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e i e KFPS Breeding Stallion
Royal CarouselFriesians.com Annette Coester 801.910.5458 2 anncoester@aol.com
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D e s i g n : w w w. L a u r a Z . n e t
Photos: Cally Matherly
aaha FPZV Stallion testing
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Issue 8
contents inside 08. PRE - Breed Feature ~ J.P. Giacomini 22. Yeguada Cárdenas 32. Jolandar & Carletto 38. Master Miguel Tavorá
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08 92 44. Raquel Falcão 48. Jody Hartstone & Ali Baba 54. Summerwind’s Miracle baby
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58. Golegã Horse Fair 66. Jenny Rolfe 68 Manolo Mendex 74. Braiding with Miguel Pires 80 Just4Fun 82 Horses for Sale 84. Zaldi - A family tradition
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88. The 3C’s of Dressage ~ Barrie Stratton 92 The Forest Boyz Living the Dream 97 Riz’s Rant
©Baraque Horse Magazine AU. 2011 All Rigths Reserved. No part of this publication, editorial or advertisement, may be reproduced without the written consent of the publisher. The content of the advertisements within this publication is the responsibility of the advertiser. Although due care is taken in the preparation and publication for all advertising material, the publisher cannot be held responsible for any errors or for any consequential effects. Opinions and statements made by others in submitted text may not be the same as those held by either the publisher or the editor.
LETTER FROM
THE EDITOR Issue 9 - of Baroque Horse. March-April 2013 (next issue out May)
Editor-In-Chief Danielle Skerman
So, another year has passed and we are already well into 2013! We hope you have enjoyed the first year of Baroque Horse and will like what we are doing to help promote and educate all about our wonderful breeds in 2013. We’ve started the New Year with a new look and branding to Baroque Horse along with a new website too. Many of you may already have seen the new website; we have lots of new features and services to our readers; we have a forum for our readers to talk all things horsey (we do ask that everyone please keep it friendly in there); we also have a new worldwide breeder’s directory. This will be a great place for people to find studs and stallions of all breed types. We want to help you find a horse or your horse to be found. On the new website, we have a page dedicated to each breed where you can find more information and shall have extra breed related articles in a news feed. If you have an event coming up please let us know and we can feature it or if you’ve just had one, and you’d like to share the results and photos or links to photos. Absolutely anything relevant to your breed that you’d like to share, please do! In every issue we shall do a feature on a particular breed. This issue we are having a look at the gorgeous PRE horse with a great article by J.P. Giacomini and we’ve also taken a look at the world famous PRE stud, Yeguada Cárdenas. Next issue we shall be featuring the Lusitano! In November last year, we attended Australia’s Equitana in Melbourne and had a terrific time meeting many of our readers. Thank you to everyone who took the time to come and say hello! It was great to talk and meet people in person. We had an amazing response there and it was wonderful to hear the amount of people saying that they LOVE one or many of the baroque breeds! The best part was to see people really open up to the breeds and want to know more. Let’s hope we can see even more people go for baroque! We want to hear from YOU too; we want to tell your real life stories. If you have one or know of one that you think is pretty special, please do contact us - we’d love to hear from you. Join us in our journey and ... go for BAROQUE!
an m r e k S e l l e i Dan Editor in Chief
www.baroquehorsemagazine.com Publisher: Baroque Horse PTY LTD ACN: 159 279 848 PO Box 18002 Clifford Gardens, Toowoomba QLD, Australia 4350 Editor In Chief: Danielle Skerman editor@baroquehorse.com.au +61 404 843 636 Advertising: Patty Taylor advertising@baroquehorse.com.au +61 419 363 635
On The cover:
Sub Editor: Anita Budgeon advertising2@baroquehorse.com.au
Photographers: Cátia Castro, Antonio Mendonca, Christiane Slawik, Danielle Skerman, Laura Zugzda, PPYO, Debbie Stevens Contributors: Cátia Castro, Danielle Skerman, Caroline Larrouilh, Manolo Mendez, Riz Ilyas, Jenny Rolfe, Lynn Kelley, Jody Hartstone, Laura Zugzda, JP Giacomini, Jessica Morton, Barry Stratton, Riz Ilyas
Photo by Cátia Castro of Cárdenas horse: Quisquilloso MAC w w w. bar o q u e hors e m ag az i nE.com
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THE PRE
Photos: Christiane Slawik
BY JP GIACOMINI
UNICORN | WARHORSE | ATHLETE
Most people are attracted to PREs (the acronym for their Spanish name: the Pura Raza Española ) for their elegant beauty, their fairy-tale looks, their elegant necks and their luxuriant manes and tails. But after spending a little time with them, people fall in love with the PRE’s character. The PRE wants to learn, do his job, and mostly, please his rider. It is only after a little more time, that people become amazed by the PRE’s athleticism and versatility.
J.P. Giacomini studied dressage full-time with Master Nuno Oliveira and at the Portuguese National Stud of Alter Real for over 4 years. He trained his first of 15 Grand Prix dressage horses when aged 17 and rode horses trained by French, German and Portuguese masters. J.P. has helped more than 10,000 remedial horses during 45 years of teaching in 13 countries and is widely considered a master at training Piaffe and Passage with very different breeds. He owned and trained the famous Lusitano show-jumper Novilheiro (leading British money earner of his time) and invented the relaxation technique known as “Endotapping”. With his wife Shelley, they breed Lusitanos and Andalusians In Kentucky, USA (www.baroquefarmsusa. com). JP recently translated, prefaced and annotated a major book about Nuno Oliveira: “The Wisdom of Nuno Oliveira” - Xenophon Press. You can obtain a signed copy by emailing jpgiacomini@gmail.com. For more information about JP, go to www.jpgiacomini.com or visit his educational site www.EquusAcademy.com.
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uthor and trainer Charles de Kunffy sums up why PREs have exploded in popularity over the last ten years. “PREs are artistry in motion. They have what is called “brio.” Brio means that the PRE is smart, sensitive and high strung in his temperament, yet he is submissive and totally focused on the rider. He wants to please.” The story of the PRE starts long before the Baroque Era. As far back as the Ancient Greeks and Romans, the horses of the Iberian Peninsula had been sought after as premier riding horses. The Romans so admired the PRE that they set up breeding facilities in southern Spain and Portugal to supply mounts for their cavalry. For generations, the warriors, conquistadors and mounted bullfighters of Spain and Portugal selected these horses for athleticism, maneuverability and docility. An
important step in the development of the PRE occurred during the Renaissance when, in 1567, by imperial decree of Philip II, the PRE was further refined into the ultimate classical high school dressage horse at the Royal Stables of Córdoba. In the 16th and 17th Centuries Spain dominated much of Europe and the Americas as one of modern history’s first worldwide superpowers. One of Spain’s not-so-secret weapons was the Spanish Horse. By the 17th Century, no king or important nobleman would consider having his likeness portrayed riding anything except that rare and expensive status symbol, the PRE. The greatest scholar of the Iberian horse, Ruy D’Andrade, has said, “I consider it a duty to the History of Spain that the Spanish horse
“ An important step in the development of the PRE occurred during the Renaissance when, in 1567, by imperial decree of Philip II, the PRE was further refined into the ultimate classical high school dressage horse at the Royal Stables of Cordoba.” 1 0.
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should be conserved. With his special help, Spain achieved her greatness. He served her on the wars with the Romans, the Moors, Italy, France and the Netherlands, and in the conquest of the New World. Without the incomparable Caballo Español, Spain could not have been victorious. So it is a duty to cherish him, in the same way that one protects cathedrals, libraries, armories, paintings and so on.” In the 18th Century, Francois de la Guérinière, founding father of classical riding wrote: “Equestrian authors have given unanimous preference to the Spanish horse, and have considered him to be the best for the ‘manège’ work (author’s note: today’s dressage) 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.” Most dressage enthusiasts, even those who are unfamiliar with PREs, are aware of the “School of Cavalry” written by La Guérinière. What the majority of dressage riders are just coming to realize is how much Equestrian Art owes to the unique qualities of the PRE. Before the Arabian, before the English Thoroughbred and long before the Warmblood was even imagined, the blood of Iberian horses was highly valued throughout Europe for its ability to improve the local stock. At one time, the “golden genes” this horse carried were as valuable to the military as today’s nuclear technology. On several occasions, Spanish Kings forbade his export under the threat of capital punishment. Historically, PRE stallions were often given as diplomatic gifts by the King of Spain to other European royal houses. As a result, the famous Friesian, the Fredericksborg, the Kladruber and the once renowned Neapolitan were all largely based on Spanish blood. Vienna’s home of the classical Lippizan, the Spanish Riding School, gets its name from its foundation stock of Iberian horses.
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“ Before the Arabian, before the English Thoroughbred and long before the Warmblood was even imagined, the blood of Iberian horses was highly valued throughout Europe for its ability to improve the local stock. ”
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http://blackhorsemanor.com.au Breeders of Pure Spanish and Derivative Performance Horses Presents:
Galero XIV (Imp) 16hh Service fee: Chilled semen only. Spanish Mares: $2200 inc GST Other breeds: $1650 inc GST
Contact: Sabina Callaghan email:sabina@blackhorsemanor.com.au Mobile: 0402639753
Black Horse manor is proudly sponsored by Prydes
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W
hat are the tangible characteristics of the Iberian horse? The ideal Iberian horse is noble in his demeanor, versatile in his ability and majestic in his appearance. Docile to the rider yet bold in all circumstances, he is energetic without ill-temperament, sensitive to the aids without hysteria, proud without arrogance and courageous without hostility. His body is both strong and flexible. Though refined and elegant, he is renowned as an easy keeper who has adapted to the toughest living conditions at the four corners of the Globe. The PRE has always been bred for the agility and collection required for hand-tohand combat on horseback. From light cavalry remount, the PRE became the original dressage horse. When the ancestors of the horses that are winning today’s dressage competitions were still pulling the beer wagons, the heavy coaches, and the army’s artillery or baggage wagons, the PRE was the Haute École dressage horse par excellence and the artistic and social partner of European aristocracy. Thanks to the exposure from the success of PREs in the 2002 and 2010 World Equestrian Games (Fuego de Cárdenas) and the medals won by the Spanish Team in the 2004 Olympics, there is a renaissance of interest in PREs. Dressage enthusiasts are giving the PRE a new look. Author and trainer Paul Belasik says, “As the growth of dressage continues to escalate, it is only natural that an evolution of sophistication will take place. I cannot see how this won’t lead many riders back to the Iberian horses for they still maintain some of the very best horses for collection and the finer points of riding.” More recently, major dressage breeders, such as “Ulli” Kasselman from Performance Sales International (probably the largest breeder and broker of dressage horses in the world), are again recognizing the contribution PREs can make to the “Ultimate Dressage Horse of the Future.” Ulli has been crossing proven Iberians stallions with top warmblood mares “in order, according to him, to increase general trainability and the ability for piaffe, passage and pirouettes.”
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oday the PRE is still the ultimate riding horse: in beauty; in temperament and docility; the ultimate in responsiveness to its rider and in brio (spirit). With its natural collection, the PRE is ideal for classical dressage. With its natural balance, boldness, stride adjustability and carefulness over the jumps, the PRE is ideal for stadium jumping and eventing, up through intermediate level. With its flashy, brio and elevated movement, the PRE also makes the most elegant of carriage horses. With its famously safe, sane temperament, the PRE often makes the ideal beginner’s horse. Known for their presence and beauty, especially their arched necks and abundant mane and tail, the PREs’ most important quality is their fantastic temperament. As beautiful as they are grazing in the pasture or in hand during a halter class, the Iberian horse typically transforms under saddle into a spirited, yet docile, partner. Eager to please, they willingly allow the rider to mold them to any discipline. It has been said that the PRE “can be ridden with the rider’s imagination as its only aid.” For trainers who have spent hours cajoling unresponsive mounts, the PRE quickly elicits an enthusiasm that can become addictive. The Iberian horse has been Mankind’s irreplaceable partner in conceiving the seminal chapters of Horsemanship. Beyond the riding arenas of ancient palaces, beyond the blood he shed for the glory of Spain and his everlasting majesty displayed in the paintings of Velasquez, this horse of wonders is carving a soft spot for himself in the heart of riders everywhere yearning for the elusive relationship we call Equestrian Unity. Truly, this horse will change your life. a
“ Known for their presence and beauty, especially their arched necks and abundant mane and tail, the PREs’ most important quality is their fantastic temperament.”
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Yalkin Spanish Horses
Home of Australis Romanzo
Young stock available now
For more information: www.yalkin.com.au Email: tiffany.ayres@bigpond.com Mob 0407 609 908 TIffany Ayres Yalkin Stud PO Box 367 Monarto 5254 South Australia
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Photo: Inmotion photography
Photo: Inmotion photography
Yalkin Melosa, filly, mature 15.1hh. Azteca (Andalusian X QH) Yalkin Ramiro, colt, mature 16.2hh. Pure Spanish Andalusian
Yeguada Verdadero Y
eguada Verdadero is located at “Tallowood Park” in north west Sydney, New South Wales, Australia. We breed, train and compete Spanish (P.R.E) horses. We have imported five horses (2 male and 3 female), brought to Australia between 2007 and 2011.
Spanish horses have been in our life since 1992. We have carefully studied bloodlines and genetics of the P.R.E, for over 20 years, looking at compatible lines, incompatible lines and certain characteristics within a line. Our breeding philosophy is to produce true-to-type Spanish horses of baroque morphology, with elevated and expressive movement, beauty and ‘good minds’. We do not follow the current trend of breeding ‘warmblood movement’, excessive height or a specific colour. Temperament is paramount in our horses. Through experience, we have found that once an important characteristic of the breed is changed, the temperament is jeopardised. The temperament and trainability of a horse should not be undersold as the majority of riders fall into the amateur category, and as such, desire a horse that is straightforward, kind and honest. In saying this all horses need a solid foundation of ground and saddle training to set them up for a good future, but with the Spanish horse, their rapid ability to learn new things, intelligence, tolerance and sensitivity make them a pleasure to work with. Spanish horses are not Warmbloods, and whilst the performance aspect is a consideration, the Spanish horse must still adhere to correct breed type & functionality, as with any pure bred breed. There are variations of type within the breed, but the core essence of the Spanish horse should still remain. Attempts to create a warmblood type, result, at best, in loss of breed type and function, poor classification scores, or failure to pass
classification or, ultimately, exclusion from the Spanish studbook. Our first import, Infante XXXVIII (imp/dec’d), was given the accolade of Recommended Young Sire of Dressage Horses (“Joven Recomendado Reproductor de caballos de Doma”), with the rating of ‘Excellent’, as awarded by the Spanish Ministry for Agriculture. This award is based on suitability for, and performance in, dressage competitions. He is the only PRE stallion to come to Australia with this distinction. Our imported (in utero) colt, Imprevisto VII, won Australian National Champion Spanish Horse (Conformation AND Movement!) in February 2011, under esteemed Spanish judge and dressage rider, Don Ignacio Bravo Garcia, at just 15 months old. He beat a field of mature mares, stallions, both homebred and imported, and Ignacio’s comment was, “this colt is a standout”. More recently, he was assessed under Mercedes Gonzalez Cort, during the 2012 EQUIPRE tour, as a ‘Premium colt’ and was awarded Champion Colt of the Breed and Movement Winner Junior. Leigh Burns rides and trains all the horses at Yeguada Verdadero. Leigh doesn’t breed anything she could not ride herself, and this philosophy has kept the Spanish horses at the stud trainable and easy to manage. Leigh trains on classical principles and has been guided over the years in her training both on the ground and in the saddle by Doug Green, Miguel Tavora, Michael Godding, Robbie Horne & Ron & Val Males. Leigh regularly attends clinics held by overseas trainers and has been to Spain twice in the last 5 years to learn more about the training and management of the Spanish horse and receive intensive coaching. Passion is what drives us at Yeguada Verdadero. We are passionate about the Spanish horse and believe that nothing great can be accomplished without passion, knowledge and committment.
www.yeguadaverdadero.com
Yeguada Verdadero
ada Verdaders
Yeguada Verdaders
Ph: 0437 522 936
Home of National Champion Spanish Horses Type... Temperament... Movement ...without Compromise.
Yeguada Verdaders
tallowoodpark@bigpond.com
www.yeguadaverdadero.com
Yeguada Verdaders
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Cordillera Stud
Aquila PRE
Moz (Mocoso) has been a part of our family since he was born. He has lived up to his name as Mocoso which translates from the Spanish as ”Cheeky boy or snotty nosed boy”. He has a sense of humour and likes to play jokes on people. Moz is a riding horse first and foremost; he is ridden six days a week in the arena with everyone else. Many people who ride with us are not aware he is a stallion. Moz has won many breed Champion and Reserve Champion, both in led and ridden classes as well as open Champion Show Hunter. Moz passes on to his progeny his laid back temperament, his boldness, his jump, his looks and a little bit of cheekiness. Moz’s big love in life is not dressage, even though he has competed at Medium level and is training piaffe, passage, canter half pass and pirouettes. His big love in life is jumping and speed. He excelled at showjumping and was ready to be graded D before being forced to retire due to a jumping injury. Cross country he was bold, agile, fast and always seemed to know where his feet were. Stopping him was a problem that was cured by a Pelham and made my daughter’s ride less of a wrestling match and more of an enjoyable outing. Moz has done many other things. If we feel like doing something new, Moz is up to the challenge. He has been the demonstration horse, Breed Model and petting pony at Pet Expo and Equine X several times. He has attended local gymkhanas, sported, done TREC with the Adult Riding Club, tried Working Equitation, been the petting pony at a 7 year old’s birthday party and a trail ride horse. Moz adores my 15 month old grand-daughter. He puts his nose into the pram and doesn’t object when she squeals, grabs hands full of his nostrils or whiskers or thumps him on the nose and he gives her pony rides. Moz is a gentle soul, a lover not a fighter. He is spirited but docile, a big bay teddy bear who knows when you need a cuddle and a good cry in his mane. He adores having his tail brushed and would stand there for hours enjoying it. He smooches up for ear scratches and cuddles and has everyone in his stable block trained to give him pats and carrots. Moz is the great all rounder who excels at most things he tries.
The Aquila PRE stud is located on an old homestead property in Victoria’s lush Western District, near historic Camperdown. The large paddocks – a mix of rolling volcanic ‘Stony Rises’, bushland and rich pasture – provide the perfect environment for young horses to grow strong, agile bodies and happy minds in small social groups. Currently standing at stud is the 100% Carthusian stallion, Poseido LXXII, imported from Spain after an extensive search by stud principals Sarah, Trish and Tony Roberts. Poseido LXXII embodies the best characteristics of the Spanish horse – kindness, intelligence, willingness – with the beauty and athleticism of the PRE. Aquila PRE also has semen available from the outstanding FEI dressage stallion, Fugitivo XII (PRE, Calificado, Imp. Spain/USA). This fabulous stallion combined incredible movement and power with exceptional trainability. Sadly, Fugitivo XII is recently deceased, and services will be limited. At Aquila PRE, great care is taken in the selection of quality mares. In addition to kind temperaments, morphological correctness and good movement, the Aquila PRE mares are broken-in to prove their willingness under saddle before being bred. The philosophy of breeding quality, quiet and willing stallions and mares has been very successful, and results in foals that are brave, family friendly, true to type, and which grow to be a joy to ride. Our youngsters have been awarded Elite and Premium status, as well as Champion, Reserve Champion, and Best Movement awards under experienced Spanish Judges at National shows and tours. Sarah, Trish and Tony regularly attend accredited PRE shows internationally, which allows them to personally evaluate the allimportant temperament, as well as the morphology, movement and ride ability, of potential future sires. Sarah has also completed the International College of Judges PRE judging course.
