Baroque Horse ~ Issue 23 by Baroque Horse Magazine

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ISSUE 23

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ALBION: THE ENCHANTED STALLION, CORDOBA ECUESTRE AND MORE. $9.95NZD

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CONTENTS

w h a t â&#x20AC;&#x2122; s

i n s i d e

10.

Interview: Castille Landon

20.

Western Dressage

26.

California Bloodless Bullfight

26.

Artist Profile Tricia Scheele

42.

5 Training Tips You Should Know By Ashley Klein

44.

Did You Know?

49. Excellent Nutrition Produces Better Hoof Quality

ISSUE 23

52.

The Royal Stables of Cordoba

60.

Johann Christoph Von Regenthal

66.

The 9 Points of Saddle Fit. by Jochen Schleese, CMS, CSFT, CSE

72.

The Way of Nature in Healing By Cath McDowell

74.

5 Handy Hints By Dr John Kohnke BVSc

76.

Q & A section

80.

Nicki Dee's Corner

ON THE COVER: Painting by Tricia Scheele

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E D I T O R S

2016

or the first time in Baroque Horse Magazine history, we have our first of what could be called a 'hot topic' article. Last year, Kathryn Barrett came to me with the idea of doing an article on bloodless bullfighting. My Initial reaction was .. well... NO. No way would we ever consider publishing an article on bullfighting as I felt it did not represent what we wish to promote in our magazine. We embody harmony, kindness and working at communicating with your horse (or any other animal for that matter). Kathryn, who I know and respect as a kind horsewoman and whose ethics and beliefs on training horses are similar to that of myself, convinced me to at least take a closer look. The more we discussed it, the more interesting I found it, and the idea of a three-part article was born. Whether you like it or not, it is a big part of tradition and history in the Iberian breeds and has shaped many of the horses and lineages that we have today. Even though we are ONLY looking at the bloodless version in California, I thought it was worth us having an in-depth look at it. Part I is on the history of the California

bloodless bullfighting - the bulls are not killed in the arena, and there is no bloodshed. In Part II, we will investigate the wellbeing of the bulls, how they are raised, cared for, and the life they live. Part III is about the Equitation of horse and rider and some aspects of the bullfight itself. do hope you will keep an open mind as we have and read this article. This is not a promotion of harming animals; it's excellent journalistic research. Kathryn has examined the facts and addressed the concerns for the welfare of both the horses and the bulls. She has done an exceptional and an unbiased investigation into WHAT IT IS. Please, I can not reiterate enough that we are not about promoting the harming of animals as traditional bullfighting can do - we are looking at purely the bloodless version. e are delighted to have an indepth interview with Castille Landon, who is the Director of Albion: The Enchanted Stallion. We are thrilled that so many of you have contacted us in response to the last article and how much

N O T E

you loved it, and I am sure you will also enjoy the next part. In this feature, we learn a bit about the world of filming and behind the scenes and how Albion was born. We have also had many calls on when it will be out on the big screen, but it is still in post-production, so stay tuned! or those who love a bit of history we are treated with an extract from "The Austrian Art of Horsemanship" and we read about Johann Christoph von Regenthal, who was one of the influential classical trainers who helped shape the way we ride and train horses today. It's a fascinating and informative read.

I hope you enjoy it!

erman Danielle Sk Editor-in-Chief

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PHOTO KATARZYNA OKRZESIK-MIKOŁAJEK AT 'CORDOBA ECUESTRE'

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I wanted to write and make a film that was in the vein of Game of Thrones – because that’s my favorite show and I always wanted to be able to work with horses. I would love to have a horse of my own, however with my career right now has kept me from really being able to have horses. So, a lot I was like, „Well, let’s kind of combine these things that I love.” Horses and Game of Thrones and doing the way that is marketable for kids.

Castille Landon 10

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DIRECTOR: Castille Landon WRITERS: Castille Landon, Sarah Scougal, Ryan ONan PRODUCERS: Dori Rath Sperko, Joseph Restaino, Sarah Scougal, Ryan O'Nan

Baroque-Horse: Thank you very much for taking the time to chat with us. We would love to hear your inspiration behind Albion - The Enchanted Stallion, can you tell us about it please? Castille Landon: I wanted to write and make a film that was in the vein of Game of Thrones, because that's my favorite show. I’ve also always wanted to be able to work with horses in a film. I’ve always had horses growing up and would love to have a horse of my own now, however my career lately has kept me from really being able to have horses. So, I thought "Well, let's kind of combine these things that I love." Horses and Game of Thrones - and do it in a way that is marketable for kids.

PHOTOS: ROD MILLINGTON

Albion INTERVIEW:

Castille Landon

BH: So when you were deciding to write this, you were putting in inspiration from Game of Thrones, and I understand you also pulled from real mythology? CL: Yeah. So Dori (Producer) and I started doing a lot of research into Irish mythology and we found all of these cool legends. The Kelpie is one of them. Kelpies are shape-shifting creatures that usually take the form of a horse - but they entice children to ride on their backs and then dive into bodies of water. It's a kind of cool mythological creature that I haven't seen before. They did a movie called "The Water Horse" and maybe they took a little inspiration from the Kelpie. However, I saw that film after I created my movie, and it's very different. The Kelpie legends were the inspiration for the character of Dag Dia, which is the horse in ALBION.

We've slightly changed the mythology behind the Kelpie as it’s meant to be a frightening and potentially evil creature, but our Kelpie is not necessarily like that. Even in ALBION, the legend of the Kelpie is meant to frighten children, but since legends are not necessarily true, the movie must play out to see whether Dag Dia is hiding a terrible secret, or whether he truly is Evie’s protector and trusted guide.

Castille as a child on her first pony Stormin’ Norman. And a little older competing in a Saddlebred class.

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BH: So you used a lot of mythology and just mixed it up with your ideas and imagination to create the story as we have it. CL: Yes. I think that most fantasy writers probably do the same. For example, George R.R Martin (author of Game of Thrones) started with the idea of the Tudors, and you can see that interwoven all throughout the story, but at the same time, it's so drastically different. So, mine is loosely based on these Irish mythologies and mythological creatures and characters, but the final story is a far departure from the early legends. BH: So how long has this been a work in progress for you? CL.: I wrote the first draft in September of 2014, with two amazing writing partners (Sarah Scougal and Ryan O’Nan) joining me shortly thereafter, and we started filming by February 2015. So, not very long compared to most scripts. Most of the time people will have a script for years before it gets made, but it actually was a pretty fast process. We already had several distributors interested in this project when I started writing, so I knew it would go pretty quickly.

BH: Can you just walk us through the steps of how it went for you coming up with the idea, putting it together. How did it all happen for you? CL: We kind of reverse engineered it. Dori and myself, we'd been working on a lot of independent films, and we were becoming frustrated when we’d make good films that got into top festivals (like Sundance, SXSW, Tribeca) and/or great reviews, but you’d still end up essentially having to beg the distributors to buy them for an amount that was profitable. So, before we started our next project we went to 11 distributors and asked “what do you guys want? And 100% of them said, "We want family content." Everybody is making intense, beautiful dramas, but that isn’t necessarily the genre with the highest demand. We asked "What elements?" And they said, "A girl and a horse." So, Dori said, "Oh yeah, we have a script just like that." But, of course, we had no such thing. I wrote the first draft in a couple of weeks, and we presented it to some distributors who went nuts for it. So, I brought in another writer, Sarah Scougal, to help me broaden the commercial appeal of the project, and then brought in Ryan O'Nan (a writer on the X-Men television series) who really fleshed out the fantasy world and ALBION’s crazy characters. We had a solid draft of the script by December and started production in Michigan 6 weeks later. We shot a week there (in -15 degree weather; -26 degrees C), then a week in Florida in March, and then in April we left for Bulgaria where we stayed for two months, shooting for one month. As shocking as this

many sound, that's not even the most labor intensive process. The biggest work or, at least, equal amount of work, is in post-production (editing, sound mix, scoring, color correction), marketing, and distribution. So we thought we were in the trenches when we were making it. Now we're really in the trenches while we're kind of re-making it in editing. But it's a pretty amazing process through and through. As a director, what is your job? There are so many jobs and, as a director, you need to oversee, or at least be involved in, all of them in order to ensure the final film meets your vision. At the beginning, I started out sitting at my computer for hours and hours researching and writing, then hiring people, then location scouting, and then actually filming it, directing actors, hiring editors and overseeing the editing. It's just constant. You're always doing something different which is really fun. It’s an intense challenge, though, which is part of what makes it so fun. So, it's kind of this amorphous thing, and you’re learning as you go.

exceeded your expectations or that maybe didn't quite meet your expectations? CL: The whole thing was just fantastic. The people that I was working with were so extraordinary that I would find myself saying, "Well, not this but something like this" and as a reference, I'd send them a photo. And then they would come back and basically produce exactly what I asked for, and I was like, "Whoa, okay. I didn't think that was possible, but here it is." And then, getting the actors that we got, that's above and beyond what I ever could've expected, and the performances that they delivered. John (Cleese) and Dan (Daniel Sharman) are great examples. Dan’s character, Lir is a very complicated character. A lot of the characters are a little more straightforward, but Lir is, I think, one of the most challenging characters

Castille riding Dag Dia.

On set - you can see the green screen and the cast that is involved when filiming.

I grew up with Saddlebreds and Arabians and some ponies and stuff in there, but I’ve never ridden a Friesian, and it was one of those things where I’ve always wanted to. That’s the dream horse. BH: It must be really exciting for you to see it all come together on film. CL: Yeah, it's really awesome. Now, we're going through putting the website together, creating a script-writing curriculum for grades 5 - 12 based on the movie, and finishing the edit, sound and color. It's awesome to go through the process again and see what was created. When you see the film at the point that it is now, where it's close to its final stage, it's easy to forget all of the tiny little details, everything that added up to the product. And so, it's nice to be reminded of every single little piece that the production designer did and that the writers did, the research that we all had to do, the costume designers and everyone who made this film special. There are so many different pieces and seeing it all come together is incredible. BH: Yes, I could imagine, must be incredible. While filming, were there any aspects of it that

in the film and finding Daniel was a godsend. He was tough to cast because you have to find someone who is really good looking and also very comedic and that's so difficult to find. Dan is a fantastic actor and can interpret things any way that you need them. There's an endless laundry list of things. He was the only one that was somewhat unknown to me. Although you can never really have an expectation when it comes to John Cleese, right? You just kinda go ”Okay." You see, he's just larger than life and amazing. With a legendary actor like John Cleese, I had more of a grasp on what I’d get, much more so than with Dan, whose work I hadn’t seen as much of, or Avery, who’s a first-time child actor and playing Evie, the lead role. Both of them, I didn't know how things would turn out. But they were fantastic, both of them.

Castille and Ryan O'Nan watching the playbacks for Castille to review the footage. A shot of Castille, Avery Rath and Daniel Sharman being filmed during an action scene.

BH: That's so good, that must be exciting for it all to come together for you like that. When it comes to the other main character, the horse. What made you choose Friesian? You have a history of Saddlebred horses. That's entirely different to what you've traditionally grown up with? CL: Yes it is. I grew up with Saddlebreds and Arabians and some ponies and stuff thrown in there, but I've never ridden a Friesian, and it was one of those experiences I've always wanted. That's the dream horse. They have these shows like Cavalia where there are Lipizzans and Andalusians and Friesians. I've always been interested in this breed of horses especially the Friesians because they just look so majestic. The Friesian ultimately was our choice because they're all black and great quality Friesians are indistinguishable from each other to laypersons. So they're interchangeable, which is a practical thing for filming. While I think it could have been a different breed of horse, like an Andalusian (which is also majestic artistically), but for us the Friesian worked best regarding production and practicality. BH: That makes sense, they do look alike and would have been a lot easier to fill in for the stunt double! Speaking of, how hard was it for you casting a Friesian? CL: Dori called a bunch of different Friesian farms, all of whom were very kind. Majestic Friesians was one of the first places she called and it just kind of was kismet, meeting Lori and

I wrote the first draft in September of 2014, and we started filming by February 2015. So, not very long compared to most scripts. Most of the time people will have a script for years before it gets made, but it actually was a pretty fast process.

