Baroque Horse ~ Issue 14

ISSUE 14 FEB/MAR 2014

$8.95 AUD

$9.95NZD

€7.95

£6.95

&

Beauty, Strength Power Gonçalo Carvalho and Zaire: A New Partnership| Master Luís Valença Rodrigues: The Dream Maker and Much More Inside.

w w w. bar o q u e hors e m ag az i nE.com

1.

www.facebook.com/Dexelim 2.

w ww.ba r oque hors e m a g a z in E . com

w w w. bar o q u e hors e m ag az i nE.com

3.

CONTENTS

w h a t ’ s

i n s i d e

8.

Master Luís Valença The Dream Maker

14.

Gonçalo Carvalho The Dream Maker

20.

Heather Currie and Hatero

28.

Horsemans Rendezvous

32.

Elise Genest Artist Profile

38.

Golegå Horse Fair

47.

Horses of Interest

ISSUE 14 FEB/MAR 2014

$8.95 AUD

$9.95NZD

I ss u e 1 4 F E B / M a r 2 0 1 4

48.

Carl Hester

54.

Hot Topics To Geld or to not Geld

56.

Basic Handling of the Young Horse with Jody Hartstone

62.

Sara Duarte True Inspiration

68.

Pilates for the Rider

74.

Working in the Round

78.

Horse Care

82.

Poppe’s Story

87.

Colour Genetics

&

Beauty, Strength Power

€7.95

£6.95

Gonçalo Carvalho and Zaire: A New Partnership| Master Luís Valença Rodrigues: The Dream Maker and Much More Inside.

On the Cover: Heather Currie and “Hatero de PB” Photo by Danielle Skerman

E d i t o r s

W

elcome to Issue 14, the first issue for 2014! It’s a rather fitting number really. We do hope that everyone had a great 2013 and that you have enjoyed reading BH. One of the most common questions we get here at BH is regarding what exactly defines a Baroque horse? Many who are unsure think it is a type or breed of horse, which is not technically correct. It is a number of breeds that were popular during the Baroque period. Friesians, Iberian, Lipizzaners etc. When I was thinking on a suitable name for

the magazine, this seemed like the logical option as it covers so many wonderful breeds that I just love and so many people around the world do too!

At times it can get tricky elaborating on what defines a Baroque horse, as up until recently many breeds were classed as Iberian that now all have their own stud book and breed registry. This often leads to the next question of ‘What is an Iberian horse?’ In a nutshell, it covers many breeds that are of a similar appearance and even genetic makeup. For example, some of the breeds that fall under this sub-umbrella are

N o t e

Lusitano, PRE/Spanish, Lipizzaner, Murgese, Menorquin and some would argue the gaited horses like the Paso Fino etc, also come under this description. We do try to keep to the main Baroque breeds, however we still keep an open mind to similar breeds.

erman Danielle Sk Editor in Chief

4.

w ww.ba r oque hors e m a g a z in E . com

05

Follow us on

facebook.com/baroquehorsemagazine

pinterest.com/baroquehorse

www.baroquehorsemagazine.com Photo of ‘DEXENO (JGR)’ by Eduardo Castro w w w. bar o q u e hors e m ag az i nE.com

5.

SUBSCRIBE

TODAY

and SAVE! 6 issues (1 year) for only $39.95* *Australian residence only. Shelf price of $53.70

EDITORIAL

Editor-In-Chief Danielle Skerman editor@baroquehorse.com.au editor: Michaela Wake Proofing: Mel Hughes

ART & PRODUCTION

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

ADMIN & MARKETING

For international subscriptions prices please contact us for view the web link below Please tick the appropriate boxes and fill out the payment details below

Patty Taylor Patty@baroquehorse.com.au

Advertising enquiries

Advertising@baroquehorse.com.au +61 419 363 635 Brian@baroquehorse.com.au

Name:

For Subscription enquiries:

Phone:

Subscriptions@baroquehorse.com.au

General Enquiries:

Address:

enquiry@baroquehorse.com.au

Photographers:

Cátia Castro, Danielle Skerman, Nadeen Davis, Antonio Mendonca, Sheree Conroy, Julia Rau and Ann Jeffree.

Postcode/Zip: Email Address:

Contributors:

Payment:

Credit Card

Please send me a pay pal invoice

Cardholder no:

Cátia Castro, Micheala Wake, Sheree Conroy, Danielle Skerman, Joan Sankey, Jody Hartstone, Melanie Griffiths, Suzanne De Laurentis and Allen Pogue

CCV______

Cardholder name: Expiry date:

Total due:

Signature: Enquiries To: subscriptions@baroquehorse.com.au ph+61 419 363 635 POST SUBSCRIPTION TO: Baroque Horse Magazine PO Box 18002, Clifford Gardens, Toowoomba, QLD Australia 4350

6.

go online at www.baroquehorse.com.au/buy-magzine

w ww.ba r oque hors e m a g a z in E . com

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

w w w. bar o q u e hors e m ag az i nE.com

7.

8.

w ww.ba r oque hors e m a g a z in E . com

Master Luís Valença the

dream

maker

Article and photos by Cátia Castro

A

great master and a living legend, the reputation of Portuguese equestrian artiste, Luís Valença Rodrigues precedes him throughout the world. Former master of the Portuguese School of Equestrian Art, he performed at the Royal Horse Gala and Appassionata Shows for many years.

A living equestrian history book full of stories of important horses, and their associated important people, Master Luís Valença has been shaping dreams in every show he designs. He has devoted his life entirely to the training of Lusitano horses and unusual riding talents. His palomino Sultão, was unquestionably the very first chapter in this master’s amazing life.

Highly accomplished in classical riding, Master Luis Valença showcases all facets of high school dressage together with his daughters Filipa and Sofia Valença. Whether they are being led or ridden, Valença’s horses have mastered various styles to perfection, including Iberian Quadrille and Garrocha, which are reflected in their riders’ brilliant skills.

Hollywood actor Kirk Douglas visited Luis Valença twice in 1986 to gain inspiration from the horses for his book “The Gift.” Both Queen Elizabeth II of England and the late American President Ronald Reagan were impressed by his art of riding.

BHM: First of all, thank you very much for the privilege to be here talking to you. Please tell us how this all began?

LV: All that happened here was based on the horse. Jerónimo Fenollos started the Centro Equestre da Lezíria Grande—CELG—35 years ago and he bought a palomino horse I would train. That horse was Sultão, and after he appeared in my life, a series of strange things happened, like a star to light the way. Many positive things happened because of Sultão.

My second riding master, Don José Manuel da Cunha Menezes, was a “Baucherist”; he taught me a lot of the Baucher style of learning. When I got Sultão, he was a paolomino, (and my master Don José’s last horse was also a palomino, named Baudelaire), I taught Sultão the all programs that I learned with my master. Baucher had exercises that do not apply w w w. bar o q u e hors e m ag az i nE.com

9.

1 0.

“T

he first steps we should take with the horse; the code that has to exist between horse and rider; the voice; the feeling; the movement; the horse accepting us as his partner, to be part of his herd

“

very often today, but at the time the circus and the army applied those types of teaching in every day life. But after two years of having Sultão, the owner made a proposition to build a new stable and arena, so that’s where CELG was born here in Vila Franca de Xira, Portugal.

Before we established CELG, we went to the Canary Islands in Spain, and there we learnt a lot about equestrian tourism.

This was pre-1974, so keep in mind that we did everything back in those days. We performed with the horses, and then we changed our clothes and waited tables.

Sometimes you have to experience hard times in life to better appreciate the good times. My life was divided in four parts: the first one was the experience with my godfather Don José, the second was when we went to the Canary islands and Jerez de la Frontera, the third was the opening of CELG; and the fourth, the opening of the gates to go abroad.

In 1984, we went to the Paris Horse Salon (Salon du Cheval Paris), and it was our first adventure through Europe. At first I didn’t ride Sultão in the exhibitions, because his coat colour was considered ‘feminine’, so it was actually one of my daughters, Luísa Valença (who was then 11 years old) who presented Sultão without a saddle.

Continuing on, we went to the jumping show of Paris, and Sultão performed the backward gallop; he galloped in the same spot; he did rear passage. What people read in Baucher books they could now see in front of them, so it was a huge success. We were invited to go to Birmingham to the Royal Show in 1994.

We went to Equitana in Germany in 1997.

At Equitana we did the closing ceremony; my daugher Luísa and Sultão were in the middle of the pillars, and the crowd started to clap their hands and the horse started to beat his hoof on the ground in time and people loved it. Then in Paris, a Nigerian couple offered to buy Sultão, for a million French francs, which in those days was a lot of money! Of course we didn’t sell Sultão—money is not everything in life. After that, the newspapers were all interested in Sultão, which also gave us a lot of free advertising, and people from all over the place visited us to see him.

We started to do tours in Europe for the German company ‘Royal Horse Gala’, and did that until 1996. In those days the Apassionata Show didn’t exist. We went performing in Arles, France, so many places…

During the Royal Gala, interesting things happened; we were in Vienna, Austria, and there was the Olympic gold medalist, the dressage rider Nicole Uphoff with her horse “Rembrandt.” She asked me to present the show wearing our 18th century costumes and ride Sultão. So we went—the three of us—my daughter Luísa, Nicole and I. Nicole is an extraordinary rider; she only rode Sultão for about five minutes before the show, and performed the exercises in an excellent way. The German newspapers didn’t like it because she was there to represent the German horse—Rembrandt— and it was pandemonium.

In the Royal Gala in Aachen, Germany the following year (1997), Isabel Werth was there, and she knew about Nicole’s story, so

she went to see me and said “I would also like to ride Sultão.” And so she did, but not with our costumes. When Anky Van Grunsven was here in Portugal for the International Lusitano Festival, she asked if Sultão still existed, and then she rode him there. What is so funny is that three Olympic dressage riders rode Sultão—this is part of Sultão’s history.

BHM: You are also a great ambassador of the Lusitano breed…

LV: Nowadays I do the Apassionata Show; we have huge support in terms of good conditions for the horses, riders, special effects…we sell about 500,000 to 600,000 tickets each year. That’s a lot of people who

ww w. ba r oquehors e m a g a z in E . com

see our Lusitano horses. We also do a few shows outside Apassionata like the one we did at the Golegã Fair 2013 and we were invited by the King of Morocco to perform in Morocco. My oldest daughter Luísa is now living in Bangkok, Thailand; she has Lusitano horses there, and she is in the dressage competitions. She has had a lot of success, and has been developing good dressage there.

BHM: We have been interviewing many dressage riders, and many were your students…

LV: There is something in equitation that we must have, and that is: know the world of the horse; appreciate the horse; and then go to

the equestrian path we would like to follow.

Here our path is the Equestrian Art. From there we have a base and follow what we like.

The riders—Carlos Pinto, Daniel Pinto and Nuno Palma e Santos (he was married to my daughter Luísa)—began here in CELG with me.

The Classical equitation has less expression in terms of followers, but in terms of learning has a lot: what are the first steps we should take with the horse; the code that has to exist between horse and rider; the voice; the feeling; the movement; the horse accepting us as his partner, to be part of his herd, but us being the head of the herd. Riding is not like shopping for clothes in the store, we have

to know how to cut and sew the fabric and make the clothes. Equestrian art is to give to the horse every chance to express his ego, to give to the breed every opportunity so that it may shine.

BHM: You were Master Nuno d’Oliveira’s student. Did you have other mentors?

LV: Of all of the learning methods I had, it was my godfather who gave me the horse experience. He was Don José Menezes, who was a specific master (he followed the Baucher method). He was a man like the ones that you go to university and then you stay in touch with to master a single discipline, he couldn’t

get out of that way of thinking…he was a very specific man.

In saying that though, it was great because Baucher was one of the most important men in equitation: he studied all horse functionality/ morphology, and then he created a system, that by that time was intended for the army.

His system was in a time that the sword fighting was replaced with gun fighting, and so they changed the type of horse that existed to attend the army’s needs. They started to use crossbred horses because they had a lot more speed in a straight line. There was there a bit of a shock in the preparation of these horses though, because they had a different temperament—they were harder to train. He

w w w. bar o q u e hors e m ag azi nE.com

11.

“

1 2.

to each individual horse. His arena was always a big riding laboratory, where he had a variety of horses for him to try, and then he developed his own training method that suited nearly all horses.

BHM: Can you tell us a story about Nuno d’Oliveira?

LV: Well I have a photo of Master Nuno d’Oliveira with his German horse. Yes—a German horse…he had a German horse at the end of his life. He wanted to try his method on German horses, but as he could not afford to have one, he went to Belgium where they had Warmbloods from Russia.

He went to purchase the horse with Michel Henriquet and Hélène Arianoff—dressage champions of France at the time. There were eight or nine horses, and then Master Nuno d’Oliveira asked them to leave because he wanted to choose the horse alone. He chose a horse that was ugly and angular, with a ewe neck —it looked like a race horse, and then he sent it to Helena Arianoff to begin training.

Eventually when he learned the basics, he would go to Master Nuno’s house.

Even today, Helena remembers that she started to work on the horse and the horse was not evenly balanced in cadence and rhythm, he delayed movement of a leg… and so she phoned Master Nuno saying that

was better if they decided to ask for a vet’s opinion… he said “No way! The vets will come up with some theory and I want that horse.”

Well, the horse came to Master Nuno to train.

In the first year, we all said he was wasting his time with that horse; in the second year he managed to put the horse’s neck round in the right way; and by the fourth year of training, the horse performed all the exercises requested in dressage Grand Prix, and he did haut école exercises like the Spanish trot.

Master Nuno transformed a bad horse into piece of art. There was an extraordinary rider; he was a true man of horses.

Another quick story…I had a horse, a pinto horse, and he was physically weak. We didn’t give him much attention, but Master Nuno told me to train the horse, that he would be a good horse. Everybody told him the horse was no good. With no logical arguments to back up our opinion, Master Nuno went for a drive in his car, and he come back and told me: ”You have a young daughter, you will teach the horse with her on his back”. For me, even if I didn’t agree, all Master Nuno’s wishes were automatically carried out. So I trained the horse, and he became a really nice horse, performing the Grand Prix exercises. Then I sold him to a really nice new owner, and it was with the income from that horse that I bought the house that I still live in today…I have Master Nuno to thank for that.

It’s not bad, but riding is not that; riding is something more than that

ww w. ba r oquehors e m a g a z in E . com

“

thus invented a system to make the horse as submissive as possible. Baucher had fifty-four lessons and then the horse was ready. It was a science with very closed parameters. I’ve learned a lot with Don José, because he made me see the horse’s reactions in minute detail, how they could be substituted. Baucher’s philosophy was undoing the instinctive forces of the horse and replacing them with transmission forces. Place the horse in “zero” and then program the horse with what we teach them.

Later, Master Nuno d’Oliveira had a lot of contempt for other professional riders, he thought they should have the same learning that he had. One day he went to Don José’s place and asked me to ride the horse that Don José and I were teaching. I rode the horse and at the end he said: “it’s not bad, but riding is not that; riding is something more than that”…and he was right. That very same day, Master Nuno d’Oliveira went to see my mother (he was married to her first cousin) and he told her that he would like me to go to his place and start lessons with him. I must have only been seventeen at that time, and it was a big turning point in my life.

Master Nuno d’Oliveira’s methods were based on every master’s knowledge and applying what was necessary to that specific horse. He did not follow the method of one or the other; he applied what was necessary

Contacts: CELG - CENTRO EQUESTRE DA LEZÍRIA GRANDE Address: Estrada Nacional 1. 2600 Vila Franca de Xira - Portugal Phone : 351 263 285 160 E-mail: celg@ celg.pt Website: www.celg.pt/index2_eng.htm and www.facebook.com/ValencaEquestrianTours More Info about this article: Sultão: Lusitano crossbreed, palomino coat.

Born in April 20th of 1976, died in August 12th of 2005. An outstanding horse with superior character. His exceptional and unique curriculum vitae: In 1984, he debuted at the Paris International Horse Salon, when he made a performance of light and sound that swept Paris. He was a true riding “Globe Trotter” and an annual attendant at the major equestrian stages of Europe. He was the element most searched for by thousands of visitors of CELG Equestrian Center.

François Baucher (1796 – 1873) was a French dressage master of the 19th century.

B aucher took great pride in his ability to produce a horse quickly ridden, claiming to have trained horses to perform the airs within

months. His ideals based on the search for ultimate lightness remain with us today.

Appassionata Show: During its nine-year history, Apassionata has brought almost five million viewers their fair share of astonishing moments, tears and laughter. The magical connection between people and horses is enjoyed year after year thanks to the beautiful horses, breathtaking riding, unique light effects and wonderful music. Visit Europe’s most successful equestrian entertainment show and immerse yourself in a world of adventure and imagination.

Nuno d’Oliveira: (June 23rd, 1925. Died February 2nd, 1989). Nuno Oliveira was a brilliant riding master of the 20th century, recognised worldwide. A Portuguese national, he started to ride at the age of seven. He devoted his life to teaching and dressage, becoming Portugal’s ambassador of the Equestrian Art in all four corners of the world. His riding master was Joaquim G. Miranda, following the French classical style of Versailles. When his master died in 1940, he pursued his own career. In the ‘50s, he began his public appearances, and opened his own riding school in Póvoa de Sto Adrião. During the ‘60s, he gained visibility for both him and

for the Lusitano horse, performing all over the world: the Americas, Australia, and Europe.

A great reader of all classics, his equestrian knowledge is all-encompassing. His main readings are: La Guérinière, Steinbrecht and Baucher.

In 1973, he acquired Brejo’s Farm (in Avessada, Malveira, Portugal) to continue his riding school. He kept a written correspondence with the French rider Michel Henriquet for 30 years.

Master Nuno left several written works in the Portuguese, French and English languages, showing his equestrian methods and reflections, leaving an Equestrian Art message of beauty and the natural aptitude of the Lusitano in the complex aesthetic culture. He drew the High School action line, promoting the Lusitano horse as a perfect example of “equilibrium and lightness.”

Michel Henriquet: was a member of the French National Commission for Dressage and technical advisor to the Cadre Noir of Saumur.