Sue Rann (02) 6286 3258 or 0407 636 019 E: suerann@yahoo.com
Cordillera Stud
Aquila PRE currently has a number of foals and yearlings by Poseido LXXII and Fugitivo XII available. Sarah 0427 306 466 or 03 52 352 502. www.aquilapre.com.au
P.R.E Youngsters For Sale By Fugitivo XII (Imp.)
By Poseido LXXII (Imp.)
Sue Rann
suerann@yahoo.com
(02) 6286 3258 or 0407 636 019 1 8.
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For more information contact us on
0427 306466 or 03 52 352 502 or visitwww.aquilapre.com.au
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Majestic Spanish Horses
M
ajestic Spanish Horses, situated in North Queensland, has been breeding Pure Spanish horses since 2006 and has quickly become recognised for producing well handled, quality young horses and now is Australasia’s founding and only stud specifically breeding the rare and beautiful dilute PRE and Pure Spanish horses. The stunning golden coat colours of buckskin and palomino is created by the inclusion of the cream diluting gene in a horse’s genetic makeup. The presence of this ‘diluting’ colour gene is what gives rise to the expression ‘dilute’ and relates only to the coat colour, not to the breed authenticity or purity. The stud prides itself on their breeding stock which is both imported from Spain and sourced from around Australia, each horse having been chosen for their collective attributes of type, temperament, bloodlines and movement. The importance of having carefully selected mares is evident when combining with the exceptional quality of the stud’s two imported stallions, Picaro PM and Rayadillo SG, both of whom are exemplary examples of the PRE and each unique to Australasia. Picaro PM, bred by the world renowned Paco Marti stud, was imported from Spain in 2010. Colour tested ggEeAaCrCr (Perlino) Picaro PM is still believed to be one of only two known with his particular genetic composition in the world, making him a rarity in the world of the PRE. But his stunning colour is only one of Picaro’s features that make him a truly exceptional PRE. He presents with perfect symmetry in his conformation, a faultless temperament and movement that is simply awe-inspiring and undeniably breathtaking. Straight, elevated, full of freedom, lift from the withers, clarity of
.... Not just another Stud ....
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expression, powerful, balanced, superb extensions, the list goes on… Already a Supreme Exhibit and multiple Champion in both breed and open company; Picaro PM is undefeated in his limited show outings. Rayadillo SG was imported from Spain late in 2009 as a foal at foot to the tall, black dressage mare Lujosa SG. With both parents graded Calificado, Lujosa SG was selected to represent her breeder at SICAB and since her arrival in Australia has achieved State Champion. Having joined Majestic Spanish Horses in 2010 Rayadillo is maturing into a spectacular young stallion, so unmistakeably Spanish, and so very eyecatching with his iridescent golden buckskin colour. Like Picaro, Rayadillo has had limited show outings, but he too has multiple Champion awards in breed and open company and remains undefeated. Rayadillo was started under saddle late in 2012 and has proved to have a trainable, willing temperament second to none. Whilst both stallions are still only young their first crop of foals has been impressive to say the least. All have shared common features with their sires and strong Spanish characteristics in their type, impeccable conformation and kind temperaments with movement, particularly of Picaro’s foals, showing expression and elevation that is such a feature of the breed with straightness of particular importance. The beautiful shades of buckskin coat colours only add to the overall beauty and presence of the foals. Contact: Rita Gallaway 07 4093 1042 majestichorses@bigpond.com www.freewebs.com/majesticspanishhorses
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YEGUADA Cร RDENAS Below: D. Miguel Angel de Cรกrdenas holding Fuego
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Inspired
Horses Who
The World Ar ticle & Photos by
Cátia Castro
www.cmcequinephoto.com
At the present time, the owner of the Y. Cárdenas is D. Miguel Angel Cárdenas Osuňa, with more than 60 mares and 10 stallions of the PRE breed. Their consistent selection has been carried out by two generations of almost 60 years, and have won the top prize Champions of Spain 5 times. The 1st awarded champions of the Y. Cárdenas were “ Vasallo II “and” Valido “, both sons of “ Bilbaíno III “. This was in the 50s. “Bilbaíno III” was covering mares for about 12 years, so they chose two of the best sons and kept them as stallions. The “Vasallo II” sister, (of sire and dam), were having sons of “Valido” and vice versa. Thereby Y. Cárdenas obtained a fabulous homogeneity. Later “Poseído III” was bought from the Terry Stud, as were horses from the Y. Del Bocado, and from the Military Stud Farm. In order to refresh the blood lines of the Stud, D. Miguel A. Cárdenas in 2004 acquired a particular horse called “Fuego”, who at the age of 4, already revealed some impressive movements for dressage. Fuego was acquired from the Miguel Bohórquez Ruiz Stud Farm, located in Jerez de La Frontera - Spain.
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The Brand It can be found in the Book of Brands/marks breeders (Libro de los Hierros) published in Córdoba in 1860, the brand represented by the figure of the anchor, belonging to D. Manuel Díaz, great-grandfather of D. Cárdenas Llavaneras (D. Miguel’s father). By the mid-forties, this stud farm started to brand with a brand designed by D. Cárdenas Llavaneras, the result of joining together a very old brand, represented by an anchor, with a yoke, the latter device coming from his father-in-law’s brand, made up of 2 juxtaposed yokes, with which the union of both families was somehow symbolized. The Cárdenas Llavaneras stud farm was continued only by D. Miguel Angel in 1987. The stallions and mares Y. Cárdenas has had 9 Champions of Spain, one of which has won twice. The first was “Vasallo II”, then “Valido”, “Gastador”, “Ungido”, “Clásico-Mac” and it has been awarded winner of the prize for Best Spanish Stud Farm 12 times. Several mares have won Champion of Spain, several horses with the award of Jerez, Champion of Champions. In total: 100 gold medals, 152 silver and 164 bronze. The Cárdenas stud is the only one in the history of the Spanish horse whose stallions and mares have won the Championship of Spain 14 times, and the Championship of Champions award 4 times. Horses of the Y. Cárdenas are spread around the world, with males and females as stallion improvers, to be part of new stud farms, or improving existing ones. These mares are grazing on the farm “Finca San Pablo”, located in the ancient village of Écija, near Seville - Spain.
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D. Miguel Angel de Cárdenas D. Miguel A. Cárdenas, a person with a great love and devotion to horses, is a founding member of the National Association of Spanish Horse Breeders, President of the Seville Association of the PRE; he also belongs to the Andalusian Association. Always seen attending with much emotion at Fuego’s and Juan Manuel’s competitions, he is a great “man of horses”. The Cárdenas horses are noble, beautiful and functional.
D. Miguel Angel de Cárdenas holding Fuego
D. Miguel A. Cárdenas’s opinion about what a horseman should be is that he has to have the constant desire to improve, “It is supposed to start from a good theoretical basis, but the theory is not everything. It is the experience, enthusiasm, observation, and everything must be done with passion (“afición”), there is no better school. I fall asleep thinking about horses, they fascinate me. I am not nostalgic about the past or precursor of modern times. I live in the moment, as everyone should be, I think. Before there were problems too, but we tried to solve them. And now we must do the same work” says D. Miguel.
You must also teach the correct way so the horse is safe.
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The Inspiration Hollywood actors like Keanu Reeves, Bo Derek, Michael Douglas and his ex-wife Diandra Luker, come to see the Cárdenas horses at Finca San Pablo. Diandra Luker bought a few horses from the Y. Cárdenas, “she loved our horses, she would buy one foal per year, and I shipped them to USA” says D. Miguel. The Spanish Royal family all appreciates the Cárdenas horses; even King Juan Carlos appears in a photo holding a Cárdenas horse in hand.
Fuego
The magic and beauty of the Cárdenas horses inspired the great American photographer Robert Vavra to publish a book exclusively of photos of the Cárdenas horses and D. Miguel A. at home in Écija. It took him 3 years to photograph and edit, and a great preparation of horses in several locations and in different times of the season, so he could have a range of photos in Spring, Summer, Autumn and Winter time, either in the countryside or beaches of the south of Spain. The PRE From the last decade, Y. Cárdenas has set their goals to producing horses that are becoming more functional, serving for dressage purposes.
Y. Cárdenas has set their goals to producing horses that are becoming more functional, serving for dressage purposes. 2 6.
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D. Miguel A. Cárdenas explains to us that the PRE was created by the Spanish King Felipe II, and the King said they had to be very fine horses, beautiful and functional. These 3 things have to combine together very well, so make sure all these 3 characteristics are proportional and not one for the other. A few decades ago, the horses in Spain had to have a certain morphology and colour. No one accepted the chestnut (or sorrel), and there is an explanation: when the PRE was created in the late Renaissance and early Baroque, the entire Greco-Roman culture was a great influence. At that time, the colours of horses were enormously important. It was considered that a grey horse was related to the gentle water; the brown horse to the fertile earth; and a chestnut to the terrible fire. The chestnut horses were therefore too fiery, so they were not considered very typical of the breed. Now it has been shown that this is not true. Everything changes, but the good has always been and remains good. Horses that have won before will continue winning. People previously asked for certain characteristics of the horse, for example, they called for more high movements, and now the more extensive movements, but a horse that always has moved well has still more to give.
Tranquilo Lodge
T
ranquilo Lodge, established 1986 is home to some of the finest PRE Andalusian horses within Australia. We have won countless awards at Royal, National and Para Equestrian level and have dedicated our lives to perfecting the breeding program we mindfully started 27 years ago and to this day continue to enhance the quality of our certified PRE APTO breeding stock that are registered within AHAA & ANCCE. Our focus at Tranquilo Lodge has been to respect the remarkable qualities of the PRE horse and maintain the bone structure, temperament and movement we have bred into our horses, as we feel these elements are very important when breeding a PRE of pure Spanish type for both Morphology and Dressage. For this reason we have focused on one breeding program for a number of years using our late foundation Stallion JOCOSO XXXII & national award winning mare DUTCHESS. This selected program carried mainly BOCADO & MILITARY bloodlines dating back to a long line of respected horses such as VAMPIRO, ADENTRO, BILBAINO III and NOVATO. From this breeding program came our magnificent 16.2hh PRE APTO stallion TL TRANQUILO I. This illustration of breeding is shown through TRANQUILO’s elegant PRE looks, correct conformation, forwardelevated movement and his main asset that he is renowned worldwide for – strong bone. A well-respected award winning stallion, Tranquilo’s offspring are nothing less than perfection; passing on strong bone, height, beautiful Carthusian looks and elevated cadenced movement. After years of perfecting one breeding program and the growth of our daughter’s dedication to Para Equestrian we decided to carefully expand by introducing 5 new additions to our breeding stock, HANNA
PODEROSO (IMP) a now 2yo colt imported at 8 months was selected as a future stud and dressage mount based on his superior genetics, future height and bone structure. PODEROSO is a son of Reproductor Calificado stallion JALEADOR DE JC III (IMP) a sire sharing some of his genetics with such stallions as ILLES, who is a dressage mount for Victor Alvarez and UBIO, who made international dressage headlines, for being the first ever PRE stallion licensed for a German Warmblood studbook. PODEROSO is the first of JALEADOR DE JC III offspring to enter Australia. Our third PRE APTO stallion to introduce is ANDALUKA ELEGIDO, known worldwide as “EDDY” the Para Equestrian dressage stallion. Eddy & our daughter Victoria campaign the PRE horse in Para Equestrian Dressage, aiming to represent Australia in the 2016 Paralympic Games RIO. Standing 16hh, this magnificent stallion has it all – elevation with extension from the shoulder, powerful hock action, and best of all temperament! Gentle, kind, reliable – Eddy is a true example of the noble qualities this breed portrays. We cannot go without mentioning our mares TL TRANQUILA, TL VICTORIOSA, ANDALUKA DIVA, MICAELA & KELINA. All fall within the lines of strong Military blood of MALUSO, JENSON & AGENTE. Well known powerful bloodlines for functionality. We believe by introducing these strong performance lines we will be able to enhance the quality of our stock for dressage & morphology, continuing to create PREs of outstanding conformation, powerful movement and temperaments that will be able cope with high competition environments. Barbara, Alan & Victoria Davies welcome you to visit our website and hope you enjoy the beauty of our horses.
www.tranquilolodge.com
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We are now starting to breed good horses for dressage, and this requires consistent selection. Both mares and stallions are very important in breeding, but everything depends on the stallion. In the horses bought by Y. Cárdenas they have searched for, in the Y. Del Bocado (Y. De la Cartuxa) its morphology, in the Military Stud its functionality. Fuego is the son of a stallion that comes from the Military Stud, “Lebrijano III” sire of the horse that won at SICAB (Spanish annual horse fair), “Mango Rodeo”. BHM: What made you notice Fuego? MAC: “Everything has a story. It was in the year 2004, Juan Manuel Muñoz Díaz had just started to work in the Y. Cárdenas for only a few months, but I could tell he was a good rider, so I took him with me to SICAB to see horses with the purpose of refreshing the Y. Cárdenas blood line. ANCCE had collaborated on an initiative with SICAB, which brought a German Olympic rider to try Spanish horses. He rode several horses of many stud farms and also came here to the Y. Cárdenas. All that time during the fair, there was talk of a horse who the German rider liked especially. That horse was Fuego and they wanted to have him, but I bought him first. (Laughs) Then Fuego soon revealed an extraordinary difference in competitions, and made his career with a great rider Juan Manuel and trainer Jean Bemelmans”. Inspirational beautiful horses, and an excellent work and investment in Fuego de Cárdenas and Juan Manuel Muñoz, made this stud farm a reference in the world of the Baroque breeds, and put Spain and the PRE among the highest competition scores. Thank you very much to D. Miguel Angel de Cárdenas for the great welcome and for being available to meet with us. a www.caballoscardenas.com Madrid-Cádiz highway, km 459 Finca San Pablo – Écija SPAIN
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Fuego de
Cárdenas
Anchorbar Stud
Noble Parque
Anchorbar Stud - Clasico – Mac was bred and owned by the Yeguada Cárdenas Stud in Spain. His sire is Gastador VII and his dam Lancera V, who has had enormous influence on the Cardenas Stud. Daughters, grand-daughters and great granddaughters were used for many years at the stud. Other influential and well-known horses in his pedigree include Valido, Vasallo and Bilbaino III.
Noble Parque began its story in 2003 with the purchase of Andaluka Destinada, a mare who would shape the future of the stud and spark our ongoing passion of the Andalusian Breed.
Anchorbar Stud is breeding Valeroso B [ Clasico-Mac’s son ] to the stud’s broodmares who carry the bloodlines of Dacio III (Imported), Anchorbar Fornido, Alexandro II, Anchorbar Jimbarella. The Stud is very pleased with Valeroso B’s first crop of foals who have friendly natures and good conformation. He is passing on the lineage characteristics to them. All sale stock are taught to lead, lunge, tie up, trailer load etc. Registered, freeze branded, and inscribed before they leave home. Anchorbar Stud was established in 1976 with the purchase of Dacio III (Imported), who was bred by Ses Rotes and Terry Stud bloodlines in Spain. Into the future our family are going to continue the breeding programme. We recently had all the breeding stock revised into the P.R.E. Mundial Registry. Over the years the stud has been awarded many Championships in National and State Breed Shows plus Open class events. Ironically, a similar Anchor Brand to our brand was the original Brand of the Yeguada Cardenas Stud.
I knew what I wanted right from the beginning, and that was to breed Baroque type horses that would excel in open competition and stand out in a field of others, but most importantly maintain that pizzazz and nobility which sets this breed apart from all others. I believe that we achieved that right from the beginning. Our very first foal was a silver movement medallist at the PRE Show Sydney in 2006, reserve champion junior female and morphologically scored in the top 5. And so we laid our foundations. Today we have top quality mares all proven in the show ring as champions. They are our foundation and we take great pride and time in selecting supreme stallions to complement each of them. We do not keep a stallion, which I believe gives us the flexibility and ability to choose from the ever growing availability of Imported stallions / semen and therefore enhance characteristics that we wish to bring out in our future foals. Temperament, trainability, movement and versatility all wrapped up in a blanket of Baroque goodness. A horse for all occasions, whether that be competition, trail riding, breeding or simply plodding in your back yard, our horses are raised in a family environment exposed to a variety of experiences and have proven themselves to be of typical Spanish nature and Superior quality. Contact: Clauda Pulko 0418 891 899: E: nobleparque@hotmail.com
Contact: Merle Ireland P: 07 4691 6211 M: 0427 063 351 E: anchorbar@skymesh.com.au
ANDALUSIAN HORSE STUD
Est.1976
Classico-MAC Bred and ownded by the Cárdenas Stud in Spain Sire to Valeroso B standing at Anchorbar Stud
Classico-Mac
Contact: anchorbar@skymesh.com.au (07) 4691 6211 or 0427 063 351
Biddeston Via Toowoomba QLD
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? y z a r C u o y g in iv r D e g id M Are Mosquitoes and
I
t’s time to take action against your unwanted pests. How often do you head outside to enjoy an evening BBQ only to be harassed and forced back inside by mosquitos and midges? Are your horses succumbing to Queensland / Sweet Itch? Want to claim back your stables and outdoor areas? Check out the latest technology in the fight against these frustrating and disease carrying insects… The Mosquito Slayer.
guarantee if they fail to catch mosquitoes and or midges. Innovative Pest Management markets two sizes of Mosquito Slayer traps. The smaller Mosquito Slayer Series 4 Model covers up to 1/4 hectare and the larger Mosquito Slayer PRO covers up to 1/2 hectare. “The area covered by these traps depends on the environmental breeding grounds in your area. Some properties require more than one unit” said Kim.
The Mosquito Slayer attracts and then drowns the biting female mosquitoes and midges, eliminating their breeding cycle. The Mosquito Slayers are professional outdoor traps that can lure mosquitoes and midge from up to 3oo meters away. The Mosquito Slayer is an Australian invention and is distributed by Innovative Pest Management on the Gold Coast. It has been independently, scientifically and internationally proven. The Mosquito Slayer has 10 attractants including food grade lures and Carbon Dioxide (CO2) to lure the biting mosquito and midge.
