquineHannaSoma�cs.org.

www.EliteEquestrianMagazine.com

RIDER Biomechanics

By Stephany Fish Crossman

Accredited RWYM coach, Stephany Fish Crossman reviews a rider from a submi�ed photo to help the team improve their ride!

In this issue we are going to do a basic reorganiza �on of the posi�on at a halt. This is a first lesson with our wonderful rider Robin, who was brave enough to share her before and a�er photos with us! Robin comes from a Western background and is returning to riding a�er a many year hia tus. You can see a bit of the Western lean in her ini�al posi�on, but unfortunately, that could also be an exaggerated dressage posi�on nowadays!

Always remember the goal of the rider biomechanics professional: To put the rider in a place of balance, where they can remain in control of their body no matter what is going on underneath them. The basic question we ask people is this: If I were to magically pull this horse out from underneath you, would you land on your face, your feet or your bottom?

In our Before picture, you can clearly see that Robin would land on her bottom. While using the rider’s weight as an aid is sometimes necessary, living in an out-of-balance position is not. When the rider is not in charge of their own balance their weight becomes the problem of the horse, who isn’t usually interested in managing the rider! Specifics to this particular picture to note:

• The rider’s knee is up on top of the thigh block, and the front of her leg is too open and unattached

• The feet are in front of the rider’s weight, causing a waterski effect in her body

• Because of the position of the feet, the elbows are forced open and the hands are pulling, completing the waterski analogy

• The majority of the rider’s weight is in the back of her body, creating a backwards pull on the horse as we would ask it to go forward

• If you followed the lines of the front of the torso and the back, you can see that the rider is much longer in the front of her body and too short in the back of her body

• Because of the inequal weight distribution of the torso, the rider’s landing surface (the amount of pants-on-saddle from the front to the back of her body) is shortened

Here’s our process to balance out Robin in the saddle, putting her in charge of her own balance and therefore in better charge of her horse:

• We rolled the thigh bones in, pulling the hamstring muscles out of the way and allowing the thigh bones to lay closer to the saddle. We then did some resistance exercises to help Robin retain this attachment of the thighs

• We made sure the knee was pointing down at the ground, not up in the air, and that the ankle was underneath her hip

• We brought her into alignment in the front of her body, so that the front and back of her are equal in length. To

do this, we stacked her collarbone over her sternum, her sternum over her bellybutton and her bellybutton over her pubic bone. For this rider, the words were to have a strong collarbone and shorten the space between the bottom of her bra and the top of her pants!

• Lastly, we took some of the weight out of her feet and brought it into the thighs, allowing the thighs to be more in charge of her balance and her feet to use the stirrups more like a rebalancing place and less like an emer gency brake.

Some of the feedback that I got from Robin when we did this was that she felt very forward, and that she felt like she was going to lose her stirrups at any moment! You can see by the After photo that Robin was in a much more independent balance, and that she was in no way “too forward”. Her take on her position reflects an inter esting dynamic called proprioception, which we will delve into in a later issue.

For a final note, I do not care for Robin’s foot position in the stirrup any more than you do. You caught that, didn’t you! Here’s the real deal, though: in realigning someone in the saddle, there are symptoms and there are causes. The angle of the ankle actually has not changed from Before to After, but the positioning of the leg shows that the heel is up. Ultimately I would like Robin to have a foot that is parallel to the ground (ideal for Dressage, not as ideal for jumping), but the reason that her heel is up is the effort she is putting into maintaining her thigh attach ment. The heel position is a symptom - if I were to force the heel down at this point she would do so by letting go of her thighs, which is a more important body part at this moment. The thigh attachment is a cause, the heel is a symptom. As her lessons progress, the heel has relaxed down without her losing her thigh attachment!

Stay tuned for our next issue, we hope you are enjoying this feature!