Trainer of many riders, he trained his wife Catherine Durand to dressage Vice-Champion and Champion of France, and the Olympic Games in Barcelona with a Lusitano. He is a recognised specialist in the Iberian horse. He was President and Founder of the French Association of the Lusitano Horse. a

w w w. bar o q u e hors e m ag azi nE.com

13.

1 4.

ww w. ba r oquehors e m a g a z in E . com

working towards the future

Article and photos by Cátia Castro

w w w. bar o q u e hors e m ag azi nE.com

15.

Article and photos by Cátia Castro

T

he Portuguese dressage rider who needs no introduction, Gonçalo Carvalho, reached the highlight of his sporting and competitive career with his participation in the London 2012 Olympic Games. He, along with the Lusitano Rubi (AR), made history with their outstanding performance, and marked a definite turning point for the Lusitano breed.

Considered by Gonçalo to be the ‘test of his life’, the pair achieved the best score ever in the Grand Prix Special where they were awarded an incredible 74.600%. In the Freestyle (to music) they scored an unbelievable 77.660%, and that made this special duo a benchmark.

Gonçalo and Rubi made their recent appearance in the Qatar International Horse Show CHI AL SHAQAB, DOHA 2013; in the ECCO FEI European Championship 2013 in Herning, Denmark; in the 2013 CDI 4 Wiesbaden, Germany, where Gonçalo won the prize of Best Male Rider of the CDI. BHM: What was the people’s reaction during and after the Olympics?

GC: People love Rubi. In Germany and in the Netherlands, many people worship Rubi. After the Olympics appearance, he is seen as a true competition athlete, and the public loves him.

The Olympics...it was one of the best moments of my life. I had to be as focused as possible, but still today just watching a video of it I get goosebumps. I had my team in a fabulous, friendly environment under all conditions.

BHM: What do you think of today’s Lusitano?

GC: There has been a great evolution in the Lusitano breed. As a breeder myself, I give priority to functionality, and I use stallions with given proof of their functionality, like Rubi (AR). I don’t pay much attention to the Lusitano breed standard; I want to know if the horse has a good walk, trot, canter, if it works…

BHM: Tell us about your new horses, your new projects?

GC: I have a huge and ambitious project in hand, which I cannot reveal yet, but I can tell that is related to the dressage high competition. For me, high competition is the key factor. I’m 31 years old, so it is now or never for me. I do my best and I think now is the best time to invest in competition; that’s my work.

During this year I will be having four horses going out in Grand Prix level: “Rubi,” “Zaire,” “Zorba,” and “Madhi.” I got Madhi in November 2013, and it’s a 13 year-old horse with lots of potential.

I’ll do very well with such excellent Grand Prix level horses, all Lusitanos. Then I’ll have Bariloche on Prix St-George level, I have Dom Rubi to compete also, and Czar. I have several horses, but we are clearly focused for the European Championship and for the Olympic Games in Brazil 2016.

All photos are of Gonçalo and “Zaire”

1 6.

ww w. ba r oquehors e m a g a z in E . com

Along with this are the clinics, which I have tried to manage as best as possible, and it has gone very well. It is difficult to get everything to fit a schedule because of the competitions, but it will be a very challenging year for me having to go and compete with all these horses. I don’t like to do many tests, I like making a few tests and presenting the horses to the best of their abilities. I’ll have to show every horse a little, because 2015 will be a year of the “all or nothing” for the Olympics. It’s the qualifying year for the Olympics. It will be a very challenging and demanding year. I also have three new German horses, and it is part of my goal to

ride these horses and start to compete with them, so I’m very focused in that direction.

BHM: After Rubi, which one of your horses is the promising star to go to the Olympics?

GC: After Rubi, I think next will be Zaire to go to the Olympics. He has the potential for it, undoubtedly; it’s just a matter of time.

BHM: “Zaire” was a horse recently acquired by Mr. Mário Franco’s company ISHI. Can you tell us how Zaire ended up in your stable?

GC: For a long time ago Mário wanted to buy a horse for me to compete. I have a very clear ideas in life and I would not buy just any ordinary horse for such high goals.

When I have a person who wants to invest in me, I have to take a clear shot. Things must go right, just like they did with Rubi, it has to be good also with others. When I say it is, it’s got to be.

Zaire appeared by chance. We were supposed to negotiate for another horse, but when I heard that a rider was here at Quinta dos Cedros to ride Zaire, that’s when I knew the horse was for sale. That’s also when I asked both the owner (Pedro

w w w. bar o q u e hors e m ag azi nE.com

17.

Passanha Stud) and the rider (Miguel Ralão Duarte), if the horse was for sale and they said yes.

Our position was soon clear to both the rider and the owner; we were interested in the horse. If Miguel had no one interested in buying the horse, and he was to continue to train the horse, we would not let the horse to be sold out of Portugal and so we waited for about four months. After that, the owner said he did not want to wait any longer, because they already had several proposals on the table, and then we tried out the horse for about one month. It was not something that happened suddenly; we had time to think. We gave our final answer that we would acquire the horse, and we did the vet exam and everything, and that is was how it happened.

BHM: What will happen to “Zaire” now?

GC: He will be entering only in the Grand Prix test and all his training is focusing on that goal. It’s a distant goal now, and all has been developing well. I have had the horse since August 2013; he has already competed in a few tests. It’s not a question of having more arena experience for the horse, but to have more training, at a higher level, that’s a great difference for the horse. Every rider is different, the way of riding, the way of feeling, of putting the horse in balance…there are a great deal of things that are changing in the horse, and the horse is evolving really well. I think in the middle of this year we will be able to perform the Grand Prix test.

BHM: In Portugal or abroad?

GC: Here in Portugal one or two competitions, the rest abroad, international events of four stars or more. I’ve always been focused internationally. I never do many tests in Portugal; I do the National Championship, one or two tests to go out with the horses. Then I go abroad, because that’s where we are, in the international tests we are sure of what is analysed, what is required, and that’s where I like to compete; I simply prefer it. The project for Zaire will have the same philosophy as Rubi.

BHM: What do you like about Zaire?

GC: He is a horse of significant size, he is 1.71m (just under 17hh). He has lots of “salero”--”sex appeal”--if one may say so. In the collecting exercises he will do a very good job too, he is a horse with a good balance, good elasticity.

He has very good things to come. Zaire has a good walk, the gallop has improved greatly.

The trot is a matter of time, and that is easy to work and put in the form the that the rider wants; the passage will be very good, I think it is all just a matter of time… a

Gonçalo Carvalho

www.goncalocarvalho.com

1 8.

ww w. ba r oquehors e m a g a z in E . com

Azeitona

Platina

Única

Úrsula

“The perfection and Courtesy breeding Lusitano Pure Blood”

Vistosa

Alteza

Chanel nº 5

“The future is in the Mares” w w w. bar o q u e hors e m ag azi nE.com

19.

Hatero de PB (Imported from Spain) Hatero was born 25/01/05 and bred by Hermanos Peces-Barba. Standing at 16hh, he is an extremely rare grullo/sabino PRE/Andalusian stallion, and is approved for breeding. Hatero is registered as a purebred PRE (Pura Raza Espanola) with ANCEE, the Spanish PRE governing body and also with IALHA (International Andalusian and Lusitano Horse Association).

2 0.

ww w. ba r oquehors e m a g a z in E . com

Own e rs : Ker r ie Massey and H eather Cur r ie Ride r/t ra ine r: Heather Cur r ie

&

Heather Currie

Interview and photos by Danielle Skerman Written by Michaela Wake

w w w. d a n s o n d r e s s a g e . c o m w w w. d a n s o n d r e s s a g e . c o m / n e r a k 1 / d a n s o n d r e s s a g e / s t a l l i o n s . h t m l

L

ocal Australian FEI rider Heather Currie and striking imported Spanish stallion ‘Hatero De PB’ are currently drawing praise from fans and judges alike as they work their way up the dressage ranks here Down Under. Hatero (aka Harry!) has commanded some impressive scores for both his medium and extended trot, and we can’t wait to see what this dynamic duo have to offer when they reach the higher levels. Currently competing at Medium and with scores in the mid-70’s, it’s easy to see that Harry is much more than just a flashycoloured import!

Back in 2009, Hatero PB was a young untried stallion, barely started under saddle, but he caught the eye of Kerrie Massey, who was at that stage looking for a young horse to bring on. Kerrie explains a little more about how and why she bought Hatero to Australia: “He caught my eye for three reasons. At first I thought he was a liver chestnut – and one of the best horses I ever had, was that colour.

(A gelding, I owned for more than 30 years, and rode for at least 25).

Secondly, Michelle, (Kerrie’s sister) is a “colour guru”. She loves loudcoloured horses, and Harry had enough “chrome” on him to make

me sit up and take notice! Finally, he had a white belly spot. (In fact he has two!). That is a particularly good omen for my family, because at the time, we had an interest in a very handy racehorse called Starspangledbanner.

I uhmmed and ahhhed about Harry for probably four months before I finally worked up the courage to contact Miriam Frenk.

She confirmed that he was still for sale, and had by that time been started under saddle. She sent through videos of him at liberty and ridden, and I was sold.

He moved so well for a green saddle horse – there wasn’t much difference between his liberty and ridden videos. He extended quite beautifully in both and was looking composed and supple under saddle. I felt this was unusual at such an early stage, and got the impression of a true athlete.

Miriam was surprised by his colour, suggesting he was a grullo (grew-yo). She had him tested, and discovered he was indeed a black horse. It seemed we were not the only ones to have difficulty placing his colour. He was entered into the Spanish studbook as a chestnut, later registered as a bay, and is now noted as a black following submission of his DNA results. His sire (the qualified stallion Gento)

w w w. bar o q u e hors e m ag azi nE.com

21.

is a bay, coming from a long line of bays, as can be common with the Military stud.

His grey Dam, Hatera III, carries Lovera, Guardiola & Military lines.

He finially arrived in Australia that October (2009). He is an excellent tourist, having travelled the breadth of Europe to quarantine facilities in Northern Germany, before flying out of Luxembourg for Melbourne. He put on weight during his travels, and his coat was gleaming when I finally met him at Miriam Bentley’s AI Facility (EABS near Holbrook, NSW) in November 2009. I planned to have him collected before sending him to a dressage trainer to see if he was competitive. I had no intention of standing him at stud at this point, I thought he needed to earn his stripes before anybody would be

2 2.

interested in him! On seeing him move however, Miriam urged me to offer him at stud. This, along with glowing reports from everyone who had handled him, led me to give it a shot!

In the meantime, I’d made enquiries with various trainers both here and overseas.

At one stage I’d even tossed up sending him to the USA to train. I didn’t know whether “mainstream” dressage people would give him a chance here. I contacted Heather [Currie] because she’d been working with Friesian stallion Hilwert L, and I admire her elegant riding style. She further impressed me with her fantastic rapport with stallions when I actually visited Danson Park. In my experience, many people are intimidated by stallions, and this is never a happy circumstance for

ww w. ba r oquehors e m a g a z in E . com

horse or rider. Harry has a lovely nature, and I didn’t want him spoiled.

Heather was receptive to the idea of trying Harry, but I told her to let me know if he wouldn’t cut it as an open dressage horse. I had plenty of other options in mind for him, but Harry charmed her.

Initially we didn’t know how he’d go in the lower levels of competition, thinking his innate ability to collect would serve him better later on, but he has been really well received. Heather has purchased a half share in him, and I couldn’t have imagined a better outcome.”

In October this year, Harry made it to Australia’s Dressage Nationals with Heather on board and had a chat with BHM editor, Danielle Skerman:

out, the judges were unsure of him and they used to keep us a little bit in this ‘bracket’, this middle bracket, but now I think they’re seeing the quality of the horse and they’re starting to mark him accordingly.

BH: Do you think because of his unusual colouring that people don’t necessarily know what breed he is?

HC: Yes, they don’t actually know what breed he is and they often think he’s a Lusitano.

They’re unsure of what breed he is. I have had so many riders admire him and also ask what he is. They’ve been fascinated.

BH: With the recent success of the Iberian horses at the WEG and Olympics are you finding now that when you say Spanish or PRE, that you’re getting a better reaction?

HC: Yes, most definitely. Without a doubt.

We’re actually being taken half seriously now.

I think people at first weren’t taking him seriously and they actually are now.

BH: What plans and ambitions do you have for Harry?

HC: For the next 12 months, we’ll work towards small tour and my ambition is to get him to Grand Prix. That is a work in progress. He’s the most delightful horse to work with. Every day he’s happy; every day he’s friendly. He’s never bitten, not like Mr. Donnerblitz here! We’re just working away and progressing in our training together.

BH: Would you consider more Iberian horses in your stables if the opportunity arose?

BH: How long have you had Hatero for?

Heather: Hatero came here for training to do some dressage around two years ago…I’d never had anything to do with the breed before. I originally put one of my riders on him; I was not that interested. As I watched him each day, I thought, “This horse has talent,” and I decided to take the ride over for myself. In that two years, he has won championships at Novice up to Elementary level. He’s at Medium level now, and his scores have been consistently in the mid-70s. At the last South Australian Spring Championship, he received a ten for his medium trot in the official elementary test!

BH: What would you say is his strength?

HC: His strength is definitely his trot, both medium and extended.

BH: That’s quite unusual for an Iberian because normally that’s what is often classed as their weakness.

HC: Yes, and that’s definitely his highlight.

He also has strong potential for passage, finds half pass easy and is quickly learning piaffe. The biggest challenge with him so far has been flying changes, but he’s starting to achieve these as well. As soon as he achieves the tempi changes, he will be well on his way to FEI and Prix St. George.

BH: ‘They’ say that these breeds excel once you get to the higher levels. Do you feel that with Harry?

HC: I definitely think that he’s going to be a real surprise package. Even though he has been very competitive at the lower levels, it’s been surprising, I think. When I first came

HC: Yes, I think I would now that I’ve had Hatero. We actually do have another import coming into the stable within the next couple of weeks, another that Kerrie Massey has imported called Alfredo. He is also quite a dark brown with long white stockings, and a white blaze, and really looks an interesting horse as well. We’ll definitely have two out in the dressage fields.

BH: What do you think is, in your opinion, the most common misconception about the Spanish horse as a competitive dressage horse?

HC: I don’t think that they look at them in the past as a serious dressage horse. If they’re going out to buy a horse, they’re not going to go out and look at them. I think now that they’re starting to see the worth of these horses, that people are actually considering them. I’ve had so many people with warmblood dressage horses contact me about putting their mares to Hatero.

w w w. bar o q u e hors e m ag azi nE.com

23.

BH: Do you have any moments with Harry that have been quite amusing or that was a defining moment, that you really felt that you clicked?

HC: Yes, it’s been recently.

BH: Yes, can you tell us about it?

HC: It’s been when he’s started to achieve flying changes, because that’s something that he did really struggle with. It’s taken him time for him to trust me for that movement.

I thought that finally he’s starting to trust me; he’s starting to understand what I want, because he’s always found extensions and passage easy. That comes as a natural to him, but flying changes didn’t. The fact that he started to achieve them and they were very good quality as well, was just a real moment where I thought we’re getting a partnership.

BH: Is he a character!? (Hatero calls out) HC: He’s a real talker. I always say to the girls, “If he talks, let him talk. Don’t tell him off.

Let him say hello to everybody because he’s harmless.” He’s just saying, “Hello. I’m here.”

2 4.

ww w. ba r oquehors e m a g a z in E . com

He’s a real talker.

If I’m feeling a little unwell or I’m feeling that I just want a nice ride, Harry’s the one I get out of the stable first. He’s completely safe; he’s completely 100% the same every day. Just for fun . . . my fiancé actually is a World Cup show jumper, and just for fun, he said, “Why don’t you take one of the horses show jumping?” Harry and I trotted off to the Meadowlark Equestrian Centre and did an actual competition there. He started off at 45 centimetres, and the next day he ended up jumping around 95 centimetres to a metre course. He was astounding.

BH: I don’t think people realise that these horses can actually jump.

HC: The sharpness over the fences and the willingness!! I think, have faced him at a metre twenty that day, he would have tried to jump it for me. He just would have tried; he would have done it for me. I just thought that was another defining moment that day. I thought this horse will literally try anything I ask him to do.

Elizabeth Sobecki & ‘Hatero de PB’ BH: They really connect with your soul, don’t they? They really have that . . . they really try when you create that bond with them.

HC: He just was . . . I just thought, “Wow. He’s special.”

BH: This is a bit of an amusing question I have: If you had to turn him into a famous person, who would you think would be who he would be?

H

atero has further proven his worth by rising to the challenges put to him by twenty-one year old Australian Para Equestrian, Elizabeth Sobecki (Lizzie). Elizabeth needed a mount for the World Equestrian Games (WEG) qualifiers after she had to unexpectedly retire her trusty mount Charlie, the horse she had hoped to qualify for the WEG.

[Photo Supplied]

Elizabeth was diagnosed with Relapsing Remitting Multiple Sclerosis (RRMS) only a few short weeks after she turned 16 years old.

Now at nearly 22yrs Lizzie says “having this disease has only made me stronger and even more determined to follow my dreams.”

Elizabeth recalls how she received the sad news on how she would have to retire her horse ‘Charlie’. “Just a few short weeks away

HC: He would be someone that’s very flamboyant, but also very modest.

BH: George Clooney?

HC: Yeah, because George Clooney’s a gentleman as well. Yes, I’d say George Clooney because he’s got class about him.

BH: Got class and he’s good-looking.

HC: And he’s humble, but he’s got it.

BH: Likes the ladies.

HC: Yes (laughs).

Heather, Elizabeth and Hatero [Photo Supplied]

w w w. bar o q u e hors e m ag azi nE.com

25.

from the Australian CPEDI3* Qualifying event for the 2014 WEG, I received some devastating news. My own horse, best friend and hopeful WEG mount, Ponderosa Stud Lucarno, developed a navicular cyst and also a fracture to his navicular bone. This resulted in him being immediately retired, leaving me heartbroken and without a ride for the CPEDI3*. Lucarno and I were the Australian Reserves for the 2012 London Paralympics, a memory I will always hold close to my heart” explains Lizzie.

With this news, Heather decided to contact Kerrie to discuss the possibility of lending Harry to Lizzie and allowing her to continue her dreams for attending the WEG. “Heather told me about the idea when I visited her to see Harry and Alfie. (No FB or computer when I’m travelling),” recalls Kerrie “We briefly discussed the matter, and concluded that pending Lizzie’s meeting and riding Harry, we’d make the decision, yea or nay.