Mosquito Slayers help protect the special people and animals in their care from the frustrating symptoms of biting mosquitoes and midge. Kim said their clients use their traps on residential, commercial, acreage, farming, and mining properties protecting their families, employees and animals. “They are used in situations including schools, universities, polices stations, councils, mining workshops and camps, eateries and wineries, Defence Force guard dogs, equestrian centres, and horse racing stables.” said Kim
Innovative Pest Management manager Kim Job says that it definitely does work, “I have used my Mosquito Slayer PRO for nearly 4 years to protect my family and pets, and we can now happily use our back yard, front patio and side yard pool areas in the late afternoon and night with no or minimal mosquitoes and midge biting us. After windy weather we may have a few extra blown in biting visitors, but they are soon sorted. I never want to live without it as we enjoy our outdoors too much. It can take up to 4-6 weeks to see a noticeable decrease in the populations. The area around the Mosquito Slayer just continues to improve the longer it runs.”
Mosquitos and midge carry a number of viruses harmful to both human and animals including Ross River and Baham Forrest Virus, Malaria, Horse Queensland/Sweet Itch, dog heart worm, cattle 3 day sickness and the list continues. The best prevention to these symptoms and diseases is to eliminate the insect from the environment as safely as possible.
They have a 12 month manufacture’s warranty and a money back
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Kim said they sell worldwide via their website www.mosquito.com. au or by phone. Email enquiries are also welcome. Innovative Pest Management has also developed a high quality solar unit to power the Mosquito Slayer trap where 240v power is not available.
If you would like more information, Kim is more than happy to talk to anyone to discuss your individual needs and advise on how the Mosquito Slayer can help you.
www.mosquito.com.au
ASOCIACIÓN DE CABALLOS DE PURA RAZA ESPAÑOLA - AUSTRALIA BAROQUE HORSE & CLASSICAL EQUITATION TOUR 18 October- 24 November 2013. This is designed to clarify the origins of the Baroque horse; enter the magical world of collection and lightness. Hosted by Jane Evans with a list of International Equitation experts and breed specialists across 6 countries. Enjoy the splendour and beauty of Baroque breeds and Classical Riding each in its cultural and historic backdrop. Austria; Piber stud, mares with foals, full day at stud with Stud’s Director, lunch in the Palace. Spanish Riding School in Vienna; enjoy the School performance and morning training sessions with the young Lipizzaner stallions. Stable tour, Hofburg, a tutorial with the only co-Director of the SRS-Piber Stud, Dr Jaromir Oulehla; International Lipizzaner accreditor for over 20 years. Slovenia; Lipizza Stud farm and performances and Classical riding option. Czech Republic; Kladruby State stud; Kladruber, one of the tallest Baroque breeds in the school, both ridden and harness. France; Cadre Noir, Saumur, Riding School, Classical equitation, riding options, Versailles, Bartabas, Theatre of the Horse, restored Royal stables; Chantilly; Living Museum of the Horse, state studs. Portugal; Golega fair, Alter Real, private studs/schools, riding options, see Olympic Rubi. Spain; Royal School of Equestrian Art, Palacios Museum, stables tour, saddlers, carriage rides, Yeguada la Cartuja (ethereal Carthusian horses), Royal Stables in Córdoba, SICAB in Sevilla (up to 1000 P.R.E. horses over 6 days), Cárdenas Stud (home of Fuego), private studs, incomparable Centurion Farms, Equitation “Understanding conformation for movement”, judging with Mercedes Gonzalez Cort. Juan Llamas, artist, poet, shares his intimate insight through drawings. Comprehend the “duende” (spirit of man & horse become one). What is a “dressed horse?” REGISTER; 25 max (AUS$8800-9500 tbc) Twin share, inc. airfares. May be Tax deductible. acpre.australia@bigpond.com $1000 deposit, $3000 by 1 April, $3000 by 1 June, balance by 1 August 2013. Part packages available.
El Caballero Stud El Caballero Stud was established in 1978 with the purchase of our foundation stallion Corveto IV. Just over twelve months later we purchased our mare Delightful, who was in foal to Embajador II (imp) son of Maluso. She delivered a colt who we retained to become our second stallion, Encantador. Our bloodlines were a combination of Yeguada Militar and Merello Vda. de Terry and they produced quality horses with good temperaments and excellent movement and conformation with the added bonus of good height. We competed in Breed classes, Ridden, Dressage and Harness with our stallions and also produced stock that went on to become Champions themselves in all aspects of equine disciplines. Through the eighties we continued to purchase more brood mares with similar breeding, later on in the mid nineties we added another bloodline, a mare by Hortelano VII (imp) out of Esplendida IV (imp) plus a mare with Maluso bloodlines. When the Cria Caballar came to Australia in 2001 for the first time for entry of our horses back into the Spanish Stud Book, our stock had outstanding scores all over Australia including one of our brood mares who was the highest scoring horse in Australia. The highest scoring horse in New Zealand was El Caballero Encantador II at the age of eighteen and he left his mark producing some of New Zealand’s top jumpers. We were told by Snr Rafael Rebas and Snr Jose Artillo that they were able to recognise the stock we had bred the moment they saw them and that they were of excellent quality. We now have fourth generation horses in our breeding stock and they range in height mostly over 16hh or 162cm to 16-3hh or 170cm; although we have increased our stock height to compete in today’s market for taller horses we still have retained the characteristics and the temperament of the Spanish Horse. Our future aim is to breed horses that will be able to compete and further promote the PRE Horse in Australia. Contact: Pat Ball 03 59971617 E: elcaball@bigpond.com
El Cabaleo Stud FOR SALE Stallions, Mares, Colts & Fillies
All registered with ANCCE in Spain and AHAA in Australia
ACPRE AUSTRALIA INC PO BOX 453, MT BARKER 5251 SA ESTABLISHED & INCORPORATED IN 1998
Protecting, preserving and promoting the P.R.E. horse through Revision programs following the respected principles and high standards established by Jefatura de Cria Caballar , Spain for over a century. Proudly associated with the global P.R.E. Mundial, Foundation for the Pure Spanish Horse, UCCE and Melpi, Spain maintaining the breed with integrity into the future, without compromise.
Prices start from $4,000
Supporting breeders through educational programs and International Equine Tours since 1997. NEXT ONE; Oct-Nov 2013 acpre.australia@bigpond.com or 0409 402 976
(03) 5997 1617
elcaball@bigpond.com
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J O L A N D A
&
C A R L E T T O
By Jessica Morton
Throughout history the horse was a precious ally to man during tough times, especially in battle. Perhaps this is why historians have traditionally recorded these relationships – connections such as Bucephalus and Alexander the Great, Marengo and Napolean, and Robert E Lee’s ‘Traveller’. Partnerships that wrote the history books, and bonds that transcend time. There is however something unique about the bond a woman has with her horse . A softer, feminine relationship, less about survival and battle, and more about friendship and trust. Stacey Westphall captured the public’s imagination when her bareback, bridle-less demonstration went viral on the internet, and let’s not forget the fairytale of Rembrandt and Nicole Uphoff, with who she went on to successively win two Olympic gold medals, and owned from the age of 14. Dutch/Italian dressagerider and instructor Jolandar Adelaar is more than just a pretty face. Competing and performing on her Fjord gelding Guus, the student, entrepreneur and devoted horse owner is symbolic of what an amazing bond between a girl and her horse can produce with years of hard work and patience. Guus, a red dun Norwegian Fjord, was purchased from a holiday riding center in the Dutch woods when Jolanda was only 12 years old. Without the means to keep her first horse in a professional stable, Jolanda boarded Guus in the neighbour’s cattle fields, and rode him bareback amongst the cattle until she could afford a saddle.
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The two went on to compete regionally in a range of disciplines, and discovered that he had a talent for dressage. Within two years, the little lion-hearted Fjord had become regional champion in advanced level dressage, successfully competing against a field of bigger, flashier sporthorses. The pair was accepted in the Master Class of the largest Equestrian educational institute of Holland. This class, which is intended as an intensive preparation for professional equestrians has an impressive resume of former students such as Lotje Schoots and Imke Schellekens-Bartels. Jolanda was the first rider to be accepted into the class and to graduate the course on a Norwegian Fjord horse. In fact, she was the first rider to participate with a horse under 16 hh. On their graduation day they scooped a prestigious training grant in Equine Behaviour therapy and she was elected Helicon student of the year. The judges were extremely impressed with her tenacity and entrepreneurial streak. The novelty of a beautiful girl and her dancing Fjord horse quickly made the pair famous in their homeland of Holland. They were invited to perform at different events including the FEI World Cup Dressage Final in 2005 where the talented horse and rider team performed Piaffe, Passage, Spanish walk and Pesade. Jolanda’s unwavering devotion to Guus for over 15 years is admirable, and representative of a turning trend in sustainable dressage where true horsemanship equals time, study, method, observation, patience and feeling to achieve results. Sadly, in today’s modern world horses are often traded like automobiles, with riders constantly searching for something flashier, bigger, faster or more exotic. Jolanda has been constructive in showing the world what can be achieved on any breed of horse with correct training, and has indeed achieved exceptional results with a horse that others may have never considered suitable for dressage. Jolanda, was born in Amsterdam to an Italian mother and a Dutch father. Her mother hailed from the south of Italy, near Naples where the family owned a business making wicker chairs Naples was also home
of the equestrian art renaissance, where Grisone founded his first riding academy after the discovery of the ancient texts of Xenophon. Here, Napolitano horses (famed for their aptitude to perform the airs) taught young men from noble families throughout Europe the art of dressage. Today, the close descendants of these horses, the Murgese horse; continue to thrive on the Pugliese topography. Jolanda last year tentatively began the search for a young prospect that she could begin training for the future. It was at this point that she went back to her roots in Italy and discovered the Murgese horse in her mother’s homeland of Southern Italy. I interviewed her over the summer on her Italian family, and how her new Italian Stallion, the blue roan ‘Carletto’ was going now that he was on Dutch soil in training. You are half Italian; tell me about your upbringing in Holland with an Italian mother and Dutch father? I always fantasized I would have this big, loud Italian family that would interfere with each other and protect me. My family is small, but I love them for this even more. My upbringing has been influenced by my Italian and Dutch family history. My father is Dutch, born in Utrecht in 1941. He has a big passion for Italian violins and plays the violin very well. He has a lot of stories about how he and his family survived the Dutch famine of 1944 during the Second World War. 22.000 Dutch people died of famine during that winter. My mother was born in Rome in 1947. She comes from an old Neapolitan family who had a farm near Naples that was in the family for generations. Unfortunately, they had to exchange the farm for a small flat because Mussolini wanted to use the ground. Southern Italy was very poor and there was not a lot of work. Like many Southern Italians, they moved up to the North. When my mother was 3 years old she came to the Netherlands. Italians were not that popular back then and my mother told me many stories about being judged because of being Italian. If something was stolen at school, my mother was the first suspect. Not all of her family was allowed to stay in Holland and some moved to Germany. She lost contact with many family members including her father. She had a very hard life before she met my father. My parents are still happily married after 38 years. My fiancé is Italian, and was born in Vico Equense, Naples. We have been together now for over 6 years. He convinced me to run for Miss Italia nel Mondo. This is a beauty pageant for Italian immigrants who live outside of Italy. In Holland there are living about 25,000 Italian immigrants of which the first generation came to Holland around the 20th century. I was crowned Miss Italy/Holland in 2008 and represented Holland at the international final at Rail. Who were your heroes growing up? Who inspired you? Anky van Grunsven. As a child my room was hanging full of posters of Anky and Bonfire. She still is a big inspiration for me as an athlete and a woman. I had the honour to meet her a few times and she is also very nice in real life, she is honest with both feet on the ground, a good sense of humour and a wonderful mother too. What made you fall in love with Guus, and push to compete with him even
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though certainly in Holland where you are surrounded by sport horses, there must have been considerable pressure to buy a different horse? I am always attracted to things in life that are different then the standard. I met Guus when I was 12. That summer I went on a pony-camp at a riding school. Guus was one of the young Fjord horses working at that riding school. He had to carry tourists through the forest. All the horses always came back very dirty and they all needed to be washed off with water. Also Guus. The other horses just accepted the shower on their skin, but Guus every time made a big drama about it. One time when I was watching, he even escaped during his shower. Guus will never accept something he does not like. He will fight against it forever. He is like a tank. I was fascinated by his determined and free spirit. After the pony-camp I wanted to buy Guus, but I had to convince my parents. They thought a horse would be too expensive. I was really obsessed by Guus and when I was still talking about this Guus-horse after one year had passed, my father said I could have him if I would find a pasture where he could stand. I found one where Guus could stay...between the cows. So Guus became my own. For me having nice trips through the forest was fine, but Guus just did not have the character for it. He always wanted to go fast, run and he is just too much of a hot-head to be a good recreational horse. After one year riding between the cows, I became a member of
the local riding society. I remember the first question they asked me when I arrived with my horse at the first weekly lesson: “Are you aware that the goal of this membership is to participate at competitions?” I just thought competing would be fun and later I discovered I am quite a competitive person too. I had read that the Fjord horse is a breed most used as a draft horse, but it never occurred to me that then I cannot do other things with it. A horse is a horse. I was already the happiest child on earth with owning my own horse and never took this for granted. I started competing with my Fjord horse, not only in dressage, but also show jumping and eventing. I educated Guus by myself and did not let him be trained by somebody else. We were best in dressage and after 2 years we already were competing at advanced level and we became a local champion in the highest national level. Later, I became the first rider competing in the Subtop dressage level in Holland with a Fjord horse. Even when in this level we did not win, we inspired a lot of riders to also compete with another breed. Guus does not have good gaits, even for a Fjord horse, but his back-leg is very strong and I could train him easily until the piaffe and passage work. When it came time to find a young horse (Guus is almost twenty now) how did you hear about the Murgese horse? I thought about this question a lot and I just
cannot remember when I first heard of the Murgese. My interest for the Murgese horse grew slowly while I was searching my own Italian heritage. I like that the Murgese also shares the Napolitan roots (like my mother), and that they were used as a cavalry horse and still are used by the Corpo Forestale dello Stato in Martina Franca. Can you tell me how you found Carletto? I searched for more than 2 years for a new horse and thought I would never fall in love. I had doubts with every horse that looked suitable. Surprisingly, Carletto (Otello di San Paolo x Everest) was the first Murgese horse I saw in Puglia and I bought him without any doubt. I am still surprised by the quickness in that purchase, because I am the worst at being decisive. I think you just know when you find your horse. Before I went to Puglia, I had a black Murgese stallion in my head to perhaps buy…I never thought I would end up with a blue roan Murgese. Most Murgese horses are black and only a few have the blue roan color. I think the reason not many people outside of Italy own a Murgese, is because there are not many Murgese horses yet (compared to Friesians or PREs) and to get the best Murgese horses you need to travel to the only place where they breed them - far away in the remote ‘heel’ of Italy. If you arrive at Bari, you can rent a car at the airport, but to get to the farms where the Murgese horses live, you really
I became the first rider competing in the Subtop dressage level in Holland with a Fjord horse. Even when in this level we did not win, we inspired a lot of riders to also compete with another breed.
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need a guide and if you do not speak Italian, you should have somebody with you who can translate. Most horses are not broken in yet and you should not judge the culture of the farmers of Puglia. Many Murgese stallions are kept in a “trullo”. This a traditional building in Puglia that looks a bit like a religious chapel made of white stones. I have seen a lot of places in Italy and I must say the most beautiful area of Italy I have
I have broken in Carletto myself. I did this with small steps, letting him get used to each step of the process and using positive reinforcement the whole way. When the day finally came that I could put my full weight on his back, for Carletto it was like another fun game that always comes with nice treats. Riding away with him was like we knew each other for a long time and the riding was just a new thing we did
been to is Puglia. It is really a mythical place and the Murgese horses are part of this magic. I was guided by Checco Curci from Noci, Puglia. He built a huge database online of all the approved Murgese stallions starting from 1919. An immense task. When Checco heard I was searching for a Murgese horse he offered me his help. He supported me in the whole process of finding the right horse. I knew when I came to Puglia I could not really try out the horses, because most of them are not saddle broken. If a horse is not saddle broken it is of course difficult to know how it will be when you are on his back. Out of my experience with training horses I noticed that most horses that are nice to work with under the saddle are most of the time horses that were well socialized. So I tried to do some tests on this with the horses I met. Carletto was 3 years old, and had almost no experience with strangers. When I touched his shoulder he was scared at first, but when I slowly moved my hand up to his withers and started to groom him with my fingers, he started to be less tense. Very carefully Carletto started to groom me back. He was really sweet to me and was totally concentrated on me. I did this with all Murgese horses I saw. After seeing Carletto I really tried to keep my mind open for other horses, but my heart already made the decision.
together. Carletto is only 3 years old so the more advanced training will start when he is a few years older. He still needs to grow a lot. He stays in the field from 9 in the morning until 6 in the evening. This is still not common with the management of stallions and lots of stallions are kept in the stable most of their day. This has a reason, but I think with good fencing and stallion knowledge, you can keep a stallion in the field, even a breeding stallion. To me it is very important the horse can run and move in liberty so he can develop in the best way physically and mentally.
Now you have Carletto home in Holland, can you tell me how his training is going? 3 6.
How do you find the Murgese to handle? I think you reap what you sow. I like that they are brave horses and not spooky like a lot of sport breeds. I love the funny faces the Murgese can pull off. They have very expressive faces. Compared with the PRE, the Murgese has a longer back and the legs are of a heavier build. Most Murgese horses have a very good gallop and are very suitable for competing in sports such as Working Equitation. I would like to see more Murgese horses competing in dressage, because I am convinced there are Murgese horses that are very suitable to get to a higher level in this discipline. But to let them develop in dressage, they need to select them specifically and there would need to be more FISE (Italian Equestrian Sport Federation) competitions organized in the area where Murgese horses
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are bred. People in Italy need to be inspired to compete in dressage with their Murgeses. I hope one day to see a Murgese competing at the Olympics under Italy, like the PREs and Lusitanos are already doing for their nation. Why did you choose a Murgese for dressage - a horse that in Italy is still widely considered inferior to Sport breeds over for example, a KWPN? Whilst I do have the ambition to get to the top in dressage, for many people a KWPN would then have been a logical choice. But my heart chooses differently... Finding a good horse is not something you can calculate. It needs to be right on so many factors. Putting a good rider on a good horse is not the answer for success. The story of Totilas has been a good example to prove this point. There really needs to be chemistry between rider and horse to get to this magical point of unity. All equine success stories are indeed little love stories. Also I love the brave characters of Baroque horses and found the story of the Murgese horse very beautiful. This in itself attracted me, and is why I researched purchasing a Murgese rather than choose a sporthorse breed. Not every KWPN or other sport breed does well as a sporthorse, even when they have the perfect pedigree, conformation, gaits etc. Some “sport horses” are so spooky and scared that they are far from being ideal sport horses. Also because of this side of their character, you see a lot of Dutch riders with competition ambition choose a Friesian instead of a KWPN. In Holland they thought exactly the same about Friesians being inferior as a dressage mount as they do now in Italy about the Murgese. Now there are even Friesian horses competing international GrandPrix, so there is hope for the Murgese gaining the recognition they deserve too. On that subject, can you tell me your thoughts on sustainable dressage (ie riding for the art of equitation over competitive success). Competing should inspire you to be a better rider and manager for your horse. I think competitive success should be reached out of the sustainability that comes from 24 hour equine management that does well for rider and horse physically and mentally. Dressage has had such an influence on human history, using the horse for migration and wars. The beauty of dressage as an Olympic sport is that dressage is made for every horse, every rider and every gender. It is the basis of all equestrian sports and the only equestrian sport included at the Paralympics. Dressage should be judged as a sport on the correctness of the exercises, the given aids, the harmony between rider and horse. Dressage should become more available for everybody. To make dressage as a sport more popular they must allow some more “coloured horses” to score in the international arena. I like that the FEI developed for example the World Dressage Challenge. These are competitions in countries with a poorer chance of developing dressage as a sport. I am also happy more that more people are competing with “other breeds” and that the riders are coming more and more from different backgrounds. When you see horses that are all the same in the international dressage arena, you don’t see the passion of a
country, defending their flag and special culture. When I saw Fuego and Juan Manuel Muñoz Diaz for Spian or Gonçalo Carvalho Conchinhas and Rubi for Portugal at the London Olympics 2012, I saw true international dressage riders with passion for their origins. Riders like them should be more appreciated in the international sport scene. Dressage is the result between a human and an animal. Not a human and a machine, where it is mostly depending on the machine which results it gets. Unfortunately every dressage sport-horse starts to look the same. The FEI has lately even announced it is allowing cloned horses to compete at the Olympics of 2020! What are we heading for? We should not let money be the decision maker in dressage sport, or even encourage this, but unfortunately it still does. Dressage should not become a bioindustry. When in history a man went into battle on his horse, horse and rider could both die in battle. In dressage , rider and horse should also be judged equally. The rider should not be less important than the horse it is riding.