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finding Nitrous and Hans. I guess it was a little bit easier because there are a limited number of places that train horses like Nitrous and Hans, and have horses already trained in the way that they are. So it was pretty easy. They were the only team we met with and the fit was perfect. I come from a Saddlebred background and those horses were really hot. You swing your leg over, and you're never quite sure what you're going to get. But the thing about a Friesian, I keep saying this, it reminds me of Blackfish, of the Orcas, where it's just an unimaginable power that you can feel when you are on one of them. Not even on them but just next to them, walking them. It's almost terrifying even for me, and I'm a horse person, but it is scary even just walking with them. They have so much power, but it's not an unpredictability thing like it is sometimes with Saddlebreds. It's just their sheer might. It's majestic. It lends itself really well to a fantasy film. BH: I think for that particular role, the fact that they have so much presence and so much charisma, and so much wow factor about them and when you're having such a strong lead. I think you've done well, and an excellent match for the role. CL: Yes, thank you. BH: Did you have any trouble with actors with the idea of working with a horse? Were some people going, "whoa" or was it all a bit exciting? CL: No. I mean, they all were pretty excited about it. I don't think anyone balked at it whatsoever. I think the reality of shooting with a horse, the idea of it didn't turn anyone away. The reality of it is, I mean, it's difficult. It's definitely a challenge shooting with a horse, because if you're an inexperienced actor, then you're trying to do your job the best you can, and you don't necessarily know exactly how to act, right? So, that's a challenge in itself, and

then you're having to deal with a horse doing things that maybe it's not meant to do. If it doesn't hit a mark or doesn't listen, for example, when you need it to stand still and it's swatting flies. As an actor, you're not supposed to respond to these distractions, but how do you not? And that's a challenge. But, then again if you're an experienced actor, then you have all of these preconceptions about what is a professional set and what is a professional co-star. Animals don't care, and so, I think that the experienced actors have the control, and you just have to accept that there is going to be a little bit of give and take. You have to lighten up on the control because you're not going to have it all the time. This is a massive animal. He's in control - if he wants to be. You have to work with him, as opposed to trying to impose your will upon him, and I think that that's a challenge. So, I think for both sets of people, there's a learning curve to it. BH: Did it all go relatively smoothly or were there sometimes where you had to reinvent the wheel to make it happen? CL: Well, there were a lot of times that we would have to change scenes around because the horse moved or he just didn't want to stand. There were several times that things didn’t go exactly to plan and it can get hard. Essentially

the horse is a character in the film, so we wanted to treat him as his own “person”; he isn't supposed to be a pet where we're leading him around. So the idea is, he walks where he wants to walk, and he stands where he wants to stand. But on occasion, Nitrous would just wander away, and we didn't want to tie him to things because that belittled him as a character, right? In fairness, there were 70 people running around, fuzzy booms being pushed into his face, giant lighting tarps flapping in the wind, other characters screaming and running - a lot of sights and sounds quite unfamiliar to Hans or Nitrous. When we had the time luxury for Ashley (the trainer) to do a little rehearsal, all would be fine, but we rarely had that luxury. If Nitrous wasn't standing, we would have to tie him, ground tie him or whatever. His rein would be tucked underneath a rock or behind a tree during a scene or something. You have to make your days. While those moments could be challenging, just as often Nitrous would surprise us with a behavior or reaction that would blow our minds and make the shot much better than it was originally written, so it balanced out in the end. Logistics-wise, there were a decent number of difficulties because we're filming in Bulgaria, and there weren’t many barns where we can just stable two foreign stallions. There was one in Sofia that the horses stayed at briefly, but we needed them closer, so Millennium Studios was kind enough to let us rig a pasture area for them on the studio lot. This is roughly the same as NBC letting the horses run around their studio…it caused quite a commotion, especially when they enjoyed wandering through London, Ancient Rome and other studio worlds. That’s where they stayed the majority of production, but we were also on the road in these tiny little shanty towns all throughout the country, and we'd have to have 24-hour security. One time, a group of people were trying to essentially extort money from us for having the horses’ enclosures on public

Ryan O'Nan and Dag Dia (Nitrus) between takes.

Below, both images are from scenes from the movie.

Breyer Model Horses has announced a Limited Edition model of Dag Dia from Albion will be available exclusively at BreyerFest2016. In our

next issue, you’ll have a chance to win the limited edition Dag Dia Breyer model so stay tuned to find out how you could win one!

property which they claimed was a “park”…it was actually a tiny strip of grass next our hotel. They didn’t want to let us take the horses without paying this fine. The American producers were fine paying what would be about $350 to $500 US, but out Bulgarian producing partners insisted we were being “shaken down” and wouldn’t stand for it. They summoned the mayor and a diplomatic standoff commenced. A lot of yelling in Bulgarian. But it all settled down fine. BH: You shot the bulk of the film in Bulgaria, why Bulgaria? CL: Partially because I wanted to travel and live in another place for a little while and Bulgaria is exotic and beautiful. Also, it's inexpensive to shoot there, but the most important thing is that it looks like another world. This is an independent film so we can't afford to CGI (Computer Graphic Imagery) the background of everything like they do in big Hollywood movies. So, we had to pick a place that looked like it was otherworldly, and Bulgaria definitely does. BH: That makes sense. Because it's probably not somewhere that is used for filming, so it's probably not something that the world we would know visually what it looked like. CL: Well that's the thing. They do shoot a lot of movies over there (Expendables, London Has Fallen, etc), but they generally shoot inside the studio. Bulgaria doesn’t have a lot of well-known touristy places, so it’s sites would not be familiar with most filmgoers. We filmed in the Bulgarian countryside, in fortresses and extraordinary locations, such as a cave that had never before been filmed. This works out really well for us because people haven't really seen Bulgaria, and what they have seen from the studio pictures was done in a way that isn’t recognizable as Bulgaria. People watch our film, and they say, "Is that CGI?" And we're like, "Nope. That would be a real first-century fortress that we were allowed to shoot in." BH: That's pretty cool. Is being a director something that you always wanted to do? CL: You know, it's not something I wanted to do initially. But as an actor, you often have little or no control over the

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production, your fellow actors and sometimes even your own character. You certainly have very little control over which roles you get, what days you shoot, your wardrobe, etc. As a director, you have control over all of these things. It’s not that I need control over anyone else - what appeals to me about directing is having control over my life, which I think is important. Whereas an actor’s job is essentially sitting by the phone waiting for it to ring, and then being allowed tiny little snippets of time to actually do your craft. You book two or three movies a year, which is considered pretty good, and each of those projects may take you, at maximum, a month, right? Sometimes more if you're doing studio films, but you’re still working around 90 days of actual filing out of 365 days in a year - and that's a good year. The rest of the time you’re looking for work and that is just no fun. So it's all very frustrating. With directing it's a completely different ball game. A single film is a yearlong commitment, and you’re doing something different every single day. You have a real stake in it; this is your baby. You get to participate in shaping not only your character, but all of the characters, the storyline, the audience’s emotional connection to the project. It’s much more fulfilling. I’ve directed projects for Harvard, but I didn't intend to become a director initially. Even this project I didn't expect to direct. I was writing it because I wanted to act. Then, I ended up directing it, and now I've just completely fallen in love with directing and it's great because you feel this sense of community that I haven't really had much in my life. So that's what I love about it the most, you know! a

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Here at BH we would like

to thank Castille,

for taking the time out to talk to us again, and it has been a pleasure and fascinating to learn more about the filming of Albion ! 

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et us give you tips and techniques on how we train our movie horses! Offering clinics on driving, starting, trick training, desensitizing, and liberty work! Let us help create a great bond and partnership! Ashley Klein trained horses for motion pictures ( Albion and the Enchanted stallion) Commercials and has also been on RFD TV and RT TV! Ashleys Training is broke up into small steps for both horse and riders to understand! Our team is very passionate about the Friesian breed and selling top quality horses and matching them with the right partner! If you are interested in importing and not sure how to start we can help! We love sharing our love for the Friesian breed and educating others! Let us help you find your next DREAM HORSE!

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TRANSFORMATIONS QUARANTINE CENTER Our goal is to offer top quality and assure your horses are always in great hands though the whole process by keeping you informed on how they are doing and giving them love and attention like one of our own! We feed top quality hay, and feed! All horses at our quarantine center are showered and groomed on a daily basis and are always in a clean safe environment! Meet Willem Vander Kooi, manager and primary care provider at our quarantine center. Willem was born and raised in Friesland and has lots of experience

Also a special thanks to Alex Nijboer of horses2fly fir the excellent shipping rates and one of his grooms, Bjorn te Lintelo for the amazing handling and knowledgeable care he provided to our movie horses during transport for filming of Albion: The Enchanted Stallion.

with the Friesian horses and other breeds as well! Willem is very passionate about his work and does a great job running the quarantine center! He also handles all paper work for quarantine and shipping of the horses! Special thanks to Nick and Kirstin Feela, Stephanie Tronson and Clint Gitchel for making our team complete itâ&#x20AC;&#x2122;s a great pleasure to have you all on our team!

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RAPIDLY GROWING DISCIPLINE TAKING AMERICAN EQUESTRIAN SCENE BY STORM

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By Sue Weakley WESTERN DRESSAGE HAS REIGNITED A PASSION IN MANY RIDERS WHO HAD HUNG UP THEIR SHOW COATS AND SPARKED INTEREST IN MANY WHO HAD NO DESIRE TO SHOW. THE WESTERN DRESSAGE ASSOCIATION OF AMERICA (WDAA), THE COWBOY DRESSAGE ASSOCIATION AND THE NORTH AMERICAN WESTERN DRESSAGE ASSOCIATION (NAWDA) HAVE SPEARHEADED A REMARKABLE REVOLUTION IN THE AMERIÅCAN EQUESTRIAN SCENE.

Pic Left: Eitan and Santa Fe Renegade 2010 World Equestrian Games Lexington, KY. Allyson Wolff Photographer.

National and State affiliates of WDAA, as well as two other organizations, North American Western Dressage and Cowboy Dressage, have been getting the word out, and channeling the energy and enthusiasm. The reception in the horse world has been nothing short of astonishing. The WDAA World Show, held annually in the autumn, has grown from 139 rides to 600+ in three years, and WDAA State Affiliates have developed locally based clinics on a host of subjects to help the amateur rider develop their skills. Cowboy Dressage events have

experienced equal success with stand alone shows. Their first Cowboy Dressage Finals Gathering/Horse Show in 2013 had 500+ rides and in 2014 they had 800+ rides. In 2015, they jumped to just under 1000 rides. Additionally, the NAWDA has seen enormous participation in their online educational programs and virtual shows. So what is it about Western Dressage (WD) that has inspired the dressage faithful who had never donned a Cowboy hat to decide to give the sport a try? Some say it was the stunning displays of Eitan Beth-Halachmy on his beautiful Morgan stallion Holiday Campadre that captured the hearts and imagination of many to spark the interest in the sport. Eitan’s motto, “When dressage suits your needs, but a Stetson suits your lifestyle,” has become a mantra

Left: Jen Johnson, President of NAWD.

for the Western Dressage faithful. Eitan (known to his friends as “8”) was born in Israel, where a regard for horses and horsemanship was instilled into him at an early age and it remains the foundation of this training methods and philosophy.

philosophy than just a competition. It is focused on soft feel and kindness to your horse. Eitan modified the traditional dressage court for Cowboy Dressage competitions and it has become an international phenomenon.

While attending the University of Vienna in pre-veterinary medicine, he spent time observing at the Spanish Riding School. There he watched, listened and absorbed. He then traveled to the United States to continue his studies at the University of California at Davis. There, he had to face the fact that what he really wanted to do was train horses and he began to pursue his dream. At the same time that he was making inroads into the American horse industry, he became a successful sculptor. Here he explored the artistic balance between form and function, a balance the philosophical horseman still finds relevant to bringing out the best in a horse. His desire as an artist to create harmony, beauty and balance in his horse sculptures is evident in his riding as well. Astride Compadre he demonstrates his own brand of horsemanship in which he applies his years of childhood training in classical dressage to Western riding.

The Western Dressage Association of America (WDAA) went its own way, and in a few short years, the WDAA went from a concept in the minds of some truly visionary equestrians to a full-fledged USEF recognized discipline with a mission that states: We honor the horse. We value the partnership between horse and rider. We celebrate the Legacy of the American West. The Western Dressage Association of America uses the same court for their tests as traditional dressage, making the classes convenient to offer at traditional dressage shows, but Western Dressage is not just about showing. It is about delivering the precepts of classical horsemanship in a format that increases the harmony between horse and rider, and enhances the rideability of the Western horse, regardless of breed. The WDAA offers many clinics, including the Train the Trainers™ program, to educate trainers on the concepts needed to correctly train their students and horses.

Eitan and his friend Jack Brainard, one of the most respected trainers in the Western horse world, began talking about how to bring dressage into the Western disciplines. The competition and tests were created and Western Dressage was born. Ultimately the people who held office in the Western Dressage Association of America and Eitan had different visions, they parted ways, so he returned to his original vision and started Cowboy Dressage. Cowboy Dressage has been Eitan’s trademark since 1994 and it’s more of a

The North American Western Dressage Association (NWDA) was founded as a way for people who did not live close to shows or trainers to be able to get involved with virtual shows and clinics, but their primary goal is education. It is worth noting that to show their dedication to classical traditions, NAWD judges will not award a score above a 4 for any movement if the horse is being held behind the vertical. While many disciplines pay lip service to upholding classical principles, the NWDA is firm with its directive to its judges. The

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WE HONOR THE HORSE. WE VALUE THE PARTNERSHIP BETWEEN HORSE AND RIDER. NWDA has grown by leaps and bounds and in 2015 they showed a 150 percent growth rate with riders submitting over 850 rides through their virtual show system. In 2016, there are six virtual shows scheduled with approximately 1200 anticipated submissions. The ideal horse for the sport is calm, supple, handy, obedient, safe, versatile, fun and comfortable to ride. Western Dressage tests are somewhat similar to USDF tests, but the emphasis is on rideable gaits, rather than the lofty suspension desired by competitive dressage, and as such, it holds wide appeal to riders who do not have the athletic prowess or desire to ride such big gaits, and who want to use classical dressage principles to produce an allaround horse they can take in many different directions. Western Dressage welcomes all breeds of horses without prejudice. In fact, Jen Johnson, the found of the NWDA, is a fan of the Baroque Breeds; her Western Dressage partner is a Friesian.“When I started Western Dressage in 2010, it was to get involved with a challenging, progressive discipline in which my Friesian could participate while I rode in my Western saddle,” she said. “We have enjoyed participating in clinics and shows. Baroque horses are made for this discipline!”