Our main concerns were Lizzie and Harry’s welfare. The significance of the opportunity was not lost on us, but the main thing was safety.” Says Kerrie With great news in hand, Heather talks to Lizzie about this very special offer that both she and Kerrie had for her.

“Very shortly after I received the sad news about Lucarno, I was approached by Heather Currie from Danson Dressage. Heather and

co-owner Kerrie Massey had very generously offered me the loan of their stunning PRE/ Andalusian stallion, Hatero DE PB, for my campaign for WEG 2014. Talk about an emotional roller coaster of a week! “ explains Elizabeth.

for WEG 2014. There will be more selection events in 2014 leading up to WEG, which Harry and I will both be competing. I am thoroughly looking forward to working with both Heather and my coach Ruth Schneeberger, I am so lucky to have such a strong support team.

The meeting was set up, and Lizzie had the opportunity to ride Harry and to see if all would work out as planned.

One thing I have learned is to never, ever give up.”

“Heather contacted me after Lizzie’s visit, and let me know Harry and Lizzie had just “clicked”.

Lizzie and her mother Annie’s messages to us confirmed that they felt this had happened too.

Voila! Decision made!” explains Kerrie When asked how Elizebeth felt about all this she says: “It is such an honour to have been given this amazing opportunity, and I am very excited for our future together. I am so grateful to both Heather Currie and Kerrie Massey for their kindness. Our first competition together will be at the Australian Saddleworld Dressage Festival competing in the Grade III FEI ParaEquestrian classes. This competition is a CPEDI3* and also a qualifying event

• Quality bespoke couture stocks • Original leading edge & classic designs • Specialising in custom designs • International & wholesale enquiries welcome • Australian made & owned

www.equistyle1.webs.com • facebook.com/EQUISTYLESTOCKS

2 6.

ww w. ba r oquehors e m a g a z in E . com

We here at Baroque Horse Magazine would like to wish Lizzie and Hatero a successful bid for WEG 2014 and shall endeavor to keep our readers up to date with their progress! a

Clarendon Forest Retreat is a scenic, luxury retreat.

Our eight cottages are spread over the 1000 acre property, offering unique and stunning country accommodation in NSW. We are pleased to be pet friendly and offer gorgeous horse back rides through the property or into the neighbouring national state forest.

Bring your horse or ride one of ours!

Clarendon Forest Retreat 02 6554 3162 150 Coates Road Possum Brush NSW www.cfr.com.au

Clarendo half page.indd 1

6/10/13 11:03 PM

w w w. bar o q u e hors e m ag azi nE.com

27.

Horsemans Rendez Vous What do a champion showjumper, a winning reiner, and a top dressage horse have in common?

Answer: a rock-solid foundation.

On the other hand, what do a bombproof trail horse, a faithful kids pony and a horse that is truly your partner and friend have?

Answer: exactly the same thing a rock-solid foundation.

W

hether it is international level competition you are aiming for or a reliable, fun, mess-around pony (or any level of horse in between) the Rendezvous in March is where you want to be. This two-day event won’t resemble anything ever seen before. Four brilliant equestrians will be demonstrating the full spectrum of training in their respective disciplines, from beginning basics through to the artistic and athletic peak of performance; all in the intimate setting of the Sydney International Equestrian Centre’s indoor arena, where you will be able to personally interact with them.

2 8.

ww w. ba r oquehors e m a g a z in E . com

Colleen Brook

Rob Lawson Tony Lander

Jose Mendez

R

that he calls Australia his home. At the Horsemans Rendezvous you will watch brilliant demonstrations of not only his own riding and training, but also get an intimate look at how he coaches others from foundation to the exquisite art of classical dressage.

ob Lawson is one of this nation’s top reining competitors and coaches.

He has ridden, trained and shown in the United States, Italy, Germany, France and Switzerland. In 2000 he proudly represented Australia in the reining demonstration team at the Sydney Olympics. Rob’s training and coaching is in high demand and at the Rendezvous you will have up-close access as he demonstrates reining and shares his secrets to becoming a partner with your horse.

Colleen Brook has represented Australia worldwide in her impressive show jumping career.

Having ridden over 100 World Cup competitions in Europe, Asia, New Zealand and Australia, she has trained multiple 3-star eventing and show jumping winners proving that her consistent training methods work on all her horses. On the second day of the Rendezvous you will be able to ask questions directly of Colleen, and of all the presenters, about how she

has become such an amazing trainer.

Few Australian horsemen have not heard the name Jose Mendez. Born in Spain, Jose rose through the ranks to become a trainer and instructor at the Royal School of Equestrian Art, represented his country many times in dressage and now, as one of the world’s leading instructors in Classical Dressage, we are truly fortunate

Tony Lander is Australia’s leading Horse-Human Relationship Specialist and Principal of International Horsemans Institute. Unlike most equine professionals, Tony didn’t grow up with horses; he negotiated the maze of equestrian education as an adult, and over years of a progressive and sometimes painful process, developed from a person with zero knowledge to travelling the world as an instructor. He became one of the elite 4 - star Parelli Instructors, also studying other top riders/trainers such as Philippe Karl and Colleen Kelly. Tony has developed a completely unique and absolutely revolutionary tool called E.Q.S., Equine Quality System, that allows any horse person of any level to

w w w. bar o q u e hors e m ag azi nE.com

29.

Jose Mendez

read, communicate with and train horses safely, even if you are coming into horses as an adult, just like he did. At the Horsemans Rendezvous you will see why this incredible application could change the face of riding and training forever.

The Horsemans Rendezvous will be a two-day event where you will first get to watch each of these four professionals demonstrate their training and horsemanship.

On Sunday you will have a ringside seat as you watch each of the coaches work with one or two of their students.

There will be time for you to have direct access to these amazing experts and ask questions about the secrets you have always wanted to know. Finally, there may even be time for some play, where the presenters get to cut loose and have a little fun with their horses and with each other.

S

ydney International Equestrian Centre Saturday 22nd and Sunday 23rd of March 2014 is the place to be. Be enlightened, be educated, be inspired.

Discover the secrets of great horsemanship, whether you want to rise to the top of your chosen discipline or develop the relationship with your horse that you have only ever dreamed about. Tickets on sale through Ticketeck, go to www.myhorseman.com for more information and the Ticketek link. a

3 0.

ww w. ba r oquehors e m a g a z in E . com

wh F e ou n y (val RE o r B u ue E oo pu d a DV th rc t $ D 31 ha 25 * 5 se .0 at yo 0) Eq ur ui ti ta ck na et Sy s dn ey fro

m

FOUR OF AUSTRALIA’S PREMIER HORSEMEN IN ONE PLACE FOR TWO FULL DAYS

COLLEEN BROOK

Legendary Showjumper

ROB LAWSON

Reining Champion

JOSE MENDEZ

TONY LANDER

Classical Dressage Master

Horse-Human Relationship Specialist

Sydney International Equestrian Centre

22 & 23 March 2014

TICKETS NOW AVAILABLE VIA TICKETEK Seats are Limited SPECIAL OFFER* Purchase your tickets at our Booth 315 at Equitana Sydney and receive a FREE copy of the IHI Getting Started DVD valued at $25.00 Proudly brought to you by International Horsemans Institute

w w w. bar o q u e hors e m ag azi nE.com

31.

“My saddle is one of the proudest achievements of my career. I believe we have created the perfect seat for the rider and unprecedented comfort for the horse.”

NEW featur e!

The Bates Isabell has revolutionised dressage for the rider delivering the ‘perfect dressage seat’.

Featuring the CAIR® Cushion System and EASY-CHANGE® Fit Solution, this saddle offers the greatest flexibility in achieving a customised fit, ensuring your horse’s absolute comfort and your peace of mind.

The NEW Adjustable Ergonomic Stirrup Bar can easily be customised for each rider to effortlessly maintain a balanced, central position.

Available from Horseland and other leading saddleries. For further information visit batessaddles.com

3 2.

ENG AGING

ww w. ba r oquehors e m a g a z in E . com

INNOVATION

@batessaddles

HOT Topics To Geld OR

NOT TO Geld and why ?

For the Iberian horses we have: Olympic Competitor and Horse trainer, Gonçalo Carvalho Conchinhas

Photo by Catia Castro

Gonçalo Cavalho Generally we don’t geld our horses as a rule. We treat our stallions with respect, and understanding and in return, the stallions are happy and know their place. Problems arise when people come to Portugal and haven’t worked with or ridden stallions before, and really don’t understand how they need to be handled and treated. In time, the stallions start to dominate their handlers and riders and this can be very, very dangerous.

If we sell riding stallions (ie not to be used for service or covering mares) that are to be shipped outside of Portugal, we will usually geld them prior to going. This ensures the new owners/ riders will not have any problems with them if they are not used to handling stallions.

Photo by Nadeen Davis

For the Friesians we have: Friesian expert, KFPS Judge and former Inspector, Jan Hendriks

Jan Hendriks In Holland, most colts are gelded between one and three years of age. As to what the best age is? That totally depends on the owner’s individual situation. Some want to have a gelding that has the conformation and stronger musculature of a stallion, in which case they are better waiting until he is three or older. If he is presented at the Stallion Show and not deemed good enough, then he will be gelded at two and a half to three years old, after the first round of the selection for the Stallion Show in December.

For dressage or show driving, most people prefer to have a stallion, or a gelding with stallion presence, as he will be more impressive for the judges, so often these are left entire, or gelded much later. The main question is whether you are set up to handle a stallion - in a stable, or in a group situation? A stallion has a different temperament, needs a special stable, or even better, in a bachelor herd with other colts and stallions if you have space. If you do not have facilities, then that is often a reason to castrate earlier.

Many people will not geld a Friesian stallion - they are usually good to handle, with a lovely nature. For sports - show driving and dressage - the stallion has more charisma, more presence and more power. Other people prefer to geld earlier because they think the horse will grow taller, but this often results in a more ‘feminine’ looking gelding that will lose a lot of the characteristic stallion traits. Ultimately, it is up to the individual to decide what is best for them, and best for the horse and the purpose for which it has been bred.”

w w w. bar o q u e hors e m ag azi nE.com

33.

34

E

lise Genest is a Canadian painter and photographer from the QuĂŠbec City area whose work is entirely devoted to horses. Though she is only 28 years of age, she has many years of experience in the horse world. She grew up in a family of artists, became involved in raising horses at a very early age, and quickly learned some of their secrets. Her passion for the equine provided a powerful stimulus for her to perfect her techniques as an artist. Her ability

3 4.

ww w. ba r oquehors e m a g a z in E . com

to share her enthusiasm with other horse lovers has elevated her mastery as an artist to a class of its own.

Elise’s remarkable career path steered her directly into the equestrian world. Since 2005 she has exhibited her work at major equestrian events in Canada and the United States. Her masterpieces reflect a wide range of styles and derive their inspiration from many sources. Her subject, however, remains consistently unchanged.

Elise Genest EG

Elise talks to Baroque Horse about horses, art and her photography.

BH: What is your creative process (from photos to painting)?

BH: How did you get started in photography and art (which came first and how did you progress to the other)?

EG: I usually have moments of the year when I am dedicated to photography, bringing images in my imagination.

Then I am dedicated to painting, when I let images out of my head and heart.

Photo shoots are exhaustive. I sometimes go away for weeks at time; so far I have visited farms in Spain, France, the Netherlands, Mexico, and the United States. The process of photography treatment is the same as a professional photographer would do. We organise locations, horses, concepts. I spend the following weeks working on the pictures. I make my selection of favourites.

For some pictures, I love them simply as they are. I would not paint them, as they are art themselves. A painting would not make them better.

For other pictures, the capture inspires me for a painting, but I would not share it as photography. Usually my favorite photos are not the same as the ones that inspire me.

Then…I need ideas. New techniques to try for the art.

Energy. Composition. Colours. Size. Feeling. I need to see what I will do. Not just the horse, but the whole piece of art.

Some pictures that are incredibly inspiring can wait months or years before I finally paint them, because I can’t visualise the whole painting.

When I am ready, I start. I need the actual picture printed in my hand, which is one of my “old grumpy artist” habits. The painting itself is surprisingly fast to appear on canvas. I am spontaneous when I paint; I need it to be created fast!

When I start, it is like a stream of consciousness. When I am into it—usually at night when everybody sleeps—I don’t want to do anything but paint. The feeling that comes to

EG: It started as a passion. I always had interest in visual arts, and I grew up surrounded by artists as my parents owned a picture-framing shop. I would be inspired by the work I’d see at the shop, and create my own little masterpieces. I started to sell paintings at age 7, doing dripping abstract paintings.

I got my first professional camera at age 10, thanks to my photographer uncle. By the time I was 14, I had my own dark room and I would spend countless hours printing my own pictures.

I started to draw horses at age 10, when my horse was born. My passion was so intense, I was drawing horses all the time, when I was away from my filly—especially at school. My school books were full of horses, but I was such a good student, (I had the best grades in the school!) that the teachers could not say a word about it.

I never stopped drawing and painting, always horses, but the photography came back to my world when I purchased my first reflex digital camera in 2005. The serious photography however, began in 2010, when I visited a Yeguada in Mexico.

I got addicted to the photo shoots, to the energy and inspiration they bring to my paintings. I was lucky to see high quality farms having me as a guest for my photography. My paintings got a lot better, as I could finally find what I was looking for.

w w w. bar o q u e hors e m ag azi nE.com

35.

3 6.

ww w. ba r oquehors e m a g a z in E . com

37 me when I am in creation and the painting comes equal or better to the visualisation—is like a drug, and I am definitely addicted to it.

Sometimes I am impressed with what came to life in the painting, and I can stay there looking at it for hours, trying to figure out what I did! I basically have no idea how to paint. It is not something you can explain, it is all about the feeling. It also feels like somebody else took over and painted for me. This feeling of achieving something new does not happen every time. But when it does, it is so powerful, it is enough to make me want to paint again and again.

BH: Do you have a favourite piece of art (when I say art …I also include photos too.)?

EG: My favourite paintings are usually the first of a new series. A new style I have been thinking about for a long time; a painting that surprises me because I did not know what would be the final painting, but I had a feeling for it… These new and inspired paintings are usually stronger in emotions and free-flow technique, created with my instincts and stream of consciousness.

My favourite photos… are unique captures, or moments of light.

“Perfection in moment,” or to finally find that magic image that fascinates me.

BH: Do you ever “make up” horses or are they all from real life subjects?

EG: Sometimes…but now I don’t know where to start! A picture guides me to get started. The final results might be far from the image that inspired me!

BH: Who or what inspires you?

EG: Who: past and present artists. I love to go through books, visit museums and galleries. I am quite classical in my inspirations, but I also am very fond of contemporary art. I like to look deeper and understand what I love, then I keep this information or feeling for myself for a long time, until I feel I have found the part of it that actually can be used in my artwork. I will never use an inspiration until I can feel I have modelled it into my own, and created something new out of it.

What: Moments. Feelings. Horses. Light. Beauty. Movement.

BH: How long does an average painting take?

EG: As much as I can, I finish a piece as I start it. A painting is usually finished over 1 or 2 days. If I do not finish a painting right away, I might never finish it.

But sometimes the whole process—to visualise the next painting, to be ready for it—takes months or years.

To paint the actual painting might take a few hours or a few days for larger sizes. Keep in mind that I may have been thinking about this painting for weeks, maybe months. I also did a photo shoot somewhere in the world, spent countless hours selecting the pictures.

I have also been practising my art for over 20 years.

Basically, I use 20 years to create. a

w w w. bar o q u e hors e m ag azi nE.com

37.

3 8.

ww w. ba r oquehors e m a g a z in E . com

w w w. bar o q u e hors e m ag azi nE.com

39.

Manuel Veiga & Altivo da BrĂ´a (MV) 2nd place, Gold Medal on the 5 y.o.

Model and Gaits competition

4 0.

ww w. ba r oquehors e m a g a z in E . com

photo by CĂĄtia Castro

Golegã Horse Fair ~ 2013 ~ Article and photos by Cátia Castro Photos also by Antonio Mendonca The Portuguese centenary fair was back for another year of Lusitano horses, roast chestnuts, wine, costumes, saddlery and lots of competitions to see, all in a celebration of tradition.

XXXVIII National Horse Fair, XV Lusitano Horse International Fair, Saint Martin’s Fair, was from November 1st to 11th, in Golegã – Portugal.

Many people from all over the world came to see the Lusitano and its traditions in this emblematic fair.

Equestrian competitions, shows, exhibitions, seminars, and for the first time this year the national championship of horse racing (gallop and trot) in the Hippos - Equestrian Sports National Center for High Performance.

This year, the organisation registered about 1700 horses, plus 200 horses in competition, and another 200 horses in harness.

In total, more than 2,000 horses were at the Fair, which was considerably more than last year.

Many horse lovers and riders visited the fair, displaying their beautiful horses, costumes and saddlery. Lusitanos, Crossbreeds, Friesians, and other breeds could be seen walking the Arneiro’s square. The city was overflowing with visitors, filling the streets with a multicultural cacophony of foreign languages. Tourists could visit the Stud Farm breeders in their “casetas”, litle houses/stands in the perimeter of the Arneiro’s square, where people can go and see the Lusitanos for sale.

w w w. bar o q u e hors e m ag azi nE.com

41.

“Fast” 3 year old stallion winner of the “Sport Portuguese” breed. Breeder Agrovarandas, owner Sabino Gonçalves

BALUARTE DA BRÔA (MV) - Champion of Champions of the Golegã Fair 2013

In the Golegã Fair 2013 edition, Baroque Horse Magazine brought you a modest video where you could see a little bit of the Golegã Fair atmosphere, it was almost like you were there to see some of what the fair had to offer.

In the Dressage competitions, Maria Pais do Amaral and “Trancos” won the Grand Prix freestyle with 71,1%, and in 2nd place Manuel Borba Veiga with “Varão da Broa”, with 65,4%. In the Prix St George Manuel Borba Veiga won with “Ben-Hur da Broa” and a 66,67%.

Morgane Giordimaina won the C2 with “Basco” and 65,98%. João Castelão took out the E2 with “Diu Cin” and a score of 66,78%. The P2, was won by Jeannette Jenny with “El-Rei II da Sernandinha”, and lastly, Filipe Tomé won the M2 with “Cardhu”, 65,75%.

