Issue 4
Cadre Noir
Saumar
French Riding
Breed Proole
School
MURGESE Educationals
Manolo Mendez Riz Ilyas Sprinkles for kids
Introducing
Team BHM
Para-Olympian
Ann Cathrin Lubbe
d set.
.Piaffe
dv
R
The Baroque Horse
al eve ed
e D et ails Insid
Friesian Stallion
History, Pedigree, Honour and Prestige!
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From the Editor .. Welcome to Issue 4 of Baroque Horse Magazine It has been full on for us here at BHM the last couple of months with our printing preparation well on the way! By popular demand on facebook and emails, our readers have also requested a print version, so we have decided to just do that! Lots of hard work is in progress to bring you a printed version, and to be delivered right to your door!
Issue5isgoingtobeourfirstprintissue! Availableforsubscriptionpurchaseallround theworld!Preorderyoursubscriptionandgo intothedrawtowinthefantasticdouble dvd set - Training Piaffe by Riz Ilyas! BHM would also like to welcome Riz Ilyas and Jess Morton to the team. Riz, creator of Piaffe Revealed has now going to have his own regualar column, Riz’s Rave. Which is bound to be full of great and interesting advise and thoughts! Jess is a journalist from NZ living in Italy and we look forward to her interesting contributions! Here at BHM we pride our selves at delivering you the reader the best possible magazine with great easy to view design, interesting articles, something for the kids and stunning images from the most amazing photographers from around the world!
Editor In Chief: Danielle Skerman Editor/Advertising: Patty Taylor Design: Danielle Skerman Photograpers: Giorgio Soldi Pedro Yglesias de Oliveira Cally Matherly Antonio Mendonca Ekaterina Druz Nadeen Davis Marta Guedes Vaz Alain Laurioux - IFCE / ENE Matilde Brandt Contributors: Sarah Warne Danielle Skerman Caroline Larrouilh Ysabelle Dean Manolo Mendez Jessica Morton Riz Ilyas Phillip Leitch Karen Turner ©Baraque Horse Magazine AU. 2011 All Rigths Reserved. No part of this publication, editorial or advertisement, may be reproduced without the written consent of the publisher. The content of the advertisements within this publication is the responsibility of the advertiser. Although due care is taken in the preparation and publication for all advertising material, the publisher cannot be held responsible for any errors or for any consequential effects. Opinions and statements made by others in submitted text may not be the same as those held by either the publisher or the editor.
We have lots of great stuff on the horizon for the BHM readers, with free giveaways, posters, competitions for adults and the kids and much much more! We’re very excited by all that we have planed for the upcoming issues! BHM is a magazine especially dedicated to all the wonderful baroque horse breeds all round the world. We love to hear what your up to and welcome readers stories! Or even just send us an email to say hi. Please do tell us what you like or even don’t like and we’ll keep working at making this magazine as interesting and exciting as possible. Join us in our journey and ... go for BAROQUE!
DanielleSkerman
On the cover: Photo by Ekaterina Druz Rider - Olga Shumilina, Horse - Brioso, andalusian stallion, Owner -Olga Titova. Olga (rider) practices gentle and patient work according to traditions of classic school dressage, although she rides all her horses without bridle, just b a or r ocordeo. q u e h o r s e 5. with side-pulls
Contributors Manolo Mendez master horseman with over forty years of experience spanning classical dressage, doma vaquera and jumping and Manolo Mendez was the first Head Rider, and one of six founding members of the Royal Andalusian School of Equestrian Art Sarah Warne Young dressage rider and Equestrian journalist, Sarah Warne, grew up in Australia and now lives and trains in Portual under Mr João Pedro Rodrigues, and is loving everyday she spends training her 6 year old Lusitano Batailo!
contents
20 Cadre Noir Saumar: French Riding School
Riz Ilyas Is a proponent for ethical horse training and showing as well as strong and very vocal critic of those who are abusive to horses. Most of his free time is spent with what he refers to as his “Merry Band of Misfits” as most are rescues, and credits a wonderful group of people who have been kind enough to mentor him in the different aspects of horsemanship.
88
Wybren 464
54 Readers Gallery
76 Once were warriors
59 Just for fun
82 Artist - Ann Jeffree
Kids educational 62 with Sprinkles.
98 Riz’s Rave
Jessica Morton is a New Zealander who has been living near Florence, Italy for the past 6 years. She owns two horses with her husband, a Lipizzaner cross and a Sardinian Anglo Arab. 6. b a r o q u e h o r s e
What is working equitation?
30
24 08
Photographer Ekaterina Druz
The Baroque Horse - History, Pedigree, Honour and Prestige!
Balance, Rhythm and Suppleness
Breed Profile: The Morgueses horse
42
66
32 94
Manolo Mendez,
Breeder Profile Coudelaria Correia de Mendonca
40
Where in the world - Linda Kindlead
50
Readers Story Storm is coming
72
Para-Olympian Ann Cathrin Lubb
b a r o q u e h o r s e 7.
Murgese Horse
The beautiful baroque horse of the south, descendants of the proud destrier of the emperor’s knights in armor
8. b a r o q u e h o r s e
The Black Pearl of Italy...
The Murgese Horse! B
lack horses have the power to evoke a series of emotions in the human spirit, redolent of ancient warriors, knights of the Templar, crusades and religious pilgrimages. Closely related to the Napolitano, and with an unmistakable Spanish influence: todays Murgese horse is a descendant of Emperor Frederick II’s legendary war horses, admired throughout Europe since medieval times. Distinguished by their blue roan or black/ bay coloring; the Murgese is a baroque horse doted with a remarkable hardiness and predisposition for dressage and working equitation. Puglias Black Pearl Puglia, located deep in the south of Italy has copped a bad reputation in recent years due to organized crime, and high unemployment. It is only when you visit this interesting and historically unique region that you learn it was once the preferred refuge for Frederick II of Swabia, the second Roman Emperor. He created what is now considered the southern renaissance, and his kingdom flourished
Written By: Jessica Morton Photos: Giorgio Soldi
under fair laws and cultural harmony that were virtually unheard of in medieval times.
crusaders who were eager to buy them; but other animals were allowed to be sold”.
It is through a well known Murgese historian named Mauro Aurigi that I learn it was here in the limestone hills of the Murge that Frederick chose to breed his horses. The Emperor chose Puglia because of its harsh rocky landscape. Horses raised here were stronger and hardier than horses bred in the northern European pastures; and during this period, strong horses were of utmost importance in battle. The horses were bred to carry an armored knight long distances (the kingdom stretched from Sicily to Jerusalem) and to remain calm yet sensitive in battle and were descendants of local stock bred by the ancient inhabitants of Puglia, the Apulian’s. These horses were then crossed with Arabian, Iberian and Berber stallions.
Horses bred on the Murge were popular as a cavalry mount through the centuries and highly esteemed throughout Europe. These horses were rarely differentiated by breed, but rather by where they originated. Thus the Murgee horses (which were part of the kingdom of Naples) were known as Napolitano horses throughout Europe.
In high demand from knights and crusaders on their way to Jerusalem, it is recorded in old texts that in 1239 the Emperor forbade his southern Italian subjects from “selling war horses to
During the renaissance a number of important ancient Greek texts were reintroduced into Europe after the fall of Constantinople in 1453. Frederico Grisone, an Italian from Naples gained international fame for studying Xenophon’s ancient texts on equitation. He established the first classical dressage school ‘Accademia Equestre Napolitana’ which was the forefather of all other equestrian schools in Europe, and of modern dressage today. He also published one of the most historically important books on the subject ‘Gli ordini di cavalcar’. Grisone started a movement
b a r o q u e h o r s e 9.
in training that had its roots in classical civilization. Training for horses in battle was developed into the difficult and highly esteemed haute école, and his horses, the Napolitano were highly esteemed throughout Europe due to their quality and ability to perform the ‘airs’ required in this new style of riding. The royal court of Austria purchased two dark Napolitano stallions for their royal breeding program. Both these stallions were from the Murge. These horses were Neapolitano and Conversano, and they are best known today as two of the founding lines of the Lipizzaner breed. In the 1800s inexplicably, the horses of the Murge along with many other Italian breeds, fell into decline. Mauro’s theory on why this happened points to the Savoy dynasty, who after annexing the Bourban monarchy systematically set about destroying Italian horse breeds by infusing the local stock with northern European blood to produce a fancier type of horse as was in fashion at the time. The beautiful baroque horse of the 10. b a r o q u e h o r s e
south, descendants of the proud destrier of the emperor’s knights in armor, Grisones esteemed classical mount and cavalry mount of countless rulers was declassified first as an agricultural horse and then ultimately a meat horse. It was the Murgese’s darkest hour. At the brink of extinction, the Murgese horse was saved by a small group of breeders that set about organizing a formally recognized breed register in 1926. In total there were 9 stallions and 46 mares used to found the gene pool Three stallions make up the important lines of the Murgese today. These are Granduca, Nerone and Araldo delle Murge. All horses are blood typed before registration to control inbreeding. The Murgese today looks very similar to what we know of his ancestor, the Napolitano horses and is closely related to the Lipizzaner and Kladruby. This resemblance is especially obvious in the baroque head which is a lasting testament of the Napolitano horse in lines of all three breeds. The Murgese, much like his famous relative, is also well suited to classical dressage, driving, working
equitation and circus performances. The level headed personality also makes this breed an excellent police horse, and they are currently used as the official mount of the State Foresty Corps.
The Murgese Horse The Murgese is a baroque breed of horse. At first glance he looks very Iberian (and is often mistaken for a PRE or even a Friesian) he has a strong muscular neck, a convex profile, a long full mane, broad chest with a decent shoulder slope. His short back is strong, and his hind legs are positioned well underneath his body to provide impulsion under saddle. The feet and legs are notoriously resilient from his upbringing on the Karst landscape. Height varies from 155cm to 170 cm. The personality of the Murgese is one of his greatest traits. These horses are often raised semi wild and are notoriously hardy. Personality Plus Roberta Inama and her husband Michelangelo Boer have been buying two year olds from Puglia to retrain for dressage for over twenty years. They are consistently amazed at how quickly
these horses learn to trust their new owners. “When they arrive, they have never seen a halter. They hate being touched, and have spent their lives treated like cattle. They don’t hold a grudge though, and when they realize that their handler is different, they will literally give you all they have. This is why they were so highly esteemed as war horses” Roberta tells me. Roberta competes Murgese horses in dressage and working equitation, and has achieved numerous national and international medals for both sports. “They are such a versatile breed – you can really do anything with a Murgese horse. But what is really special about this horse is the personality” she tells me
Italy’s National Horse? There is a movement in Italy today, to have the Murgese horse recognized as Italy’s national breed. Checco Curci, a young filmmaker, of
Pugliese origin currently filming a documentary on the historical highs and lows of the Murgese horse tells me: “I would love for this to happen; but I would hate to see the Murgese horse have its name changed like the Andalucian was changed to Pura Razza Espanol. The origin of this horse has always been one of its attributes. Horses have been raised in Puglia for centuries because the climate of the Murge, characterized by cold winters and dry summers gives the breed its resilience and strength whilst the karst topography produces a balanced horse with exceptionally strong hooves.” The Murgese is still very rare outside of Italy, but this is changing. The International School of Equestrian Art in Dortmund Germany owns a rare blue roan example of the breed, and over the border from Italy in Slovenia; trainers like Jani Krmac from Ljubljana choose to import Murgese horses because they find them easier to work with than the closely related Lipizzaner.
to learn the more complex movements in dressage, and calm under pressure, yet they are very similar to the Lipizzaner in quality and ability”. The Murgese has experienced illustrious glory followed by darkest obscurity. These rugged horses of the Karst plateau represent hundreds of years of selective breeding. They are the culmination of strength; power and beauty developed during medieval times as a weapon for battle to eventually become Europe’s first classical dressage horses in the earliest riding academies. Brought to the brink of extinction when baroque horses were no longer in fashion, the Murgese is a versatile and majestic horse suitable for the novice and experienced rider due to his wonderfully forgiving nature. If you are interested in learning more about this breed in English chiantitrails@gmail.com Breed Links: www.gotteroranch.com/ www.assregcavallomurgese.it a
“I couldn’t be happier with the Murgese”, Jani tells me. “They are quick b a r o q u e h o r s e 11.
