Baroque Horse ~ Issue 18

Issue 18 Dressage

Training Arrcles

WEG Photos &

interviews

LONG REINING

With Thomas Ritter

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CONTENTS

w h a t ’ s

i n s i d e

I ss u e 1 8 s u m m e r

08.

Yeguada Aimaran

16.

Long Reining

with Dr. Thomas Ritter

26.

How to Build your Horse's Topline

by Jane Savoie

32.

New Horizons for Dressage Judging

By Jody Hartstone

36.

Interview with Miriam Frenk

44.

Grand Hostil - The Art of Communication

By Jenny Rolfe

50.

Seasonal Feeding Tips

53.

Rythan, Tempo, Stride Length, Energy output

by Dr. Thomas Ritter

60.

The Friesian Keuring

66.

Jousting - The Sport of Kings

72.

WEG Interviews

87.

Q&A

92.

Horse Clipping

96.

Locking Stifles

On the Cover: " Quejio IV " Yeguada Aimaran Photo: Ivonka Dopieralski - idphotos.nl

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E d i t o r s

I

2014/15

t's hard to believe another year has passed. Corny thing to say, I know, however, this year has just flown for us.

We hope everyone has been enjoying the magazine as we have had such an interesting journey putting it together. n this issue one of the main highlights for me is a fantastic article written by Jody Hartstone. It is in reference to a call for a more transparent judging system in dressage by Dr Andrew McLean. This topic has been a big passion for me, not just in the judging, but also in the actual training. For those of you who are regular readers will have seen other articles on this too. or me one of the things I value is equality and fairness, in all aspects of life really. In any sport there will always be the politics and personal opinions.

However, if this system (or new one) can help reduce these issues and make it more transparent, it would be a great help to all involved. This article is by no means an attack on judges or anything like that.

It’s about putting in place a system that will not only make life easier for judges to score and but also leaving less room

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for favouritism/bias claims or facts. In the dressage world, really any breed that is not a WB (Warmblood) or even Thoroughbred can feel like they can face some bias in the arena. On some cases it may be so, and others not. We all know that this can sometimes be said to make themselves feel better for the score they get. Regardless of the reason, if a system was out there that could take the blame/ judgement and personal opinions out (on both sides of the debate) would be a great aid to all involved. he tides are definitely on the change with and increase of people being able to see and understand what is correct in movements and also striving for kinder and more understanding ways to train your horse. With the renewed interest in classical equitation for the competition arena we are starting to see some expressive and happier horses. peaking of expressive and happy horses, we have a super cover of the WEG in August. How amazing was it to see so many PRE and Lusitano horses at the event! In both main stream and Paradressage, and we have a fantastic photo

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N o t e

and interview coverage by CatiĂĄ Castro. One of the things I have constantly noticed with the Iberian breeds competing was how expressive and happy the horses looked. know I'm guilty of being biased to the Iberian breeds, however having said that I really found these horses to show more of their individual personality. Even though their scores weren't as high as the big WB names, they were a pleasure to watch. Such ease, freedom and willingness.. oh and so nice to see them ride a corner with bend and flexion. Well done to all riders and their horses, you all did a super job and represented the breeds proudly.

I

Cheers!

kerman Danielle S Editor-in-Chief

Life is good,

Horses make it better!

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

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Aimarán Interview by Ruby Goodsell

Y

eguada Aimarán is very much the lifetime dream of Mr. Juan Huertas; a dedicated horseman with an incredible eye and knowledge for breeding PRE horses. The stud farm was established in 1982, and is currently located in the Almogía district (Málaga) of Spain. The country estate “La Capellanía”, at the foot of El Torcal de Antequera, is irresistibly gorgeous and perfectly suited to raising world-class horses. Broodmares and young stock graze freely on the expansive pastures of the country estate and the stud farm has all the necessary facilities for the best breeding and training of the horses.

“We are committed to breeding a PRE horse that retains the classical beauty of the Carthusian bloodlines that Andalusians are so famous for, yet that has the functionality and athleticism of a Spanish sporthorse capable of competing in Grand Prix dressage.”

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Photo: Ivonka Dopieralski - idphotos.nl

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Baroque Horse Magazine was fortunate to speak with Aída Huertas Domínguez, daughter of Mr. Juan Huertas, on the breeding program of Yeguada Aimarán and her thoughts on the development of the PR E horses in competition.

BH: What is the history of Yeguada Aimarán?

AHD: To go to the beginning of Yeguada Aimarán we have to go to 1982 when my father, Mr. Juan Huertas, decided to make true his lifetime dream - to breed PRE horses. Before this he dedicated a lot of time to studying the bloodlines, the morphology and thinking about the goals to be achieved. He always loved horses, from his childhood he grew in a little town full of animals and horses and loved it from the very first second.

How did your passion for breeding PRE horses begin?

AHD: About me, what can I say? My mother used to say I was born between the legs of a mare. I always loved horses and I was lucky enough to grow surrounded by them. I learnt to ride as a two year old child and always went with my father to take care of the horses. To me it was natural to be involved in the stud duties. The Andalusian horses captivated me with their temperaments, their grace and their breathtaking beauty.

BH: Who is the team behind Yeguada Aimarán?

AHD: Yeguada Aimarán is a team of people with a big love for horses and based on confidence and respect for horses. Mr. Juan Huertas is the owner and manager. We have two professional riders, two grooms, a trainer and a veterinarian.

BH: Can you tell us about the two specific breeding lines you decided to follow, and what influence you feel they bring to your breeding stock?

AHD: My father studied about the best bloodlines for his project for a very long time before starting to breed. He finally decided to go for two bloodlines, one "Cerrada en Bocado" (Pure Carthusian) based in the best bloodlines of Bocado, Salvatierra, Urquijo and Las Lumbreras, and one with a mix between Carthusian, Bohorquez and Yeguada Militar. The Carthusian are the purest PRE horses, they bring the grace, beauty and agility to our horses and a good combination between a "sparkly" and noble temperament. Bohorquez and Yeguada Militar brought the classical beauty of the old Andalusian

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Aída Huertas Domínguez DVM Aída Huertas Domínguez DVM was born in a family that is dedicated to the PRE horse breed with passion, and from her childhood she learned the principles of the Andalusian horse selection and breeding. She studied veterinary medicine and has been dedicated to the equine practice. Her ideal of the Spanish horse is a horse that retains the classical beauty of the Carthusian bloodlines that Andalusians are so famous for, yet that has the functionality and athleticism of a Spanish sporthorse capable of competing in Grand Prix dressage. To complete her education she is also a Dressage Judge and PRE horses Conformation Judge. horses and the sporty movements for the dressage competition.

After such a long time breeding, we have now our own bloodlines, but we refresh blood with new stallions that provides the main characteristics of our horses: nice temperaments, good movements and beauty.

BH: How would you define the horses of your stud and breeding program?

AHD: For me the main requirement for a good PRE horse is to have a good temperament, it is the best feature of an Andalusian horse. They have to be brave, graceful and noble. Then we need to look for a horse that retains the classical beauty of the Carthusian bloodlines that Andalusians are so famous for, yet that has the functionality and athleticism of a Spanish sporthorse capable of competing in Grand Prix dressage.

BH: What is the type of horse you intend to breed for the future?

AHD: We love horses with lots of personality.

They are people orientated and friendly,

Photo: " Quejio IV " Ivonka Dopieralski some of them are bombproof and some of them have more spirit, but all of them are respectful with people and with very noble spirits. Our selection and breeding system is focused to achieve this.

BH: From your judgment, what do the mares give, and what do the stallions give, in a stud farm?

AHD: I think both stallions and mares

BH: What are your thoughts on riding mares? Do you feel it is important that they ‘prove’ themselves, as is expected of the stallions, or is this achieved through the offspring they produce?

AHD: This is a difficult and controversial question. Personally I think that mares are as good for riding as stallions or geldings.

The problem is that traditionally mares were used for breeding and stallions for riding, so in Spain we have a breeding philosophy based on this. I think this is changing and the breeders are starting to see mares as

The Carthusian are the purest PRE horses, they bring the grace, beauty and agility to our horses yeguadaaimaran.com

Photo: "IIngenioso XX " by Manuel Vasco

BH: Which stallions are you using at the moment?

AHD: Our main stallion is our Grand Prix multi-champion and Calificado stallion Ingenioso XX. He has proven to produce top quality horses with good functionality and morphology. Quejio IV has also been very important in our breeding program.

He is a pure Carthusian, Calificado stallion with very good conformation, very sweet temperament and sportive conformation.

We are trying now two new breeding stallions, the stunning Nilo XIX, whose sons are going to start in training this year, and Amaranto de Aimaran, our JRR for Dressage (Young Recommended Stallion).

He has been competing very successfully in the young horses dressage competitions, been in the Elite Program of the Spanish Equestrian Federation (which means he was pre-selected for the World Young Horses Championships). We are expecting his first babies for the 2015 season, and are looking forward to seeing them in motion!

As I have previously mentioned, we also work with other stallions to refresh bloodlines. We have foals out of very important stallions like Utrerano VII (father of the renowned Fuego de Cardenas) and Toledano XXXI (breeding stallion in the Yeguada el Bocado with the recommendation for dressage).

are equally importance because they both transmit 50% to a foal. We need to be as exigent for both of them; study which are their strong points, their weaker points and what do they pass to their babies to choose the best matches.

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Right:Tunante XXIX bred by Yeguada Aimaran and owned by Yeguada Nogueria (Germany)

Photos: By Elise Genest

very good competition horses.

