Baroque Horse ~ Issue 22

ISSUE 22 2015/16

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CONTENTS

w h a t ’ s

i n s i d e

ISSUE 22

08.

Manuel Veiga Stud

18.

Albion: The Enchanted Stallion

26.

Interview with Edit Kappel

32.

Aachen 2015

38.

Did You Know

40.

Yeguada De La Carthuja

46.

Matilde Brandt

56.

Riding Aids Explained

by Robert Stodulka

62.

SRS - 5 Riding Tips

64.

Baroque Saddles Explained

66.

Examining a Horse for Colic

by Dr David de Fredrick MVSc

68.

How Do You Know if Your Horse is Happy

by Jochen Schleese, CMS, CSFT, CSE

74.

A Herbal Approach

by Cath Mcdowell

76.

5 Handy Hints

By Dr John Kohnke BVSc

78.

Q & A Section

ON THE COVER: Manuel Veiga and Lusitano stallion "Ben-Hur" Photo: Katya Druz

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E D I T O R S

2015/16

Well, I have to say it, WOW, what an issue we have for you! This issue has to be one of my favourite ones to date.

We have two of the leading and most influential studs in this issue. We have Manuel Veiga Stud for the Lusitano, the most awarded and influential stud throughout the Lusitano history. We also have Yeguada de la Cartuja the historic and ancient stud founded by Carthusian Monastery; the monks created a breeding stock that has become one on the most celebrated and appreciated stocks in the world. We'll have more from these fantastic and historic stud in future issues too! So do stay tuned! It's all very exciting.

We also have the huge pleasure of having WORLD EXCLUSIVE photos and interview with a new and upcoming (2016) feature movie Albion: The Enchanted Stallion where the film is based around and stars a Friesian horse!

We are delighted to be able to bring you celebrity interviews, prizes and much more in future issues! Another one to stay tuned with.

We were also thrilled to be chatting with world renown Edit Kapple with her amazing Lipizzaners in Hungry and chat to blogger and all round horse trainer Matlilde Brant with her gorgeous Friesian 'Batman".

Such a fantastic issue and that's only half of it! Catia Castro shares with us her fantastic photos and news from Aachen and how our Baroque representatives went. All very inspiring indeed.

We literally have so much in this issue; we have and article explaining Baroque saddles, an educational article with riding aids, and much more. When putting an issue together Patty and I try to look at things from a readers perspective and what we can give to you that you'll enjoy reading and isn't just something that's

N O T E

thrown in to fill space. We really do spend a lot of time talking and looking for interesting articles, people, places or anything that is well, interesting.

Without a doubt, this has been a very fun issue for us to put together and we really hope you enjoy it too! Also, consider this a head up, we have so much to come in future issue too.

We're a tad excited and can't wait to get working on our next issue!!

Once again happy reading and we always love to hear from you!

Cheers!

erman Danielle Sk Editor-in-Chief

www.baroquehorsemagazine.com

PHOTO KATYA DRUZ OF LUSITANO STALLION 'VARÃO' OWNED AND BRED BY VEIGA STUD

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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.

M A N U E L V E I G A S T U D

Breeding TIMELESS

Lusitanos

PHOTO RITA FERNANDES

TEXT: FILIPA JÁCOME & RITA FERNANDES

PHOTOS: KATYA DRUZ & RITA FERNANDES

A

s we navigate the sinewy roads from Golegã, the Portuguese capital of the horse, to Azinhaga, the rural landscape screams Ribatejo, with its endless fertile fields that have been one of the richest agricultural regions since the 18th century . At the entrance of the small village, an impressive centenary palace commands your attention with its huge green gate standing open, as if inviting visitors inside. On each column, stands two sets of tiles: to the right, the name of the estate “Quinta da Broa”; to the left, the emblematic Veiga brand. We have arrived at the birthplace of the Veiga horses, one of the four main lineages of the Lusitano breed.

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Looking up at the magnificent arch that tops the gate, the initials of Rafael José da Cunha, founder of the farm in 1817, can be seen in the intricate metal work. He initiated the breeding at Quinta da Broa, always seeking to improve the qualities of the horses. These early generations of horses were used for everyday tasks, but the emphasis was on improving the quality for bullfighting. In the primordial bloodlines of these “peninsular” horses are stallions from the Alter line, a gift from the Portuguese king of the time, D. Fernando II and his son. D. Pedro V. Curiously, the famous MV brand of today – the same that greets you at the front gate of the manor – was not the original one. As the line of succession changed the head of the farm, so did the brand. The MV brand known to all only came into use when Eng.º Manuel Tavares Veiga inherited the estate in the late 19th century. He marked a new era for the horses of Quinta da Broa, using zootechnical principles and applying the rules of consanguinity to create homogeneity and fixate the characteristics of the ancient Iberian warhorses - the gineta horses, gifted with grand elasticity, fine perception and

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PHOTO RITA FERNANDES

Manuel and " Embaixador"

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PHOTO RITA FERNANDES

exceptional capacity of interpretation of the rider’s will.

S T U D

In the fields of many modern stud farms across Portugal graze the innumerable progeny of these great stallions. The consanguinity achieved by Manuel Tavares Veiga and improved by the current manager of Quinta da Broa, Manuel de Castro Tavares Veiga, is

V E I G A

On our side of the arch rises the most modest building in the estate, which, for horse lovers, hides the farm’s truest riches: the horses. Inside, beautiful columns of dark metal hold the wooden ceiling and set the limits to the stalls that

M A N U E L

Eager to meet these great horses in person, we pass the front gate and into the courtyard. The beauty of the buildings and gardens envelop you immediately in their charisma; the property itself is truly something out of a history book. As your eyes follow the clean architectural lines of the main house’s façade, you catch a glimpse of a lovely horse framed by a stone arch. Beckoned by the sound of hooves landing on the limestone pavement, and as you come closer, and the white silhouette slowly becomes a powerful grey mare improvising a perfect jambette while basking in the sun. Against the blue and white tiles you can discern the typical convex head, the arched neck harmoniously connected to the withers and the nicely sloped shoulders. The back is short, proceeded by a strong kidney and the group, so full of angles, suggests an incredible capacity for collection.

line each side of the room, each occupied by an impeccably groomed stallion. It is not hard to imagine that in these same stables lived the great stallions Lidador, Agareno, Berber, and Sultão, so important to the Veiga horses’ current characteristics.

Over the years, many others excelled and became genetic landmarks for the Lusitano breed: Quê-Bá, Bailador, Lidador II, Universo, Nilo, Zimbro II, Dardo II and Danubio, all of them achieved great results in competitions of the breed. In classical riding, the outstanding Zurito was immortalized by Mestre Nuno Oliveira. In Spain, Opus 72, ridden by the famous bullfighter Alvaro Domecq, was considered one of the best bullfighting horses of all times. And even in jumping there was Novilheiro, which started his career in bullfighting and later became an international show jumper under the saddle of the English Olympic rider John Wittacker.

11.

PHOTO: KATYA DRUZ

This is where the work of Manuel Borba Veiga begins. With the unconditional support of his father, he became responsible for riding and testing the Veiga horses and mares. With the support of a highly dedicated team, he has achieved great results in modern dressage national and internationally, once again proving the quality and versatility of the timeless Veiga horses. It was within this context that we’ve talked with Manuel about his daily routine, his horses, and goals for is international dressage rider career.

BH: Tell us about the Veiga Team - who are the names and faces behind the brand?

MV: I am very lucky to work with my family, and together we are the core team in Quinta da Broa.

The pillar of the organization is my father, Manuel Veiga - who is responsible for the breeding program and coordinates all at the stud. I used to do a bit of everything around the farm, but now I am currently the person responsible for the training of our horses.

My brother Carlos helps with the foals from weaning, at 7-8 months old until they turn three. We have two people to help with the stabled horses and another rider who helps us starting the three-year-olds and test the mares. Normally I start working with young horses when they turn four-years-old. With the competitions program running – both national and

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internationally – my brother is a big help as he takes care of all the horses while I am out.

BH: You have turned the “face of the stud farm” every time we associate it with dressage. How is your daily routine at Quinta da Broa?

MV: In the beginning, I did a bit of everything around the farm, but nowadays our team grew, and I am devoted to training the horses. I usually begin around 9 am, starting with the most complex horses.

Currently, I have in my care around ten horses – six from our stud and five that belong to clients – although there were times when I had up to 14 horses to ride.

We are lucky to have great infrastructures that assist us to do our daily routine more effective. Our indoor arena was a huge improvement, offering the possibility to ride anytime regardless the weather conditions. However, I really enjoy working the horses in our outside arena too - it overlooks the fields where we keep the three-year-olds, so it’s not

PHOTO: RITA FERNANDES

what gives the Veiga horses a great capacity to pass on their characteristics to their progeny and the reason so many use Veiga horses to improve the gene pool of their stud. The success of the breeding program becomes clear when we visit the mares and the young two and three-year-olds. As we watch galloping on their pasture, we can’t help but try to guess which will be the next champion, or perhaps the founding stallion of a new stud farm.

Manuel and " Embaixador" ALL 3 PHOTOS BY RITA FERNANDES

only a great view, but it also helps with getting the horses used to working with others in sight. I also take the horses out for a ride in the field quite often – about once a week – to break the routine and relax them. Usually, my day is done around 6:30 pm. I love what I do, but one my favorite aspects of working at Quinta da Broa is that I get to stay and work close to my family.

BH: Many of the horses you trained reached Grand-Prix Level. What are the main training methodologies you use?

MV: Every horse is different. This is a fundamental notion of training horses – some have a greater ability for certain exercises than others, so we need to be able to understand them, their talents and difficulties. Veiga horses are generally attentive and willing, and my goal is to reach the same standard, and that is to achieve a certain degree of homogeneity in their response to the rider’s aids and so that they can also be ridden successfully by any rider.

Normally I plan the lessons a certain way – I always idealise a beautiful lesson, with incredible moments. Riding also comes from the heart.

There is technique but also a lot of feeling and spontaneity involved. My way of riding relies a lot on feeling the horse and on striving to do more and better. Nowadays, knowledge of how to ride is more available – people who want to be riders can easily learn the “how’s” and “why’s”: technique can now be considered a commodity.

The difference is in understanding and feeling the horse – just bending a few extra millimeters can be enough to make a difference. Riding is not only technique, but it also involves some art, full of inexplicable things. And the horses we breed fit into this idea: sometimes we need to put a little magic, art, and sensitivity so that the act of riding assumes a special color.

BH: How have you developed your training technique and who do you train with?

MV: My family has always been connected to the Lusitano horse and bullfighting. So when I was a child, I wanted to be a bullfighter. My father, who has played a huge role in my development and career, helped me to open my horizons to other possibilities. When I became a professional, rider seven years ago, I was lucky to be able to train with several riders of international level.

From the beginning, I sought to learn from great Portuguese professionals like Miguel Ralão, Daniel Pinto, Francisco Candela de Abreu and Paulo Caetano. It is really important to listen and to learn from different people. I was also fortunate to train and learn with big names in international dressage such as Mariette Withages, Kyra Kyrklund and, more recently, Jen Bemelmans who trained for a long time with the Spanish dressage team and currently trains the French Team and also Gonçalo Carvalho with Batuta. These teachings are fundamental. A good rider must be able to interpret and apply them to their daily training.

I USUALLY BEGIN AROUND 9AM, STARTING WITH THE MOST COMPLEX HORSES.

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13.

' Varão'

PHOTO: KATYA DRUZ

BH: What do you consider the most emblematic moment of your young career and why?

MV: I must confess I’m not a great fan of football.

I do follow the Portuguese National Football Team, but I had never been to a football stadium.

Yet, that which is maybe the most symbolic moment of my career happened the first time I set foot in a football stadium, at the World Equestrian Games in Normandy in 2014. I was 27 years old then, and when I entered the dressage arena with Ben-Hur, I must confess that I felt the weight of the crowd and, at the same time, exultation for that gratifying moment in my career.

BH: How do you select your horses with a talent for dressage? What are the morphological and psychological characteristics that you look for?

MV: We’ve been very conscious of ensuring an evolution in the Veiga horse. We look for horses with good morphological traits, according to the breed’s standards and with quality of gaits to compete. We managed not to lose their sensibility, which must be there but cannot be excessive: horses need to use their energy to help the rider and must have a great temperament.

The process of selection is run by my father, who has a special talent to foresee a horses potential.

He names the foals at weaning, and even at that young age he can already tell which horses have the greatest potential. When he senses that a certain foal will become a great horse, he gives them names of important horses in the history of our stud farm, and many of those foals really become formidable. He can tell if it is going to be a horse to use as a breeding stallion, a horse for bullfighting or dressage, and many times, he gets it right. For instance, with Ben-Hur, he always knew he would be a great horse. Altivo, he said 1 4.

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he would be for competing in dressage, and he was the best horse I ever rode. Embaixador is a good example too, I have been training him since he was three years old, and sometimes I questioned if he could miss this or that characteristic. He is turning six, and I recognize he is becoming formidable just like my father anticipated. He will be presented at the stallions in the upcoming Golegã Fair.

BH: If you had to name a horse in your team, which would be “the one”?

MV: The most special horse in my career is BenHur (magazine cover photo). It’s a horse that the moment you sit on the saddle, wherever you take him, he is willing to work. As his name suggests, he is a warrior and once again, my father guessed right. He gives his all, and when you almost think he hasn't more to give, he finds something more.

We are really alike in this sense.

THESE TEACHINGS ARE FUNDAMENTAL

However, if you ask me what is the horse of my life, then I would name Altivo, for sure. It will be hard to find another one like him. Unfortunately, he had an injury. I’m left to wonder when will I experience the bond again with another horse like I had with him. It was truly special. This magic between horse and rider – this empathy – is something essential, very important and very special. The fact that I get to follow the progress of my horses since they are young foals also helps to develop that connection.

We know each other. For example, when I started to ride Almansor, the horse evolved rather quickly because we trusted each other. Empathy and trust are keywords to success.

BH: And thinking about the future, is there any young horse that is showing great potential?

MV: I have several new hopes for the future. Embaixador will be at St. George level next year. I also have Bailarina – the grey mare that you saw when you arrived. She has an interesting story. I started riding her later than usual. She reminds us a lot – in terms of mechanics and

morphology – of a mare that belonged to Mr. João Núncio, a great figure of the bullfighting panorama in Portugal that used to ride 50 years ago. She is a living example of the characteristics that we can maintain through generations in our horses – the morphological quality of our horses endures. She is an incredible mare, and her greatest talents are piaffe and passage. Bailarina is a performer, with different qualities than my other horses and with her, I hope to reach Grand Prix level. In the younger generations, I am also looking forward to observe the evolution of Irritada, a full sister of Altivo.

BH: What are your goals and expectations for your future in competition?

MV: I really want to go as far as possible and to take the name of the stud farm as high as possible. To qualify for the Olympics is the dream of any rider and although it is very difficult, I keep it as an ideal objective and work hard to improve my riding every day. If this happened with a horse of our brand, that would be a dream come true.

BH: You are already an example for Portuguese Riders. Do you have any words for the young riders who share your dream?

MV: I would remind all riders that we cannot expect to ride a “Totillas” or a “Vallegro” every day. We can’t simply wait for a horse like that to drive our career forward. We need to believe in the horses that we are working with as if they were the best in the world and believe in ourselves. If we do, we will go far. We shouldn’t waste time focusing on what might be wrong with them, but rather focus on what they can give us and how we can help them improve. To overcome those obstacles helps us to evolve. When I ride, I always do it with joy and hope. I don’t let the problems hold me back; I strive to find the solutions and believe, hope and fight to do every day better and better. a

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15.

PHOTOG R A PHIC

Heart

L usitano I N TO T H E

BY LUSITANO WORLD

T

he Lusitano Horse is not only the chosen ride of kings and emperors – it also reigns the imaginary of photographers. The silhouette of a Lusitano is gracious and curvy, full of interesting perspectives to explore. Unique and captivating, the horse’s noble soul and strong spirit come out when it plays in freedom or gracefully performs under the saddle, inspiring the artists’ eyes and mind.

It is no wonder that Portugal’s rich equestrian culture revolves around this breed, whose magnificent stallions have not only the willingness to connect with the rider – but also with the photographers’ cameras.

Russian photographer Katya Druz, one of the rising stars in international equine photography, fell under the Lusitano’s spell and travelled to Portugal (guided by Lusitano World’s Team) to discover the origins of this incredible breed. In Katya’s own words: 'I am totally inspired! I can't wait to share with you the beauty and uniqueness of the Portuguese equine world, full of strong traditions, talented riders and incredible horses. I am extremely

OF T H E

proud to be part of Lusitano World’s Team, a great company who is promoting the Lusitano breed worldwide!'

This equine photo-workshop took place between 17th and 20th of September 2015. Participants were invited for a truly inspirational photographic journey into the World of the Lusitano Horse and Portugal’s equestrian culture, at the emblematic Golegã, Portugal’s Capital of the Horse.

To understand the origins of the Lusitano horse, one must unavoidably meet the distinctive Veiga horses, one of the four mains bloodlines of the breed. Quinta da Broa is an inspiration to any photographer. A powerful blend of amazing architecture, beautifully kept gardens and unbelievable horses combined with the charisma of a family that has been connected with horses for nearly 200 years.

Who wouldn’t dream of framing the most incredible piaffe as performed by the stud farm’s main rider, Manuel Borba Veiga and his powerful mare Bailarina, in the neoclassical façade of the main house? Or to play with lights, shadows and dust as the GP-level

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JOURN E Y

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stallion Ben-Hur showed off his best pirouette underneath the golden foliage of the courtyard’s maple trees? But the best surprise of the day came when the typical stallion Varão, that had captivated all with his gentlemanly temper in hand as he posed amidst the gardens, revealed its spirited nature when Manuel became his handler and bade him to play, outlined by the golden dawning rays of sun.

The journey took us also to other renowned stud farms and riding centers, where the photographers had the chance to capture beautiful and timeless images, understanding the Lusitano not only as a baroque horse, bred to perform classical dressage or fight in the bullfighting arena, but also as a breed fit to compete in a multitude of modern sports.

The success of this first initiative has inspired Lusitano World’s Team to promote another photo-workshop next spring! The results of this first workshop can be seen on our Facebook Pages. Dreaming to join into a similar experience? If so, dare to fall in love with the Lusitano: join Lusitano World network and be part of this experience!

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helps you find your dream horse

& offers you prime riding holiday experiences Lusitano World provides personalized advising services to help you find your perfect equine companion We also offer top quality experiences - book now your Prime Riding Holidays Program in Portugal

To know more about our services and access to special deals: facebook/LusitanoWorld +351 103 www.lusitanoworld.com | contactus@lusitanoworld.com | mob:W W W.962 BAR O Q954 U E HORS E M AG AZI NE.COM

17.