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It is thanks to the passion and professionalism of the Murgese studs of Puglia, that this magnificent legacy and direct descendant of the Neapolitan Coursier
Anna Cavenaghi ©
thrives today.
The
Murgese Horse
Breeding Stud: “Gottero Ranch”
Breeding B di Stud: S d
Checco Curci ©
“Sant’Angelo dei Piccoli”
Giorgio Soldi ©
Checco Curci ©
The Equestrian Centre “Il Corsiero Italiano”, in close collaboration with some of the best breeding studs in Puglia, Italy (homeland of the Murgese Horse) trains and competes hand picked examples of the ancient and purest Italian breed: the magnificent Murgese Horse. This is a horse of the highest quality and natural ability which thanks to its wonderful willingness, natural ability and versatility is suitable for a multitude of equestrian sports such as Classical dressage, Working Equitation, Doma Vaquera, Trekking/Trail and stunt/performance work of all types.
Breeding Stud: “Croce Grande”
Breeding Stud: “Vallenza”
INFO: Mrs. ROBERTA INAMA - Equestrian Centre “Il Corsiero Italiano” b a r o q u e h o r s e 13. e-mail: gotteroranch@libero.it • website: www.gotteroranch.com
Working its way into the world of Equestrian!
What is Working Equitation? Written By Sarah Warne Photos - Pedro Yglesias de Oliveira (PPYO) & Antonio Mendonça (ACM)
“Working equitation can be enjoyed all year round, by riders and spectators alike, indoors or outdoors, and within the confines of an artificial surface riding arena”
photo PPYO 14. b a r o q u e h o r s e
I
n an action packed test of speed, skill, endurance and overall functionality, Working Equitation is quickly becoming the horse sport that not only puts horse and rider through the toughest of challenges, but offers an adrenaline rush for its spectators as well. Created in 1996, Working Equitation is recognized as an official sport in more than 13 countries around the world, including France, Spain, Italy, Portugal, Great Britain, Mexico, Brazil, Belgium, Sweden, Germany, USA, Czech Republic and Austria. According to the World Association for Working Equitation (WAWE) rules, “The Working Equitation discipline was created with the objective of enhancing the equestrian techniques developed in countries whose riders use horses in different aspects of fieldwork. The event therefore provides an occasion for the simultaneous comparison of sporting and cultural considerations. The working equitation competition is divided into 3
phases which are designed to test horse and rider through a range of activities. It combines flatwork movements and obstacle tests, inviting horse and rider to deal with a number of obstacles similar to those encountered when riding and working in the fields. At international level a 4th phase is included in the competition-this comprises a cattle penning test. Overall, the competition aims to promote good horsemanship, and a level of submission and control of the horse. Working equitation can be enjoyed all year round, by riders and spectators alike, indoors or outdoors, and within the confines of an artificial surface riding arena.” Long time Working Equitation judge and supporter, António Vicente, says “For me Working Equitation is the re-creation of the daily work in the fields, for agricultural practices and herd management, very common in the south of Europe (Portugal, Spain, France, Italy, etc). Working Equitation takes these objectives and places them in a closed environment, creating an organized sport with clear objectives and rules”. Judging this unique discipline at a national level since b a r o q u e h o r s e 15.
2003, António describes the sport as a very complete discipline, comparable with eventing and sports driving. “To be successful it is necessary to perform well in all four of the specially designed trials. The first one, dressage trial, is very similar to a pure dressage competition were the judges score the horse and rider on their performance in a typical dressage test. The second trial, ease of handling, is done over a course with obstacles. Here, horse and rider must perform and present a good ride, well balanced, with good rhythm and present a good overall equitation. In this phase the judges score the quality of horse and rider on their equitation, focusing on transitions and flying changes. Here the task allows only walk and canter paces, no trot. All the obstacles must be judged by quality of performance, not in a hurry. The third trial is speed and as the name says, the couple (horse and rider) must perform their best over a course of obstacles as fast as possible, while still avoiding penalties. The fastest over the track with no penalties wins. The last phase, cow trial, usually is only included at European and world championships. The riders in teams of 4 must separate one specific cow and pass it to a pen without the others.” Hoping to complete the course to become an international judge this year, António works as an animal production professor at an agriculture high school in Santarémand after competing a little in dressage became a dressage judge in 2002.
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“I always liked horses in general and WE in particular and in 2003 I was invited to attend to the introductory course to become a WE judge. I happily went along and since then I´ve been very active attending all the new and old judges formations and reunions. Aside from WE and dressage, António also judges eventing, as well as the Lusitano horse breed. “That’s what makes Working Equitation in Portugal unique; the quality of the pairs in Portugal. A horse well suited for WE must have good conformation and balance, three nice paces, especially in canter, with good balance in the flying changes, good flexibility, temperament, moral and willingness to compete. This is a very complete sport and in my humble opinion the Portuguese Lusitano horse is the best in the world; there is no rival to the Lusitano’s versatility.
It is impressive to see a pure breed horse, like the Lusitano, overtaking the other horse breeds, both pure and crossbred.” Although he has never competed in the sport António enjoys the judging side “very much” and hopes to play a part in its future. “As judges we have an important role in the development of the sport as we judge and score riders and horses, thus giving some relevant information and tips for future improvement. For me that is very gratifying.” Aside from the degree of skill, it is the energy generated by the sport and its satisfied spectators that makes it truly unique. “The atmosphere and the friendships that are created between everyone related to WE is its riders, grooms, judges and technical staff. The sport promotes the equestrian world in a fun way. As a judge the ease of handling of the horse
A good pair implies a very skilled rider, with a good knowledge of his horse’s physical and functional abilities.
b a r o q u e h o r s e 17.
by the rider is the most rewarding but when watching for pleasure the thrill is in the speed. The best part though, is seeing the quality of horses and riders involved in this sport, particularly in Portugal.” So what makes a stand out horse and rider pair? “A good pair implies a very skilled rider, with a good knowledge of his horse’s physical and functional abilities. The horse must be very agile, good minded and not afraid of the obstacles and difficulties. He must co-operate with his rider the entire time. That’s why the Lusitano horse is so well suited for this sport, as he performs as one with his rider, almost as if he is reading the rider´s mind. The top points are then awarded to the pair with good horse skills and experience. It requires a calmness of he horse and the capability of the rider to do their homework properly, which is fundamental for the fulfilment of the task, particularly when the obstacles vary at each competition.” On the other hand, António awards the lower marks to those combinations with “bad equitation, a horse not very well trained and prepared for the job or a very stressed and weak horse”. While there are many aspects which make the job of Working Equitation judge a challenge, luckily there are some stand out performances that make António’s job easy. “As a judge I must be always very focused and concentrated on the arena, trying to observe everything that occurs throughout the competition. This is very difficult as there are so many aspects to the sport. Also I aim to be as fair and straight as possible avoiding any doubtful or incorrect judgment For me the demand for the highest level of technical knowledge in this sport occurs
in the ease of handle trial. This is where we must know very well the judging techniques and how to apply them and award the corresponding score over each obstacle. I have been very lucky throughout my judging career to have witnessed many outstanding pairs; like Bento Castelhano with Hortelão and Iberico, Jorge Sousa with Gaiata, Paulo Santos and Importante, João Lynce and Nabão, Rodrigo Torres and Pintor, Ricardo Tavares with Navalha and Osama BL, David Oliveira and Mulato, Pedro Torres with Navarro, Bruno Silva with Trovador, Eduardo Almeida with Santo, Bruno Pica with Trinco, Andre Pica with Nohio, Joao Rafael and Trigo. I am sure I am forgetting countless others but the most impressive until now was undoubtedly Pedro Torres and Oxidado. This pair has been performing at the highest level for more than 10 years, and have taken out numerous national and international titles. They understand each other like no other pair. They are very expressive, fast, reliable and competitive!” Now into its 16th year as a competitive sport, competitors, judges, and those who love the thrill of the speed hope to see big things from Working Equitation long into the future. “I love this sport! It is very exciting, and it reveals the quality of good horses and in particular Lusitano horses. The competition is very complete and this allows us to see some amazing things, particularly when you come across a talented horse and rider combination. And could it perhaps be added to the Olympic calendar? “Olympics? I wish but honestly I don´t think so! In my opinion Olympic Games with horses unfortunately may be coming to an end! But if you ask me about the development of this sport- it has been great. Since its beginning in 1997 it has grown from a sport with just 4 countries to one that already has more than 20 active nations. I´m hoping that this sport will soon enter FEI and take its place as a world recognized equestrian discipline!! Let´s cross fingers!!”
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a
u L e t r A
o n a t i s
b a r o q u e h o r s e 19.
Cadre Noir Saumar
French Riding School Photos: Alain Laurioux - IFCE / ENE
Pulse
Grace and Lightness “Core principles that Communicat”
Written by Sarah Warne
France has produced countless World and Olympic championships, passing on the trademarks of French riding to those lucky enough to enter its prestigious walls. “Pulse, grace and lightness,” are the core principles that Communications Director, Marie Dairy, says lie at the heart of French riding.
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evolution of equestrian activities, Squires of the Cadre Noir actively contribute to the maintenance and reputation of French riding by illustrating and transmitting these core principles, through their public presentations in France and abroad (Tokyo, Hong-Kong, London, Madrid, Neustadt...),” says Marie.
Sports. The remaining 8 are military, one of which is the most illustrious Chief Ecuyer.” Long time veteran and master at the school, Jean-Michel Poisson, started his riding career at the age of 12, and says he always dreamed of entering the Cadre Noir, known for its “tradition and competition”.
In December 2011, French traditional riding was so highly recognized it was inscribed in UNESCO and through the work of the National Riding School, the Cadre Noir continues its mission to educate and entertain to this day.
“This is a riding school very important to France, as it is our national school, and is involved in many fields of top level competition, with courses and clinics for instructors and competitors,” says 55 year old JeanMichel.
“The school not only excels in the equestrian education it provides, but also through its results and overall perfection, in both competition and performance.” It’s primary purpose being to train officers of cavalry and break in young horses for military use. Marie says these ideals are the academic legacy of Versailles and are maintained today by the Squires whose taste for the Equestrian Art cannot be limited solely to the military vocation. “The Cadre Noir quickly became the guarantor of the French equestrian doctrine by maintaining its principles and through the practice of Academic riding.” Entrusted to the Ministry of Sports, the National Riding School was established by decree in 1972 and has naturally relied on the expertise and knowledge of the Cadre Noir Squires, who today make up the body teaching staff at the school.
O
fficially opened in 1815 to reform the mounted troops, the then Cavalry school at Saumar set out to standardize the use of the warhorse and went on to become a school the whole French nation could be proud of. “Cultured, educated in the teachings of the horse and curious about the
Today, these Squires adhere to the school’s founding mission; teaching riding suitable for the age; military yesterday, sports today, while continually breaking the young horses. “The Cadre Noir has been transferred from the military status to civilian status,” says Marie. “At present we have around 39 Squires; 31 are teachers or sports contractors from the Ministry of
“Cadre Noir is a very professional place for horse riding and for training for competition.