But, still there are differences, because you cannot put a mare into foal that is competing in dressage. What this would mean is that probably your best mare is not going to have babies until an old age. New veterinary technologies are helping to change this, now with embryo transfer you can have a foal of a mare who is competing, so hopefully we will see more and more ridden PRE mares.

it is important to breed the kind of horse that you like, in our case noble, functional and athletic horses.

BH: It is widely known that the PRE horses take a longer time to develop than other sport horse breeds. What points do you look for in the foals and young horses that give you a good indication on how they will be as a matured horse?

AHD: This is a very good question... It is very difficult to know. An old breeder used to say that you shouldn’t evaluate a foal until it is seven days old, but don't look at it again until it is three years old. Foals are really changeable and it is difficult to predict. But a foal with a good conformation and movements, can be more or less beautiful, but always would be a good horse. Personally I like to wait until they are three to four years old to judge, but sometimes you have younger foals that steal your heart!

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Photo: Nadina/Ironia-Art.com

BH: What is the program with your young horses? At what age do they commence their ridden careers?

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ADH: We start our horses pretty late. They grow in freedom in groups with other young horses, and this is very good for their development physically and psychologically.

We usually start them at four years old but this depends on how mature they are. Sometimes we can start slightly before this age if they are well developed or later around five years old if they are slower developers.

BH: You have bred three stallions and have several mares belonging to the group of the Reproductores Calificados. A number of your young horses have also successfully obtained the Recommendation of the Ministry of Agriculture. This clearly demonstrates that your careful and selective breeding program is breeding functional and athletic horses.

In your opinion what is the secret of your success?

ADH: To me the secret of this is good knowledge about our own horses to explore the best of each one. To me it is important to breed the kind of horse that you like, in our case noble, functional and athletic horses, and not try to follow the trend of that moment. Try to breed the kind of horse that you genuinely like.

BH: Many of your horses compete successfully up to Grand Prix with championship results. Can you tell us a little more about the achievements of your horses to date?

ADH: It has been a long time competing in dressage so we have done a lot. Ingenioso XX was a very well known GP dressage horse, he was pre-selected for the Olympic team in Athens, won the KĂźr GP in SICAB twice and was Reserve Champion in the average twice, Champion of the level IV,

Horse Ural V. Photo: Marta Nowakowska w w w. bar o q u e hors e m ag azi nE.com

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Photo: " Orion VIII " by Ivonka Dopieralski

BH: Do you have a professional rider who is full time at Yeguada Aimaran?

ADH: Yes, we have two professional riders in our stud. They are both very talented riders and really respectful with the horses and come from the best ridding schools in Spain.

buyers of PRE horses today and who will be the future buyers?

ADH: Most of our clients are looking for a horse with a nice temperament and movements for dressage, but into this, we have several groups: amateur riders who have interest in dressage, they want movements and a well educated horse, but above this they want a friend and a partner, a horse that behaves perfectly in every situation.

The second group are ambitious dressage riders, they are looking for a sporthorse with big movements and potential. This group is still smaller, but I think in the near future this group will grow.

The third group are people that look for horses with nice bloodlines to breed and like the beauty and temperaments of our horses and mares.

BH: In your opinion, which phases does every breeder have to go through? What advice would you give somebody who wanted to become a breeder?

ADH: If you have you decided to be a breeder then sit down and think about your goals. Always keep in

BH: For a number of years you have had the guidance of Enrique Cruces. He is a great value to dressage in Spain, a member of the National Team Dressage and director of the School of Riders Cavalry of Ronda. How important is this relationship in working with a quality coach who understands how to correctly develop the PRE horses in their ridden work?

ADH: To me it has made a big difference.

Enrique understand perfectly the mentality of the Andalusian horses, that they are horses with a very big willingness to work and very big hearts. It is important to have a trainer who knows when they are physically ready to do the work. He is a very technical rider and has a very good knowledge of the equitation, which makes our work in the stud a lot easier.

BH: Riders and breeders all over the world seek the horses of Yeguada Aimaran. Who do feel are the

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Amaranto de Aimaran JRR Dressage. Celeste Ribo

in the top 10 of all breeds Dressage Championship of Spain... just to name a few.

Nautico III was one more of our GP stallions, unfortunately we lost him after a few months competing in this level. He placed in the top five in all the GP tests where he took part. He was many times 1st and 2nd on the PSG and Inter I in both National and International competitions, 2nd in the level IV and PSG in SICAB. Our young horses that are having great results too are Zorzal IX, Zafir IV, Vencejo VI and Amaranto de Aimaran and have all the recommendation for Dressage by the Ministry of Agriculture as "Very Good" and "Excellent". Amaranto has also the JRR Dressage title (Young recommended reproductor) and has won many competitions competing against the best dressage horses in our country.

mind what is the horse of your dreams and go for it. Don't follow trends. Do a careful selection of the bloodlines that could take you to this end and look for nice horses with a solid conformation and a very nice quality. Spend your money in a few good horses better that a lot. And... good luck!

BH: How do you see the PRE breeding today? In your opinion has it changed to create a more commercial horse?

ADH: As well as other breeds, the PRE horse adapts to the demands of the market. You cannot compare the actual PRE horse morphology with the look of the Spanish horses 50 years ago. I think it happens to everything, and is the natural way things are.

BH: How do you now find the reception is to the Spanish horses in international dressage competition?

ADH: The international judges are appreciating the PRE horses more and more. You only have to look to the last WEGs, both PREs were in the top 25, which is fantastic.

And we had the pleasure to see our horses competing with other countries, Australia and USA. With a little bit more time, and going on with the good work, very soon we will see more and more PRE horses competing in GP out of our country.

BHM we would like to thank Aida for taking the time to talk to us. We thoroughly enjoyed it and look forward to following the horses of Yeguada Aimaran. a

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Photo: " Zorzal XI " by Ivonka Dopieralski

A S h o rt I n t r o d u ct i o n To

L ong R eining D r . T h o m a s R i tt e r © 2 0 1 3 w w w . t h o m a s r i tt e r . c o m

W

hy Long Reining? Long reining is an excellent training technique to support the work under saddle, which is quite beneficial for both the horse and rider, and which can be a lot of fun for both. I have always found that horses generally like this type of work, because on the one hand it is easier for the horse, since he does not have to carry the rider’s weight, and on the other hand it creates a closer bond between human and horse, as they literally work “side by side” and the human has to expend at least as much energy as the horse. The rider can learn a great deal about the technical, biomechanical aspects of horse training, since he has the entire horse’s body, and especially the legs, in plain sight. By being able to see precisely where each leg is and what it is doing at any given moment, he can acquire the feel for the correct timing of the aids, which will help again under saddle. As he is not sitting on the horse, he can focus on the rein aids, without having to worry about the seat. Long reining is also a great diagnostic tool, since cause and effect chains play out clearly visible right in front the rider’s eyes. Should a problem arise under saddle, whose cause is not immediately obvious, you can often identify the root cause more quickly and easily at the long rein, since the mechanics of the haunches are directly visible, and you are unable to mask mistakes through weight and leg aids. All mistakes and problems that arise under saddle will therefore show up even more clearly at the long rein.

The horse improves under saddle as a direct result of long reining, as you can explain certain things better at the long rein, while other can be treated more efficiently under saddle. By the same token, the rider improves in the saddle as a direct result of this kind of work, because he can see at the long rein what he is feeling under saddle. Walking behind the horse on the long rein, you gain a visual impression of the back and hindquarters, bend and balance. At the same time you feel the horse’s entire body in your hands. Back in the saddle, you can correlate this visual impression you gained at the long rein with the feel in your seat, legs, and reins. This way, both types of work improve each other, and the rider develops a more complete and more differentiated sense of feel.

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The biggest danger in long reining is that the horse starts to suck back w w w . t h o m a s r i tt e r . c o m

Potential Drawbacks Of course, long reining has its limits and drawbacks as well.

For instance, it is difficult to develop a good lateral bend, due to the lack of weight and leg aids. Many horses tend to push their croup up and to go downhill in the canter, which is not easy to correct at the long rein for the same reasons. Long rein horses should therefore be worked regularly under saddle as well. At the Spanish Riding School in Vienna, the long rein horses used to be worked under saddle four days a week and long reined only two days a week. The biggest danger in long reining is that the horse starts to suck back. To avoid this, it is necessary to let the horse go forward under saddle, at the

lounge line, or double lounge line regularly. Even on the long reins themselves, lengthen the strides at the trot from time to time renews the energy.

Alternating between trot and canter also contributes to keeping the horse in front of the driving aids. Horses that have already learned to piaffe in hand can be piaffed with the rider next to the horse’s shoulder for a few strides, in order to restore the activity of the haunches as well as the uphill posture, should they have been lost.

Definition Of Long Reining Versus Double Lounging and Ground Driving Long reining is traditionally a form of riding, not driving, as is

often incorrectly assumed.

Therefore, you say, for instance: you ride a turn or a movement on the long rein.

It is by nature a collecting type of work, that is practiced predominantly at the collected trot or canter, which is why it is not really suitable for very green horses – unlike ground driving. Driving horses are ground driven with driving reins. The driver maintains a relatively large distance to the horse, and in contrast to long reining, the young driving horse is worked very much at the walk. The horse is tacked up with a driving harness and driving bridle. The work is generally limited to straight lines and simple turns. On the long rein, however, the rider is close enough to touch the

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horse, which is bridled with a dressage snaffle. The long rein is shorter than driving reins. The horse learns all the dressage movements, including lateral movements, flying lead changes, pirouettes, piaffe, and passage.