PHOTO ROD MILLINGTON

In

2016, the Baroque Horse community will be delighted to hear of the new movie featuring a Friesian stallion as a main character called - Albion: The Enchanted Stallion. The movie stars Jennifer Morrison, Stephen Dorff, Richard Kind, Debra Messing, John Cleese, Johnny Sequoyah, Ryan O'Nan, Castille Landon, Liam McIntyre, Daniel Sharman and Avery Rath.

PLOT EVIE (Avery Rath), a spirited young girl, lives for the time she spends with the horses at her local stable. With no mother at home, she cares for her injured father, and dreams of exciting adventures and a horse of her own. Christmas morning, she is working at the stables when she encounters a beautiful black Friesian, DAG DIA (Nitrous & Hans).

She tries to return him to the barn -­but instead of heading back to the stables, he bolts into the woods, and soon Evie finds herself in a magical world, ALBION. Here she is first threatened, then befriended, by ERIU (Castille Landon), a girl slightly older but no less spirited

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than herself, who is on a quest to save her people, the Danann, from the suppressive MILESIANS. DAG DIA has brought Evie there to help:­as things will turn out, Evie has a much closer connection to Albion than she realizes. In order to get home to her father (Connor, played by Stephen Dorff), Evie must join the Danann on their adventure.

Evie, Eriu and Dag Dia travel across Albion in search of the Four Treasures of the Danann, meeting weird and wonderful characters along the way (Such as The Abbess, played by Jennifer Morrison of Once Upon a Time) and facing increasing dangers from every side. They are helped (or perhaps hindered) by LIR (Daniel Sharman of Teen Wolf, The Originals, The Immortals), a well-­ -meaning but ineffective knight, and chased throughout by EREMON (Liam McIntyre of Spartacus, Hercules) and EEDER (John Cleese of A Fish Called Wanda, Monty Python and Shrek ), leaders of the Milesians.

A modern day fairy tale full of warmth, humour, colour and excitement, where

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things are never what they seem, ALBION is a coming-­of-­age story about learning to love everything you have, rather than obsess over the things you don’t.

Also starring Debra Messing (Will & Grace, Mysteries of Laura) as The Queen and Richard Kind (Inside Out, Cars, Toy Story, A Bug’s Life) as the barn manager.

Here at Baroque horse we're very excited to be sharing Albion: The Enchanted Stallion with our readers. We are delighted to have exclusive behind the scenes photos and interviews. Stay tuned as over next couple of issues we will bring you more exciting news, photos, interviews and even competitions!

In this issue we had the pleasure to talk to leading actress and director of the movie Castille Landon (Sex Ed, X/Y), Australia's very own Liam McIntyre (Spartacus), and we talk in depth with Ashley Klein (Trainer of Friesian Stallions who play Dag Dia) and Lori Brock the owner of Nitrous and Hans.

We hope you enjoy our interviews!

PHOTOS ELENA NENKOVA

DIRECTOR: CASTILLE LANDON WRITERS: CASTILLLE LANDON, SARAH SCOUGAL, RYAN O'NAN PRODUCERS: DORI RATH SPERKO, JOSEPH RESTAINO, SARAH SCOUGAL, RYAN O’NAN

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aroque Horse Magazine talks to Castille Landon, who takes on both the roles of lead character and director of the film.

BH: Have you ever had any previous horse experience? If so can you tell us about it , please?

CL: I am a fourth generation rider in my family, so I learned to ride basically as soon as I could walk. I started out with a miniature horse who threw me at every opportunity and taught me not to have any fear while riding. I eventually moved on to Arabians and half-Arabs, and then started showing Saddlebreds at a worldlevel when I was six years old. I won reserve world champion in the juvenile five-gaited pony division, among other major awards, throughout the years.

BH: Have you had any previous experience with any of the breeds that fall under the baroque umbrella (Friesian, Lusitano, Lipizzan, Andalusian

etc ) if so what was it like for you?

CL: Working on ALBION was my first experience getting to actually ride a baroque horse (Friesian), although I’ve always been obsessed with baroque horses. I discovered that they’re actually substantially more challenging because while they’re not necessarily as hot-tempered as a Saddlebred, they have so much more power.

BH: Can you please tell us a bit about your character in the movie and what involvement you have with the horses?

CL: I play Eriu, a warrior who has gone on a bit of a rogue mission to try to save her people, the Danann. Dag Dia (played by Nitrous and Hans) is a sort of companion and protector figure for me, and our exact relationship comes out over the course of the film.

BH: Did you have any horse training for the movie? And what sort of training was involved for you? How did you find it?

CL: Since every horse is different and every trainer works differently, learning from Ashley (the trainer of Nitrous and Hans) was an important part of the process of making the film. I not only needed to know how to ride for my own scenes, but as the director, it was also necessary for me to be able to understand how the horses worked so I could give Evie direction and ensure the crew that they would be safe.

BH: Were there any scenes that were particularly challenging for you ? (with the stallions) CL: Even the most well-trained horses, at the end of the day, are still horses and don’t know how to hit marks, for instance.

That’s why everyone in the film industry knows that working with animals is always a challenge. One of the most difficult things to deal with was that the nature of independent filmmaking requires one to be malleable and ready to change things up instantly, which isn’t something that can be easily explained to a horse. So when we

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would have to make changes on the fly, it was a challenge to get Nitrous (or Hans) to be able to unlearn what he had learned for the initial concept and then learn something entirely new with barely any notice.

BH: Friesian stallions are big impressive animals, what were your impressions and thoughts on them when you first saw Hans and Nitrous?

CL: I was in awe of them. It’s almost like a religious experience, seeing the immensity of what nature has created.

BH: How did you like riding a Friesian? They are a lot bigger in movement, and you have a lot of horse and power in front of you, it can be rather daunting, how was this for you?

CL: Honestly, even as a life-long rider, I had never experienced that kind of power. They truly reminded me of Orcas at Sea World, where they have so much strength and they could literally kill you if things got out of control. And I say that not in a macabre way, but rather in a way that celebrates them— that’s part of what makes it fun. You’re constantly in awe.

BH: Can you tell us about your favourite moment of working with the boy/s on set?

CL: There is one scene— and I hope I’m not giving anything away— where Dag Dia is in the forest and we were shooting B-roll of him, so we were playing horse whinnies on an iPhone to get him to respond with a whinny. In one take, the sun was shining perfectly through the trees and it was cold, so he whinnies and snorts and you can see these massive puffs of air coming out of his nose, making him look like a dragon. It’s magical.

BH: Now that you’ve had a taste of the baroque breeds or at least the Friesian, would you like to own one now ? Can we expect a new member of your equine family ?

CL: I feel like owning a Friesian or Andalusian is every little girl’s dream. They’re so stunning. I would absolutely LOVE to have one. Although I must admit, I would need help. I have so much respect for Ashley and Lori, the owner, because they’re not the easiest horses. They take a lot of time and care and a complete lack of fear to just jump on and go for it.

We would like to thank Castille for taking time to talk to us and sharing with us her experience as an actor and director working with horses on a film

I WAS IN AWE OF THEM. IT’S ALMOST LIKE A RELIGIOUS EXPERIENCE..

ALL PHOTOS ELENA NENKOVA

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Baroque Horse talks to aussie actor Liam Mcintyre about his role in Albion and his experience on set with 'Dag Dia'.

BH: Can you please tell us a bit about your character in the movie and what involvement you have with the horses?

LM: In Albion I get to play the Evil General Eeder’s (John Cleese) right hand man Eremon, who’s tasked to track down this little girl that’s disrupted the kingdom and who could potentially fulfil an ancient prophesy that would end Eeder’s rule. Sadly in the movie my race doesn't really like horses (bad guys, right?) so my experiences with the amazing horses they had, especially the hero horse Dag Dia, were limited.

BH: Sounds like such an experience, can you tell us about what would be your most memorable moment on set?

LM: For me the most memorable moment was during a high action scene where one of the heroes had to escape by fighting, running and jumping onto a horse then galloping away. From my previous experiences with horses on other sets, if things don’t go right the first time, sometimes the proudest horses decide they’re going to be a little professionally difficult, so our hero horse decided to start playing a little game of ‘move at the last moment’ with our actress. Which couldn’t have been fun for the running, jumping young lass! But off set, we got to spend a lot of time with them – which was amazing. Such incredible, powerful beasts just command respect, and I remember we did a photo shoot where I got to rear with the horse overlooking a mountainous ravine. It’s incredible how much care a horse can take with you, and just how powerful you feel riding a strong horse like that.

IT’S INCREDIBLE HOW MUCH CARE A HORSE CAN TAKE WITH YOU...

BH: Apart from this movie have you had much to do with horses before ?

LM: The fact that I get to have these experiences at all are a total joy for me – as a child I was highly allergic to horses, and so had never ridden, or even really gotten close to horses. So on my first big show, Spartacus, I was firmly of the belief that when I was asked to ride a horse, I’d have a horrible allergic reaction and probably die. So imagine my surprise when it turns out I must have grown out of it, and quickly got to learn how wonderful horse riding can be (except trotting. Ugh.). So a film like Albion is a joy, because you know you’re going to be around some fantastic horses.

BH: Have you had any previous experience working or riding stallions before?

LM: As far as stallions go, I haven’t had to ride one myself – but I had another film where a beautiful young actress had one to ride, and he must have taken a shine to her, because every chance he got he was off to the races. And a horse that big and powerful, well…it looked a little intimidating for me! Still, first time for everything I suppose….maybe in the Albion sequel!

We would like to thank Liam for taking the time to talk to us and we greatly look forward to seeing him in the movie when it comes out.

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BEHIND THE SCENES with Ashley

Klein

with Friesian Stallions

Nitrous & Hans

BY KATHRYN BARRETT

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shley Klein is a horse trainer for Majestic Friesians in Big Rapids, Michigan. In 2014, Ashley was approached by the producers of a film called Albion: The Enchanted Stallion. They were looking for a Friesian to play the lead role of Dag Dia. The film is about a twelve-year-old girl who finds her way to the mystical world of ALBION with the assistance of a magical black stallion, where she discovers that she is the only one who can save an entire race of people. I recently interviewed Ashley about her experience making the film.

BH: So how did the producers find you?

AK: The producers had already found five Friesian horses and had looked at them all, but they decided that these horses were not going to meet their needs. The producer Dori (Dori Rath Sperko) said, “Let’s see what we can find online.” She found a few horses but the stallions weren’t safe enough for children to ride. Then she discovered our kid-safe stallions that are ridden all the time by our children, and not only can they ride them, but they are all trick trained.

Once she saw some pictures of them, she said, “Yep that’s them....we want them!” They flew up here, and I gave Avery, the young actress that is the star of the movie, lessons on our Friesian stallion Nitrous. She was not a very strong rider, just

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a beginner. She had never ridden a stallion before, let alone a big old Friesian stallion. Luckily she was 100% comfortable with him, so they decided he was the horse they were going to use. They were also going needed a backup horse because if Nitrous got sick or injured so they could continue filming so Hans was chosen for this. Hans was to act as a back up horse and he also was used as a stunt double for different tricks.

So the deal was on, and we were off to Europe!

Our first scene was here in Michigan, and the movie begins with a winter/Christmas type scene. The filming was in February when it was ten below freezing! Some underwater shoots were also filmed in Michigan. In March, I drove Nitrous to Florida, and they filmed a bunch of underwater swimming scenes. Three weeks later we left Florida and flew to Europe. I arrived in Amsterdam and I drove from there to Friesland and let the horses have a break for five days. From Friesland, we were driven to Bulgaria where the majority of the movie was shot.

This was really special as both of the horses are imported from Friesland, and we were able to meet their breeders.

They were thrilled to see their horses that they had exported and for them to come back and to be in a major motion picture was such a special event.

BH: Was the rest of the filming was shot in Bulgaria?

AK: Yes, in Sofia at Nu Boyana Studios (also in Vidin & Belogradchik). It’s a great studio, and they have a fake London and New York and an old Rome and new Rome. By the way, Hercules was filmed here too. The castles in Bulgaria are just amazing, and there are fortresses, not castles, and they are truly spectacular.

“HEY, YOU GIVE ME A TREAT.” SO I LOOKED AT THE SECURITY GUARD AND SAID, “YOU GAVE HIM SNACKS, DIDN’T YOU?” AND THEY’D ALL START LAUGHING

BH: So what was a typical day involving the horses?

AK: The horses were in almost every scene. So they did five days a week of shooting. For the most part, Nitrous is in almost every scene. We woke up at six am in the morning to get all horses ready - brushed up, braids out and hair done.

We had portable gates that were loaded into the horse trailer every morning for both of the horses to go off to the set. We also had portable pens that we would set up for them and towards the end, Nitrous got so much into the swing of it, and he would just walk around on set when we were on break.

We’d film, and then we’d get maybe a 20-minute break while they set up the next scene, and Nitrous would wander around.

It was really funny as he found out that the (food) concession stands that were set up on set had apples. So when he was finished with filming, he would wait by the concession stand for an apple. Some of the security guards would give him treats. So he (Nitrous) would walk through a crowd of like 60 people and go straight to the security guard, looking at him like, “Hey, you give me a treat.” So I looked at the security guard and said, “You gave him snacks, didn’t you?” And they’d all start laughing.

But he (Nitrous) was a complete trooper. We put in long, hard hours, and he never refused. He loved it. After each time he did his tricks on camera, I’d have everybody clap and praise him, and he would just get so excited about it.

Nitrous is the sweet, loving horse that takes care of the little girl. Hans was like the stunt double. So what I did with Hans was I didn’t want to teach Nitrous any of the bad tricks like rearing, striking, and talking. You don’t want your show horse screaming all the time. So I taught Hans all of that. He does the striking, the rearing, and all the talking and snorting. So he was kind of my rebel child. I also only had month and a half training on Hans before we left. I was going to use a different horse, but his mane was on the opposite side of Nitrous, which would have been noticeable on film. So at the last minute, I grabbed Hans because they were the closest in looks, but was just a young 5-year-old stallion. He was, thankfully for me, extremely smart, and I was able to teach him everything he needed to know for the film in about a month.

them, and washing them, plus giving me breaks on set. Or if I had Nitrous, he’d have Hans, and together, we had to do it all.

BH: What was Nitrous’ set of tricks?

AK: He smiles a lot in the movie. He does a head throw, like “come with me”, yes and no, bows, lays down, sits, Spanish walks, and points. He also fetches things or picks things up.

He does a little bit of talking, nickering and lip motion like Mr. Ed. BH: What was Hans’s set of tricks?

AK: Hans rears, strikes, talks. He knows how to bow and lay down, but Nitrous did those scenes in the movie. Hans got the short end of the stick. He was there as a back-up to Nitrous in case Nitrous got sick or lame. But Nitrous was perfect throughout and they both enjoyed it.

BH: Did you stunt double for the actress on set?

BH: About what time did you finish each day?

AK: We would usually stay there until it was too dark to film, so it was really long hours. Sometimes we’d be done at 6 pm, but other times not until 8. But even when we were finished filming, I still had to take both boys home (to the studio where they were stabled), re-set up their pen, give them both showers, re-braid them, give them their food and water.

So sometimes I wasn’t out of the studio until ten p.m. or midnight. We had to re-braid them every day. We wanted the mane to look the same in every shot and braiding them just gives them that majestic, wavy look. I had another guy helping me, Mike Rath, the father of the lead actress Avery. Hes a very experience horseman. He was my assistant with the horses. He assisted me loading up everything, feeding the horses, braiding

AK: Yes, I did stunt double for some of the things she wasn’t comfortable with, but a lot of times she would see us do it and decide she could do it. So many times, towards the end of filming, she didn’t even need a stunt double because she had gotten so comfortable with Nitrous. For every scene, I would ride Nitrous through it, so he knew exactly what he needed to do. And then I would give him over to the little girl.

In many of the trick scenes, Nitrous had to do them from more than 10 feet away. So I would have to be off camera cueing him for something like a smile. Or sometimes he’d have to stand somewhere, and I would stand near him so that he would stay still. Or he’d have to follow people. In scenes where he had to follow someone, I just had the actor or actress give him a snack, and then, of course, he was happy to follow them anywhere!

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BH: So what is your method for trick training?

AK: I mostly use treats. I make the wrong thing hard and the right thing easy. If they are smiling really, really well, I reward them for it. If it’s kind of halfway, I’ll keep asking for better and better. For something like smiling, I will tickle the end of their nose and I get a little bit, and I reward them. Progressively I ask for more and more until I get it to where it is what I want. I use a lot of progressive training. For the harder tricks, like lay down and bow, especially in places they had never been to before, that involves gaining their trust and building a bond so they trust me and will do whatever I ask at any place I ask. Nitrous especially, he loves to please me, lives to make me happy. All it will take for him is, “Good boy,” and he is so happy, ears forward and content.

Out of all the actors and actresses that I met, I have to say Nitrous is the biggest diva of all of them. Everyone asks me who’s the most stuck up or biggest diva? Nitrous… All the actors and actresses were humble, nice people, and I was truly amazed. They were all just nice everyday people and the same with the producers, but then I have this horse who thinks, “Oh I need cake right now.”

One time I was letting him walk around on set because we were in the middle of nowhere, and as he loves people, he’s not going to stray away. And I watched him walking up to people and stealing cake off their plates. No one denied him, they just gave it to him.

And so he ended up being a monster! I couldn’t let him out until after everyone had had lunch, or he’d be walking up to random people and taking their salad, giving him bad habits plus he got a little obsessed with cake.

BH: How long was filming in Bulgaria?

AK: About nine weeks.

BH: And what was the process of finishing up and going home?

AK: On our last day of filming and once the filming was a wrap we loaded up the horses and drove with our Bulgarian driver back to Friesland. It was a 40-hour drive to Friesland, and I wanted to go through all the major borders at night. We got through Bulgaria, Romania, and Hungary that night and in the early morning. It was a long drive, and it was horrible. We made several stops so the horses could relax and have a break. But it was different for me, in all the different countries, my Bulgarian driver and I would look at menus and make our best guess. The driver only spoke Bulgarian, so he wasn’t someone I could chat to.

There was also very few places that had free Wi-Fi. Germany did, and so we’d get to a gas station and I’d use Google Translate to let him know I was starving or something but in most places no one spoke Bulgarian or English. We had several meals where, to this day, I’m still not entirely sure what they were, but it was a lot of fun.

We made it to Friesland. I got lucky as the shipping company, Horses to Fly, housed both the horses and me at their facility.

They were amazing people. I stayed there for two weeks so the horses could have that time for pure rest. I got to tour Friesland as well and time meet Nitrous and Han’s breeders and Nitrous’ father, Ulke, who was a driving champion. Nitrous is just the spitting image of his sire, so it was really exciting to meet him.

When we went home, we flew to New York City for three-day quarantine. From New York City, my manager came and picked the boys and me and took us back to Michigan.

BH: Now that they have had a taste of stardom, how are they doing now?

AK: Nitrous had a huge depression initially when we got home.