Manipulating with human athletes is a taboo… why is it accepted with equine athletes? We should never cross the border of letting a horse not be able to function as a horse anymore. What response in Holland have you had to Carletto? ie What do others think of the breed? Nobody knows the Murgese horse in Holland and I have to explain every time which breed it is. I don’t mind it of course and tell the story of the Murgese horse from Puglia every time full of enthusiasm. I spoke to a lot of people who are also interested in buying a Murgese horse after seeing Carletto, but for many people going to another country to buy a horse and importing it to Holland is quite complicated. If I go to show Carletto also in the competition arena, I think the interest will even grow bigger. One day would you like to compete for Italy in Dressage? Yes, this is a big dream for me. But I don’t know if I will ever make it there. Learning and training to be the best horsewoman and rider
possible is just not enough.You need sponsors and to build a solid management to be able to travel, compete and get selected. My goal now is to have my horses stay at home where I can let my training centre grow, keep more horses etc. Now I still need to rent everything, I travel every day to get to my horses and students. Holland is a very small country with lots of people living in it. To buy a house here that has space to keep horses, you need to be fairly wealthy or move to another area where there is more space and ground available. Will you stand Carletto in Holland? The first couple of years I will focus on educating Carletto and prepare him to perform well on competitions, but after this, I would like to make Carletto available for insemination for Murgese mares. a You can follow Jolandar’s progress with Carletto on her website
www.superguus.com
I think you just know when you find your horse. Before I went to Puglia, I had a black Murgese stallion in my head to perhaps buy… I never thought I would end up with a blue roan Murgese.
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Master Miguel Tavora:
A Master For All Riders
Master Miguel Távora was born in Portugal, son of the 9th Marquis and Marchioness of Abrantes. He started riding with Master Nuno Oliveira at the age of 8, for about 10 years. Later Miguel Távora attended the Military Academy. In his military career he completed the Course of Instructors and later the Course of Masters in the Portuguese Military and Civilian Riding Academy of Mafra (CMEFED) where is was later appointed as Chief Instructor and Director of the Equestrian Division of this school. He competed in Eventing, Show Jumping and Dressage. Miguel has lived in Australia for more than 30 years, where he and his wife Dianne run their own Equestrian Centre (M & D Távora School of Equitation). Miguel is a NCAS Level III Instructor (dressage specialist). Ar ticle & Photos by
Cátia Castro
www.cmcequinephoto.com
BHM interviewed Miguel Távora in the centenarian Hipical Society of Lisbon Portugal, where he held a 3 day clinic. BHM: Where does your interest in riding come from? MT: Perhaps because I had an uncle who took me riding when I was very young. I fell in love with horses and riding, which is an art and sport, that I consider more of an art than a sport. It’s something that you feel. My parents had no connection to horses; we lived in Lisbon in an apartment. My uncle was a very famous show jumper at that time, Rodrigo Pereira Castro, and he took me to Master Nuno de Oliveira and I started to ride horses. At that time there was neither small nor great masters, there was no difference if you were new or an old man. Before a great teacher taught everyone, not like now where you select people you want to teach. Today, riding teachers are more selective, as today there are more teachers and more people riding; now the riding instructor has to teach more beginners. At the time there was no differentiation and people had more access to the great masters. BHM: Master Nuno Oliveira considered you one of his best students. How do you feel about this? MT: I do not consider myself in any way one of the best students of Master Nuno Oliveira, I was his riding student and he was a great master who helped me a lot. I am a person who likes equestrianism, horses, teaching horses, teaching people to ride, helping them ride better with my experience. I learnt from Master Nuno de Oliveira the respect for the horse, the respect for ethics and to use the correct techniques to ride a horse, using tact, instinct and always remembering that the horse is an extraordinary animal, who is our friend and who therefore has to be respected and then enjoy while giving the horse the best possible life he can have. The experience of riding horses is both an art and a science, and like any other arts, arts have a technical background. If the person likes riding then that person can learn, and at my age I’m still learning. Every day that I go to ride, when I give a lesson, it never gets boring and this fact arouses curiosity and interest, is not that I can say that I know everything. We learn every day. When people fail to achieve those goals and dreams they sometimes have, they feel frustrated, they give up and turn to other things, and for those people it’s just the winning that matters. I tell all my students that winning is secondary, what matters is the respect for the horse, the love for the horse, and enjoying riding and the horse and its art, and receiving what the horse can give us and what the art can give us. When I am giving a lesson, and 3 8.
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...Winning is secondary, what matter is the respect for the horse...
that horse who was very nervous and could not walk a step, when I get him to do a nice and relaxed walk, that for me is like winning a gold medal at the Olympic games - the horse was relaxed, felt happy for the first time in the lesson, that it is the goal of riding. BHM: How do see Equestrianism today, what changed? MT: In sporting terms it has never been as popular as it is today, horse breeding never developed as much before from when I was a young boy as it is now. Before equestrianism it was based on the army, because they were the only ones who had money to have horses, and it was said at the time, that if the army and the military failed to have horses, equestrianism was over, but now we see that the army no longer has horses and equestrianism is not over. Today we have a more materialistic life, and the horse puts us in touch with nature and is a way of escape for many people. There are people with intellectual occupations that have a passion for the horse and can be turned off and relax, I think that’s what attracts some people. And we have the other part, the sport, that which is much more developed now than in my time. There are so many TV channels and magazines where you can see equestrian sports, and this attracts the sport and competition, and that of course influences the love of art. Today we see many people attending Dressage events, the world has evolved. Never did we see so many people riding like today, and with that people never
rode as well as today, but people never rode so bad either, because there are so many more people riding, with more access. BHM: What’s the secret to be a good riding master? MT: You have to ask my students this. I’m not a good teacher, no way, I am an enthusiastic teacher. Because I’m an old man, and I am full of cold sometimes, and sit in the chair 2 minutes, but suddenly I see the horse doing something and I jump from the chair, and go to the middle of the ring, because I get enthusiastic, I want to take part, to participate as much as I can, because I like to be in contact with the student, to help, and I love it. To like what I do is maybe my secret. So I try to help as much as possible. BHM: Do you think people must have a gift for riding well? MT: No... you must have a minimum amount, then you must like to study and work. I consider myself a reasonable teacher because I am not a natural born rider, I had colleagues who have begun to learn at the same time I did, with more natural ability than I had, but because I liked it so much and studied so hard and applied myself I’ve managed to have reasonable results. And because I’m not a particularly gifted person that helps me to realize more most of the problems that students who are like me have. I can help them more than a teacher who finds himself a genie, who can not understand the problem
of a human who is not like them, and is not able to transmit the teachings that for them became natural, as innate. For me, not being gifted, that’s an advantage I have, I don’t have any natural talent, but as I liked riding so much I could learn, I can understand the problems of my students, I had these problems when I was learning to ride and it helps me as a teacher. BHM: What makes a good riding teacher/ master? MT: Most of all you have to respect the horse, first thing. After that, do not take the horse as a slave, or an object of pleasure, but as an animal created by God or nature or whatever you believe, and that we have to respect. Think of it as a sport but it is a sport connected to art, always thinking that it is not a matter of winning or losing but a challenge to perfect ourselves, to improve. BHM: What makes a good horse? MT: Nowadays, a good horse must have a good morphological conformation, good temperament, good functionality. Functionality is linked to the model, movements and temperament. It has to be functional, not like a horse breed I know who are very beautiful but does not function, it must be a horse that is functional. So someone who knows about horses can look at a horse and say this horse can run, can jump, can bullfight, can do dressage. This functionality that depends on blood lines and temperament is what makes a good horse. There are good horses today,
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there is more knowledge. in the past people crossed the horses only because they were good, and sometimes a good father can have bad sons, because the son can have traits of his great grandfather that was a bad guy. You have to go much further back; now with the studies is a world that is increasingly discovering, and also the experience helps, today everything that is not good is eliminated, in the past all that was not good people just went to try again... Now you have much more chances of buying a good horse, because there are more good horses as a result of good breeding. BHM: About the skills of the rider, what do you suggest? MT: The rider must know the capabilities and possibilities of the horse, the rider has to know that the horse does not think and it’s not like a person, it’s an animal with the instinct for self preservation, and has the instinct to escape, he’s shy. The most dangerous thing is a person who likes the horse but thinks the horse is like a person, but the horse does not think. The horse has an extraordinary memory, and all education and training must be based on understanding the memory of the horse, and using that memory. If I want my horse to perform well, he has to be comfortable and my duty as a rider, as a trainer, is to do everything I’m going to ask the horse to do, all the physical and mental gymnastics that we have trained before, until it becomes easy for him to do. If it becomes easy, then the horse will perform the exercises with ease, that for me is the most important factor namely, understanding the horse. Realize that the horse cannot be taught well with tricks, but make the horse an athlete, that is comfortable, who can show all his ability to work, to perform. This demonstrates the love for the horse.
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BHM: How do you feel about Lusitanos? MT: The Lusitano horse has a very hot blood. Unfortunately abroad, people think the Lusitano horse is only a gentle horse, which everyone can ride. The first Lusitanos that were sold abroad from Portugal were like that, and then the writers described the Lusitanos as a gentle horse, nice boys, but they are not that, it’s a horse of a very hot blood, the hottest in the world that now is improving a lot, but we can not have the illusion that we can suddenly overcome certain breeds that are creating quality for many more years. In Lusitano breeding we have to go slowly, I think we have improved and we have an extraordinary horse that I really like, and I like riding Lusitanos, but I also like to ride a warmblood, my personal horse is a warmblood, he has a good temperament and has English blood, he is a horse that moves beautifully. We Portuguese, if we want to create a Lusitano horse with international projection, we have to eliminate this idea of people, the idea of the horse that everyone can ride. Lusitanos has a great evolution, has ancient blood lines, has hot blood. Now if the breeders want a Lusitano for sport, they have to promote internationally the Lusitano as an athlete, with athletic training, not as a domestic pet to walk around the garden... We are at the beginning, we have a long way to go to be competitive, but the result with Gonçalo Carvalho and Rubi (AR) was fantastic, and proved that if you have a correct rider and horse, they can pass ahead of many horses. If you see the prices of many horses who were ranked far behind Gonçalo and Rubi, compared with a much cheaper horse that Rubi was... maybe this is a good advantage for the Lusitano, If you ride well, maybe you won’t win, but you can rank well and with merit. Maybe to win you must have that $ 5 million
Introductry Service fee $880 LFG Pure Iberian Stallion P/SP 003 Chapelhouse CENTAURO. Dk bay/brown black, 16.2hh DOB: 19.01.07 Sire: Irreal (imp Portugal & competed at Grand Prix Dressage) Dam: La Querencia Pamperita.
DANIELLE PH 0404843636 DANIELLE@DIRECTSHOTS.COM.AU
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horse, and a bunch of talent and wisdom, but nowadays with a relatively affordable horse and correct riding, maybe you can place well. I believe that each country has to form riders in their own country, if they lack trainers, they can invite people. No one learns from one day to another to have gold medals, it is the younger generations that have to be touched, forming new generations that is what is important in riding. They only think about teaching top riders, for me more important are the young people that are learning now, that will make the future and will make a good or bad riding. We must have a strong generation with enormous possibilities, which to me is fundamental. People in Australia only teaches the top, and the top riders are buying horses for thousands of dollars and set a bad example of the basics, the basics are weak, just me and a few teach the basics. Australia has possibilities, lots of money, but there is still the mentality of if I have money I buy a good horse and win. In Australia we have to have the well organized mentality, otherwise everything fails. BHM: What’s the advice you can give to riders/trainers? MT: If you like to ride lot, you have to like to learn, because if you learn you ride well. By riding better you have more pleasure in riding, the horse works better and is more happy and fulfilled. Do not think you can learn with tricks, it’s a long work, and if you use the correct techniques you can do it, and studying and thinking. You must continuously evaluate, and you have a good judge who is the horse. For example if I play tennis alone against the wall, I do not know if I’m playing well or badly, but the horse is always telling me if I’m doing well or not, if the horse feel good and performs well I’m doing well, if the horse comes into resistance in struggles and difficult, is because I’m doing something wrong, unless the horse has a problem which in most cases is unlikely. This assessment is very important. a
www.migueltavora.com
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LUSITANO SPORT
Generation Article and photos by Cátia Castro
Raquel Falcão is a 27 year old Portuguese dressage rider and trainer, who has been making a solid and consistent career with her own Lusitano Stallion - Real (JB), and most recently, Arjentino (AR) – also a Lusitano, at Prix St George level. Competing amongst more experienced and renowned riders, she is the Reserve Champion of the Portuguese Cup 2012 at Grand Prix level with Real (JB). Raquel invited us to see her training in the sunny vineyard countryside of Arruda dos Vinhos - Portugal and share her story
BHM: How long have you been riding and when did you seriously get into dressage? RF: I started riding when I was 8 years old here in Portugal. My father was looking for a place to have some lessons and took me along with him for company. None of us thought it would get so serious later… I had lessons in several places, most of them related to the Lusitano horse and classical equitation. I competed in some elementary tests, but it was only when I started training with Daniel Pinto that I started to take it more seriously. BHM: What made you like dressage? RF: I started by learning classical equitation, which has a lot of common points with dressage. What I like about dressage is the discipline, the search for perfection and the wonderful connection between horse and rider.
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BHM: You own a beautiful Lusitano named Real; he is currently your competition horse for Grand Prix. Tell us about how you found your competition equine partner? RF: At the time we were riding at Dr Guilherme Borba’s place, having lessons with António Borba Monteiro (a prominent classical rider at the time in Portugal). António’s cousin, Júlio Borba had two colts by Hostil (a reference to a Lusitano bloodline breed) and Nobreza, a mare out of Xaquiro (another big reference to the Lusitano’s breed improvement bloodlines). One of them was Soberano and the other one was Real. As soon as my father saw Real, he fell in love with him and bought him. He was 4 years old. For many years we only had him for pleasure. It was only when I started to get interested in dressage and competition that we thought about schooling him in a more serious way. Real and I had some problems finding the right trainer.
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He was easy to teach but we couldn’t find the right approach to make his balance and quality of the exercises better. A friend advised me to go and have lessons with Daniel Pinto (our current trainer), at the Academia de Dressage in Arruda dos Vinhos. By the end of the first lesson I was sure I had found the right place for us. 2 years later, Real and I, both inexperienced in competition, were doing Grand Prix. BHM: You are also a trainer; tell us how you feel about one of your trainees who won gold in the 2012 National Championships at Junior level. RF: Gonçalo Pedro started riding at the Academia with us almost 3 years ago, when he was 13 years old. He was talented and very hard working and his interest for competition started to grow. Seeing this, his parents offered him “Pretty Girl”, a beautiful16 year old Danish mare, schooled by Daniel Pinto. Gonçalo and Pretty became a great team and in 2012 they were doing their first junior test. They won the National Championships at Junior level, with an average of 65.92%. Of course, it made me and all the team very, very proud! BHM: Who are your references in the dressage world? RF: Daniel Pinto because I train with him, admire his respect for the horse and his technique. Carlos Pinto and Kyra Kyrklund because of their technique and also for believing in Lusitano, and Carl Hester for its riding elegance. BHM: Can you tell us about your recent achievements? RF: This year Real and I have been competing at national Grand Prix level, scoring 67%. I am also competing with another horse, Arjentino, at Prix St George level. Arjentino is a 7 year old Lusitano Alter Real, property of Msr. Pascal Chevrot. He won one of the qualifiers (EATAPA) scoring 68%. He was in a good position in the National Cup final in Prix St George/Inter I level and the National Championship Open, scoring 66%.
BHM: Do you feel you are becoming a part of a more “sportive” generation of riders in Portugal? RF: I think the new generations are taking competition more and more seriously. Riders like Daniel Pinto, Carlos Pinto and Miguel Ralão where pioneers, showing the world the quality of the Portuguese riders and the Lusitano horse. They inspired the younger riders and opened way for my generation to compete internationally and with our Lusitano horses. Every year we have new riders competing, we have goals to achieve never forgetting that the principle of “happy horse” has to be a constant feeling. The quality is improving and I feel honored to be part of this. BHM: What are your ambitions for your riding career? RF: I would like to continuing training with Daniel Pinto, since he has so much to teach! I would like to start competing internationally with Real and, if all goes well, take Arjentino to GPrix. BHM: Can you tell us some tips for “Baroque Horses” riders like the Lusitano breed? RF: Most of horses I’ve ridden trough my life where Lusitanos, so I have a very special connection with the breed. The first horse I ever ridden was Lusitano, many of the schoolmasters I was thought on were Lusitano’s and it was a Lusitano who took me to my first GPrix. The Lusitano is a great choice whether is for pleasure or competition, as we see more and more Lusitano’s proving it, like recently Rubi (AR) in the Olympics. Find your self’s a good trainer, that understands the Lusitano mind and believes in its capacities and most of all enjoy! a
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Contacts:
Raquel Falcão +351911907030 raquelfalcao23@live.com.pt http://www.facebook.com/raquel.falcao Real’s semen is available, fresh and frozen worldwide.
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Master Miguel Tavora:
Master for all riders AaLusitano for me?
By Jody Hartstone
Photo: PPYO
Many people may wonder why New Zealand Grand Prix rider Jody Hartstone has recently strayed away from the Warmblood stallions she is renowned for and headed instead to the Iberian Peninsular to look for her next dream horse. After many successes with the Holsteiner stallion Landioso, Hanoverian Whisper and the Rheinlander Donnerwind, Jody decided it was time for a change. The New Zealand market is flooded with Warmbloods now, and after watching the success of Fuego for the Spanish at WEG Kentucky, the seeds of thought for an Iberian beauty were sewn.