This type of work differs from double lounging as well, where the horse generally wears a lounging surcingle, with the two lounge lines running through the rings of the surcingle. When double lounging, the trainer is usually on the centre line, next to the horse, who circles around him. The circle can be moved up and down the long side.

The horse is worked mostly at the trot and canter as well. However, the degree of collection is mostly lower than at the long rein. But it is easy to transition smoothly from double lounging to long reining by going behind the horse and shortening the distance. That is why double lounging is a very good preparation and introduction to long reining.

Choosing The Right Horse Since the majority of the work at the long rein takes place in the collected trot and canter, it should not be started too early. Second Level is a good general marker. Horses who have not yet reached Second Level cannot collect enough yet, for which the rider has to compensate by moving faster to keep up with the working trot and canter. With smaller horses this is often still feasible within certain limits, especially if the rider is tall. But if the horse surpasses a certain height, it becomes increasingly difficult. Not every rider possesses

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the necessary fitness level, leg length, or stride length. The horse’s ability to collect dictates how much you need to ride forward (under saddle as well as at the long rein) so that he does not get behind the aids, which would create muscle blockages and other problems.

If the rider is unable to keep up with the horse’s minimum speed, he will inevitably hold him back with the reins, creating a variety of serious problems within a short amount of time. In cases like that, long reining has to be put on hold, and the horse has to be trained under saddle again for a while.

When choosing a horse for this type of work, a good, honest disposition should always have the highest priority. Avoid individuals that kick easily. The horse should be unshod behind as well, in order to reduce the risk of injury, in case something goes wrong after all.

The long rein horse should not be too tall, either, since the stride length seems to increase exponentially with the height. When the horse is very tall, the rider either has to run very quickly to keep up, or the horse has to be very highly collected. In classical long reining the rider follows the horse at the walk, while the horse is trotting or cantering.

This has the advantage that the rider has one foot on the ground at all times through which he can anchor his aids.

If he starts running, a suspension phase develops during which it is difficult to bring the half halts through. With young horses and tall horses, or with smaller riders this cannot always be avoided, but it should be the exception rather than the rule.

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Rider Position There are several different traditions regarding the rider’s position vis-à-vis the horse. At Egon von Neindorff’s Riding Institute the riders used to walk in the middle behind the horse. In the Spanish Riding School in Vienna, the rider walks next to the inside hind leg at the walk and trot, next to the outside hind leg in the half pass and the canter, in the middle behind the horse during the piaffe, passage, and the tempi changes. I myself walk where I can reach the horse most effectively with my aids. In practice it has proven very effective to walk next to the hind leg of the hollow side, because you can frame it with your body very well, preventing it from escaping sideways. But it is often necessary to change positions, in order to be able to communicate optimally with the horse.

Equipment As far as the equipment is concerned, the classical tradition uses a regular snaffle, or a full cheek snaffle with a dropped noseband, for the long rein work, a rein of 5-6m (15-18ft) in length, depending on the horse’s size, and a whip. At the very beginning of

Not every rider possesses the necessary fitness level, leg length, or stride length.

it is extremely important that the rider immediately goes forward with the horse to support the canter the training, you can also use a lounge line, since it allows you to keep a bigger distance from the horse.

Nowadays you sometimes see curb bits, mostly on horses with fleshy polls, in order to hide contact issues. However, it is more honest and more effective to mobilize the poll and throat latch area through specific gymnastic exercises, so that the horse can go on the bit with a simple snaffle as well.

I personally find lounging surcingles and side reins to be more of a nuisance than helpful. I would also discourage the use of pulleys, because the leverage associated with them can easily create such a powerful traction in the mouth that the horse curls up and goes behind the bit, which is almost impossible to correct at the long rein.

Aids This type of horse training follows exactly the same principles as the training under saddle, longeing, and work in hand. In other words, there is continuity among various forms of

training. In contrast to the work under saddle, the rider has no weight and leg aids at his disposal in long reining, only the voice, whip and the reins.

In addition you can touch the side of the horse’s hip with the back of your hand and forearm, in order to ask for sidestepping; you can push against the hind leg from behind with your hand, in order to drive forward, and it is possible to press down onto the croup from above with your hand or rein during half halts, in order to ask for a deeper flexion of the haunches.

It may come as a surprise to some that you need a seat, even at the long rein, although you are not sitting on the horse. The reason for this is that the aids have to be anchored and coordinated by the core muscles, in order to reach their goal. Therefore, the rider’s posture must not be neglected. A common beginner’s mistake consists of tipping forward while sticking out their “tail feathers” like a duck. This makes it impossible to send the horse from back to front to the rein contact with the core muscles, and the horse falls apart. The rider’s pelvis should therefore be placed vertically below the shoulders, and the back muscles have to be well engaged to create the back to front pressure which brings the horse to the hand.

The whip can either be held vertically up, to touch the croup from above, or vertically down, to touch a hind leg from behind or from the side. Held horizontally, the whip can reach the girth area, where it is able to drive forward or frame the horse laterally.

The whip should not be too long, if you

are close to the horse. The larger the distance between the horse and rider, the longer the whip can be.

Brief Overview Over The Training During the early stages of long reining, a lot of time is spent in the walk and trot on the first track around the arena, which is often not easy, especially on the stiffer side, where horses have the tendency to drift over the inside shoulder away from the wall.

You practice many transitions between walk, trot, and halt. The corners are ridden by enlarging from the inside aids. This is done most effectively by walking next to the outside hind leg in the corners, and squeezing the horse into the corner with the inside rein and, if necessary, with the whip.

Long reining on the circle enables the rider to straighten the horse and to improve the lateral suppleness of the spine by connecting the inside hind leg with the outside front leg. This can be done, for instance, by walking next to the outside hind leg and pushing the inside hind leg forward-outward towards the outside shoulder. This can easily evolve into a shoulder-in along the long side by going large, running the outside rein across the middle of the croup, and engaging the inside hind leg with the inside rein. The whip can either drive the outside hind leg forward, or ask the inside hind leg to cross. When working on curved lines, many horses will sooner or later offer the canter out of a misunderstanding. In these cases, it is extremely important that the rider immediately goes forward with the

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horse to support the canter, so that the horse never gets the impression that the canter is not wanted. Should the rider suppress the canter, or punish the horse for it, it could easily happen that the horse will never learn to canter. In these situations, we have to observe what gave the horse the idea to canter.

Then we can try to repeat these aids in order to reproduce the canter depart on purpose.

At the beginning of the long rein training the canter will most likely be rather forward. At this stage, it is mostly important that the horse learns to canter on both leads without breaking to the trot again right away. Over time, the rider collects the canter strides by keeping the horse’s shoulders a little longer at the highest point through half halts. Sometimes, a driving aid is necessary when the hind legs are swinging forward, so that the horse stays in the canter without breaking.

I personally start including the canter as soon as the horse offers it for the first time. Some horses do it as early as the first few training sessions, others do it only after weeks or months of trot work.

If a horse shows talent for the canter, you can include short reprises at the

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canter, in order to practice the strike off aid. Apart from this, I recommend sticking to the traditional training sequence of corner > volte > shoulderin > haunches-in > half pass. The haunches-in is the easiest lateral movement to obtain, but often the most difficult one to „turn off“ again. Many horses throw their haunches to the inside of the arena so enthusiastically that it is easy to lose control of the inside hind leg. So, the rider has to be ready to catch and frame the inside hip with the inside rein during the development of the haunches-in. This is why transitions between shoulder-in and haunches-in are especially useful.

This way, neither hind leg can escape laterally. For the half passes it is usually easiest to turn down the centre line and half pass from the middle of the short side to the middle of the long side, because the turn onto the centre line is initially easier than the turn away from the long side onto the diagonal. Just as in riding, it is crucial for the success of the half pass that you guide the shoulders onto the diagonal line first, and only then ask the haunches to yield.

Otherwise, the haunches would be leading, the horse would get crooked,

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and come off the aids. The inside hind leg has to be brought well underneath the centre of gravity from back to front, and the shoulders have to be moved in front of the inside hind leg.

As soon as the simple lateral movements are relatively easy to execute, the counter changes of bend, zigzag half passes, flying changes, and pirouettes can be attempted next. Their discussion would exceed the scope of this article, however.

During the same time that the horse is started in long reins, you can also start to teach the piaffe in hand.

Summary Long reining is an old, traditional type of work, which lends itself well to the presentation of the trained horse. It is becoming increasingly popular today, because it deepens the rider’s relationship with his horse, and is fun for both. It can enrich the training of both the horse and the rider, and bring variety to the daily routine. Of course, it takes many years to truly master this aspect of training.

But it is a very worthwhile pursuit which leads to countless interesting observations. a

TESTIMONIAL “I had tried many insecticidal products, herbal and rugging 24/7 but nothing seemed to quite be enough. Rugging was the most effective but the bugs would still bite where the rug didn’t cover i.e chest, under belly, either side of tail flap and around the eyes.

Miss was so bad with itch, I couldn’t even ride her of an afternoon because she would stand there and kick at her belly and shake her head continuously. She would even go to the extent of lying down and scratching her belly. The itch was driving us both insane. When I started her on QI EASE I rugged her up and soothed her already irritated sores with Shapleys M-T-G. I couldn’t believe my eyes, within 1 week she had hair growing back.