Photo: Linda Shore and "Coupe"

WD PLACES THE EMPHASIS ON CORRECT TRAINING WITH IMPULSION APPROPRIATE TO EACH HORSE’S ABILITY .... Frances Carbonnel on the PRE stallion Esteban and her Half Andalusian gelding Jubilee Banjo, have garnered top honors in the upper levels of the sport and they earned the titles of 2014 World Champion at both Second and Third Level Open, 2014 World Champion at Second Level Freestyle, and 2015 World Champion Third Level Freestyle. Frances has been involved with Western Dressage of America since its inception, bringing her knowledge of competitive dressage

to the table. She is a USDF Bronze, Silver and Gold Medalist with her imported PRE stallion Fino. However, Frances is also a Wyoming native, well steeped in Western riding traditions, and she has a longtime commitment to the Iberian breeds. She has found WD to be an ideal discipline for her purebred as well as her partbred horses, and endorses the softer approach to training that WD espouses. A two-time recipient of the IALHA Professional Horsewoman

of the Year Award and a winner of National Championships in multiple disciplines, her credibility as an all-around horsewoman has been helpful in collaborating on the creation and promotion of this new discipline. “WD places the emphasis on correct training with impulsion appropriate to each horse’s ability originating in the hindquarters, translating without resistance through the topline to a soft connection to the hand,” she said. She believes Western Dressage

Established in 1972 and the only Association in Australia to hold the stud books for the Purebred Spanish Andalusian, the Australian Andalusian, the Partbred Andalusian, the Hispano-Arabe and the Purebred Iberian (this registry is shared with the Lusitano Horse Association of Australia)

FOR INFORMATION ON THE BREED

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

WD VALUES THE RIDEABILITY OF THE BAROQUE HORSES WDAA World Show Esteban Awards

is a dream come true for many Iberian enthusiasts who love the classical gaits and talent for collection their horses possess, but find that they are not given the value they deserve on the dressage court because they do not have the suspension of the warmblood breeds. WD values the RIDEABILITY of the Baroque horses. Colette Sossaman, on her PRE Stallion Jovial D and Diesel her part-bred gelding sired by Jovial D, brought home a Reserve World Championship and Diesel went Top Ten in his first time off the farm. Colette runs Gemini Farms Texas, just outside of Dallas, Texas, and is an eight-time Multi-Level National Champion and a USDF Bronze Medalist who brings more than 45 years of training, competing, managing and teaching to the arena. Her innovative Riding Lessons to Go, an audio riding lesson program that has won critical acclaim, will also be offering audio lessons catered to those who want to learn Western Dressage. “I was drawn to the Western Dressage by sheer curiosity,” she said. “I had heard brief mentions of it for a few years and came across a Train the Trainers™ seminar hosted by WDAA in Oklahoma. When I emailed for further information, the response came from my old friends and long time saddle fitters Mike and Shasta Corcoran. Small world! I signed up for the seminar which would allow me to see what Western Dressage was all about and, if nothing else, it was a really good excuse to reunite with my friends. I spent three days in Oklahoma immersed in the Western Dressage community and fell in love with dressage all over again. The Western Dressage theories and philosophies were those of the classical

training methods that I had embraced and implemented my entire career.” She made a decision that weekend to prepare three horses to compete in the World Show in November. “Honestly, my biggest reservation was sitting in a clunky, huge Western saddle that made me feel like I was sitting three stories away from my horse, instead of my custom, close-fitting, wrapped around my horse, English dressage saddle. How was I going to feel my horses without my traditional dressage saddle?” To solve the problem, she tried one of Mike Corcoran’s custom made Western dressage saddles and she was sold. “It is truly a brilliant piece of work,” she said. “I ordered my saddle and haven’t looked back. I was thrilled to see the caliber of riding at the World Show, the friendly community of horsemen and the quality of happy, well-trained horses” Collette believes the the Baroque horse is well-suited for Western Dressage due to its generally short coupled conformation, agility and ability to work with the mental focus necessary for the sport.

all. They also are rolling out sanctioned classes at local shows as well as points programs for horses and rider for those who like to show. The NAWD also has programs for people in remote areas who want to participate, but can’t travel, via webinars and Internet competitions. See their website for details. Contact one of the three major organizations for activities and programs offered near you: the Western Dressage Association of America at www.WDAA.org, the North American Western Dressage Association of America www. northamericanwesterndressage.org and Cowboy Dressage Association www. cowboydressage.com. Don’t have an Affiliate in your area? Contact WDAA, NAWD or the Cowboy Dressage Association to start one! In Australia www.westerndressage.com.au

Like other Baroque enthusiasts, you may find that with the sport’s emphasis on classical principles and the Baroque horses’ innate ability to excel in the sport, Western Deessage exciting discipline just may be for you! HOW TO GET INVOLVED: Many state affiliates offer clinics for all levels of riders, to help learn better harmony with your horse, but that’s not Eitan and Cheyenne Gold - Photo by Deby Zyrate

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PART ONE

bloodless

CALIFORNIA ARTICLE AND PHOTOS BY KATHRYN BARRETT WITH ARCHIVE IMAGES PROVIDED BY THE SOUSA FAMILY

BULLFIGHT This is the first in a series of articles taking a look at the tradition of bloodless bullfighting in California. Bullfighting is a hot-blooded topic with a lot of stigma attached to it. To be clear… these articles are only about the bloodless bullfighting tradition that is practiced in California. I encourage you to read through all of the articles before settling on a judgment.

ABOUT KATHRYN BARRETT

I am a horse trainer, photographer, and journalist. I believe in and practice fair and ethical treatment of horses using knowledge of physiology and psychology to find what approach works best for each horse and each situation. I spent 18 months as a working student for Manolo Mendez. I have also attended clinics with Buck Brannamon and several other gifted equine professionals that have helped shape my approach to horses. I bring that perspective when I discuss this very sensitive topic. I have been researching this issue for months and intend to take a full, rounded look at bloodless bullfighting.

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this series of articles, we will first explore the history of bloodless bullfighting in California. The second article will cover the raising and training of the Lusitano horses and Spanish bulls. And finally, the third article will investigate some aspects of the bloodless bullfight itself and what it’s like to ride a bullfighting horse. Throughout this series, many of the issues associated with bullfighting will be addressed from multiple perspectives. Let’s begin by learning about the history of this tradition as it developed in California. Bullfighting is an art and a tradition with roots reaching clear back to prehistoric bull worship in Mesopotamia. Possibly the first recorded bullfight is in the Epic of Gilgamesh where Gilgamesh and Enkidu fight and kill the Bull of Heaven. Since that time, traditions involving man vs. bull have taken on many forms: bull leaping in Crete, gladiatorial contests in Rome, and finally in Spain the tradition we have today of bullfighting on horseback and on foot began. And bullfighting continues to evolve. In California, one community, in an effort to bring a little bit of their cultural tradition to their home in the New World, found a way to adapt bullfighting yet again: making it bloodless. California is home to over 330,000 Portuguese or Portuguese descendents. In the Central Valley of California, in the 1970s, three families, the Sousas, Borbas, and Correias, got together and began working to bring bloodless bullfighting to California. All bullfighting was banned in 1957, with

one exception: the bloodless variety. It is permitted under the California penal code- CA PENAL § 597m- which states (in summary) that bullfights, bloodless or otherwise, are illegal except when held in connection with a religious celebration or religious festival. Therefore all bloodless bullfights in California are associated with a religious festival or “festa.” Under this exception, bloodless bullfights started in the 1960s with the Borba family putting on bloodless bullfights using mixed breed bulls, mostly of the Brahma variety, using bullfighters on foot called matadors. If you’ve ever met a Brahma bull, you can just imagine what those events were like. Brahmas are not only aggressive, they also tend to be a bit unpredictable. When they charge, they don’t always come straight, sometimes twisting, stopping, or veering off. They may be great for a rodeo, but not so good for bloodless bullfighting.

Cavaleiro Manuel Ribeiro Telles Bastos on Xavante, owned by Coudelaria Agualva and in red, his bandarilheiro Antonio Ribeiro Telles Bastos await the bull.

A bloodless bullfight overview:

After some ceremonies that initiate the bullfight, the first cavaleiro on his first horse enters the ring. The bull is sent down a passageway, and emerges into the arena. The bull and cavaleiro engage each other, with the cavaleiro attempting to place two long bandarilhas on the bull. The cavaleiro will then usually switch horses so he can then place usually three shorter bandarilhas on the bull. Once this has been accomplished, the cavaleiro is finished and exits the arena. The bull remains in the arena where he will next meet the forcado, a group of eight men who attempt to catch and stop the bull during a charge. Once they have finished, the forcado exits the arena. A group of trained oxen or steers are then sent in to gather up the bull and escort him out of the arena.

BLOODLESSBULLFIGHT

In 1973, Manuel Sousa took his family on a vacation to the island of Terceira in the Azores. They attended several traditional Portuguese bullfights featuring Spanish fighting bulls and Lusitanos. Manuel Sousa Jr. was so taken with the bullfights, he suggested to his father that they bring more traditional Spanish bulls and Cavaleiro Julio Vilhena from Portugal on the Sousa's horse Socrates

Portuguese bullfighting to California. Portuguese bullfighting differs from Spanish bullfighting in several ways. In Portuguese bullfights, the bull is not killed in the arena. The killing of the bull was banned by the Marques de Pombal in the mid-1700s after the son of a famous bullfighter was gored to death. The killing of bulls returned to Portugal in the 1920s experimentally, but was quickly banned again in 1928 by Antonio Salazar after many bullfighters shed too much of their blood and their horses blood that the spectators began to complain. Not satisfied with the Brahma bullfights, Manuel Sousa and Manuel Correia wanted to introduce a more “authentic” bull into the ring. So they set out to procure Spanish fighting bulls. The origins of the Spanish fighting bull are a bit murky, but they hale from the Iberian

Peninsula with some possible lineages traced to North Africa. Throughout their breeding history, the bull’s notorious temperament has been maintained and probably augmented through careful selection. Sousa and Correia sought out Spanish fighting bulls from over the border in Mexico. In 1974, Sousa bought a large piece of land in the hills west of Crows Landing in the Central Valley of California where he intended to raise beef cattle. At the time, he could only import a limited number of Spanish fighting bulls…. and they had to be castrated. Sousa was already importing beef cattle from Mexico, so he asked his broker to bring over 3 purebred Spanish fighting bulls. During one such shipment of bulls, one lucky guy made it through without going under the knife, and Sousa had himself

Bulls bred by the Sousa Family

The church of Pilar, on the Sousa Family property.

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Arial Shot of the Sousa Property and Bullfighting Arena.

Manuel Sousa (left) and Congressman Tony Coelho

a bull he could breed. He began to breed the Spanish bull to his cows resulting in half-bred fighting line. Sousa met with everyone he could to try and make the California bloodless bullfights as authentic as possible. His daughters, Maxine and Liliana, remembered those years as being full of nightly dinner conversations about bulls and bullfighting. Sousa would travel back to Terceira and Portugal every summer, spending hours talking with people to ensure authenticity. Back in California, each time new bullfighters came over, their discussions revolved around maintaining tradition and how to move it forward. Up until that point, all the bullfighting had been on the ground, on foot, with matadors from Mexico. In 1975-76, Sousa brought over the first Portuguese cavaleiro, a bullfighter on horseback. His name was João Carlos

Pamplona. At that time, there were no horses in California who knew how to bullfight and no one who could train them. The Sousas put up their own ranch and pleasure horses for the training. Pamplona had his hands full training the horses to go into the bullring and to come back out. Pamplona would come over from the Azores and stay for months at a time, training the horses, preparing them for bullfighting. For several years, Pamplona came every summer to work with the Sousas, training their horses, and participating in the bloodless bullfights. In Portuguese bullfighting, the cavaleiro aims to place several sticks called bandarilhas (pronounced banda-leira-gh) between the bull’s shoulders. The bandarilhas are of varying length and are decorated with colored ribbons. Placement is very important and is a point of pride for any bullfighter. But in bloodless João Carlos Pamplona entering the arena

bullfighting, there is no spear on the end to pierce the bull’s hide. Because the bandarilhas had no sharp end, they would not stick to the bull. This presented a safety problem for the bullfighters. When placing the bandarilhas, the bullfighter expected

BLOODLESSBULLFIGHT

to push off the bandarilha and get himself out of the way of the bull, but instead he would end up face to face with a very ornery animal. In the late 70s, Velcro became more widely available and seemed like the perfect solution to the problem. A thick pad was sewn together with Velcro as a covering. Animal glue was used to secure it to Alberto Conde helping cavaleiro João Ribeiro Telles prepare before entering the arena for the opening ceremony.