Many people may wonder why New Zealand Grand Prix rider Jody Hartstone has recently strayed away from the Warmblood stallions she is renowned for and headed instead to the Iberian Peninsular to look for her next dream horse. After many successes with the Holsteiner stallion Landioso, Hanoverian Whisper and the Rheinlander Donnerwind, Jody decided it was time for a change. The New Zealand market is flooded with Warmbloods now, and after watching the success of Fuego for the Spanish at WEG Kentucky, the seeds of thought for an Iberian beauty were sewn. It was time to import something different. Two years ago I was talking to my good friend Reisa Bonetti from www.DressageTrainingOnLine.com about buying a new stallion. Reisa said “Have you thought about a Lusitano?” and I said “A Luso what?!” I kind of knew it was some exotic breed - but I have to admit I knew very little else. I got straight on to Google and up popped a video of a US based Lusitano stallion called Sansao and the video was accompanied by the most exquisite song I think I have ever heard - in Portuguese - “Chuva” by the Fado singer Mariza. I was in love, and from that day my journey to find myself the Portuguese stallion of my dreams was set in place. I got onto Google again and read about an Australian girl,
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Sarah Warne, based in Portugal and who was very keen to help out anybody from “Down Under” who was wanting to buy a Lusitano horse. I emailed Sarah and from there the journey began. In July of 2011 my good friend Michelle Zielazo and I set off for Spain and Portugal for an unforgettable few weeks. We had rung agents in both countries who all promised to show us the Lusitano stallion of our dreams. We searched high and low, and tried many, many horses of Lusitano and PRE heritage. The vision in my head was unwavering. I wanted a tall, grey Lusitano stallion, preferably with a flowing mane and tail, capable of competing internationally at Grand Prix level. The budget was not huge although I must admit I am more than blessed to have the support of Erin and Warrick Mortimer from Warkworth to help in the purchase of my dream horse. An incredible journey then ensued - with many trials and tribulations along the way. We met so many wonderful people and horses but the search for my dream horse was nothing if not frustrating. No sooner would I find a horse and think “this is the one” only to have the dreaded blood tests fail. Or go as far as getting it X-rayed and the X-rays
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Jody Hartstone
Ali Baba
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Lusitano
“After watching the Lusitano horses in the bullfighting arena at Campo Pequino I was totally in love with the bravery and heart that the Lusitano horse shows. “
Photo: PPYO 5 0.
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were not so good. Another had a tongue issue I just couldn’t go past, some had terrible feet and others just weren’t my type. I tried PRE horses in Spain, and some of these were quite nice, but New Zealand already has many of this breed and I wanted to do something different. Besides, when I got to Lisboa (Lisbon) for the very first time I felt instantly at ease and had a sense of being at home - I later found out that Portugal is the anti-polar of New Zealand - stick a knitting needle thru your globe anywhere in New Zealand and you pop out in Portugal - a strange connection through middle earth. After watching the Lusitano horses in the bullfighting arena at Campo Pequino I was totally in love with the bravery and heart that the Lusitano horse shows. After riding more and more horses in Portugal, learning the history of the breed and its people, I became more and more in love. Never have I felt horses with such “vibration” - that’s the best word I have to describe the energy and power that comes from within these horses. Never once did I see or ride a Lusitano that was unwilling to work, and work hard. There is never any heavy leaning, no snatching at the reins, no napping out the gate or dullness to the leg aids. Some Lusitanos I tried were too small for what I am used to - the Portuguese people are used to smaller horses, but I always feel like Penny the Pony Clubber on anything under 16hh. So many horses we tried got put aside simply on height alone. Good bloodlines were a very important consideration - I wanted Grand Prix in the pedigree - but the focus of the breed has been on the bullfighting ring - not the dressage arena, until the last 20 or so years, so that was something we may have had to look past. Lusitanos are very smooth-gaited horses and as a general rule move without the high knee and lack of extension that the Spanish horses are stereotyped as. Many people have said to me “Agghhh they can collect, but can they extend?” – Well, YES - actually they can. The Lusitano is the complete package, athleticism, heart, brain and the ability to both collect and extend!
Photo: Debbie Stevens
Photo: PPYO
I think in the end I had about eight horses blood tested over the period of nearly a year of looking. I travelled to Seville, Barcelona, Madrid, Segovia and Salamanca in Spain to name only a few places. In Portugal I travelled north to Porto three times, and to many, many farms within three hours of Lisboa. I even tried a wonderful Lusitano stallion in the South of France, but he soon told me that New Zealand was not where he wanted to be - a lovely horse that I just didn’t click with straight away. I also rang the USA and looked at videos of Lusitano stallions there - there was talk of importing one from Brazil - no easy task I can assure you.
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&
Jody Hartstone
Ali Baba
Photos: Debbie Stevens My wish list went like this: • Grey if at all possible (Who knows how I was to keep him clean!) • Licenced and approved breeding stallion • Over 16hh • Training up to PSG level and with some talent for the Grand Prix • Kind temperament • Good looks and conformation • Sound with great x-rays • 10-14 years of age • Free of the dreaded blood disease pyroplasmosis I scoured the globe by plane, train and automobile. I Googled and Googled till my fingers could Google no more... The Lusitano of my dreams was out there somewhere - I just needed to find him. And then, one day, in the town of Estoril - not far from Lisbon - I met my dream horse - Ali Baba was there waiting for me... a More of Jody and Ali Baba’s journey in next issue of BH.
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www.hartstoneequestrian.com
at h t m a e r D Create a e m i t e f i l a s last
Groomers
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Oma de Maripa
Groomers originally developed their famous EPO shampoos over twenty years ago and are now available for dog and horse. The Equaderm shampoo (EPO) contains 1% pure cold pressed Evening Primrose Oil. The product is available in various strengths and different colours, depending on the coat colour. The Equaderm shampoo can be used all year round for repelling wet muddy conditions and biting insects Colours available for • Ebony for Blacks • Copper for Browns, Bays, Buckskins • Blue Pearl Greys, partial colours, socks and blazes These colour shampoos ARE NOT DYES. They are colour enhancement with the colour particles being trapped within the oil. www.groomersproducts.com.au
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Reserve a Future Foal of your design
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Ximoio de Maripa
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www.FutureFoal.net
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• Shampoos • Conditioning Sprays • Coat Enhancers • Food Supplements w w w. bar o q u e hors e m ag azi nE.com
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OurMiracleBaby!
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By Lynn Kelley
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n October 27th, 2012, all time stopped when we got the call. It was our miracle being born! And we raced to the barn! History was being written. Gaia do Summerwind is the first Mangalarga Marchador horse born in North America using frozen semen exported from Brazil. Ho Hum, you say! It happens all the time. Not true. Not for this breed and not for Brazil. In Brazil, each breed is regulated by the Ministry of Agriculture and overseen by the breed association. The ABCCMM (the Marchador Breeders Association) had to modify its registration regulations to allow the use of frozen semen. Then the Ministry of Agriculture had to approve these rules for MM semen exportation and license veterinarian clinics for collection and exportation. There is not much need for frozen semen in Brazil. With so many horses and land, the preferred method of breeding is still live cover. It took several years. While we waited for regulations and semen, we worked on how to utilize the new technology of breeding with our Scottsdale
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in the future, frozen embryos) from the very best Brazilian Marchador horses is very important for the future of the Marchador breed here. Imported frozen semen adds many things: Diversity — new bloodlines, new individuals to the North American gene pool. Quality — these stallions are first-rate individuals, champions in their own right and proven producers. They are often not for sale, but frozen semen offers a way to bring their blood here. A legacy – The semen bank will be available for future generations Excitement — It is exciting to be able to have a larger catalogue of beautiful, proven Marchador stallions to choose from. For us, the diversity and quality were the key items. The excitement is just an added bonus! Here’s to many more Gaia’s and more miracles! From the Owner Adrienne C. Scheck:
breeding vet. We collected and froze our imported Marchador stallion La Paz Jivago. We bred our mares and also collected and froze embryos. We read, talked and learned as much as we could hoping when the day came, we would be ready. Another miracle! Enter Mr. Marcelo Baptista, owner of Agro Maripa who fulfilled our dream! Agro Maripa collected and shipped 3 Maripa stallions of excellent quality and impeccable lineage to us in March 2011! A visionary, he was the trailblazer, and his team navigated through all the rules, paperwork and export procedures that no one had tested yet (for this breed). Our work has paid off! In early 2013, we will have 2 more SW Future Foals born from frozen semen and our first frozen Marchador embryo will be born in May in Utah! Gaia’s heritage: Oma de Maripa is the herd stallion of Agro Maripa, the result of over 30 years of breeding genetics to create what Agro Maripa considers a perfect horse: beautiful, kind and an athletic sport horse that is also gaited and comfortable to ride! Oma has sired over 70 foals in Brazil. His bloodline is impeccable and whose progeny are always impressive too. The genetics are speaking through him. Oma’s parents (Laio de Maripa x Martinica HO) were National Champions whose accomplishments and incredible offspring vaulted them into the ELITE book in Brazil. Brasilia do Summerwind was imported in-utero from Brazil by us in 2005. Brasilia is a foundation mare here in the U.S. ELITE horses are also in her pedigree as parents and grandparents. She is a strong, powerful mare, with a very smooth marcha – such a good match for Oma! She has had one foal, Fidalgo do Summerwind, a stud colt who will be 2 in January. From our viewpoint, frozen semen (and 5 6.
Gaia is my dream. When I first started thinking of getting a foal I knew I wanted to be part of its life from the day it was born. I knew Brasilia do Summerwind was a strong mare. She was beautiful, and I loved to watch her move - so graceful, like she was floating. The sire, Oma de Maripa, was gorgeous with wonderful bloodlines. I watched his youtube video over and over. But I still had so many doubts. Did I “deserve” a horse this special? Would I be a worthy partner for the foal as it grew? Could I train it properly, so that it would reach its potential? So many questions kept entering my mind. Lynn was patient, discussing pros and cons and listening to everything I said. I am a scientist; I needed to make an intellectual decision based on data. In the end, the decision came more from my “heart”, a gut feeling that this was “right”. If you had told me 10 years ago that I would own a horse, let alone a foal like this, I would have said you were crazy. I always loved animals, but other than a tiny bit of riding when I was a child, I had never done much with horses, and did not dream of owning one as a child. As an adult, I was “married” to my work as a research scientist. I attended a tour of Summerwind Marchador’s ranch just because of my general love for animals and met the Mangalarga Marchador breed. I enjoyed seeing the horses and loved watching the foals. A second opportunity to visit Summerwind came at a time in my life when I was under a great deal of stress at work. Although I had been working 7 days a week, I decided to take Saturday off. I got no further than the first
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stall before stopping to rub the horse’s nose. He put his head on my shoulder, and the horse in the stall next to him put his head on my other shoulder. I felt myself relax for the first time in a long time. I never saw the demo of the breed that day in the arena - I just stayed with Seamus and Caboclo, both of whom were stallions at the time. No one told me that it may not be wise to have 2 stallions rest their heads on your shoulders, and perhaps with some horse breeds that would be the case. But as I stood with them I felt relaxed and safe. Lynn, John and I became friendly and I learned much more about the Marchador from them. I was privileged to listen to them, discuss the breed and what they learned when they went to Brazil. They allowed me to interact with their foals last year and ride their Marchadors while they helped me learn more about the gait, and about riding in general! I fell in love with the Marchador breed, at first due mostly to their temperament, but then also for their unique gait. I knew I would have one of my own some day, but I never dreamed it would be such a special one! I cannot believe I am so lucky. My thoughts have turned to things that must be similar to what prospective parents think. I want to be the best “parent” I can be. I want to help her grow to be a happy,
confident, safe equine partner and I want to earn her confidence in me as a leader. I want to obtain the skills I need to train her and ride her as she will want to move. I want her to know nothing but gentleness and love, while learning to respect people so she grows to be well behaved and safe. When I started with horses I felt that I started a “journey” that has affected me in more positive ways than I can explain. Now I realize that the journey was only beginning, and what a fabulous trip it is! About Adrienne: Adrienne C. Scheck, PhD, is a research scientist at the Barrow Neurological Institute in Phoenix Arizona studying brain cancer. Her early work focused on identifying prognostic/diagnostic markers for cancer tumors. Her current research is studying the link of a ketogenic diet to preserve “good” brain cells during cancer treatment. She is responsible for seeking the funding to continue her work – on an annual basis. She is passionate about her work. Links: Agro Maripa website www.agromaripa.com.br
All photos of the dark bay MM mare and foal are Brasilia do Summerwind, and Gaia do Summerwind. Photo credit to Tamara Gooch.
My thoughts have turned to things that must be similar to what prospective parents think. I want to be the best “parent” I can be. I want to help her grow to be a happy, confident, safe equine partner and I want to earn her confidence in me as a leader. I want to obtain the skills I need to train her and ride her as she will want to move. I want her to know nothing but gentleness and love, while learning to respect people so she grows to be well behaved and safe. When I started with horses I felt that I started a “journey” that has affected me in more positive ways than I can explain. Now I realize that the journey was only beginning, and what a fabulous trip it is!
All photos of the grey MM stallion are Oma de Maripa, Agro Maripa, Brazil Photo credit Sabine Steuwer About Lynn Kelley Lynn Kelley was an early adopter and importer of the Mangalarga Marchador here in the U.S. finding the breed in 2001. She is the current ABCCMM (Brazilan MM assn) liaison to the U.S. Lynn and John were founding members of the US Mangalarga Marchador Assn, (USMMA), serving as President and Registrar for many years. She and husband John are retired and the Marchador horses are their passion. Lynn is a bloodline fanatic and always has been. The SW Marchador frozen semen and embryo bank is available to all in the U.S., providing quality and diversity to the breed’s genetic pool now and for future generations. Find Lynn at SW Future Foal @ Summerwind ww.futurefoal.net www.summerwindmarchadors.com facebook.com/swfuturefoal email: futurefoal@gmail.com
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GOLEGÃ HORSE FAIR:
the ancient Lusitano tribute //
LorThe National Horse Fair held annually in Golegã, in early November, is the biggest horse fair in Portugal. It is the only one of its kind in the world, making Golegã a mecca for all Lusitano horse lovers, gaining year after year more and more national and international enthusiasts. Photo: António Mendonça 5 8.
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GOLEGÃ Horse Fair The Ancient Lusitano tribute //
Ar ticle & Photos by
Photos by
Cátia Castro
António Mendonça
www.cmcequinephoto.com
www.acmendonca.net
photo: Cátia Castro
From 1833, and with the support given by the Marquis of Pombal, the fair began to take an important competitive nature, performing equestrian contests and competitions of various horse breeds
Golegã Horse Fair takes place annually in the village of the same name, in the heart of Portugal. Characterized by the fertility of the land, the abundance of pastures and the beauty of its distinctly rural landscapes, Golegã maintains the traditional Portuguese architecture with equestrian themes all over the village. The monumental and artistic heritage that exists in the village of Golegã, which includes churches, chapels, museums Museum of the History of the Horse, art-galleries, and the Natural Park of “Paul Boquilobo” - ranked Biosphere Reserve by UNESCO, makes it worth a visit.
History & Traditions In 1571, the current Golegã Fair began as a tribute to St. Martin (S. Martinho), and today is also known as the The National Horse Fair and International Lusitano Horse Fair. From 1833, and with the support given by the Marquis of Pombal, the fair began to take an important competitive nature, performing equestrian contests and competitions of various horse breeds. The best horse breeders were a constant presence in Golegã then. From the mid-eighteenth century the fair was called “St Martin’s Fair” until 1972, the date from which it changed its name to The National Horse Fair. The National Horse Fair is the most important and typical of all fairs of its kind in the world taking place in Portugal. In the nineteenth century, based on the
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photo (above): António Mendonça
photo: António Mendonça photo (above and below): Cátia Castro
photo(above & below): António Mendonça
“St. Martin’s Day, which was traditionally on the 11th of November, became the most beautiful and unique equestrian show for the public that takes place free of charge“ 6 0.
valuation of the land area, Golegã again gained great importance because of Carlos Relvas, a nobleman of the Royal Household, and a great friend of the King. It is in this region of Golegã that the oldest and most prestigious stud farms in the Lusitano Horse world are located. The Veiga stud, the most important stud farm in Portugal is based in Golegã - Quinta da Broa (Broa Farm), founded 180 years ago by Rafael José da Cunha, the so-called Prince of Portuguese Farmers. For family heritage, the stud came to be inherited by Manuel Veiga Tavares, nephew grandson of José Rafael da Cunha. In Golegã’s Fair all breeders are represented with their beautiful horses, which is why
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Golegã, recognized worldwide as having the best of the breed in the country which are sold to many parts of the world, is the most important national event and largest Equestrian commercial trading centre. So, in effect, Golegã is now the Portuguese capital of the Lusitano horse. St. Martin’s Day, which was traditionally on the 11th of November, became the most beautiful and unique equestrian show for the public that takes place free of charge. The fair programme is very extensive and varied: rallies, rides, Equestrian Games, National Championships, carriage marathons, Classical Equitation shows, are just some of the finest performances that take place in Golegã in its presentation of the
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“The Pilgrimage to
St. Martin, an expression of local culture, is an act of Catholic faith of a group of riders who ride their horses from the centre of the fair - Arneiro square, to the village church for a blessing in the presence of a walking altar complete with the figure of St. Martin. “
horse. And to complement the party justifying the adage of “wine tasting at St. Martin,” (“Pelo São Martinho prova o vinho”) there are plenty of água-pé (typical portuguese wines) and always the warm roasted chestnuts. The Pilgrimage to St. Martin, an expression of local culture, is an act of Catholic faith of a group of riders who ride their horses from the centre of the fair - Arneiro square, to the village church for a blessing in the presence of a walking altar complete with the figure of St. Martin. These riders are called “Romeiros” and have distinctive clothing which gives them their own identity. A good number of fans, mostly Portuguese and Spanish, go to the fair every year to see riders and Amazons perfectly dressed on their horses with the beautiful and unique Portuguese traditional clothing, saddles and bridles. For a week, the village becomes the universal centre of the horse and for all the people who love this beautiful animal. The fair also attracts people from all over Europe and other places of the world, eager to have fun and learn more about the Lusitano horse. Customs and traditions can today be revisited and experienced “on-site” for all visitors of the fair. Equestrian Art, the best and most beautiful horses and bravest bulls, crafts, culture, the Portuguese warm welcome and rich gastronomy of the region are strong reasons for a visit to Golegã. all photos on this page by Cátia Castro 6 2.
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photo: Cátia Castro
Ahoto (JGR) by the breeder João Pedro Rodrigues - Champion of Champions of the 2012 Golegã Fair, ridden by Pedro Torres 6 4.