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Cra�ing Visual Stories: How Musical Freestyles Are Made

Part 3: Putting it all together

By Collier Wimmer

For me, this is really where things start to take shape. We have gamified the choreography and built a floorplan that suits your horse’s strengths while setting it up for the best possible execution of the weaker elements. We have selected music that revolves around a theme, tells a story, enhances, and balances you two as a pair, and is something you want to ride to a thousand times over again. With these elements, I can start the story-building process.

Generally I will build the musical story around the choreography and add subtle markers to the music that help the rider know where they need to be in their test (when a transi tion is about to happen, when they should be on the short side, etc.) and adjust the Beats Per Minute (BPMs) to match the hoof falls.

Speaking of BPMs, let’s detour there for a minute. When ad justing the music to match BPMs, typically, the downbeat of the music is matched with the horse’s front feet. This makes it easier for spectators and judges to evaluate (and for the subconscious to allow for more “buy-in” with the illusion you’re trying to create since the visual and audial are synced). So, for trot and walk, match both front feet with music. Canter, match with leading canter leg. Next time you’re watching a freestyle, watch and see how this happens!

Once I put everything together, I’ll work through a few drafts with my clients and once the freestyle is in competi tion, my job is mostly done – but freestyles are a constantly evolving entity, and I continue to work with my riders to ad just as needed and support them in any way possible. We have as frequent a check in as my riders need, I continually invest in their freestyle as their horse and their partnership evolves (whether that is updating floorplans, BPMs, etc.). I’m a part of their team for as long as that freestyle is “Live”. But I can only get them to the arena, it’s on them to go bring that story to life. So here are some tips and tricks on how to ride a freestyle:

Listen to your music:

I always always always tell my riders to listen to the music 1000 times over. In the shower, in the car, doing laundry, cleaning tack. Knowing your music backwards and for wards (and all its subtle nuances) gives you the freedom to know where you are in the arena while competing it and adjusting on they fly.

I also tell my riders to “chair ride” their freestyle. Physically sit in a chair, play the music and picture the ride in your mind as the music plays. Learn where the transitions are, plan for mishaps, joker lines, halts, etc.

Going through check-in and soundcheck at the show: Soundcheck is an important aspect of setting your free style up for success. You should get a time for soundcheck communicated to you at show check-in so you’ll go to the arena at that time. One by one you will get called in to the arena and the person conducting soundcheck will ask for your name and communicate that up to the sound person. When your music starts playing, make sure you can hear the music clearly through the sound system (sometimes you can walk around the arena and check out the sound from different areas). If there’s a quiet and/or a loud piece within in the first 20-30 seconds, wait and see if you can

If you missed Parts 1 & 2, you can read them on our web site for freeJuly/Aug ‘22 and Sept/Oct ‘22.

hear that piece clearly. You can tell the person in the ring to adjust the volume up or down but ensure that the sound doesn’t get too loud – sometimes very loud music can distort the speakers.

Make sure you take advantage of the sound check at the shows and don’t feel pressured to rush through it, take your time!

How do make sure you’re in time with the music:

Knowing the music is crucial, you’re adding one more element (music) into a dressage test (music) so that’s one more thing to be conscious of. That’s why it’s imperative to know that music on a subconscious level, so you can easily make adjustments should something happen. You have to have an adjustable horse, as timing will fluctuate from performance to performance. One can nail the timing of the music to the pattern only if one follows his or her music and makes little adjustments to the ground plan in real time (deeper in a corner, shallower in a half pass) to either make up time or, more often, kill time.

Riders have to constantly think one step ahead during a Dressage freestyle and are constantly adjusting! I always tell my riders that you can always catch up to the music, the music can’t catch up to you. I also tell my riders that you’re riding a big ole metronome, ride to the beat, sink it to it – think of yourself as part of the orchestra! And most importantly, have fun. You’re dancing with your partner, how lucky!

Have a question for Collier about freestyles? Write to us at info@EliteEquestrian.us for your chance to be featured in an upcoming Q&A column!