The school not only excels in the equestrian education it provides, but also through its results and overall perfection, in both competition and performance. The minute I completed my professional teaching examination in Saumar in 1976, I knew I wanted to be a major part of the school’s future.” To be invited into the prestigious arena of Cadre Noir a rider must go through a rigorous process and then pass the ultimate test. “A rider must spend several years b a r o q u e h o r s e 21.
A rider must spend several years riding 6 to 8 horses a day riding 6 to 8 horses a day while also taking part in competition. Then one must pass the final examination to enter. There are around 20 riders welcomed into the performance show with around 40 taking part in daily training.” Jean-Michel says that the pool of talented riders is vast but that the future of the school depends on the horses, who present a new challenge and learning experience every day. “The horses at the school are special as everyday with them is different!” Clearly in love with every aspect of the historical school, JeanMichel has enjoyed both the highs and lows of riding and is sure he will have many more to come. At the Cadre Noir I especially love the School jumps but my worst experience was when I fell down from my horse on 31 of December 1998. I broke my right leg and was forced to stop riding for a whole 7 months ...” If he wasn’t a part of the school Jean-Michel would likely instruct at his own large riding school but is determined to stay with the national icon until “the end of his professional life”. “The national horse riding school is a wonderful place and all teaching instructors and competitors should know it!!! a
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b a r o q u e h o r s e 23.
Manolo Mendez Balance, Rhythm and Suppleness The Importance of Training Transitions in Dressage
must develop soft transitions so
basics every day to build a solid
that when changing from one gait
training foundation.
to another the tempo or rhythm
By Manolo Mendez, Specialist of In-hand and Classical Equitation with writers Ysabella Dean and Caroline Larrouilh
becomes one fluid movement. Over time, the horse will develop But remember, the horse is still
his balance and rhythm nicely as
in kindergarten – we must keep
a result from being allowed to use
everything simple and soft.
his body with a lengthened neck carriage and he will start to read
A good transition is about balance
and understand his rider better
n this article we will discuss transitions, their
A good, balanced transition requires
already be doing transitions as the
importance in training, and how to develop
that the horse move with a long
rider will have asked him to change
them in the young horse.
(as opposed to a shortened) neck,
gait up or down in the course of
I
and better. Of course, the horse will
without rushing, and without being
his training. The rider will have
Classical Training philosophy teaches us that the
dependent on strong hand contact.
encouraged his horse to do these
High School and Grand Prix movements – piaffe,
I cannot emphasize enough how
early transitions with a long neck,
passage, half-pass, tempi changes – and even
very important this is, especially
without rushing, or losing balance.
the Airs Above Ground – levade, capriole, etc.
during the early stages of training.
He will have remembered to be
– are not tricks. Far from it, they represent the
patient and kind, understanding
culmination of all the training to that point. In
First we must begin with the basics.
that in the beginning it is very hard
Classical Training, everything is taught step by
To be comfortable and confident
for the young horse who is learning
step; one thing leads onto the next.
the horse must understand what
to carry his own weight, plus that of
is going on with his work, and the
his rider, to find his balance.
To execute these movements correctly, with
rider must continue to confirm the
ease and artistry requires that the horse be physically and mentally ready: fit, straight, supple,
balanced
and
rhythmical.
These
qualities result from having solid training basics that are logical and progressive. To train without taking the time and effort to establish these basics which allows the trainer to develop the horse without strain and tension is to train the horse without respect. Transitions are a big part of the horse’s learning curve, one of the most important steps on the road to the Grand Prix movements. We
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Manolo Mendez was the first Head Rider, and one of six founding members of the Royal Andalusian School of Equestrian Art. Based in Jerez, Spain, the school is one of the four classical schools which also include the Cadre Noir in Saumur, the Spanish Riding School in Vienna and the Portuguese School of Equestrian Art in Lisbon. A master horseman with over forty years of experience spanning classical dressage, doma vaquera and jumping, Manolo is dedicated to a soft, sympathetic and thorough training method which prepares horses physically and psychologically for each stage of training from training to Grand Prix and Haute Ecole. For more information and more articles visit: www.manolomendezdressage.com
“We must begin with the basics.... The rider must continue to confirm the basics every day to build a solid training foundation.�
b a r o q u e h o r s e 25.
1.
2.
3.
Pic 1. Canter on the circle. We are always looking for softness and forwardness. Pic 2. Performing the Shoulder In on the wall. I am asking Dinamico for a correct bend and the full use of his body to keep the overall balance and rhythm alive. I want follow through, maintaining a light, energetic balance without losing his energy and tempo. If I feel any resistance, it would let me know he is crooked and/or stiff in the Shoulder In. To turn his resistance into willingness, I would ask for an easier exercise, a more basic movement where he can maintain his balance and rhythm. I would not keep insisting if I felt a resistance as he would become stiffer and more crooked and less able to bend correctly. I in turn would be setting up more difficulty in training. Thats why returning to the basics is always so important: we want to make things as easy and simple as possible for the horse. Pic 3. I am asking Dinamico to use himself more so I am not traveling as forward in this canter. I want him to step under himself more while maintaining his balance and rhythm. This is a time where I am asking for in and out -lengthen and collect the body in turn. In this image, I am asking only for a little in as he is still green in this kind of work. Pic 4. Working trot. Quiet, calm and relaxed. We are working on getting energy from back to front without tension and bracing into the hand. Note the soft carriage of the tail and the leg symmetry. Pic 5. A simple working trot where I am careful to maintain the straightness of Dinamico’s body.
4.
Pic 6. Working on basic trot but asking for straightness and giving Dinamico room to move so he understands that we travel forward into the bit, not backward into the bit with a restraining hand. Pic 7. Coming into the circle, once again, we are working on Dinamico using his whole body not just his legs. I want to maintain an energetic forward moving rhythm to keep him alert but also relaxed.
26. b a r o q u e h o r s e
If the horse is happy with the work up to this point, we can start increasing or decreasing the gait for just a few steps here and there. This will lead to developing better “into” and “out of” transitions. When we decrease the trot a little, we must be very careful how we ask the horse to go forward again – not let him go forward too quickly. We must carefully reduce the trot, and then increase it again very gradually, so we go back to the tempo we had to start with. If we push too hard to decrease or increase the tempo, the horse will become unbalanced, or argue with the bit or change his posture. We do not want him to do these things because that will lead to his loosing the suppleness from his body. If we rush the horse off his feet while pulling his head in a misguided effort to create forward and roundness, the horse wont have any choice but to resist, evade or compensate for his lack of balance, suppleness and strength. His body will become more and more tense and crooked, creating long term training problems.
Developing transitions is about avoiding any imbalance, change in posture, loss of suppleness, or loss of rhythm through the transition. An example of imbalance in transitions can be seen when a horse suddenly lifts his head very high, and goes from walk to trot with four to five very short strides, trotting with the front legs first, and leaving his hind legs behind. Of course, a young horse in the early stages of learning to do soft transitions can
MANOLO
and will lift his head high or come down too low here and there - this is natural as
5.
6.
7.
the horse is learning to find his balance in and out of transitions. However, if you feel resistance then it may be because the horse is scared of the bit: the rider’s hand may be too hard or the rider himself is too stiff or unbalanced. For an upward transition it is important to encourage the horse to travel with the neck not shortened but lengthened, out in front, FDO (forward, down and out) instead of LDR (low, deep and round) by giving with
Transitions For an upward transition it is important to encourage the horse to travel with the neck not shortened but lengthened...
the hands and pressing with the legs. This takes the brakes off the horse (hands) and encourages him to go forward (legs). For a downward transition, take the leg off, and ask gently with the hands. If we keep our hands too still, we are using them like a brake on the horse and he cannot learn to do the transition with freedom and in independent balance. When the horse is happy with simple upward and downward transitions, we can introduce trot to walk to halt here and there. We reduce the trot, and then we ask for the walk, and then for the halt. We keep the neck long, the poll supple and the nose in front of the vertical. We do not act as the horse’s fifth leg and hold the horse up into the transitions, we help him find his independent balance. We ask for the halt with a fine and gentle contact, still with the neck long, as this is a comfortable position for the young horse. We maintain the halt for a little bit then walk again, and pat him after the walk by running a hand through the mane. Note: I like to start transitions in walk and trot on straight lines, and start the canter ones in a corner or on a circle to help the horse pick up the correct lead. In all cases, the key is to only ask for transitions here
and there and not drill the horse. The most
even contact in both reins, keeping the
common fault I see training transitions,
horse’s neck straight in front of you, a little
is riders getting in trouble because they
forward and out with the nose in front of
want to overdo everything (repeat, repeat,
the vertical. Always follow the horse’s head
repeat...) and confuse, upset or tire the
with your hands. Do not try to hold the
horse so much, transitions become worse
horse’s head in or use strong contact to
and worse, not better.
round the neck artificially because horses have to move their heads at the canter to
Canter transitions
balance, especially young horses.
Before working on the transitions in and out of the canter, it is very important to establish
You will be able to recognize if the contact
a nice, forward, rhythmic canter first, or the
is too strong because your horse will
horse may not be happy or comfortable
develop what I call “hammer head”, and
about being asked to canter
and do
his hooves will come down hard on the
transitions in and out of canter. This can
footing. Blocking the horse’s body in this
lead to problems such as rushing through
manner makes the horse stiff in the back,
the upward and downward transition,
what is called a leg mover and it can lead to
beginning the canter on the wrong lead or
joint and tendon problems. If your horse is
picking up the canter crooked.
rushing in the canter, simply slow him down a little, in particular through the corners, so
The instinctual reaction for many riders is to
he does not flex his body the wrong way.
ride the young horse too slow in the canter
Never keep the canter slow all the time or
because they fear that he may be a little
the horse’s spine will become blocked little
unbalanced, want to control it or worse,
by little over time. The lumbo-sacrum joint
mistake a slow canter for the beginnings of
or loin is the first place to get blocked, and
collection. On the contrary, I find that when
the rest follows, increasing the possibility
encouraged to travel in a good forward
of stifle and hock problems. It is better to
canter with good natural rhythm, the horse
increase the canter a little bit here and
will get his balance quicker. To develop
there so the horse is able to keep his body
straightness, that is a horse who uses both
flexible, to use himself with nice balance.
sides of his body evenly, always ride with
When a horseb trots a r otoo q uquickly, e h o runs r s e away 27.
“Classical Training philosophy teaches us that the High School and Grand Prix movements – piaffe, passage, half-pass, tempi changes – and even the Airs Above Ground – levade, capriole, etc. – are not tricks. Far from it, they represent the culmination of all the training to that point. In Classical Training, everything is taught step by step; one thing leads onto the next. ” from the rider a little bit, his neck will
more forward; some horses find it easier
length
come up too high, his back will hollow,
to go into canter from their usual trot. If
comfortable?
and he may canter on the wrong lead. If
we know our horse well, we will be able
correct and clear, or did the horse not
we allow the horse to rush like this, the
to figure out what is best for him, even
understand, or get confused?
canter will become very stiff. A horse
if we make a few mistakes first and get
doing this is confused and worried, and
the wrong lead. If the horse does canter
Some young horses do prefer to canter
therefore there is something missing in
on the wrong lead by mistake, do not
on one lead, or are unable to canter on
the training up to this point. If we make
bring him back to trot straight away and
one or the other lead for some reason
sure that all the basics are well cemented
risk frightening him or confusing him
– for example, if they are sore, or if
before asking a young horse to canter, he
more. Let him have a bit of a canter for
the rider is a little twisted to one side,
should not need to canter on the wrong
a while, then slowly ask him back to a
or otherwise not soft and balanced
lead.
trot. When the trot is established again
themselves.
of
rein?