This year, the Equestrian Academy João Cardiga – Equus Caleya (AEJC) won the Portuguese Cup in Horse-ball.

In the Working Equitation, 37 participants from Portugal, Spain, England, Sweden and Denmark set the tone for an each year increasingly fierce competition.

João Duarte Rafael and the lusitano “Trigo” won the Master category and the Portuguese Cup of WE; Nuno Avelar with the lusitano “Bogotá” won the Consagrated

Lusitano "Elmo" champion of the 4 y.o. stallions

photos by Cátia Castro 4 2.

ww w. ba r oquehors e m a g a z in E . com

43 category; João André Gonçalves and “Damasco” won Debutants; João Sousa Faustino with “Zidane do Lis” won Juniors; and Roberto Dias and “Zurique do Liz” won Juveniles; The highlight of the Fair is the Model and Gaits competitions. The best Lusitanos were presented, also other breeds like the “Sport Portuguese” (Português de Desporto), the Portuguese Crossbreed (Cruzado Português) and the Sorraia breed. In total, about 70 horses were in this competition, with 58 purebred Lusitanos.

The “Selected Breeds” Champion award was disputed between a Sport Portuguese Breed stallion named “Fast” (with French Saddle Breed blood lines) and “É-Único” a Sorraia breed stallion. “Fast” won in the end. He is a 3 year old stallion, from the

breeder Agrovarandas and owner Sabino Gonçalves.

This stallion will be trained for show jumping competitions.

In the Lusitano breed, the great winner of the Golegã Fair 2013 was “Baluarte da Broa”, bred by Manuel Tavares Veiga Stud Farm, owned by Romão Tavares Stud, and with rider Ricardo Moura Tavares.

Romão Tavares Stud fulfilled an old dream to own a horse with such an important title for the Lusitano, and dedicated this win to his late father and founder of the Romão Stud. “Baluarte da Broa” is the Champion of Champions of the Golegã Fair 2013.

Here are the results of Models and Gaits competition Golegã 2013:

Lusitanos – Place 1st gold medal 2nd gold medal 3rd silver medal 4th silver medal

3 year old stallions: Horse Breeder “Famoso” Torres Vaz Freire Stud “Fausto da Sernandinha” Santa Margarida Stud “Fado DR” Maria Jesus Duarte “Fado” Romão Tavares Stud

Lusitanos – Place 1st gold medal 2nd gold medal 3rd silver medal 4th silver medal 5th silver medal

4 year old stallions: Horse Breeder “Elmo” Torres Vaz Freire Stud “Espanhol” Herds. Francisco Sousa Cardoso Stud “Efezo do Zambujal” Mário Vinhas Stud “El Rei da Sernandinha” Santa Margarida Stud, owner Les Anges de Manolo “Ex-Libris” Santa Bárbara Stud, owner Leonardo Franco Stud

Lusitanos – 5 year old or plus stallions: Place Horse Breeder 1st gold medal “Baluarte da Broa” Manuel Tavares Veiga Stud, owner Romão Tavares 2nd gold medal “Altivo da Broa” Manuel Tavares Veiga Stud

BALUARTE DA BRÔA (MV) Champion of Champions of the Golegã Fair 2013

photo by Cátia Castro

w w w. bar o q u e hors e m ag azi nE.com

43.

For the first time ever, two full brothers were in dispute for the title for the 5 year old competition, and both were from the same breeder. “Baluarte da Broa” (Quinteiro da Broa MV x Rumba da Broa MV by Impossível JBN) eventually won the 5 year old competition, and was awarded a gold medal.

This gave him the chance to compete for the title of Champion of Champion of the Golegã Fair against the other gold medal winners. The award ceremony was presented by the mayor of Golegã, the Portuguese secretary of State of Food and Agrifood Research Mr. Nuno Vieira e Brito, and representatives of the Iraq, Kuwait and Chinese governments.

In the 2013 derby horse driving competitions, the driving pairs was won by Carlos Ferreira (with 05:36.57), the 2nd place by Vitor Frias, the 3rd by Joaquim Pinho Costa. In the single-horse competition, Fernando Almeida won with a time of 04:56.90, 2nd place went to Marco Paulo Rodrigues, and 3rd to Hugo Serra. In the four-in-hand driving, Ana Cristina Guerreiro and Manuel Campilho came equal first. In the Pony championship, João Frias won with a time of 04:56.58, in the 2nd place was António Manuel Reis.

The Golegã knights had a royal display of colours and beauty with the classical equestrian show of the Portuguese School of Equestrian Art, and the elegancy of Master Luís Valença’s classical show. The

Alter do Chão Professional School also presented a very good equestrian show.

In this fair, awards were given to all Portuguese 2013 equestrian champions in the several disciplines.

Filipa Valença and João Ralão were honoured, along with Duarte due to being the pioneers of the Portuguese Horse-ball competitions. The first horseball competition in the Golegã fair was in 1988.

José Veiga Maltez, former Golegã’s mayor, was also honoured due to his service to promote Golegã has a “horse capital”.

A Portuguese traditional costume ball was held for the first time in this fair, many people attended the dinner and dancing event with their fantastic costumes.

If you would like to visit the next fair in 2014, we recommend you do it in advance, and start to prepare your schedule and accommodation for the first week of November. a Contacts: Golegã’s Tourism Post: 00351 249977361 Golegã’s City hall: 00351 249979059

Watch a day at the Fair www.youtube.com/watch?v=HGON3g7-33A

Photos by Antonio Mendonca 4 4.

ww w. ba r oquehors e m a g a z in E . com

w w w. bar o q u e hors e m ag azi nE.com

45.

photos by Cรกtia Castro 4 6.

ww w. ba r oquehors e m a g a z in E . com

w w w. bar o q u e hors e m ag azi nE.com

47.

photos by Cรกtia Castro 4 8.

ww w. ba r oquehors e m a g a z in E . com

49

Horses of

Interest Golden Rider Statue – Dresden

by Joan Sankey

n a city that has seen more than it’s fair share of I(Goldener battle stands a beautiful statue – The Golden Rider Reiter). A tribute to Augustus the Strong

(King of Poland and Elector of Saxony from 1694 to 1733), it was erected by his son, Augustus III in 1734.

Because of his physical size and strength, Augustus the Strong also earned the nicknames “The Saxon Hercules” and “Iron-Hand”. Proving that he justifiably earned those nicknames, he broke a horseshoe with his bare hands. A mean feat in itself, not withstanding that recent tests on the horseshoe have shown that it was already brittle. Or he would have two of the strongest men in his court hold one end of a sling, while he held the other with one finger as part of the bizarre popular blood sport of the 17th and 18th centuries called “fox tossing”.

Popular with the aristocracy, small live animals would be tossed into the air through the use of the sling. Obviously this was often fatal for the tossed animal, but not without risks to the participants when the surviving animal would turn on them.

In spite of this obscure behaviour, Augustus is best known as being a major patron of the arts and architecture. He made Dresden an important cultural centre, and was responsible for many beautiful baroque houses including the famous Zwinger. He introduced public museums, collected major artwork and built several castles and restored much of Dresden Castle. The statue is located at the beginning of the Haupstrasse (the main pedestrian walkway), and it leads to many of these beautiful baroque houses. Unfortunately his lavish ways also meant financial disaster for Dresden, which had to be addressed after his death.

Designed by the French sculptor Jean Joseph Vinanche, the gilded equestrian statue honours Augustus the Strong by depicting him riding valiantly into the town dressed as a roman emperor. It was cast in 1734 by a smith from Augsburg named Ludwig Wiedemann. Ironically Augustus was not generally victorious when it came to battle and would more than often be the loser. It was rumoured he would drink several bottle of Tokaji wine in a night, which probably would not have been helpful on the battlefield.

A town that saw mass destruction during World War II, the statue was saved by being dismantled and stored in an underground cave in Pillnitz in 1944. After the war ended it was retrieved and restored to its former glory and erected at Neustadt (New Town).………………… a w w w. bar o q u e hors e m ag azi nE.com

49.

CARL HESTER MBE OLYMPIC GOLD MEDALIST

Photo by JULIA RAU

Carl Hester

Interview with Carl Hester at Sydney Equitana

Baroque Horse Magazine had the chance to catch up with British Olympic Gold medalist and Dressage Rider Carl Hester, MBE, recently when Carl was Down Under in Sydney, Australia as part of Equitana Asia Pacific. Carl was conducting a ‘Specialist Dressage Clinic’ and had the stands packed to capacity at each of his appearances; he was very much a crowd favourite! His sense of humour and engaging personality ensured that all his clinic participants enjoyed their time with him and were able to relax and get the most out of his instruction and advice.

5 0.

ww w. ba r oquehors e m a g a z in E . com

Here’s what Carl had to say to BHM Editor, Danielle Skerman: BH: Recently You had ‘The Dressage Convention’ and you invited classical trainer Sylvia Loch and Portuguese Dressage rider Miguel Ralão there. How did it all go?

CH: It was pretty groundbreaking to do that, and it was really well-received. We are trying, after all, to include everybody. For so long, competitive dressage has been seen so differently.

It was very welcoming to come and do that.

Miguel of course with the Iberian horses, they’re so popular now in England, and they’re a little bit misunderstood. That’s why people think that they’re amateur horses and they’re actually quite busy-going horses. Miguel brought this brilliant breath of fresh air about the breed and how to ride them, and what they do. It was a brilliant mix.

It’s all still very organic, obviously, in its stages of how we’re going to run it. I think it’s a way for the future. There was everybody there; there was the Valegro fans there. We went from the bottom to the top. We started with people that couldn’t even sit to the trot, and then of course, we ended up with Valegro. It did keep everybody happy. We’d like to do that every year.

BH: Would you bring it to Australia?

CH: Why not? You don’t obviously have to travel horses to do that. It’s all about everybody’s seeing the final result. The point is, here, you can take people that aren’t the finished products and help mould them. It is definitely something that you could travel.

BH: You feel it was a success?

CH: It was definitely a success, from the amount of people that came, from the amount of comments. I think the fact that we were using Twitter screens; we were doing really…I had to pretend I knew how to do Twitter. “If you can’t do this, you’re really not keeping up with the times (spoken in jest) and I can’t do it myself!. (laughs) You know what it did? That included people that couldn’t come to the events, so they could

Photo by JULIA RAU w w w. bar o q u e hors e m ag azi nE.com

51.

send their Tweets in. These were coming up on the screen, so that if they wanted to ask specific questions for any of the clinicians, then that worked really well. Obviously when there’s some really difficult questions, you can ignore them and go to the next one.

Yeah, it worked well.

BH: With the classical influences now becoming more popular…do you feel that you were able to make a good impression in encouraging more people with this direction?

CH: Yeah. What we were trying to say is at the end of the day, dressage is supposed to look nice, it’s supposed to look elegant, it’s supposed to look easy. You can see the difference. The differences being that classical is still a little bit without power, and competitive can be overpowered and look ugly. If you can get the right blend of those two together, then you’ve got the right final look, I think. There was something to learn

from here and there was something to learn on the other end as well.

BH: What should people look for when buying a dressage horse ?

CH: Obviously from the perspective of me looking for an Olympic horse type of ability, I think that the one thing that is also worth mentioning is as many horses in the early days that you would look at…and I would think it wouldn’t be right. I would get on it and I’d feel something different to what you see. I think that’s a really important thing, that sometimes what you see isn’t what you feel or vice versa.

I would be more drawn towards a hightempered horse, high-spirited horse, but that involves reactions and it has to have the right reactions. For me, a horse that’s going to make a future Grand Prix horse is something that if I touch that horse with a whip, it would do something. If I touch it with a whip

and it stands there with its ears forward, then that’s more for the police force. I look at it like that. I don’t want something that’s crazy, bolting, running off, but I want something that if I touch it or I do something when I get on it, I feel it’s going to react. That way, you know you can develop towards, obviously, the very high end of Grand Prix.

Paces-wise; obviously, if you’re talking about dressage, then the walk and the canter are the most important. I always try and look for a horse that has almost a show jumping hind leg for a canter, and trots are the least of, I think, anybody’s problems with development. A trot can take 3, 4, 5 years; that’s quite normal. You can turn something normal, which let’s face it, if you’re thinking about a future horse soundness, you’re better to buy a normal-moving horse that has reactions, that can be trained to be a special mover. Then that way, when you can have a horse that you have a turn off and a turn on button, then those are the ones obviously, that don’t have to move spectacularly. That should only really be something that you acquire at Grand Prix; not a very spectacular mover as a young horse because soundness is so difficult.

BH: Most memorable horse and why?

CH: Mine would have been Escapado. He was the most difficult horse I ever trained to Grand Prix. The reason I would pick him,

Photo by JULIA RAU Above photo and all photo by DANIELLE SKERMAN were taken at Sydney Equitana 2013 during a demonstration ride on a loan horse.

5 2.

ww w. ba r oquehors e m a g a z in E . com

“... dressage is supposed to look nice, it’s supposed to look elegant, it’s supposed to look easy... competitive can be overpowered and look ugly”

Photo by DANIELLE SKERMAN

Photo by JULIA RAU

is that instead of something that was winning, I suppose it was because that horse made me grow up. That actually made me realise that you can be happy without winning. I was happy that I came 12th at the Olympics on him rather than winning a gold, because I actually realised how far a horse like that has to go to do that for you.

I was last in Aachen, which was the biggest dressage show in the world the year of the Olympics. That also taught me to deal with people’s criticisms, because you can imagine being selected for the Olympics and you’re last in Aachen about 6 weeks before. That doesn’t go down well with your other team members.

I always said, “I can’t take a horse like this to a show like Aachen and just bring him out, do the test. He can’t do it. If you let me take him to Athens, it’s just going to be 100 degrees, he can be there for 2 weeks and he’ll do it. I know he’ll do it.” I opened my big mouth the week before, and I’d done this article and I’d said…the day I rode, it came out in the article and I’d said, “I’ll take Escapado to Athens, stick two fingers up in the air at all the doubters and he’ll do it.” You can imagine the pressure I’d put myself under.

I had to ride in the show thinking, “If you don’t do it, you’re dead.” He was unbelievable.

It was the beginning of his career, and changed his life by doing it and by being in a show with

me for 2 weeks. He went on to be 3rd at the European Championships. It was my biggest success for me with a horse, rather than something like everyone would always imagine I would say, obviously Utopia, because he won gold medals. Utopia was a professor and would have done it with or without me. That’s why he’s not my favorite.”

BH: Do you take anything from other people or sport in your training?

CH: I probably say it depends what area you were brought up in as to how you are now, because I was lucky enough to be brought up on a small island with no cars. It was just riding horses, and there were no saddles and no bridles. I suppose I just felt that that was quite natural for learning balance. Of course, what’s ruined all of that is health and safety. People can’t…sadly in England people can’t ride like that. Your kids are not allowed to ride like that, which is very difficult for them to then be independent, really. I think that, this is a really ridiculous thing to say, but after the Olympics, one of our main common questions was, did I think that our success was down to the fact we turned our horses out? I said, “No, it’s training.”

They don’t learn it in a field, but obviously, the way we keep them is all part of that. It’s that and the training. Just like you wouldn’t go up to somebody in Australia or somebody

w w w. bar o q u e hors e m ag azi nE.com

53.

in England who’d won Badminton and say, “Did you win Badminton because you turn your horse out in the field?”

It’s unheard of. That’s how far dressage has had to come to catch up with a lot of these other things. . . . it has changed and it is bringing people together. The dressage convention was about bringing in different people. Miguel Ralão from Portugal, and a wonderful lady from Scotland named Sylvia Loch who focuses very much on position, but bringing everybody together so it didn’t look so differentiated all the time. I’m very hopeful for how it’s going. I don’t see it being so different any more.

BH: We get so caught up in working for whatever goal it may be, whether it be dressage, cutting, or whatever it is. Have you a got a tip that people can do just to have fun; one tip that they can take home and just have some fun with their horses?

CH: My point would also come from me being a goalorientated person; as a competitor, you are. I think the day that I realised that winning didn’t tell me where I was in my career that I enjoyed riding again. I always saw that if I won then I would be happy about it. So few horses that you have in your life, obviously, are top level as well are going to be gold medalists. They’re not all going to be gold medalists. Once I started shifting my ideas to, ‘That’s the best it can go. That’s the best it’s gone,’ then I was happy. I originally always used to think every one of them has to win, and if they win then I’ll be happy, but you’re not. Actually being happy with the fact that I did the best I could instead of thinking it always has to be the gold medal, first, second, or third. Then I enjoy it, because the pressure you put yourself under to be a winner is ridiculous. There’s a lot of people that make themselves very ill and don’t enjoy it at all. I suddenly realised that I felt ill when I was going to ride. I thought, “I’d never felt like that. What have I done?” It was because all I thought that winning was my final goal. Winning only is temporary happiness. You’ve got to be happy with yourself first. a

“ I think the day that I realised that winning didn’t tell me where I was in my career that I enjoyed riding again.”

PhotoS by DANIELLE SKERMAN

“ Winning only is temporary happiness.

You’ve got to be happy with yourself first.”

www.carlhester.co.uk/ www.thedressageconvention.co.uk/ videos of the convention www.thedressageconvention.co.uk/watch-online/#watch

5 4.

ww w. ba r oquehors e m a g a z in E . com

W Specialising in tailor made itineraries for individual and group travel to horse events around the world.

www.worldequinetours.com tel +61 (0) 421 277 717

orld Equine Tours was

established in 2013 by Jenni and Jeremy Riethmuller of Wagga Wagga, Australia. It

seemed an obvious extension of their current

business interests – proprietors of Travelscene Wagga Wagga (the regions longest serving travel agency) and Belisi Equine Park (horse agistment and equestrian centre).

World Equine Tours specialise in putting together tailor made itineraries for individuals and groups to horse events as well as special interest tours (such as breeding studs) to destinations around the world.

Imagine yourself in the rolling fields of Badminton, watching the world’s best horses and riders thunder across the cross country course clearing those monumental jumps. Experience the thrill of watching the thoroughbreds flash past the winning post at the Kentucky Derby. Watch the leading players in the world strut their stuff on the polo field while enjoying a picnic lunch.