The before photo was taken in February 2013. Just 1 week after starting QI Ease I was amazed by the amount of hair regrowth and how much Miss had eased up with her itch. I have continued to use this product and it has had amazing results. Lil Miss is now happy and I haven’t seen her scratching or kicking her belly at it at all. I am proud to say this is the first summer that I have been through with Miss that she hasn’t destroyed rugs and been a mess with itch. She now has a beautiful mane and tail (which she has never had) and I can ride her til all hours of the afternoon without her worrying about the biting bugs. I just want to say a massive thank you for QI EASE, you have really changed our lives and made us both so very happy and I would recommend your amazing product to anyone. The pictures really speak for themselves. Picture of Miss at the Gympie Show as taken in May 2013. She doesn’t even look like a horse that ever suffered from Queensland Itch. If you have a horse suffering with itch, please try QI EASE, help your horse to be happy again like mine is.”

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Topline

How To Build Your Horse’s

Case Study: Moshi Savoie

www.Janesavioe.com Photos by Rhett Savoie

M

oshi and I undertook an interesting project these last few months. I dubbed the project “How to Build Your Horse’s Topline.” There might come a time when you’ll also have to build your horse’s topline. Maybe he’s been out of work with an injury. Or you haven’t been able to ride because you have an injury. Maybe you have an older horse who has lost condition. Or the weather has been terrible, and you don’t have an indoor arena so you can’t stay on a consistent program. Or maybe you just want to help your horse get stronger. If you find yourself in any of those situations, I want to guide you through the process I used to rebuild Moshi’s topline in the hope that the techniques will be useful for you. I think it’s very encouraging that in two months I was able to

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bring an 18-year-old horse back from looking dead lame to once again being able to do everything in the Grand Prix.

So no matter how old your horse is or how long he’s been out of work, you can build his topline!

The Back Story Here’s the back story. I had an injury and wasn’t able to ride for several months. While I was out of commission, Moshi lost a lot of condition--particularly over his topline.

As a Friesian, he’s naturally built with a topline that is not ideal for upper level dressage. His hips are high. His back is low.

And his neck is set on high.

Typical Friesian Conformation Over the years I had spent a lot of time building the bridge over his back from back to front. Through that work, he developed a strong back and could work honestly on the bit as opposed to dropping his back and arching his neck. When I was able to start riding him again after my injury, he had lost a lot of muscle. But because he’s such a good guy with an amazing work ethic, he still tried his best. But without the strength he had before my lay-up, eventually we ran into problems. Apparently his back started bothering him, and one day he felt lame during our first trot. Because he’s quite stoic and didn’t react negatively either to being groomed or to being worked, I didn’t realize we had a back problem until he actually appeared lame. I called the vet right away.

He flexed and examined all of his legs, and they were fine. He did, however, find some tight places in his back that felt like they were in spasm. So we narrowed the cause of his discomfort down to the loss of muscle over his back. The handwriting was on the wall. I needed to build a strong bridge over Moshi’s back. I had to start from the beginning just like I did when I began

Start in the Walk With Moshi’s program, we started walking for a total of 20 minutes a day.

First we walked on a loose rein for five minutes. After walking on a loose rein, I put him on the bit and walked in a “deep” frame for another fifteen minutes with lots of breaks periodically on a loose rein. I wanted him to walk in this deep shape so he was connected from behind, over his back, and through his neck into my hand.

Riding “deep” is the key to building the topline. In the deep frame, his back was bent and arched like a bow so he could build the bridge from back to front and strengthen those muscles over his topline.

His head and neck were long and low. He stretched into a straight line contact from my hand to the bit.

Walking in a Deep Frame—Ideally I’d like to see the throat latch a bit more open and the nose forward After walking for 20 minutes for five days, I increased the 20 minutes to 25 minutes. After another five days, I increased the 25 minutes to 30 minutes. So we spent a lot of time in the walk, but it wasn’t boring work. We did lots of different things which I’ll describe shortly. As a result, not only did I develop

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You can’t unring the bell

schooling him 13 years ago. I started just like I did when Moshi was 5 years old. And throughout the rehabilitation process, I kept one expression in mind.

That expression is: “You can’t unring the bell.” I believe that’s a good guideline when you’re rehabbing a horse or starting back to work after time off. Whenever you wonder if you should do one more trot circle or work for five more minutes.

Don’t. Just stop there. Tomorrow is another day. You never know when you’ve done too much until you’ve done too much. So always err on the side of being conservative.

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his strength gradually, but we also had some variety and interest in our sessions. (I also used this time to work on my position so I had lots to keep me mentally engaged.)

Don’t be in a hurry to start trotting if your horse has had a lot of time off or is out of shape. Think of yourself as your horse’s physical therapist or personal trainer so it becomes a fun and interesting adventure.

The Connecting Aids First, I’m going to describe the aids that I used to make Moshi “round”--to put him on the bit. I call those aids the “connecting aids”. Because of his conformation, Moshi’s back is naturally slung like a hammock. I rode him in a deep frame because in that shape he had to lower his hips, lift his back, and lengthen and lower his head and neck.

Keep in mind that the connecting aids are an AID. They’re not an exercise like shoulder-in or counter canter. So you’ll use the connecting aids just like you use any other aid. For example, if you want to go from halt to walk, you give a specific aid to ask your horse to walk off. If you want to canter, you give a specific aid for the

canter depart. And if you want to leg yield, you give a completely different aid. By the same token, if you want your horse to have a round shape or to take it one step further and go “deep” so you can build his topline, you’ll give a specific aid--the “connecting aids”. The connecting aids are made up of three sets of aids—the driving aids, the rein of opposition, and the bending aids maintained for approximately three seconds. In the next sections. I’ll describe each of those three sets of aids.

THE FIRST PART OF THE CONNECTING AIDS The Driving Aids Create a Surge from Behind First, you need to know that the connecting aids last about three seconds. That’s approximately the length of time it takes to inhale and exhale. During those three seconds, start by closing both calves as if you’re asking for a lengthening. That’s essential because every set of connecting aids should contain the surge, the power, the rear-wheel drive that you’d get from behind in a lengthening. Always start with this surge from behind. Squeeze lightly with both calves for three seconds. Don’t squeeze and release on and off three times.

Keep them on lightly for the entire three seconds.

Close Both Calves For Three Seconds Pretend that as you close your legs, you’re squeezing your horse’s neck longer out in front of you just like you’d squeeze toothpaste from a tube. Even though you’re basically asking for a lengthening by closing both legs, you don’t want your horse to actually lengthen by going more forward over the ground. So in the next section I’ll explain how to use your outside hand to recycle that power back to the hind legs. But let’s continue with the driving aids for the moment. During the three seconds of the connecting aids, say the words, “say the words, “add, add, add” out loud. Saying “add” gets you focused on the hind legs—the engine. So “add hind legs, add hind legs, add hind legs” for three seconds. When you say the word “add”, you should feel a surge from behind. You

ADD HIND LEGS 2 8.

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www.Janesavioe.com want to feel that desire to go forward toward a lengthening. Remember, if you don’t have that power from behind, there’s nothing to recycle with your hand.

THE SECOND PART OF THE CONNECTING AIDS The Outside Rein Recycles the Power from the Hind Legs To prevent your horse from actually lengthening, you need to do something with one of your other aids to capture, contain, and recycle that power back to the hind legs. That’s where your outside rein comes in. Let’s say you’re tracking to the left. After closing both calves, close your outside hand (right hand) in a fist for the full three seconds. Close Your Outside Hand in a Fist for three Seconds THE THIRD PART OF THE CONNECTING AIDS Keep the Neck Straight and Flex the Jaw Here’s the third part of the connecting aids.

If you apply both legs and outside rein for three seconds, your horse is probably going to bend his neck to the outside. Let’s say you’re circling to the left. As you close both legs and right hand for three seconds, your horse is going to turn his head to the right.

As a result, he’s not straight. Straight means that his spine overlaps whatever line you’re on. When you’re on a circle, his spine should be bent and overlapping the arc of the circle. (If you’re on a straight line, his spine should be straight and parallel to the wall.) So what can you do to keep his spine straight? You’ve used your legs and outside rein. But you still have your inside hand available. The inside hand has two roles which are: 1.

Keep the neck straight so it doesn’t bend to the outside. Encourage your horse to chew and relax his jaw. It’s the

particular action of the inside rein that encourages your horse to chew. The action of the rein is a squeezing and releasing, sponging, or vibrating action. This action moves the bit in your horse’s mouth and encourages him to chew. When he chews, he’s going to flex his jaw. Now once again, to the naked eye those three aids (two legs

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Give Two Sets of Aid in the Walk

closed, outside hand in a fist, and squeezing and releasing with the inside hand) happen at the same time. But, if we had freeze-frame photography, you’d see the calves close first which results in a surge from behind. Then the outside hand closes in a fist to capture, contain and recycle that power back to the hind legs. Finally, the inside hand vibrates to keep the horse’s neck straight and flex him at the jaw. It’s important you give the aids in that order. Because if you “wiggle, wiggle, wiggle” with your inside hand, your horse will just flex at the jaw. But he’s not on the bit. All you’ve done is soften his jaw, and that’s not going to build the muscles over his back. Using the inside hand is the last part of the connecting aids. But the heart of the connecting aids is closing both calves to send your horse through a closed outside hand.

To sum up, the mechanics of giving the connecting aids are really quite simple.

Here they are again: 1. Close your legs.

2. Close your outside hand in a fist.

Vibrate the inside rein.

Keep these aids on for about three seconds.