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the tops of the bull’s shoulders. (Adhesive for livestock is commonly used and does not harm the animal.) With Velcro tipped bandarilhas, the bullfighters could reliably place them, getting the push off they were expecting, keeping them off the bull’s horns. The term “bloodless” doesn’t just refer to the bulls-- it applies to all the participants: bulls, horses, and bullfighters. The Sousas were very strict about the laws regarding bloodless bullfighting: they had to be bloodless, no exceptions. They had built their own arena on the property in the hills. As their bullfights began to attract larger crowds, people from the Humane Society started showing up with badges, threatening to shut the events down, and claiming the bulls were being tortured. The Sousas did their best to educate the activists about the nature of the bull and what exactly goes on during a bullfight. The activists were given every opportunity to come in to learn about how the bullfights are carried out. But most of their attempts were met with complete rejection of all information. In order to host these bullfights, the Sousas registered a church on their property in the hills. This allowed them to put on bullfights for religious festivals. Sousa built a small chapel on his property that is a miniature replica of the church in his home village in Terceira. The chapel is named Ermida de Nossa Senhora do Pilar, Chapel of Our Lady of Pilar. This was a

family run operation with their home and assets at risk. Sousa took no chances-- his bullfights were absolutely bloodless. In 1983, Sousa went so far as to work with Congressman Calderon to legalize bloodless bullfighting. He and his daughter Maxine traveled back and forth to Sacramento, attended many meetings, and discussed the traditions with many stakeholders. In the end, Sousa dropped the fight to legalize it, realizing that if they got bloodless bullfighting formally recognized, their small, family oriented, community events could be taken over by mafia style groups from Mexico with a lot more money. They instead opted for a more family friendly, personal event. However, this did not stop some animal rights activists from sending death threats to Sousa and his family. The animal rights groups claimed that the bullfights were abusing the bulls. But bullfighting relies on using the bull’s innate nature to get him to charge at movement. The Spanish fighting bull has been honed for centuries to charge straight at movement. Having been selectively bred for only that purpose, the Spanish fighting breed owes its existence to bullfighting. There is no denying that an event like

A bull wearing the velcro pad used to catch the velcro tipped bandarilhas. You can see the glue around the edges. The ribbon indicates who the breeder is.

this causes some stress for the bull. But when compared to other sports such as bull riding, calf roping, cutting, or any sport that involves using cows or bulls, it doesnâ&#x20AC;&#x2122;t seem that bulls used for bloodless bullfighting get any more stressed than those in other events. When you compare bloodless bullfighting with the other sports that involve handling of cattle- the Spanish fighting bull might even have an easier time. The Spanish fighting bull lives in pastures away from human contact for 3-4 years. Then he is brought in and prepared for the bullfight. His horns are covered with a protective sheath of rawhide, and he is loaded into a trailer and taken to the bullfight arena. He goes into the arena for about 20 minutes. And then he is done, never to see the arena again. A bull can only be used once because they are supremely intelligent and learn very quickly how the cavaleiro or matador behaves. And with that knowledge, he will try to kill them. So itâ&#x20AC;&#x2122;s a one-time event for the bull. After the bullfight, if he was a good bull, he will be kept for breeding. We, as a culture, accept the rodeo and do not send death threats to cowboys who rope calves or ride bulls. The bloodless bullfighting tradition should be considered in the same light as other sports where cattle are used. Today, the three original families have become mostly spectators to the tradition they

Alberto Conde aboard Quina owned by Coudelaria Agualva during a bloodless bullfight in California

Ernest Hemingway said this about bullfighting: Bullfighting is the only art in which the artist is in danger of death and in which the degree of brilliance in the performance is left to the fighterâ&#x20AC;&#x2122;s honor.

BLOODLESSBULLFIGHT

Alberto Conde and Vistoso owned by Coudelaria Agualva. The bull is full of energy when he first enters the arena, and the cavaleiro must be quick on his feet.

A bullfighting bull can only be used once because they are supremely intelligent and learn very quickly how the caveleiro or matador behaves. And with that knowledge, he will try to kill them.

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helped to create. Manuel Sousa and Frank Borba have passed on, but Manuel Correia is still alive and all three families continue to be involved in various aspects of the sport. The laws governing bloodless bullfights are still in effect and the events must remain bloodless. But like in any sport, not everyone abides by the rules. Are there cases where some form of sharp bandarilha is used to try and, if not pierce, at least poke the bull? Yes. Is it condoned? No. And when it’s caught, there are hefty fines and law enforcement officers do have the power to shut down a bloodless bullfight if they believe the animals are being unfairly treated. There are many types of people who go to watch the bullfights. For some, it’s a social event. For others, it reminds them of family history or home. But for many, it’s a chance to watch an old art form, where a man weighs his skill and bravery against a worthy adversary. In our American culture, we have bull and bronc riding as our “equine-related gladiatorial contests.” For the Portuguese, and many Spanish cultures, they have bullfighting. It is a dance. The cavaleiro must have absolute confidence in himself, his horse, and in his ability to read the bull. The three dancers lead and follow one another through ancient movements where both sides of the fight have their intelligence and bravery tested, linking them to centuries old breeding and training.

Joao Ribeiro Telles prepares to place a bandarilha

João Ribeiro Telles saluting the crowd during the opening ceremony

Bullfighting is alive. It’s not frozen in time. It continues to evolve as it has done for thousands of years, adapting to the culture it resides in. And bloodless bullfighting is the latest incarnation. It allows the tradition to be maintained without the loss of blood for any of its participants. Ernest Hemingway said this about bullfighting, “Bullfighting is the only art in

which the artist is in danger of death and in which the degree of brilliance in the performance is left to the fighter's honor.”

THANK YOU Many people gave their time and knowledge to me as I researched these articles. I am deeply grateful to them for bringing me into their homes and lives to learn about this tradition. • The Sousa Family • Frank and Joe Correia • Raul Cardoso • Marcelino Cardoso, Coudelaria Agualva • Alberto Conde • The Ribeiro Telles Family

In the next article

in this series will explore the history, breeding, and care of the Spanish fighting bull and learn about how bullfighting has single-handedly created the magnificent Lusitano horse. Both the bull and the Lusitano owe their existence to bullfighting. 

major

misconceptions

THE BULL IS USED MULTIPLE TIMES – FALSE!

THE HORSES ARE TERRIFIED TO BULLFIGHT – FALSE!

A bullfighting bull can only be used once. He learns too much during the bullfight and with that knowledge becomes very dangerous.

Just like in any equestrian sport, some horses like their job, some would prefer another vocation. A scared horse is not a reliable partner to take into the bullring and the cavaleiros don’t want to use a scared horse. Good trainers will figure this out and not use the horse for bullfighting.

THE BULL IS CORNERED AND SCARED INTO CHARGING – FALSE! The bull charges at movement. Although the bull is likely disoriented and unsure about the whole event, he is certainly not cornered and bullied into charging. However, he is defending himself from a perceived threat.

BLOODLESSBULLFIGHT

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F Artist Profile

Tricia Scheele

rawing has always been part of Triciaâ&#x20AC;&#x2122;s life as long as she can remember and combining this with the amazing beauty of horses brings her pure joy with each painting she does.

She was a typical young girl loving and dreaming of horses. As the years progressed on her 16th birthday, she eventually got her own horse. As she learnt to ride her thirst of educating herself grew whilst working with like-minded horse people. This love has never abated When Tricia wasnâ&#x20AC;&#x2122;t with horses, horses were all she could think about. She drew pictures of them wherever she could; she covered her school books with horses and whatever else she could find to draw on. Tricia strives to portray the joy and freedom that horses bring into our lives in her artwork. Painting horses in motion and the fluidity of their movements with a twist of Tricia is an emotion filling image to adorn any wall.

BH. You have a very distinct style, how did this come about? What inspired you to paint this way? TS. I love ink and watercolour and the way the colours bleed and flow. Playing with water media led me to using the same techniques with ink and acrylics for a more permanent image on canvas. In saying that all mediums present different effects and depending on what I what the desired end result to be depends on what I will use. I would love to do sculptures and have some ideas but havenâ&#x20AC;&#x2122;t got around to this yet. BH:

What do you like to paint the most?

TS. I love to paint horses in action as this shows their beauty and strength and is emotion filled. This also works with my abstract and fun design and allows me to add strong colours to enhance the final artwork. Portraits are very personal and are still rewarding to paint when I capture the character of the horse for the owner.

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BH: Do you have a favourite painting you've done? TS. I'm always striving for more, and each painting endears me in a different way. My last painting is always my favourite as it is fresh and new. BH: Do you have any particular artists that inspire you? TS. There are so many talented artists it 's hard to choose one. I have shelves and shelves of books of these artists and these inspire me. My students inspire me when I see their talent growing and their desire to learn! BH: The horses you draw, where do you get your inspiration from? TS. My pasture of ponies and friendsâ&#x20AC;&#x2122; horses inspires my work. I take millions of photos everywhere I go, and it might be years before an image finally clicks, and I use it in my work.

Tricia Schelle

Tricia Schelle BH: Can someone get you to paint their horses? TS. I love commissions! It's wonderful to hear of the relationships between owner and horse and to give them a painting that will portray their souls. BH: Where can people find your artwork for sale? TS. I sell mainly from my Facebook page Rusty Halo Studios, and I auction off my original paintings. You can also find my work for sale on Esty, and I do ship internationally. BH: Thank you Tricia for taking the time to talk to us and to share with us your gorgeous work. a

How to find Trica online: facebook.com/Rusty-Halo-Studios-117871274986906 etsy.com/au/shop/RustyHaloStudio

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TRAINING

TIPS

your should know

1 2 3 4 5

Ashley Klein

and

TRANSFORMATIONS EQUESTRIAN CENTER

AT FIRST ONLY ASK FOR ENOUGH TO BUILD OFF OF Many times people will ask for too much too fast, start out small and progressively build from there!

BUILDING CONFIDENCE IS A GREAT WAY TO TEACH YOUR HORSE TRUST! I like introducing my horse to many new things, the more you introduce them to new things, the more new scary things become easier to get over!

MAKE THE RIGHT THINGS EASY AND THE WRONG THINGS HARD! I always like to tell my horse when they are doing the right thing with a simple good job and a pet on the neck! When they are doing the wrong thing, letting them know with a strong voice and a correction! Remember you are also training your horse to learn and consistency is key!

MAKE SURE YOU ARE YOUR HORSES LEADER! Controlling movement establishes leadership make sure you are controlling your horses movement and your horse is not controlling yours!

ALWAYS END ON A GOOD NOTE! When training your horse always end on the best they can do at that time, remember when you quit a horse youâ&#x20AC;&#x2122;re rewarding them!

Ashley Klein is the owner and trainer of Transformations Equestrian Center her training techniques are based off of trust, praise, and building the right foundation while gaining confidence for not only the horse, but the rider as well! We specialize in freestyle natural horsemanship, liberty freestyle, driving, desensitizing, starting young horses, problem horses and Keuring preparation! Ashley has prepared horses for motion pictures, RFDTV, HRTV, and proven success with Keuring preparation.

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DID YOU KNOW? Psychologists studied how 28 horses reacted to seeing photographs of positive versus negative human facial expressions. When viewing angry faces, horses looked more with their left eye, a behaviour associated with perceiving negative stimuli. Their heart rate also increased more quickly and they showed more stress-related behaviours. The study, published today (10 February) in Biology Letters, concludes that this response indicates that the horses had a functionally relevant understanding of the angry faces they were seeing. The effect of facial expressions on heart rate has not been seen before in interactions between animals and humans. Amy Smith, a doctoral student in the Mammal Vocal Communication and Cognition Research Group at the University of Sussex who co-led the research, said: "What's really interesting about this research is that it shows that horses have the ability to read emotions across the species barrier. We have known for a long time that horses are a socially sophisticated species but this is the first time we have seen that they can distinguish between positive and negative human facial expressions."

FOR THE FIRST TIME HORSES HAVE BEEN SHOWN TO BE ABLE TO DISTINGUISH BETWEEN ANGRY AND HAPPY HUMAN FACIAL EXPRESSIONS. "The reaction to the angry facial expressions was particularly clear -- there was a quicker increase in their heart rate, and the horses moved their heads to look at the angry faces with their left eye." Research shows that many species view negative events with their left eye due to the right brain hemisphere's specialisation for processing threatening stimuli (information from the left eye is processed in the right hemisphere). Amy continued: "It's interesting to note that the horses had a strong reaction to the negative expressions but less so to the positive. This may be because it is particularly important for animals to recognise threats in their environment. In this context, recognising angry faces may act as a warning system, allowing horses to anticipate negative human behaviour such as rough handling." A tendency for viewing negative human facial expressions with the left eye specifically has also been documented in dogs. Professor Karen McComb, a co-lead author of the research, said: "There are several possible explanations for our findings. Horses may have adapted an ancestral ability for reading emotional cues in other horses to respond appropriately to human

facial expressions during their co-evolution. Alternatively, individual horses may have learned to interpret human expressions during their own lifetime. What's interesting is that accurate assessment of a negative emotion is possible across the species barrier despite the dramatic difference in facial morphology between horses and humans." "Emotional awareness is likely to be very important in highly social species like horses -- and our ongoing research is examining the relationship between a range of emotional skills and social behaviour." The horses were recruited from five riding or livery stables in Sussex and Surrey, UK, between April 2014 and February 2015. They were shown happy and angry photographs of two unfamiliar male faces. The experimental tests examined the horses' spontaneous reactions to the photos, with no prior training, and the experimenters were not able to see which photographs they were displaying so they could not inadvertently influence the horses. a Story Source: The above is reprinted from materials provided by University of Sussex. Note: Materials may be edited for content and length.

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QUALITY

KENTUCKY EQUINE RESEARCH A horse with poor-quality hooves can be a concern for its owner. Particularly in parts of the world with a hot, dry climate, horses may have hoof horn that is dull, brittle, and easily chipped or split. If hoof problems become severe, the horse is at increased risk for lameness that can impact its comfort and performance. Rethinking a complete hoof management program for these horses often leads to hooves that look better and help the horse stay sound. However, just as owners canâ&#x20AC;&#x2122;t change the climate where their horses live, they also canâ&#x20AC;&#x2122;t expect quick results. Building strong hooves takes at least six to twelve months. Hoof growth is influenced by several factors. These include age, breed, genetics, metabolic rate, exercise, external temperature, environmental moisture, illness, trimming, and shoeing. Important nutritional influences include energy intake, protein and amino acid intake and metabolism, minerals such as zinc and calcium, and vitamins such as biotin and vitamin A. When faced with poor-qualityÂ hooves, the first thing to consider when evaluating a feed program is total energy intake. Meeting energy requirements may be the first and most important step in ensuring hoof growth and integrity for horses kept in any climate. A horse in negative energy balance will utilize protein in the diet or body to make up energy needs for maintenance or growth. This may create a secondary protein or amino acid deficiency.