Was
Were
the the
horse signals
in a soft easy going manner, and the When we ask for the horse to canter
horse isn’t worrying or thinking about
But with this kind of slow and progressive
from the trot, the horse should be
canter, then we ask for the canter again.
training, it should not get to this point.
able to pick up his cue from the rider’s
If the horse persists in cantering on the
By the time the
balance. We wait till he is striding
wrong lead, do not keep asking for the
comfortably and rhythmically in trot. We
canter. Stop, and analyze the situation.
don’t ask for the canter too quickly, we
Was the trot forward enough and
don’t hurry, force or panic him. We let
balanced? Did I have
him organize himself, and meanwhile
enough
we make sure we are organized too. We check our position, making sure we use clear aids and ride with a supple and flexible body rather then with a stiff and unyielding one so that when we do ask for the canter, our horse finds it easy to understand what we want. We ask for the canter, with the right signals, and we are kind with our legs and hands. Some horses need to get to the canter from a trot that is a little
28. b a r o q u e h o r s e
young horse is asked to canter, there
and even contact and we seek the
For instance, we can stop the horse
should not be a problem. He should just
correct ratio between long neck and
from walk to halt with gentle, very fine,
canter correctly. If he doesn’t, we must
compressed body that allows the horse
contact on the rein. But if the horse
go back to the basics, retrace our steps
to be in self-carriage, balanced and
wants to go too short with his neck,
in part – or fully, if necessary – to find
centered. For a young horse learning
or too long, then we can use the leg to
the problem and ease the confusion for
transitions, we keep it very simple. A
keep a nice posture, although we have
the horse.
gentle hand is used to ask the horse to
to be very careful not to give a mixed
slow down, and the leg is used to ask
signal. Our hands and legs must work
Once
the
horse
is
confident and balanced in his
upward and
downward
transitions,
we can practice them here
and
there
on
straight lines, but not drill.
The importance of not shortening the neck
independently
“In the Grand Prix movements such as piaffe and passage, the neck must remain lengthened so that the horse can balance properly – just as a ballerina needs a long, graceful neck to balance her body”
To go into a transition
from
each other so that the young horse does not become confused.
Take the time the horse needs It is only when the transitions
are
soft,
and the horse is fully understanding the leg and hands aids plus balance and rhythm that
properly, we must have good contact
we can begin some lateral work with
- that is soft hands - and follow the
the shoulder-in. If we ask before the
horse’s movement. A common mistake
horse understands these things, he will
in developing transitions and other
resist, and yet again develop stiffnesses
work is for the rider to shorten the neck
or crookedness. If the horse does
by using too much hand or by literally
understand and is also gymnastically
carrying the horse with the reins. The
prepared for the more difficult work
rider thinks that by shortening the neck
ahead of him, the lateral work will
he can shorten or collect the whole
come easily.
M
frame of the horse. While the frame of the horse does need to be collected for
It is possible to introduce lateral work
Grand Prix movements such as piaffe
about twelve months (on average)
and passage, the neck must remain
after starting a young horse, but time
lengthened so that the horse can
should not be a factor. We have much
balance properly – just as a ballerina
to work with before this stage. If we
needs a long, graceful neck to balance
rush anything, or skimp the basics,
her body.
the horse to go forward more.
For piaffe and passage, we compress
if we cause any confusion or create any trauma for the horse, we actually
the body of the horse through the
Sometimes we may need to use the
slow down his development. Then
refined use of our leg, seat and hand
leg to get bend and keep the horse’s
getting to lateral work can take a lot
to obtain collection. We do not create
posture soft and his back up if he
longer, because we must first undo the
false collection by shortening the neck.
wants to stiffen or hollow through the
problems we have caused
Instead, we have a light, consistent
transition.
a
A N O L O
M E N D E Z
b a r o q u e h o r s e 29.
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Coudelaria Correia de Mendonça
F
ounded on the fruits of three wise old LADIES and a military eye, Coudelaria Correia de Mendonça (ACM) was the vision of one of Baroque Horse Magazines own talented artistic contributors. “The ACM stud began in July 1995, with the acquisition of 3 old mares from the Visconde dos Olivais stud, belonging to Mr. Veiga de Araújo,” says photographer, doctor, and stud founder Antonio Correia de Mendonça.
Written by Sarah Warne Photos: Antonio Mendonca
Inspired by his father, a long time military man, Antonio developed a love for the Portuguese art of breeding from an early age, and despite a busy professional life, still found time to create his own breed on the side. “In the 60’s, during my youth, I had the fantastic opportunity, and the luck, of accompanying my father, who is a war Vet, as he toured the country.
“Although they were nearly at the end of their useful lives, they had excellent characteristics, and had been awarded gold prizes at national contests. In March of 2005 this initial nucleus was reinforced by an additional group of 10 mares from the Francisco Bessa de Carvalho stud, all of whom were descendants of those first three. So the first 3 mares PEÚGA, SARAGOÇA and TOPEIRA (which I consider the income of the ACM stud) effectively gave birth to more than 90% of our actual breeding stock, helping us to achieve a homogeneous morphology.”
world of horse breeding. Since then, I have carried with me the great desire of making the same.” Having also completed his studies at a Military School in Lisbon, Antonio was also shown the importance of the art of riding, and developed a further love for the training of horses. “In 1989 I was introduced to the Master Luis Valença Rodrigues, and took an interest in the management of his riding centre, Centro Equestre da Leziria Grande,” says Antonio. “With his patience, dedication and most of all, his friendship, I discovered the differences between the military and the classical Portuguese riding styles, and began to admire the special characteristics of the Lusitano Horse.” Going from rider to breeder is something Antonio says was “a natural evolution”, and also a dream that was just “waiting to be accomplished”.
As an army officer, he travelled with the purpose of buying horses to put to use in the military. This allowed me to visit many of the old Portuguese studs, and that is where I discovered the fantastic
“The fulfilment of that dream was made possible by the use of a farm estate located in the Natural Tagus River Park near the village of Idanha a Nova, close to the Spanish frontier. This beautiful estate had belonged to my wife’s family b a r o q u e h o r s e 35.
for more than seven generations, and provided the excellent conditions I needed for horse breeding.” Priding itself on his breeds harmonious relationship with humans, António employs a learning technique developed in the US, designed to help his foals develop a calmness with their human leaders from an early age. “Our purpose is to always produce a sweet and easy to handle horse. The technique used is called “IMPRINTING TRAINING”, and was developed by the North American vet. Robert Miller in the 1950’s and 60’s. The basis of this theory ensures that the foals are touched in the first hours of life, while they are still beside their mothers. This allows them to identify humans as one of them, makes them confident with humans, and thus more willing to learn from humans later on.” A newcomer in the century old tradition of Lusitano breeding, ACM is build on the bloodlines of many well known stallion prodigy, and António says this is now the crucial time for the stud to truly make its mark. “In the last 2 years we have used the F.Bessa de Carvalho stud Stallion, ALADINO D’ATELA, son of SOBERANO and grandson of HOSTIL, both from the Borba stud, and both very well recognized. Nowadays, SOBERANO is receiving excellent competition results in France, with Portuguese rider Carlos Pinto. And of course I can’t forget TXAQUIR (son and grandson of XAQUIRO Quina STUD) the nº 100 horse of the Pedro Passanha stud, whom I have great admiration for as a Lusitano breeder. TIXAQUIR was our stallion for five
36. b a r o q u e h o r s e
years, (2005-2010), and has left an important genetic mark. This year, (another reason to consider 2012 a very important year), we are going to use for the first time a stallion from our own stud DESTINO dos PARDINHOS, a strong brown stallion, son of TIXAQUIR. He is certainly my kind of horse, and I have great expectations that he will be the DESTINY (DESTINO) of the ACM stud.” Producing around 6 to 8 foals a year, António hopes to boost that number significantly, intending to cover 18 mares in the 2012 breeding season. “The total number of animals at our stud is more than 40 horses, and 20 of these are breeding mares. We hope to have many more foals on the ground in 2013, and from there we will select the best based on a number of different attributes. For me it’s very important to observe the foals from the moment they are born, and I spend a lot of time watching them in freedom, out in the fields. A foal with an expressive look, a lively personality, with a good morphology and good movements, is no doubt a good one.” Still developing the ACM signature line, António says the best Lusitano mares and stallions must be healthy, registered, and possess all the trademark characteristics that makes Lusitanos the best saddle horse in the world. “Beside the genetic patrimony it is important to look at mares for their reproductive quality. For that I look for mares with a perfect morphology, with tallness, a good skeleton( for instance good hips), all which allows them to be good mothers. They must have also a very good character to enable easier work with her and her son.
In terms of stallions we have been looking for animals recognized by the Portuguese Breeders Association (A.P.S.L.) as merit stallions, especially with skill in dressage. For example we use as our premier stallions sons of DANUBIO (Veiga stud) and XAQUIRO (Quina stud).” Widely used in battle, Antonio knows that for centuries the riders life depended on his horses strength of character, and this has helped create the Lusitanos we know today. “Because of his war history, the Lusitano has been long selected for his functionality, generosity, bravery and courage. Nowadays, we continue to nominate the Lusitano horse for their potential to win in the bullfight, as so choose them on their ability to work in combat and outsmart the bull. For me, it is this age old style of selection that made the Lusitano Horse unique to the world.
The Lusitano horse is both multi-talented and versatile, attributes that Antonio says enable the breed to excel at several different disciplines, carrying the youngest of riders into the highest levels of competition. “Because of his character the Lusitano can be employed in; Modern Dressage, Horse Driving ( the Belgium Felix Brasseur has been twice world champion in the four in hand discipline in both 1996 and 2006 with Lusitano Horses), Working Equitation (several times European and world champions individually and by teams), Horseball, Randoné, and even show jumping (the famous NOVILHEIRO from Veiga stud, although having been an excellent horse in dressage in France, made British rider John Whitaker in the 1970’s British champion of show jumping and leader of the European price money). But beyond this, the Lusitano is a horse for the entire family, because he is so determined to please his rider; he can be used by riders of all ages with varying
b a r o q u e h o r s e 37.
degrees of ability, especially enjoyed by those who ride purely for pleasure, whom I refer to with admiration as ‘weekend riders’.”
ACM stud will have a promising future and a strengthening identity. I am just the person planting that small but all important initial seedling.”
horse’s pathology and so I can usually make a start on prescriptions when necessary, thus only requiring a vet in the most difficult situations.
And although the ACM stud is quite recent, the 16 year old line has already been blessed with a lot of breeding success.
While medicine is the driver of António’s professional career, the multi-talented Dr/photographer, says breeding is his passion, and he can’t imagine not having horses in his life.
As a photographer I’m used to looking at horses in a specific way, searching for the esthetic beauty. This then helps later on when as a breeder I must consolidate the physical attractiveness with the horses functionality and temperament.” And the talented BHM photographer, says the same philosophy also works in reverse.
“Since our beginning we have participated in several morphological international contests throughout Portugal. At these presentations we were awarded 5th place (with ribbon) in the 3 years old group at the International APSL contest in 2006, with a foal named ZIMBRO, son of LISO, a stallion from Assunção Coimbra stud. ZIMBRO is now competing in Canada. Furthermore this February, DESTINO dos PARDINHOS, is going to participate for the first time in a dressage contest for young horses in Lisboa (another event marking 2012 for us). However, for me, the best prize is to hear reports of joy and satisfaction, from the riders that use ACM horses.” Inspired by the prestigious VEIGA Stud, Antonio hopes to instill the same principles of longevity and pride, that the century old line is known for. “They have worked tirelessly over generations, have preserved their line even in the most difficult times, and proved their excellence in selection work... We mustn’t forget that the VEIGA stud is the basis for practically all the studs we see nowadays. I would of course prefer that the ACM stud establish it’s own identity, but I know this isn’t achieved through the work of jut one generation. I hope
38. b a r o q u e h o r s e
“It certainly makes horse photography a lot more accessible!