On set, he spent every day with me or 60 other people. When he got home, he was not happy to be out in a pasture. But we have lots of people that come by every week to see him. He’s learned

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I WATCHED HIM WALKING UP TO PEOPLE AND STEALING CAKE OFF THEIR PLATES. NO ONE DENIED HIM.... that doing his tricks gets him snacks and attention. When new people come over, as soon as they start walking down the alleyway, Nitrous is out there smiling and shaking his head, pointing at people. It’s quite funny. None of the other horses get attention because he just keeps doing tricks. Hans started to see this, even in Bulgaria and started to do the same thing. Nitrous is the older, stead-Eddy. And just by being around him, Hans became a better horse, just from watching Nitrous and seeing what worked for him.

Ashley wanted to thank some people who made this whole experience possible. Kirsten Fila is Ashley’s apprentice. She helped me maintain the tricks before we left and she and her husband helped with the filming in Michigan. Sarah Benema also helped maintain the tricks before we left and helped with the scenes in Florida. Willem Bandercoy helped with all the transportation and found the hay and feed in Friesland. And a special thanks to Lori Brock who owns Nitrous and Hans.

Baroque horse talks to Nitrous and Hans owner Lori Brock BH: Have you ever had your horses be apart of a movie before?

LB: This is the first movie that they have been in. They were in a small 1/2 hour long documentary on rfd TV. They have done calendars and artists have painted and sculpted them but never anything this big and exciting!!

BH: What was your thoughts when you were asked about your horses being in a movie? Was there any hesitation?

LB: When Dori contacted me about her project I was 100 percent with her from our first call. I completely trusted her and loved the script. She has been amazing to work with.

BH: You were flown over to watch some of the filming, what was this like for you?

LB: It was very surreal!! My daughters Hanna, Hailey and I went together. ( first time to ever go to Bulgaria). As soon as we arrived we were brought to the set and it was amazing. We were treated so well. We even got a cast book! Dori put all of us in the movie. It was so exciting. Hanna's part put her on set with John Cleese ( she was his slave girl). And she loved it!!! Wants to pursue acting and modeling now. It was an unbelieveable experience. Traveling to different shoot locations, meeting the actors, and getting the chance to be behind scenes. What a huge dream come true for all of us!

BH: Do you have a favourite moment of this whole experience you can share with us?

LB: What my favorite thing was sharing this experience with my girls. The girls have the same love of horses that I do. And we were allowed to bring the horses and ride them in the different set locations BH: Whats in the future for the boys? They taking up acting on a more serious level now ?

LB: Our hopes for the future are for the boys to be in more movies, or anything that we can do to show them off and promote the friesian breed. We breed these amazing animals and want to show the world. a

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I N T E R V I E W

W I T H

By Danielle Skerman

WE WERE DELIGHTED TO BE ABLE TO INTERVIEW EDIT AND DISCUSS HER VIEWS OF HORSE TRAINING AND HER LOVE OF THE BEAUTIFUL LIPIZZANER BREED. EDIT IS A RENOWNED HORSE TRAINER WORKING AT THE HUNGARIAN NATIONAL STUD. SHE TRAINS IN LIBERTY AS WELL AS CLASSICAL DRESSAGE METHODS. ONE JUST HAS TO GO TO YOUTUBE AND TYPE IN HER NAME, AND YOU WILL SEE HER MANY VIDEOS AND WITNESS HER GENTLE TOUCH AND LOVING TRAINING WITH HER HORSES. BH: You work with a very exciting team of horses. How many do you have, and can you tell us a little about their individual characters?

EK: 14 horses are in training at the moment, most of them owned by the State Stud Szilvรกsvรกrad, I have my horses, and also some privately owned horses.

They are various ages, from 4 to 12 years old. Most of the Lipizzaners, but we also work with Gidran (Hungarian AngloArab) and Warmblood horses. Most of them are trained by me, and I also have a student who assists me. They are all different characters, but if you come into our stable, you will see one common thing, they are all friendly, eager to communicate with people, and interested in the world around them.

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BH: What is involved in training your horses?

EK: All my horses are trained on the ground in various ways. In liberty, or just with a halter, or with a bridle and some of them have started long reign.

They are also all ridden, many times out in the countryside, and also some work in the school, some dressage, but also some jumping. I try to make our time together interesting for them and adjust the training schedule to their needs, their preferences and also to what we are preparing for.

BH: Is there a particular age you begin this type of work? And is there such thing as too old?

EK: No, there is no particular age, but

FIRST AND MOST IMPORTANTLY, IS TO “OPEN” THE HORSE, SO WE START A TWO-WAY COMMUNICATION

certainly easier to start with a “green” horse. I usually get the young stallions from the stud at the age of three and a half years old. Until that age, they are up in the mountains in the herd, their education is very, very basic. The young stallions are kept together from the age of one until three and a half years, and the enjoy their childhood, play with each other all day long, they learn to socialize with others. This is very important as difficult horse behaviour problems usually occur when they were not allowed to learn how to socialize, and they were raised on their own or kept alone for a long time.

BH: It has been said that bonding a horse is between one person and one horse. How do you manage the herd dynamics to make sure they all feel equal?

EK: Not easy! I have to be very sensitive to their needs and be ready to comfort one if he gets insecure or play more with one if his energies are high. But they are also helping each other, that is why it is good to have different characters in the group.

BH: How would you describe your goals when it comes to training horses?

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EK: First and most importantly, is to “open” the horse, so we start a two-way communication. The second one is to be able to find out, what he likes to do the most, so I can use that as motivation during the training ( I never use treats) and the third one is to give him so much confidence and trust.

BH: What is it you enjoy most about working with this Lipizzaner breed?

EK: I simply love looking at them. They are harmonious, graceful but also very powerful, and in the same time very gentle.

BH: How do you find them to work with and what are the pros/cons?

EK: I think like most of the old breeds they have a long history together with man. Lipizzaners are focused on the human, and they are very quick learners and once you teach something to them, they “have it”. You get nowhere with them with aggression, and they give you their full heart if you ask them with politely. They flourish if you love them, but they do not do well if you only take care of their physical being.

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

EK: You know, I probably should tell you about a show in the Spanish Riding School in Vienna, or a World Cup in Budapest, or big fairs like Equitana in Essen or Hamburg, but the real highlights are

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my everyday work when almost daily I discover something new and nice about riding or liberty work. I know I am lucky, to start everyday work with a huge plan, excited what will I do on the day with each horse, and they never failed me, they always give me some small hints of what could I do better. For me, those moments are the real highlights.

BH: What do you love to do most with your horses? What do you do for fun?

EK: I love many things…but maybe the best is to play in liberty and that is not the same as liberty work. That means no exercises only what they offer, just having fun, admiring how beautiful they are, no pressure to perform any action, run together with them, be proud of them, just enjoying each other’s company. I also like to walk with my horses, just go for a walk with them, take your dogs also, and go out to the countryside. It helps a lot to understand their characters, and also to build trust.

...THEY NEVER FAILED ME, THEY ALWAYS GIVE ME SOME SMALL HINTS...

IF I APPROACH AN ANIMAL WITH TRUE LOVE, THEY CAN FEEL IT, AND THEY ARE READY TO RESPOND. THAT WAS VERY INSPIRING FOR ME AND STILL IS.

BH: How did your passion for liberty begins and how do find this helps your ridden work?

BH: What mistakes do you see that people do all the time that you would like people not to do?

EK: When I was a kid, I would imagine that I could speak to animals. I would walk down the street, and when I saw a dog, I would talk to him in my mind telling him how much I loved him. Most of the time, the dogs looked at me and wanted to come towards me. It was a fun game, and this taught me a very important thing. If I approach an animal with true love, they can feel it, and they are ready to respond. That was very inspiring for me and still is. When you teach a horse, you truly have to believe, that he really wants to please you, and he is trying to give you the best answer what he knows. We have to learn to ask the right questions.

EK: Punishing horses. Horses are never wrong; they always try to give the best answer they know. Learn to ask the right questions. For example, many people in liberty, if the horse goes away, they start to chase them around. I could never understand that. Why? Why are you in liberty, if you do not allow the horse to express their own will? If he goes away, he is clearly telling you, that you are putting pressure on him, what he doesn’t like, or there is something more interesting for him than you. Why punish for him that? Where is the two-way communication then?

BH: What advice would you give to horse owners when working with their horses?

EK: Finish? Where is that? Is there such a thing? I don’t think so. I think we can always refine our communication with horses, there is no end to that.

EK: Be honest with yourself. You cannot hide the truth from the horses, and you might as well admit that if you are angry, frustrated, or simply you are at the end of your knowledge, and then you are best to find other solutions.

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BH: When getting started would you recommend you work with horses one-on-one and then join them down

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the track? Or is it ok to start horses together? For example, if you have horses that live together / padlocked together.

EK: Usually I start them one by one, until I have a good communication with them, and they learn to focus on me. When we start to work together, I teach them how to behave with each other. Kicking, biting, pushing each other is not allowed. They all need to focus on me, but they also learn from each other. For example I had a young stallion who I was introducing to the team. I had two geldings, who already worked very well together, but this young stallion was just full of energy.

When I asked for some exercise, like sideway movements, the young stallion would not do it, only make a few steps, then go for a canter around us. Me and the the two geldings were waiting for him to come back and start the exercise all over again. After a while, one of the geldings got "fed up" with the young lad, and on his own initiative he went after the stallion stopped him at the corner and guided him back to us. Then we performed the sideway movement for several step all together, no problem!

Some stallions can work together, some of them only with geldings, but 3 0.

they are only together when I'm with them, not on their own in the paddock because they can cause serious injuries to each other while they are playing their rough games.

BH: Do you need to be a good rider first before you attempt bareback/ bitless?

EK: Bitless riding can be just as rough as riding with the bit. It depends on the how hands are holding the reigns.

Establishing a good, independent seat, is very important. Bareback riding can help a lot, finding your own balance, but it gives you a different seat than riding in the saddle. I do not ride bareback too much; I do not think it is very good for the horse. I do though from time to time to check on my own balance, and also to have a better feel on the horse’s back.

BH: When it comes to tricks (bowing, laying down, etc.) is there certain ones that should not be done / taught too early and what do you recommend are good ones for people to start off with?

EK: I would advise not to focus on tricks so much, but focus more on the basic body language, and

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gaining trust. I try not to teach tricks, but movements to my horses, what can help in their own physical development, and also for riding. Like shoulder in, sideway movements, Spanish walk, piaffe, and passage. I try to help them find a good balance during the exercises; that is always my main focus. Their health is always the most important like, I would not ask for Spanish walk until the horse’s back is strong enough. Tricks that are not leading to any real development I don’t really like much (unless the horse loves it), For example, I don’t like bowing, I feel it is humiliating for such a graceful animal, and it does not add anything for his physical or mental well-being. Lying down is a completely different story, it is about trust. I never force the horse the liedown, and I always feel honoured when they do so for my call.

BH: How would you describe your style of riding/horsemanship?

EK: I don’t describe; I don’t think I do anything new…I believe that people who loved horses and spend a lot of time with them, and think of them as friends, they all work horses similar to me. We can call it classical, or natural, it doesn’t matter, there might be some

differences in the techniques, but the respect and attitude towards the horse are the same.

BH: Do you have any training DVD’s or clinics that you’d like to share with those who might be interested in learning from you?

BH: What is your favourite moment with your horses?

EK: I do not have DVD’s, but I give clinics, in Hungary, Italy, and Austria, and looks like we will start next year in Switzerland and Holland. Maybe one day in Australia?

EK: When they come up with their own ideas. When they start to offer things on their own will, these are magic moments.

BH: What is in the future for you? What can we expect to see?

EK: I’m working on many things at the same time, my own young stallion who I would like to present maybe next year at some shows, also to find and integrate a fourth horse in the team, and to make some combination in liberty work and riding. Continue the dressage competitions, I have two horses are almost ready for Grand Prix, and it is also very important for me, to teach people, and improving in my teaching. I would like to finish my trainer exam in Philippe Karl’s School of Legerete.

BH: Are there any people you would credit to your success?

EK: The horses I’m working with mostly are bred and owned by the State Stud Szilvásvárad (Állami Ménesgazdaság Szilvásvárad). They support me with their horses and their facilities and have from the very beginning, and I hope we can continue our work together for a long time. Also my family are a big help, as I spend many hours with the horses, and travel a lot, which is very demanding, and I can only do that because I have a loving family waiting for me at home. a

WEB: MAESTOSO.HU | STUD: MENESGAZDASAG.HU | FACEBOOK: FACEBOOK.COM/EDIT.KAPPEL

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Aachen 2015 FEI European Championships Aachen 2015 – Dressage

By Catia Castro

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n the historic German City of Aachen, the stadium with a capacity of 40,000 was packed as it was the focus for international equestrian lovers as it is where the best in Europe competed for two weeks.

The FEI President, Ingmar de Vos, stated that Aachen has over an 117 years of experience in hosting equestrian sports events and, therefore, is well and truly qualified to organise these European Championships. This stadium offers riders, horses and staff a five-star reception.

30 nations competed in Aachen in the fight for 13 gold medals and to qualify for the next Olympic Games in Rio de Janeiro.

The FEI European Championships Aachen 2015 officially opened with a fabulous show and thrilled the audience with the colourful journey through time.

Fast-paced performances went hand in hand with the perfect special effects. Around 1,000 participants and over 300 horses impressed the spectators in the soldout stadium.

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LUSITANO PARTICIPATION:

it. Despite Xiripiti be in great physical shape during the canter work, there were very costly mistakes that led the high scores achieved an optimal working trot/passage/piaffe. And what caused these crashes? Probably a fault of my concentration and Xiripiti, which led us to fail after a mishap in broad balance in the canter.

Despite the disappointment, I am aware that sport is like that, and these things happen when you least expect it. Now, I will continue to work to improving my technique and continue to compete internationally, trying, as always, raising Portugal and Lusitanos as high as possible! "

Portuguese rider Maria Caetano Cicero and the 13-year-old Lusitano Xiripiti competed last year in the World Equestrian Games in Normandy and had a successful sporting year.

In this European event, they achieved the score of 63,786 points. Maria Caetano Couceiro commented that "Our performance in Europe this year was a disappointment for me. Xiripiti just came from his best sporting season in international competitions, with results above 70% in several CDIs, which made us the first Portuguese international set in ranking in the month held this championship. So this test was one of those unexpected negative events that happened when we least expected

Portuguese rider Daniel Pinto and Santurion de LaFont Massa, a Sport Portuguese breed horse (Crossed Lusitano with Warmblood) with only nine years, surprised by scoring 69.614, earning a place in the Grand Prix Special test.

Daniel Pinto says: "Is always fantastic to be competing in a European Championship, and in Germany, which is the cathedral of the Dressage in the world, we are in front of a knowledgeable public. It is the seventh time that I represent Portugal in a European Championship, and for me it was a thrill because I was out of the Portugal team for five years. Santurion's performance was for me a new experience, was the first time we had a test of this magnitude, with public, with

A hymn had been composed especially for the European Championships, which accompanied the parade of 30 flag bearers and 30 nation riders wearing imaginative costumes with their countries colours. After the presentation of the five European Championships disciplines in Aachen, there was a representation of the four elements: earth, water, wind and fire – with air acrobats, water fountains, drums, and pyrotechnics and stunt riders. "Be part of it" was the motto of this event.

cameras around and only revealed that he is an exceptional horse and has a remarkable character. It was a clean run with no mistakes; we beat our personal best score. In Portugal we have riders of good level, we have good horses, we are growing, and we have to do work to show that we are fighting for it." Daniel further explains, "The project with Santurion is, we have to try to improve the weak points and analyse what happened here in the championship, as we were at only 0.280 points of the final Freestyle to Music (Kur). All the judges were left with a good impression about Santurion and said that he has great potential.

He has very good canter work, very strong, and the weakest point was the passage-piaffe, but this is only one weakest point of the test, at home he actually does a very good piaffe and a very good passage. So I think this is a horse that can quickly score well to qualify for the next Olympic Games in Rio".

Portuguese rider Gonçalo Carvalho and the Lusitano mare Batuta, aged nine, achieved for the first time a Portuguese participation in the Grand Prix Freestyle to Music (Kur).

In its Grand Prix score, this team got 70.557 points and in the Grand Prix Special 71.148 points (15th place) allowing to qualifying for the Kur. In this test, they obtained a better result 72.768 points, finishing in 13th place.

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Gonçalo Carvalho said in regards to theGrand Prix Special test "We were without any pressure, and we came from a complicated phase that we had a difficult test in Vilamoura, and then I had an injury in my arm, was a series of bad luck. We lost a little bit of confidence within the arena, and we have been now trying to win it back. I am very confident, and we returned to the state, where we were in Vidauban's competition, and I am very confident that the future will now be to win. I am delighted because I've never passed to the Kur test in the European Championship and then also to have achieved it by Portugal for the 1st time; it gives me great pride. I would like to be more consistent with Batuta, to also be able to be stronger. Looking back at the rankings in Vidauban, in this test we could be rated higher, with 77% and that is what we did (in Vidauban). I felt that the mare is again relaxed inside the arena, and confident with me.” In the Kur, Gonçalo tried not to pressure the Batuta, looking for a relaxed test and enjoying the moment, ranking with 72.768 points, placing 13th. Gonçalo comments, "This is all very recent as I have only teamed

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with this mare for just over a year, and we had difficult moments, and we had very good times, and now we are again in a positive wave and believe it will be an important promotion for the breed.

I congratulate the Portuguese federation for the work they have done, not only the president but also the Portuguese Chef-Equipe, I think we're on track, I think we are evolving in every way, and it is important that we continue in this direction for the benefit of all, and for dressage in Portugal. " Carlos Lopes, the Portuguese Chef d'Equipe for Dressage, makes us a summary of the Portuguese participation: "When we made this selection, we obviously had a purpose and this team was the one that got most points. It is noteworthy that we were 5 points of the 6th place that was the direct rating for the Olympics qualification as a team. The fact is that this sport is like that, two of the horses we brought are young horses for Grand Prix (Santurion and Batuta), but these proved to be very important to the team. The proof is that one of them was very close to entering the final Kur, and the other did, which is a historic

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achievement in terms of the European Championship for Portugal. In the Championship there were three horses of nine years, we had two of them, which forecasts and predicts a beautiful future for any of them. We as the Portuguese team are very pleased; it was the best score ever.”

In regards to the Olympic Games in Rio, Carlos Lopes states that "Unfortunately we did not get the qualification here. But I believe that Portugal will have at least two participations in the Olympics, and possibly a third it's a matter to organize themselves, program and create a strategy of score rise in the rankings. It is possible because the quality of the horses and riders is there."

French rider Arnaud Serre and Robinson de Lafont de Massa, a 10-yearold Bay Lusitano born in the French Stud of Sylvan Massa (he's current owner as well) were last year in the World Equestrian Games and made the best performance of his career. This year even training with Jan Bemelmans, their performance drastically reduced scoring 67.100 points.

PRE-PARTICIPATION: These two Spanish riders and PRE horses helped Spain's securing the qualification for the next Olympic Games in Rio de Janeiro 2016.