Photo by Suzanne Carroll

The Art

Lungeing: Part 1 of

Palm Partnership Training™ Building a Partnership with your Horse Story and Photos

By Lynn Palm

Yes, lungeing is a way to exercise a horse, but it’s much more important in developing a horse’s self-carriage in all gaits, response to voice and whip commands, and lungeing can control a horse’s play on the line. I use lungeing as a day of training, and always as part of taking a horse to a new area that you want the horse to perform. I also use lungeing for a bitting exercise.

As I titled my DVD, “The Art of Lungeing” is just that. It is not initially easy to master lungeing for a handler. Practice is the only way in developing your eye reac tion/coordination, recognizing your horse losing his bal ance by falling in or falling out, and in developing your own coordination of both arms and legs.

Forming a Triangle

Form a triangle for proper lungeing. Here’s how: Stay parallel to the horse and make one side of the triangle with your lunge line. The horse is another side of the triangle, and the whip is the third side of the triangle. You are in the middle of the triangle.

The key to staying parallel to the horse is to never walk toward the horse or take any steps backwards. Move your legs by crossing one in front of the other. Moving your legs sideways allows you to stay parallel to the horse.

Organizing the Lunge Line

Keeping your lunge line organized is a must! I like a flat cotton lunge line the most, and I avoid nylon and round ropes. Nylon you can burn your hand if a horse tries to get away from you, and round lines are too hard to hold. DO NOT LET THE LUNGE LINE DRAG ON THE GROUND— IT’S NOT SAFE!

I also have my students learn how to keep the line organized without the horse. Here’s how to loop the line:

1. Hold the loop at the end of the line.

2. Spread your hands apart, making a loop, and put it in your hand from the bottom of your hand. The line comes out the top between your thumb and first finger.

Keeping contact with the lunge line to the horse’s halter allows you to recognize the line going slack, the horse falling in, the horse pulling you, or the horse falling out.

Attach the lunge line with a snap or a chain. NEVER attach under the horse’s chin, which would give you less control of the horse’s head position. Never attach a lunge line to a bit. Here are two options for connecting the line.

If using a lunge line with just a snap, connect it to the side halter ring closest to you.

If using a flat cotton lunge line, thread the lunge line through the side halter ring closest to you, over the nose and snap it on the opposite halter ring. This is the most responsive position.

3. Continue to make similar loops. They don’t have to be perfect; however, you must stack the line in your hand so it is easy to hold.

4. Once you have looped and stacked the whole line, put your first finger in the loop that is on top and leads to the horse. Hold it in place with your thumb.

Next Issue…

Use of the lunge whip, lungeing different size circles, developing self-carriage while lungeing

352-362-7847

I value lungeing for many reasons.

Cyril and Lynn offer clinics throughout the country and abroad as well as online coaching. Join them on their teaching tours or their Palm Equestrian

exercising a horse

Story and Photos By Alessandra Deerinck

Exercise is definitely what gives athletes the ability to achieve optimal muscle strength, endurance, coordi nation, and gain overall soundness.

When competing in a specific discipline, a horse has to undergo a fair amount of homogenous and tar geted exercise, but this activity often works certain areas of the equine body more than others. Repeated strain to the same area can even severely weaken and damage bones, tendons, ligaments and muscles.

A very important aspect of the interaction with a horse that is often overlooked is being observant about how the horse takes what we do together, which is definitely the way to know if we are working in an effective manner.

The relationship between humans and horses is between individuals of different species, but when human and equine individuals truly understand each other and act co operatively as a team, we see an infinite variety of harmo nious situations, where communication works immediately and even spontaneously.

When horses do not comply with human requests people very seldom keep in account that the horse has an active control on his own body and assume they need to force, or punish the animal which introduces fear in the relationship. The way to solve the problem and efficiently get our mean ing across to the horse is by analyzing how the request was formulated, if it was received and understood by the horse, and to reformulate the request based on the findings. Any riding performance results from the human and horse interaction, during which new information is continuously developed by both human and equine, and is relevant for continuing the interaction. Learning how to be aware of what happens on both sides, and developing the team work can put us in the leading position without effort, in stead of using force, trapping the horse with tack, wanting the horse to act “as it has buttons” or punishing the horse for not complying.