ARTICLE BROUGHT TO YOU BY

Excellent Nutrition Produces Bet ter Hoof Qualit y

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Research has shown that hoof wall growth was 50% greater in growing ponies that were in positive energy balance than in ponies on restricted diets with reduced body growth rate. It is a common observation that when horses gain weight on lush spring grass, they also grow hoof faster. Recent research has shown that increasing the dietary intake of fat has little effect on hoof growth rate or strength, but fat can be a valuable addition to the diet in the role of maintaining positive energy balance. Aside from energy, a well-balanced diet will provide nutrients the horse requires for overall health and well-being, and these in turn will help fuel sound hoof growth. The hoof wall is about 93% protein on a dry matter basis, and highquality dietary protein will supply the horse with the amino acids researchers have theorized are essential for hoof growth. Protein-deficient diets lead to reduced hoof growth and splitting and cracking of the hoof, but it has been shown that diets intended to support more rapid growth of young horses do not necessarily maximize hoof growth. This suggests that the amino acid needs for general body growth and faster hoof growth are different, and scientists have studied this difference in search of the most important nutrients for producing better hooves. Most of the emphasis on research on hoof growth and hoof wall quality has

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involved biotin. It is thought that the normal horse has a biotin requirement of 1-2 mg per day, and this can be supplied in certain feedstuffs as a component of commercialÂ vitamin and mineral premixes or by intestinal synthesis by microorganisms in the large intestine. Biotin is a cofactor in a number of enzyme systems. In other animals, chronic biotin deficiencies lead to lesions of the skin and other keratinized structures, and supplementary biotin was first used in pigs to treat hoof problems. Studies have shown that supplemental biotin at levels of 15-20 mg per day had positive effects on hoof quality in some horses, but does not assist all horses. A German study on the long-term influence of dietary biotin in horses with brittle hoof horn and chipped hooves was conducted over periods from one to six years. Ninety-seven horses received 5 mg of biotin per 100 to 150 kg of body weight daily; 11 horses were not supplemented with biotin and served as controls. The hooves of all horses were evaluated macroscopically every three to four months and horn specimens of the proximal wall were examined histologically and physically in 25 horses. The hoof horn condition of the biotinsupplemented horses improved after eight to 15 months of supplementation, while the hoof horn condition of most control horses remained constant throughout the study. The hoof horn

condition deteriorated in seven of 10 horses after biotin supplementation was reduced or terminated. The horn growth rate of treated horses and of control horses was the same. Biotin only improves the growth of new hoof horn, not existing hoof, so its effectiveness depends on reliable administration at recommended levels. Because of this, several weeks may elapse before a noticeable difference exists in new hoof growth near the coronary band. It should be noted that some horses respond more positively to biotin supplementation than others. Just because biotin supplementation fails to improve one horse’s hooves, doesn’t mean it will not help the next horse’s hooves. In addition to energy and protein, a nutritionally sound ration features a full complement of vitamins and minerals. Premium feeds will contain chelated forms of minerals. Chelation, a process that binds a mineral to an amino acid, enhances absorption of the mineral. Certain minerals have been scrutinized more closely for their connection to hoof health. Zinc has been the focus of much research, primarily because it is involved in the health of skin, hair, and hooves. Evidence suggests that low levels of zinc may cause horses to be more susceptible to hoof problems. Studies showed that 25 horses with poor-quality hooves had lower blood and hoof levels of zinc than 38 horses with normal hooves. More recently, a study in Japan revealed that horses consuming diets low in zinc and copper were more likely to have white line disease than horses supplemented with higher levels of trace minerals. Consultation with an equine nutritionist is advised when formulating a ration for your horse. A professional will ensure that the animal’s energy, protein, vitamin,

and mineral needs are met through a combination of forages and a fortified concentrate. Obviously, nutrition is important in producing healthy, strong hooves. Almost as important is basic hoof care. A regular schedule of hoof trimming for barefoot horses and trimming/resetting for shod horses should be followed. Farrier care every four to six weeks is sufficient for most horses. Letting horses go more than about six weeks without a trim is asking for trouble, as longer hooves tend to chip and split. Even if the hooves are not greatly overgrown, a light trim and smoothing can sometimes keep small cracks from progressing. While many idle and lightly used horses can go barefoot, shoeing protects the hoof and will prevent excess wear on hooves that tend to chip and crack. The farrier should not file or rasp away the shiny outer hoof covering, as this tough layer of horn helps to hold necessary moisture in the hoof. Hoof dressings are often touted as the cure for bad hoof condition, especially for horses that have dry, chipped hooves. Research has been conducted to find out whether the use of dressings has any impact, good or bad, on the hoof. A study at the University of Edinburgh examined the passage of moisture into and out of the hoof capsule. Researchers tested full-thickness samples from wall, sole, and frog tissues obtained from equine cadavers. The samples were taken from hooves in good condition (solid, no cracks) and in poor condition (visible cracks). In the samples from hooves in good condition, moisture penetrated less than a millimetre into any tissue. Samples from hooves in poor condition allowed much more penetration of moisture into and throughout the inner tissues of the hoof. These results indicate that there is a natural moisture barrier in healthy hoof tissue, and products claiming to

moisturize the hoof can be expected to provide little benefit to hooves in good condition. The ingredients in some hoof dressings can actually be harmful, excessively drying the outer hoof layers and leading to brittle tissue that can easily develop small cracks. Formalin, solvents, or tar-based products are ingredients with the potential to damage the outer layers of hoof horn. Such damage allows moisture to move in and out of the hoof more freely than in hooves with healthy outer horn. Lower strength has been measured in hoof tissue that is either too dry or too moist, so tampering with the natural moisture level is not thought to be advantageous. In addition, dirt and bacteria may enter the cracks, possibly causing infection. Summing up hoof management, remember that good basic nutrition is the bottom line for hoof quality. Use a feed that is designed for the class of horse you are feeding, and feed according to the manufacturer’s instructions and to desired body condition. Look for feeds that are balanced for macro- and micro minerals. If everything is being done from nutritional and farrier angles and hoof quality is still poor, it is worth experimenting with supplemental biotin, methionine, and zinc. Unfortunately, there is no quick fix and maintaining a good foot on a horse is a combined result of good farriery, good nutrition, good health care, and selecting for horses that genetically have healthy hooves. Kentucky Equine Research recommends the use of Bio Bloom, a dual-action supplement designed to promote and maintain healthy hooves and skin from the inside out. Kentucky Equine Research offers a free nutrition advice service to all horse owners. Contact KER today on 1800772198 or email advice@ker.com to start the conversation. a

Dry and Damaged Hoof

Good Hoof

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THE

ROYAL STABLES

Cรณrdoba

PHOTOS: KATARZYNA OKRZESIK-MIKOล AJEK ARTICLE: PATTY TAYLOR

The Royal Stables of Cรณrdoba (a southern Spanish province of Andalusia) are home to a beautiful display in which the pure Spanish horse breed is the protagonist.

THE SHOW: A treat is in store for you when you venture here as you will discover a show that is unique and you will undoubtedly be impressed by the beauty and magic of these animals. The riders expertly demonstrate the different disciplines with the Amazons and is accompanied by music written for the each performance. The horses and dancers blend to this music. This show is such a success that it has been presented with Tripadvisor Certificate of Excellence 2015 an accomplishment to be truly proud of. THE HISTORY: In 1570, King Philip II, who was a great lover of horses, set out on a scheme to create a pure thoroughbred Spanish horse. For this reason, he ordered the Royal Stables to be built on land belonging to the Castle of the Christian Monarchs. Like the castle, it is predominantly a military building. Here, in this attractive setting, he bred the Spanish horse, also known as the Andalusian horse, which was of Arab origin. The main stable room itself, with its vaulted ceiling supported by sandstone pillars, is divided into smaller separate areas, known as boxes.

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Cรณrdoba Ecuestre

C D g

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TODAY: The Córdoba Ecuestre Association (established in December 1996) is a non-profit organisation, created with the aim of bringing together the interests and initiatives of all those individuals and groups related to the horse world in the city of Córdoba and its province. Their work is supported by their partners’ experience and is based on concepts such as modernisation and competitiveness. The keys to their work and progress are the dialogue and cooperation with different social actors - both public and private – and the effort and teamwork of the collaborators and sponsors. All these elements have been essential to them becoming the equestrian organisation they are today. TRAINING: They are also involved in different training activities: training and employment programmes, vocational courses, collaboration with high schools and other education centres. In this way, they try to provide this emerging industry with specialised workers. Also, they have reclaimed the use of the Royal Stables as a horse centre, therefore giving back to the horses and people of Córdoba the enjoyment of this temple of the equestrian culture. a

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– One of the

Noblest Trainers of Our Time –

Johann Christoph von Regenthal Extract from Werner Poscharnigg's 'Austrian Art of Riding'

One personality essentially accounted for the fame of Austrian equestrian culture: Johann Christoph Regner, Baron of Regenthal, was appointed to become Chief Rider by Joseph I in 1709, confirmed by Charles VI, and remained in office until 1730, the year of his death. He gained international renown from his students: Emperor Charles VI who trained with him two or three times a week, consequently riding faultlessly and majestically in all functions. Franz Stephan von Lothringen (as of 1745 Francis I Stephen, Holy Roman Emperor) was his most outstanding student. He also became the tutor of prominent riding masters, such as Friedrich Wilhelm Baron Reis von Eisenberg and the Baron von Sind, who spread his fame to England, Italy, Germany, and France.

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ind describes why Regenthal’s way of riding impressed so much: He rides “without the slightest movement visible on the rider’s part. The horse must work under him in perfect unity and complete freedom, as if he did his airs by himself. This is... the masterpiece of art. I saw it carried out that way by... the Baron of Regenthal.”

ONE OF THE NOBLEST TRAINERS OF OUR TIME

egenthal must have impressed his contemporaries extraordinarily. Reis von Eisenberg, his famous student, describes him, “...who is one of the noblest trainers at our time... Indeed his way to train horses is infallible. I have had the honour to apply his superb school for some years to my advantage, and I cannot enough describe the virtue and friendship he showed me during this time and all my stay... Enclosed I publicly declare that everything I know about equestrian art, I have learned from him...I have never seen a man sitting more steadily on horseback...than him. It was a real pleasure to watch him exercising the horses on the circle...Furthermore, I must

J. E. Ridinger, Regenthal’s favourite student, Emperor Francis I Stephen. (Private archive.)

add, that his horses also went with an unusual lightness under others, and after my notion I have not been sitting on more pleasant animals.” Not just Regenthal became famous, the horses he trained were equally renowned. He educated mounts for the emperors Joseph and Charles. A roan, for instance, called Peso d’ Oro, carried out most extraordinary pirouettes and “indeed money could not buy him. He was such a rare piece, that a great connoisseur... said: This is a pulpit not for everybody to ascend. Nothing like him has been seen later on.” Charles VI had another horse trained by Regenthal brought to Spain, obviously to prove the high level of Viennese breeding and equestrian art. A capriole horse of the Emperor’s riding school, called “Le Difficile” or “the Dangerous” or “the Evil,” was unsurpassable, according

The Duke of Newcastle, Regenthal’s respected authority. (Private archive.)

to the enthusiasts.” But he died in 1730 and left for posterity only a dictation, apparently, but no printed book. The leather-bound manuscript came into the hand of the antiquarian, Bengt Birck, and Bertold Schirg published it in 1996 under the name “The Primary Directives.” Until then Regenthal had fallen into complete oblivion. Regenthal decisively contributed to the rise of Austrian equestrian art to utmost excellence. For the Casa de Austria it was unusual to document its equitation performed on highest levels in books, hence everything was left to oral tradition, a disad – vantage to printed publications which generally last longer in the public memory. EMPIRICAL PROCEDURE

to Eisenberg: “This horse has gained the Baron of Regenthal, who trained him, great honour, since a great many of foreign gentlemen attested that they had not seen such a jumper anywhere.” Regenthal won the greatest laurels for his black “Le Superbe,” an outstanding, brilliant, arduous passageur, “so obedient, that there was no other horse in the world that would have deserved more to be mounted by His Majesty on such a ceremonious and pompous occasion.” Sind, too, reports, that Regenthal was famous for riding superb passages.