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“ Visitors from various parts of the globe came to Golegã in search of the best examples of the Lusitano breed“
all photos on this page by Cátia Castro
2012 Golegã Fair The 2012 had a new stage for some equestrian events, the Golegã Hippos - High Performance Centre, which should be fully built in March this year. Visitors from various parts of the globe came to Golegã in search of the best examples of the Lusitano breed. At the 2012 fair more visitors registered than the previous year. Brazil media Radio Gaucha, issued a 3 hour live broadcast from Arneiro square (centre of the Fair) to an audience of 3 million people. The Golegã Fair organization registered the inscription of 1523 horses, and including the horses that were in competition, and 185 carriages, the total came to about 1800 animals. On some of the days it was raining but it did not stop the visitors enjoying the fair. During the week, the Purebred Árabe National Championships took place together with the
Dressage National Championships as well as the Working Equitation National Championships. Baroque Horse Magazine had the opportunity to sponsor some of Golegã’s competitions such as the Conformation and Movements and Working Equitation, giving their 1st place prize winners a half year’s subscription to BHM magazine. We now congratulate and give a warm welcome to all of you. The overall winner of the fair was the Lusitano stallion - Ahoto (JGR) belonging to owner and breeder João Pedro Graça Rodrigues. He was the champion of the 5 year old category of Conformation and Movements and winner of the Champion of Champions of the Golegã Fair title. a Golegã Turism Office: 00351 - 249977361 www.turismodeportugal.pt
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www.naturallyclassical.com
Jenny Ro passion lfe has been ate ab out horse s since ch spend ing mu ildhood, ch tim obser ving he e rds of native ponie s, about learning the and wa ir nature ys. Ov er yea she de rs Let Je velop ed a lov for dre nn e ssa breath y Rolfe in the me ge but felt troduc ing. Le thods taugh impo e ar t rtant connect could not conn n to use th you to inno bring ion she ection about As he felt wi that with e power of vative tech r riding th po horses nies as allby Ibe progre ni su rian ho a child ssed, and ha btle ener ques of co Jenny . rses an travel gy be re led to rmon d classi came Portu inspir cal tea train y in ri to find true gal wi ed the ching ding. th he an her pa re. On her return r Spanish sta d th of dis to llions Spanish cover to y. Throu the UK, Jen stallio ny co powe n, De gh list ntinu r of lfin, she ening ed to her the ho breathing – From first as a pro learned the rse. Sh am e belie found changes the Fo Includ connect azing rewor in energ ves that bre langu ion wi es fasc d by Ja y are age of th the ke athing and inatin ne Kidd the he y to subtle ‘My dr rd an g case d harm learning the Durin eam of studie ony in g her life she dancin riding s from experi . ha ences g with ‘Jenn Jenny’s to help s drawn on in tra y’s teac becom a will ining many studen . Years formulate in divers e paren hi g po he ng an spe ts: e r uniqu t, car ssible nt nu has em e conc rsing .’ – Ge d happy ho behavio ing for ch and power epts ildren ural pro mma rse ha with ch as a foster ed me the aw blems s arene allengin , have to ss both believe helpe needed horse d Jenny g to eva s and in mys horse to gai lua stu te dents n respo nor rid elf.’ – . She er recep Rebe believes nses of tive. Th can learn cca that unles e bo family relation nd of trust, s they are neither calm essen and tial ing ships of the sadly missi ng redien foster t for tra children in the Jenny ining is also the ho , is an the rse. (the suc cessfu author of Rid contr l book e From ibu an UK an tor to top eq d DVD) an the Heart d abroa d a reg uestrian ular husba d. She nd lives in magazines in the her sta Barrie, wh ere she north Devo llions n with and tea co come her fro ches stu ntinues to lea stallio m all over dents the wo ns an and cli rn from d study rld to ents, wh work her me o with he The au thods. r thor can www.s be co panis ntacte The au hdres d throu sageh thor wil gh he orses. procee l dona r websi com te part ds fro te: m of the Christ ians Ag this book to For a ainst the ch co Pover arity J.A. Al mplete lis ty (CA t of eq P). len, Cle ue 45–47 rkenw strian Clerke ell Ho book nwell use, s and Green, DVDs , cont Lond act: on EC 1R 0H T
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BREATHE LIFE INTO YOUR ok wil
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COLLECTION OR RESTRICTION? How would you define the word ‘collection’? I looked this up in the dictionary and found words like ‘gathering together’ and ‘pulling together’. I then looked up the word ‘together’ and found such definitions as ‘in sync’, ‘in concert’ and ‘as one’. These last words formed in my mind, the picture of horse and rider performing Classical art, in true collection.
to please and interpret our language. This may fail miserably as a dialogue of mutual benefit or empathy. Let us take a look at the reality of the punishment we inflict on the horse when we ask for a ‘fixed frame’ Any athlete, whether human or equine, can only move freely with a lack of restriction to his head and neck, which
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ny Ro and de lfe looks at the rid mo er a natur nstrates ho al flow w you from ‘top to can rid releas toe’ e tightn of energy. Sh e e provid whilst allow ess cre will he ate lp in es exe rcises and ba you not on d by tensio to n. He ly to rid lan r teach connect ce but als ing o to cu e in good po ion an ltivate sture d feel. a deep Jenny sen se of ’s teach ing me loose work thods to enha inc horse nce the lude the va . The horse an ath will pro athletic ab lue of lete, co ility gre nnect powe ing wi ss with confi of the r of co th the re bre dence, athing rider, as throu . Breathe gh the Life int empo o Your werm Riding ent so trust wi ll pro both and fri mote rider endsh perso and ho ip. nal rse gai n empa thy,
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Front cover illustra Back cover tion by pho Back flap pho tos: Bob Annie Wh Atk iteley Desig n by Pauto: Bob Atk ins (left), Barrie ins l Saund Rolfe ers
Picture Above: Breathe life into your riding book by Jenny Rolfe. Available in Australia www.horsebooks.com.au
the horse will only feel a restrictive tug in his mouth. For us to build the desire within the horse to step forwards with confidence, we need to build a relationship of trust. This is the true foundation. So what is the impact on the horse when we try to control with an array of gadgets and only offer him our heavy hearts, strong hands and overloaded mind.
Even when the rider is teaching the horse with enlightenment and empathy, certain tension will be created within the mind of the horse. This may not be from unyielding gadgets but merely from concentration during training. The horse will try hard to interpret our often confused signals and this will have an immediate impact on his pattern of breathing.
So what is it that we find so compelling about the horse? Is it his sheer beauty and mystical power or maybe it is his free spirit and connection with his natural environment? It could also be his generous nature which enables us to attempt the control his majestic spirit and power? An animal in freedom will breathe naturally, attuned to the environment and situation around them. They will respond to the laws of nature as they are at one with their world.
6 6.
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CONNECT WITH CREATION When we feel connected mentally, physically and spiritually we are in touch with the universe and connecting with creation where our horse will feel ‘at home’ and secure. Core breath connection can assist a calm and focused mind’- my youngest student Ella- eight years!
need mobility to absorb all the movement. Imagine the power and energy as the horse jumps into the canter strike off. The head and neck need to be able to absorb this movement but if the rider has heavy hands
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nspire d by th e conn breath ect ing te chniqu this fo llow-u es c p to Ri Heart de From is writ ten to teache empo rs and we rider to conn ect with s of all dis a rela the ho tionshi rse an p built d unders on trus tandin t an g. Brea facilit thing ate se lf-cont techn mind, rol, ca stabili lmness ty enhanc and en o ergy, ing ba thus lanc within your rid e and harm ony ing. Jen
Initially he will feel anguish which will immediately change his pattern of breathing. He may take short and shallow breaths which will create future problems both mentally and physically.
When we fully understand what we want to achieve by ‘collecting’ the horse, then we can look in more depth at the path to achieving this goal.
When we ask the horse to become a part of our world he can find himself planted in a world totally foreign to him. We control by placing a bit in his mouth, a bridle around his head, a saddle and tight girth around his middle and we may wear spurs and carry a whip. Yes, and sadly, we don’t stop there! The horse then may be subjected to reins, ropes and more gadgets tightening his neck and poll creating pain and discomfort all in the name of schooling the horse. These accessories are meant to put the horse in a ‘frame’ but often the result is more akin to the restriction of imprisonment. Still we see the horse trying
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L I FE
LOOKING AT COLLECTION- part one
ooks
AT H E
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ING
by Jenny Rolfe
Tran sf ridin orm your g wit h INSP IR AT ION and AL INN OVA T IVE BR E A T TECH HING NIQ UES Forew
R ID
Before you throw the ball- take a deep inward breath’
BREA T into HE LIFE you r RID ING
I NT O YO UR
RIDING
BR E
a door to an other dynam ic in dressa ge. ‘Jenny brings a fres using h dim an in en visibl sion to and co e energy trainin fo ntrol g, iden of the rce that en tifyin ables horse g and conn with ection harm ony.’
If we can teach the horse to work rhythmically whilst breathing more deeply, he can sustain more work whilst maintaining a healthy nourished body. Both human and horse come together in a moment of time. Humans so often feel disconnected not only with themselves but the environment around them. Co-ordination is at the heart of true mastery and we need to feel truly relaxed
£22.50
‘THE INFLUENCE OF CORE-BREATHING’ Core breathing can assist the horse in the following ways: Sigh deeply to release tension - relax eyes and facial muscles 1 Assist a calm and focused mind 2 Help natural co-ordination and muscle development 3 It is a precursor to good health and vitality 4 Enhanced performance 5
Support flexion
6 Encourage good circulation to nourish all vital organs/muscles in the body 7 Help to eliminate toxins from the body 8 Allow movement to flow with fluidity, grace, balance and power. 9 CORE-BREATHING – is a profound connection of empathy between human and horse.
www.naturallyclassical.com
with lower core energy, to gain this control.
Above: become master of your own balance- to master the balance of the horse. (my student Gemma with her Friesian mare WELMOED)
the wind was howling outside on a cold morning. I would try to imagine sunshine, flowers, trees and calmness. As I visualized these ideas both physically and mentally I felt lighter and more relaxed. I felt my jaw release into a smile which allowed my body energy to flow freely. The ride became more joyful and Habil began to mirror my happiness. This endorses the principle that our mind controls our body. When we learn to use techniques of relaxation and visualization to control our mind and thoughts, we can then, and only then, gain control of our body.
Once we have learnt to master our own balance, we can begin to master the balance of the horse. HOMEWORK: Practice your Topto-Toe and core-breathing. Then begin to explore techniques of visualization. Think of a place or time where you felt really at peace and at one with nature and bring that feeling to your horse. a For further information on books/ DVD see Jenny’s websitewww.naturallyclassical.com
It is fundamental to spend time looking to connect with nature through relaxation techniques and personal breath control. Within this focus we can feel a sense of meditation and also the ability to use visualization at a deeper level. Let me give you an example. In the early days with my Lusitano stallion, Habil, I would sit in the saddle and feel his tightness and anxiety. I began to try and visualize the warmth of a spring day, even though
Pic left: The horse displays his natural talent for collection w w w. bar o q u e hors e m ag azi nE.com
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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 on Manolo visit: www.manolomendezdressage.com.
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Manolo Mendez On our farm, for many years we had sheep and cattle. Many a time, I accompanied my uncle on three and four day trips to the village markets where we sold them. We slept like cowboys, outside, our saddles for pillows, wrapped in our serapes. We herded our sheep and cows on horseback through brush, Pinsapo Spanish Fir, Almond, Olive, Poplar and Cork trees, and I learned to anticipate their actions and keep them together, dashing at full speed or slaloming between trees, sometimes jumping small dry arroyos (creeks) to bring back renegade sheep, calves or independent cows back to the path.
Photo: Back then...Manolo on the white horse with Juan Cid in the seventies at an Acoso y Derribo competition. They came second that day. Sadly Juan has passed away.
Balance is Confidence: Lessons Learned From Working Equitation by Manolo Mendez with Caroline Larrouilh
“Learning
instinctively how to move fluidly with my horse“
The brown leather chaps I wear are over seventy-five years old. The carefully oiled, supple hide was cut, hand tooled and stitched together for my uncle before me and I have held them dear for fortyfive years now. I am the only one who handles, cleans and folds them, they are a modest but priceless treasure. They are also a reminder of where I came from over 30 years ago, and of a way of riding and training horses, of understanding horses, that I was born into, and use every day, in one form or another. Spain has a rich and long tradition of working equitation: classical and country dressage used to manage vast herds of sheep, cattle and bulls. The first lesson I learned was about rider balance.
Learning instinctively how to move fluidly with my horse, to over take, spin around, bring back or sometimes separate cattle or sheep. Leaning forward into the speed, leaning sideways to avoid branches, turning back to situate myself, without even thinking about it as a riding education, I learned to stay “alive” in the saddle. I learned to place my body where it helped my horse best, to stay balanced in the saddle without pulling on the reins, clamping my legs or pushing my seat into the horse’s back whether I was sitting, standing, leaning or turning my body half way left or right. I rode to stay on, and help my horse succeed in doing the work I asked of him, as conservatively and effectively as he possibly could. We were poor, our horses were essential to the working of our farm, it would have been unacceptable in my family to bring back a lame or exhausted horse to my mother, a gifted horsewoman. It has never made sense to me that a rider should sit anchored into a horse, elbows glued to the sides, hands and legs fixed. Demanding that the horse comply to their balance, when a rider is perhaps 15-20% of a horse’s weight, and it is he, the horse, who does the majority of the work. Today, I still ride in independent balance and I still adapt to the horse beneath me as he learns to carry himself and a rider on his
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Photo: Developing a strong, supple horse means he can carry himself and the rider is free to use his body and hands as he needs whether it is to close a gate or volte underneath a garrocha pole. back. As he learns to travel laterally or do changes, or pirouettes and more, I still strive to help my horse by placing my weight, sometimes in an exaggerated manner, where it helps him most. As the horse understands better and better what is asked of him and develops the strength to deliver the work confidently, I return to a more traditional position though my seat is always alive. On a young horse, I learned to compromise, not too expect too much. If I asked for a halt, I accepted it took a few steps until my horse could stop its momentum and stay in balance. As he became more balanced, he was able to stop sooner and sooner until he could stop when I asked. It takes time for a young or untrained horse to learn a new balance and the more we help him, the sooner he will succeed. On a working horse, the riding’s first priority is always to help the horse, and so should it be on any horse, in any discipline. At fourteen, I went to work for the Domecq family on their property in Andalusia. There, I learned to ride Rejoneo but also Doma a la Vaquera and Acoso y derribo alongside à lvaro Domecq Romero. Soon enough, I was training his horses for Doma a la 7 0.
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Vaquera and Rejoneo and had three or four horses to work with every day. This kind of work requires that a horse knows how to do travers, shoulder-in, half pass, single and multiple pirouettes, flying change, piaffe, passage and Spanish walk. While all these movements are present in dressage, three things are different: First, as we carry a pole, we have the reins in one hand not two. Second, this work includes some speed not found in dressage, and third the repetition of the movements and the configuration of the figures we create are different. For example, working with cattle or bulls, a rider and horse may have to spin three or four times in a series of tight pirouettes and move out at warp speed only to do a half-pass to the left, one to the right, do a flying change and find themselves doing several spins again only in the opposite direction. By comparison, in dressage, the same movements feel as though they are happening in slow motion. This is the second and most important lesson I learned from this work. The more balanced and able to carry himself at high speed or in-place a working horse is, the more he knows the rider will
In-hand
MANOLOMENDEZ dvd set Are you a Baroque Magazine subscriber interested in in-hand work? Take advantage of a special offer from Manolo Mendez Dressage for our readers.Â
"In-Hand Lessons with Manolo Mendez, Volume I," is a six hour introduction to working in hand with horses of all breeds and disciplines. Designed to be practical and un-intimidating, Volume One follows the first five lessons of equestrian and biomechanics lecturer Jillian Kreinbring as she learns to shape, influence and enhance horses' postures and gaits with the help oof a cavesson and a bamboo. To read about in-hand work and Manolo's training philosophy, inquire and pre-order the DVD please visit
WWW.MANOLOMENDEZDRESSAGE.COM.
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Photo: Carrying a heavy pole is not reason for a rider to not carry himself and sit lightly on his horse, this allows the horse in turn to rise up beneath the rider.
Photo: In working equitation, the horse sometimes has to move at warp speed and make very sharp turns or spin multiple times. The horse is responsible for his balance and the rider for his own. The rider leans into the movement, lightening his seat to free his horse’s back and help him collect and turn as much as possible. not block him but assist him in his work, the more he will trust his rider. Beyond developing fit, supple, athletic horses this work taught me that there is an intimate relationship between confidence and balance. It is a lesson that applies to all horses, not just working equitation ones. One of the most pleasurable things I found as young boy and then man riding working horses was that it truly is teamwork. In dressage, there is quite a bit of talk about harmony and partnership but I rarely see a horse that has any choice in the matter of how it is ridden. Riding a working horse, failing to listen to him when you are in the middle of separating a cow or taking a group of bulls to a new pasture, may get you killed. A working horse not only has to be in independent balance to react and move as fast as lightning without being blocked or slowed down by the rider (who will not process data as quickly as a horse with his eyes on a cow), but it has to be trusted that it knows how to do its job. You train the horse, you make him fit and balanced, you introduce him to his work gradually and safely and when he is ready and he is reporting to duty, when he has experience under his belt, then you have to say: “ I trust you. I will guide you but I will also listen to you, and sometimes, we will do it your way”. Because you are a pro. Because you carry me. Because you are doing the brunt of the work and you know how the earth feel beneath your feet, and how this cow feels to you today. You say, “I am your rider but sometimes, you know better” and that is true of all horses, not just working horses. A good horseman should know the difference between his horse’s working instinct and disobedience wether he is riding dressage, garrocha, jumping, etc... Like many a working horseman before me, I learned that while we ask for our horses trust, we should not forget to 7 2.
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Photo: And sometimes, it is about just having fun and letting your horse have a say. Dinamico loves nothing more then to charge, and in this session, Manolo indulged him. give them ours - and as they have to deserve ours, so do we have to deserve theirs. In truth, riding can be boiled down to this: If a rider and a horse are both independently balanced, they will have confidence in their ability to move together. If the rider makes helping his horse his first priority, his horse will give him his trust and have even greater confidence in him. As the horse’s balance and confidence increase so will the quality of his work and so can the rider’s trust in his horse grow. When these conditions are in place, there are very few limits to what can be taught and experienced. These are lessons that come naturally when we learn to ride in the fields and we have a job to do. When our horse is our only companion sometimes for entire days, and from his soundness, confidence and well being depends our livelihood and sometimes survival, we learn to really value his generosity. That is the best lesson of all, knowing how giving a horse is, if we give him the chance to be. a
“I trust you. I will guide you but I will also listen to you,“
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Miguel
Pires Ar ticle & Photos by
Cรกtia Castro
www.cmcequinephoto.com
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talks braiding
Drawings and paintings of classic equitation and braided horses, can be seeing through the years. What captured our attention was
the drawings of the book “Luz da Liberdade e Nobre Arte da Cavalaria” (Noble Art of Horsemanship) written in 1790 by Manoel Carlos de Andrade.