THE FINAL PART OF THE CONNECTING AIDS Soften After Three Seconds At the finish of the three seconds, soften.

Remember, you aren’t done giving any aid until you soften.

So after you’ve applied the connecting aids for three seconds, go back to a light maintenance pressure of your legs draped around your horse’s sides and a light contact with each ring of the bit. Also keep in mind that you won’t give just one set of connecting aids. Layer the connecting aids one on top of another like coats of paint. The first set of connecting aids asks your horse to come on the bit. The subsequent connecting aids tell your horse to stay on the bit. And if your goal is to ride deep in order to build your horse’s topline, give the connecting aids and then open your fingers to allow your horse to stretch forward, down and out.

Walking in a Deep Frame

Besides introducing new work very gradually, my main goal was to have Moshi do the movements in a deep frame. To accomplish that, I gave two sets of aids at once. I’d give him the aids for whatever I wanted him to do.

And at the same time, I’d give the connecting aids. So when I wanted to leg yield, I didn’t just say either, “Go sideways.” or “Go on the bit.”

When I gave two sets of aids at once, I was saying, “Go sideways on the bit.”

Here’s an example of how I’d use two sets of aids at once. I’d ask Moshi to leg yield from the quarter line over to the rail, and while I was leg yielding, I’d close both legs, close the fingers of my outside hand, and vibrate the inside rein to ask him to stretch down even further while he was leg yielding.

So if we were leg yielding over to the left, I’d close both legs, close my left hand in a fist and vibrate the right rein. Then I’d open the fingers of both hands to allow him to stretch forward, down, and out as we went sideways.

We did leg yields like that in both directions for several days. Then one by one I added the more advanced lateral exercises like shoulderin, haunches-in, and half pass. At all times, my main goal was not to go sideways. My primary goal was to go sideways with him in a deep frame to build the muscles of his topline. I approached all new work such as starting to trot, canter, and do transitions with the same approach of using connecting aids to school Moshi in a deep frame.

Starting to Trot in a Deep Frame The Result After spending about two months rebuilding Moshi’s body, I was able to go back to doing the most collected things you’d ask a horse to do which in the trot is piaffe and in canter is a pirouette. Those two exercises demand the most engagement (bending of the joints of the hind legs) as well as strong muscles in the hindquarters and back.

Piaffe So I hope it’s encouraging for you to see that with careful, methodical rebuilding of the topline, that even at 18 years old Moshi could go from looking dead lame back to doing the most demanding work comfortably . Just remember, you can’t unring the bell. If you’re wondering if you should trot once more around, don’t. Save it for another day. Err on the side of being conservative. Tincture of time is always the remedy.

For more information on How to Build Your Horse’s Topline, check out Jane’s program at: www.janesavoie.com a

www.Janesavioe.com

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Dressage

New Horizons for

Dressage Judging may Favour the Iberian Horse

By Jody Hartstone

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berian horse lovers from around the world may be interested to read that there is a groundswell of support globally to change the way dressage is judged to make it more objective, transparent and fair. After all, dressage is meant to be a test of training of the horse – not a display of flashy movement and high breeding where the rules are bent or ignored so that technically incorrect movements are still scored highly.

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ast year the FEI changed the goal posts somewhat in the GP (Grand Prix) by giving the piaffe a coefficient of two. This move was sure to get the hearts racing of every Iberian rider and fan on the planet.

At last the horse that can really collect and show a correct piaffe (that is on the spot with clear rhythm and lowering of the haunches) is going to increase their marks! But the trouble is, if it is not marked according to the guidelines set out by the FEI in

their rules, then really, the whole thing is a farce.

The recent YouTube video “Dressage in Crisis” (see ProfessionalHorseServices.com) has been somewhat of a sensation on the internet—audiences around the world have been shown very clearly some glaring issues. This video which has the subtitle “Judgement or Entitlement” shows us that at times the judging seems slanted heavily in favour of horses and riders “entitled” to huge marks, regardless of the quality of Illustrations: Tabitha Osztreicher

Jody Hartstone

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

Jody has qualified through Equitation Science International with an Associate Diploma in Equitation Science. She specialises in helping with “problem” horses and this work as a trainer and a coach takes her to all corners of the world where she teaches riders from amateur level right up to Olympic participants. www.hartstoneequestrian.com

Equitation Science International

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Two top level GP Piaffe's Both scored 10.

Can you see the difference? It is hard to show in an illustration as it is only a moment in time and does not show how many steps a horse takes or how far forward it moves. But it can show a hollow back and backwards tendency vs an uphill action with a strong back. These two illustrations were created from two GP horses and riders, where both scored a 10 for thier piaffe.

the work and how well it fits the description laid down by the FEI in its rules. The video dissects a recent international test by the superhorse Totilas and looks in particular at the way the piaffe is marked. Even a leisure rider can see clearly his piaffe with not enough steps, or creeping forward far more than the one metre allowed—and yet when shown the sheets from the judges we see marks ranging from 8 (Good) to 10 (Excellent).

One of the most frightening and detrimental trends in the sport of dressage is the focus away from training the natural gaits of every horse to be the best they can be. The focus is now to breed “super freak” movers as these types of horses seem to be able to get away with not showing correct

training or correctly performing movements as laid down by the rulebook. Why is this a problem? There are two issues here. One is that it is adverse to ‘line’ breed horses for extravagant movement—look at what happens when you breed dogs to show a certain trait such as a very small head or extra-long legs. Health problems and temperament issues abound. We should be breeding for a whole range of attributes including purity of gait, soundness and temperament. The second issue with this is the elitism that this type of breeding brings to the sport. It becomes a sport for the extraordinarily rich – even foals are sold for hundreds of thousands of dollars. The already Eurocentric sport loses its place in the global sporting context.

The Andrew McLean Traning Scale (In blue)

6. Proof

5. Contact

4. Straightness Dr. Andrew McLean 3. Rhythm

2. Obedience

1. Basic Attempt

But what—if anything—can be done to improve the clarity of dressage judging around the world?

Dr Andrew McLean from the Australian Equine Behaviour Centre believes that not only is a new system of judging needed, it is imperative to ensure the longevity of the sport. At the 2014 conference for ISES (the International Society for Equitation Science) held in Denmark, Andrew McLean presented a plenary entitled “Objectivity in dressage judging: New Horizons that arise from Learning Theory.” This talk was so well received that I believe it needs some airtime...

unsubstantiated assumptions. We need to make the judging objective—that is, based on facts that can be proved to be true using deductive and inductive logic. That’s precisely what the science of Learning Theory can bring to the sport.

Judging should really go hand-in-hand with horse welfare—the judges in actual fact ARE the true guardians of the sport and its future. In this vein, the use of the word submission (which has many negative connotations) should be abolished. The test should be about training an animal, not making the animal submit to our wishes.

Words like partnership and harmony can never sit well beside submission, which is all about the rider asserting their dominance over the horse—who is after all, a blameless participant in the sport.

The way the sport is judged should be: •

SIMPLE—so judges “get it”

•

TRANSPARENT—so riders coaches and the audience get it

•

OBJECTIVE—to promote clarity and trust in the judges

•

RELIABLE—after all, what we are evaluating here is not that complex

First, let us look at the issues facing the way dressage is traditionally judged...

When we train a dressage horse we are incrementally shaping their responses to perform a set task. Therefore it makes sense that to judge a dressage test we need to deconstruct the shaping of each movement in order to judge how well it is performed. It is generally accepted that the German Training Scale is used to judge a performance, but it is not sufficiently scalar with straightness being placed above impulsion. (see the scale above) How can a horse be impulsive if it is not straight?! A true scale should begin with a basic attempt and move on to having the animal under stimulus control.

Each element judged should be objective and directly observable. Faults in each movement should reflect which part of the shaping scale has not been met.

In this way the test is transparent—even someone sitting in their armchair at home should be able to judge!

Dressage judging is full of inherent bias. This bias falls into four categories.

Conformity Bias means a judge feels that they have to fit in with their colleagues. National Bias occurs when a judge scores their own nation higher than the other judges. Order Bias occurs when the riders in the latter part of the class tend to be scored higher—this is especially prevalent when the draw is seeded according to the rider world rankings so the best riders go last. And finally, Memory Bias where a judge remembers the rider’s previous tests and awards marks based on this rather than what was actually seen.

Dressage as it stands is a purely subjective sport. The judge gives their personal opinions, which can have an inherent bias and be filled with

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A new training scale from which to judge from may hold the key...

Andrew McLean developed his own Shaping Scale (Training Scale) quite some time ago that from an animal behaviourist’s point of view makes much more sense than the German Training Scale. It starts with the horse being able to perform a Basic Attempt at a movement or task, such as going from halt to walk. After that, the horse must learn Obedience to the aid so he can perform the task immediately from a light signal. Scientists call this being under stimulus control.

Thirdly, Rhythm is targeted, which means the horse must continue to respond to the signal unaided by the rider. This includes tempo, stride length, and stride height. Once rhythm is established, Straightness is targeted. This means the horse should remain on the rider’s line (including a curve, half-pass, etc.) unaided by the rider. The fifth aspect is looking at Contact. This encompasses the connection of the rider’s hands to the horse’s mouth and the rider’s legs to horse’s body, and also the rider’s seat to horse’s back.

Once these qualities are established, the further qualities of impulsion, engagement, ‘throughness’ and collection will emerge. The last part of the “McLean” shaping scale is Proof, which states that anywhere, at any time, the horse will be able to perform the set task.