Bernard Picart, Regenthal and Le Superbe. (Private archive.)

ohann Christoph Regenthal introduces his “Compendium,” now called “Primary Directives,” with a description of his rich experience spanning over half a century, emphasizing that he had not borrowed anything from other authors, but just wanted to state the results of his most successful training practice. He did not mean to be a writer or philosopher, but just wanted to describe briefly

JOHANN CHRISTOPH VON REGENTHAL’S “COMPENDIUM” “PRIMARY DIRECTIVES”

fter half a century as a horseman of highest rank, he decided “to compose his experience in a compendium and to communicate it

Regenthal Lan exero consecte ero dio dolore conulputet at, commolore molut iril endre magnim quis alis iril endre magnim quis alis

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how to educate horses “with all regularity and benefit.” 148 Generally, Regenthal despises any sham or punditry with respect to horses, “such reasoning stirs all blood in my veins.” Theoretical speculation is nothing to him, practical experience is everything. Regenthal demands orderly, quite tight attire, a rather large hat, and absolutely rejects any rough boots, because he frequently sees untidy, incorrectly equipped equestrian students. He does not like too mild a spur, for it tends to desensitize the horse. The sharper spur, though, has to be applied with care to avoid making the horse stubborn or twisting of his tail. He warns of inappropriate punishment using spurs which ruins the horse. The spurs should be applied two or three fingers’ breadth behind the girth in order to work well. IMPERIAL SEAT

egenthal considers the “old” school-saddles monstrous and uncomfortable for horse and rider. His “own kind of saddle has been brought to this form primarily by me [Regenthal] and has become a model exported to various princely courts and other foreign countries.” Its construction must be done in a way that “the rider is almost forced to stay straight in the saddle, as if he stands on the ground; there is definitely no such thing as sitting to be seen.” This kind of seat can still be seen at the Spanish Riding School of Vienna, and each rider must observe it: as exemplified in the famous equestrian portrait of Emperor Charles VI, Regenthal’s most prominent student. Hamilton painted

this famous work in 1730 depicting the stallion Favori, who was certainly trained by Regenthal. His type of saddle is present in many equine portraits by Johann Georg von Hamilton. For breaking in the colts, there is another type of “saddle called Pastin,” consisting of “leather, canvas, and straw, without any wood or iron,” so that the “Pastin Riders,” called that in reference to the saddle, are less likely to be harmed when falling with a young wildling. Regenthal disapproves of the severe “old-time” curb bits; these “inventions were all monstrous.” Good horses are not educated by sophisticated bits, but by methodical riding. He considers himself a representative of a new era in equestrian art: “Nowadays we think differently, we maintain, groom, ride, and work our horses in a different way compared to the old-timers; they did not know the right way.” All he needs “is a curb bit with a mouthpiece in order to ride all [horses] in the most beautiful manner.” He deems the cavesson indispensable for making all parts of the body manoeuvrable and skilful. It is quite obvious that horse owners’ mentality has not changed much during the last 300 years: “All those errand are wrong who believe the mouthpiece educates the horse and makes him obedient, resorting to this equerry now and that trainer then.” INTERNATIONALLY RENOWNED TRAINING CENTRE

n a “Remark on Some Students” Regenthal reports on the “countless number” of equestrian students from all nations whom he trained successfully, so that they could work in Paris and elsewhere as qualified trainers. Francis Stephan of Lothringen (spouse of Maria Theresia, and since 1745 Holy Roman Emperor Francis I Stephan) is said to have outperformed all others, even those who became professional écuyers. Regenthal trained him for six years. In contrast, he tells of another student “from a great French family, who shall remain nameless, having been recommended to me by a high noble hand,” who, having achieved nothing, as much as Regenthal tried. Nevertheless, the Viennese Imperial Riding School under Regenthal’s tenure was an internationally renowned training centre for Europe’s noblest and best riders, with the Emperor himself watching the scene with great interest. Regenthal repeats: “The true position of a rider must be straight, as if he stood on the ground, his armpit, knee, and heel must be in a straight, perpendicular line.” This results in a stable, safe position, avoiding undesirable spur contact. By the way, a “general rule is to begin the training session tracking to the right, and

Lan exero consecte ero dio dolore conulputet at, commolore molut iril endre magnim quis alis iril endre magnim quis alis

to end the session to the right,” which Grisone and Galiberto had already established. Striking off at the canter is done using the outside leg, as still done today in the Spanish Riding School. The student must “always try to appear friendly,” caress his horse often, showing no impatience, and “not becoming enraged and choleric.” “For there is nothing more disagreeable than to see a rider spur and beat his horse, especially when he himself has been the cause for such evil treatment.” “There are many hot-tempered riders” who “beat and tyrannize their horses, so that you really pity them; I would rather like to wish such an imprudent, impatient rider barbaric incest.” Violence of this kind just has no place in the Austrian equestrian tradition.

fter the disciple’s education, Regenthal describes the education of the horse. Together with quiet preparation it is important for him that the horse goes on the lunge in a balanced manner, so that it does not later pull on the hand to compensate for a lack of balance. “Time and patience are requested here, by no means evil treatment, for by impatient, hard procedure, where you quickly beat, the horse gets ruined for life.” Starting the colt takes place with “steady stroking,” without pressure and stress. The young horse must stand absolutely still during mounting and dismounting. In addition to the cavesson, a snaffle bit is used, the reins of which are held in the left hand. From the beginning the rider demands an erected neck, so that the horse’s front becomes light, displaying high action, supported by aids of the legs and whip at the shoulders. Regenthal warns of other methods: “Nowadays all these abuses are finished and discarded because we have a better and safer method, namely trotting out our horses well. The trot is the true foundation of the whole equitation.” For Regenthal equestrian art stands in a new era of effective and humane handling of the horse. As the horse gains lightness, the snaffle is replaced with a curb bit instead, and is made so light “that he presents the canter himself.” Here, the horse must lay his weight neither on his shoulders nor on the rider’s hand. At a halt from the canter, the nose must remain perpendicular. By riding on the curb alone, the horse is definitely brought to absolute obedience and can be ridden through all desired movements. Like Galiberto before him, Regenthal, requests absolutely correct lifting, lightening education in the cavesson, which he thinks other nations use incorrectly. Especially the French come off badly: “The French discard it

completely, do not know how to use it, may the Lord forgive them. They do not know what it is good for.” Regenthal, however, likely did not know his contemporary Guérinière, who viewed the use of the cavesson with scepticism. While Guérinière only quotes Salomon de la Broue and The Duke of Newcastle’s opinion about it, he himself seems to be little convinced of the cavesson’s efficacy. WITHOUT DRAW REINS

ontrary to French equitation, Regenthal principally approves of the Duke of Newcastle: “The Marquis Neucastel, who was an incomparable rider, and whom alone we owe thanks for advancing this noble equestrian art thus far.” Although Regenthal appreciates Newcastle’s accomplishments, he contradicts the Duke’s opinions in almost every respect. This extends to the cavesson, which Newcastle applies in conjunction with several draw reins excessively, so that the horses “almost cannot move.” “Therefore I have completely discarded the draw reins, because they pull down the head too much, and with it bring the neck, which, after all, is an adornment, out of its beautiful position.” After the horse’s training with the cavesson is finished, he is ridden on the curb bit, to which “now again the snaffle can be laid.” Its reins are used like the cavesson’s. Again a sideblow against French equitation: “If the French used the snaffle bit in my manner, I would concede their rejection of the cavesson a little.” In this way, Regenthal regards himself as the inventor of the bridoon. Guérinière, who published “L’École de Cavalerie” in 1729 [Ecole

Regenthal

PATIENCE, AND BY NO MEANS, EVIL TREATMENT

Shoulder-in, Guérinière 1729. (Private archive.)

de Cavalerie, Xenophon Press 1992, 2015], one year before Regenthal’s death, already mentions the bridoon. Chances are he became acquainted with it by one of Regenthal’s disciples. SHOULDER-IN

Regenthal 64

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he same could apply to the shoulder-in movement that Regenthal calls “Head in, croup out.” He uses it to enhance obedience, after the horse willingly goes forward and carries out the levade. Unlike Galiberto, who called shoulder-in “Canton or angle,” developing it alongside a wall, Regenthal takes a pillar as the centre, around which he rides the air, completely in the manner of Newcastle. “This action, head in, croup out, is one of the most efficient... It teaches to bend the neck, it frees the shoulders... It helps [the horse] understand and accept the bit more and more, making the horse, in all parts of his body, so skilled and free, as no other lesson can.” Newcastle, too, describes it in this way and recommends it as the first lesson for trotting a colt: “It is not sufficient to keep the head and neck of a horse within the volte, but [one should] give an entire plié or bend to his whole body from the nose to the tail...From whence you may perceive the excellency of this lesson in making a horse’s shoulders free and easy.” As mentioned previously: To call this movement an invention by Guérinière is a popular historical mistake, but Newcastle, who described it in 1658 with extensive images can also not have been the inventor, since already in 1650, Galiberto had discussed it before him in all three basic gaits. ALL BLOWS ON THE TORMENTOR’S NECK

specially for the schools above the ground, Regenthal demands “true information,” without which horses cannot be trained. “Most riders present their horses sometimes with this movement, sometimes that movement, though they have never learned them; and they also do not know in the slightest how to train them with a true foundation. And when their horses do not obey their inconsiderate demands–which is impossible for them to do–or do not present the thing they have in mind, they spur, beat, and mistreat them in a way which moves one to pity. I would like to wish such a rider all the same blows on his neck, so that he can feel them with real pain.” This again suits the philosophy of equestrian tradition of Austria perfectly. Like other airs above the ground, the croupade is first taught between two pillars, then without the pillars. Natural disposition, capability, and inclination are decisive. Even horses of medium

strength can carry it out. A true horizontal position proves the correct execution. Other horses may prefer to show the ballotade. “The horse’s temperament will provide much by itself...for if the disposition lacks here, as in all other movements, nothing good can ever be expected. The rider will take a lot of pains for nothing.” This, of course, holds also true for the step and leap movement and the capriole. The horse must not be overburdened in any way; he should not feel the need to defend himself. The thinking rider’s “reason and science” prevent problems here. SUBTLE, WITH MINOR AIDS

n his “Compendium,” Regenthal repeatedly uses the adjective “subtle” when he deals with fine effects. The horse should “be treated with minor aids.” This reminds of Castiglione’s “sprezzatura.” Riding must seem effortlessly light and unstrained. “The rider must remain still and straight in the saddle, aiding subtly with tongue and switch.” The horse’s nose must never deviate from its perpendicular position. Regenthal must have greatly impressed his contemporaries, for one of his capriole horses a good rider and “erudite cavalier” wrote an epitaph. Emperor, empress and court had often admired this Kladruber: “A well-trained horse must under any circumstances satisfy his rider.” In the “Chapter on National Horses” Regenthal points out that quality depends on the individual, because among all breeds there are good and bad ones for any purpose. In conjunction with this, he describes a regrettable historic constant, namely the Austrian lack of self-confidence: “Almost all our German cavaliers have fallen into the most abominable habit that they value anything foreign more than our own good things, which is so much less laudable, since no other nation in the world does the same.” a

THE

Points OF SADDLE FIT

By Jochen Schleese, CMS, CSFT, CSE

s we head into spring, it’s time to put our thoughts into ensuring that all of our tack and equipment will work for the upcoming training months, and for the shows we intend to compete in. Especially if your horse has been ‘laid off’ for the winter months you will need to ensure that the saddle is fitted properly to allow him comfort and freedom to muscle up again when you begin training in earnest. While it can take four weeks for a muscle to build up with consistent training, it takes only one week for the muscle to regain its original shape (which is negative development). Thus, even if you have given your horse just a week off from training, you will find that your saddle may not fit the way it did and the way it should, so that you should have a diagnostic evaluation done and the saddle adjusted by a certified fitter before you begin training again.

SADDLE BALANCE

A saddle too high in the pommel and too low in the cantle causes pressure on the horse’s back. It will be very difficult for your horse to engage his back because too much of your weight is on his last 2 floating ribs. If your saddle is too low in the front it will pinch into the horse’s shoulder – which is very restrictive for your horse. Your saddle is too high in the back so your leg goes forward and you fall into a chair seat to balance which can strain the discs in your lower back. With correct balance the rider will be able to use the 4 curves in her back as natural ‘shock absorbers’, and she will be positioned comfortably.

A quick diagnostic can be done using our 9 points of saddle fit evaluation (with videos available to show you how at our YouTube channel at www.youtube.com/ mjpschleese)

This dressage saddle shows where the center of balance is.

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WITHER CLEARANCE

The saddle should have 2-3 fingers clearance on the top and around the side of the withers. The saddle must have be an opening (clearance) on the sides of his withers to accommodate the shoulder rotation upwards and backwards during movement. A horse whose saddle pinches his withers may be reluctant to go forward. Other more extreme signs of insufficient wither clearance are patches of white

CHANNEL/GULLET WIDTH

hairs (not scattered individual white hairs) or sores on the top or on one or both sides of the withers.

Ensure that your saddle’s panels make even contact with your horse’s back all the way down to distribute the rider’s weight over an area that equals approximately 220 square inches and ends at the last rib.

It is very important that the width of the gullet be the same throughout the entire length of the saddle. It is only infrequently that we find a saddle that is too wide through the gullet for a particular horse. But such a saddle will have inadequate weight-bearing surface, may start to strip muscle away from the top of the ribs, and the back of the tree may actually rest on the spine.

When rocking occurs, the panels at the front and/or back of the saddle do not make even contact with the horse’s back. Note that sometimes your saddle may be made with panels that deliberately flare up at the very back, so the last inch or so of the panels don’t make contact with your horse’s back. This is done for instance, when there is a need to accommodate a tall or large rider on a

This saddle has a wide gullet channel with good distribution of the rider’s weight on the horse’s saddle support

the withers should be 2-3 fingers all around.

FULL PANEL CONTACT

A saddle with a channel or gullet that is too narrow can cause permanent damage to your horse’s back (but also, if it’s too wide that’s not great either). There is no such thing as “one size fits all” where the channel or gullet of your horse’s saddle is concerned. Instead, the width of each horse’s spine will determine how wide his saddle’s gullet must be.

The distance between the top of the withers and the sides of

Test for even contact by sliding a pen or pencil (or your hand) in between the panel and their horse’s back.

horse with a short saddle-support area. If fitted correctly, this saddle will not rock. This extra room is also important for the back to come up when the horse engages during movement. Sometimes we hear that slight bridging is a good thing, because when the horse lifts his back as he is being ridden, his back will come up into and fill in the space left by the bridge. While this may seem logical at first, it doesn’t work. Even when your horse lifts his back while being ridden, his saddle will still bridge. The goal of saddle fitting is to have the saddle distribute the riders’ weight evenly over the saddle support area, and it is important that the saddle neither bridge nor rock.