From the rider’s costumes, to the saddles, technique and exercises, and of course images of braided horses, this book is a precious document that serves as basis for the current Portuguese School of Equestrian Art (P.S.E.A.). We can see in this picture an example of a braided horse at the time of the eighteenth century taken from the Andrade’s book.
D
rawings and paintings of classic equitation and braided horses have been seen through the years. What captured our attention was the drawings of the book “Luz da Liberdade e Nobre Arte da Cavalaria” (Noble Art of Horsemanship) written in 1790 by Manoel Carlos de Andrade. From the rider’s costumes to the saddles, technique and exercises, and of course images of braided horses, this book is a precious document that serves as basis for the current Portuguese School of Equestrian Art (P.S.E.A.). We can see in this picture an example of a braided horse at the time of the eighteenth century taken from Andrade’s book. And who better to speak about braided horses than the Portuguese School of Equestrian Art’s chief of grooms: Miguel Pires. Considered by many a great master in his art of braiding and embellishment of the horses, Miguel Pires is now a fundamental part of P.S.E.A., and his services are in demand by many private clients for their horses on the day of a competition or presentation, when they are required to be impeccably at their best, and the best is only with Miguel Pires. BHM was with one of his private clients, and we watched paying great attention to all the details and explanations in order to try and replicate and practice with our own horses back home. But first let’s know a little more about Miguel Pires:
BHM: How long do you take to braid a horse?
Horse with the ribbons: (Divor dos Rios, Grey horse)
MP: Usually 1 hour. Every horse that we work on in their stables must be well fed, not thirsty and in a good mood, because if the horse is thirsty or hungry he won’t have behave and will become restless when braiding. Whenever there is a show or competition, all this work has to be organized beforehand allowing plenty of time and always coordinating with the start of the event time. 1 hour is averaged for each horse; we have to clean them from ears to tail, including the hooves and then the braiding. In the School, one hour to an hour and a half before the spectacle we start putting the saddles on and preparing them, and there must be time allowed for the rider to warm up the horse (some horses need more time, others less), but the key is having control of the time. The horse has to get warm to prevent injuries.
MP: This is a kind of braiding used in the P.S.E.A (usually with yellow and white ribbons), other classical riding shows, and bull fighters. You start by doing a full braid and then you apply the one ribbon on each side with the needle. The ribbon must be around 5 cm wide, and the needle must be around 6 cm with a good resistance, so as not to break or injure the horse. When you apply the ribbon, you must know if the audience will be seeing the show from above the rider/horse, or at the same level, because that determines how you are going to put the ribbon on. If the audience is above the rider/horse, you put the ribbon higher up the braid, if the audience is on the same level, you put the ribbon further down the horse’s neck. In this example, I’ve put the ribbon as if the spectators were above the horse/rider. The intervals between the ribbon must each be about the size of a palm.
BHM: how did you start this work? MP: I started working in the Alter Real Stud Farm, I even rode a few horses there, “Jacaré” and “Emboi” were two horses I’ll never forget. Then I started to work for the P.S.E.A. in 1995. Having worked a few years there I was already giving my support to the School, at National and International level. In 1995, the School moved to Queluz Palace, and in 1996 a big group of riders entered the School, and one of them was Pedro Torres (later World Champion of Working Equitation). Outside of the School, I started braiding his horses with ribbons, then Pedro Torres started to compete with Oxidado and Navarro, and it was in those competitions that people started to see my work with the horses, trusting me with their horses for braiding and to accompany the horses in long travels through Europe. w w w. bar o q u e hors e m ag azi nE.com
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gladiator fights took place. I was impressed by the place, imagining those days where gladiators had to kill to survive; it really impressed me! I’m remembering another time that we went to do a show with the French Equestrian School – Cadre Noir, in Saumur; I was also impressed by their large and organized facilities. One funny accident happened to us there. Each of us grooms is responsible for about four horses, and one of my colleague’s horses escaped through the facilities. The place is huge, so we spent hours searching for the horse, but we found him! (laughs)
Horse with the Dutch braiding: (Dexeno, brown horse) MP: First wet the brush in water, and have a bucket of water near at all times so you keep moistening the mane so it will be easer to plait. Then you take one of your home hairpins, (they are a good measure size for braiding) and you count for a one size hairpin for each braid. Then you divide the hair into sections to make an individual braid. To make an individual braid you divide the hair in 3, and start to make a little plait. If a woman is braiding, she will tend to do the braid like she does in her own hair, but in my braids I always start braiding by the opposite side, and they must be kept tight with the help of the thumb. When you finish the braid you have to tie it with a thin thread, and it should be the same colour as the mane of the horse so as to be unnoticeable. You do all the braids, and then you do a little rosette to each plait and tie it with a thicker thread.
BHM: Besides the daily show in Portugal, the P.S.E.A performs shows around Europe. What were the places you liked the most? MP: Each place is memorable for me, each one was different. What impressed me most, was the Nimes Arena in the town with the same name in France. It is a Roman Colisseum built in the year 27 before Christ, where in those ancient times
The work is only finished when you plait the forelock. You have to know if the horse will have a hood to cover the ears, or if the plait will be inside the bridle in order to fold the plait to the compatible size with the help of the thread. Special note: always be careful not to hurt the horse with the needle. Make sure the horse is well fed and is not thirsty. If the horse wants to move a bit, you take your chair and move with him, because he is choosing a more comfortable place to be, and you want the horse to be still but comfortable.
We sometimes do shows together with the other National Equestrian Schools, it’s an emblematic event at all levels, the four Schools together - it has only happened twice: once in 2007 and the other last year in 2012, both in Bercy, Paris – France. It’s amazing how we get together and it’s all so organized to the second with so many horses and riders from four different countries. We’ve travelled through Europe to perform; Equitana Horse Fair, Queen Elizabeth’s Castle in Windsor - England, Paris, Salon du Cheval, and many others. In Portugal, we performed in Campo Pequeno (it’s the most traditional bull fighting arena in Lisbon) and in Atlantic Pavilion (a contemporary performing pavilion). In these two places, the same horse with the same groom curiously escaped again (laughs). On one of those occasions just before the show a groom did not appear and we had to take care of and braid our horses and his. It was hard, but with more speed in our fingers, we did it, and all the horses were beautiful performing to the great standards of the P.S.E.A. The shows in Queluz Palace – Portugal, where the P.S.E.A performs is always very emotional for me; preparing the horses and making sure everything stays at its best is something that gives me great pleasure. Back to the Dutch braid: MP: This type of plait is very common in baroque horses and our Lusitanos because our Lusitanos have a big mane compared to German horses or other similar breeds. As the manes have a lot of volume, we can do a rosette with the plaits which is comfortable for the horse and aesthetically is very nice. BHM: Besides braiding, what do you like doing most in your work? MP: I like travelling with the horses, long distance travelling, having them in my care
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Portuguese Plait manes and tail: (Sandokan, cremello horse)
and keeping them comfortable and healthy throughout the trip. At the end of the journey, when I take the horses out, and they are well, it’s a big achievement for me. It is necessary knowledge, dedication and understanding of the horses, and their welfare, making sure that they eat and drink. In the Winter it’s harder to get them to drink water, but we have some tricks so they drink more, however you need to be sensible. I never had problems with horses, except with a nearly twenty year old horse travelling from Munich
- Germany to Portugal, and when the horse saw the truck again for the return to Portugal he was very stressed. In younger horses or very old horses this may happen sometimes, which can result in colic due to stress because the horse becomes more dehydrated. In these situations you must immediately call the vet to treat the colic. This twenty year old horse in question, after the vet’s intervention, was fine to proceed with the journey.
In this braid, you first have to separate the mane to each side. Then separate three threads of mane which start working from bottom to top completing with a fourth thread of mane; entering the tip which is going to press and stick out. This type of plait is used mostly in presentations of in-hand horses, but also ridden. The braid is very durable and lasts longer. You have to keep squeezing, knuckles together always to the root of the mane. When horses are well plaited, it enhances the horse’s neck shape making it more beautiful. You have to be careful with the squeezing of the mane, otherwise when the rider works with the horse and puts him into a round frame, it changes from 1 metre to 1.20 metres; the horse will feel uncomfortable and will not work as well; it is a very sensitive area and in young horses they feel it more. At the end of the 2 separated plaits you leave a palm size to be able to make the horse comfortable. Then you beautify the tips. At the end, you make an extra plait of mane. Two braids on the top line of the neck gives another perspective to the horse’s neck. BHM: Have you ever being recognized by your work? MP: Yes I did; I was rewarded by a Portuguese equestrian magazine in 2003, where they had a category that included leather saddle makers, grooms, farriers, and tailors, and I was the first groom ever to receive this award. In 2008, I was awarded best
groom by an equestrian centre in the city of Coimbra, and in 2011 I won the Award for Excellence by the Golegã Horse Fair, both in Portugal. I was nominated for the FEI award (International Equestrian Federation), but I didn’t win, well, maybe this year I’ll get lucky (laughs). I also have given seminars passing my knowledge on for all people who want to learn this art. Back to the Portuguese Plait, this time the tail: MP: You start to take a small amount of tail hairs, with your hands
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always together. There are always small tiny split hairs, but we can’t do anything about those. Always keep a straight line and with a little hair at a time. Seeing a horse in his box, and then seeing it braided - it’s another horse! Here, you let some threads of tail hair go underneath and circle the tail as many times as you need. Now walk the horse to see the work done.
will only last an hour or so (you have to check it from time to time), because these threads of tail hair can strangle the blood flow, which will result in a big problem; the horse’s tail can even be cut off! I hope you enjoyed seeing these three horses and I was able to pass on some of my knowledge. I like this job; I like horses, so if you have a lot of sensitivity and taste in beautifying the horses, your result can only be perfect. a
Be aware that this plaited tail
Miguel Pires Chief of Grooms of the Portuguese School of Equestrian Art miguelcurso@iol.pt
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Horses For Sale
would not have more foals. This season she went into foal first attempt. At $6600 inc GST this is the buy of the century! I am retaining her youngest filly BHM Mona Lisa. Valencea is only for sale as her owner is leaving horses
BHM Black Madonna At 3yrs old BHM Black Madonna is Valencea’s oldest daughter by Galero. Madonna is black and is just the sweetest filly. At two and a half she was presented for revision and was approved ‘apto’. Unfortunately Madonna was not born at BHM and as a result her hind fetlock conformation has been compromised due to running on her bumpers as a new born. Although not unsound it means that Madonna cannot be shown however it does not affect her ability to be a broodmare. In fact she could even be broken in and ridden. This truly is a lovely mare and if not sold I will lease her back from her owner. $8800 inc GST
Contact: Sabina Callaghan Mobile: 0402639753 Email:sabina@blackhorsemanor.com.au
Contact: Sabina Callaghan Mobile: 0402639753 Email:sabina@blackhorsemanor.com.au
San Miranda Valencea is a bay PRE mare that stands a true 16.2hh and is sold in foal to Galero XIV with a LFG. Although Valencea is 18yrs young she is in excellent health and if looked after there is no reason why she
“Karabella Dante Mystica” (Betty)
“Colour Me Picasso” (Reg pending)
Reg AAHA Eligible PRE Reg – 5yr old Grey mare Easy c/s/f/r small mare would make great child’s horse as loves and responds well to children or use as broodmare.
6 month old Pinto/ Andalusian cross gelding by El Caballero Corando III (AHAA and PRE) Dam: El Shanador Gypsy Rose. AHAA – ID Register .
Placed 3rd in only show outing in open breeds class but unbroken. Sire: Eco Dam: Brioveda Viento $8000.00neg or would consider swap for weanling filly to mat 16hh+.
Full brother to “Colour Me Crazy” multi ribbon winner including Champion ID Exhibit at 2012 Victoria State AHAA Show. Lovely forward natured unfussed boy who will develop into a magnificent riding companion. His parents and older sibling are available for viewing.
Ph: 0427760094
Phone 0427760094 $3500.00.
[photo at 3 weeks]
NOT JUST ANOTHER HORSE... Limited rare and beautiful PRE buckskin foals by PICARO PM and Rayadillo SG available now. Contact: majestichorses@bigpond.com www.freewebs.com/majesticspanishhorses/
El Caballero Stud Downsizing due to ongoing health problems We have Stallions Mares colts and fillies all are registered with ANCCE in Spain and with the AHAA in Australia Prices from $4,000 PH 03 59971617 or elcaball@bigpond.com
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or centuries, man has mastered the horse and been mounted upon his back. Over the years the design and functionality of the humble saddle has been greatly thought about and turned into a craft where purpose and comfort for both horse and rider is paramount. About 40 years ago, a man by the name of Valentin Castellanos decided to create a company call Zaldi, saddle makers originating in Salamanca - Spain. He was taught by his father and grandfather. Today Zaldi has grown from a local family business, making only traditional Spanish saddles, to now making over 100 different types of saddles and accessories which are exported around the world. The Company is always striving to evolve by combining modern technology whilst maintaining the tradition upon which it was founded. Jose Luis Castellanos Torres, son of Valentin Castellanos, continues to work hard as the director of the family business. As a rider himself, he is able to consider horse and man at the same time and created the concept of combining tradition and technology. The Zaldi brand combines comfort, design and flexibility offering maximum connection between horse and rider. It is very important to the team behind Zaldi that they listen to what the expert riders say and feel during their workouts and always strive to investigate and develop every aspect of their products. Every thought and effort goes into creating a saddle that not only looks good but also sits in tune with both the rider and the horse, thus creating total harmony.
By Danielle Skerman
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A Family Tradition
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Zaldi’s reputation as quality saddles has even extended to the movies where they are being used. In the 2012 film Robin Hood, starring Russell Crowe, all the actors rode in Zaldi saddles. Zaldi´s saddles are also used by different royal houses around the world such as for the Royal Guard of Bahrain and by some members of the Jordanian royal family. Jose Luis Castellanos Torres is the creator behind the new technology in the Zaldi
“I really feel more proud of a saddle I designed for a quadriplegic girl because she
could not move any part of her body but she wanted to ride and everybody said to her that this was impossible” saddle range. Jose had always had a great love for horses and riding, and used to ride vaquera (a form of traditional working riding), show jumping and today enjoys riding in dressage. Being able to understand aspects of comfort for both the rider and also for the horse enables Jose to put this into the design of the saddle. It was always clear to Jose that he wanted to follow in his family tradition and business, and as the Director of the company today he enjoys being able to create new saddles and improve on the ones they have now.
range whilst in Spain. “We were continually impressed by the Zaldi products and knew that we wanted to bring them back to Australia,” recalls Steve. Zaldi is highly regarded and is the official suppliers to The Royal Andalusian School of Equestrian Art in Jerez. “Seeing them at the School we knew that they must be of quality; we then knew that this is a product we’d be proud to represent in Australia.’ Today, several years later this has all come to fruition and can be viewed, tried and purchased here in Australia.
Steve and Rebecca decided to launch AKA Quality and Zaldi to Australia “I really feel more proud of a saddle I at Equitana in November last year. designed for a quadriplegic girl because Jose Luis Castellanos Torres, Director she could not move any part of her of Zaldi joined Rebecca and Steve in body but she wanted to ride and Melbourne to support and help answer everybody said to her that this was questions. impossible. But we created the right saddle and she can ride without help. With Jose being in the country, I have never in my life seen such a we thought this would be a great happy girl since this day.” These are the opportunity to have a closer look at the moments that make Jose proud of what functionality of the ever popular San he does. Jorge dressage saddle, so we did a Jose Luis Castellanos Torres & Maiko 373 Zaldi can be found in many countries saddle fitting to the beautiful Approved across the world and can now be proudly Friesian stallion Maiko 373. found in Australia through AKA Quality. Husband and wife team, Jose explained to us some key features that make their saddles Steve and Rebecca from AKA Quality first came across the Zaldi not only comfortable for the rider, but also for the horse. One
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Zaldi - A family Tradition feature in particular is the anatomic panel. This is an ergonomic panel specially designed for the wider-backed horse as it allows a greater mobility and a more free movement of the horse’s back.
Jose, demonstrating how the flap can move with some other saddles.
“The idea of the anatomic panels comes from a very strong Lusitano horse called “Espartacus”. His trainers are Jorge Sousa and his wife Janet (Directors of Golega School in Portugal). These people are, together with Zaldi, the creators of the San Jorge saddle but we had problems with Espartacus because he is very, very strong. So I had to find a solution and I created the anatomic panels and Jorge 1º elastic girth strap. The new idea worked very well for Espartacus so we decided to use it for any horse that needs it. The main reason being that the scapula can move far more freely under the panels with much less pressure. Also, in consideration of the horse, there is an elastic connection on the girth straps to allow the horse to breathe better thus enabling him to fill more air in his lungs.” The Anatomic Panel
By having the loop for the girth straps helps secure the flap, thus keeping a better leg position.
The elasitc on the no1 girth enables the horse to breathe better.
Jose is demonstrating where a saddle should sit on the horses back.
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Jose explained to us the benefit of having the knee roll on the outside of the flap as it remains flat and is always in the same position. In the past it has been popular to have the knee rolls on the inside or under the main flap, however a negative to this is that it can move under your leg and doesn’t help the rider to fix the position as well. If a saddle is balanced and fitted correctly you’ll have equilibrium. This is where you can place a pen or coin and it’ll balance in the middle of the seat, showing that the weight is being distributed evenly. It is obvious to us that not only does a lot of thought and care go into making these saddles, but it also now has an extensive range of accessories. Here at BHM we would like to thank Jose for taking the time to explain how to fit a saddle and some of the special features of the popular Zaldi dressage saddle – the San Jorge. a
LOOKING FOR BAROQUE TACK.. ?
info@akaquality.com.au
www.akaquality.com.au
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The 3C’s of
Dressage
&
Calm, Confident
Connected
By Barrie Stratton
A simple formula used to school and assess horses, as well as coach riders. By Barrie Stratton: a National ‘A’ level dressage judge, Judge Educator, Mentor and trainer and coach of horses and riders from Novice to Grand Prix levels. Email: barrie@thestrattonfamily.com Mobile: 0400 639 909 Web: www.academyofdressage.com.au
The 3C’s and the Training Scale This is the second in the series on the topic of the 3C’s. The previous article described how a calm, confident and connected horse can realistically progress through the 6 elements of the Training Scale. Those elements are rhythm, suppleness, contact, impulsion, straightness and collection. The Training Scale is the basis used in coaching and judging dressage today and all riders should be thoroughly familiar with it if they want their horse to reach its full potential. This article will examine the approach I use when schooling to obtain a calm, confident and connected horse.