Horses, and most of the animals, have an instinctual way to respond to movement of other entities in the space that they can perceive with the senses. Knowing how to interact with a horse, staying in social contexts, familiar for horses and for human beings, like reciprocal presence and position, movement and primary needs, can really be the key for us in communicating meaningfully with horses.

The key to a strong musculoskeletal system is using a varied training program. Exercising horses at different gaits and on varied terrain enables the bone and soft tissue to be stressed in different directions, reducing the effect of repetitive strain and keeping horses sound and healthy. This work can even be twofold in terms of equine wellbeing: we can improve our horse’s fitness, but also provide him with some great mental stimulation.

In order to live in the domestic state, horses had to adapt to a situation that is different from their natural one. To cite just the most evident aspects, they eat hay instead of grass, they are confined in small spaces, and they are deprived of social relationships. Horses are naturally social individuals, however in our time and age, most of the owners have one horse, and keep it in single enclosures. At this moment, we do not want to go in depth in discussing this topic, however we recommend all owners to learn how to properly relate to their horse. In doing so they have a chance to fill in for the fact that we deprive our horses of social relationships with other horses.

Equestrian sports are definitely not a natural activity for horses; furthermore, horses have no natural interest in be ing ridden or competing. When ridden under saddle, they are carrying the weight of the rider and tack, and some equestrian disciplines even require the horse to carry his body in an unnatural manner. An example is the head position required in dressage and in some western riding competitions. The head is where all of the sense receptors are placed, with the exception of the touch ones that are spread all over the horse’s body. So, a horse would natural ly position his head according to how he can see where he goes, but we often ask him to keep it in a different angle, which is definitely unnatural.

The movements that the horse makes when ridden have to be such that the rider can keep its position, and are different than how the horse would naturally move when not ridden. Working in an arena is not easy on a horse. In nature they move according to what surrounds them, while work in the arena is done in an empty space, doing pat terns that are requested by the rider, not by the presence of obstacles that require certain movements to be avoid ed. All horses can benefit from doing some trail rides, and if we don’t have access to trails, we should consider working our horse on trail obstacles, which can help with coordina tion, and test his mental capacity as well as his muscles.

The key to a strong musculoskeletal system is using a varied training program.

long run,

on the horse’s back, the muscles that do not get exercised can atrophy,

unbalance the horse. One way we can fix this problem is by exercising our horses in a state of free movement. Active exercising without rider and tack can allow them to move their body, and use the muscles in a natural way. Being free to move gives the horse the chance to express himself and to make choices, which is a state that most rid den horses experience very seldom. Even one weekly session of working in freedom of movement can im mensely benefit our horses physically and mentally. Exercising a horse has to be done in a thoughtful man ner and when we couple it with a spontaneous kind of interaction, which eliminates the need for horses to have to learn how to respond to cues, we can widen the possibilities for communication along with perfor mance, and enhance the wellbeing of the domestic horse.

Amy Jo Magee

My first riding instructor had ridden in a parade sidesaddle before I started riding with her. The pictures were lovely and she looked so elegant I really wanted to try it myself. Then when I was in high school Joy Carrier came to talk to the eques trian club at our school. The club director arranged for us to watch her compete in the sidesaddle division at the Devon Horse show. That solidified my desire to ride aside one day. I was able to source my own saddle while in college and finally fulfill that dream. A few years later, I had a traumatic riding accident that resulted in a broken pelvis and back. Now due to those injuries riding aside is actually easier and more comfortable for me.

I have competed in the USEF hunter divisions including the Ladies sidesad dle division, the 3’6 performance hunter division and even did a National Derby aside. I have also competed up to 2nd level dressage aside along with training level eventing sidesaddle. I did the American eventing championships at train ing level back in the mid 2000’s and placed 4th in the division. I have competed sidesaddle steeplechase and point to points over 3’ timber. I also regularly foxhunt aside along with doing hunter paces and paper chases sidesaddle.