This thermographic image shows a saddle with panels that bridge front to back, resulting in greater pressure at the pommel and cantle areas.

area.

BILLET ALIGNMENT

Have you ever had to stop in the middle of your ride and reset your saddle because it has moved forward onto your horse’s shoulders? This is a common problem, and it is often caused by improper billet alignment. Unless the billets on your saddle are positioned correctly, your saddle will not stay in its proper place on your horse’s back. Billets should hang perpendicular to the ground in the girth area. If the billets hang too far back, gravity will pull the

SADDLE STRAIGHTNESS

billets (and the saddle) forward into the girth area. The girth will always find its position at the narrowest point of the rib cage, driving the saddle forward onto your horse’s shoulders. If the billets hang too far forward into your horse’s elbow area, they may make him sore in the elbows. Gravity will drag them (and the girth and saddle along with them) back into the girth area. There will now be too much pressure on the panels at the rear of the saddle.

compress the stuffing more on one side of the saddle, and drag it over to that side.

Straightness means that the center of the saddle is in alignment with your horse’s spine. Sometimes, a saddle that appears straight when the horse is standing in the crossties will shift to the right or left when the horse is being ridden, leading to problems with your horse’s SI (sacroiliac) joint. Horses are by nature uneven. Most horses have a left shoulder that is larger and more developed than their right shoulder. The larger shoulder kicks the saddle over to the other side during motion. A rider who sits unevenly due can

TREE WIDTH

The tree width at the gullet plate must be wide enough for the horse’s shoulders to rotate freely under the tree. If the tree width is too wide, the entire

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7.SADDLE LENGTH Many of us are familiar with the term “short-backed” to describe a horse, but even a horse with a back that appears to be of normal length may actually have a very short saddle support area. The length of the saddle support area will determine how long the panels must be.

This rider is sitting on a saddle which has shifted to the right - presumably having been moved by the larger left shoulder during movement.

Breeds that commonly have a short saddle-support area are Friesians; Baroque type horses such as Andalusians, Lusitanos, PREs, and Lippizaners; Arabians; and more and more frequently, “modern-type” Warmbloods. One common saddle fitting issue here is that the saddle panels are often too long for their backs. The saddle must sit behind the shoulder. A saddle that is too long often will get driven forward into the shoulder. The saddle cannot extend past the last floating rib at the 18th thoracic vertebra. A horse ridden in a saddle that is too long will often tighten his lower back muscles; in some cases, you can actually see the horse hollow and drop his back in an attempt to get away from the pressure of the saddle.

TREE ANGLE

The angle of the tree (at the tree points for the gullet plate) must be adjusted to match the angle of the horse’s shoulder. Think of two sliding doors. If they are properly aligned, one will slide freely past the other. But if they are not, one will jam into the other. It is the same with your horse’s shoulders and the angle of his saddle’s tree. As the horse moves, his shoulder rotates upward and backwards. If your saddle’s tree angle does not match the angle of your horse’s shoulder, his shoulders will be unable to rotate freely under the saddle, compromising his movement. Check if the angle of the piping on the saddle matches the angle of your horse’s shoulder. If it does, the angle of your saddle’s tree is correctly adjusted for your horse.

This saddle is positioned behind the shoulder but a) is too long for the horse’s back as it extends past the 18th thoracic vertebra and b) the billets are too far back and will pull the saddle onto the shoulder in motion.

The three diagrams on the left illustrate identical tree angles with different tree widths; the three on the right illustrate identical tree widths with different tree angles (such as can be effected with the ‘self-adjusting’ trees of various companies – but changing angle without changing width is not always a good thing).

saddle may rock or slip from side to side when it’s being ridden, or the back half of the saddle may twist to one side or the other. Tree width and tree angle need to be adjusted together. If the width of your saddle’s tree is correct for your horse, but the angle is incorrect, the saddle will not fit your horse. Conversely, if the angle is alright, but the width is not, the same will happen. Adding flocking to or removing flocking from the vertical panels of the saddle will not solve the problem – it is

The angle of this saddle is the same as the shoulder angle of the horse.

the gullet plate that needs to be adjusted. Some of the self-adjustable gullet plates will accommodate angle adjustment, but will not allow width adjustment (over the wither area). Hopefully these tips will help you get ready for a successful show season while ensuring your horse has the freedom to perform at its potential! Happy Riding! a

quotes

MAKE YOUR TO

I have never before, in my long and eclectic career, been gifted with such an abundance of natural beauty as I experienced filming ‘War Horse’ on Dartmoor.

~ Steven Spielberg

day

No hours of a life is wasted that is spent in the saddle.

~ Winston Churchill A horse is the projection of people’s dreams about themselves – strong, powerful, beautiful and it has the capabilities of give us escape from our mundane existence.

~ Pam Brown

When I bestride him, I soar, I am a hawk: he trots the air; the earth sings when he touches it; the basest horn of his hoof is more musical than the pipe of Hermes.

~ William Shakespeare

Horses change lives. They give out young people confidence and self-esteem. They provide peace and tranquillity to troubled souls; they give us hope.

~ Toni Robinson

Horses change lives. They give out young people confidence and self-esteem. They provide peace and tranquillity to troubled souls; they give us hope.

~ Toni Robinson

In riding a horse we borrow freedom.

~ Helen Thompson

A horse is worth more than riches.

I felt better mounted. God gave us horses so we could run away faster.

~ Mark Lawrence, Prince of Fools

When you take care of your horse, your horse takes care of you. You can say that about no other creature on the planet.

~ Chloe Thurlow, Girl Trade

There is a moment after riding when you stop and listen. What you hear is your heartbeat in perfect rhythm with the beat of your horse’s heart. It is a moment of pure magic.

~ Chloe Thurlow, Girl Trade

Go anywhere in England where there are natural, wholesome, contented, and really nice English people; and what do you always find? That the stables are the real centre of the household.

~ George Bernard Shaw, Heartbreak House

~ A Spanish Proverb

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71.

THE WAY OF

Nature

IN HEALING "Nature does not hurry, yet everything is accomplished." Lao Tzu

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

ne of the most important understandings of Herbal Medicine is the observation of how healing cycles unfold, and our relationship to nutrition, life and stressors in general. Emotions play a huge role, influencing hormonal balance which in turn influences how well our immune system responds. Today we expect a straightforward healing outcome; however, often healing is not straightforward, causing anxiety and confusion. Knowing the general pathway that certain processes take is very useful in gaining the confidence that helps keep you on track. One of the most discussed topics in my practice is outlining the process of healing, and what can be expected from a treatment program. Herbal medicine is designed to work in harmony with body processes, in much the same way as food does. Herbs are, to quote the late and great grandmother

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of Herbal Medicine Dorothy Hall "little parcels of peak nutrition". There is no doubt that good nutritionally dense food, clean water, sanitary and emotionally positive living conditions are required for us to thrive. The problem is that often we forget these simple facts, and instead of looking to increase our daily dose of fresh air and exercise or drink more clean water, we tend to go to the overworked Dr at the medical centre for our advice on what may be wrong with us. We want a quick fix to a long standing chronic lifestyle generated condition. Healing processes can be observed all around us. Alive systems require nourishment â&#x20AC;&#x201C; this is usually from a diverse range of naturally occurring plants, and decomposing life forms. This nourishment is fed into the system, the system reaches its peak of growth and repair, and natural die off occurs of that which is no longer needed. This die off is waste, but ultimately is fed back into the system to re-nourish all

life. The system is self managing so long as all the elements required for life are present. In our body ( and our Horses bodies) this is also occurring. Apoptosis (from a Greek word meaning "falling off," as leaves from a tree) is the word used to describe the natural and programmed death of non-useable cells in the body. A body needs to eliminate what is not needed to repair organs and maintain a healthy state. There is a continual process of intake (air, water, food), use of (air, water, food) for repair, growth and energy release. Die off and elimination of that which is not required (referred to as Metabolites) is the end of the cycle. If you observe nature, you will see that what we observe outside of us is also occurring inside us. We are actually part of a natural coherent system! It's sometimes hard to fathom this unless you live and work in the country and see and experience these cycles first hand. Herbal Medicine is based on thousands of years of observing

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

these processes in action, and the human /animal interaction within these cycles. The materia medica is full of herbs that have been identified as promoting and encouraging certain natural processes. Herbs that can improve circulation, encourage elimination, aid digestion, and improve lung health and immunity to name a few. The truth is we have not changed the way our bodies heal or the kind of nourishment that a healthy body needs over the last 3000 years.

the action of the whole herb defies what Science can tell us.

Many herbs are studied these days for their therapeutic and nutritional value, adding weight to the recorded history of whole plant material as Medicine.

Become the scientist and observe your own body's response to what you eat, how this affects your mood, digestion and energy.. Where is the tension, are you tired, not sleeping well and have no enthusiasm? What is your body telling you?

But this is not the whole story. Just as we can't know the truth of our existence in the scheme of life, we can't know exactly why some things work and why other things don't. Herbal Medicine falls into this category, because there are just some herbs that work, and we don't really know why. We can guess, but

Clinically however, we see the positive results repeatedly that support the historical claims. The whole herb will act differently to the isolated active ingredient (this isolated active is the cause of side effects in the modern drug era), and a combination of herbs will act differently in a system as a single herb will. Herbalists rely on this synergistic effect to get the best results.

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

order to promote long term health.

Herbal Medicine is slow to work, but the benefits are usually long term. A real transformation as a result of a repaired and well nourished system. Most Individual programs that I prescribe are a min of 12 weeks, This timing represents a full blood cycle and allows for obvious changes to take place. a

How we choose to handle the balance in our body is ultimately up to us. As conscious beings we can choose to ignore the early warnings, or we can listen to the subtle signals and make the changes that need to be made in

HANDY

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

H A N D Y F R O M

D R

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

P R A C T I C A L

O W N B V S C

R D A

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

Handy Hint: Bandaging Your Horse’s Legs When wrapping bandages on your horse’s lower legs, make sure that you wrap in a direction which pulls the tendons on the back of each limb to the inside. This means to wrap the near side leg in an anti-clockwise direction from the side to the back of the leg and around on the inside of the leg. On the off side legs, wrap in a clockwise direction, or from the front to the back on the outside of the leg and then around the back to the inside. If you wrap the opposite way, you may pull the tendons out of alignment on the back of the legs and increase the risk of over-loading the tendon. If you are left handed, take care to wrap the tendon in the correct direction. After you have worked your horse, quickly remove any bandages or boots to allow the tendons to cool.

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Avoid Feeding Protein in Excess of Daily Requirements High protein intakes at levels of 50-60% above daily requirements, especially from lucerne hay, can generate more body heat (6 times more heat as compared to starch and fibre overload) in the hind gut as the protein is fermented by hind gut microbes, as well

as increase water loss in the droppings and reduced water excretion through the kidneys in a hard working horse. Lucerne contains around 17% crude protein and heat producing fermentable fibre content, which both add to digestive heat production. Whilst during winter or cold weather, the extra heat of fermentation in the hind gut will help to keep the horse warm at night or when grazing, once the summer heat and extra exercise in preparation for competition adds to the overall heat load, the lucerne hay may be cut back by 50% and extra grass or cereal hay provided to reduce the risk of excess protein intake and heat production. Lucerne hay provides good quality protein and is a useful source of calcium, magnesium, salts and stomach protective mucilage compounds, as compared to grass hay (which has more sugars and generally better fibre digestion). However, it often causes horses to sweat more heavily in the flanks and under-belly due to the increased heat produced during hind gut digestion. If you notice that your horse is sweating more in the flanks and under-belly, it may be a good idea to reduce the lucerne hay. Mature lucerne fibre also does not hold as much water in its structure as compared to grass or cereal hay. More ‘free’ water may be passed in the droppings, making them soft and less well formed.

Do Joint Supplements Reduce Risk of Arthritis as a Horse Ages? Owners of highly trained and talented horses often ask whether giving a daily joint supplement containing glucosamine and other joint active ingredients can provide protection as a horse ages. Studies in Germany indicate that daily doses of a glucosamine joint supplement had little protective benefit in otherwise sound horses up to 10 years of age. However, horses in dressage training over 10 years of age given this type of supplement had a reduced risk of developing joint unsoundness as they aged, compared with a control group which were not supplemented. Kohnke’s Own Nutricart is a new generation joint supplement, which following long term use, may assist joint health and function as a horse ages.

cases horses show significant improvement over a 2-3 week period; however, when the symptoms are more severe it may take 6-12 months with some horses never making a full recovery. Additionally, magnesium supplementation has been associated with the improvement of symptoms when given soon after the diagnosis. Supplementing with Kohnke’s Own Mag-E, which contains high levels of organic magnesium as well as high potency vitamin E and vitamin B1, may assist horses to regain normal nerve and muscle function.