If your interest is of a more specific nature like Stud visits or visiting internationally renowned riding schools like the Spanish Riding School in Vienna, World Equine Tours can help create the best travel solution for you.

Why not combine your equine related travel plans with other passions such as food and wine, cruising and touring.

Our qualified staff possess more than 70 years travel industry experience between them and are ready and waiting to tailor your itinerary into a trip of a lifetime.

As a fully licenced travel agent with over 30 years industry experience, we have access to all the leading airlines, hotels and land operators worldwide – essential when tailoring travel arrangements to your specific needs.

World Equine Tours looks forward to hearing from you!

Jindabyne Equestrian Resort

w w w. bar o q u e hors e m ag azi nE.com

55.

56

Jody Hartstone with ‘GL Conquistador’ 5 6.

ww w. ba r oquehors e m a g a z in E . com

Basic Handling of the Young Horse

By Jody Hartstone

Photos by Sheree Conroy

S

o you have yourself a wonderful Baroque beauty and you can’t wait to get in the saddle... It seems like forever until you are able to send your youngster away to be started at age three or four. So what are some basic handling exercises to do with your horse to ensure he is safe and easy to work with whenever you are around him?

The aim of working with a young horse is to be able to control his movement. This includes forwards, stop, backwards, hind quarters to the side, fore quarters to the side, lowering of the head and “park” or stand still. Once these basics are established, you will have a horse that is easy to move around and he will be calm and free from unwanted behaviours such as barging, pawing and biting.

HOW HORSES LEARN Before embarking on any training program, a basic understanding of horse psychology and how horses learn will help you train in an ethical and understanding fashion.

There are three ways horses learn. The first way is through ‘habituation’ – they simply get used to things – like girth pressure, wearing a rug, being brushed etc. There are many useful techniques that can be used for habituation including response prevention (holding the horse still), gradual habituation, counter-conditioning, overshadowing and approach conditioning.

The second type of learning is via ‘operant conditioning’ where a behaviour is either reinforced or punished to make it more or less likely to occur again. There are four quadrants of operant conditioning which are: Positive reinforcement: Where the horse is rewarded for a behaviour by the addition of something pleasant such as a scratch, a rub or some food. This makes the behaviour more likely to occur again.

Negative reinforcement: Where the horse is rewarded for a behaviour by the removal of pressure ie freedom from pressure is the reward. This is how our leg and rein aids work under saddle for example. It is also known as ‘pressure – release’ Positive punishment: When the horse is punished by the addition of something aversive after a behaviour to decrease the likelihood of the behaviour happening again. This is how an electric fence works to stop the horse pushing through fences.

Negative punishment: When the horse is punished by the withdrawal of something after a behaviour to decrease the likelihood of the behaviour happening again.

It is important to note that a horse’s brain does not function the way ours does. He is not a human on four legs. His ability to reason is very limited due to the due to the lack of pre-frontal tissue in the brain. A horse will never carry out a behaviour ‘on purpose’, and

w w w. bar o q u e hors e m ag azi nE.com

57.

the use of punishments such as the withholding of food, water or company should be avoided as they have major welfare implications. The use of a whip or spurs to punish a horse is a fruitless exercise as it does not explain to the horse what he should be doing. Conversely, using punishers just heightens the flight response and causes the horse to have a negative association with humans.

The third and final way a horse learns is via ‘classical conditioning’, or Pavlov’s theory of association. This is where the horse’s behaviour gets linked to a signal or cue by a process of association. This is how the horse learns to predict that the arrival of your car might mean a treat is coming – if every time you get out of your car you give him a treat he will soon come up to fence to greet you.

EQUIPMENT NEEDED FOR TRAINING A YOUNG HORSE The equipment needed is very simple. I prefer a head collar (halter) that has a lead rope attached right up under the chin for maximum control. A long rope will give you greater control than a short rope should your horse try to pull away or rear up. A dressage whip is essential to touch all parts of his body and to reinforce the lead rope pressures when needed. Gloves are always a good idea to prevent rope burn and a helmet is a good safety precaution when dealing with young flighty animals on the ground. It is always advisable to be in a small fenced off pen or area in case the horse tries to escape.

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

Jody has qualified through Equitation Science International with an Associate Diploma in Equitation Science.

She specialises in helping with “problem” horses and this work as a trainer and a coach takes her to all corners of the world where she teaches riders from amateur level right up to Olympic participants.

5 8.

THE WHIP AS A NEUTRAL STIMULUS The whip should never be used to punish the horse – it is merely an extension of your arm to reach places on the horse’s body where pressure can be applied to illicit movement. Horses are not born fearful of the whip, but remember that any time a whip is removed from your horse’s body he is learning via reinforcement to do whatever behaviour immediately preceded the removal of the whip. It is very easy to make him “whip-shy” if you remove the whip during moments of tension.

To get your horse used to the whip simply rub it all over his body whilst stepping him back from lead rope pressure as soon as he shows any sign of tension (flight response). Take your time and only remove the whip when he is standing still and is calm. The whip touching his body must be neutral – ie he must ignore it and not be bothered by it.

Whip as neutral stimulus

Equitation Science International

If we understand how the horse learns, we can train ethically and effectively

online and residential qualifications exciting career paths evidence based worldwide For trainers, riders, coaches and every horse enthusiast wanting to get the best out of horses

www.aebc.com.au

www.hartstoneequestrian.com

ww w. ba r oquehors e m a g a z in E . com

THE GO SIGNAL There are several common signals for ‘go’ that are used in horse training. The simplest is to pull forward on the lead rope to cue the legs to move forward. The pressure is released as the legs of the horse start to walk. However, it is not always possible to motivate a horse to move forward from lead rope pressure alone, thus it is a good idea to have a backup cue of a whip tap on the horse’s side to also cue the legs to move forward. This has the added benefit of pre-training the go aid under saddle as you can tap the horse in the same spot that the leg or whip will be applied when ridden. Simply tap on the horse’s side with the whip until he chooses (through trial and error) to walk forward then release the pressure to reward him. You can also add a positive reinforcer by way of a wither scratch to enhance the reward.

THE STOP AND STEP BACK SIGNAL To cue your horse to stop or step back, the lead rope pressure is applied in a backwards direction towards the horse’s gullet. Be careful to not allow him to shorten his neck or lower his poll too far. As soon as the horse stops or steps back remove the lead rope pressure instantly so he is rewarded for the

correct response. A whip tap on the front of the foreleg can also be used to motivate the horse to step back from the halt. Simply tap gently on the front of the leg until the horse trails a step backwards and reward. Once this cue is established, it can be used instead of, or in conjunction with, a backwards lead rope pressure to lighten the horse’s step back response.

THE POWER OF PARK Teaching a horse to park is akin to teaching a dog to sit and stay. It is a very important aspect of horse training as a horse who is not moving his legs becomes very quiet and relaxed. Before teaching park you need to have your forward and back up cues somewhat established.

Practice park by facing your horse and taking a step away from him. If he tries to follow the movement of your feet simply apply one of your step back cues (whip tap or lead rope pressure) and make him step back onto the spot where you left him. With careful persistence and good timing you should be able to walk away from your horse whether facing towards or away from him. You should also be able to walk around each side of him in an arc without him following you. And you should be able to get him to park and relax even in difficult and trying situations such as his

Standing in park

friends leaving him.

Many forms of horse training teach your horse to follow your feet ie you move and the horse moves with you with your movement being the cue for him to follow. However this is fraught with difficulties from the horse’s point of view. One of the rules of good animal training is that you must not change the rules!

If you let your horse follow you into the trailer or float for example then tie him up and leave him there while you walk away he can no longer follow your feet – this can cause behaviours such as anxiety and pawing in the trailer. It is far better to teach your horse to

Whip tap for back

Step back

Walking away in park

move only when cued to from a voice, lead rope or whip signal.

LOWERING THE HEAD TO PRESSURE Teaching your horse to park / stand still and keep his head low has a very calming effect on the horse. Any time the head is lower than the withers your horse’s blood pressure and heart rate will drop and he will become calmer. To motivate the horse to lower his head a side to side or up and down pressure can be applied to the lead rope where it

attaches under the jaw to the head collar.

Reward any small lowering of the head until your horse gets the idea and you can get him to lower further and further towards the ground.

MOVING THE FRONT FEET TO THE SIDE – TURN It is useful to be able to get your horse to step his front feet to the side. This can be achieved by using a gentle whip tap on the side of the horse’s knee until he steps away from the pressure. The pressure is then released and

www.hartstoneequestrian.com

w w w. bar o q u e hors e m ag azi nE.com

59.

the horse gets his reward. Teaching the horse this cue is invaluable for making him step towards things he is trying to avoid (eg puddles or scary objects) and for straightening him onto the horse trailer / float. You will notice that when you can get the front feet of the horse to travel straight, the hind feet line up to follow.

Whip tap for go

MOVING THE HINDQUARTERS TO THE SIDE – YIELD Another useful tool is to be able to get the horse to move the hind quarters to the side – this pre-trains yield under saddle and is useful for straightening the horse who tries to swing his quarters away. This is achieved by tapping the horse on the gaskin with the whip until he steps away from pressure. Once again, reward him with the release of whip pressure.

Remember it is pressure that motivates the horse and the release of pressure that trains him.

THE IMPORTANCE OF TOUCH Horses are social animals and touching or stroking the horse can have a very calming effect on their behaviour and general demeanour. Just as an anxious human is often desperate to be held or comforted – so too is the horse. The value of touch should never be underestimated when dealing with horses, and great emphasis should be placed on gently stroking your horse all over. The traditional “patting” of horses as a reward is quite possibly not as rewarding to the horse as us humans may think. In nature we see horses scratching each other on the withers as a form of mutual grooming and relaxation.

Scientists have proven that caressing a horse on this spot actually lowers his heart rate.

AVOIDING FLIGHT The horse is a prey animal, and as such his innate drive to flee from danger is huge. Any time your horse is frightened, the memory of how he escaped or avoided the situation is etched into his memory forever and he will never forget it, thus it is vitally important to avoid all types of chasing and frightening of horses. It is always best to gain control over the horse’s legs and use a systematic form of training that keeps flight and fear to a bare minimum. a

Head down

6 0.

www.hartstoneequestrian.com

ww w. ba r oquehors e m a g a z in E . com

Pioneer Jewellery

Fine Handmade Equestrian Jewellery made in Australia

Baroque Pendant 9 carat gold

$225 with chain

$450

W www.pioneerjewellery.com T 0755 692 366

B

righton Saddlery is the saddle specialist and also offers a mobile saddle fitting service. They can fit your own saddle for you or have many trial demonstrators and used saddles to choose from. They cover the Sydney Metropolitan area, Central Coast, Newcastle, the Hunter Valley and the Southern Downs.

You can also visit their massive new store in Mascot where you can find all of your equine needs. It is absolutely worth a visit to see their range of quality products and the latest arrivals and trends.

Brighton Saddlery also have an online store where you will find all their products, catalogue and regular specials and bargains whist shopping in the comfort of your home!

Brighton Saddlery 10 Beresford Street, Mascot, NSW 2020, Australia

www.saddlery.com.au

WWW.SADDLERY.COM.AU

w w w. bar o q u e hors e m ag azi nE.com

61.

SARA DUARTE t r u e

i n s p i r at i o n

Article and photos by Cátia Castro

S

ara Duarte, Portuguese para-dressage rider, won her first national championship in 2005, with the Lusitano mare “Rima.”

In the same year, she was a gold medalist at the Fourth Spanish Dressage Championship in Madrid. In the following year, she premiered with the rising four year-old Lipizzaner stallion “Neapolitano de Morella” from the breeder Camara Machado Stud Farm of the Azore Islands, Portugal. The owner of this stud, Professor Artur Machado, showed him after a national appeal on television promoted by Maria de Lurdes Cardiga from the João Cardiga Academy.

Sara and Neapolitano made a perfect match and never stopped amazing us. They were such a wonderful example of good work, friendship, and lots of motivation, always supported by the João Cardiga team. In 2009, they were awarded a bronze medal in the European Championship in Norway.

The pair were national para-dressage champions several times, and have represented the sport and the Portuguese nation in two Paralympic Games: Beijing 2008 and London 2012. Their work and the results went beyond their dreams.

BHM went to see this amazing duo in João Cardiga’s Academy, and sat down to talk with Sara: BHM: At what age did you start riding horses? How did you get to like horses?

SD: I started at age seven by medical prescription and because of my mother; she was always searching for therapies that could help me in my development. The passion for horses was a result...I’ve experienced and enjoyed them and the more I rode, the more I liked it; now I’m fully addicted!

6 2.

ww w. ba r oquehors e m a g a z in E . com

w w w. bar o q u e hors e m ag azi nE.com

63.

BHM: When and how did you warm to the idea of starting dressage competitions?

SD: When I went to the João Cardiga Academy. By that time I had already gone through other equestrian centres, and had a little bit of equestrian experience, but was João Cardiga himself who was surprised by my riding skills and invited me to compete.

I accepted the challenge immediately and I loved it!

BHM: What fascinates you in the competition?

SD: The entire environment that riders experience in the competition is special.

The extra care, the nervousness and anxiety, the healthy competitiveness...this is all part of me now, and when I do not have competitions I start to miss them! Looks like it’s an addiction!

6 4.

School of Equestrian Art of Vienna, Austria), heard the request and replied, offering me Neapolitano.

BHM: Who is your coach? How does your weekly training work?

SD: I can say that I am lucky to have two coaches, João Cardiga who trained me since I joined the Academy, and still today has the patience to accompany me in all the adventures of the competition; and João Pedro Cardiga, his son, who joined the team in 2007 to train Neapolitano. The training varies somewhat in intensity depending on the times of greater or lesser frequency of competitions, but the work alternates; I train with one horse one day and the other is worked by João Pedro Cardiga. In times of competitions, that occurs on the same day.

BHM: What is it like to participate in the Paralympic Games?

BHM: The Lipizzaner horse— Neapolitano de Morella—has been and is currently your fellow equestrian partner for competitions. Tell us how he came into your life.

SD: It was very good...it is an honour and a pleasure to see that our work has paid off and it was recognised, and our prize is to be able to be there among the best in the world!

SD: It was funny...the horse came after an appeal, in a television show, aimed at horse breeders in Portugal. Professor Artur Machado, horse breeder of the Lipizzaner breed (the same breed made famous by the

BHM: What was the most exciting moment that you remember on competitions and why?

ww w. ba r oquehors e m a g a z in E . com

SD: My best sports moment was undoubtedly when I placed in 5th at the Paralympic Games in Beijing in 2008, because it was totally unexpected, and I placed higher than riders that were the best and with much more experience than I had! The joy of my whole team at that time and how it was celebrated—that was unforgettable...

BHM: What advice would you give to young people (with and without a handicap/disability) who want to start their life in the equestrian sports?

SD: Riding is not just ‘any’ sport. It is special because it doesn’t depend only on us, the rider. The horse is also involved. It is always necessary to have patience with the horse, to understand that like us, they have their good and bad days. Above all you have to like what you do, because that makes everything become easier. You must have the persistence, you want to go further and do better—that is the essential key for those who want to take this sport more seriously!

BHM: What advantages do you see in riding for people with cerebral palsy?

SD: Riding has countless benefits, not only for people with cerebral palsy, but also for people with other types of

disabilities...I can highlight some benefits like improved balance, coordination, learning, concentration and increased selfconfidence. The contact with the horse is very special, not just the riding, but also grooming the horse and having a good time playing with the horse, petting them and giving treats.

BHM: Do you have a funny moment with Neapolitano that you wish to share with us?

SD: I have several...he is a horse with plenty of personality and ends up being funny in certain attitudes. What stands out most in him is that he is vain. He knows perfectly when he is entering a competition arena and that he will be evaluated; he raises his tail and seems that grow bigger, to display himself! He also has a very sweet tooth; he can find chocolates or carrots anywhere: hidden beneath the

cleaning material, in my mother’s bag, my coat pocket...

team in Para-Dressage that would qualify, my qualification will be individual.

BHM: What is your competition agenda for this upcoming year of 2014? What are your goals?

BHM: You and Neapolitano currently need sponsors for your goals; can you tell us a bit about this?

SD: In 2014 we have planned several events including some national competitions, and three international: from 25 to 27 April in Belgium, 2 to 6 May in Germany and from 8 to 11 May in the Netherlands, and the World Championship (WEG) in August 24th to 29th in Normandy. The international events are important to move up the rankings, since my fall this year was due to not having participated in any international event and I had just gone to the Championship of Europe. Thus, as our aim is to go to the Paralympics Games in Rio de Janeiro 2016, we shall be required to be among the top 30 ranking, as we don’t have a Portuguese

SD: To successfully participate in the Paralympics you must meet the minimum score recquirements. These minimum scores have to be achieved through participation in international events and championships in Europe and throughout the world, and have to cover the three years prior to the Paralympics games. In order to do all this preparation, support is necessary, since this is a very expensive sport. Unfortunately, it’s not easy to get sponsors, especially with the financial crisis that Portugal is facing. I have been fortunate to have the support of “Allianz Insurance” since 2004, but it is not enough for all that is necessary. a

w w w. bar o q u e hors e m ag azi nE.com

65.

SARA DUARTE:

Portuguese national DB: 04/05/1984 Cerebral Palsy with 72% of handicap, she has the left side of the body most affected.

Master in Pharmaceutical sciences by the Lisbon University, Portugal.

Lives in Lisbon. Trains in the João Cardiga Academy – Adress: Estrada Caminho da Serra. Leceia. 2730-040 Barcarena – Portugal.

Phone: 00351 - 214 212 261. E-mal: geral@academiaequestrecardiga.com Some of many Sara’s Highlights: Date Competition 19-09-2002 European Championship Anadia 05-09-2003 World Championship Belgium 26/31-07/2005 European Championship Hungary 18 to 22-07-2007 FEI World Championship Hartpury-GBR 18 to 22-07-2007 FEI World Championship Hartpury-GBR 7,8 and 10/09-2008 Paralympic Games Beijing 7,8 and 10/09-2008 Paralympic Games Beijing 19 to 23 August 2009 FEI EUROPEAN AND

OPEN PARAEQUESTRIAN

CHAMPIONSHIP 2 to 4 September 2011 FEI EUROPEAN PARAEQUESTRIAN

CHAMPIONSHIP 2012 Paralympic Games London 2012 National Championship Portugal 2013 European Championship Denmark

Barefoot Australia Give your horse the freedom to perform

Contour Bridle: shaped headpiece takes pressure off the nuchal ligament

Treeless saddles, bitless bridles and much more...