For José Daniel Martin Dockx and the bay PRE stallion Grandioso (16 years old), the Grand Prix Special test (scored 68.179) this was more difficult than the Grand Prix test (scored 71.343). Grandioso in the GPS was not the same horse as usual; Daniel Dockx felt less strength in the diagonals affecting the passage and extended trots, but the piaffes were better.

José António Garcia Mena and the Chestnut PER stallion Norte Lovera (15 years old), scored 68.771 in the Grand Prix test. It was not their best day, although they had a very good passage-piaffe, they didn’t shine in the most exercises, Norte Lovera was shown too reactive to the riders aids.

Overall in the European Championship - Dressage: •

The Netherlands won the Dressage Team Gold, as European Champions Team, with 235.629 points.

•

The individual Champion of Europe was Charlotte Dujardin, for the second time, with 87.588 points, also wining the Kur test with 89.054 points. a

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DID YOU KNOW?

HORSES IN HISTORY

INCITATUS Incitatus was like a whinnying Kim Kardashian: no particular talent aside from attractiveness and famous relatives. In this case, Incitatus was the personal pet horse of insane Roman Emperor Caligula. For those unfamiliar with Caligula, take Julius Caesar on a bad day and cross him with Hitler and Mussolini. Add a dash of Daffy Duck and that’s the kind of ruler Caligula was.

Emperor Caligula fed horse Incitatus with gilded oats and invited Rome tips for dinner in the horse's house.

of thin air to make Caligula seem even more crazy evil than he already was.

CLEVER HANS Around the same time as Beautiful Jim Key, there was a German horse named Clever Hans who could supposedly count, read, spell, and tell time.

Experiments ultimately determined Hans actually reacted to physical cues from his owner, Wilhelm Von Osten.

These cues appear to have been totally unintentional, and Osten never realized that he had unconsciously trained Hans to act human.After Von Osten died, Clever Hans went to live with a scientist named Karl Krall. Krall also owned a Shetland pony named Hanschen, a blind stallion called Berto, a horse named Amasis, and two Arabian colts named Muhamed and Zarif. All of these horses could supposedly read, do math, and even talk. They collectively became known as the Talking Horses of Elberfeld.Each

Legend has it that Caligula was so crazy, he planned to name Incitatus a Consul of Rome. This was an extremely powerful position, as a Consul was a head of state, a military leader, and an executor of various decrees. There was almost always more than one consul at the same time, and they only ruled for a year since the Senate didn’t want any one consul to become too powerful. Especially if he was a horse.

No one is certain whether Caligula truly intended to make Incitatus a consul though. The historian who accused him of this—a chap named Gaius Suetonius Tranquillus—was born 30 years after Caligula’s assassination. Suetonius didn’t have any firsthand accounts on the subject and might have fabricated the story out

Clever Hans and his owner Wilhelm Von Osten.

of the horses could answer questions by spelling out the answers with their hooves. But Muhamed stood out most for his ability to find the cube roots of specific numbers. Given a question, he would beat out the answer with his hooves—one hoof for a number to the left of the decimal point and the other hoof for the right. He could also spell and speak by stamping his hooves in a sort of code.Their intelligence extended past mere academics. One account states that Muhamed would actually let Krall know if a groom was being abusive toward them. From one horse to another, Muhamed would even scold Zarif if he started getting too lazy.

Sadly, no one knows the final fate of any of these horses. Once World War I broke out, Krall was forced to empty his stable. Many people think Muhamed ended up as a draft horse, but nobody can confirm that for sure.

HORSES AT WORK •

In 1532, 168 Spanish soldiers, 62 on horseback, faced off against 80,000 Inca on foot in western South America and captured the emperor, Atahuallpa.

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To protect against the poison gases used in World War I, both soldiers and horses wore gas masks. Horses' noses were covered but their eyes were not, since they could tolerate the poisons better than humans.

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Though cavalry charges are now a thing of the past, there are still places where a horse is more useful than a truck. In 2002, for example, during the war in Afghanistan, some U.S. Special Forces rode horses in areas where the rugged terrain and lack of fuel made auto transport impractical.

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his horse Bucephalus (“ox head”), El Cid and Babieca (“stupid”), and Napoleon and Marengo (named after a battle) who after its death, had its skeleton displayed in London.

ten times the number of yellow cabs on the streets of New York City today. A typical city horse produced up to 45 pounds (20 kilograms) of manure and 2 gallons (7.5 liters) of urine a day.

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In 1900, around 130,000 horses worked in Manhattan--more than

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In April 1860, a new postal service called the Pony Express was launched. With railroads handling the eastern leg and horsemen racing day and night across the west, from Missouri to California, the Pony Express could get a letter from coast to coast in just 10 days for just five dollars, later reduced to one dollar.

Prior to this, the fastest way to get a letter cross-country was still by horse-drawn stagecoach, which took 25 days or more.

Famous owner/horse partnerships that helped change world history include Alexander the Great and

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Persians were excellent horsemen and their dominance in the east was largely due to the Nisean horse, the “superhorse” of antiquity. The horse was a status symbol in the Persian Empire, and only aristocrats could own them. Horses were also used to play early forms of polo.

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The Pony Express (1860-1861) didn’t just use ponies; it also used many horses. The differences between ponies and horses are often blurred, but generally, ponies are smaller than horses and can be smarter and more stubborn.

FUN FACTS •

Horses have five highly developed senses: taste, touch, hearing, smell, and sight. They also have an enigmatic sixth sense, heightened perception, which is very rare in humans.

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No horses existed in Australia until settlers brought them during the eighteenth century, and no early horse fossils have ever been found in Australia.

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The eyes of a horse are larger than most other animals', and they can move independently, giving the horse a shallow panoramic vision. Because its lenses are inflexible, a horse will focus on an image by moving its head to direct light rays to the central part of the retina.

Horses can also see in color.

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A horse has an acute sense of smell that allows it to detect nervousness in a handler, and old-time horsemen would smear aromatic fluid on their hands when dealing with a difficult horse. Horses also become nervous around the smell of blood.

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Horses can differentiate between emotions in the human voice.

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Horses experience two kinds of sleep, SWS (short wave sleep) and REM (rapid eye movement), and they most likely dream. They need about four hours of sleep out of every 24 and can sleep standing up by a special arrangement of locking joints.

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Horses like music but are selective in their taste. They prefer calming or cheerful instrumental music, but are agitated by loud music such as rock.

A horse’s hoof is extremely complex and sensitive. When

a horse puts pressure on its hoof, the blood is squeezed up the leg into the veins, thus acting as a type of pump.

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In a herd, one gender is not always dominant of another; for example, a female may rank higher than a male in some cases, and a male may rank higher than a female in other cases.

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There are many crazy horse laws, including one in Bluff, Utah, where an unmarried woman could be jailed for riding a horse on Sunday. And in several cities throughout the United States, newly married men were not allowed to ride alone, unless he had been married longer than 12 months.

References Azzaroli, A. 1985. An Early History of Horsemanship. Leiden, The Netherlands: E. J. Brill.

Edwards, Elwyn Hartley. 1994. The Encyclopedia of the Horse. New York, NY: Dorling Kindersly, Inc. 1991. The Ultimate Horse Book. New York, NY: Dorling Kindersly, Inc. McBane, Susan and Helen Douglas-Cooper. 1992. Horse Facts. London, England: Quarto Publishing. http://www.amnh.org/ http://listverse.com/2014/08/27/10-forgotten-horses-in-history/

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Y e g ua d a d e l a C a r t u ja

YEGUANDA C

PHOTOS: KATARZYNA OKRZESIK PHOTOGRAPHY INTERVIEW BY DANIELLE SKERMAN

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hen one mentions Spain it conjures up images of flamenco dancers, bullfighting, tapas and soccer but what about their amazing breed of horses and history behind them?

One of the most historic studs is Yeguda de la Cartuja located in Jerez (southern Spain). The origin of this stud extends back centuries, in fact as far back to late XV century. At the Carthusian Monastery, the monks created a breeding stock that that has become one on the most celebrated and appreciated stocks in the world. Originally, the monks rented this land to Don Pedro Picado, and it is reputed that he was unable to pay his rent and to clear his debt he paid via horses (mares and colts). Don Pedro Picado had purchased these horses from the Zamora brothers (farriers) who had created their own stud from a stallion and colt bought from a soldier.

The colt was ‘Esclavo’ who was an extraordinary and graceful horse. However, new evidence has shown that the monks already had a breed stock at the end of the XV century.

The monks’ role with the Carthusian horse has been an important one that has played over the centuries, and all would have been lost in 1810 when they fled the monastery. The stud was saved by clergyman Pedro José Zapata who bought 60 mares and three stallions of the best calibre and from these horses formed what is now known as the Yeguada de la Cartuja – Hierro el Bocado.

The land changed ownership many times over the last century, but the stud has remained.

Today, the Carthusian horse blood line is present in many breeds such as the Lipizzan, Kladrub, Orloof, Holstein, etc.

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Baroque Horse Magazine talks to Yeguada de la Cartuja CEO Carlos J. Escribano.

BHM: Is there still a relationship with the Carthusian monks?

YdlC: Unfortunately, the Carthusian monks left the monastery in January 2002. There are nuns living in the monastery right now, the Monastic Family of Bethlehem of the Assumption of the Virgin and of the Saint Bruno (http://english.bethleem.org/index. php). We always had a good relationship with the monks and have continued this rapport with the nuns today.

BHM: The breeding of Carthusian horses began with the monks can you tell us a little more about this?

YdlC: The Southern part of Spain has always been renowned for the quality of the horses, and this dates back to pre-historic times. The monks developed the features of the horses by studying the crossings, and they registered all the information, and this was not the normal thing to do back in the XVI and XVII century.

Horses at the time were a very important part of the economy and to the every day’s life: they were a working tool, a weapon for the war and transportation. By specializing on a “quality horse” for breeding, this also resulted in a source of income for them.

BHM: What characteristics define the horses of this breeding line? /or how would you define the horses of Cartujano lineage?

YdlC: Definition of “Puro Cartujano”: the horse which does not have in its genealogical tree any ancestor outside of the lineage.

Nowadays the a laws (FAO) admit as a pure breed, the products obtained in the fifth generation with a 98% of blood purity.

This statement is not accepted by the “puro cartujano” breeders, and it is also a distinction worldwide comparing with other type of horses (see below for further expansion on this) BHM: Which stallions are you using at the moment?

lines that are always kept. We mainly use our own stallions for the reproduction.

Sometimes, due to the high inbreeding levels some of the crossings are not possible. When this happens we look for stallions outside of our facilities and from other breeders. It is extremely important that they should be “cerrado en bocado”: 100% cartujano lineage BHM: Legend goes that the unicorn comes from the Carthusian horse and that some horse have been found to have horns, is this true ? Is the Carthusian horse the original unicorn ?

YdlC: In the lower part of the poll hairline, many Cartujano horses have a small cartilaginous bulge (like a chikpea). This bulge is the cause of this legend.

In general, the characteristics that define theses breeding lines are the following: •

EU metrics: Average weight of 350-475 kg for the mares and 400-500 kg for the stallions.

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Obvious differences between mares and stallions.

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Mesomorphic: of average proportions, where some parameters of length and width appear relatively similar, and in which the height corresponds almost always to the body length.

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Horse with great harmony of big diameters and average height to the withers of 1.54-1,.4 cm.

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Appreciated elevations and extensions.

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Coats: dapple-grey, brown (chestnut) and black.

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Energetic temperament.

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Noble and gentle character.

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Sensible reactions and responses.

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Essentially rustic, sombre and high endurance.

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Accept any type of breaking - in.

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Appreciated elevations and extensions.

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Graceful and energetic.

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Very apt for refined riding techniques and graceful handling.

YdlC: Yeguada de la Cartuja has five breeding

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Most important characteristics that define the Carthusian lineage are the following: Head: This is a very important part, because it contains the relation organs of the animal, reveals the temperament, shows the beauty of the race. Together with the neck, it builds a very movable lever, which allows the useful movements of the gravity centre and all the aptitudes that are required for the motion.

While resting, it is also a counterbalance. In the various marches, it manages and guides the movements produced by the impulsion. It is an essential region to keep the harmony in the movements. It should have an average length, rectangular, fine, bony, sub convex profile, moving and well-situated ears, wide forehead, big eyes and an alert way of looking.

The head has well-marked bones and profile.

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Ears: Medium sized ears separated to a distance equal to the length of the ears.

The implementation of the is normally lower than other races. When seen from the front, the outside borders form perfect arches. The inside borders have a deep cut. When seen from the side and oriented to the front, they should be slightly curved to the back. The moving activity is bigger than in other races.

The poll is located right between the ears, formed by a lock of long hair. The implantation of the poll is wedged.

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Forehead, it should be wide and long, to allow separation between the ears.

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The face is the space between the eyes, the nostrils and the cheeks. It should be stark and thin

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The eyes should be big, low position and separate from the ear base. Triangular form.

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Muzzle. Average sized. Upper lip should be elastic and mobile. It could stand out from the lower lip. The nostrils help to determine the head profile. They are normally long.

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Neck: Slightly arched. Average length.

Well placed on the torso. The neck - the facial transition is fine and elegant.

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Withers: wide and obvious

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Tail: This is the extremity of the torso, with the coxal vertebrae forming its anatomical base. In the straight profile and the horizontal rump category equine specimens, the tail is projected tall and trunk - like. In the convex and sub convex profiles, coinciding with oblique rumps, the tail is low and situated between the ischium.

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horax

VERTEBRAL REGION: where the withers appears, continued by the dorsal or dorsal - lumbar region. The withers is located immediately behind the upper edge of the 4 4.

neck, facing the back and between both shoulders, with its base on the 2nd to the 8th dorsal vertebrae, the suitable part of the cervical ligament (occipital - raquidian ligament) and the cartilage of the prolongation of the corresponding shoulder blades and muscles.

Its conformation is very important when we have to define an aptitude and differentiate the riding horses from the carriage horses.

DORSAL - LUMBAR REGION: this is the space comprised between the withers and the hindquarters of the horse, which has as its anatomical base the ten last dorsal vertebrae, the upper extreme of the ribs and the lumbar vertebrae and muscle plains.

SIDE REGION: this area comprises the largest part of the lateral wall of the thorax, whose demarcation would be the oblique line traced from the dorsal third of the last rib to the lateral edge of the xifoid apophysis of the sternum. This does not affect the extreme distal and the cartilage of the 7 - 8 last ribs, which are projected over the abdominal territory.

STERNUM REGION: this has as its anatomical base the sternum bone.

Pre - sternum region: or the "chest" of the horse, housed between the articulations of the shoulders, displays for us, in the medioventral area, the handle of the sternum, a palpable structure, which sometimes appears to be shaped as a "keel - shaped sternum" and which along with the adjacent pectoral muscles, represent the anatomical base of this region.

An average pectoral groove divides the pair of relieves which are determined by these muscles.

This region should be proportional to the conformation of the individual, more or less ample, broad, deep and muscular.

ABDOMEN: Cranial portion: although this appears to belong to the thorax, given that it touches an important part of the lateral territory, in fact, it belongs to the intrathoracic portion, which includes retro diaphragmatic organs (liver, spleen, stomach).

Mid portion: in which the flank or side is important, the lateral fold or knee fold or "stifle" and the umbilical region, should be short, narrow and well formed Caudal portion: this is made up of the body parts situated between both lateral folds, which is to say, the pre-pubic area, whose fold continues with the prepuce area in the male; the groin area that is made up of the mammary glands and the scrotal area, groin canal, spermatic cord, etc. This area should have a fine skin covering with the foreskin and scrotum well located and well formed.

FORELIMBS: Straight and well formed. Bone mass in harmony with the animal.

Ungular region or "hoof": well developed.

The angle of the "toes of the horseshoe", between 45 - 50º (the same normal inclination as the "pastern"). The "horny cover of the hoof" or the "wall": black, smooth, compact and free from deformations.

Heels: moderately high and separated.

Cuneiform cornea ("soft part of the foot"): elongated on its vertex up to the centre of the palm, well developed and extraordinarily flexible.

Pastern (1st phalanx): this should be well formed, inclination and direction; of a moderate length and exempt of anomalies or lesions.

Metacarpus: "long bone", this has as its anatomical base the 1st, 2nd and 3rd metacarpal, as well as the flexor tendons and interosseous tendon (upper ligament of the fetlock joint). Its beauty lies in the verticality of its direction, in the appropriate constitution and exempt of exostosis, in the amplitude and development of the tendonous apparatus, etc. The length is found with the animal in profile, in the straight and concave categories these are of a medium length and even short; in the sub - convex and convex profiles, more elongated, and even elongated and stylised. The diameter is based on the race and the profile but fundamentally conditioned by the breeding system, hygiene and feeding.

Carpus: This should be broad, lean, well developed and in the appropriate direction.

Deviation in the vertical line distorts the alignment and annuls the natural means of activity of the animal.

Elbow: This has as its anatomical base the olecranon idea apophysis of the cubitus. Its essential beauty stems from it being elongated and running parallel to the axis of the body.

appropriate longitude and inclination.

Tarsus - metatarsal: "hock joint". This has four anatomical regions: dorsal, plantar, lateral and median. The proximal half of the plantar region of the tarsus can be catalogued as a calcaneus region. The essential beauties are in its direction, conformation and amplitude.

It should not be straight, but should be well directed, ample and lean.

Back: scapular region. Oblique. Long.

Muscle. Freedom of movement.

HINDLIMBS Croup: the posterior extremities form part of the croup, whose anatomical phase is made up of, in addition to the corresponding muscle plains, the sacring tablet bone and the coxal region. In the contact point, between the lumbar region and the sacring tablet, there should not be an over defined line, with the transition appearing gentle and not being apparent. The amplitude of the croup, which is an essential condition in relation with the different characteristics of the horse, is a consequence of its length and breadth, the first of these is measured by the distance existing between the ventral iliac bone and the ischiatic tuberosity, the breadth is the distance existing between the two ventral iliac bones and the two ischiatic tuberosities. It should be, in average proportions, slightly inclined and muscular.

Thigh: corresponds to the second region of the posterior extremities and the femur is its anatomical base.

Its essential conditions for beauty coincide with the development of its muscular plains and the ease and comfort of its movements, which with its obliquity and longitude should correlate with the different characteristics.

Leg and tibial region: This has as its anatomical base the tibia bone and the fibula, and is made up of four faces or regions and the common calcaneus tendon. The cranial and lateral regions join the muscles involved in flexing of the tarsus and the exterior of the phalanx. The caudal region is made up of the muscles involved in extending of the tarsus, and the flexor of the phalanx and the median region has the tibia as its exclusive anatomical base. Its basic conditions lie in the good direction and

APTITUDES OF THE ANDALUSIAN HORSE – CARTUJANO LINEAGE RIDING HORSE As a normal riding horse for pleasure, it is very quite sought after, due to its sweet and gentle character, as well as for its comfortable and relaxed walk. Galloping and trotting are elastic and swinging, which makes the ideal horses for tourism and pilgrimages.