1. Basic Attempt: The horse experiences some piaffe steps from the rider’s aids 2. Obedience: The piaffe steps arise from a single aid 3. Rhythm: The horse can continue to perform piaffe from that single aid 4. Straightness: The horse now performs the piaffe on the chosen line and straight 5. Contact: The horse now piaffes with a consistent body posture and head/neck carriage 6. Proof: Piaffe with the above qualities can be reproduced in a number of different environments What would the range of marks look like for the piaffe if judged this way?

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If there is severe conflict behaviour (rear, buck) instead of piaffe, it’s 0;

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If there is an opposing response (e.g. backwards) it’s 1;

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If there’s not a sign of a piaffe-like step then it’s 2;

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If there is a step or so of basic shuffling in a vaguely piaffe-like way, then 3;

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If there is some forelimb but no hind limb piaffe-like activity, it’s 4;

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If the piaffe is ‘visible’, it’s 5 to start with; (Basic Attempt)

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If piaffe is elicited immediately and by light aid, then it’s worth 6; (Obedience)

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If it’s self-maintained and the horse is in self-carriage in tempo and stride length, then 7; (Rhythm)

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If it’s straight and on the spot, it’s 8; (Straightness)

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If it’s in self-carriage in collection uphill with correct hoof heights and limb angles, it’s 9 (Contact & Engagement)

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If the overall picture is perfect, it’s 10

In conclusion – the survival of Dressage as a sport.

If dressage is to survive as an Olympic sport it needs to be seen to be a sport judged without bias, and a sport for the whole world to participate in. From an animal welfare point of view we need to ensure horses are being trained in a light way. Checks for self-carriage where the rider gives both hands forward should be embedded in tests right up to Grand Prix level. Horses performing the test as it is laid down in the rules should always score higher than those showing conflict behaviours or not completing the movements adequately.

At the moment it is very difficult for the PRE, Lusitano, Friesian and other Baroque breeds to shine in the sport.

Many judges have a bias that makes it difficult to mark these breeds higher because the move differently to the Warmblood horse. However, if the focus was shifted away from the flashy gaits of the horse, away from what mark certain riders are ‘entitled to’, and is directed at the training and performance of the test things could well be different. If the playing field is levelled out and dressage becomes a true test of the horse’s training, the Iberian horse will be allowed to shine and take his deserved place on the podium. a

Dressage

So what does this shaping scale look like in terms of, for example, piaffe?

The following table lays out the proposed new judging criteria as suggested by Dr Andrew McLean.

Photo of Gonçalo Carvalho and "Rubi AR"

by Cátia Castro

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I n t e r v iew

wi t h

Miriam

Frenk The popularity of the Spanish horse is on the rise, and few know this better than Miriam Frenk, a renowned horsewoman with a gift for selecting top quality horses for international buyers.

Interview by Ruby Goodsell

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orn in the Netherlands, Miriam studied a Translating Diploma at Geneva University before moving to Spain some 35 years ago. This move was to be monumental in her involvement with the PRE horses.

Fluent in several language including Spanish, French, German and English, Miriam has established a business focused on sourcing and exporting horses of excellent quality worldwide. Held in high regard, both in Spain and abroad, Miriam plays a pivotal role in the growth and development of the PRE horses.

BH: Originally from The Netherlands, you have been a resident of Spain now for over 35 years.

What attracted you to living in Spain?

MF: Once I finished school in the Netherlands, I spent many years studying abroad. After living in Switzerland, France, Spain, Argentina and Great Britain, I decided Spain could be a nice country to live in especially after spending a very cold winter in the UK where I worked at a show jumping yard. Little did I know that in Spain, all those years ago that it was also absolutely freezing cold in winter and was much colder then than it is nowadays.

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BH: Did you find the culture and way with horses completely different?

MF: Spain 35 - 40 years ago was completely different from today’s society. The horse world was mainly for men, and a young lady working as an instructor was something quite unheard of.

I started of at a huge equestrian centre - country club type - where I stayed for approximately 25 years; teaching, training dressage horses and preparing mostly young riders for competition.

The horse management was what I was used to, as this was not an environment of PRE horses at all. At the time there were hardly any Spanish horses at this facility and I had no experience with the breed whatsoever.

BH: Previously you had a lot of experience with the riding and training of the European Warmbloods. Can you share with us your first introduction to the Spanish horses, and what is it that you like most about this breed?

MF: About 25 years ago the PRE breeders started to get involved in dressage. Previously the Spanish horses were bred for showing in-hand, driving, riding out, and high school training.

Various breeders decided to bring me some

horses to train and they also came with their children for lessons. It was a completely new learning curve for me. The movement was very different from what I was used to, and so were the horses’ minds and morphology, so a lot of analyzing and thinking went into this enterprise Few PRE’s in those days that were suitable for FEI dressage; today is a different story as horses are being bred for this discipline. They were easy to handle, but complicated to train in order to suit the purpose they were brought to me for.

I soon learned to appreciate the great personalities of the Spanish horses, their comfortable movement, temperament and quick minds. Eventually, over the years I was inspired by Spanish riding techniques and enjoyed schooling the horses in the high school movements.

BH: How did you start the work with sourcing and exporting PRE horses?

MF: I believe this was approximately in 1997, I have lost track of time. My son had a computer and started teaching me to handle it so I could switch over from using a typewriter. This was my first contact with the internet, and the idea occurred to me that it would be possible to reach people from all over the world

to offer them Spanish horses for sale. We designed a website and I believe it may have been the first website ever dedicated to the sale of horses. For several years I suggested the idea of setting up a sale yard for PRE horses to many people, but nobody was interested in the project. So I started to travel, bought a video camera, and set up a system to edit the videos and pictures.

In those days the videos were sent in cassettes and by regular mail. Travelling throughout Spain looking for suitable horses for my clients turned into one big learning curve about PRE horses, their breeders’ and riders’ mentality, and ways of horse management – this indeed was a different world! International transports were a mystery and I remember how complicated it was to get the horses to their destinations.

BH: What is involved in selecting horses for clients? It must be challenging at times to find that ideal horse that meets all the requirements?

Above: BIZARRO XXII Great Britain

about 25 years ago the PRE breeders started to be interested in dressage Below: EUFORICO SIETE - UAE

MF: I believe that my many years of experience as a riding and dressage instructor is useful.

It helps me to understand and analyze the needs of the client. Trying to meet all the requirements is complicated and people tend to search for the

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BH: Dressage and training methods as well as the presentation of horses can be looked at from many different angles. How do you go about getting the required performance out of horse and rider for each of your clients?

MF: Fortunately my trainer’s eye helps me produce the right picture, as I can guide the rider while he shows me the horses. Most riders have faith in me and will accept my suggestions (but not all!). The wide knowledge of the horse culture in different countries and environments, of which I have acquired over the years, becomes very helpful to understand the requirements and expectations of each client.

Above: SENI ZURDA - Australia

ideal horse. They really want a copy of FUEGO de CARDENAS or of the latest SICAB winners. Part of the job is analyzing what the client really needs, and then that horse needs to be found, and not only one horse as the potential buyer really would like a choice of horses to be presented. Lately sourcing the horses has become very complicated.

Due to the economic situation in Spain horse breeding has come almost to a halt and the number of breeders that are actually covering mares has diminished dramatically. At the same time the requirements of the clients regarding horse management, training and veterinary pre purchase examinations are much more demanding at present. It is very challenging to find horses that are suitable and that will satisfy the clients.

BH: Do most of your clients fly to Spain to view the horses in person, or are many relying on your professional judgment and no doubt excellent eye for the breed?

MF: A high percentage of my clients do not come to Spain, even from close by countries. Once they have selected a horse among those I presented them with on short video clips, I proceed with doing a complete video of the horse in all its aspects; the handling, close up of legs and body, getting ready for work, a working session in detail, riding out etc . This makes the client feel comfortable with the process of buying unseen.

I also provide the option for new clients to speak to those that have bought via video, or to communicate with clients that have actually met with me personally in Spain.

BH: How does the criteria differ for clients seeking breeding stock that say will do well in morphological competition, to riders wanting a top level dressage horse?

MF: Seeking breeding stock and looking for horses to be successful at morphology is not at all the same thing. When clients look for breeding stock I analyze what type of PRE they want to breed and what type of mares or stallions they already own, and also help them focus on their ideas before I start the search. I tend to have many horses of all types on file so usually I can immediately show them some options.

BH: Many of the horses you have selected for clients have gone on to achieve amazing results at national and international level, including the recent World Equestrian Games in Normandy.

This must be a wonderful feeling, knowing that you’ve played a very important role in securing a good future for these horses.

MF: The good part of exporting horses is that they all go to wonderful homes. Nobody will purchase a horse and import it without taking great care of it. Most of the merit of the horses’ success though goes to the owners and their team in producing them. Of course they start out with good "raw material" but a huge amount of effort, time and money goes into producing the horses and making them so successful. It is a great source of satisfaction to me when the horses do so well for their new owners.

BH: Out of the many hundreds of horses you’ve viewed and selected, has there been a favorite that you were particularly taken with?

MF: Not really as I have seen so many amazing horses over the years. There are always some that

HABANERO XLI - Great Britain 3 8.

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Right: HABANERO XLI ridden by ANDREW GOULD - Great Britain

They had to prove their worth Below: PICONERO IV Ridden by EDUARDO MELLADO - Spain

give me that special feeling and often these will do extremely well in the show ring eventually.

The frustrating part is when I do not manage to sell those special horses, as it is not always easy to make the potential buyers see the quality of a horse when it has not yet been produced.