Barrie’s student Marleen Hunt on Fabuloso F. Harmony, focus and elastic engagement
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The trainable horse A horse is only going to develop the qualities of the 3C’s if they are trainable. To achieve that desirable mental and physical state, a horse needs to be: • Free from pain • Displaying a good work ethic through responding to the rider’s accurately and tactfully applied aids • Focused at all times on the rider’s requests • Ridden in a harmonious way by the rider I will now expand on what defines these qualities:
A pain free horse This implies a healthy horse with supple joints, appropriately developed musculature, feet in good condition and teeth properly maintained six monthly by an equine dentist. Before working a newly arrived horse, I always have an equine chiropractor check the horse all over and make any necessary adjustments to ensure the horse is in optimal condition for the proposed schooling. It is very important that the bridle, bit or bits if using a double bridle and saddle are fitted correctly. The bridle should have a brow band long enough that the headpiece is not pulled forward onto the sensitive back of the ears. The noseband must not be so tight that it interferes with the horse relaxing its jaw. It is common for bits to be too wide. This results in the bit moving from side to side in the mouth, causing discomfort on the tongue, bars and lips. It also needs to be wide enough to avoid pinching the lips and positioned at the correct height, usually producing one to two wrinkles in the lips. The type of snaffle, whether Mullen Mouth, single or double jointed, loose ring, eggbutt or Baucher often needs experimentation to ensure suitability for the purpose and the horse’s comfort.
The horse’s work ethic Just as the rider gains an initial opinion of the horse’s characteristics as soon as mounting and moving off, so does the horse draw an opinion of the worth of the rider. The horse needs to be educated so that it ‘understands’ and responds positively to the rider’s request to move forwards. Through correct and consistent training, the horse will move off willingly into whatever pace and gait being requested. This educated response should and can be achieved without use of a whip or spur. Educating horses to be responsive is essential. The horse’s desire to move forwards allows the rider to channel that energy, originating from engaged hindquarters, into graceful dressage that is performed in a flowing and rhythmical manner. Very often we see riders using their spurs habitually, whether doing an upward transition, or simply to maintain engagement. With correctly trained horses the spur is kept in reserve to occasionally enhance responsiveness or activity, and most often should not need to be used at all. The spur is there to refine the rider’s leg aids. If a horse does not respond to a mere tap of the legs, then correct re-schooling and education of the horse is necessary. It is sad to see riders eternally using spurs because their horse has learnt to ignore their rider’s leg aids. When performing a half pass, the energy and impulsion must be confirmed well in advance of performing that movement. If the rider has to continually remind the horse to maintain impulsion during the lateral movement, then the quality of the half pass suffers. To produce a horse with a good work ethic, it is critical for the rider to harmonise with the horse. (See ‘Being in harmony with the horse’ in this article.) Horses dislike strong leg and rein aids and when used they stiffen, may swish their tails or grind their teeth. I often see horses disregarding their rider’s request to move forwards and they then resort to the inappropriate use of whip or spurs. If a rider is having a lesson and during that lesson I decide to ride and re-school the horse, I begin the work
Barrie’s wife Sarita Stratton riding Andalusian stallion Manuka Agentino in a positive but sensitive way, ensuring I am in harmony with the horse every moment of every stride. Soon the horse learns to trust and respect me. What follows is the development of a supple horse with elastic paces. As the suppleness evolves, so does the horse’s response to the slightest leg aid, and eventually, to the rider’s body language.
The horse remaining focussed The horse learning to focus on its work develops a positive work ethic. The minds of both horse and rider need to be totally absorbed by the work they are doing each and every stride. This may sound easy, but in fact it takes a lot of practice. It is a matter of ‘being there in the moment’. The rider should have neither a tight grip on the horse’s mouth, nor strong legs on the hose’s sides. In this precise form of riding which is indeed an acquired art, each moment of every step is monitored and the horse’s energy channelled into a balanced and rhythmical gait. As a result, horse and rider form a unique union of ‘one-ness’. Hence the qualities of suppleness, impulsion and elasticity of steps are all ameliorated. In this union the horse is the body, which without hesitation, senses and responds to the rider’s mind. The precision needed by the rider to attain this almost meditative state, results in the horse focusing on its work so there is infinite harmony between horse and rider. It is then that the pinnacle of dressage is attained, regardless of the simplicity or complexity of the movement and pace being executed. Being in harmony with the horse Harmony between horse and rider is a prerequisite for achieving a state
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Barry Stratton of unity and ‘one-ness’. This requires different parts of the rider’s body and limbs to be able to operate independently of each other. For example, the use of a leg or hand should not result in the stiffening of the lower back or other parts of the body. Riders need to acquire the skill of following the horse’s body movement. An example is that the rider needs to be able to remain in the saddle during the suspension phase of the canter. Most riders tend to leave the saddle at that time due to their pelvic region being insufficiently independent of their back, and so do not swing or rotate the pelvis sufficiently to follow the three beat stride of the canter. When sitting trot, the rider needs to develop an alternate left, right pelvic or hip swing / rotation which follows the natural swing of the horse’s back and shoulders. For example, as the horse’s right shoulder swings forward the rider’s right hip follows suit and in a very subtle way, so does the rider’s right shoulder. Similarly the rider’s left hip follows the movement of the horse’s left shoulder. This avoids bouncing in the saddle and significantly improves harmony between rider and horse. Even the forearms of the rider adapt to the natural swing of the horse. Edward Gal, who used to ride World and Olympic Champion Tortilas, is a good example of a rider who adapts to the horse’s swinging movement in this way. In contrast, when a rider tries to sit perfectly still, they become a statue sitting on a horse, which subsequently causes a stiffening through the horse’s entire body. Even in the rising trot a rider will feel improved harmony by sending their outside hip slightly more forward than the inside one, as they rise on the horse’s outside diagonal. This creates a more effective inside leg of
the rider, which in turn aids engagement and development of lateral suppleness. The use of the rider’s hands can be compared to holding someone else’s hand or a sponge, and producing a squeezing and softening effect. Rein use becomes most effective when accompanied by a subtle bracing or controlled swinging of the rider’s lower back. When using a rein aid to maintain or enhance yielding of the jaw, poll, top line and hindquarters, I get good results by simultaneously combining the use of a leg (usually the inside one) or both legs. This is known as ‘the combined effect’, and more reliabily ensures the horse will maintain self-carriage and lateral bend, than solely the constant use of the rein to gain or maintain a supple jaw and body of the horse. The horse soon learns that while there is a rein contact on their mouth and the inside leg is used, then the horse relaxes their jaw, poll and top line. This promotes a supple horse with a swinging back, and in turn results in the ‘throughness’ and connection qualities being developed as required in the Novice Level dressage tests and beyond. A movement which is ideal to check if the horse is ‘over the back’ and has developed the quality of ‘throughness’, is to return from trot or canter work into a medium or free walk on a long rein. When each of these walks are correctly performed, the horse displays a relaxed head nod with a neck whose height keeps a steady location. The rider should be able to keep a steady contact through the reins onto the horse’s mouth. The riders forearms simultaneously move back and forth in harmony with each nod of the horse’s head without loss of contact or interference of the activity or freedom of the walk. Josh (Andalusian/ Clydesdale), climbing into the canter. Josh pictured in the first phase of the canter stride showing a balanced position with good use of abdomen muscles and an engaged back with a supple poll. After always struggling in the canter, Josh is now very confident and so has become calm and well-connected in this gait. The quality of the pace is paramount for Josh to proceed to more advanced canter movements.
This correct manner of performing those walks also applies to an extended walk. There has been a prolific winner at the Olympics and World Equestrian Games in recent years who could not maintain this steady contact in the extended walk. To some degree this contact problem also applied to their collected walk as well, although the head is steadier and more elevated in that pace, without the obvious nod. Much of their work had a spectacular appeal to it, but it makes me doubt the correctness of that horse’s training and if it really was ever truly displaying ‘throughness’, or was ‘over the back’. When a horse is a supple back mover rather than only a leg mover, the skilled rider can refine their communication aids. The pelvic region can then control the horse. The torso comprising lower, middle and upper back provides the rider’s strength and stability and the arms and legs become only accessories. Horses do not like strong or over active rider’s legs on their sides or strong or over active hands on the reins. They only cause irritation to the horse and subsequent resistance. There is little harmony in those situations. The rider’s shoulders should remain parallel to the horse’s shoulders at all times. Through corners and on circles or during lateral movements the rider’s appropriately placed weight, torso and shoulders gives the supple and balanced horse a clear indication of where it is meant to be going. When this way of riding is adopted and used in a consistent manner, the horse learns to read the body language of the skilled rider and so the ideal quality of ‘one-ness’ between horse and rider develops. Suppleness is now achievable as the horse is being ridden ‘over the back’, and so the 3C’s develop. Calm, confident and connected.
Two examples of choices of equipment to re-school stressed or resistant horses In relating these two case studies, I am not suggesting all horses needing such help will benefit from these examples. Rather, I am recommending the trainer carefully consider all available options and adapt to the horse’s needs. The well-being of the horse should always be your priority. If you are not sure about something, seek expert help.
Case 1 There have been some hyperactive horses I have re-schooled who were presented to me in double bridles and being ridden with stiff backs and a high neck carriage. The curb had been used strongly to create a flexed poll with an elevated neck, and the horses were clearly leg movers as opposed to correctly trained back movers. In many of these cases the horse’s mouths were over active with tongues sometimes over the bit and coming out of their mouths through the result of stress.
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A remedy I have successfully used in several such cases is to fit a snaffle bridle with a Mullen Mouth, ( a snaffle bit without a joint and a gently curved mouth piece). I spend time riding the horse mainly in trot, but also in walk and canter, with the poll at or just below the height of the withers. The nose is on, or a little in front of the vertical, but never behind. This ensures a supple conditioning of the horse’s back, a return to a quiet mouth and acceptance of a soft, steady contact with the rider’s sympathetic hands. If these stressed horses are ridden behind the vertical then excessive tension will remain, often with over active tongues. This corrective process can take weeks or even months, depending on the individual horse. It is important for the trainer to be patient. Most movements can still be practised and schooled with the horse’s head and neck being in this moderately lowered position. After a while, the horse can almost always be successfully returned to a double bridle, if that is what is wanted. When stress might return during schooling, the rider can return the head and neck carriage briefly to the lower position. It is as though the horse sees this as its ‘safe place’ to be, and calms down quickly.
Case 2 Sometimes horses who have a history of being ridden badly with excessive rein aids and have subsequently lost confidence in rein/ hand contact to their mouth, can unlearn that a bit means pain and stress, and improve their confidence by being ridden correctly in a double bridle. Note: All bits fitted must be the correct width and height in the mouth. When the double bridle is first used as a corrective measure, I find that by adjusting the curb chain one link longer than normal, the horse experiences greater comfort and willingness to work freely. The slightly
longer curb chain allows the shanks of the curb to come back greater than the normal angle of 45 degrees to the lips when the curb rein is applied. The slightly longer curb chain reduces the pressure of the chain on the jaw, which can irritate a horse recently introduced to the double bridle, while the introduced poll pressure is still experienced by the horse.
Wendy Verstrepen owner of horse ‘Josh’ (Andalusian/Clydesdale), ridden by Barrie Stratton
Before fitting a double bridle, the horse must first be properly prepared to accept and yield to poll pressure. This can be done several ways, including the progressive lungeing and schooling in a chambon. This should be done by a skilled trainer familiar with the equipment. When using the double bridle for this de-stressing and confidence building purpose, the rider maintains a very soft contact. The horse’s engaged hind legs send the horse into the contact with the rider’s sympathetic, feeling hands. The rein pressure is no longer exclusively applying pressure on the horse’s mouth and reinforcing bad memories. Instead the curb works externally, applying poll pressure which enables the rider’s rein aids to be effective while producing only minimal bridoon pressure on the sensitive mouth of these mentally damaged horses. After a period of re-schooling this way, I find that suppleness comes to the horse’s back, neck and poll resulting in hind quarter stiffness disappearing. The horse starts to swing its back and confidently maintain a contact, with the poll remaining supple. Our dressage rules allow a horse at any level to be warmed up in a double bridle prior to a competition. This should not be done as a matter of course, but when it benefits the horse and the rider is sufficiently skilled, it could be considered. Once a horse’s confidence has been restored, a snaffle can be re-introduced. I must stress that throughout this whole re-schooling process, the horse should be ridden
from back to front with engaged hind quarters sending the energy ‘over the back’ to an accepting head. The flexible poll should remain near the highest point, thereby indicating that the horse is correctly using its back in a supple and engaged way. As I mentioned in part one of this series, when we succeed in helping these stressed horses that lack confidence, by progressively gaining their trust and respect, it is a very rewarding experience for horse, rider and coach.
Adapting to the horse’s needs……..the key to good horsemanship. The way you adapt your riding, your method of schooling and your choice of equipment for each individual horse, are all important to ensure the best outcome. This is in contrast to the rider who expects to train a horse by wanting them to adapt to their own inflexible methods and habits. Every horse is a unique individual , and deserves to be treated as such. Part three of this series will examine the schooling and riding of various dressage movements, keeping in mind the maintenance of the horse’s good work ethic, and how to develop a harmonious relationship between the horse and rider. Our willing horse with fluid, elastic paces can then continue to develop in every way while fostering the 3C’s: Calm, Confident and Connected. a
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Ar ticle & Photos by
Laura Zugzda www.lauraz.net
he first time I saw a photo of a Friesian stallion, I thought I was looking at something out of a Da Vinci sketchbook. I didn’t realize that such a horse existed, and I dreamt of having one of these big black stallions in my life. I had heard that there was nothing like the heart of a stallion, and I wanted to find out for myself if it was true. Not only did that dream come true, but I never ever could have imagined that it would evolve into a bachelor herd of 3, the Forest Boyz. Meike, Menno and Saphire have always taught me what they needed to be happy… freedom, companionship and a little adventure. And when it comes to mares… ignorance is bliss. They are not breeding stallions and really don’t know mares exist. Since I have no previous experience with stallions, I have always trusted that if something needed to change, they would show me.
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ow they are 7 and 8 years of age. I was told by some that they would stop playing together at around 3 years of age. Every morning when I waken, and glance out the window, nothing blesses me more than to see them wrestling and playing with one another, tossing a cone about. My heart’s desire is to give them the very best life possible, which hugely influences how I keep and care for them. The majority of my time is spent caring for them and the land, working on fencing, and expanding their territory whenever I can. I think I’m truly a shepherd at heart… there’s nothing I’d rather be doing than hanging out in the field with these magnificent creatures. do ride them, and we all are fairly green, but we are making progress.
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find that riding is really the icing on the cake. Having a deep friendship with each one is the most satisfying thing to me, and is more than enough. Slowly we are venturing off the property, visiting the ocean and a few other locations. I am amazed at how calm they are for so little exposure to the outside world. I hope to continue to have adventures with them‌ playing at the beach, swimming in the
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rivers and exploring the magnificent Redwood Forests. We have the rest of our lives to grow and learn together. I think it is safe to say that we are all “Living the Dream!� I have discovered first hand, that there really is nothing like the heart of a stallion.. My heart longs to make art with them and share their amazing relationships and beauty with the world. a
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Riz’s Rant
R R
The Airs above the Ground used in Battle? Debunking the Myths
B
efore I start to rant I want to make it very clear that I find the Haute École to be a worthy and noble endeavour. The Airs are a passion of mine, and I believe that much can be learned about yourself and your horse through the training process. That being said it is time to set the record straight…The Airs above the ground and the vast majority of the Haute École movements were likely never used in battle, at least not in my opinion. I heard the stories, same as most of you, and I truly wanted to believe them. The idea of a horse hopping through the enemy line on his hind legs, or performing a Capriole to defend against infantry who had surrounded the rider sounds like a grand idea, and I would have liked to believe it was true, I really would. However, anyone who has been in a few good bar brawls and/or trained the Airs themselves would know that this could not be the case. I am not saying that horses do not naturally perform these movements of their own accord, either when frolicking and playing, showing aggression to other horses OR when on a battlefield with the smell of blood in the air, screaming in pain and sharp metal objects being shoved in their faces. I am saying that it is not very logical to believe that they were used in battle or as part of a systematic training regime for horses that were to be ridden into battle.
Cavalry has the advantage of being able to move fast and they have the high position from which to attack from. A big advantage no doubt and the infantry soldiers knew this all too well. Do you think they only wanted to kill the rider? Of course not! The horses were the first to be attacked to equalize the situation. The big issue for cavalry is that when they are stationary they become very vulnerable to infantry, certainly spears and pikemen. The timing of these Airs in battle would be near impossible and would really increase the risk for both horse and rider. Myth: It must be true I have seen paintings/ drawings of horses performing Airs in battle. Truth: The paintings were commissioned by the wealthy and noblemen of their day to celebrate their victory or performance in battle. The artists would rarely have been close enough to see the battle. The Airs above the ground were invented in peacetime. Used in displays to glorify their noble riders/trainers or to entertain those in their social circles. Myth: The Courbette was used to break through enemy lines. Truth: Would you try to hop your way through enemy lines and lances by exposing the only part of your horse with no natural skeletal protection and containing the most vital organs?
they become very vulnerable to infantry, certainly spears and pikemen..
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Anyone who has ever seen a horse perform the capriole knows that it takes a moment to prepare the horse for the jump.. 9 8.
Myth: The Levade was used to lift the rider out of harm’s way of an enemy’s sword or lance. Truth: A Levade done correctly will actually lower the rider making the rider an even easier target. The Pesade may well lift the rider but will also expose the belly and as such the vital organs of the horse. Myth: The Terre à Terre was used in battle. Truth: Winning wars was often determined by which army was the most efficient - which side could outlast the other. Horses will naturally not travel in collection for long periods of time - Why? Because it is not an efficient way to utilize energy. What purpose would a series of Levades serve in battle? Why would you waste so much of your horse’s energy performing them? Myth: Riders would use a Capriole to disperse/ attack enemies who were coming from behind/ surrounding the horse. Truth: This is perhaps the most ludicrous claim of all. Anyone who has ever seen a horse perform the capriole knows that it takes a moment to prepare the horse for the jump. There would not be enough time to perform the capriole and even if it was possible it would be more than enough time to give warning to those on the ground around the horse, so they could easily wait until the horse had landed to stab him with their spears/swords/ pikes. The rider would have had a far better chance of survival by trying to run over the person in front instead of trying to kick at attackers from the rear. Myth: Many years were spent training a horse and preparing it for battle.
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Truth: Horses were a commodity, and millions upon millions of horses were killed in wars throughout history. Trained horses were of such high value that a nobleman would only ride a horse of lesser value into battle where he was likely to be killed or injured. To spend years training then get the horse killed or injured does not make sense. Although a very controversial sport, (and rightfully so) mounted Bullfighting (the Rejoneo), is the closest thing to battle on horseback today. A sport where the riders life depends on the horse’s training. No bullfighter would risk his horse or himself by trying to time a capriole to kick the bull or to do a levade to get out of the way of the bull’s horns. A slow cadenced pirouette would mean certain death in the bullring. In my opinion only the Croupade as performed by Saumur, and a striking rear were possibly effectively in battle, and Piaffe and Passage or even some of the Airs could have been used as a way to make the enemy feel that they were outmatched in some way. To demoralize or intimidate the enemy and that is, I am afraid, where the usefulness would end. Special thanks to Allen Pogue for the use of his spectacular photos! Allen Pogue is the founder of Imagine a Horse programme. Allen has dedicated his life to studying the equine mind, and is often featured as a guest lecturer at the leading Veterinary School in the United States. a
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