Due to the limited resources for sidesaddle fitting and repair, I started work ing on my own saddles many years ago. Since then I have worked with several masters saddlers including Michael Stokes who specializes in sidesaddle restoration and repair to broaden my skill set. I have recently started my own small business which focuses on sidesaddle repair and accessories. While I had expanded my shop to carry things outside of sidesaddle, I recently decided to scale back and just focus on the sidesaddle niche that I love so dearly.

The biggest thing is to expand my skill set so that I can completely rebuild a saddle from the tree up. My hope is that I will be able to help maintain these saddles in good working order and even possibly return a few to circulation that otherwise would not be considered safe.

I have been riding astride since I was 2.5 years old, but my start in side saddle began at 14 years old, after watching a lady compete on a stunning grey horse. She was wearing her silk top hat, veil and black habit. It could have been a Munning’s painting. Everyone was watching this wonderful sight. There and then I decided I wanted to ride aside. I borrowed a side saddle, bought a book (the art of side saddle by Doreen Houblon Archer) and taught myself. I managed to save up money to buy my first side saddle, which I still own, A Wykeham pad side saddle. When I left school I worked for Billette Mackie who was involved with the formation of the Side Saddle Association. She, Roger Philpot and Betty Skelton all taught me. At 17 I took my teaching qualifications with the Side Saddle Association and became an “A” instructor.

I have ridden numerous disciplines aside. I showed horses in England before moving to the US. I ride ponies aside and show hacks. I have competed in combined events doing both dressage and jumping, and I have foxhunted aside. When moving to the US, I competed in some hunter jumper shows aside, but after losing my mare, I moved into Peruvian gaited horses and I continue to show them aside.

My involvement in side saddle goes beyond my riding. I am a former member of the ISSO board. I have been a clinician at numerous clinics in the US, most notably with ISSO and Camp Leaping Horn. I am an Advanced Side Saddle Instructor, an Equitation judge and an Instructor Examiner through the Side saddle Association and ISSO.

I still aspire to learn and grow in the art of side saddle riding. Riding gaited horses has been my latest aspiration. However, I still want to go back to the US Ladies Hunters. I would love to be able to take another OTTB and bring them along for the hunter ring. I also enjoy passing on knowledge that was given to me by some of the greatest instructors to people getting started.

Lady cruises through her first novice event with Amy Magee showing how it’s done aside. Photo by: Amy Dragoo Photography 

Amy Magee aboard Little Lady at Performance Hunters at Brandywine cruising over 3’6” fences.

Photo by Anne Gittens

Gorgeous Palomino stallion PVFP el Amanacer showing elegantly side saddle by Heidi Updyke. Photo by Don Stine

Cavello Grigio and Heidi Updyke pose gracefully at the United States Equestrian Training Facility in New Jersey. Photo by Janice Thompson.

Dr. Holly Ray

I admit that my involvement with sidesaddle began as an epiphany many years ago as I was trying to prioritize the extracurricular loves of my life. As a busy companion animal practitioner, free time is at a premium, and I was trying to balance my show career with other interests such as my intense interest in history, particularly that of the American Civil War. I had always admired the beauty of sidesaddle equestriennes and their horses in period artwork, but it never materialized into a conscious desire to try it myself. My epiphany occurred when a sidesaddle crept into one of my Ebay tack searches and in an instant I knew that the Queen of Multitasking could combine the loves of history and riding! Luck was on my side, as I did naively purchase that beautiful and nearly pristine 1880s antique saddle. I did not know anything about the discipline but made up my mind that nothing was going to stop me from learning. I obtained a copy of Riding Side-Saddle, by Janet MacDonald and poured over the instructions as I sat on the edge of my bed and looked in the mirror while doing a lot of mental imagery. The saddle miraculously fit both me and my horse, and when I asked Lillian Chaudhary what kind of saddle I had, she said that “I have been blessed by the sidesaddle gods.” I didn’t have any friends that showed sidesaddle, so I just started practicing at home, and it didn’t take me long to show off my new-found skill at a show. I did not have a formal lesson until 2 years later, and it was with none other than Roger Philpot. I think it was then that I began to feel worthy of my ef forts—I’ll never forget when he asked for a canter and I heard him exclaim, “Ahhh, there’s the swan!”