HORSE-DRAWN CARRIAGES In this disciple, due to their beauty and movements, they do not have a rivalry. It is common to see in our spring festivals, the perfection, joy, color and plasticity of our carriages with “calesera” harness.

In the DRESSAGE exercises, several facts are judged as calm, regularity in the march, harmony and movement ability. In the MARATHON exercises, several aspects are checked: training level, long distance running, resistance, progress and regularity, as well as the skills of the participants. In the MANAGEABILITY exercises, the aptitude and obedience are scored, as well as the elasticity of the movements and flexibility of the horses.

horse) y “Acoso y Derribo” in which humans get bulls and horses together in a perfect symbiosis, and fill the fields and bullfighting rings with color and emotions.

In the “Rejoneo”, along the battle, the bull looses speed and abilities gradually, but its senses increase and becomes more dangerous.

For this reason, the horse needed for this should be brave, elastic, balanced and accurate in the reactions.

The “Doma Vaquera” is done daily by our cowboys in the fields, pushing aside the cows, weaning a calf, moving cattle from one place to another.

HIGH SCHOOL DRESSAGE Unique beauty due to its high and balanced movements, perfect between the forward drawn and limb extensions. Elegant and majestic pirouettes. To achieve theses movements, the temperament giving the exact answers to the rider, loving the work done, not getting distracted, with sensible mouth and flexible nape.

CLASSIC DRESSAGE This is a fairly new disciple for the Cartujano Horse. The main characteristics needed are strength, flexibility, impulsion and rhythm. a

The Carthusian horse due to its even temperament, tolerance, heart and good resistance, is very well appreciated in this discipline national and internationally.

COUNTRY SADDLE In Spain, this disciple has three categories: “ Doma Vaquera”, “Rejoneo” (bullfighting on a

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INTERVIEW WITH

BY DANIELLE SKERMAN

WANT TO KNOW ABOUT BLOGGING ABOUT HORSES WELL MATILDE IS THE PERSON TO FOLLOW AND IS NOW ONE OF

NORWAY’S

BIGGEST

EQUESTRIAN

BLOGGERS AND ONE EUROPES BIGGEST EQUESTRIAN INSTAGRAMMERS WITH OVER 120,000 FOLLOWERS. SHE IS TOTALLY IN LOVE WITH HER FRIESIAN GELDING ‘BATMAN’ AND THIS BOND IS CLEARLY DEMONSTRATED THROUGH ALL OF HER PHOTOS. SHE HAS LEARNT OVER THE YEARS OF WHAT WORKS AND IS EAGER TO SHARE WITH OTHERS TO ENJOY AND BENEFIT FROM HORSES AS SHE DOES. BH: How long have you been riding/ around horses and how did it (horses) all start?

MB: I have been riding for 14 years. I had my first drop-in lesson at the local riding school on a lovely Norwegian fjord called Hera when I was eight. I had a few experiences with horses before that, and I adored these magnificent animals. I remember the feeling of being able to trot all by myself for the first time like it was yesterday! It was this amazing mix between keeping the balance, feeling the adrenaline of trusting such a big animal and the wind in my hair at the same time. It was wonderful, and from that day, I was hooked!

BH: Were you always into liberty work? If not what was your inspiration to get started and what motivated you?

MB: No. For many years, I only did

traditional English riding and had lots of fun only being around horses. I continued to ride at the local riding school and was into jumping and dressage. I had no idea there was another way of doing it.

A few years later, I think it was in 2005 or 2006, I remember seeing “The Horse Crucified and Risen” by Alexander Nevzorov. This was my first meeting ever with a different view of things. I had no idea riding a horse without a bridle was even possible. Although I do not completely agree with Alexander’s views nowadays, his movie was an eye opener to the 12 years old me. I continued with English riding for many years, and when I got Batman in 2009, I still wanted to do traditional dressage. I have had multiple dressage trainers through the years because that was how it was supposed to be done. You should educate your horse in jumping or dressage, compete and win

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I DID NOT EVEN DREAM OF DOING THINGS LIKE THAT WITH MY OWN HORSE AS IT SEEMED ABSOLUTELY IMPOSSIBLE!

ribbons. Who would do anything else? I did not follow my own way, but I tried to figure it out. I chose many wrong patterns along the way. I have nothing against traditional English riding in general at all, and most of the people I met were good horse people with a huge amount of love and passion in what they did. But unfortunately, some trainers still look at horses more like machines than real animals.

I have been told to hit Batman, kick him harder and harder and harder, pull his mouth to my fingers until they become sore, I have let trainers ride him, I have seen trainers hit my own horse, and it was not even called hitting – it was called “correcting”. It was all completely normal, and it still is, and nobody bats an eye.

To me, this was not right, it was not right at all!! Batman is a highly sensitive horse and is very easily affected by my emotions, so everything turned into a bad circle. I remember crying with Batman by my side in the woods for an hour after a dressage lesson. My arms did hurt, and it did not feel right deep in my heart. We

had no great success in dressage. One day, I decided to follow my gut instead of everyone else’s opinion. My motivation was simply that what we did not feel right. All the way I had these photos stuck in my head, photos of people cantering with their horses, tackless over green meadows in harmony. No rolling eyes, no open mouths. Horses lying down next to their humans. Horses with joy and playfulness in their eyes doing advanced dressage exercises from the ground. I did not even dream of doing things like that with my own horse as it seemed absolutely impossible! But step by step, slowly moving in the right direction, I learned that nothing is impossible.

I spent hours in the arena with Batman free to do whatever he wanted. I tried everything to get his attention. But the attention of the horse must be deserved.

He was the most patient teacher there is. It took time, but it was an amazing journey. The years went by, and suddenly I could ride him bridleless, he started to offer tricks when we were playing, and we did liberty dressage from the ground.

It was all about putting yourself and your

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ego aside and appreciates the smaller things in life. Appreciate every second together. That’s what’s important.

I’m extremely glad today that I chose to go towards the unknown, ignore the opinions of others and simply do what felt right for us, instead of continue to do what the rest of the equestrian world expected me to do.

BH: In your training now, do you have anyone that you have learned from or take inspiration from?

MB: I find inspiration everywhere! The internet is my best teacher when it comes to horse training. I simply spend hours and hours online searching for new blogs and books to read, YouTube-channels to follow and trainers and bring the elements I like into my own training. I do not follow a certain system; I simply pick what feels right for us and try it with Batman. I have a very long list of people who inspires me. I find my inspiration

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everywhere from the old style classical dressage and Academic Art of Riding to people training their horses only with positive reinforcement. Find your own way, and pick what you like along the way! Take your blinkers off. Be open to everything new. Nowadays I focus a lot on positive reinforcement because that made such a huge difference in our daily life and when it comes to everything we do from the ground. I’m very interested to put this even more into our riding. To read more about positive reinforcement, I recommend www.empoweredequines. com. But in the end, the horse is your best teacher, so learn how to read your horse!

The horse gives you useful feedback all the time. Use that feedback!

BH: What do you think is the key to getting that connection with your horse?

MB: Don’t take anything for granted.

Appreciate your horse following you

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from the paddock on a loose rope!

Appreciate the horse wanting to spend his valuable time with you. In today’s society, I feel like it is easy to forget that horses may be “ours” on the paper, but in the reality, they are free spirits with their own lives and own personality, they do not live for us, they live for themselves.

We borrow their time, and I think we should be grateful for them allowing us to do so. My connection with Batman first appeared for real when I introduced him for (or he demanded me to start learning about, he literally gave me no choice) positive reinforcement. I had huge problems with controlling him in our daily life; he ran away, bolted and was impossible to lead from the ground at its worst. At some point, the others at the stable called him dangerous. I quickly learned that a 700 kg animal cannot be controlled with force, and I had to look for other options. I needed to be controlled with force – he needed me to start using my head and think.

He is the perfect example of misunderstood horses being classified as dangerous. Horses are peaceful animals, and they rarely want to hurt anybody. He screamed, at me, but I did not listen. Not listening can be dangerous. There is no connection.

The way of thinking is quite easy. To us, it changed everything. I simply reward him when he does something right, instead of yelling at him every single time he does not pay attention, walks in the wrong direction or tries to catch a mouthful of grass on the way towards the arena.

I reward curiosity, and I reward him for trying, I reward him for expressing himself. I listen to him; I pay attention to his body language, his behaviour, and his eyes. We have fun together as a team, and we are more equal than I’m his “boss”. And with a positive spirit he appreciates his time with me, and that’s how you build a positive relationship!

BH: Is there a moment that you can say that you know you have that connection?

MB: When we canter through the forest together without reigns and a bridle, and I know that my life depends on him wanting to listen to me, and he goes from canter to halt and when he feel me breathing deeply out. When he behaves absolutely perfectly every time or when he walks away from me if I bring negative feelings or am feeling angry/upset over something else when I call for him. When he lies down by my side to get my attention if I’m reading my text messages while in the middle of a session with him. When I can bring him places none of us have ever seen before and ride him tackless, knowing he will trust me and stay with me. This makes me feel pride and gratitude.

BH: Do you think there is a better connection with geldings, mares or stallions and if so why?

MB: Horses are horses, and every horse’s personality is different. If you find a horse that fits you perfectly, I don’t think gender matters so much, as long as you know how to take responsibility of a stallion.

BH: When it comes to doing certain tricks with your horses, e.g., bowing lying down, etc.

Would you say there is a preferred order to train this and is there any that you must not do till you have reached a certain point?

MB: When I start with trick training, I first introduce the horse to positive reinforcement.

The horse must learn how that works before you can start focusing on the tricks and exercises itself. But you don’t start with rearing and lying down. Trick and liberty training to me is 90% what you are doing with your horse in your daily training and handling, and 10% focus on the actual tricks. If you have a good relationship with your horse, communicating and playing using body language allowing him to express himself, it will be easier to teach the tricks. If you have a horse that have been punished or yelled at for trying new things all his life, it will take longer. The most popular tricks such as rear, lie down, sit, bow, and the Spanish walk are usually not what you start with teaching. I would recommend you to begin with smaller things such as “stay” or “lower your head and relax,” they are all based on the same principles, and you and your horse will learn how to learn together. It’s no surprise that teaching a horse to rear when you are not ready for it is not a very good idea. Take it in your own tempo, the horse will in most cases

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pushy and greedy for food or overly keen for food?

MB: I have nothing against treats as a reward. It’s a very effective way of horse training and a great motivator. Every animal in the world can be trained with food as a reward, but they must be taught the rules around the food - with food rewards, not punishment.

The most important part isn’t the food itself, but setting the animal up for success.

You can start teaching the horse to stand still facing forward to instil relaxation.

It’s also important to get the horses to understand that you are not the only source of food – the horse should seek to you because they want to, not because they have to because they will feel hunger if they don’t. I can feel a huge difference in Batman’s behaviour when he has been without free access to hay versus when he does have free access to hay (and he does 99% of the time).

offer the tricks when he feel ready. Most of the tricks I taught Batman are things he offered me when we were playing together at liberty. I praised him for it and later added a cue. It never went to the stable thinking “today I will teach him to lie down!” If you need to use force, you are not ready. Anything forced can never be beautiful.

BH: What advice do you have for people who want to get into liberty but worry that they won’t be able to do dressage anymore as they know it?

MB: You can combine liberty (or just communication together with your horse instead of commanding as I prefer to explain it) and dressage! You can combine positive horse training with everything. The way of thinking is the same, either you are doing jumping, dressage, western or whatever you are into. You don’t need to pick off every single piece of tack, but you can start playing more with your horse from the ground, let the horse choose what to do now and then or start riding without using the reigns a few days a week. It is simply a way of thinking, the basis of everything you and your horse does together.

You should do a couple of changes in your way of thinking. Instead of expecting your horse to work for you, you can ask him nicely, and give him a choice. You can reward more, and give 5 0.

fewer commands. For example, when was the last time your horse actually got rewarded for standing still for you when you mounted? When was the last time your horse got long reigns and a lot of praise for a good walk – canter transition? When was the last time your horse decided anything? Add a little bit of positivity and freedom for the horse to your everyday life and let him loose in the arena and just spend time together and play a couple times a week.

Try to ride an entire session without using the reigns, and praise your horse for every single attempt. You will feel the difference, but you are still doing dressage. You are simply doing it in a smarter and more fun way.

You can play around with your dressage horse from the ground and trying to engage him to do some dressage moves at liberty using pure body language; you can jump a small fence in a neck rope or try to teach your reigner to do some exercises from the ground at liberty only using positive reinforcement. You can go for a hack and let the horse decide which direction he wants to go. You can make you and your horse’s life a little more fun and end up more equal. It is not the human’s job to boss the horse around only giving orders.

Don’t forget that the horse has a voice too!

BH: What are your thoughts on food rewards? What about a horse that gets

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Food rewards done correctly is great, food rewards done wrong can result in pushy behaviour.

BH: I’ve noticed (in your photos) you use both bits and bitless. Why is this?

MB: “A bit if you don’t need it, why use it?” a wise man said. I think in a perfect world we should never depend on a bit.

But I have nothing against bits as long as the hand and seat are educated properly.

It can be a great communication tool, and it can also be a torture device. Your hands decide.

Nowadays I ride bitless 95% of the time, and most of it bridleless. I prefer it this way because Batman simply feels calmer without a bit in his mouth. He has no negative experiences with bitless bridles, and I think riding with a bit can bring back bad memories and tension in his body and, therefore, he becomes stressed. So I prefer bitless! But I don’t focus that much on what kind of tack you use nor doesn’t use, as long as you use it correctly.

BH: Sometimes you see some videos or hear of people who can get hurt doing liberty work with their horses, (I saw a video once where a girl got kicked as she was running beside the horse) is this dangerous? Or just trying to go too fast too soon? Any thoughts on this as some people say it can be dangerous?

MB: Everything done wrong with a horse can be dangerous. The video of the girl and the horse is a very sad example of the consequences of ignoring the horse’s

IT IS NOT THE HUMAN’S JOB TO BOSS THE HORSE AROUND ONLY GIVING ORDERS. DON’T FORGET THAT THE HORSE HAS A VOICE TOO!

FLOWER’S GOLD

body language. You could clearly see that the horse is aggressive, and she was rewarding the behaviour. It’s extremely sad, but playing with horses and using positive reinforcement done correctly, will not look like this at all. Playing with your horse at liberty should be fun and safe for both parts!

B E F O R E

BH: For someone getting started, can you tell us some things people can do to get started?

MB: It depends on what level you are on from the beginning and, of course, the personality of your horse, but everybody can start with the basics of liberty training. Give the horse a choice – to stay with you and explore new things, or to do something else. Reward wanted the behaviour, such as following you in a walk, stopping when you stops, lower his head when you sit down, stand, and be standing when you walk a few meters away and so on are great things to start with. Teach your horse to wait patiently for the treat, if you choose to use treats.

You can also try riding with your reigns resting on the horse’s neck and try to ride with as small cues as possible. That’s the start of bridleless riding.

BH: Any dos and don’ts?

MB: Don’t have huge expectations! Put yourself aside, and simply take it all in the tempo your horse prefer. Keep in mind that the breakthroughs are a result of hours of basic training. The big results will come when you both are ready for it. Being with horses is all about being there in the moment. If you think too much about what you want to achieve in the future, you will lose focus on what you need to do right there, right now. Follow a path and work towards your goals step by step, and remember that Rome wasn’t built in a day.

Don’t put yourself in danger, and remember that to be able to ride bridleless takes lots of training. You cannot just take the bridle off without preparation. Think safety in everything you do, relax and have fun with your horse!

Everybody can teach their horses to be ridden completely tackless, it’s not magic, it’s the result of training and dedication. a

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PHOTO CÁTIA CASTRO

Traditional Portuguese Equestrian Art MAKES ITS RETURN TO BELÉM Henrique Calado Riding Ring (Calçada da Ajuda)

EPAE

– the Portuguese School of Equestrian Art, under the management of Parques de Sintra – Monte da Lua, shall be regularly making performances and holding training sessions open to the general public at the Henrique Calado Riding Ring (on Calçada da Ajuda, in Belém) as from 20th July this year.

At this central location, the public thus gains the opportunity to attend not only training sessions but also weekly performances and galas. At the training sessions, visitors are able to witness the work that gets carried out daily by the riders whilst the performances feature a diverse range of choreographies and exercises, such as the carousel, long reins and airs above the ground to the sound of specifically selected music.

In the galas, held to commemorate special dates and occasions, the performances are more extensive and include a diverse number of presentations accompanied by lighting and sound effects to further deepen and enrich the scenario.

EPAE, one of Europe’s four Equestrian Art Schools, was set up in 1979 with the specific objective of teaching, performing and raising the profile of traditional Portuguese Equestrian Art and in keeping with the legacy handed down by the Real Picaria (Royal Stables), the equestrian academy of the Portuguese court, which was closed down in the 19th century.

After a time at the Portuguese Riding Company in Campo Grande, the Portuguese School of Equestrian Art took up residence in the National Palace of Queluz in 1996 and the site for its subsequent regular presentations open to the public.

Parques de Sintra – Monte da Lua, S.A. (the managing entity of the Portuguese School of Equestrian Art since September 2012) in 2014 signed a protocol with the Portuguese Army providing for the restoration and transformation of the stables in order to appropriately house such performances and

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thereby bringing about the return of this national art to its place of origin, Belém. To this end, with investment of in the region of €1,355,000 co-financed

by POR Lisboa, the venue underwent a broad reaching restructuring, with the adaptation of the entire interior, the restoration of the facades and roof and the installation of the necessary infrastructures. The project spanned an intervention area of around 2,200 m2, spanning three different facets: 1) welcoming the public with the installation of seating for around 300 persons (including VIP boxes), a ticket office, cafeteria, store and toilet facilities; 2) the technical support area with one area given over to riders, staff and support personnel as well as the control desk for accompanying the performances (in terms of sound and light); toilet, shower and storage facilities; and 3) the riding arena ensuring the central focus of performances and designed for the horses whether undergoing training or in full-scale events; and in addition to a waiting area for the horses, with direct access as from the Calçada da Ajuda street. Additionally, horse boxes were fitted into the stables known as the Coaches of the Queen, located on the Water Wheel Patio as well as a covered arena for warming up.