“I’m a doctor as a requirement, but a horse breeder by option; I can’t imagine my life not being close to this noble animal. Since I was very young they have been my refugee. I need them for my natural balance, so I guess the horse world... is really my world!” But his work life certainly contributes to his breeding finesse, and Antonio hopes to incorporate this into his life with horses. “Both my medical work and my photographing hobby contribute in a very positive way to my role as a breeder. As a doctor I can understand better the
The horses are at my disposal, at any hour, and I know them all so well. I know their behaviour, their joys, how they react to varying stimulus, I know the mechanic of their movements, and I feel easy among them, so it is only a question of opportunity, and the patience to look for the best frames.” And of course knowing his horses so well, also makes it hard to see them move on and prosper... “Our horses are bred as if they belong to our family. When one of them leaves the stud, a little bit of our life goes with them. It’s as if our Lusitanos are ACM stud ambassadors, and it is with pride and pleasure, much like a father witnessing his children leaving home in search of a promising future, that I watch my horses venture out in hopes of making a young rider happy, from where ever in the world that may be!”
a
Rider: Angelique Hofman
b a r o q u e h o r s e 39.
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b a r o q u e h o r s e 41.
Whereintheworld.....
e l d n i K a d n i L USA
great y people doing About every da . es rs r ho things with thei
Name:
Linda Kindle
Where are you from?
I was born and raised in the Netherlands where we had a riding academy where I received my training in Classical dressage jumping and driving.
Where in the world are you now and how long have you been there? I have my Breeding / Training farm in Bellingham, Washington State in the USA. We are at this farm for 12 years but have been in the Bellingham area for the last 18 years.
What sort of horses do you have?
I started on the New Forest Ponies before graduated to the Dutch Warmblood and the Friesians. The horses we have in our barn and training are ; Friesian Stallion Tinus , approved breeding stallion with the FPZV. 1999 USDF National Champion 2nd level dressage 2000 USDF National Champion 3rd level 2001 USDF National Champion 4th level and Prix St George 2006 USDF listed at 6th place in Grand Prix all breeds. 2006 Awarded FN Germany Golden Horse Award. Tinus still is listed with the highest points and USDF most accomplished Friesian in North America. His offspring are of high quality with an 80% “Star” and many Champions at inspection.
42. b a r o q u e h o r s e
Friesian Stallion Diemer, Diemer is a’ Star’ Stallion and the only son by Tinus to be nominated for the stallion performance test for approval . Diemer is training 3rd level dressage. His offspring have shown high quality with in his first breeding season he produced the North West and National Champion Filly . All most all his foals have received 1st and 2nd Premies. Diemer comes from a very strong mare line. Friesian Stallion Uko - Uko is a very talented dressage horse he is 4th level and schooling in the piaffe and passage. His offspring have received many championships in –hand and under saddle at the National level. 2010 he was in the top 10 sport horse producing sire all breeds. We have 4 Friesian mares ranging from 4 to 12 years of age All 1st Premie and Star mares. All mares are trained in dressage before we start using them in our breeding program. Our foundation mare a Star and Preferent has been awarded the “Live Time Achievement Award upon her offspring..
How long have you had horses for?
My family had horses and a riding academy in the Netherlands since I was 6 years of age. I moved to the US in 1980 and right away started importing horses from the Netherlands.
What do you do with them?
Competitions, exhibitions, breeding and training
What do you love about your baroque horses?
I have over the years here in the USA trained my horses and from clients in jumping driving and dressage. Over the last 15 years I have focused on the classical dressage.
If you could say one thing that you have learnt from a horse, what would that be?
Being trained in Europe in the classical dressage lead me to the Baroque horses more than the Warmbloods. I have devoted my knowledge and life for the Friesian horse for the last 25 years. Besides there look I like the intelligence and devotion of the Friesian. They are sensitive, hardworking and want to please the owner /rider.
Whats your most memorable baroque horse moment to date?
I learned from horses is, have patience understand there body language be fair and honest to them and they will never let you down. The riding and training is relaxing and rewarding when it all comes to gather. It is so important to start the right handling and training from foal up to adult. a Ph: (360) 966 4407 linda@okjenfarm.com www.okjenfarm.com
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Equine Photography by Ekaterina Druz I’ve been mad about horses for as long as I can remember! I find a lot of things incredible when I think of them.
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Horse s’ bea uty, elega n ce a n d n atu ra l power ma ke my hea rt beat when I see the m pla yi ng or si mply exch a ngi ng gla n ce s. Ca ptu ri ng horse s i n a ction h a s qu ickly beco me my pa ssion a n d eventu a lly profe ssion. I perceive horse s a s livi ng a rt objects. It is my ca mera th at is a ble to save the mo ment of ever-ch a ngi ng bea uty a n d sh a re it with others the wa y I see it. Ta ki ng a photo of a ma gnif icent bla ck Frie sia n ga llopi ng throu gh a f ield or of a shi ny-white A n da lu sia n pla yi ng i n the sn ow is tru ly breathta ki ng experien ce. Free horse s movi ng with power, dignity a n d gra ce i nspire me most. Here i n Ru ssia I f i n d bea utifu l ba roqu e horse s: frie sia ns, a n da lu sia ns, lu sita n o a n d cla dru b horse s. M a ny of the m a re n atu ra l models who love posi ng a n d f ill me with joyfu l creativity. My psycholog y ba ckgrou n d a n d a rt edu cation helps to portra it the m a s u niqu e, fa sci n ati ng creatu re s with lots of attitu de a n d ch a ra cter. I h ave been a profe ssion a l horse photogra pher for the la st 5 yea rs. Ba sed i n Moscow I travel regu la rly to ta ke photos of different breeds worldwide. I h ave been co m mission ed by n u merou s ma ga zi n e s a n d held ma ster cla sse s a n d workshops on equ i n e photogra phy. I ca n n ot thi n k of a better ca reer a n d lifespen di ng ti me close a n d person a l with a horse, bei ng pa rt of n atu re.
Contact information: www.equine-photo.net +79032039559 druzkate@gmail.com 46. b a r o q u e h o r s e
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Ambleside Designs • practical elegance • artisan craftsmanship • unique style
distinctive horsewear since 1999 www.amblesidedesigns.com
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Training in Portugal Sarah has fallen in love with the Lusitano, and together with her partner promocaval, has created a network of contacts with the countries top breeders and trainers. If you are interested in purchasing a Lusitano from the breeds country of origin you can contact promocaval@gmail.com
b a r o q u e h o r s e 51.
Reders Story
Storm is Coming!
Written by: Karen Turner
t3 rm a
Sto
old days
Hur
rica
ne
Iren
eo
nh
er w ay i n
Hurricane Irene was on its way and so was “Storm” Tormenta Guerrero (Storm Warrior)
W
hen my Barn Managers daughter was coming up to her 11th birthday we asked her if she could have anything in the world what would it be she answered “A foal just like El Todopoderoso” and as Kris has a very nice mare we bred her the foal for her 12th Birthday. She helped with the breeding, helping by video taping the event which was during a very bad thunderstorm and we awaited the birth. Poppet or El Princepe Fantasma, his registered name, grew and played and spent time with Jordon who trained her foal with diligence. When he was a yearling he trekked off to Mass to the Eastern Region Andalusian Horse Club Show with Jordon, Kris and myself to see how we would do. I was already Bias as his Half Brother Astro De La Noche had been to this show as a yearling and won best movement, best half Andalusian Gelding and Reserve Champion which was quite a feat for a yearling, and something that I felt could be at least matched as El Princepe Fantasma was a better foal, in my opinion. Well we were not disappointed, Jordon
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showed her colt and managed to win: 1st Half Andalusian, Geldin Amature to handle – 2ns Half Andalusian Showmanship 2nd Half Andalusian Gelding - 3rd Half Andalusian Best Movement, Reserve Champion Half Andalusian. Upon our return Kris and I decided that maybe we should cross El Todopoderoso with RU Morgana again as she would like to have a foal for herself and on the show results we had a good match so we again bred and awaited the outcome. RU Morgana is a black half Belgian half QH mare, she is a PMU foal from ND, born in 2000 on the Hiatt Farm and a byproduct of urine collection. Her Dam was a Belgian of no name just a number and her Sire an ex racing QH named Diamond Onyx. RU Morgana was a lucky mare as she was selected by Rutgers University to be part of their first Equine Program and shipped to New Jersey. After the program had finished she was sold at public Auction to raise money for Rutgers and went as a yearling to a stables were Kris bought her as a two year old.
El Todopoderoso is an Andalusian Stallion, gray hansom and full of grace pride and nobility. He was born in Ca and came to New Jersey as a yearling and one of only three Andalusians in the State. His father is Genio III and his mother is a Granddaughter of both Legionario III and Palais/Calhandra, better breeding is hard to find. I first met him at a Garage Sale where I was shopping and noticed that an Andalusian was in the paddock grazing. I had been obsessed with this breed of horse since I was a very young child and had first seen them in Spain fighting bulls, but never dreamed I would see one, yet alone feed one a treat, which was on my bucket list. I asked could I come back and was allowed “private time” in a small arena wih a four year old by the name of TT (registered as El Todopoderoso). Green broke with an interesting attitude I felt as though time stopped. I taught him to bow and stretch and played Socker with him for what seemed like hours. The owner of the horse had been looking for someone to “finish him for her” I lept at the chance and later my Husband purchased him for
Reders Story
Winds were pounding the barn, the rain was horizontal all 25 of the horses were in stalls, eating, sleeping, warm, unworried.
El Todopoderoso
poppet me as a Birthday present, hence when asked I always say “I got my Stallion at a garage sale”. We had been leasing a barn next to a river, we had been flooded out to the point of having to evacuate the horses on a number of occasions, after seven years we decided to move to higher ground. In June poppet returned to the ERAHC Show in Mass and again did very well this time he managed to win: 1st Half Andalusian Gelding Amature to Handle - 3rd Half Andalusian Gelding - 3rd Half Andalusian Best movement. The pregnancy went in a text book style. Morgana had a perfect pregnancy, we were moving to our new facility in July and she was one of the last to leave but we had no problems she traveled like a pro. When you live in a flood zone you tend to watch the weather …. a lot! The weather channel is usually on, NOAA is always consulted on the computer and local news weather is always an attention getter, but we had moved to higher ground so no problems right? As I was on foal watch at
night I watched the weather just because I was still in the habit of doing so. I noticed a Tropical Storm in the Atlantic that seemed to be coming our way, the Jet stream was dropping and this meant trouble. The next couple of days confirmed my worst fears, we prepared for the worst as we had always done in the past. I barked orders like a General, Kris, my husband and I ran around like scalded cats. “Double the Hay order, get an extra ton of grain, put all of the water tanks and containers outside the barn by the doors and fill them full, a pallet of shavings and a pallet of bedding pellets …. oh and get it all here within 24 hours”. All of this was done stored and ready, worse case scenario we had feed and bedding till the next ice age but water would be an issue as there are only so many containers and we have 25 horses. If we were to loose power we would have enough for about four days …. that should be enough right? Oh and the foal was due on the very day of Irene hitting the State of New Jersey. We have never had a problem foaling,
myself and Kris both have Vet Tech training Kris is a qualified Vet Tech coming from Co so we have never been concerned and our vet is the best there is so ….! But there is a serious storm coming, President Obama is calling a State of Emergency as is the Governor of NJ and the storm
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Reders Story contacting boarders to update them about the barn also to check that they were OK. One boarder was flooded out, her house under 15 feet of water most others were without power but OK. Two days later Kris managed to get in to the property a 2 ½ hour drive for a ten minute trip, determination will get you there, that and an Audi! Top left pic Hurricane Irene Below pic Morgana.
hasn’t hit yet! So a plan was formulated, there will be no problems, problems are not allowed and the vets advice was for a worse case scenario, we have the training and ability use your best judgment. Stormy or Tormenta Guerrero (Storm Warrior) was born 4.30 am Sat 27th August 2011 Kris and the kids came over and saw the boy as he slept in the early morning light black, sleek, his brothers double, longer legged and shorter backed but none the less his brother. He got up nursed, bopped about, crashed, slept then did it all again. At 3.00 pm the storm hit, the winds were pounding the barn, the rain was horizontal all 25 of the horses were in stalls, eating, sleeping, warm, unworried. I watched the weather Chanel, Tornado warning after Tornado warning came over the screen, Emergency Alerts went off every half hour and still the storm raged. I gave up with the TV instead preferring to be in the barn with the horses, if the worst happened they would be my first priority. Little Stormy slept, nursed, bopped, crashed, did it all again, oblivious to the torrent outside, a brave little boy. In the morning the rain had stopped, the wind had died, the sun was out and we were well and truly cut off due to trees and power cables down. Without power or well water, we were alive, no injuries and stocked up for any disaster. Cell phones were run out of power by Kris
Readers Stories...