The more I rode, the more I wanted to learn, and when I do something, I aspire to do it correctly. I kept gathering whatever knowledge that I could and became certified as an instructor through the American Sidesaddle Association. Going back to multitasking, I started to concentrate my research on the use of sidesaddle in the mid 19th century. A huge part of my life, too, is involvement in the living history community with my husband, and in October, I will be teaching a sidesaddle-related class at two large Civil War reenactments. My habits reflect the styles of that era, and I also have an obsession with collecting riding habit/sidesaddle images from the 1850s, 60s, and 70s. My collection is constantly growing and I currently have over 130 images, including those of ambrotype, ferrotype, and CDV formats. I also have a large collection of antique park whips and antique sidesaddle stirrups. I enjoy displaying my collections and have spoken to various groups such as the DAR.

Last year, I introduced my Arabian to sidesaddle and he took to it quite favorably. This show sea son I was unfortunately sidelined due to injuries, but I plan to come back strong in 2023 and enter as many classes as I can riding aside. I would also like to participate in some rated Arabian shows next season. My other aspiration is to start writing a historical reference book this

to

my 19th century images and research.

I like to show in the English pleasure/hunt seat on the flat classes. Our local circuit has a Ladies’ Open Sidesaddle class, and I love to use this as an opportunity to wear my period attire. I have 2 Western sidesaddles on a Steele tree, an Owen, a Whippy (which I am currently using), and of course, that beautiful Ebay treasure that started my addiction!

Winter

showcase

Twist and Twirl pose for Champion win of the division piloted by Dr Holly Ray.

Dr Holly Ray competes EF Frisco Bay side saddle at Sun Beau Farm, Ravenna, OH Photo credit: Kari Bercik

Senors Miss Okie and Dr Holly Ray at a Gettysburg Remembrance Parade.  Photo taken by parade spectator.

KATS CORNER

GOALS

What are your goals for 2022 and 2023? @katekeilman.eq

My goals for 2022 are to keep being consistent with the Junior Hunters. The last two years I won Winter Equestrian Festival Circuit Champion on both my Large, Grand Remo and Small Consent. So I was very pleased to get the honor again especially since I was having a rough start to the year. I wanted to qualify for Devon and I’ve never won there in three years with my ponies in 2017, 2018, and 2019 or my juniors in 2018 and 2019. This was a big year since the show was a no go 2020 and 2021 due to Covid. Since I showed in the exact same baby blue ring last year for JR Hunter Finals and won Grand Champion on Grand Remo, and Reserve Champ- ion on Consent, I felt confident and prepared. So it worked out great for Grand Remo who jumped again to Grand Champion at Devon, and Consent earned Reserve in the Smalls same as last year’s JR Hunter Finals. By print you will know how I do with Indoors, Harrisburg would be special for Grand Remo as he was Reserve last year, and Consent was Grand Champion there last year. This year US Equestrian honored me with including me on the Emerging Athlete’s program for Dressage since last year DreamGirl took us to USEF JR Champion status. It was like no other program to get to attend the Robert Dover Clinic, and meeting the six time, four time Bronze Medal Olympian. He is really nice and cares about all of us learning to improve our skills. Then to train three days with George Williams, who heads the program and is USDF President and himself an accomplished Grand Prix Champion was the best! He says, “whatever happens with your test, don’t give up, but keep going and riding each movement”…..He is kind and soft spoken and gives you confidence by his quiet nature. My assigned goal is to qualify for the OPEN PSG Great American Regional Championships. I did and I also qualified for the Intermediare I. In fact I held in first for several months at I-1USDF Horse of the Year with

scores as high as 72-76%, but fell to fourth with Olympians reaching their goals. I even showed my DreamGirl at the Intermediare II they call the baby Grand Prix as it has one tempis and piaffe/passage. Given the fact my mare never showed that high level, I am proud we competed twice with a respectful score of 60%. The team leaders would like for me to try to qualify for National Championships but competition is fierce since I’m designated in the Open. But I’m not going to give up!