According to Manuel Baptista, President of the Parques de Sintra – Monte da Lua board of directors, “the recovery of the Henrique Calado Riding Ring stands out as one of the key factors to the appropriate presentation of the Portuguese School of Equestrian Art to national and international audiences. With this covered venue, it is now possible to guarantee presentations and performances throughout all of the year, with the very highest standards of visitor reception and thus duly recognising the inherent quality of EPAE.” In addition to the historical association of this area of the city with equestrian art, whether for military purposes or in service of the “Royal Household”, Belém is also one of the Portuguese capital’s major tourist attractions and thus correspondingly rendering greater

PHOTO CÁTIA CASTRO PHOTO BRUNO BARATA

visibility and ease of visitor access to the different proposals provided by the Portuguese School of Equestrian Art. Visiting the Henrique Calado Riding Ring opens up the opportunity to travel back through Portuguese history, experiencing the moments that perpetuated the beauty of the Lusitano horses from the Alter Real Stud Farm, engaged in this art since the 18th century, with the performance of classical riding exercises alongside those from the Baroque period and the exercises making up the Court Games (tournaments held between the 16th and 19th centuries to commemorate festive occasions) and furthermore reflected in the costumes, saddles and harnesses, whether the working (Daily Training) or the gala versions (Weekly Presentations and Gala Performances) and exactly alike those in use in the earliest days of Portuguese Equestrian Art. Henrique Calado Riding Ring - Calçada da Ajuda, Belém www.arteequestre.pt

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About Parques de Sintra - Monte da Lua Parques de Sintra - Monte da Lua, S.A. (PSML) is an exclusively publicly owned company set up in 2000 in the wake of the UNESCO classification of the Cultural Landscape of Sintra as World Heritage. The company receives no state

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funding and hence the restoration and maintenance of the heritage under its management is ensured by the revenues earned by its ticket offices, stores and cafeterias as well as renting out these sites for events.

In 2014, the areas under PSML management (the Park and National Palace of Pena, the National Palaces of Sintra and Queluz, the Chalet of the Countess of Edla, the Moorish Castle, the Palace and Gardens of Monserrate, Convent of Capuchos and the Portuguese School of Equestrian Art) welcomed around 1,928,000 visits, with 86% made by international visitors. The company also won the World Travel Award for Best Conservation Company in both 2013 and 2014.

The PSML shareholders are the following Portuguese entities: the General Directorate of the Treasury and Finances (in representation of the state), the Institute of Conservation of Nature and Forests, Tourism of Portugal and Sintra Municipal Council.

Lusitano www.parquesdesintra.pt or www.facebook.com/parquesdesintra

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About the Portuguese School of Equestrian Art The Portuguese School of Equestrian Art, with its headquarters in the gardens of the National Palace of Queluz, was founded in 1979 in order to foster the teaching, practice and profile of traditional Portuguese Equestrian Art. This draws upon the traditions of the Royal Stables, the equestrian academy of the 18th century Portuguese court, which was housed in the Royal Stables of Belém, today the National Coach Museum, and exclusively riding Lusitanos bred by the Alter Real Stud Farm.

The management of the Portuguese School of Equestrian Art was awarded by the government to Parques de Sintra in September 2012 in conjunction with responsibility for the National Palaces of Sintra and Queluz.

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

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Riding

Aids

explained Definition: An aid is the way the rider can communicate with the horse.

Excerpt from 'The Science and Art of Riding in Lightness' by Robert Stodulka

(Fig 1). A well-balanced seat with an independent hand are essential for delivering correct aids. The rider’s body axis from the shoulder over the elbow down to the heels must be in vertical alignment in a straight and continuous line.

The

rider, sitting on the “navigation bridge,” the horse’s back, can communicate in four main ways: voice, reins, legs and weight aids. In this list there is no emphasis given with regard to the potency or effectiveness of the single aids. The interplay of the single aids, when they are finely adjusted, will produce discreet, almost invisible influencing of the horse.

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It is for this reason that a well-balanced, independent seat is a basic prerequisite for every riding discipline. (Fig 1) Even the rider that “only” rides out in the country will be able to cope better with dangerous situations when he has a well-balanced seat, seeing that he can influence the horse better and move with the horse in a more elastic way, re-establishing any momentary loss of control in no time. An incorrect position in the saddle can lead to contact difficulties, due to one-sided overloading.

O N LY T H E RIDER WHO CAN CONTROL H I M S E L F, M I G H T BE ABLE TO CONTROL HIS HORSE! An unbalanced seat results in problems straightening and later on, collecting the horse. The head of the rider, weighing between 5-6 kg, can greatly influence the forehand of the horse when the rider has his head more forward. When one ponders how little application of force a well-balanced rider, who has brought his center of gravity into alignment with that of the horse, applies in order to ride high school lessons with seemingly playful ease, it becomes clear how an unsettled seat and incorrect position can greatly influence the balance to its detriment. The coordination of the dosage can transform every aid from reassuring to penal. It is for this reason that one should always take care to achieve the maximum reaction with a minimum input.

leg aids take place simultaneously on the horse, the horse will halt, and in this case, the half-halt will then be interpreted as a complete halt.

Baucher coined the phrase: “leg without hand and hand without leg,� but this is often falsely interpreted, as it comprises the fine and sophisticated interplay between giving the leg aid and the waiting hand. The impulsion generated from the legs must either be left, or in the form of half-halts, be more actively one sided on the corresponding, mostly outside hind leg of the horse. In this way the flexion of the leg can be influenced just before it happens, the flexion activity will be slightly slower and therefore prolonged. The haunches become more flexed, leaving the impression that the horse sits down more, lowering more in the hind and lifting more in the front.

(Fig: 2) Through this adjustment of the hind legs one can partially explain collection.

The half-halt can be executed in one or both directions with upward checks in the direction of the corner of the mouth. (Fig. 2a) The half-halt should never be working backward and acting on the tongue, for the effect of a relaxed lower jaw cannot be achieved in this manner.

Significant for the understanding of this mode of action of half-halt on both reins, is the simultaneous soft influence on both sides of the corners of the mouth, whereby the relaxation of the lower jaw is achieved on the one hand and elevation of the head and neck on the other hand, producing displacement of the center of gravity towards the hind-end.

{ VOIC E } The voice of the rider is definitely the most important way of influencing the horse; not least because this is the first contact the horse has when he first meets man. The young horse gets cultivated by the voice on the lunge, the voice aids refined and by the time the young horse is ridden, he can understand the introduction of the next gait or return to the previous gait. When the voice is used in a deep and quiet tone, it can have a very calming influence. Whistling also has a calming effect on most horses. Animated and harsh words can demand more lively steps from a horse; and can, in the case of an imminent punishment, alarm the horse. Rhythmic clicking of the tongue can support the horse to find a rhythm when working on the lunge or in-hand and even under saddle. Even though the action can be very strong, one should also try to use the voice aids as economically as possible, so the horse does not get used to it and become dull, necessitating the consequent impulsion to be much stronger in order to obtain the same impression.

Fig 2. Half halt with both reins

{ REIN AIDS } Definition: Rein aids are defined in the first place as the information that is transmitted on the horse’s mouth from the hand of the rider. The rein aids should always be applied slightly after the leg aids. When the hand and

Fig 2a. Lowering of the hand after the half halt (descente de main

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57.

The horses seem shorter and take the forward impulsion generated from the legs as a reason to flex the haunches more through the lowering of the croup, thus taking on more weight. What is important, is the finely adjusted interplay between hand and leg, where the hand may never work backwards in a pulling action. The half-halt with both reins should provoke a displacement of the center of gravity to the hind, whereby the horizontal balance change into a vertical balance that is shifted backwards.

Definition: The horizontal balance is the rectangular posture of the horse where the weight is evenly distributed between all four legs, but having said this, it is anatomically in this sense not really achievable as most of the weight rests on the forehand by nature. Nevertheless, the horse appears to be rectangular in form with his head and neck only moderately elevated.

As a result, one has an optimal utilization of the neck as a balancing pole in everyday training, together with good back activity that follows, without overloading the haunches. By elevating the head and neck, one tends to move the center of gravity more to the back-end and the horse appears to be shorter, and thus setting up the so-called vertical balance.

Definition: Vertical balance is the result of systematic gymnastic exercise of the horse, where the increased bend in the haunches results in a shorter base of support for the legs. The horse becomes more stable in his balance and therefore more agile.

The opening rein: With the opening rein the rider opens his hand position in a wide berth to the inside and thus moves the inside rein away from the neck of the horse. (Fig. 3) The leg aids stay active equilaterally, the inside leg causes bend and the outside remains supporting. This will cause the horse to follow a circular line with an inside bend, as the inside shoulder leads the way and is free to step far forward since it is not loaded. This interaction is also brilliantly suited to recover momentary loss of contact, when the horse was frightened and tightened his neck for example.

The opposing effect: This is a one-sided rein action on the mouth of the horse together with ipsilateral sideways stimulating leg aids (fig: 4). This will cause the croup to move to the outside, whilst the inside shoulder is more loaded. In this case the inside shoulder serves as the pivot point and the horse is positioned against the movement. This action is used in the turn on the forehand in order to obtain more control and flexibility of the neck.

The indirect effect: With the indirect effect, the reins are used in the direction [of travel] over the mane (fig: 5), whereby the outside pushing leg aid causes the horse to step over with the outside shoulder and thus move with the forehand around the hindquarters.

Horses that become heavy on one hand, can be corrected by using a one-sided half-halt on the side that is heavy. The result is a lifting of the shoulder on that side and an indirect impact by the rein on the diagonally opposite hind leg.

When the horse goes too deep in the front, this can be corrected by bilateral [both sides] action of the half-halt in interplay with the leg aids to help to return the lost balance. In spite of the uplifting action of the bilateral half-halt, one should not forget that leaning on the bit is the result of a hind leg that is not active enough.

Essential for the use of the half-halt is the pulsing vibration of the rein. After setting up the desired effect (yielding in the poll, becoming lighter, elevation, etc), the horse must immediately be rewarded with a release of the rein, the so-called “descente de main.â€? (lowering of the hand: fig.2a - previous page) The French school, known for its particular lightness (LegeritĂŠ) differentiates basically between five various rein aids, besides the halfhalt and the complete halt.

Fig:5.22: Opening rein aids

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Fig: 4. opposing effect

Fig: 5: Indirect effect

Fig. 6 Leg Aids

a. Forward driving leg

The indirect opposing effect Similar to the indirect rein aids, the inside rein is directed towards the mane and the outside leg creates pressure. Through this effect, the horse will shift his croup to the inside while the shoulder will move to the outside in response to the indirect rein aid. A release of the inside shoulder and an enhanced bend in the spinal column will be fostered. Using this aid, one can develop a turn on the forehand in renvers [haunches-out] from this position, this considerably improves the suppleness of the horse.

The indirect opposing effect to the back: The difference to the indirect opposing effect is that the inside rein does not get directed towards the mane; instead, it opens towards the direction of the rider’s abdomen. At the same time the inside leg pushes, triggering a lateral movement which frees the outside shoulder through the activity of the inside hind leg.

This is excellent introducing lateral aids to the young horse, and later for developing half-pass.

{ LEG AID } The leg aids are fundamental for maintaining forward movement as well as lateral movement. Without driving power from behind, the hand cannot receive anything, and riding can just as well be knocked on the head.

One differentiates between forward and lateral driving leg aids as well as the supporting leg aids.

The forward driving aids will encourage the desire to move forward through rhythmic application or tension of the calf muscles (fig:6 a). The impulse of the legs will cause a reflex contraction of the fascia on the abdomen and a slight lifting of the corresponding hind leg will result. When this reflex is thus conditioned through the training process, one can appropriately employ the response of the corresponding hind leg. Nevertheless, the forward driving leg should also be active in the halt and in transitions so as to not provoke a dwindling transition. The horse must be driven with the forward leg aids to step under his center of gravity in such a way that

b. Lateral driving leg

the sustaining and waiting hand of the rider should feel the impression that the horse wants to lift himself off the forehand through the springiness of the transitions. This has nothing in common with abrupt halts provoked by the hand, because a springy transition is only possible when the back of the horse is elastic and supple.

The sideways driving aids must always be employed in combination with the forward driving leg aids; a backwards tendency should be avoided at all costs. This will only teach a horse that he can withdraw [suck back] himself from the aids of the rider and become uncontrollable in the process.

Furthermore, this contradicts the classical sentence of Steinbrecht, that says “ride your horse forward and straighten him.� In the lateral gait, the sideways driving leg should act rhythmically in time when the leg lifts off the ground, in order to allow for a longer swing phase and thus guarantee the crossing over. This will stretch the outside muscles of the hindquarters as the hind leg must step more under the center of gravity with the help of the sideways driving leg aid.

The supporting leg [or guarding leg] acts in a restricting way on the outside of the horse; for example, on a circle or in a lateral movement, in order for the horse to maintain the degree of bend or position (fig: 6 b). The supporting leg aid must always be active in conjunction with the outside rein that defines the bend or position. Otherwise the horse will stagger in a curve to the middle of the arena and control will be lost over the inside hind leg as a result.

At this point it is good to refer once again to the alternating interaction between the impulse from the leg and the waiting hand of the rider, since a simultaneous action of the two aids will produce a halt. The waiting hand regulates and shapes the forward impulsion from the hindquarters in such a way that it becomes possible for the rider to sculpt the pattern of the muscle. The hand must never work backwards and in such that it blocks the hind leg on that side. Tension in the neck and lumbar areas could be pre-programed in this way, but are avoidable.

In concluding the leg aids, mention must be made of the action of the spurs. Spurs simply serve as refinement of the leg aids and must never be seen as a means to maintain forward

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THE MEASURE OF COLLECTION IS NOT N E C E S S A R I LY S L O W N E S S , B U T R AT H E R T H E INCREASED WILL TO G O, BA S E D ON T H E E X P E C TA N T H A N D T H AT REDUCES THE DIMENSION OF T H E GA I T. (NUNO OLIVEIRA) movement alone. Continuous and/or excessive use of the spurs will only dull the horse. Horses that are “dead” to the legs are introduced to fine aids with great difficulty, for they have learned to suffer the hardship of the pain from the rider with a passive consistency.

The moment when the forward impulsion cannot be maintained anymore should also signify the end of the art of riding. It is for this reason that the young horse especially should be carefully introduced to the spurs as they will often kick out as an impulse due to a ticklish reaction and therefore interpret the lesson in the wrong way. It is therefore advisable to habituate the young horse first to the voice and girth aids. Once the horse is secure in what is expected of him, one can carefully introduce the use of the spurs.

{ THE RIDER’S WEIGHT AID } The subject has already been broached as to how sensitive and delicate a horse reacts to changes in balance. This is especially conspicuous when a young horse is started and because he has not found his balance under the rider, the horse moves unsteadily under every gesture the rider makes.

In the same way the untouched mouth of the young horse is still fine, sensitive and active.

In practice: This basic willingness to respond should be kept at all costs, for the horse trained to become a dressage horse should react with the maximum lightness to minimal influence from the rider. These conditions are present in most young horses and must not be ruined by unsystematic training combined with a high measure of pressure to perform.

In this combination we are once again reminded of the words of the great French riding master, de Pluvinel, that have lost none of their validity in the intervening years: By virtue of the balanced and independent seat, the three-point seat (two seat bones and the pubic bone), it is possible for the rider to influence his weight distribution by rotating about the axis of his own body, sit deeper through relaxation

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of the buttock muscles, and by rising from the saddle.

The dressage seat (or the basic seat) should be the starting position of every influence over the horse, whereupon elegance goes hand in-hand with functionality and effectiveness. The line from the shoulder through the elbow to the heels must be a consistent and continuous one, as this is the only possibility the rider has to have his own center of gravity in accord with that of the horse. (Fig: 1) Once this basic balance has been found, it is very easy to more or less to disturb the balance with little changes, and in this way change the direction of the movement and even produce high school movements. It is fundamental to always align the shoulders of the rider with that of the horse, for already by the turning of the body axis one can initiate a change of direction. If for example, one requires a half-pass, the inside seat bone must be weighted along with increased weight on the inside stirrup. By means of this inside weight on the seat bone it is possible for the horse to relax the outside M. longissimus in order for it to stretch and thus cause a bend with the extra help of the inside bending leg of the rider.

By the same token the situation is the same when riding lateral gaits, where the rider should always sit in the direction of the movement and therefore allow the horse to step into the desired bend.

The only exception in this context is portrayed by the shoulder-in, where the rider sits on the inside seat bone to stretch the outside long back muscle, but due to the inside position of the horse, the rider actually sits “against” the direction of the movement. In this specific case it is necessary, in order to achieve a lowering of the inside hip, whereby the inside hind leg is animated to take more load through more adduction. Furthermore, this increased loading capacity will induce more freedom of the outside shoulder, develops collection and improves the freedom of the shoulder considerably. This can be achieved as long as this bend is achieved through the inside leg aid and not by pulling the head to the side with the hand.

The more collected horse can work on a smaller the base of support and the horse becomes easier to direct and to turn.

A majestic, powerful movement is generated, and the horse appears to be liberated in the front. a

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

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

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5

TRAINING Tips

Photo: c Spanische Hofreitschule_Herbert Graf

FROM THE SPANISH RIDING SCHOOL - VIENNA BY CHIEF RIDER & DIRECTOR OF HELDENBERG TRAINING CENTER ANDREAS HAUSBERGER

1

2

DON’T START A YOUNG HORSE TOO EARLY, YOU DON’T MISS ANYTHING FOR LATER, BUT YOU MIGHT LOSE A LOT IF YOU DO.

4

TAKE TIME, BUT DON’T WASTE TIME.

BEFORE YOU WORK OR CORRECT YOUR HORSE, WORK OR CORRECT YOURSELF FIRST.

5

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3 WHEN YOU’RE ON THE GROUND, WORKING INHAND, MAKE SURE THAT YOU HAVE A SELFCONFIDENT BODY LANGUAGE.

EVERY EXERCISE IS A RESULT OF PREPARATION, SO IF YOU HAVE PROBLEMS EXECUTING AN EXERCISE THEN QUESTION THE PREPARATION.

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BAROQUE EXPLAINED Photos supplied by Zaldi. Information and text supplied by Rodrigo Plaza from Zaldi.

H

ere at Baroque Horse Magazine we have always admired the traditional saddles of the Iberian peninsula, or as some would know them as baroque saddles. Not knowing too much ourselves we decided to talk to our friends at Zaldi Saddles in Spain, (who are the leaders in producing these saddles with four generations of knowledge and craftsmanship been passed down) about them.

We chat to Rodrigo Plaza from Zaldi and he explains to us about the evolution, history around them.

THE EVOLUTION OF THE RIDING SADDLE IN THE IBERIAN PENINSULA: SPAIN AND PORTUGAL The saddle as we know it today has evolved over hundreds of years and countless hours of riding. The humble saddle began with just a simple cloth or piece of leather that was tied to the horses back. During the Greek and Roman times, is where the riding saddle evolved and greatly improved to a resemblance to what we know today.

For example during this time they added in the straps, diverting to the girth or stirrups, which were added by the nomadic Mongolian tribes to get higher mobility on their incipient saddles.Those primitive saddles continued to evolve throughout different civilizations, who adapted them to their own features and necessities.

In the Iberian Peninsula, and more specifically in Spain, the saddles were used as

work tools, in the army, or for the work and different activities of the fields and grazing.

Because of these needs their saddles evolved to suit their purpose. Lets look at the different types and their purpose.

POTRERAS Y VAQUERAS and Spanish Saddles)

( Country

In Spain, initially, certain aesthetic and durability were sought, they were huge and heavy saddle trees that, were crafted from wood. These original saddles not very functional. For its construction they used most materials that were easy at hand which was primarily wood and rye straw that together tied together with leather outside.