BH: You were one of the first dressage riders in Spain to get involved with competing PRE horses. What was the judges impression when you first came into the ring with a Spanish horse, and how have things changed?

MF: I shall never forget the face of the judge when I participated first time with a PRE in a dressage test; it was a great novelty at the time. He said, "What ARE you riding today!�

Gradually, of course, these horses become a familiar sight at the competition scene.

They had to prove their worth, also on the international scene.

It also took the international judges some time to get used to the different movement and morphology of the PRE horses.

In lower classes at the national shows in foreign countries this lack of knowledge of and the familiarity with the Spanish horse and they can still be a handicap for competitors.

BH: In your opinion, why is it that their presence in dressage competition is on the rise?

Do you feel that the breeding has progressed in marketing the breed for the sport, or is it simply that more riders are now seeing the great qualities of these horses?

MF: Internationally it will be mainly the Spanish and Portuguese riders who will present the Iberian horses.

But at a lower level a lot of amateur riders feel happy and confident riding this breed.

The Warmblood horses have developed into a horse for the professional rider and this has made the Spanish horses more popular. The breathtaking performances of international dressage horses like INVASOR, EVENTO, FUEGO DE CARDENA, NORTE DE LOVERA and GRANDIOSO HGF, have opened the eyes and the heart of dressage enthusiasts worldwide. Their successes have definitely triggered off an interest in these horses amongst dressage riders.

BH: What do you feel is the future of the PRE as a breed and in competition dressage?

MF: As a breed we are going through a difficult moment due to the state of the Spanish economy at present. Horse breeding is hardly ever a financially rewarding activity

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... this has made the spanish horse more popular left: JOCOSO LVIII - Great Britain

and nowadays the breeders cannot afford to loose money running their stud farms.

sportsmen. I think that sums up the difference.

A change in production, marketing and investments are necessary to make a stud farm at least break even and not many breeders that are still covering their mares, are aware of this or willing to apply these changes. I have published several articles lately about this issue and I try to convince breeders to be open to my ideas, but I am a bit in doubt whether I am successful in this respect.

BM: Where exactly does dressage stand in Spain, and where do you feel it is going?

The future in competition dressage depends on the support the outstanding Spanish riders can get from owners and breeders to produce horses successfully at a high level. It takes a huge amount of money, besides the hard work, to get a horse to the top and there are not that many sponsors available nowadays. Professional and top amateur riders abroad have to cope with the same problem.

Gradually there will be more and more PRE horses competing as breeding policies are more focused on producing suitable dressage horses.

BH: As a trainer and instructor, experienced with both the European Warmblood and the PRE, do you feel the training differs between the breeds?

MF: I believe training and riding techniques are very different for producing horses of such different types as the Warmblood and the PRE and new owners must study these aspects and take them into consideration. This is a topic that is so complex that it should be answered by writing a book instead of a single reply in an interview!

BH: Does the Spanish riders approach to dressage differ from that of countries such as Germany and Holland?

BH: In today’s market, what advice do you give to riders searching for their dream horse, or a future breeding prospect?

MF: There are many fabulous riders in Spain that have never competed in dressage although the younger generation is more competition focused.

The mentality of the Spanish people is not that of the rigid discipline required for FEI dressage.

The successful Spanish riders are artists and not

MF: Focus on your search and have a clear concept of the characteristics you are looking for. Be aware that although there are a lot of horses for sale, finding the quality you want might be very difficult and it could be advisable to ask for the assistance of professional riders, breeders and brokers.a

Miriam Frenk

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MF: Dressage has developed a long way over the past 15 years in this country, but the economic situation is a set back at present and refrains horses and people from competing. You will find that many advanced horses at trainers’ stables have not competed.

miriamfrenk.net acebook.com/miriamfrenkandalusians

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“Buy from Spain Buy from the Source”

Tel: +34 609 552 817 email: miriam@miriamfrenk.net

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

FOR INFORMATION ON THE1 BREED Country Living.pdf 14/05/2014

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

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

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Peter Horobin Saddlery have raised the bar in the saddle industry with their newest collaboration and saddle design

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ith an emphasis on riders with Morgan, Friesian, Arabian, Andalusian and any other Spanish breeds who find it extremely difficult to find a saddle to fit their short backed, large moving horses, Peter saw a gap in the market where he could put his expertise of saddle fitting technique and design into play.

“Alivia: is a play on the Spanish verb Aliviar which means: To sooth, to alleviate, to relieve, to lighten, to assuage, to unburden, to allay, to comfort.” Manolo explains.

There are so many factors that need to come into consideration when buying a saddle.

Design, quality, craftsmanship and equine knowledge of the horse’s anatomy are all important aspects when browsing for a new saddle.

The name of the saddle reflects its design. “Both Manolo and I are perfectionists so I haven’t taken this design lightly, I am often asked to make saddles for elite riders and it is decision I now weigh up with much consideration. Manolo has been in the industry just as long as I have and he has always been loyal to my saddles, my philosophies for equine back health and I have so much respect for him as a horseman I thought it was timely to honour his work and make a saddle inspired by his ideas.”

The expertise at PHS reflects their reputation in product and customer service. Their first priority is the horse and more often than not Peter explains the frustrated and upset customers who have had a difficult time finding a saddle and the passion and care he has to help these people and their horses is highly admired.

With 3 years worth of development, Peter has come up with a solution. Working alongside Manolo Mendez, The new Alivia has been design with these horses in mind.

We sat down to talk to Peter and Manolo and asked them a few questions about what the Alivia was all about and why it was so special.

As a Spaniard, Manolo feels this word embodies the qualities he wanted to see manifested in the saddle. For non spanish speakers, this word has a distinct spanish visual feel and sound to it. the "a" ending makes it soft and feminine but with good uplifting energy.

Manolo elaborates on the reasoning behind the new design.

“I believe that together, Peter and I have designed an exceptional saddle. The Alivia gives me and my horses close contact comfort and I have never felt as close to my horses as I do when riding in this saddle. I could (and do) ride in it all day!

Underneath me, my horses are free to move without restrictions. I can feel their every breath, their every step as if it was my own.

This increase in unity and feel allows for simpler and more accurate communication, aids and timing and my training has never been more effective.

The versatility of the saddle is another great plus! The Alivia fits my most narrow horse as well as my big Andalusian stallion with no complaints from either.

My motto is Training for Wellness – The Alivia fits right in, delivering pure freedom and comfort for myself and my horse.”

The launch of the Alivia is being held in November and can be seen at Equitana in Melbourne; stand 455 Epsom Pavilion. To find out more about the Alivia saddle and its features vist

www.thealiviabymanolomendez.com www.horobin.com.au

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By Jenny Rolfe

THE ART of COMMUNICATION

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have been reading about the philosophies of a Chief Bedouin of the Arabian Desert and a Native American Indian Chief. They shared a vision of the universe bringing together the same mental, spiritual and physical rhythms of the universe. These concepts sought an incredible co-operation and understanding between human and animal. They believed in the ‘Big Holy’ who breathed life into all beings, making all things of one essence and speaking wisdom through all things. Animals can offer the listening human so much wisdom, reassurance and guidance in rhythm with the universe. So when we begin to think of training our horses what are we trying to achieve? Is it to offer a listening ear and a guiding hand?

The most important dimension between man and horse is to develop a strong bond of friendship and trust which we can begin to nurture from the earliest days, before ever the horse is ridden under saddle.

My journey with Gran Hostil seeks to bring together these philosophies by learning to listen and trying to understand his nature and character within his training.

Gran Hostil has been with us for around three weeks and slowly, each day we have tried to build a relationship where he feels more secure. Today whilst he was in the school I watched him jumping. It was just for fun, as I did not ask him to jump, he took a look at the fence and popped over!

This was for the best of reasons- because he wanted to!

He had been working attentively, with me, over some trotting poles so I decided to put up a small cross bar jump, to see how he responded. Well, his curiosity got the better of him and he decided to follow me whilst I collected the poles and walked across the school to put up the jump. I had not realised how close he was to me. He does like to follow me all over the school

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I would say, he is a comedian in the making to offer his ‘unwanted’ assistance in putting up the poles!

I always try to keep one eye on Gran Hostil to keep a sensible and safe space between us, but I had been too focused on putting up the poles. Well, I took one step away from the jump with Hostil standing just a stride behind me. Immediately he took one look at the jump and with no further thought, he just popped over. His performance didn’t stop there as he then cantered on for a few strides and spontaneously turned around to retrace his hoof prints and jump back over the fence on the other rein!

He was expressing his extrovert personality and telling us that he really enjoys exploring.

He has a great sense of fun, I would say, he is a comedian in the making!

These small signs of his growing selfesteem told me that the time felt right, to put him out in the field. His personality was shining through which was a sign for me that he was really feeling more ‘at home.’ He had not been turned out in a field on his own before and I was concerned that if turned out too soon, he might not settle- and possibly even harm himself.

Thankfully, my instinct proved right and he galloped around the field, looking around, full of fun- NOT FEAR. Then I walked in the field with him and pretended to stoop and eat grass- much to everyone’s amusement! He was very tuned in to me and still looking to me for security and began to relax and eat the grass.

It was so good to see him enjoying a more natural lifestyle as over the past few weeks, we have learnt much together at liberty and during this time he has met and been accepted by the other stallions.

We enjoy a great energy in the school as normally all the stallions seem content and the aura created feels like a good place to just ‘BE’.