Australian Stringhalt – A current warning! Have you checked your paddocks for Flatweed lately? Some horses have been recently diagnosed with Australian Stringhalt. Australian Stringhalt is often a seasonal condition caused by the ingestion of Flatweed (Hypochoeris radicata), but there is evidence that Dandelion (Taraxacum officinale) may also be linked with Australian Stringhalt. Australian Stringhalt affects the peripheral nervous system with signs most commonly being seen in the hind legs. Mildly affected horses may display slightly uncoordinated hind limbs when they initially walk off from a standstill, but will improve as they warm up. More severely affected horses will often show complete incoordination with an exaggerated gait when they become anxious or excited. Treatment for Australian Stringhalt includes removing horses from the infested pasture immediately and placing them into a weed-free paddock or holding yard and hand feeding hay. Dampened lucerne hay is best as it has a higher protein, digestible energy and nutrient content than other grassy hays. In most mild

Checking the Quality of Pasture The nutritional quality of a mixed pasture is relative to the proportion of green and dead plants, as well as the density of plants, blend of plants, moisture content and height of the pasture. To get a ‘snapshot’ assessment of your pasture, you can simply walk through the pasture, taking a hula hoop sized ring and tape measure. Throw the hula hoop as far as you can into the pasture, walk to the hoop and measure the average height of the pasture in centimetres. Next, count the number of legumes (clovers and lucerne) and grasses inside the boundary of the hula hoop to evaluate the pasture mix. Generally, growing legumes are better digested compared to grasses and a balanced pasture should have 40% legumes and the rest should be grass species. Grass species rapidly lose their digestibility once they mature to seed head stage, so the amount of mature grass in your pasture can also be evaluated. Also, count the proportion of dead and green plants. Horses will eat both green and dead plants as they graze. A greater proportion of dead plants equates to lower digestibility of the pasture and encourages selective grazing of young, growing plants. It’s also useful to count the number of weeds and record their type in the hula hoop sample ring. Repeat 7-10 times in a random evaluation throughout the pasture. You can keep a record of your findings and compare the quality of your pasture from season to season and from year to year. It’s useful to have this record when undertaking pasture improvement, as you will be able to see how well the pasture improvement steps have affected the pasture quality. a

HEALTH

IS Q. COCONUT

GOOD FOR MY HORSE?

ANSWERED BY STEPHANIE SAXTON EQUINE HEATH CONSULTANT.

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The coconut craze is sweeping the health food industry, touted as a SUPERFOOD, coconut oil is being liberally applied to food, face and any family friend standing within arm’s reach! But is coconut really all that it’s cracked up to be and is it any good for your horse? A quick anatomy overview of the coconut. The external husk of the coconut is very fibrous and these fibers, called coir, are used in rugs, plant potting and mulch, it is never eaten. As with the coir, the hard shell of the coconut has multiple non-food uses (from bowls to buttons and bird houses). It is the white flesh of the coconut and the water that has been used in tropical traditions for hundreds years. The process of extracting valuable coconut oil from the flesh of the coconut involves a heating process and this is where copra meal or coconut meal is created. Only the flesh of the coconut is used and the method involves baking the coconut and then mechanically squeezing the oil out. What is left is a light brown copra cake which is ground into a fine meal. The nutritional specification of coconut meal makes it an ideal feed for horses and ponies. Nutritionally coconut meal contains high levels of fiber (20%), is an excellent source of protein (20%) and contains beneficial amounts of coconut oil (10%). For equine digestion fiber is an essential contributor to healthy gut microbes and movement. Water can be added to coconut meal before feeding, which allows it to swell and become sponge-like, supporting hydration and digestion. In addition to high fiber, coconut meal is also low in sugar and

starches making it a low GI feed ideal for horses with insulin resistance. Quality protein is another feature of coconut meal and also an essential component of equine diets. Protein is important for muscles development and growth and coconut meal contains a wide range of amino acids ideally suited to horses. As mentioned above the benefits of coconut oil for people have been well established and it is pleasing to know that our equine friends can experience many of these. Coconut oil is a saturated fat sourced from plants (as opposed to animals) and its composition makes it an ideal source of slow release energy that is easily digested and utilized by the body. Specifically it is the Medium Chain Triglycerides (MCT) in coconut oil that convert to glycogen (aka energy) in the muscles, rather than being stored as fat. Lauric acid is another unique aspect of coconut oil, known for anti-bacterial, anti-microbial, anti-fungal properties. For comparison, high levels of Lauric Acid are also found in mother’s milk and are integral for supporting the immune system of young. Oils in coconut meal not only aid digestion they also promote health skin, coat and hair, providing beauty from the inside – out. If you haven’t yet been convinced that coconut meal is good for your horse, here are a few extra benefits: Coconut meal offers a feed that is completely grain free, gluten free, preservative free, chemical free and free from Genetically Modified Organisms (GMO). Reputable companies can source coconut meal from ethically managed and sustainably harvested coconut plantations in the Pacific Islands. Maybe it’s time you gave your horse a taste of the tropics and try coconut meal today!

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TRAINING

WHY ARE GREY/ WHITE HORSES BORN COLOURED??

White horses are coloured horses that turn grey, then white, at a very young age. The white horse is an icon for dignity which has had a huge impact on human culture across the world Scientists have now identified the mutation causing this spectacular trait and show that it can be traced back to an ancestor that lived thousands of years ago. The study is interesting for medical research since this mutation also increases the risk of melanoma. An international team led by researchers at Uppsala University has identified the mutation causing this spectacular trait and show that white horses carry an identical mutation that can be traced back to a common ancestor that lived thousands of years ago. The study is interesting for medical research since this mutation also increases the risk for melanoma. The great majority of white horses carry a dominant mutation that results in rapid greying with age. A "Grey" horse is born coloured (black, brown or chestnut) but the greying process starts very early in life -- during its first year. These horses are normally completely white by six to eight years of age but the skin remains pigmented. Thus, the process resembles greying in humans but the process is ultrafast in these

horses. The research presented now demonstrates that all Grey horses carry exactly the same mutation which must have been inherited from a common ancestor that lived thousands of years ago. It is a fascinating thought that once upon a time a horse was born that turned grey and subsequently white and the people that observed it were so fascinated by its spectacular appearance that they used the horse for breeding so that the mutation could be transmitted from generation to generation. Today about one horse in ten carries the mutation for Greying with age. It is obvious that humans across the world have greatly valued these white horses as documented by the rich collection of stories and paintings featuring white horses. In the new paper, this admiration is illustrated with a reproduction of a painting from the late 17th century of the Swedish king Karl XI on his white horse Brilliant. The Grey horse is also very interesting from a medical point of view since the mutation also predisposes for the development of melanoma. About 75% of Grey horses older than 15 years of age have a benign form of melanoma that in some cases develops into a malignant melanoma. Thus, the new study has also offered insight into a molecular pathway that may lead to

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tumour development. They propose that the Grey mutation stimulates growth of melanocytes and that this leads to a premature loss of the melanocyte stem cells needed for hair pigmentation whereas the mutation promotes an expansion of some of the melanocytes causing skin pigmentation. Domestic animals constitute extraordinary models for evolution of biological diversity, as recognised by Charles Darwin. The white horse is a beautiful illustration of the importance of regulatory mutations as a major underlying mechanism for phenotypic diversity within and between species. The Grey mutation does not change any protein structure but it affects the genetic regulation of two genes. The researchers found that the white horses carry an extra copy of a DNA segment located in one of these genes. It is very likely that regulatory mutations like the one they found in these white horses constitute the dominating class of mutations explaining differences between breeds of domestic animals as well as between species like humans and chimpanzee. Story Source: The above is reprinted from materials provided by Uppsala University.

Q.MYHASHORSE BEEN HEALTH DIAGNOSED WITH SQUAMOUS CELL CARCINOMA OF THE GENITALS. IS THERE AN ALTERNATIVE TO CHEMO ? THANKS KAREN

he herbal prescription I currently use for internal use is specifically designed to target those aspects of the immune system which allowed the Carcinoma to develop in the first place. I recommend homeopathic ingredients as well as the specific herbs described to support skin health and the body systems in rejecting the Carcinoma which will often fall off or almost always in my experience reduce in size quite quickly. Herbs recommended are Bladderack, Comfrey, Rue, Hypericum, Maritime Pine, Nettle, Rosehips and Violet Leaves along with the Bach Flowers Oak, Olive, Pine, Water Violet, Walnut and Wild Oat. Maritime Pine Bark This specialist antioxidant is nearly 25 times more powerful than Vitamin C and as such clears free radicals generated by athletic exertion at a phenomenal rate. Studies demonstrate that Maritime Pine Bark derived extracts helps to protect the circulatory system and is immediately obvious in reduced stiffness and soreness after strenuous exercise. Maritime Pine Bark is also a mainstay of all my cancer support treatments and used in my skin creams as an anti-aging and skin cancer preventative for both animals and humans. Externally I can make up a an ointment that contains Maritime Pine Bark, Golden Seal, Wormwood, Thuja with Crab Apple. PAIN MANAGEMENT Anti Inflammatory Healer

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

This recipe has evolved from a consideration of the dangers of administering phenylbutazone ( Bute ), routinely, to horses sensitive to its side effects. My prescriptions are based on; White Willow Bark and Devil's Claw as anti-inflammatory agents; Guaiacum as a lubricant, and Burdock as a blood cleanser for Rheumatoid processes as well as Pine Bark, Rosehips, Comfrey and Yarrow in a Vinegar Base supporting healing. The Bach Flowers Honeysuckle, Vine, Walnut and Rescue Remedy are also included. All these herbs may help to reduce inflammation and pain, and also assist in the healing process which will help reverse the underlying condition completely. These formulations may be used safely for both emergencies and in the long term for comfort. They do not swab and they do assist other equine herbal healing programs.

Colloidal Silver: Colloidal Silver was used and proven to be effective against hundreds of disease-causing bacterium and viruses by the 1940s. Its action as a broad spectrum antibiotic has never been matched by the modern pharmaceuticals in that it produces no drug resistance whatsoever. Now that modern antibiotics are almost completely useless due to their creation of resistant organisms, Silver is our very best option. Silver is completely safe to take, has no side effects and is cheap and simple to produce. I mostly recommend that Silver is best used in conjunction with other equine herbal treatments which support the immunity and the elimination of toxins required to completely resolve the brush with infection. Diet is important with any recovery program - As a general rule though, I like to feed the following ( commensurate with work load and weight gain) • • • • • • • • • • • • •

Chamomile flowers ( ½ handful per feed) Nervous system support- P, K, mg in balance- aids digestion and can assist with preventing stress colic 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. Millet – Crushed- silica – bone/connective tissue support Linseed- Crushed – Ligament /joint health Magnesium supplement- a chelated one is required. Chromium – Chelated one is required. Kelp- ( not required if feed our liquid herbal extract) Rice Bran – protein/fat/vit A Copra Meal- Protein essential fatty acids ( high quality coconut meal) Oaten chaff- soaking is a good idea Speedi Beet – calcium/carbohydrates Hay- oaten or meadow 24/7 or pasture- Calcium

If you have any further questions please don’t hesitate to ask. 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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O T

NICKI DEE'S CORNER

ne thing I’ve always loved doing is jumping....just not very high, and only when I say so, and not on horses that don’t actually jump. So clearly, I don’t jump very often. My first horse had a hidden talent for jumping. I say "hidden" because when I set out to teach him how to jump, starting first with trot poles just a few centimetres off the ground, he just kicked them over and continued on his merry little way. Thinking that clearly that this wasn’t going to work I put the poles on top of the feed bins, so they were roughly 30cm high. Feeling brave that day I was. Back we went to our starting point, trot up, collect reins, move forward in the saddle and HOLY S...BAGS we found a hidden talent. Turned out, he was kicking over trot poles because they weren’t worth his effort. Once I figured out that he jumped like a stag, we went from 30cm to 70cm, and he still cleared them without effort. My little horse was a champion. Home I went all motivated and with dad’s help made myself some real not fancy and utterly unsafe jumps (from an entirely non-horsey family). So highly motivated I was that I decided to polish up my leather saddle to really look awesome while I was jumping super high over my unsafe jumps (you know where I’m going here don’t you?). The next day, dad lugged the jumps down the paddock, I groomed my shining beast to perfection and off we went.

you are intending on going jumping. Secondly, don’t just hike the jumps up to the highest level you can when you only discovered your horse can jump the day before. Thirdly, well hey, I’ll let you figure that one out on your own should you chose to ignore the advices number 1 and 2. So off we went, thinking to myself “I wonder why my saddle is so slippery” however I didn’t have much time to ponder this given my trusty steed had eyed the not so safe jump course set up and decided to have himself a fun time. I have to say, it’s no real surprise I’m slightly adverse now to jumping more than 30cm, and it must be on a dirty saddle for extra grip! My poor dad thought I was having an awesome time whooping and yelling every time I went over one of his spectacular jumps. Perhaps if he’d listened a tiny bit harder he might have heard I was sobbing and begging the horse to stop. I was actually incapable of stopping the said beloved equine based on the fact I was not holding the reins. Instead, I was hanging on for dear life as the saddle couldn’t have been more slippery if I’d just covered it with soap. Ahh but we survived, and possibly never jumped again. Poor dad, all that effort for jumps that were wasted. Till next time - Nicki Dee !

Now I learned a few things that day. Firstly, when you polish a leather saddle, never, I mean NEVER, polish the seat. Especially if

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Fresians, Warmbloods, Dressage, Arabs, Showjumpers, Thoroughbreds, Shires, Eventers, Ponies. We fly them all. IRT has been flying horses around the globe for over 40 years. But no matter how much things change, one thing always stays the same â&#x20AC;&#x201C; the world class, personal service clients receive when flying their horse with IRT. With the recent acquisition of a German office and Quarantine Facility in Haren, IRT is well equipped to connect the world with offices in the USA, UK, Australia and New Zealand. To find out more about IRT and how we can help you and your horse contact Chris Burke at IRT Australia.

IRT Australia: Tel +61 3 9643 3000 Email: cburke@irt.com IRT Germany: Tel +49 171 784 7447 IRT UK & Europe: Tel +44 1638 668 003 IRT New Zealand: Tel +64 9297 2022 IRT North America: Chicago: Tel +1 630 377 2300 LA: Tel +1 310 306 0262 www.irt.com

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