In this saddle, the rider would embed themselves with the minimum fastening and a very slight contact with the horse. This saddle was found in both Spain and Portugal (they have the same function with a variety of very elaborate with some having a very overdone look), and even today those very basic saddles are the same as they were then to as they are nowadays. Today they are named Potreras or simple Vaqueras.

ALTA ESCUELA Thanks to the easiness of travelling and the resulting cultural exchange between countries and also equestrian disciplines new influences from the French and British disciplines came to the Peninsula. This new idea of riding was applied and, as a result, substantial changes in the manufacturing of

saddles were introduced. The simple sport of dressage was developing into a more complex version, introducing new exercises and aptitudes from classical dressage. The saddles were modified in search of a new functionality and the new Alta Escuela saddle from the past century is revived.

XXI CENTURY Nowadays, due to these influences and thanks to the huge development and evolution of this horsemanship in the Peninsula, the saddles have reached levels comparable to other European manufacturers and the new technology has seen many improvements. In the past, there was only rye straw, and with the materials available at that moment those hard and heavy saddle trees were made. Today we have new technologies and materials to make the new saddle trees light, with evolved materials of different densities adapted for both the horse's back and to the rider's weight. It was an extreme and also an argued change, but now is accepted by 99% of the riders in the Peninsula.

The best example of evolved manufacturing of saddles is the Spanish company Zaldi.

They are a fantastic example of the evolution of the riding saddles in the Iberian Peninsula, where along the centuries they have been developed where formerly there was unsuspected levels of functionality, aesthetic, contact with the horse and comfort for the rider.

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Potrera - Ronda

Potrera - Ronda The Potrera saddle is popular for training young horses or pleasuring riding. This saddle gives more contact between rider and horse due to the lower position on the horseback. Saddle Potrera is austere, with few frills, pure and simple for everyday work in the Spanish countryside. It is an evolution of primitive saddles to tame wild young horses or POTROS also called hence its name, there at the beginning of time: POTRERA. The rider is fitted between the seat and can ride fast and dynamic movements, almost without the worry of being thrown for their seat. It's easy to stay in the saddle and is good for riders if they're not very experienced.

RONDA. Elegance in country dressage. Made from European selected leather of box-calf, more resistant, especialy flexible, elastic and durable leather is used to make this special saddle. A semi-deep and comfortable tree, this saddle allows to get a correct position for rider and a maximum close contact for rider and horse.

Portuguesa - Escola

Portuguesa - Escola Is the traditional Portuguese dressage or classical equitation saddle with a semi-deep seat. Portuguese saddle designed in conjunction with the Royal Portuguese School of Equestrian Art. Traditional style but made on Zaldi's latest hi-tech evolution.

Saddle ESCOLA, "ESCOLA" name only no ALTA ESCUELA, is an evolution of the traditional saddle of Portugal.

Vaquera - Cabriola

Vaquera - Cabriola The Vaquera saddle is the everyday saddle used today and for past centuries by the Spanish Vaquero, probably by the original cowboys, working in the fields and mountains of Spain. Vaquera saddles are also used for Vaquero competition – or Doma Vaquera (translated as vaquero horse training, or dressage) - as well as when testing the fighting bulls and cows (Acoso y Derribo) and in the Ferias of Spain and of course for every day country riding. The Vaquera or Vaquero saddle is both comfortable for the rider and the horse. It is designed for many hours of riding and has a large comfortable contact area over the horse’s back - a much greater contact area than the modern general purpose, dressage or jumping saddle. Utilising modern technology and development leading saddle maker Zaldi now produce Vaquera saddles made to the traditional design and style but incorporating modern high-tech materials.

Doma/Alta Escuela - Altras

Doma/Alta Escuela - Altras The ALTA ESCUELA (altras) saddle, has evolved from the Potrera.

The Alta Escuela is much more elegant. It is a saddle for gala shows and parades. It has included developments in the world of dressage, such as improvements in the seat, in the flaps, tree or armor tech materials. Generally for people very interested in the country dressage and working equitation.

It has a deeper seat and also used in showing and is the style used by the Real Escuela Andaluza del Arte Ecuestre, Jerez, in their exhibitions and displays. The Alta Escuela allows for a straighter leg and more of a ‘dressage’ position than the Potrera saddle.

It is a functional saddle for dressage but with a traditional look of the Royal Spanish Equestrian School. It was developed and recommended by professional riders as renowned as Mr. Ignacio Rambla and Mr. Rafael Soto (Royal Andalusian School of Equestrian Art). Perfect for amateurs and profesionals alike, great comfort, designed for long periods in the saddle.

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Examining a horse for

Colic

By David de Fredrick MVSc - HORSEBOOK.COM.AU

C

olic refers to abdominal pain which can involve any organ or part of the abdomen but usually arises in the gut.

The owner can, without any special equipment, make a reasonable assessment of the seriousness of the case. This knowledge is useful when contacting a vet.

CLASSIFICATION

Colic cases can be considered in three categories, each with different treatment and prognosis.

1.

Transient cases show intermittent mild pain which passes without treatment.

2.

Medical cases show moderate pain and usually arise from distension or impaction of the stomach or bowel with fibrous food, and they recover with appropriate medical treatment.

3.

Surgical cases involve serious gastrointestinal disturbances (abdominal catastrophe) and require expert surgical intervention if the horse is to be saved. Some of these cases are so bad when presented that the horse cannot be saved.

These three levels of seriousness can be similar in the early stages.

EARLY SIGNS OF COLIC INCLUDE

1.

Demeanour - restlessness, anxiety, depression, looking at the flank.

2.

Getting down and up, rolling, lying flat out and pawing. Those with pain in the anterior abdomen (usually the stomach) may sit like a dog to take pressure off that region. They may stretch out as though trying to urinate, and this is the reason colic was once called ‘water gripes’.

3.

Splashing water in the trough or tub and not drinking.

Grave signs include extreme anxiety, serious depression, foul breath, sweating, staggering and walking into fences or machinery.

WHAT THE OWNER CAN CHECK

1.

From a short distance, assess the demeanour and movements over a period of a few minutes.

2.

Take the rectal temperature – an ordinary human clinical thermometer is suitable. Lubricate with wet soap or saliva then insert gently and press the bulb against the rectal wall (not in a ball of faeces) and keep hold of it for about 20 seconds. The normal resting temperature for most horses is 37-38°C, and any temperature over 39 should cause concern. If you don’t have a thermometer, the horse’s skin temperature is similar to a human’s.

3.

Take the heart rate either by listening at the lower chest behind the left elbow (of a quiet horse), feeling the beat with a hand in the same position, or taking the pulse on the artery under the lower jaw. To listen, keep out of the wind (noise) and away from flies (so the horse is not flicking its skin). The heart rate of a fit Thoroughbred, Quarter Horse or Stockhorse is about 32-36 beats per minute. Anything over 50 would be cause for concern.

4.

Capillary refill time is a very useful guide to the seriousness of the case. Lift the lip and press a finger on the gum for about three seconds to blanch the tissue, remove and count the seconds before normal colour returns. It should be less than three seconds.

5.

Colour of the conjunctiva and gums – pull the lower eyelid down then lift the upper lip. A healthy horse has a pink colour similar to your own, or you can check with a fit horse nearby. Serious colic cases usually have dark red (‘brick red’) or purple colouring.

6.

Breath – horses have pleasant breath; colic cases often have foul breath.

7.

Gut sounds – listen to the sounds in the abdomen by putting your ear in the depression of the upper flank just in front of the hip. It may take a few minutes because sounds are intermittent. If sounds are heard both sides the prognosis is good. Prolonged silence can result from impaction or a twist and would cause alarm if associated with some of the other signs listed above. Try this on a healthy horse so you know what to expect.

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BY JOCHEN SCHLEESE, CMS, CSFT, CSE ©SADDLEFIT 4 LIFE® ALL RIGHTS RESERVED

HOW DO

YOU KNOW

I F YO U R HORSE IS

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happy

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BY JOCHEN SCHLEESE, CMS, CSFT, CSE ©SADDLEFIT 4 LIFE® ALL RIGHTS RESERVED

W

H I L E THIS QUE STION MAY AL MOST RAN GE I NTO T H E F I E LD OF ANT H R OP OMORP HIZ ATION (AS C R I B I NG H UMAN C H AR AC T E R I STIC S TO AN ANI MAL ), Y OU R HORSE’S ‘H AP P I NE S S ’ O R BEIN G C OMF ORTAB L E IS P ROBABLY OF C R I T I C AL I N TEREST TO Y OU AS H I S OWN ER AN D RIDER.

Y

ou know your horse better than anyone – instinctively, you know immediately when something is amiss, even if you can’t immediately diagnose where the problem lies or what is causing it. We can put words to what you already know – how do you tell when your horse is happy? What is below may be considered a little controversial, but if you are truly honest with yourself, you may realize that there is lot of truth in what I am about to share.

A horse is not able to lie, to ‘act’ like he’s feeling comfortable, happy, or relaxed, when he’s not. Watch for the feedback your horse gives you and it’s easy to see what his state of mind is. We all know the usual signs; the eyes, the ears, the tail. In nature, the horse – a ‘flight’ animal – can run full out at a moment’s notice. There is no necessity for the thought process “Okay, I’m being chased by a wolf, I’m going to have to run fast in about 3 seconds, so perhaps I should warm up a bit so that I can go full tilt”. By that time, the horse would be lunch.

This is what has occasionally been paradoxical to me – in a saddle fit evaluation when riders are asked to show their horses under saddle, they usually have to warm up (sometimes for 30 minutes or more!) before they feel their horses are ready to perform and before they feel they’re ready to show the fitter how they move at all gaits. After seeing around 2000 horses every year for the past 25 years or so we have come to the

conclusion pretty quickly that this warm up is to be considered pretty much a ‘numbing’ up. Only after having been ridden to the point that the back doesn’t hurt anymore can the horse actually be asked to work the basic steps. What is wrong with this picture?

The current trend in riding, as in most other things, seems to be “going back to nature”. Riders everywhere are interested in current discussions about whether or not to shoe, whether or not to ride bareback, treeless or with a ‘normal’ saddle, whether or not to “chemically” supplement your horse’s diet. According to documented statistics, the following life expectancies show the opposite to be true: •

Life expectancy of the wild horse (for example Mustang) is 5-7 years.

•

Life expectancy of a horse ridden by an inexperienced rider, never exercised to the point of cardiovascular exertion: 7-10 years.

•

Life expectancy of a horse under professional training and supervision, ridden in competitive sports or in active training: 20-25 years.

Doesn’t that tell you something??

Nature may be good; professional advice and proper equipment to do “what’s right” prove to be better for your horse.

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The whole “Circle of Influence” philosophy should be considered when determining what is best for your horse. The complementary and cooperative efforts of professionals such as your veterinarian, farrier, chiropractor, and saddler, will exert their influences positively, to enable you and your horse to achieve maximum life expectancy, health and performance.

What does a professional look for and consider when called in to address a problem or concern? Clearly, there are many external factors and influences acting upon a horse at any given time. For example, consider that there are 15 points which can influence saddle fit (or saddle fit perception) alone: RIDER

SADDLE

Ability improves

Flocking Shifts

Training / Conditioning

Changing disciplines

Leather condition

Age

New Trainer with different Expectations

Tree twisting (due to Uneven musculature of Horse and/or rider

Nutritional changes

New horse

Seat foam settles

Health swings

Weight loss/gain

Billets stretching

Re-shoeing

In summary, it doesn’t matter what you choose to ride in or wear, the key principle is to be aware that everything needs to work together properly. No matter how well a saddle fits at the time of purchase, one saddle will not fit a horse over the course of its life (unless the saddle can be adjusted and re-fit).

Every horse goes through at least 7 major conformational changes as it matures.

Keep in mind that not every saddle on the market is adjustable, nor can be easily adjusted to accommodate your horse’s changing three dimensional back shape.

But your horse’s ‘happiness’ (i.e., wellbeing and comfort) depends on you to make the right choices for him and do what is in your power to ensure that he stays willing to work with you to the best of his ability.

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HORSE

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71.

ECO ANIMAL BEDDING Paves the way for

H e a l t h i e r

H o r s e s

A

Melbourne father and son duo are confident in knowing that the dust free and eco-friendly animal bedding they supply to some of Australia’s top horse trainers and equine clinics is paving the way for healthier horses.

Eco Animal Bedding, a product of extensive research and endorsed by leading veterinarians around the nation, is a dust free animal bedding made from 100% recycled high quality cardboard and paper “Dust free animal bedding is absolutely essential when it comes to obtaining and maintaining a horse’s peak respiratory health and condition,” says Eco Animal Bedding Director Daniel Felice.

“The corrugated cardboard sheets and paper are processed into chips or strips and offer a healthy alternative for animal bedding. The chips are free from seeds, fungal spores and toxins and are recommended for animals with respiratory problems or horses with Chronic Obstructive Pulmonary Disease.

“It’s also a great alternative for owners and trainers who may suffer with asthma or allergy problems themselves,” says Daniel.

Eco Animal Bedding was born through the duo’s previous business of document destruction, with the pair left with piles of cardboard that had no use. After researching what to do with it, they stumbled across the alternative bedding which was widely used across Europe and the US but was yet to be available in Australia.

“Today, we buy cardboard and paper waste from companies around Australia, which then goes through a machine that chops it into pieces and extracts the dust.

• HEALTHY, DUST FREE ENVIRONMENT • IMPROVES RESPIRATORY PERFORMANCE • IDEAL FOR POST SURGERY & ALLERGY SUFFERERS • VIRTUALLY NO ODOUR • HIGHLY ABSORBENT • COST EFFECTIVE • FULLY BIODEGRADABLE • ECO-FRIENDLY • FIRST IN AUSTRALIA

ANIMAL BEDDING MANUFACTURED & PACKAGED ON SITE AT OUR FACTORY PREMISES

FACTORY DIRECT SALES TO THE PUBLIC & TRADE TELEPHONE 1300 726 406

WWW.ECOAB.COM.AU

“One of the best parts of our business is being completely waste free; we take unwanted cardboard sheets from businesses and recycle it into our eco bedding, which is then biodegradable. Eco Animal Bedding is not only a more sustainable and economical choice, it’s a healthier choice for horses,” says Daniel.

Although small in size, the chips can hold up to three times their own weight in water, with the corrugation providing channels for fluids to flow through to the floor, allowing absorption from the bottom up; reducing ammonia levels and creating a virtually odour free environment.

As well as working alongside some of the nation’s top horseracing trainers, Eco Animal Bedding’s biggest advocates are leading veterinarians who use the bedding for sick and injured horses.

Eco Animal Bedding is also excellent for the treatment of skin disorders and hair loss caused by irritant elements in other bedding materials, as well as reducing the chance of infections and secondary infections after surgery.

Dr. Kate Savage, former head of equine at Werribee Equine Clinic, says the eco bedding gives excellent orthopaedic support, a nonslip footing and decreases the impact of shavings, sawdust and straw dusts on both equine and human respiratory systems.

Daniel says lower airway disorders are among the most common conditions encountered by equine veterinarians, with a poorly maintained and unclean stable environment a potential factor of increased risk.

The cushioning of the corrugation also forms a soft, springy bed that provides additional warmth, insulation, support and comfort.

“This type of bedding is the way of the future. It’s more sustainable, better for the overall health and comfort of the animal and is more economical. We’re passionate about delivering a product that is beneficial to the horses by providing them more comfort, a healthier environment and giving them the best chance of recovery,” he says.

For further information on Eco Animal Bedding, please visit www.ecoab.com.au

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73.

A HERBAL APPROACH TO MANAGING METABOLIC SYNDROME, CUSHING’S AND

LAMINITIS

IN HORSES

B Y C AT H E R I N E C O X - M C D O W E L L

E

quine Cushing's disease (also known as Pars Pituitary Intermedia Dysfunction or PPID) is caused by a tumour in the pituitary gland, which is responsible for the production and regulation of hormones. While the tumour itself is benign, the cells within the tumour produce excess hormones, creating an imbalance in the horse's endocrine system. Dysfunction of the pars media results in the increased levels of several hormones including the ACTH (adrenocorticotropin) which is the stimulator for the adrenal hormone cortisol.

Cushing's disease is most common in horses over 20 years old, although it has been known to occur in horses as young as seven years old. It is equally prevalent in both genders and is found more often in Morgans than in any other breed.

Ponies may also have a slightly higher predisposition.

The most notable symptom of Cushing's disease is the growth of a long, shaggy, coat of hair. This irregularly long and sometimes coarse wavy hair often persists throughout summer months and is a critical signal that a horse may have Cushing's disease. This may be accompanied by sweating and flaking of skin.

Other symptoms are caused by the hormonal imbalance in the adrenal gland. These symptoms include

7 4.

excessive drinking, an affected horse may drink as much as 80 litres of water a day (as opposed to an average 20 30 litres), and urination, laminitis, a tendency for recurring infections in the hoof . There may be a development of a swayback stance and a pot belly along with increased appetite usually with no accompanying weight gain.

A filling above the eyes caused by the deposition of fat, normally, you can see a depression above the horse's eye. The immune system becomes compromised which gives rise to a host of conditions/ diseases which are often passed off as old age. These include respiratory disease, skin infections, abscesses of the foot, mouth ulcers, and periodontal disease. Overall there is a depressed, sick-looking appearance with dull eyes and drab coat.

The link between Cushing’s Disease and laminitis is not fully understood, however, it is considered that the high levels of circulation cortisol and cortisol like hormones play a major role in the development of Laminitis, as it may with the metabolic syndrome known as insulin resistance.

EQUINE METABOLIC SYNDROME Insulin resistance is the reduction in the horse’s ability to respond appropriately to the hormone Insulin. Insulin is a hormone which plays a key role in the regulation of blood glucose levels. In

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Equine Cushing's disease Pituitary Glan

addition to its role in controlling blood sugar levels, insulin is also involved in the storage of fat. Ponies or horses that are “good doers” are examples of this, carrying heavy thick crests and fatty deposits over the body. High levels of adipose tissue cause systemic inflammatory process which create neuro-endocrine feedback loops that perpetuate the metabolic imbalance.

Processed feeds and unnatural living conditions are the reason behind the increase in this syndrome amongst our modern equine population, much like people living in high density housing and eating Fast Food.

HERBS TO RESTORE METABOLIC HARMONY AND BALANCE THE ENDOCRINE SYSTEM. When reading conventional literature on Cushing’s and Metabolic syndrome,

It’s about observing our diet, our environment and how we respond.

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

As a Dorothy Hall graduate working along side the well known Robert McDowell for many years and furthering my education with Dennis Stewart, I have developed my own unique application of herbal remedies.

CATHERINE MCDOWELL

Herbalist

I was first introduced to the concept of Herbal Lore when I was very young. I think one of the earliest influences I can remember was from my grandparents, who were very traditional Bathurst farmers of the well known Cox family. My grandfather had the “people’s home library” which was a compendium of all kinds of home cures.