Unexpectedly I competed my two jumpers at the Junior High level 1.40m. Nate Archibald is a kitten on the ground and in the stall, but a fire spitting dragon in the ring. He makes me laugh out loud. I love it so much and my jumper Giggles qualified for the Devon High Championship classes where I was 10th of 24. It was really special i n so many ways. I went at a fast track into the Jumper discipline which I only started last year. I’m qualified with both at Medium Juniors at Washington International Championships. And Nate is first wait listed for Highs…It really blows me away.

One of my major goals this year is to make time away from the horses, and spend time with my family and school friends. In fact, this is one of my strongest goals now being in high school to attend school functions, dances and football games with my friends. I love seeing my five cousins from Chicago: Tess, Grace, Anna, Elise & Kate at their vacation home in Maui. We have being meeting there since I was three or four years old….but I got distracted going to horse shows. So time with my family shows me how important time together can be and I never want to stop seeing them yearly.

My goals for 2023 are to keep getting more experience and consistency in the High Junior Jumpers and to qualify for the European Young Rider Dressage Championships and circuit tour. I secretly would love to do well in the Big Equitation, but I realize I spread myself thin. I am showing the Big Eq championships this year with Class Act. I got him in early September so it’s kind of a crash course to figure it all out. I am proud that we were Reserve Champion in the Maclay Regional Finals in Lexington, a very competitive group. With my trainers at Ashland

Farms, Emily & Ken Smith, I am eagerly excited about new learning opportunities where all my foundations of riding are applied in all the disciplines. They are really helping me focus more on riding well and not on riding a specific discipline. I couldn’t be happier.

If you had to choose between dressage and jumping what would you choose and why? @Willagdressage

That is a really hard question because I love both so so much. I’ve been competing in the Hunter/ Jumpers the longest but my background

really comes from the dressage flatwork training. Bronze Medal Olym pian Michelle Gibson has been training me over the years since I was six years old. It’s a really hard choice and I love them both so much because they both complement and help each other. I think I can do both. My mom instructed Michelle to teach me how to do canter pirouettes because she studies the online videos of some top German Jumper Olympians she says does. My mom has always been involved as my position coach and loves learning the Hunter discipline through all my trainers over the years. Some say hunters should be dressage over fences. Mom showed Grand Prix Dressage as an amateur even a month after I was born. Mainly she likes to brag that she teaches me from all her mistakes in horses and really wants me to have no fear with horses, pursue my dreams, and have balance outside of horses. She keeps me in a safe environment, and we love and respect the horses and the people who take care of them.

and

By Tom Scheve

if an axle fails on your trailer while you’re out somewhere with your horses? Most likely, you’ll call for help. But there’s no way around the fact that your trailer is heading to the shop, and you’re stuck.

The solution?

An ounce of prevention is worth a pound of cure. In other words, it’s not what you can do, it’s what you could have done. You can’t carry an extra axle in your trailer or have the know-how to fix it. However, you can learn how to iden tify that something is awry before it happens. Having your trailer serviced regularly will undoubtedly lower the pos sibility of future problems. However, a routine service often includes only lubing the bearings and adjusting the brakes. With minimal learning about trailer axles and wheels, you can intelligently tell the service technician the other things you want checked. That knowledge will also help you iden tify problems out on the road.

The first thing to know is what type of axles (suspension) are on your trailer. They will either be Spring and Shackle or Rubber Torsion. By looking between the wheels, you can easily see the shackles that connect the leaf springs on a Spring and Shackle suspension. Only about one percent of new horse trailers have spring and shackle axles (leaf springs), but you may find them on older trailers. If so, you can quickly check for loose bolts, rust, and for separation within the leaf springs since they are clearly visible. If the trailer is not tracking well behind your tow vehicle, there is likely a problem.