Visit our website

www.barefootaus.com

6 6.

ww w. ba r oquehors e m a g a z in E . com

Classif 11º 17º 11º 17º 19º 13º 5º

Nº of countries 17 33 17 34 34 15 15

Nº Particip 20 28 23 33 - Grau II 132 atletas 33 - Grau II 132 atletas 18 18

Test

3º

22

Total = 80 Grau 1B = 12

Test 14

8º 8º 1º 8º

14 15 Test Ind Lugar, Team Test, 9º place, Individual Test e 15º place on the Freestyle (KUR) place, Ib place, Ib, Team test and Individual Test

Test Ind Kur Test Ind Neapolitano Kur Neapolitano

WIN 2 x TICKETS

SUBSCRIBE WIN

2 tickets to the Horsemans Rendezvous

valued at $147.00 each, Conditions apply*

WHICH PROVIDES entry to both days of the event •••

•••

SAT 22nd & SUN 23rd MARCH ‘14

Lusitano

Sydney International Equestrian Centre, Horsley Park, Sydney

ENTRY

DRAWN

14th

MARCH

go online at www.baroquehorse.com.au/buy-magzine

Winner shall be announced on our web and contacted via Baroque Horse Magazine staff.

* Not redeemable for cash, prize is for entry only.

HORSE ASSOCIATION OF AUSTRALASIA

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

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

lusitano.com.au facebook.com/lusitanohorseassociation

w w w. bar o q u e hors e m ag azi nE.com

67.

Pilates FOR THE RIDER

Article and photos by Melanie Griffiths

T

here is so much information on Pilates – I cannot overload you with it all now! I have written the following as simply as possible, there is no substitute for a good Pilates instructor, I recommend you explore instructors in your local area and practice 2-3 times per week.

Please check with your GP or health practitioner before you commence both the following Warm Up and Cool Down.

Releasing areas in the body that may have been tight/sore for years can sometimes create a rush of energy or oxygen, be mindful of this and if you feel lightheaded please stop and rest.

We spend so much time correcting our horses, we are passionate about acquiring soft balanced movement using the correct muscles, if you have ever trained a horse how much time did you spend teaching the horse how to walk, how many hours did you spend perfecting this? Now ask yourself how many hours have you spent correcting your own walk? Are you aware of how you walk and what postural and behavioral habits have you adopted over your lifetime?

I like to remind myself of the pre flight safety demonstration every time you board an aircraft, when the attendant states that the passenger should always fit his/her own oxygen mask before helping children, disabled or persons needing assistance. We can use this analogy with our horses, prioritize your own alignment and correct muscle usage before you help your horse, warm up and cool down mindfully – just as you ask your horse to. Be aware of your own movements throughout the day, and start to correct small habits regularly – link this thinking to something you do throughout the day – it could be checking how you are standing whilst talking to friends, sat on the computer or whilst in the car. Over time this will become autonomous and great things will start to happen.

You will improve niggles, aches and pains, your breathe will be deeper, your mind will be clearer and through correct alignment you may even need to buy new shoes!!

To gain the most benefit from Pilates we need to discover a neutral spine posture for correct muscle activation and joint preservation.

Neutral Spine.

Neutral spine occurs when all joints and bones are in the correct alignment – not just the lumbar pelvic region. When correct, the kinetic chain can occur allowing the body to function efficiently and to its best ability. So it is important that we think about how we are moving and direct our muscles with mindfull intention to the best of our ability.

Please remember you also have to work with what you have, you may have injuries, chronic conditions, postural patterns that are strong. You may not achieve a perfectly correct neutral spine, do not force yourself into this position, but simply work towards correctness.

I like to set my clients standing alignment and posture before we move.

Try this set up first against a wall so you have some feedback your feet do not need to be touching the wall but aim to have glute’s, ribcage, shoulder blades and head gently resting on the wall.

Breathing pattern – pilates should be practiced using lateral thoracic breathing. To begin focus on your rib cage and start to explore how it moves whilst breathing deeply – you are aiming to direct the oxygen down to the lower part of the lungs - aim to expand your ribcage as you inhale and as you exhale you should feel the ribs slightly lower and draw in you should also feel a slight contraction in the abdominals.

Feet – should be hip width apart (roughly the width of one foot) and parallel. Both feet should be level Knees – tracking straight and not locked.

Hips – level and both hips bones facing forward.

Now gently tilt the hip bones upwards so you feel the small of your lower back make contact with the wall and then tilt them down towards the ground so you feel your lower back come off the wall, do this a few times and then settle the hips level and from a side on view your hips bones are stacked directly on top of you pubic bone.

Contact for more info: mels.pilates@optusnet.com.au | 0401 305 987 6 8.

ww w. ba r oquehors e m a g a z in E . com

Core/corset connection – try to imagine your core as a cylinder shape of muscles – these muscles wrap around the spine to support and align the spine, the top of the cylinder is the lower ribs - the diaphragm (used for breathing) the middle of the cylinder is the belly button and waist line area, and the base of the cylinder is the pelvic floor. Focus on the belly button area for a moment – see if you can exhale draw the belly button back towards the spine without changing the shape of your lower back (keep hips bones stacked on top of pubic bone) try this a few times then exhale and draw belly button back as far as you can without holding breath or straining yourself – this is your level 10 (or a 100% contraction) now try to find your level 5 (50%) exhale and draw back half way, now try to find your level 3 (or a 30% contraction) exhale and draw back just below half way – see if you can breathe whilst holding this contraction, this 30% connection should be maintained throughout your day, you should be able to breathe, talk and move whilst holding this. When you feel confident you can maintain this try to also draw or synch in the waist line at the same time, you can imagine you are wearing a big thick belt or a corset!

Pelvic floor connection – the base of the cylinder - in females the pelvic floor is a sling or hammock shape of muscles, in males it is more like a bowl shape, it has the same purpose, it keeps the internal muscles in the correct spot and works with the transverse abdominis (TA) to stabilize the pelvic region. As you exhale draw or zip up the pelvic floor to your level 10, keep lifting and lowering gently until you find your level 3 (30% connection). Do not to hold on tight to your pelvic floor, be gentle!

Ribcage – drawn down (not popping up to the ceiling) Shoulder Blades – drawn down in a V shape, never relax the shoulder blades down aim to work them down Neck – long and lifted out of the shoulder girdle, imagine a soft peach under the chin.

Head – level and straight ear roughly in line with shoulder girdle. Be mindful of head poking forward.

WARM UP Walk your horse with focus on the saddle area, try to do so with big lunge-type steps to free up the hips and warm up the legs.

Make the stride big enough so you can always see your toes on the leading leg.

Standing Roll Downs

Standing with your spine in neutral, your feet should be hip width apart (that’s about the width of one foot) and parallel.

1

2

3

4

Exhale and zip up your pelvic floor and draw your belly button towards your spine, breathe in to prepare and as you exhale (Pic 1) tuck your chin to your chest and start to slowly roll the body down towards the ground (Pic 2).

Keep a slight bend in the knee and roll as far down as you can comfortably (Pic 3).

At the bottom, take another deep breath in and as you exhale (Pic 4) start to roll the body back up to standing (Pic 5) lengthen through the back of the neck.

Try to complete 6 – 8 repetitions.

5

Notes.

To mobilize the spine, think of gaining a bigger gap between each disc and vertebrae in the spine.

Note your alignment and after a couple of these, start to correct your alignment. Draw that imaginary line from your nose through your belly button and in between your toes. Be mindful of hand position and keep both hands even, or your more dominant hand in front of your weaker hand.

STANDING PUSH UPS

Position your body on a fixed strong fence or solid object (Pic 1) whilst balancing on tiptoes.

As you exhale, zip up your pelvic floor and draw belly button towards the spine.

Take another deep breath in, and as you exhale lengthen through the back of the neck and bend your elbows (Pic 2) to lower your body towards the fence.

1

Take another breath in here, and as you exhale, extend your arms until your body is back to the start position. (Pic 3) Complete 6-8 repetitions.

3

2 Notes.

Keep your body straight throughout the move and only bend your elbows, leading with your chest and do not let the head poke forward or the shoulder blades “wing.”

w w w. bar o q u e hors e m ag azi nE.com

69.

STANDING chest opener

Standing in neutral spine, using either a Pilates stretch band or a lead rope, take a breath in.

As you exhale, zip up the pelvic floor and draw your belly button towards the spine.

Bring your arms overhead (Pic 1) so you look like the letter ‘Y’ as you exhale. Very slowly start to bring your arms down behind you (Pic 2). Only go as far as you feel comfortable, (Pic 3) then take a breath in.

1

2

3

4

1

2

3

4

As you exhale, start to bring the arms back up to the start position. (Pic 4). Complete 6-8 repetitions Notes.

Be mindful of your own shoulders’ range of movement. Do not let the head or the ribcage poke forwards.

lunge and kick Standing in neutral spine, with your right hand on a strong fixed fence for support, take a long step forward with the right leg.

Make sure you can still see your toes, (Pic 1) bend the left knee and bring the left heel off the floor.

Lunge down carefully and slowly; do not over bend your left knee. Stop just before you reach a 90 degree angle, and as you come back up to standing, see if you can kick the left leg forward. (Pic 2) Do not let the hips move during this and keep hip bones directly on top of pubic bone.

Progress to bringing either one or both arms overhead as you lunge down and swing the arms down behind you as you kick the leg forward. (Pics 3 and 4). Complete 6-8 repetitions.

Change sides placing your left hand on the fence for support and complete another 6-8 repetitions.

standing squats with lead rope

2

Tie a knot in your lead rope big enough for your feet to be shoulder-width apart.

Step into the lead rope and position it just above your ankle bones. Standing in neutral spine (Pic 1) take a deep breath in and as you exhale bring your arms up in front, draw your shoulder blades down your back, and squeeze your armpits together at the back.

1

Take another deep breath in and as you exhale lengthen through the back of the neck, (Pic 2) bend the knees and squat down towards the floor. Inhale to bring yourself back to the start position (Pic 3).

Start your squats small and watch how your legs and knees track—you should always be able to see your toes and never squat too deep; always stop just before you reach a 90 degree angle in the knee.

Complete 6-8 repetitions.

7 0.

3

ww w. ba r oquehors e m a g a z in E . com

Hip openers

Stand in neutral spine with your left hand resting lightly on a fixed strong fence for support.

Take a deep breath in and as you exhale, lengthen through the back of the neck and draw your shoulder blades down your back.

1

2

3

4

5

6

8

9

On your next exhale zip up your pelvic floor and draw your belly button back towards your spine.

Keeping your hips level (Pic 1), tap your foot out in front (keep a slight bend in the stabilizing knee).

Tap to the side (Pic 2) and then behind (Pic 3).

Back to the side (Pic 4) and then to the front (Pic 5).

Complete 6-8 repetitions. Change sides placing the right hand on the fence for support and complete 6-8 repetitions.

Start slowly and then progress to drawing a semicircle with your foot off the floor (Pics 6,7,8,9).

Be mindful of your hips and neutral spine, progress to lifting the leg higher and sweeping around.

Do not lean forward or back; keep your torso upright and work within your range of movement to strengthen and mobilize the hip girdle.

7

COOL DOWN After you have ridden and cooled down your horse, dismount carefully and loosen the girth. Do the lunge-type walk you did in the warmup, but this time with a softer intention.

Do this all the way back to the saddling area; try to focus on releasing the front of the hip and stretching out the legs.Yyou should get a surprise bonus—your horse will synchronize with you and stretch out too.

Place both hands on a strong fixed fence, feet hipwidth apart and parallel, take a deep breath in and as you exhale keep your spine set neutral, and on your next exhale gently bend at the hips and lower your torso towards the ground (Pic 1). Try to keep the heels down; reach the point where you feel a comfortable stretch from your fingertips all the way down your spine through to your heels (do not overstretch). Inhale, and as you exhale arch up through the upper back like a cat would, (Pic 2). Take a breath in and exhale stretch back down.(Pic 3) It is important

Standing cat stretch

1

2

3

4

to not let the abdominals go weak and the back collapse; feel the core moving the spine throughout this stretch. Complete three cat stretches. Stay in the bent over position and cross the right foot over the left foot. Now shuffle the hands over to the left—feeling the stretch more down the sides of the spine and hips—breathe in. As you exhale, shuffle the hands over to the right. (Pics 4 and 5) Complete three repetitions, then change legs and do the same on the other side.

5

w w w. bar o q u e hors e m ag azi nE.com

71.

Standing quad and hip flexor stretch

2

Place your left hand on the fence, take a deep breath in and as you exhale pick up your right foot and feel the stretch through the front of the thigh, (Pic 1).

If you feel comfortable, start to hinge forward from the hips and push the foot into the hand (Pic 2). Breathe in and as you exhale bring the foot back to the start position.

Complete three repetitions and then bring the same right foot through and place it on your bent knee; open up the hip and sink down a little so you feel a stretch around the back and side of the hips (Pic 3). Hold this for three breath cycles.

Complete the same on the other side.

1

3

Standing chest opener

1

Standing in neutral spine, take a deep breath in.

As you exhale, draw back and extend your arms out to the side, opening up your chest (Pic 1).

Imagine you have a huge beaming light in the centre of your chest—try to light up the sky with this, take a breath in and exhale. Bring the hands around the back and interlock the fingers, breathe in and exhale. Lengthen through the back of the neck and start to carefully look up towards the sky (Pic 2).

If your neck is tense and is not happy then keep your gaze forward. Breathe in, and as you exhale return to the start position.

Complete three repetitions of this.

This will allow you to fill you lungs with oxygen, ensuring you feel calm in the mind and invigorated in the body. a

Contact for more info: mels.pilates@optusnet.com.au | 0401 305 987

Yeguada Picachos Andalusian Lusitano Azteca

Horses available in USA

www.yeguadapicachos.com 7 2.

ww w. ba r oquehors e m a g a z in E . com

2

O

Lászlo Száthmáry – Király Memorial Trophy

n Saturday the 19th of October. Mr Barrie Stratton was awarded with the Lászlo Száthmáry – Király Memorial Trophy for his “Lifetime Achievement in providing exceptional commitment and service to Classical Equitation”.

The Lászlo Száthmáry – Király Memorial Trophy award was presented to Mr Stratton by Dr. Johann Krutzler the former administrator of the Spanish Riding School in Vienna and his wife Louise, In the presence of the Australian Lipizzaner Registry Inc members at “Laurel Park” in South Australia.

Baroque breeding - three of which were Lipizzaner horses.

Barrie’s teaching philosophies and style are reflected in articles he has written previously for the Baroque Horse magazine and can be found in past issues.

Mrs Louise Krutzler, Habsburg Lipizzaners South Australia (est. 1980)

This award is in honour and memory of Mr Szathmary – Kiraly who passed away in December 2012. “Les” as he was usually known as was a dressage exponent and judge during his lifetime and a strong supporter of all Baroque breeds and “Classical Equitation”. Born into an aristocratic Hungarian family, Les was a particularly avid supporter and admirer of the Lipizzaner horse. As a young man Les rode Lipizzaner horses his father had bred on their estate in Hungary until he entered WWII. Following the war Les immigrated to Australia in 1948 where he met and married his wife Merle and later had two daughters Lindy and Emma. He was awarded the “George Medal” in 2006 from the Hungarian government for his services to Hungary. Further information on the interesting life of Les and his family can be viewed on the Australian Lipizzaner Registry Inc. in Newsletter number 1 at the Australian Lipizzaner Registry Inc. website at www. australianlipizzanerregistry.org.au.

Barrie’s empathetic and thorough style of teaching for both horses and riders has won him much praise; with a number of the horses he has provided instruction and training for being of

To celebrate 1 yr under new ownership MTF is offering

Australian & New Zealand Distributor for allShapleys products & Wattle Lane Stables mineral mixes.

15% Discount code: BQ14

Check out the website to view the full range of products, and also to find your local stockist Ph: 0407 471 816 | Email: mtf@outlook.com.au

www.mane-tail-feather.com w w w. bar o q u e hors e m ag azi nE.com

73.

Renaissance Period

ing

from the

round

Horsemanship

work

in the

Modern

By Suzanne De Laurentis and Allen Pogue, Imagine a Horse 2011 In our modern world it is refreshing to realise that many fine horsemen throughout the ages used sophisticated and effective horse training methods that were also kind and respectful to the horse.

Ancient Horsemanship Renaissance trainer Antoine Pluvenile’s book Le Menage Royal was published in 1633 and detailed the use of a single pillar in horse training. Pluvenile was one of the first since Xenophon in about 350 BC to see the horse as a sentient being. He was noted for his humane methods for treatment of the horse and used “gentling” rather than “breaking”*. Of special value was his insistence on “courtesy, sound judgment, patience and virtue”, and consideration that the horse “must take pleasure in his work”. Pluvenile, as Royal Ecuyer to King Louis the 14th used and wrote of the single pillar; but since that time, little has been written about how to incorporate pillars, either single or double, as a tool for horse training. The Vaqueros of California brought many sophisticated horse training methods to American horse training including the single pillar.

At ‘Imagine a Horse’, we use the ancient and classical single pillar to help teach and perfect basic obedience as well as high school gaits such as the Spanish Walk, Passage and March steps. Here we call the pillar the Liberty Pole because it is used as the link between simple in-hand schooling to Liberty Training, or work in which the horse has no attachment to the handler.

Modern and legendary horsemen such as Al Dunning and Mike Bridges are among trainers who incorporate the use of a single pillar in their training, although the name is different. Al calls it a ‘Patience Pole’ and Mike calls it a ‘Circus Pole’. Nonetheless, both see the value in incorporating training at the pole.

7 4.

ww w. ba r oquehors e m a g a z in E . com

75

w w w. bar o q u e hors e m ag azi nE.com

75.

Horse Breaking on the Range American ranch life in the early years necessitated the taming or breaking of the working ranch horse, which was ever in demand. Although the Vaquero methods of California turned out many a work of art in the finished bridle horse, the big cattle outfits of the plains had to make quicker work of breaking horses. The single pillar became the utilitarian snubbing post as a short cut to the more time consuming Vaquero methods.