We expected to be without power for about two or three days, after that the water would run out, we managed to eek it out for four days, as the power trucks were at the shore, we were down to our last few drops. I called the OEM and they could not help, I called a friend and asked a favor “we need water, we have a four day old foal and no water any ideas?” Within five minutes I got a call from a guy called Randy from the Neshanic Fire Department “what do you need” “water but is cannot be from a pond or stream we have a four day old foal, we need drinking water and lots of it, bottled water wont do” he replied “be there in ten”. We did not know this man, we had never been to Neshanic Fire House we were not really sure where it was but here he was in a honking great fire tender with 500 gallons of water. He filled everything buckets, tanks anything we could find. We thanked him, we felt
not nearly enough and would come again any time we called with water and a smile. Stormy nursed, bopped, crashed, slept then did it all again. We cleared away downed trees, fixed fences, put back out all of the “fly away” things we had bought in. I slept when it was dark and got up when it was light. Kris bought Sandwiches, snacks and bottled water as in the chaos of getting the horses provisioned we had not considered no refrigerator or freezer for us humans. After 8 days Kris dragged me off for a shower and a hot meal and on day ten we got power back and still Storm nursed, bopped, crashed, slept and did it all again. All was fine for a short time and we cleaned up and made good the mess, dried up the paddocks and all was well. Then we Had the October snow storm, Three feet of snow! The trees that had survived Irene were now laden ed with leaves and snow, they cracked, broke, fell and caused the power to be out for yet another week. We had not expected to loose power as the prediction was for three to six inches not feet, however, we prepared for the worst, again filling everything with water, plenty of grain, hay and bedding. Through all of this he nursed, bopped, crashed, slept and did it all again. He grows like a weed our little Stormy, he is about to be weaned from his mother and he is expected to win the same classes at the ERAHC Show in Mass in July at Mt Holyoak, as did his brother and his half brother before him. One of only six foals born to his father five of which are Champions, beautiful, brave, strong, elegant, intelligent. Life is very good for Tormenta Guerrero, he bopps, crashes, sleeps and does it all again, oblivious to the trials of us humans. Karen Turner Todal-y Stables LLC
a
Have you got an interesting story to tell! We want to hear from you! Send it in to editor@baroquehorse.com.au
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Readers Gallery of their This section is to show fun photos of the readers baroque horses. If you have a photo and would like to add to next issue please email photo/s to danielle@baroquehorse.com.au
Supreme a – 2011 in ic v a ll a l Godding ry P 257 Favo & Michae r e n a z iz n Lip Champio
5 yr old pre Andalusian kimaio park Diego
venshoe Javera jumping Ra Nov 20114 7869
Eminente Owned by Jennifer Cerene
Jano A
ll Breed
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s Show
r negge Lange e n n Fabie Glamour &
2011
PRE filly at 2 years Ch iquita IV owned by Samantha Ferneley
nd her ld mare a o rs a e y 7 in the old rider rs a e y 0 1 France au forest, le b e in ta fon
Danilon 16 .1hh pre st allion Ednovean Farm Corn wall
Weibert
Cheval Calvados owned by Lisa Jekimovics
friesian 8 years old name is Meint, and we´re in Monterrey Mexico
ggy
Clo ed by wke-own a h y d a L Goran hrlach Alisha Ro
Grace
ownde d
by Les li
e Youn
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Ljiljana Nakic-P etrina Horse Center Pe gasus-Sibenik,
89 Favory M
ontenegrbaaX r o q u e h o r s e 57. LI-3
Readers Gallery of their This section is to show fun photos of the readers baroque horses. If you have a photo and would like to add to next issue please email photo/s to danielle@baroquehorse.com.au n
r Diana Herbe Obligado IV - G
PRE
lio
Stal
DW
rio K
sa n, U
Rio ownded by Marina Anderson
shelly Broomham
Sapphire and Steel Andalusian (Fijo PRE) X Hanoverian at Westport A & P show NZ ridden by Heidi Rhodes
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PRE stallion Usario KDW with Dane. Age’s both 4 in this picture
El Todopoderoso
Ljiljana Nakic-Petrina Horse Center Pegasus-Sib enik
-sadie matti
Rio ownded by Marina Anderson
ter Jure yes
waite
lokki and zack
Titan-Meaghan By rn
e
Lokki of Solstice
. Celeste Jackson & Don Benito
and Jan
e Holm
artel
sami M
aWand
Merlin
b a r o q u e h o r s e 59.
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60. b a r o q u e Subscription h o r s e for 12 months of the printed magazine must be purchased before 1st May 2012 to be in the random draw to win 1 dvd set of Piaffe Revealed. valued at $150USD. The prize is not redeemable in cash.
Puzzel Maze - Puzzel Maze - Puzzel Maze - Puzzel Maze - Puzzel Maze - Puzzel Maze
Puzzel Maze!
Help the hungry horse find the apple!
b a r o q u e h o r s e 61.
Puzzel Maze - Puzzel Maze - Puzzel Maze - Puzzel Maze - Puzzel Maze - Puzzel Maze
t s Ju 4 Fu n
-spot the difference -spot the difference -spot the difference -spot the difference
Spot the 5 differences
Answers: 1. Dark tail grows thicker, 2. black on front leg gets longer, 3. Ear disappears, 4. White blaze changes, 5. Forelock gets longer.
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Find the words below in the letters.
D G C A B A L L O I E M R I K N N V Y R L A V A C S D I A C A I E C N A R U D N E G A M O H T D A P P L E T E N A M C D J A F K C I K N O E U H J Q D G O L G B E U C G Y L L I F A N L E A I O K C A B E R A B P I F L P M G R P O L L A G D E D E G S X O S R E H T A E F M L I I S R E T R A U Q D N I H E D Y O H A L T E R E C N X Z G O C A N T E R K N A L F Y L Y T E C N A L A B D R Y Z A A M U Z Z L E Q F A R R I E R O G G M G X N O I T C A D Y G F ACTION AGE AIDS BALANCE BALE BAREBACK CABALLO
CANTER CAVALRY DAPPLE DISMOUNT ENDURANCE FARRIER FEATHERS
FILLY FLANK FLOATING FOAL GALLOP GELDING GRAY
HALTER HAND HINDQUARTERS KICK MANE MUZZLE PADDOCK
Word - Find A Word - Find A Word - Find A Word - Find A Word - Find A Word -
Find a word
b a r o q u e h o r s e 63.
Natural and Dressage Movements The goal of Dressage is for us horses to move freely and in balance like we do in the pasture, but with a rider on our backs. Dressage is based on the movements that all horses do naturally. The next time you see horses playing in a field, see if you can identify some of the movements
Cait and I explain Dressage to out friends at the barn.
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Half Pass This horse is called a Friesian. This breed originated in Holland. Knights used to ride these horses into battle! He’s moving both forwards and sideways at the same time by crossing his legs as he trots or canters.
Extended Trot Passage This horse is showing off and doing a proud slow trot. If he really wants to impress us he will trot in place. That is called Piaffe.
This foal is only a few days old, but he is already knows how to stretch out his body to take extra long springy strides.
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Valiant
Noble Shadow Equestrian Breeders of the “Warlander”
Presents Purebred Friesian Stallion
Sire: Iepe TJ (imp) Dam: Isis (Ster) DOB: 3rd of January 2006. Registered: KFPS & ANZFHS BB1 Service fee: $1000 Fresh/Chilled (LFG). Just like his forefathers, Valiant is a modern Medieval Warhorse. He regularly trains for jousting and performs equestrian military skills at arms in period costume with a fully armoured rider. His calmness and willing nature allows him to excel in this discipline as seen in many of his progeny.
Noble Shadow are breeding Valiant to three, high quality Andalusian Mares, to produce a Friesian x Andalusian breed known as the “Warlander”. The crossing of these two superb baroque breeds is now establishing it’s own studbook registry and Valiant looks like being an influential stallion in the creation of this new breed. We currently have several young stock for sale.
Noble Shadow equeStriaN
139 Gillingbrook Rd Forcett, Tasmania 7173 Contacts: Phillip & Lisa Leitch Phone: (03) 62 659536 Mobile: 0438 657364 or 0400 518704
Like us on Facebook! https://www.facebook.com/ pages/Noble-ShadowFriesian-and-Andalusian-HorseStudWarlanders/194594647225421
b a r o q u e h o r s e 67.
The History, Pedigree, Honour and Prestige!
Written by: Sarah Warne Photos by Ekaterina Druz
Characterised by powerful hindquarters, a muscular arched neck, a straight or slightly convex profile, and most commonly a full, thick mane and tail, the Baroque horse is an agile, strong-bodied group of horses, with a lineage that can be traced right back to medieval times. Specific ancestors of this type include the Neapolitan horse, and the Iberian horse of Barb ancestry, known in the middle ages as the Spanish Jennet; horses which are said to be particularly well-suited for the ‘haute ecole’ discipline of classical dressage. The modern breeds included in this category include the Andalusian horse, the Lipizzan, Frederiksborger, Friesian, Ginetta, Kladruber, Knabstrup, Manorquin, Murgese, and the Lusitano.