Picture of Red Clover

one is led to believe that there is very little one can do. At best you are treating the symptoms, and at worst you are adding to underlying causal factors.

From a herbalists perspective, I see these conditions as being not only easily managed, but also successfully corrected.

I have had so much personal success with these conditions now that I am surprised by those who are so pessimistic by the diagnosis!

Balancing the Hypothalamus, Thyroid and Adrenal axis.

A key factor in treating these syndromes is to understand the Neuro-Endocrine system and the role that it plays in homeostasis. Once you understand this, it’s simply a matter of using herbs specific to these systems, and feed a whole food natural diet that is anti inflammatory at its core.

Typically a 12 week herbal program would look like this: Blood detoxifying herbs - to clean adipose tissue and the blood stream from excess hormones and inflammation. If you have been following my articles you will find reference to blood detoxifiers in Baroque Horse International magazine issue 20. Burdock, Red Clover, Garlic, and Fenugreek are what I commonly use.

Herbal Medicine is, at its core, studying nature and the humanities.

NEURO-ENDOCRINE SUPPORT Combinations of herbs that support the Hypothalamus , Thyroid and Adrenal axis are used to ensure balance. Even though the pituitary is the problem in Cushing’s, supporting the master gland is essential when balancing the endocrine system, in particular the pituitary. . Nourishing the nerve plexus associated with the endocrine system is also advised. See previous Baroque horse magazine issue 21 on more nervous system herbs.

Withania, Borage, Blue Flag, Phytolacca, Chamomile, Chaste Tree and Mugwort SUPPORTING THE METABOLIC PARTNERS – making sure that the liver and kidneys are functioning well is simply common sense. Herbs that can be fed regularly:

Working primarily with animals (Horses and Dogs) has been the most rewarding. Having seen herbs work so well in so many cases has proven to me time and again the underutilised power of herbal medicine.

It is heartening to see now Vets, and some Medical Doctors seeing the traditional application of herbs as useful. My comprehensive service includes free animal consultations 24/7 via my web site, and face to face consultation in Bathurst. www.mcdowellsherbal.com

This treatment of our horses is very disturbing to their hormones and as part of management and restoration of the metabolism and the HypothalemicImmune System-Neuro-Endocrine Axis is to ensure that your horse is not stabled or kept under lights.

In order for the Hypothalemic-Immune System-Neuro-Endocrine Axis to entrain (that is, start to work as it should in balance) the natural circadian rhythms of your horse must be respected.

Keep him with other horses, running around naturally.

Of course, managing chronic cases of laminitis and the syndromes requires very specific and individualised day to day management. Discussing your case with me personally is advised. a

Dandelion, St Marys Thistle, Buchu and Rosehips CIRCADIAN RHYTHMS AND ENTRAINMENT An interesting factor of these syndromes is the impact of negative stress and daylight hours. It’s important to understand that horses most susceptible to these conditions can have the following profile: Stabled under lights. pic: Fenugreek

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HANDY

HINTS P O P U L A R A D V I C E F R O M

D R

H A N D Y F R O M J O H N

H I N T S

A N D

K O H N K E ’ S K O H N K E

O W N B V S C

CHECK OUT SOME GREAT TIPS FROM ONE OF AUSTRALIA’S MOST POPULAR AND KNOWLEDGEABLE VETERINARIANS! YOU CAN ALSO FIND MORE GREAT ADVICE ON HIS FACEBOOK PAGE WWW.FACEBOOK.COM/JOHNKOHNKEPRODUCTS

1.

Avoid Grazing a ‘Cresty’ Pony on Frost Damaged Pasture When a pony develops a ‘crest’ and excessive tail-butt fat, it is a sign that it is likely to have developed Equine Metabolic Syndrome (EMS) and insulin resistance similar to type 2 diabetes in humans. It has a high risk of developing laminitis and founder with any slight increase in sugar intake. Frost can kill grass, but it increases the sugar content in the grass as it dies or is under stress, which if eaten by a ‘hoovering’ hungry pony, can overload sugars and cause an insulin surge and trigger laminitis. Never leave such a high risk pony out over night when it is likely to eat more grass at night to keep itself warm. If the pasture is set back by a couple of heavy frosts, take the pony off the pasture and hand feed it with hay and a small hard feed for at least 10 days.

Consider supplementing Kohnke’s Own® TRIM, in conjunction with a weight-control diet of soaked hay in high risk ponies

2.

Masking Bad Flavours Does your horse ‘sift’ or ‘spit out’ bitter or strong smelling worming or ‘bute’ granules? Here’s a simple way to help him gobble them up! Simply freeze the granules or powder. Mix up a small amount of his favourite food, eg sweet bran mash, offer a taste to get his interest and then mix the frozen granules into the feed. Gobble, munch, gobble - they’re gone!

Horses can’t smell or taste very cold granules. Works on dogs too!

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P R A C T I C A L

R D A

3.

Making Water ‘Tasty’ Many horses will not readily drink tank or town water when they have been used to drinking ‘earthy’ dam or creek water. This can be a problem when relocating a horse or when dams or creeks dry up in drought or during a hot and dry summer. To make the ‘clean’ water more ‘tasty’ and ‘earthy’, add a handful of clean, clay or topsoil per 100 litres of water and mix with a stick. Gradually reduce the amount added to each refill of ‘clean’ water until the horses are used to the less ‘tasty’ water.

4.

How to Remove a Piece of Chaff adhered to the Cornea Occasionally, a particle of finely chopped white chaff will be blown into an eye when a horse snorts when feeding and adhere to the cornea. It can irritate the conjunctiva, causing swelling, repeated blinking and excess tear flow as the eye attempts to flood the surface of the cornea to dislodge the foreign body. It will also abrade and introduce microbial infection to the surface of the cornea by repeated blinking. You may need to nose twitch the horse to help hold its head steady. Carefully examine the cornea in a well lit area by holding the eye lids apart with the thumb and forefinger. If the chaff particle appears to be covered with a thin film of mucus and adhered strongly to the cornea, then call your vet to have the particle removed with a warm saline flush and a follow-up course of an antibiotic eye ointment. If the particle appears to be more mobile, close the eyelids with the fingers for 3-5 seconds and in most cases, the flood of tears will lift the particle off the cornea and transport it to the edge of the lower lid where it can be gently removed with a soft, damp facial tissue. Do not attempt to grasp the particle with tweezers as you may poke the eye and damage the cornea. It is a good idea to feed rough cut or long chop chaff to minimise the risk and also encourage chewing and salivation to help improve overall digestion.

5.

Mow Weeds before they Seed It is important to mow pasture to control weeds before the weed plants develop a flower head or mature seed. Potentially toxic weeds, such as those from the Senecio genus eg, fireweed and cotton fireweed (Senecio spp) and Paterson’s curse or salvation Jane (Echium plantagineum), can cause acute or chronic liver damage in horses, as well as flatweed or catsear (Hyperchaeris radicata) (the cause of Australian Stringhalt) develop multiple flower heads and quickly mature to seed. Mowing and slashing pasture with visible flowers of these species can spread large amounts of the small seeds throughout the pasture. It is estimated that a single mature cotton fireweed plant (Senecio quadridentatus) with 10 flower heads can produce 200-300 seeds. It is a perennial weed and with suitable climatic conditions, it can quickly overrun large areas of pasture. The small seeds of these weed species are also blown in the wind or travel in water after a wet rainy period on grazed down pasture, invading neighbouring pasture areas.

Even if you control the invasion of weeds on your horse property, a poorly managed property within 1 km can be a source of continued reinfestation.

Plan a regular mowing schedule to help eradicate fireweed and flatweed by mowing to 75mm in height before flower heads are visible. In optimum winter and spring growing conditions, this may require mowing every 2 weeks to prevent seed head formation. Check the pasture by walking around to identify weeds which are about to flower. Even a delay in mowing to control these weeds by 3-5 days due to wet weather can result in less than effective management of weed growth. Paterson’s curse is much more difficult to control by mowing alone, as it has a toxic rosette stage which is below mowing height. In small invasions, such as in areas spread where hay with mature dried plants and seed heads has been fed out, spot spraying in the rosette stage with a targeted herbicide is the most effective way to control and eradicate this perennial, persistent weed. a

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ANSWERED BY DR. DARREN GIBBINS WWW.CANTERFLEX.COM.AU

HEALTH

Q.

I LIKE TO DABBLE IN SOME SHOWJUMPING WITH MY FIVE-YEAROLD HORSE, IS THERE A WAY I CAN PROTECT HIS JOINTS TO PREVENT FUTURE INJURY?

A.

If a five-year-old show jumper is any good, they can have a very long road of competition ahead of them. The first and most important factor to consider is the surface that you work on. Limiting the amount of concussive force on joints is first and foremost in maintaining soundness.

I recommend a high-quality arena surface that gives and rebounds or has a bounce in it.

I won’t go into the building of arenas here, it’s far too complicated. The best arena I have seen is Jennie Loriston-Clark’s in England that was a mixture of sand and textile and was waxed, the surface didn’t move much, but it compressed and bounced back. Many of us don’t have the money for a fantastic indoor arena like Jennie’s but investing in a good surface will help avoid the heartache of a broken-down horse. I like sand and rubber or sand and wood chip as surfaces to ride on, deep sand is not ideal, and hard surfaces are even worse.

Navicular disease is also a major consideration for the show jumper, so not over jumping or jumping on hard surfaces is imperative. In the UK now virtually all competitions are on prepared surfaces. When I rode there 20 years ago, if the surface were dry, which did occasionally occur in summer, the organisers would use water carts to moisten the landing area after the fence in an attempt to cushion the landing (hence reducing the pressure on the ligaments at the back of the lower front legs).

The next thing to consider is good foot care. I believe that toes being too long are a major cause of injury in jumping horses, and I recommend natural balance shoeing to reduce pressure at break-over and relieve stress on ligaments at the back of the foot and fetlock.

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You also need to consider joint management in the young horses. Many Thoroughbred studs start their horses as young as weanlings on a joint supplement to assist in joint health and radiographic examination at yearling sales. This varies from stud to stud, but I do know of one stud that started some on Pentosan and New Zealand Green Lipped mussel powder, they noticed a dramatic improvement radiographic results at yearling sales.

At five years old, if you anticipate a long career for your horse, I would recommend Pentosan and New Zealand green lipped mussel powder and perhaps a Glucosamine/Chondroitin supplement as well. Pentosan and Glucosamine/ chondroitin will help heal damaged cartilage from small micro-fractures in joints that occur as part of natural wear. New Zealand green lipped mussel powder will help reduce inflammation around micro-fractures so they should heal with greater results.

A final consideration is a collagen supplement may be useful. Collagen is the major building block of the body; it is essential for strong bones and ligaments. Cantercal is approximately 14% collagen and may help strengthen bones and ligaments.

Essentially a good combination of all of the above will give your horse a great heads start in joint health. If you have any future questions please do not hesitate to contact myself.

Dr Darren Gibbins BVSc Technical Veterinarian and Director Eden Natural Health www.canterflex.com.au

a

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79.

WHERE SHOULD THE SADDLE BE POSITIONED ON THE HORSE’S BACK?

TRAINING

Q.

ANSWERED BY

BY JOCHEN SCHLEESE, CMS, CSFT, CSE ©2015 Saddlefit 4 Life® All Rights Reserved

A.

There are many opinions where exactly a saddle should sit correctly, and it may depend somewhat on the discipline you are riding in. The fact remains the saddle should stay off the shoulder and be placed before the 18th thoracic vertebra. This is what is called the ‘saddle support area’ (SSA) and is relatively simple to find on your horse.

It’s sometimes surprising how small this area actually is even on what seems a long-backed horse, and as the horse matures, it can actually grow smaller as the shoulder muscles grow larger and move the shoulder blade further back.

The SSA begins about four fingers behind the base of the withers (making sure that the tree points are always behind the back edge of the shoulder blade) and ends at the 18th floating rib. You can easily find this if you follow the hair line up to the spine and feel where the lumbars begin and the ribs end.

You want to make sure that your cantle is slightly higher than the pommel, and that your billets (short or long) are hanging down perpendicular to the ground. Since your girth will always gravitate to the narrowest part of the chest under the elbows, it could happen that the pressure on the billets will pull the saddle forward over the shoulder during movement. This could cause 8 0.

damage to the sensitive shoulder cartilage over time.

Conversely, if your saddle ends up sliding back into the sensitive lumbar area, this could hit the reflex point which causes bucking, or it could cause the horse pain in its kidney area or at the ovaries. You want to make sure that the girth is tight enough to prevent slippage, but of course not so tight that the horse can’t breathe!

If your horse is reluctant to bend laterally you may have an issue with the width of the gullet channel. The gullet channel needs to be wide enough to provide complete spinal clearance. There is no such thing as “one size fits all”.

Rather, the width of each horse’s spine will determine how wide his saddle’s gullet channel must be – usually 4-5 fingers wide. It’s very important the width of the gullet channel be the same throughout the entire length of the saddle. Often we see saddles with correct gullet channels width at the front, then narrowing towards the back (the horse’s spine and surrounding ligaments do not get narrower over the length of his saddlesupport area). A very common problem is a saddle where the gullet channel is too narrow - sitting on the horse’s spine and/ or ligaments. This can be seen when the horse goes around a corner: if the horse is tracking to the left, the saddle shifts to the right (and the left-side panel rests on the horse’s spine/ligaments). This must be avoided! A saddle that sits on the horse’s spine/ligaments will cause him to tighten his back muscles and hollow his back, producing exactly the opposite of the nice rounded back that we want - especially in dressage. In the long-term, a saddle with too narrow of a gullet channel will cause permanent, irreversible, and often career-

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ending injury or damage to the horse’s back. The most severe result is spinal stenosis (compression and narrowing of the spinal canal) and spondylosis (degeneration of the vertebrae). Check my ‘9 Points of Saddle Fit’ tips and videos on our Schleese You Tube Channel.

Your horse will tell you if he’s comfortable – as the rider you will feel whether he responds readily to your aids, or seems resistant because something may be ‘off’.

Author of ‘Suffering in Silence The Saddle fit Link to Physical and Psychological Trauma in Horses’ (2013) Jochen Schleese holds Saddlefit 4 Life® lectures and seminars through professional associations to educate riders and professionals to recognize and prevent saddle fit issues. Find answers to your questions in a personal 80 point Saddle Fit Evaluation for horse and rider. www.Saddlefit4life.com Info@saddlefit4life.com a

Q.

A HORSE OF MINE HAS SUDDENLY SHOWN SIGNS OF STRINGHALT. WE HAVEN’T EXPERIENCED A HORSE WITH THIS BEFORE BUT I’M SURE THAT’S WHAT IT IS.

DO YOU HAVE ANY OTHER INFO TO HELP US? SHOULD WE CONTINUE TO EXERCISE HIM? HE IS LIFTING UP BOTH HIND LEGS. THANKS SUSIE

ANSWERED BY CATH MCDOWELL MCDOWELL'S HERBALS WWW.MCDOWELLSHERBAL.COM

HEALTH S

tringhalt is the same in all countries, but for some reason, it’s the extreme weather in Australia that tends to promote the conditions due to the fungus that grows on some flat leafed plants Dandelion is often incorrectly blamed (which is a wonderful medicinal herb) but the common Flat weed (False Dandelion) or poor mans Lucerne (Cape Weed) which are the main culprits.

Usually the weather conditions also is associated with lack of grassy pasture, so the horse will tend to eat far too much of this kind of plant, resulting in a neuro-toxic effect.

Diagnosis by a vet is made after observing the horse with a high awkward step in his hind leg, inability to co-ordinate their hind legs if scared ( in mild cases) and inability to back up. Many horses can have very mild symptoms and most owners may not recognise stringhalt symptoms at all. Many horses can’t go forward if frightened, as the nervous system gets overloaded.

You may find your poor horse apparently doing canter pirouettes in the paddock! He just can’t co- co-ordinate his hind limbs to go forward normally.

There is not much official information on the origins of stringhalt, and there are many arguments about the causal factors involved. My experience of stringhalt has come about firsthand, as I live in the Central West, an area where soil and weather conditions are perfect for the seasonal appearance of stringhalt. I treat this regularly with good to excellent results.

The treatment program I have outlined below has proven to me repeatedly the benefits of using herbs in a recovery program. Many times I am treating horses that have had the chronic symptoms for over 12 months, and within weeks on the herbal support owners report a major over all improvement, with complete recovery in 6 months.

Recommended Herbal Program You must not feed Lucerne hay at all, and we also suggest that you feed a magnesium supplement and a pro-biotic. I feel that a cup of natural yoghurt will help with the overall program.

Administration of an initial 15 weeks is recommended however, you may need to maintain herbal support for at least 6 months. Most stringhalt takes at least 12 months to recover, but we do find on our program a speedier return to comfort and dexterity. My treatment revolves around the herbs which physically rehabilitate damage to the central nervous system and the brain itself.

The Herbs I use: Comfrey, Dandelion, , Mugwort, Pine Bark, Sage, Saw Palmetto and Valerian along with the Bach Flowers Heather, Vine, Elm, Vervain and Rescue Remedy. I also add Magnesium Phosphate to the mix.

As far as exercise goes, the horse must be able to walk around, but don’t push them. They must be calm. If a horse gets un-coordinated they will stress, and this is worse for healing.

In severe cases of stringhalt you need to be persistent..

Have you removed the horse from the pasture? Kept your horse quiet? Kept him warm? - You also need to make sure that you’re feeding well. I have found that Bowen Therapy helps a lot with stringhalt.

DIET is important with any recovery program - As a general rule though, I like to feed: • • • • • • • • • • •

Chamomile flowers ( ½ handful per feed) Nervous system support- P, K, mg in balance Rosehips (2T in 500mls of hot water, divide over 2 feeds) Kidney /liver support, iron, vit c Cobalt.

2-3 cloves of garlic- sulphur, Vit A /E and various other vitamins and minerals that are excellent for immunity and heart/circulation health. ½ cup of Crushed millet per feed- silica- bone health /hair /connective tissue ½ cup of Crushed Linseed per feed Omega 3, 6, 9 lignin’s for healthy joints and flexible ligaments.

1 T of Kelp ( not required for horses that will be on the T&B or Performance blend) trace elements and iodine for thyroid function Dolomite – Mg/trace minerals Rice Bran – protein/fat/vit A Copra Meal- Protein essential fatty acids Soaked Barley or Oats Oaten chaff

Hay- oaten or meadow 24/7 or pasture- Calcium Extra supplements can be given in specific circumstances to address issues….but the above is very good as a basic. And gives a superb coat and muscle condition. You want the horses strong, good muscle mass, low fat – lean and strong. Most commercial feeds fatten the horses and make their metabolism heavy….can lead to insulin resistance, laminitis and Cushing’s disease.

Also, Speedy- Beet is an excellent feed, with added herbs to make up the balance…

All these herbal extracts, programs and ointments can be purchased by contacting us directly on 02 6331 3937.

I hope that this is helpful, Cath McDowell. a

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