Horses were commonly tied to the post, snubbed down tight and sacked out with little regard to their well being. The goal was simply to break the horse. ‘Broncs’ (as they were often referred to) would be saddled while snubbed, and often they were saddled, mounted and ridden with one leg tied up until they gave up bucking. Cowboys and ranch hands were used to a hard life and took their knocks in stride and the horses were expected to do the same. Untamed horses were cheap and easy to replace.

The Revolution in Horsemanship In The Revolution in Horsemanship, Dr. Robert M. Miller says ‘the old ways of breaking horses has nearly been eradicated’ in our modern and enlightened society. Round pen schooling has become an accepted and more humane way of gentling a horse than harsher methods such as the snubbing post. Results are dramatically improved and usually quicker too.

Use of the round pen became popular as the range began to dwindle and cow men sought an alternative to galloping untrained horses in the open. The standard working 60 ft diameter round pen was quickly adapted because most horses could lope easily in this size enclosure.

The Liberty Pole has an effect similar to round penning in that the horse has some

freedom of movement but must ultimately return to his track around it. For folks who don’t have a round pen, this can be a useful and acceptable method of training and the pole is simple and inexpensive to construct.

We need to mention that training at any speed on a round track should be done in moderation even with a horse of full physical development to avoid stressing the joints and tendons.

Using the Liberty Pole effectively, working in the “round” To establish movement around the pole, fasten the horse’s (long) lead to the swivel and attach a second lead rope to the halter ring on the outside track and walk alongside of him. This is similar to having a handler on each side of the horse. As the horse progresses and develops self carriage and self discipline, he can be attached directly to the pole and asked to move on his own. It is a great idea to put quick release snaps at both ends.

When the horse is reliable at moving on his own around the pole, the handler can direct the horse from either the inside position beside the horse, or in front of, behind or while standing on the outside of the circle or track. If you desire to teach a horse to make transitions of gait while on the pole, it will be helpful to give the horse a “mark” or predetermined spot at which he will make the transitions. This will keep him engaged and help him focus forward as he learns that a transition is expected at the “mark”. We use a rubber mat to give the horse clarity and at a later date, the horse can be called to the “mark” when it is used in other locations.

As the horse progresses nicely at the pole, changes of direction or half circles can be taught. A horse can become quite adept at making circles and even figures-of-eight on the pole with the handler on the outside of

the track. The horse can be directed through complete circles both while moving away from the handler and also moving towards him. Voice aids or cues and whip cues will direct the horse.

Learning patience The Liberty Pole is also an acceptable way to teach a horse to patiently stand tied, although it requires constant monitoring by the handler. A slip tie such as the Blocker Tie can be attached to the swivel. The slip tie is a cool mechanism that gives slightly if a horse pulls back and eliminates the chance of damage to a horse’s head and neck in a panic situation. Never leave a horse tied unattended in any circumstance and be sure that you always have a sharp pocket knife in the event that you must free a horse in a panic situation.

Preparing for the Spanish Walk We teach the Jambette, also called a Salute as a basis for the Spanish Walk which is a “trick of gait” or an amplification of one of the horse’s natural gaits.

Because the Jambette is a move that is easy for most horses to understand, they usually learn it quickly. We teach it in association with a pedestal which decreases the chance that the horse will offer it unsolicited (if he misinterprets a cue) while on the ground.

Most horses will easily move or even lift a front leg if tapped gently with a guider whip on the back of the forearm. The guiders have a soft ball at the end to help the handler communicate his cue but won’t sting the horse (available at www.imagineahorse.com).

Stand on the left side of the horse to cue the left leg and step to the right side to cue the right leg, so that it is easy for the horse to understand the difference. We use “One” as the verbal cue for the left and “Two” as

In the Renaissance period, the single wooden pillar had a horizontal groove with a lead rope loosely tied into the groove so that it could slip around the post as the horse circled. At our ranch the Liberty Pole is a 4 ½” diameter steel pipe, 7 ½ feet tall and has a 360° swivel at the top to attach a lead rope with a quick release snap. We use a 20’ loose rope run through the ring (on the pole) initially so the handler can instantly yield slack if the horse panics or pulls back.

7 6.

ww w. ba r oquehors e m a g a z in E . com

We use a mat as a target to help a horse understand transitions of gait. Here Allen asked Dos to halt on the mat and then to strike off in a March step. the cue for the right leg. T he reason we use these particular verbal cues is so that when the Jambette is later on shaped into the Spanish Walk, we can count cadence to encourage the horse to lift the legs. If you prefer not to use verbal cues, that’s fine too.

At first, acknowledge and praise even the slightest lift of the leg. It may take your horse a few days or a week to offer a salute in which he actually lifts the leg. When the horse will reliably give you the Jambette on the left, teach it on the right side also.

Learning Spanish Walk at the Pillar Attach the horse to the Liberty Pole and attach an additional lead to the outside of his halter. Cue him to lift his left leg (“One”) as he learned with the Jambette. Give him plenty of time to respond as this will seem like a complex request at first. When he lifts his leg, tell him “Good” and at the same time urge him forward. Always walk with the horse as it will help him to understand that forward movement is desired. The slightest initial effort should be generously rewarded for the horse to begin to understand that forward movement must be coupled with the high leg lift. Ask for only one step with the leg raised and walk on.

Make a complete revolution on the pillar and when you reach the “mark” or first place that you asked for the step, ask again. Work only on one side of the horse, and with one leg at a time in the first few sessions. At this point, do not switch to the other front leg and do not ask for a Big (SW) Step from alternate legs-- only ask for one step at a time. Let the focus be on just one step, on one side. It is not uncommon to spend a few days or even a week or more focusing on the same leg. When

the horse becomes reliable and will offer the Big Step (still one side) every time he is asked, only then is it time to reverse directions and teach from the other side and with the other leg.

When the horse can reliably offer a good extension of the cued front leg AND can take a step forward, begin asking for a Spanish Walk step, still one side (leg) only at two opposite locations on the pillar. After the cadenced walk is confirmed on one side, begin the process over again on the opposite side with the other front leg.

As the horse gains the ability to give the correct response on each side, on each direction, the cadence can be shortened by asking for a Spanish Step at shorter intervals around the pillar. Most horses will begin to offer a few steps of real Spanish Walk with alternating legs when they are ready, physically and mentally. This is a complex task for many horses and the handler’s patience and equestrian tact are really important.

With Navegador between the pillar and Allen, it is like having a schooling assistant!

For more information on Imagine A Horse methods and products visit www.imagineahorse.com Resources Al Dunning at aldunning.com Mike Bridges Horsemanship at www.mikebridges.net Stretch it Out TB article June/July 2009 (full instructions for the Jambette) Blocker Tie Ring at www.blockerranch.com The Menage Royal- Pluvinel Training the Horse in Hand by Alfons J. Dietz Essential Exercises for Training Horses by Sally O’Connor a

Allen is teaching Taba to move around the pole. The rope is always held by the handler in the early stages so that he can give and take very softly of the slack to maintain the young horse’s confidence.

w w w. bar o q u e hors e m ag azi nE.com

77.

Horse

FACT SHEET: Managing Itchy Horses The how to guide on managing your itchy horse

By Tanitha Jones

Why is my horse itchy?

P

Working out the cause of your horses itch is the first step to successfully management

opular causes are QLD Itch (midge bites), Psoroptic and Sarcoptes mites (mane and tail mites), Neck Parasitic Filarial Worms and Allergic reactions to environmental factors such as grasses, dust and feed sources.

Working out the cause of your horses itch is the first step in successful management, saving you a lot of money experimenting with expensive herbs and DIY remedies that may not work.

Your local Veterinarian may take deep skin scrapings to test for skin mites or suggest a program of insecticidal treatments to address any suspect mite or worm infestations.

Removal of environment exposure to certain grasses, trees, weeds, dust, stale hay etc may be a case of trial and error.

Examining your horse’s diet and talking to an equine nutritionist will help eradicate any allergic reactions your horse may be having to its feed intake.

If your horse is suffering classic QLD Itch symptoms or suffers a skin allergy, supplement feeding can yield impressive results.

Sound supplement feeding can rejuvenate the poor immune system your horse may be dealing with.

Feeding the itchy horse.

Regulating the immune response of an itchy horse is a priority. An itchy horse is generally ‘over reacting’. You may notice a companion

2

horse under the same conditions yet he does not exhibit the same excessive rubbing or self mutilating behaviours.

Your goal should be to achieve the following outcomes: 1.

Stabilize an over active response to the itchy sensation 2.

Draw pathogens from the intestines and flush these out 3.

Help the skin repair from the inside and speed up healing to avoid ongoing infection at the skin surface level 4.

Promote new skin cell production and healthy hair growth to cover the damaged skin One product (under patent application) that does contain the necessary mineral, amino acid and soluble fibre ingredients to address these key issues typical of an itchy horse is QI Ease.

QI Ease by Wattlelane Stables A 60 day trial conducted on over 30 horses throughout QLD and NSW from various breeds, colours and locations found the same outcomes from feeding just 50g of QI Ease in hard feed daily. See before and after images. The trial combined night time rugging and/or spraying regularly with a safe insecticide, plus recommended applying sparingly (late afternoon to avoid sun damage) Shapley’s M-T-G to assist healing externally

BEFORE

BEFORE

WEEKS

mane-tail-feather@hotmail.com

mane-tail-feather.com 7 8.

ww w. ba r oquehors e m a g a z in E . com

w w w. bar o q u e hors e m ag azi nE.com

79.

Horse

The benefits of feeding extruded feeds to your horse

By Shannon Godwin BaAppSc GDTL

The benefits of feeding extruded feeds to your horse 8 0.

With each visit to a produce store, the modern horse owner is confronted with a seemingly endless and bewildering array of sweet feeds, pelleted feeds and extruded products. Not to mention the array of supplements designed to nourish or enhance each and every portion of a horses’ mind and body. Another problem facing horse owners is the conflicting advice they may be given by various sources throughout the equine industry. However, careful consultation with equine nutritionists will usually show that there is at least one, and probably several “correct choices” for any equine.

Roughage (grass or hay) should be the foundation of every equine diet. Horses require at the very least 1% of their body weight in roughage per day. Sometimes a concentrate must be added to the diet in order to meet energy requirements for growth, exercise or reproduction. The equine stomach is unique in that the small intestine uses enzymes to digest proteins, fats and starches. The large intestine (hindgut) utilises a bacterial fermentation process to break down the fibrous portion of the diet. Horses consuming only a small amount of concentrates daily rarely have a digestive tract problem. Performance horses that require a high level of energy are most susceptible to digestive issues caused primarily from un-digested feedstuffs passing into the hindgut where the fermentation process begins to produce gas, heat and discomfort for the horse.

One of the most recently introduced forms of horse feed are extruded products.

Extrusion is a relatively complex cooking

and drying process that is commonly used in both the human and pet food industry.

Extrusion utilizes a combination of steam and friction as heat sources to cook a formula under pressure. The sudden release of pressure exiting the die causes starch molecules to explode (much like popcorn) to form a unique nugget/cube.

Extruded feeds have several significant advantages over their more traditional counterparts (sweet feeds & pellets). The following advantages are discussed below: • The cooking process improves digestibility and energy availability by breaking down bonds of starches, proteins and oils.

As little as 30% of uncooked grains (barley, oats & corn) are digested by a horses small intestine. The digestion of extruded cooked grain is increased to as much as 90%, therefore, decreasing the amounts of undigested grain passing through to the large intestine for fermentation.

• Extruded feeds can assist in reducing the incidences of colic. The better feed efficiency is a result of extruded feeds being more completely digested in the small intestine rather than in the cecum.

The increased feed utilisation has a major advantage in reducing significantly the incidence of digestive disturbances ie, colic.

• The extrusion process creates a feed that is about twice as large and half as dense as a “loose” grain mix or pellet with the same ingredients and consequently it takes most horses longer to eat it (approximately 22%-32%longer).. Slower eating means that horses have more “chew time” that can help satisfy grazing urges and they are less likely to bolt their food and put themselves at risk for choke and colic.

Chewing encourage saliva production that

ww w. ba r oquehors e m a g a z in E . com

is essential for preventing gastric ulcers as it acts as a buffer to stomach acid.

• Extruded feeds are known as “cool” feeds as horses tend to stay calmer.

Fermentation is reduced due to increased digestibility in the small intestine. Excess starch overloaded into the large intestine is fermented to Dlactic acid resulting in nervous behaviour, diarrhoea and risk of laminitis.

• Feed less – because of the longer chew time and better utilisation of extruded feeds, many horse owners find that they can feed less and get the same benefits.

Extruded feeds are often recommended for horses which have such high energy needs that they require grain to be more than 50% of their overall diets (mostly young horses in intense training).

• Extruded feeds often contain lower levels of dust and fines, reducing the risk of airway allergies. The heat and pressure of the extrusion process kills most potentially harmful bacteria and viruses. Due to the lower moisture content, extruded feeds have a long shelf life, ranging up to a year, unless exposed to moisture.

Hyfeed have two extruded horse feeds on the market. Cool Cubes is a fully extruded, 40% grain based cube that provides highly digestible energy and premium quality protein for horses in light to moderate work. Wholesome is formulated with 80% extruded grain and contains premium quality protein that provides highly digestible and available energy for the high performance sport horse experiencing moderate to intense training. Both Cool Cubes and Wholesome are scientifically balanced and contain Full Fat Soymeal and Equimin Plus therefore, ensuring that equines receive premium quality protein and a comprehensive range of essential minerals and vitamins.

Health Food for Horses Cool Cubes & Wholesome contain Equimin Plus

cool cubes

þþ Highly digestible energy & premium quality protein þþ 100% Extruded þþ A cool feed without the unwanted fizz þþ Contains added minerals & vitamins Cool Cubes is an extruded feed that will support optimum performance in horses & ponies, experiencing light to moderate work

wholesome þþ þþ þþ þþ

Provides high digestibility & available energy Contains premium quality protein Contains added essential minerals & vitamins Formulated for the high performance sport horse

Wholesome is a scientifically balanced, extruded feed that provides high energy, quality protein, essential minerals & vitamins to meet the requirements of the high performance sport horse.

Feed & Supplements for all your Equine Needs

For all your enquiries, please contact our friendly staff Phone 07 4633 2266 | Email office@hyfeed.com.au Find us on Facebook! www.hyfeed.com.au | w w w. bar o q u e hors e m ag azi nE.com

81.

St ory

Poppe’s

By Michaela Wake

M

any of the Friesian folk around the world may be familiar with this story in brief, but I have been under pressure from friends and strangers alike to finally put this whole story to print and tell the world about just how strong the relationship can be between horse and human.

Friesian horses in particular, tend to bond very strongly with ‘their’ person. I made the grave mistake of underestimating just how strong that bond can be once…and have had to carry the burden around with me ever since.

The story begins over ten years ago. My friend Carina owned a Friesian stud and I was working with her and riding her imported Jurjen stallion, Iepe Tj. I had two fillies by him (one purebred, one partbred). Both my fillies were quite young so I was loving riding Iepe (whose name is pronounced “Ippuh”), I longed for another Friesian of my very own with which to ride and compete (I ride dressage). By sheer luck, Carina heard of a friend’s gelding being offered for sale. He was rising five years old, was 16.2hh (I’m nearly 6ft tall, so was desperate for a taller Friesian!), had been started and was going beautifully under saddle and was simply too much for her to handle. He had been in training with Classical Dressage trainer Manolo Mendez, and was basically just waiting for someone to take him further. I couldn’t believe my good fortune!

Poppe (pronounced “Poppuh”) was even better in the flesh than I dared dream.

He was groomed within an inch of his life and his coat shone like ebony. He was muscled to perfection and stood proudly as I went over him with a fine tooth comb.

My heart was in my mouth when it finally came to riding him, but within minutes of being in the saddle, I felt at home. With a huge trot and an uphill canter that felt like I could climb to the moon, I was grinning like a fool in no time flat. Dreams of Olympic glory went flying through my head, and it seemed like the time that it would take to organise the funds and paperwork to go through was just too long, I wanted him and I wanted him now! To top off the icing on the cake, Poppe was by my beloved Iepe, who although technically belonged to Carina, was very much a part of my heart too; riding him was such an unbelievable privilege.

I advertised my 4WD in the paper for sale for much less than I had purchased it, in the hope of a quick sale to give me the money I needed for Poppe. Before long, I had the money in my account and I had arranged to go and pick him up and bring him back to Carina’s. I seem to recall in those early days I did a lot of just sitting there, staring at him in awe. Oh, of course I rode him lots too…but there were lots of ‘pinch me’ moments, to say the least! We bonded instantly, Poppe loved the one-

8 2.

ww w. ba r oquehors e m a g a z in E . com

83

Photo by Nadeen Davis

on-one attention, and it wasn’t long before the slightly pushy, ‘in your face’, ‘invader of personal space’ horse disappeared, and was replaced by Mr Manners who would do anything for me!

Fast forward around eighteen months later, and life had changed somewhat for me. I was now working long hours at my job, and Poppe was spending more and more time in the paddock than being worked. I worried that he was ‘going to waste’ and that he deserved so much better than I was capable of giving him at that point in time. He had so much talent, and I was concerned that the couple of times a month I was riding him was certainly not enough to keep us both at the skill level we needed to be competing. This, combined with trying to maintain a long-distance relationship with my then-boyfriend Dan (now husband!), and having minimal funds to make the move to be with him, soon led to me wondering if

perhaps Poppe wasn’t better off in another dressage home where he could achieve his full potential. This would then also give Dan and I the money we needed to start a life together after years of being apart due to his career in the military. Such an agonising decision to make, and I tossed and turned every night for weeks trying to decide what to do Eventually I had reached a decision, and with tears streaming down my face, I started typing up a ‘For Sale’ ad to advertise Poppe. I knew he wouldn’t last, but I just hoped I could find the right home for him. Sure enough, I had a barrage of calls and emails, and it took me some time to wade through them all and settle on one that I thought would be the best fit for Poppe. It turned out to be a Grand Prix dressage rider in New Zealand. She was after a new young horse to bring on and thought Poppe would fit the bill perfectly.