Since 99% of all new horse trailers manufactured in the US have rubber torsion suspension, they are likely on your trailer. But to be sure, look between the front and rear wheels. If there is nothing visible between the wheels, then you have rubber torsion axles. Because the suspension results from rubber cords inside the axles rather than springs, there is no connection between the front and back wheels. The ben efits of rubber torsion are many. The ride is smoother for the horses when the axles are matched to the loaded trailer weight and the right tow vehicle.

A tire showing uneven wear, such as wearing around the edges, strongly indicates something is wrong. One cause is

To check for a bent axle or wheel, set a long straight board (preferably a level) on equal height stands located at the side of each tire one side of the trailer. The level will tell you if the stands are equal height. Push the level against the tires. If the level is touching the sides of both front and back tires, then the wheels are tracking correctly, and the problem could be a bad tire. If the level is not touching the sides of the front and back tires, the tire that it’s not touch ing is not tracking straight, meaning the axle is bent, or the wheel is damaged. It would be best if you did not use the trailer until correcting the problem.

Also, although rare, the spindle or the rubber cords can weaken over time, or the axle could be faulty from the factory. If this happens, one side of the axle with be lower than the other. (see above) When you are hooking up, look at the height of the trailer tires to the bottom of the fender. If one side looks lower than the other, measure to make sure. If it is, you’ll need to replace the axle.

In summary, you don’t have to know every thing about your trailer, you just have to know enough to see a problem brewing. Working to stop something from happening is easier and more effec tive than trying to resolve or recover from it later.

Story

Photos

Spring & Shackle

SIDE VIEW TOP VIEW

What can you do

��������� OVERCOMER OVERCOMER

Lissa Bachner was born with a passion for horses and won her first blue ribbon at age five. Other awards would follow as a young rider, and for years Lissa trained with jumpers, tackling more difficult leaps, and working to perfect her ride. When blindness struck in her teens, it appeared her passion for riding would come to an end. How could she jump hurdles when she could barely navigate through her own home? However, success, trust, and love came to Lissa when her trainer convinced her to buy a “diamond in the rough” from Germany. On New Year’s Eve, 1999, Milo arrived at the barn, frightened and neglected. The scrawny, foul-smelling, badtempered gelding barely resembled a horse much less one that belonged in the show ring. It was hard to miss the signs of neglect and Lissa knew the horse had been mistreated. Had it not been for the fire burning in Milo’s dark, brown eyes, Lissa would have thought the spirit had been beaten out of him. Determined to eradicate the demons of his past, Lissa spends hours each day grooming and caring for her new horse. As Milo grows stronger, so too does the uncondi�onal love, unyielding trust and that magical bond between he and Lissa. When, finally, Milo and Lissa are ready to make their debut in the show ring, life makes it clear that it has other plans for the two of them. Suddenly Lissa is ba�ling to save her vision! As her eyesight diminishes, the young rider leans on her beloved Milo for strength and comfort. A�er she loses the fight and is completely blind, Lissa turns her back on the life she once knew. Terrified and with each day that passes, sinking deeper and deeper into a depression, she refuses to leave the safety of her bed. But an a�ernoon spent with Milo, the only living creature she feels truly understands her, awakens the warrior inside her. More determined than ever, Lissa promises Milo she will find a way back to him. Willing to do whatever it takes to ride again, Lissa asks the unthinkable of her mother, her friends and most of all,her beloved Milo. Together, Lissa and Milo will accomplish the impossible, becoming one of America’s most inspiring, successful riding teams in the world of show jumping, winning 2 na�onal rankings, 4 zone rankings and over 35 na�onally ranked classes. With effortless humor and penetra�ng compassion, Lissa weaves a story of unfaltering faith in Milo, and the uncondi�onal love they shared.

Milo’s Eyes is available on amazon.com, BarnesandNoble.com, Target.com, Walmart.com (Paperback, $16.95).