Lipizzans are probably the best known of the Baroque breeds, mainly due to their fabulous showcase in the Spanish Riding School of Vienna, Austria. Although descendants of the breed were present throughout Europe in the middle ages, the horse’s lineage was not categorized and thus properly recorded until much later, and between the 15th to 18th centuries, Naples and the surrounding regions became known for their high-quality Neapolitan horses. The best of these horses were bred by noblemen for transportation and cavalry during wartime. In the beginning these horses were likely small, coarse, and heavy, enabling them to easily carry heavily-armored warriors. However, the use of firearm machinery brought with it the desire
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for a more attractive, agile horse. This was gradually achieved through selective breeding, as well as the introduction of equine bloodlines from more arid lands. By bringing in animals from the Near and Middle East, that were, if not pure Arabs, very similar in type, the noblemen were able to develop their desired, more athletic type horses. Furthermore Neapolitan breeders in Andalusia would have encouraged this Barb influence. The result of this purpose cross breeding was a Neapolitan horse that fit the Baroque horse mold; a horse with a body that was deep and broad but shortbacked, with wide round hindquarters and a crested, highly set, and very powerful neck. Modern horses most similar to the ancient Neapolitan are the Lipizzaner and the Kladruber. The most famous of the two, the Lipizzaner, is the chosen horse of the Spanish riding school in Vienna, The Iberian horse, on
In a magazine dedicated to this very special collection of horses, it seems natural that BHM helps to clarify and celebrate the breeds that are welcomed into this elite class, and describe what characteristics unite to make up the BAROQUE horse. b a r o q u e h o r s e 69.
the other hand, is the group of horses native to the Iberian Peninsula, and currently contains up to 17 different breeds. One of the oldest type of horses, their domestication dates back to 300 BC when they were used to form the Iberian Cavalry, defending the lands against the Greeks. Three of the Iberian breeds are Portuguese, including the Lusitano, Sorraia and Garrano, while the remaining 14 are Spanish. The Lusitano, the chosen horse of the Portuguese School of Equestrian Art, is closely related to the Spanish Andalusian horse, and right up until
the 1960s they were considered one breed, under the Andalusian name. It wasn’t until 1966 that the Portuguese and Spanish stud books split, and the Portuguese strain became known as the Lusitano, after the word Lusitania, the ancient Roman name for Portugal. Lusitanos come in a range of colors and sizes, and today are being purpose bred to produce modern sport horses for top level dressage competition. The most common Lusitano is grey, bay or chestnut, and the most famous breed is the Royal stud, the Alter Real, bred specifically for the famous Equestrian
....despite having started just a few years ago, the Lusitano is already the 8th breed in the FEI’s Ranking.
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School, Escola Portuguesa de Arte Equestre. The horse is known for its intelligent and willing nature, with agile and elevated movement. Originally bred for war, the versatile Lusitano is used today in many disciplines, including dressage, jumping, working equitation and bullfighting. They have competed in several Olympics and World Equestrian Games events and have also made a
name for themselves in carriage driving competitions, with a Belgian team of Lusitanos winning multiple international titles. While the warmblood may be more well recognized for its excellence in dressage, its Iberian brothers, both the Lusitano and the PRE, are slowly making their move on the international stage, and have made up much ground in recent years considering their vastly less expansive breeding pool. In Dressage, despite having started just a few years ago, the Lusitano is already the 8th breed in the FEI’s Ranking. But the interesting thing about this is that it was achieved with a universe of only 5000 lusitano mares compared with,
for instance, 600,000 mares of German breeding. This shows the enormous potential the Lusitanos have, and the unique contribution the breed could give, as a pure breed, to other breeding in the world! The Andalusian, also known as the Pure Spanish Horse or PRE (Pura Raza EspaĂąola), has been recognized as an individual breed since the 15th century, and its original conformation has altered only slightly over the years. Used as a tool of diplomacy by the Spanish government, the Andalusian was the chosen horse of kings right across Europe, who both rode and owned the Spanish bred horse. So precious to the national image, exports of Andalusians
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from Spain were restricted until the 1960s, but the horse is now being produced all over the world. Strongly built, compact and rhythmic horses, Andalusians have long, thick manes and tails, and are most prominently born Grey in colour. Most interestingly, many of the most well known modern horse breeds have Andalusian ancestry, including many of the warmblood varieties in Europe. Used for everything from dressage to stock work, the Andalusian has also found fame on the big screen, and was the feature horse in movies like The Phantom and Lord of The Rings. But the most intriguing part of the Andalusian is the legend that surrounds this great Spanish beauty.
for use in both the military and as part of the fashionable and rapidly growing noble riding schools being created across central Europe.
The Lipizzans were later settled in temporary quarters in Wimsbach until the breeding stock returned to Piber, Austria in 1952.
But the history of the infamous white beauty is both long and treacherous, with tales of near extinction and then glorious rebirth.
The stallions returned to the Spanish Riding School in 1955, and even 60 years later the Royal school still pays homage to the great rescue, marking the anniversary of Patton’s feat by touring the United States. But surviving the Nazi reign wasn’t the only challenge the Lipizzans had to face in their long history. More recently the breed was hit with another great blow to its small population, when in 1983 the Piper stud was infected by a viral epidemic, with around forty horses and eight percent of the expected foal crop lost to the disease.
During World War II, the high command of Nazi Germany transported the vast majority of Europe’s Lipizzan breeding stock to Czechoslovakia. In 1945, when the nazi bombing raids moved in on the
Inherent in the Andalusians make-up are frontal bosses, which can appear as tiny deposits at the temple or small bumps just behind the ear. Although the horse probably inherited the marks from its Asian ancestors, legend has it that these bosses are actually horns, and are the signs left from the Andalusian’s true past, as the magical Unicorn! Perhaps that is why the horse can illustrate the character of the unicorn so well, and he is often seen depicting the magical beast in movies and books. The Lipizzan on the other hand, although not the star of a mythical tale, is the most famous of all the Baroque horses for its roll in the greatest equestrian spectacular in the world. The well renowned Spanish Riding School of Vienna, Austria, selects only the very finest Lipizzans to demonstrate the haute ecole or “high school” movements of classical dressage, including the highly controlled, stylized jumps, referred to as the “airs above the ground.” Foundered on the Royal lineage of Habsburg, the Lipizzan breed dates back to the 16th century, and takes its name from one of the earliest stud farms located in the village of Lipica, which was spelled Lipizza in Italian. Ancestors of the breed can be traced right back to A.D. 800, and by the 16th century, when the Habsburgs ruled both Spain and Austria, the powerful and agile horse was desired
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Today, although the Lipizzan is bred all around the world, the silver beauty is still relatively rare, with the number of foals born each year a much lesser amount when compared with most other breeds. Still, this is a horse celebrated around the world, and the Lipizzan is not only represented as a Slovenian national animal, featuring on the country’s 20 cent coin, but the highly trainable horse is also used in mounted regiments of the Carabinieri police in Italy.
city of Vienna, the head of the Spanish Riding School feared the remaining horses would be destroyed, and acted quickly to have the Lipizzans evacuated to Austria. By the spring of that year, the horses in Czechoslovakia were again put under threat, as the advancing Soviet army grew closer, intending to slaughter the animals for horse-meat had they captured the refuge facility. Made famous in the Disney movie ‘Miracle of the White Stallions’, the US armies rescue of the Lipizzan stallion is still remembered today, honouring horseman and olympian General George S Patton, who rescued the horses and took them into his protection.
Moving to the more solid Baroque, the Black Friesian, also known as Frisian, is named after its place of origin in Friesland, Netherlands. Resembling a light draft horse, Friesians are graceful and nimble for their size, and during the Middle Ages ancestors of the Friesian were very popular as war horses throughout continental Europe. With a brisk, high knee action trot, the Friesian has a long, arched neck with sloping shoulders and compact, extremely muscular bodies. Through the early Middle Ages the Friesians sturdy build enabled him to carry knights and their armour with ease,
but by the Late Middle Ages the heavier draft horse was needed. Nearly becoming extinct many times throughout its long history, the Friesian is now extremely popular, and used most predominantly in harness or for training dressage under saddle. The other less common breeds of Baroque horse like the Frederiksborger, Ginetta, Kladruber, Knabstrup, Manorquin, and Murgese, still encompass the groups signature traits, being horses of versatility, willingness, and both inner and outer strength! So stay tuned to our bi-monthly magazine, a unique equine read that pays homage to all that is The Baroque Horse, and celebrates his success around the world. The Baroque Horse ~ History, Pedigree, Honour and Prestige! a
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“He was my best friend ever. In 2007 he went blind in his right eye, and then in 2010 in both eyes. So he was forced to end his life in October 2010.”
Photo: Matilde Brandt
Photo: Matilde Brandt
Spotting a unique talent! pa r a -
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Written by Sarah Warne
Photos by Matilde Brandt and supplied
@ http://www.teamzanko.dk/
orwegian born para-olympian Ann Cathrin Lübbe overcame a great deal to keep her seat firmly in the saddle, but she owes a lot of her success to a beloved Knabstrupper, a horse she says “was one in a million”.
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anko was the most fantastic horse I have ever known and ridden, “ says Ann.
“He had a heart of gold, and never let me down. I could trust him always. Every place I took him, he was nice and safe. He was not afraid of anything. In competition he would always go with his ear specially positioned, like he was listening always to me.” Starting her riding career at age 6, Ann was diagnosed with Juvenile Rheumatoid Arthritis at age 11, and spent the next 8 years in and out of hospital undergoing several operations. Finally in 1999 Ann got a knee replacement, but none of this could hold her back from her horse career. “I bought Zanko in 2003 and was with him until 2010. I competed him right up to Grand Prix level.
I rode in the Paralympics, the World and European Championship, and also small tour 3 star CDI’s. Together with Zanko I have won Gold medals at all the biggest Championships.” Although she was born in Norway, Ann has lived in Denmark for most of her life, and enjoys passing on her experience on to other Danish horse enthusiasts. “I have lived in Denmark for the last 11 years. I am an education teacher, but for the last ten years I have been working as a dressage trainer.” During this time she has ridden many Danish Warmbloods, but Ann says this special Baroque horse was, and always will be, her number one. To this day, if she could ride
“He had a heart of gold, and never let me down”
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any horse dead or alive, it would be Zanko. “He was my best friend ever. In 2007 he went blind in his right eye, and then in 2010 in both eyes. So he was forced to end his life in October 2010. It was without doubt the hardest day of my life, when my best friend passed away. But I have so many good memories. Zanko and I travelled the world together; Athens, Hong Kong, Great Britain, Germany, Holland, just to name a few!” Having a go at both racing and show jumping, Ann found dressage to be the best suited to her condition, and she certainly excelled at the sport she loves. “I started riding dressage because my body got worse with the disability. I couldn’t jump anymore. But I found that I love dressage. I love to feel and see how I can get such a big animal to perform, and to watch how far he will go to trust me.” An inspiration to so many para, and able, dressage riders, Ann says a lot of her success is due to good trainers, and of course her equine friends. My trainers have taught me so much over the years, especially Hasse Hoffmann, who is a super trainer. He puts the horse’s health first, and teaches the rider to ride softly and in harmony with the horse. But my fantastic horse Zanko has inspired me most. A true friend for life.” Ann says the Knabstrupper breed is not typically a horse chosen for dressage, and is more often used as a hobby or pleasure horse. But sometimes, you find one that just has it all. “Zanko had no weakness in my eyes. His good head was his strength. He was very relaxed and was such a delight to take around the world. I always new I could trust him. He never let me down. Having never heard about the Knabstrupper breed before she bought Zanko, Ann knows is was the decision that made her career, and together the pair took out the * CDI***Drammen GP 2004: nr 4 i finalen, * CDI***Drammen GP 2005: nr 2 i finalen * CDI***Drammen GP 2006: nr 2 i finalen 76. b a r o q u e h o r s e
* CDI*** DrammenGP 2007: nr 3 i finalen * CDI*** Artic Games 2006: Nr 2 i finalen * NM dressur 2003: nr6 * NM dressur 2006: nr6 * NM dressur 2007: Bronse * NM dressur FH 2008:Gull * NM dressur 2009:SØLV * VM Belgia 2003 FH: 2 ind. silver, bronze team * Paralympics Athen 2004 FH: 2 ind. Gold * EM Ungarn 2005 FH: 2 ind. Gold, bronze Team * Nordic2006 FH: ind.bronze, Gold Team * Mannheim international copetition 2004-2007 * Sundeved march 2007 L event: 3rd in Bundegaard Byg Cup Int 1 kür 70,2% * VM England 2007 FH: 2 ind. Gold
,bronze Team * Paralympics Hong Kong, to individuelle Silver og bronze Team * Nordisk Mesterskap 2009. 2 ind. Gold * EM HC Norge 2009. Ind Silver kür * The handicap sport athlete of the year 2003 og 2004, nominated 2005 and 2007 * Kongepokalen 2004 * Kongepokalen 2007 * Porsgrunds Porselensfabrikks Ærespris 2004. * NRYF’s Hederstegn 2004. * NFI idrettsplankett 2006 * Zanko :The Sporsthorse of the Year 2008
A“take
and to never forget to love and honour the animal that enables her to reach her dreams.