Within a few days, she had the money wired through to my account and Poppe was booked on a boat to be shipped over to New Zealand almost faster than I could blink. I could hardly believe what was happening. The drive down to the docks with Poppe in the trailer behind us was just gut wrenching. Dan and I were lost in our own thoughts the entire way, I don’t think either of us said a word. We unloaded Poppe into his stall, and I remember sobbing as I hugged him tight. Dan closed the stall door, and Poppe put his head over the top, his eyes questioning, his face confused by my emotions. I straightened his forelock as I had done so many times before, kissed his velvety nose and tried to say goodbye without completely breaking down. I am not sure at that point who felt worse out of Dan and I, as we both knew that this needed to happen for us to have any chance of being together,

w w w. bar o q u e hors e m ag azi nE.com

83.

84

she could never reach. I couldn’t be happier that Poppe sounded like he was finally back on track - but there was still a tiny part of me that wondered if I might have been on his mind when he was gazing off into the distance.

Then disaster struck for Poppe’s owner she emailed me to say that she had terminal cancer and the future was looking grim, so she had decided to sell Poppe - even though it broke her heart to make the decision. In the email she asked me if I could find him a good home - as she knew I would have his best interests at heart. I happened to be online when that email landed in my inbox, and within seconds had already said “PLEASE DO NOT ADVERTISE OR SELL HIM!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!” and despite having just purchased a new horse for Dan and outlaid an absolute fortune for frozen semen from Holland for my mare, I blurted out that we would buy him back in a heartbeat!! My hands were shaking as I sent the reply - and I had no idea WHERE we were going to get the money from - his Owner was asking for more than I had sold him for, plus there was an extra $6000 to throw in to fly him back to us!!

Photo by Nadeen

Davis

and we both thought we were doing the right thing by Poppe too, but neither of us realised it would be so incredibly painful. With heavy hearts, we both turned and walked back to the car, neither of us daring to look back.

About twelve months or so later, I got an email from Poppe’s new owner saying that she had a sale pending on him as he had gotten really unruly and was getting increasingly difficult to handle. She had different grooms dealing with him all the time, and she was only around to climb on, ride him, then climb off, so he really wasn’t getting a chance to build up a rapport with anyone and was really struggling.

I immediately replied and offered to buy him back, I tried to call her countless times on her mobile phone, her home phone, her work phone - for nearly forty-eight hours I sat glued to the computer for any word that the sale hadn’t gone through and that I could buy him back, but nothing. I was heartbroken...then finally an email arrived and she told me it was too late, he had been sold. My heart sank - I’d missed my chance.

A few months later, I was contacted via email

by Poppe’s new owner, who was absolutely distraught. Poppe was a wild horse - virtually unhandleable, was not safe to be around because he was so anxious, shied at everything and had almost injured himself and everyone else when they had tried to trim his feet. They had tied his back leg up and he had given himself rope burn so badly that he nearly severed tendons!! As I read her email to me, the tears spilled down my cheeks - what had happened to my boy?! My big, gentle giant - the one that let little kids wrap their arms over his eyes and hug his head when he put 8 4.

it down for them, the one who was quiet enough to let children ride without a lead? I immediately typed back a reply telling her that something was VERY wrong, that he’d suffered some kind of trauma and the best thing she could do was to put him out in the paddock with some other horses and let him be a horse again, not to push him, not to pester him, and to gradually win his trust. I told her to go out and just talk to him and be with him and give him lots of treats and rewards... and that eventually the real Poppe would come out and she could begin again with him. I told her how I’d been able to have my farrier shoe him in a tin shed with rain belting down on the roof, told her stories of how kind he was, how bombproof - and how she needed to help him get over what on earth had happened to turn him into the horse she saw then. I also told her that if worse came to worse and she couldn’t reach him, that I would buy him back and bring him back home - but she refused, saying that she wanted to try with him and see how it went. Yet again, I’d missed out.

Some six months later I got an email to say that the ‘real’ Poppe had started to break through and she was progressing with him.

She had started his flatwork again and he was going brilliantly under saddle, and had even started jumping him lightly. He apparently had a real knack for showjumping and loved cross country! She was having the time of her life and was so grateful that she’d taken my advice, but she did say there were times when Poppe would just stare off into the distance and she often felt that although she was getting through to him, that there was a part of him

ww w. ba r oquehors e m a g a z in E . com

I immediately emailed Dan (he was deployed in Iraq at that stage, and wasn’t due home for months) and asked him to call me because I simply could not make this kind of decision or commitment without asking him first - and his response (pasted straight from his email) was: “Go get your baby...he did exactly that for me a few years back so I owe him one.” I couldn’t believe it...all those years ago when we had agreed to sell Poppe so that we would have the money to move in together and now here Dan was, trying to make amends and bring him back home.

Well, after over a hundred emails between here (Australia) and New Zealand, some very expensive calls from my mobile phone to over there, and a last minute FREAK OUT about the extra $2000 GST I didn’t realise I had to fork out - I paid for Poppe and his transport and he was soon winging his way back home to me.

The truck driver was kind enough to let me sit in the front seat as he drove onto the tarmac at the airport (owners usually aren’t permitted out there, they have to wait at the gate!) and my heart was in my mouth as I watched Poppe’s plane land...and then agonised as horse after horse was unloaded.

Eventually the stall that held Poppe was bought out. The grooms were really struggling with him, and he was the only horse to be double tied, and have two halters on. I called his name, and his head flew up! His ears pricked and his eyes locked on mine as he called out...I couldn’t believe it - four long years had passed, and yet suddenly it felt like yesterday. The noise of all the jet wash, the planes, the engines...it suddenly all disappeared. There was just Poppe and I nothing else mattered.

I ran down to the stalls and took the leads from the frustrated grooms who were literally being dragged along...and then we

stopped...I held my cheek against his face and we just stood there for a minute. ‘You’re home, Poppe. It’s me. I LOVE YOU!’ Together we walked to the truck, me holding just the one loose lead, Poppe with his head pressed against my back, as if fearful if we stopped touching, I might very well disappear.

He loaded on the truck without hesitation and we drove home, where he rejoined his old paddock mates, and settled in as though the separation was only yesterday.

Poppe is one in a million and I love him so very, very much. We are true soulmates. I haven’t seen a single sign of the horse that was in New Zealand...he’s just the same pocket pony I sent over there in the first place...it’s almost as though the whole

nightmare never even happened. He turned sixteen this year, and now has a forehead largely covered with grey. His gentle demeanour has returned, and he can be led, ridden and handled by my kids (three and five years old).

So next time you feel a horse may be ‘going to waste’ in the paddock or field...think twice before parting with it…because in hindsight, I would hardly call being loved on, fed, groomed and cared for by someone you love as ‘going to waste’ simply because you’re not achieving your full potential. a

Photo by ANN Jeffery

Photos at airport by Micheala wake

Danny S.R

In Victoria Australia 2009 KFPS Main fb registered Stallion Anne 340 Sport x Wicher 334 (Stam 50)

Trick Trained!

$29,000 best home only

A

youtube.com/watch?v=Xt6YDk59neY

mazing breed type in a perfect compact size 14.3h, Baroque build, Ton of hair, fantastic movement and temperament. AI collection trained, proven fertile, rare AU blood. Ground drives, started under saddle. Easy to float clip and bath. Video and semen report available.

Perfect for smaller breeds or if you don’t want to add height to your breeding program.

www.sableranch.net e-mail Allison@sableranch.net or call 0431686301 w w w. bar o q u e hors e m ag azi nE.com

85.

Looking for your Black

Beauty ?

Beltane Lodge f r i es i ans

A

ll Yasper’s foals, from any breed of mare, are eligible for registration with the Australian Friesian Warmblood Association, the Friesian Sporthorse Association and the Australasian Friesian Sporthorse Studbook. Yasper is an excellent stallion for Spanish mares to breed Warlanders. Yasper’s offspring all have plenty of hair and elevated, spectacular movement!

www.beltanelodge.com.au 0416 399 903

D j a n g o

It has been a fantastic opportunity for us at Tashkent Friesians to combine our two passions, the magnificent Friesian horse and the art of Dressage. We have owned our stallion Django of Chacharel (Ster, Sport) from inquisitive weanling to magnificent Grand Prix horse. Through the young horses we offer for sale we invite you to create your own story. Your destination may not be the same as ours, but whatever you path, your horse will willingly accompany you along it.

We have available a selection of young Friesian purebred and Friesian Sporthorse bred horses for sale. From a mixture of bloodlines, including two Grand Prix Stallions (Django of Cacharel and Regardez Moi), Jacana TK and Permitted Stallion Hotse, Preferent and Provisional Kroon mares, NSW and Victorian Keuring Champions there will be the right one to delight you and suit your purpose.

Django is also willing to assist if you wish to breed your own future champion. Please contact us if you are interested in breeding him with your own mare.

Tashkent Friesians 8 6.

ww w. ba r oquehors e m a g a z in E . com

django@westnet.com.au 0400376106 Hunter Valley NSW www.tashkentfriesians.com

FOR SALE

w w w. bar o q u e hors e m ag azi nE.com

87.

Colour Genetics Understanding the basics

Written By Sheree Conroy with thanks to Leanne Owens

W

hen learning about horse colour genetics, the first thing to know is that there is only two base colours: black (noted as ‘E’ on a DNA test) and red/chestnut (noted as ‘e’ on a DNA test) – everything else is a modification of these two colours. So, step one in understanding what causes different horse colours is to remember these two base colours, black based (written as ‘E’ on a DNA test) and red/chestnut based (written as ‘e’ on a DNA test). From here, colour modifying genes work on the two base coat colours to create all the other colours, dilutions, patterns, patches and spots that can be seen.

In the absence of any other colour modifiers, horses would be just black or chestnut without any white, shadings or markings. As soon as a horse has a star or sock, or is any other shade or colour that is different from solid black or solid chestnut all over, it is safe to say that there are colour-modifying genes present.

Step two in understanding horse colour genetics is to realise that each horse has two base coat colour genes. One of these has come from the sire, and one from the dam. These can both be black based (EE) in which case the horse will look black, bay or brown or they can both be red (ee) in which case the horse will look chestnut. The horse can have one black and one red base coat (Ee) and it will still look black, bay or brown. This is because red is recessive and black is dominant, meaning the red gene will ‘hide’ behind black and is not obvious simply by looking at the horse.

Step three to understanding horse colour is learning about Agouti (A or At). It is a modifier that works on horses with black based 8 8.

ww w. ba r oquehors e m a g a z in E . com

coats (EE or Ee) to make the coat lighter coloured (brown), and restrict the black colour to the points (mane, tail, ear tips and legs).

There are different types of Agouti that make horses appear either brown or bay. Brown Agouti (At) makes black horses appear any shade of brown, from quite light to almost black. Bay Agouti (A) makes black horses appear bay. A horse that has both brown Agouti and bay Agouti (A/At) will appear bay, as brown is recessive and bay is dominant, so the brown ‘hides’ behind the bay Agouti. Agouti does not express on red. This means a chestnut horse (ee) can carry one or two copies of Agouti (‘ee Aa’ or ‘ee AA’ or ‘ee Ata’ or ‘ee AAt’ etc) and it will look no different from a chestnut without Agouti (ee aa).

An important point to note is that a black horse does not have any Agouti (EE aa or Ee aa). As with the base colour genes, one Agouti has to come from the sire, and one from the dam. If a horse is homozygous for Agouti, it means it has two copies of Agouti and it is written as AA. If a horse is heterozygous for Agouti, it means it has one copy of Agouti and it is written as Aa. If a horse does not carry Agouti at all, it is aa (so a black horse would be EE aa or Ee aa).

We now have our four common colours: chestnut, black, brown and bay and a brief explanation of the colour genetics ‘alphabet soup’ that can seem so confusing. Obviously though, there are many other equine colours, so there are other colour modifying genes that also have letters to signify them. These include Cream (Cr), Grey (G), Champagne (Ch), Tobiano (TO) and many others. So where do these colours come from? All of the genes for horse colour occur in pairs. Each horse then inherits one of the pair from the dam, and the other one from the sire.

Perhaps it might help to think of the genes in every horse (or animal or plant) as an enormously long train with the carriages arranged in a very particular order, and every carriage on that train carries two compartments (two spaces for each gene) – in each of those carriages, one compartment comes from the dam, the other from the sire. Each parent is responsible for putting information into their half of every carriage. So, every horse has a carriage in position for the Cream gene, but if the parents don’t have Cream, they can’t

Palomino

Palomino

eeCr/n

eeCr/n

eeCr/Cr

eeCr/n

Cremello

Palomino

2 Cream Genes (Cr )

1 Cream Genes (Cr)

eeCr/n

ee nn

Palomino

Chestnut

1 Cream Genes (Cr)

no Cream Genes

All offspring have 2 ee (red based) genes from their parents.

‘fill’ their half of the Cream carriage. This means that it will be empty, or n/n.

If one parent carries Cream, then they can fill that part of the offspring’s Cream carriage, so now the offspring’s Cream carriage has Cream in one half, and the other half is still empty (Cr/n). I f both parents carried Cream, they could each fill half of the offspring’s Cream carriage, so both places would be filled and the test would be Cr/Cr. The other possibility if they are both heterozygous for Cream (Cr/n and Cr/n), is they can pass on the ‘empty Cream space’ so the foal is still n/n or cr/cr even though both parents have one Cream gene each).

When it comes time for horses to breed, they fill one half of every one of their carriages into the next generation, but this occurs at random – you don’t know which half they will fill, just that one of the compartments in every one of their carriages will be given to the offspring. If the Cream carriage is empty in both halves (n/n), then it doesn’t matter which half is given to the offspring, they can only pass on the empty space. If only one half of the carriage has Cream (Cr/n – heterozygous for Cream), and that half of the carriage is given the offspring, they pass on Cream. However, if they pass on the empty half, they don’t pass on Cream (50% chance of either happening). If both halves of the carriage are filled with Cream (Cr/ Cr – homozygous for Cream), then it doesn’t matter which half they pass on, the offspring will always get a Cream gene.

In fact, for every trait, from colour to genetic diseases, each horse has two sets of

information about it; one from each parent.

The information is either that the trait is absent, sometimes written as ‘n’ for negative, or it is present, written with the capital letter representing that trait. For instance, with ‘Cr’ meaning Cream, a horse that is homozygous for Cream would be Cr/Cr meaning there are two Cream genes. This would appear either cremello (if a red based coat is present) or perlino (if a black based coat is present). A heterozygous Cream, which appears buckskin or palomino, would be Cr/n meaning only one Cream gene is present, and a horse that is negative for Cream could be ‘n/n for Cream’.

The interaction of the base coat colour genes, Agouti and other colour modifying genes will all then impact on the colour that we see on the horse. As stated previously, chestnut horses have a base coat of two red colour genes (ee). If that horse then has a copy of the Cream gene from either parent, it will be ee Cr/n, and will be a palomino. If it had a copy of the Cream gene from both parents, it would be ee Cr/Cr, and will be cremello. If a chestnut horse (ee n/n for Cream) is bred to a cremello horse (ee Cr/Cr) all of those offspring will be palomino, as all will be ee Cr/n. If two palomino horses are bred to each other, the possible colours of the foals would be palomino (ee Cr/n - 50%), chestnut (ee n/n - 25%) or cremello Cr/Cr - 25%), depending on how many Cream genes the foal was given by each parent. (See above graph) It becomes more complex when considering buckskin horses, as there are more possibilities here for the base coat, and the presence or absence of Agouti will also affect the colour

that we see. A buckskin horse must have at least one black -based gene, but may have two, so will be Ee or EE as a base coat. It then has a Cream gene from one parent. To lighten the coat colour, leaving black ‘points’, it will then need at least 1 Agouti (Aa or AA). If it does not have an Agouti, it will be a black buckskin or smoky black (EE aa Cr/n or Ee aa Cr/n).

This means that although the Cream gene is present, it will not be as obviously expressed on the coat without Agouti.

The Grey gene is another colour modifier that is dominant. This means that if the Grey gene is present, it will always be expressed on the horses’ colour and the horse will go grey when it is older. Grey horses are always born one of the base colours, and then the Grey gene works on the base. It will hide whatever underlying colour was present as the horse ‘greys out’. A horse may be heterozygous for Grey gene, or homozygous for Grey. A horse that is homozygous for the Grey gene will always produce Grey foals, as all of its offspring will get a copy of the Grey gene from the grey parent.

This has been only a very basic summary of some of the main horse colours. As you can see, it is quite complex, and it is not always easy to try and work out what the colour of a foal from a particular mating will be, without knowing the genetic base colours of the dam and sire. Even then, there are still only probabilities of certain coloured foals appearing, it is very difficult (impossible in some cases!) to know exactly what colour will be produced, and it is all part of the excitement when a new foal is born. a

w w w. bar o q u e hors e m ag azi nE.com

89.

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.

$880 LFG DANIELLE PH 0404843636 DANIELLE@DIRECTSHOTS.COM.AU

facebook.com/ChapelhouseCentauro 9 0.

ww w. ba r oquehors e m a g a z in E . com

w w w. bar o q u e hors e m ag azi nE.com

91.

Anytime, Anywhere

– if you need riding gloves SSG Digital™

SSG Technical™

SSG Hybrid™

DigiGrip palm.

Our top show glove.

Breathable, durable and washable.

Style 2100

Aquasuede Plus palm. Lightweight and durable.

Style 8500

Leather back, Aquasuede Plus palm.

Style 4200

SSG All Weather®

SSG Schooler

SSG CellMate™

Aquasuede Plus palm. Best seller in 18 colors!

Style 8600

L and R on the base of the thumb to help beginners.

Style 5400

Aquasuede Plus palm. Smartphone assist riding glove.

Style 2000CM

SSG Pro Show

SSG Soft Touch™

All kid leather with rein reinforcement.

Style 4000

Synthetic leather, snake skin pattern.

Style 2200

SSG Pro Show Deerskin All buttersoft deerskin for class and comfort.

Style 4500

See your local tack shop, saddlery or contact: BOORANDI SERVICES/SSG GLOVES for locations • Phone/Fax: 02 49 300 793 Check out www.ssgridinggloves.com for more styles.

9 2.

ww w. ba r oquehors e m a g a z in E . com

We do not sell directly to the public.