Hoping to make the paraolympics in London this year, Ann tries to always remember why she is riding,
be around each other.”
nn’s advice to riders is to a breath and feel in your body; feel the pleasure your horse gives you. But most importantly” keep your horse happy”, think about what your horse does for You!”
“I never forget or discard the happiness and passion I have for horses. I love the partnership between my horse and I, how we understand each other, and love to
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“Once Were Warriors” Written By Phillip Leitch Photos: Nadeen Davis
“OnceWereWarriors” An article on modern military Equestrian
S
ince man first partnered himself with the horse in ancient times, he gained advantages in many aspects of his life. Agriculture, travel, communication and trade were all enhanced by these powerful and somehow willing beasts, which were far more physical than his two-legged partner. With our intellect and their muscle we shaped the world. Today in many ways they have been superseded and made obsolete. Modern technology has taken over nearly every task that we used to rely on our horses for, and yet, we have not been able to entirely give away our connection with eques ferus caballus. We still enjoy
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riding, driving in carriages, herding cattle, performing complicated dressage routines and in some places ploughing fields and sewing crops. We do this not for survival or efficiency but simply because we enjoy it and to keep the equestrian arts alive today. As well as our peacetime pursuits, horses were pivotal in warfare even up until the last century. And we, once again, unwilling to let the past be forgotten are still today practicing the techniques and skills used by cavalry throughout history. Around the globe horsemen and women can be found taking part in mounted archery, military drills mounted swordsmanship and even fully armoured (and full contact) jousting.
As well as our peacetime pursuits, horses were pivotal in warfare even up until the last century. And we, once again, unwilling to let the past be forgotten are still today practicing the techniques and skills used by cavalry throughout history.
While the weapons used by historical were many and diverse, they can be broadly divided into three groups. The sword (or other single handed weapon) – The cavalryman’s sword took many shapes over the years but was always considered to be an extremely versatile weapon. Its ability to cut and thrust made it not only a powerful weapon in the charge, but effective in a tight melee or in the event the warrior was dismounted. Today members of historical re-enactment groups practice mounted swordsmanship in the styles of Napoleonic cavalry, medieval knights, American civil war cavalry and
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many others. In Australia the “Light Horse”, not a true cavalry unit but mounted infantry, were responsible for one of the last cavalry charges in history. Today members of the Australian Light horse Association still practice skill at arms techniques with their 30cm bayonets. The Spear – Also known as the lance, the spear is a devastating weapon when placed in the hands of a competent cavalryman. Primarily used in the charge, the focused power of horse and rider onto the tip of the lance was enough to puncture all but the finest armour. Jousting with lances, where two riders charge at each other with the aim to break their lance or unhorse their opponent, was a peacetime activity supposed to show bravery and skill in riding and weapon handling. Jousting today is becoming more and more popular with modern tournaments being held around the world with even two TV shows, based solely on the sport being aired in the US. Missile Cavalry - The mounted archer was the bane of the historical foot soldier. Not only was the archer able to fire at him from a distance, but the manoeuvrability given to him by his mount made it all but impossible for him to be engaged by infantry. With the development of gunpowder missile cavalry became that much more effective. Groups like the American Civil War societies and Western Action Shooting clubs, train with both horses and firearms, while Japanese Kyūdō practitioners still perform the ancient archery skills of the Samurai. Hungarian and Mongolian Horse Archery is also making a big comeback, with competitions held in a number of different countries. So if your looking for something new for you and your horse to try your hand at why not consider a historical equestrian military art form. You can look for groups locally to find out what is available, or start out on your own in the particular discipline you are interested in. There is a lot of information available on the subject on the net and people are usually keen to help others who share the same interests as themselves. a
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With our intellect and their muscle we shaped the world...
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Emai: warnes@live.com.au
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Artist Profile
Ann Jeffree Name: Ann Jeffree How long have you been painting for? I’ve been drawing since I could pick up a pencil, and always drawing animals.
What is your preferred medium? oils, pastels etc.. Mostly I paint with soft pastels. I did some silk painting in the past but haven’t for a while. I also love working in black and white, and so I also use pen and ink, pencil and charcoal. Scraperboard is my favourite black and white medium. This was very popular last century, probably peaking in the 1970s. It then declined for some time, but appears to be experiencing a resurgence the past few years with wildlife and equine artists. I also dabble in photography and do a little digital manipulation.
like myself never do. While I love painting any animal, horses are probably my favourite subject. After I discovered Friesians about a decade ago, I specialised in painting that breed most often. There is a special magic surrounding Friesians I haven’t experienced with any other breed.
What do you enjoy the most about painting horses? I like to express the spirit, power and beauty of the natural horse. You won’t find my art depicting many horses in work, as most of the time I see an animal in pain or in artificially-forced movement. The natural horse moves so much more gracefully and freely than when it is reined in by metal and leather.
Do you sell prints of your paintings? Most of the images on my website are available on request.
What drove you to paint horses? I guess like most young girls, if I was doodling in my school books then nine times out of ten I was doodling a horse. There seems to be a spiritual connection between women and horses. Some girls grow out of it, others
web and contact details http://www.alphalink.com.au/~annj email: annj@alphalink.com.au
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Artist Profile
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Ann Jeffree
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Artist Profile
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Wybren 464 Feike 395 x Wicher 334 x Jacob 302 x Jurjen DOB: 6 26 2007 Height: 166 cm
www.northsterfriesians.com
He is standing at Signature Friesians in Baldwin, Kansas
How did you get into Friesians? In 1991 our daughter begged us to take her to the Minn Horse Expo, and we did. She wanted to go, just to see the Friesian horses and knew that they would have some there. She was 12 years old at the time and had started doing her research on the Friesian breed. As we approached the isle where the Friesians were stalled, we could see a group of people gathering in the isle. There was a young Friesian horse, about 3 years old tied to the outside where the owner was talking to people about the horse. As we got closer to the horse, a mother lost her grip on her child’s hand and the child ran to the horse and hugged the horse’s leg. We all stood there and watched, as the horse just stood there and did nothing! I was so impressed with the horse, and her great mildness and disposition. Being an animal lover, a mother of 4, and looking at a soon to be “empty nester’s” we bought our first Friesian horse a year later! The rest is history....... Was it a family tradition? No, it was not, but it is now.......Megan would love to have Friesians of her own someday and continue breeding. We still make all of our breeding decisions together...... What is it that you love about the Friesians that keeps you breeding? Their magic, personality, size, demeanour, heritage, history, the finely regulated management of the breed, the color, the size......just about everything......but mostly being with them and taking care of them. Megan and I love the combination of the bloodlines to see how we can improve the breed, by what we produce here at Northster. In addition to all of the above,I really enjoy meeting all the different people who are interested in the Friesian horse. Many of them have become good friends! b a r o q u e h o r s e 91.
Wybren 464 How did you come about owning Wybren and how long have you had him? He was bred here at Northster and so was his dam Heike fan Northster. We knew when he was born, that he was special, and Megan gave him the name of Wybren fan Northster. Can you tell me about Wybren’s personality/ what is he like? He is wonderful! Has always been an extremely easy stallion in every aspect. He is very hard working, intelligent, playful, very willing and loving.
Using 5 Words to describe him, what would you use? Kind, hard working, intelligent friendly and motivated Words of advice would you give to anyone looking at buying a Freisian? Buy blood, best advice I can give.......
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R R e v a R s ’ z i R The Habits of Highly Effective Horsemen/Women as compiled by Riz Ilyas 1. Be Calm and Focused. Before you start training, make sure the horse is relaxed and that you have his attention. 2. Be Consistent and Insistent. Always be consistent in your actions, requests and expectations. Don’t confuse your horse. Horses feel more secure when clear boundaries are in place. They want to have someone to count on. By allowing your horse to do something one day and then not the next, you are not being kind. You are being inconsistent. Setting boundaries and expectations lets your horse focus on the task at hand. 3. Have a game plan. Visualize what your goal for the lesson is before you begin. Try to project this goal to your horse during the lesson. (Yes, I know it sounds crazy but it works.) 4. Are you ready to roll? Never ask for something your horse is
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not physically, mentally or emotionally ready to do and don’t ask him to do anything you’re not physically, mentally or emotionally ready to do! Remember you’re supposed to be the brains of the outfit. Don’t confirm your horse’s (and probably the rest of the world’s) suspicions! Don’t put your horse in situations he is not ready for. 5. Prepare your horse for success by preventing evasions. Teach him right, right from the start. Use enclosed areas or natural barriers to reduce possible evasions while training. 6. Baby Steps. Proceed from the easy to the difficult. Horse training is communicating to the horse in way he will understand. Start
with a number of small things and then combine them to accomplish what seems difficult at first. By combining tasks in bite-sized pieces, you’ll soon have enough for the whole enchilada! 7. Communicate clearly. If you scream in Chinese to a person from Mexico, no matter how loudly you say it, he won’t understand. Establish a cue to let the horse know he has done what you requested and you are pleased. Look for signs of understanding/relaxation i.e. lowering of head, chewing, licking lips, etc.
or new, ask for something easy. Even better when teaching something new is to end the lesson as soon as the proper response is given--even if it is only 30 seconds into the lesson! 10. Variety is key. Repetition is wonderful in training horses and should be employed. With repetition you can relax your horse, but don’t drill to boredom, especially in the beginning. This does not mean you have to end the session, just that particular lesson or skill. Go for a nice hack or ride in a different direction. Ride in a different area or patterns.
8. Ying and Yang. Remember that you must always teach the movement to both sides of a horse’s brain so teach a new skill on each side of the horse. Always teach the opposite to each new movement or lesson as well. For example: Go and whoa Turn right, turn left. Lift leg up, put leg down, etc. 9. Reward even the smallest effort lavishly, and always end lessons on a good note. After you ask for something difficult
11. Do not confuse resistance with disobedience. Never assume your horse has learned something you have not taught him. If you reprimand your horse for something you have not explained, then you are being abusive. 12. Don’t ask if you are not willing to tell. Don’t ask for something you don’t have the time or ability to finish or stay to the end, i.e. crossing water, loading, bathing, whatever. Don’t say come here if you’re not prepared to stay as long as it takes to make him come here.
Just like that kid screaming in the toy aisle at WalMart, if his parents give in and let him have the toy this time, it’s always in his mind that he can get his way again. Precedence has been set. He believes it’s possible with just a bigger tantrum. Don’t let your horse think that avoidance is all he needs to do to get you to stop. 13. Throw your clock and calendar in the trash. There is no set time frame to teach anything to a horse. He doesn’t know when Friday is or when 90 days are up, nor does he care. The proper answer to any question relating to how long it takes to teach a horse anything is: ”It depends on the horse.” 14. Be the kind of friend a horse would like to have. Treat your horse like he is a friend, teach him as if he were a small child. We have horses because we love them, and because having them in our lives make us happy, so make training fun for your horse too! 15. Expand your knowledge. Educate yourself and keep an open mind. Each method/discipline/trainer has good points that you can take from and learn from, even if it’s simply what not to do. 16. Enforce with kindness. Do not be afraid to let your horse knows what is expected. However, never, never, NEVER, under any circumstances, do it in anger or with malice. Always reprimand dispassionately. Horses have an amazing sense of justice and the reprimand must fit the offense. Too much punishment or correction done in anger will cause resentment. a
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