The concept of the Native American and

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the Bedouin of mediation with the ‘Holy One’ and being at one with the universe, really struck a chord with me. This is at the heart of my philosophy when I am with horses and when students come here, I really want them to feel the spiritual power of this energy created when human and horse can connect, with a blending of spirits.

WISDOMS OF HERD LANGUAGE Training a young horse begins with listening and giving calm yet clear instruction. When I watch the structure within a herd this is the essence of their language. If we take time to build trust and understanding, our connection will be more subtle, both mind to mind and heart to heart.

The responsibility of leadership is in our hands which creates an increased selfawareness of our actions and feelings.

In our efforts to show leadership, we need to demonstrate self-control in our actions. This will in time create respect from the horse and he can gain confidence in his own identity. We will be attempting to re-create the situation of the herd, where the horse accepts that we are the more dominant member.

The horse is a group animal and he needs to find the place where he fits into the hierarchy of the herd structure.

We need to establish herd dominance not by bullying or demonstrating abusive behaviour but through confident and repetitive reinforcement.

We will become more confident in our communications as we gain more knowledge of the horse and his nature.

From their earliest days, the foals form relationships within the group and behaviour patterns begin to evolve.

Skills learnt in play become the basis for their responses and interaction as more mature members of the herd.

Horses quickly perceive tension,

whether from their own species or humans. It only takes one herd member to stand alert looking at some new object on the horizon, for the whole group to stop grazing and become alert to potential danger. If the herd leader is peacefully grazing and relaxed, then the other horses may also feel this safety and calm. This is a concept that is fundamental to our training.

Another observation of herd language, is an awareness of distance between them, as every herd member has their own personal space where other members may only intrude if permitted.

The art of training is to bring together observations of herd behaviour to assist our relationship and progress.

ROUTINE and REACTIONS. Gran Hostil appears more secure as each day goes by, with his routine of feeding, grazing and time at liberty in the school. He is learning from the liberty work with me, the importance of our ‘herd’ space as I always maintain, a safe distance between us.

Maintaining a routine can have its drawbacks as yesterday when we led Hostil into the school he was over excited from the word ‘go!’ even when he was standing in the stable. I normally ride my stallion Habil then straight afterwards, we take Hostil into the school for liberty work.

This has led to great anticipation from Hostil which has not really helped the calm attitude we are trying to achieve.

It is my job as a trainer, to look ahead and read each horse. Sometimes I may need to adapt his pattern of thoughts, if he displays unwanted behaviour.

My methods try to avoid confrontation whenever possible. We can never match the physical strength of the horse and this is where our intuition, intelligence and forward planning can help us.

www.naturallyclassical.com

At first I had to be very assertive, he had to know the score!

Today, I decided to change the routine so I put on his head collar then instead of leading him into the school, I walked out and left him in the stable. I went back a couple of times taking off the head collar then replacing it. At first I had to be very assertive- he had to know the score! Thankfully our relationship is growing and he does feel secure with me and seems to want to please!

We chose a moment when Hostil was calm and then led him into the schoolwith a small carrot in his mouth- he was rather busy chewing and walked calmly into the school where we took off the rope and instead of trying to gallop off at speed he stood calmly, maybe waiting for another carrot?

Anyway this idea had changed his outlook from high energy excitement to a much calmer, more manageable outlook. A week later he was leading more calmly into the field and the school with no carrots as an incentive. I think these changes helped to alter his thought patterns and create more trust and calmness between us.

THREE WEEKS IN UK. Gran Hostil has been here for over three weeks now. Each day we have tried to build a relationship where he feels more secure.

Yesterday, I took Hostil into the school first but Habil was not happy as he likes to be the first to work. It takes much thought to ensure all the stallions are understood- as it can be potentially

dangerous if jealousy or aggression creeps into the atmosphere.

We have experienced very few problems with the stallions since Hostil’s arrival but Habil is very sensitive and when I was riding, the usual feel of ‘riding silk’ felt rather more turbulent and more like a stormy day on the bay of Biscay.

Hostil is becoming quite laid back in the school and I think if I walked out, he would try to collect up the poles and set up his own track- he really does enjoy this work. I often groom Hostil whilst he is untied and eating but today I tied him up and popped a numnah and roller on his back- he had been handled so well in Portugal so this was not a problem- just a curiosity for him.

I noticed in the stable how he would sometimes block and not move away so easily with his left shoulder- and then he would bring his head into my space!

I had not noticed this body language at liberty, so I spent a little time asking him to move his shoulder away. This more dominant body language could become quite an assertive stance towards me later. Most days, when we go into the stable Hostil is much less nippy and more calm- the nippiness and mouthing gestures become more obvious when he is excited or agitated- we are learning his responses and his ways, whilst he is tuning into ours as well.

BUILDING BREATH-HEART ENERGY AWARENESS I have learnt that herd language is about

rhythms of breathing which communicate changes in emotional and energy awareness.

This is at the heart of our connection here with the horses.

Our in built awareness of mood and emotions is proving valuable as we get to know Gran Hostil. He senses everything and we are trying to establish our friendship, trust and leadership to help him gain security – as we are now part of his herd and his family.

Developing our own emotional intelligence involves HUGE self awareness – and discipline becoming aware of our mood and emotions and how we express our feelings.

Without the guiding influence of the heart, we can easily fall prey to reactive emotions such as insecurity, fear, anger and blame as well as any other energy draining reactions and behaviours. These responses can change our energy field and the horse will quickly tune in to these signals, before we are aware of it. The horse will immediately tune into our emotions and heart rhythm and if it is steady he will feel more calm. If we allow our emotions to create chaos in our heart rhythm, the horse will demonstrate anxiety and fear.

His leader is giving him messages to fuel his natural fear and flight instinct!

When the rider builds more self awareness mentally, physically and emotionally, these symptoms of heart chaos, giving messages of fear and flight, can be altered.

We are capable of altering our emotional signals, from chaos to calmness –and this will help the rider to become the respected herd leader for the horse

with my hand on his wither. He decided there was nothing much going on, to interest him so he began to eat hay. I quietly slid the head collar over his ears- with no problem.

The liberty work in the school, is so great and nothing is changing much at the moment- just more repetition. Having said that, Maestu, my bay stallion was in the field and decided to come up to the gate, next to the school to create a stir!

Not surprisingly, Hostil became more interested to connect with him than me. So I herded him left then after a few strides, I herded him assertively, to the right. I repeated this a few times to exert my status as leader.

I was pleased as he began to walk and trot directly past Maestu, remaining totally connected with me.

Gran Hostil is developing as a listening stallion, rather impatient at times but his essence is wise and sweet and both curious and kind. a His story continues.

Jenny Rolfe is a Classical trainer and author giving clinics internationally to teach the power of breath-energy connection within Classical Training. www.naturallyclassical.com.

FOURTH WEEK An interesting and rewarding day today!

Firstly we walked in to put on his head collar and he was rather up-tight with anticipation, so to avoid confrontation- I just stood there

www.naturallyclassical.com 4 8.

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Lusitano

HORSE ASSOCIATION OF AUSTRALASIA

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

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Article by: Luisa Wood Nutrition Advisor KER

Winter June: Hay consumption can help to keep your horse warm! Eating plenty of hay fuels heatproducing fermentation in the hindgut, and this digestive action is one of the most important sources of warmth for horses that live in cold climates. Make sure your horse always has hay available, especially if there is little pasture.

Horses can drop weight quickly in winter so monitor body condition carefully and consider including a fat supplement to maintain them at the optimum weight.

Product of the month: KER Equi-Jewel July: Keep an eye on hoof health in the wetter months. Hooves that stay wet for longer in muddy paddocks are at higher risk of thrush, seedy toe, abscesses and becoming weak and brittle. As well as finding dry areas for your horse to stand to allow hooves to dry for at least some of the day, a hoof supplement is a great idea for maintaining hoof health.

Product of the month: KER Bio Bloom August: Ensure optimum nutrition in the winter months. Although most horses have a reduced workload in winter and may require less energy, this doesn’t mean their nutritional needs should be compromised. Using a concentrated balanced pellet is a great way of meeting nutrient requirements in a convenient low dose with little calories.

Product of the month: KER All-Phase

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Spring September: Now is often the time when the workload of competition or showing horses is being stepped up. Consider including a joint supplement in your performance horse’s diet to protect joints from inflammation and damage as a result of work. Product of the month: KER GlucosA-Flex October: Be wary of spring pastures. Spring is the most common time for horses to be at higher risk of laminitis due to the higher fructan (sugar) levels in fresh pasture. For horses with a history of laminitis and those that are at increased risk for some other reason, restrict access to pasture at certain times when grasses contain high sugar levels (very early morning hours are safest). These include when grass is growing rapidly, at times when night frost is followed by a warm, sunny day, and when grass is stressed, such as by overgrazing or drought. Intake of rich spring pastures for ‘good doers’ or horses prone to laminitis can be controlled by the use of grazing muzzles, strip grazing behind other horses, yarding, and restricting turnout hours. Keep in mind that horses and ponies can ingest a lot of forage in a short time, especially if they have previously been kept off pasture.

Product of the month: KERx EquiShure November: Avoid spring weight gain. Spring is the time when most ‘good doers’ will gain weight quickly if body condition is not monitored

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carefully. Monitor pasture intake, especially if pasture is lush, and restrict calories through providing nutrients with a concentrated balancer pellet.

Product of the month: KERx Gold Pellet

Summer December: The importance of water. Use cold water hosing or sponging to cool your horse after exercise. It’s not true that pouring cold water over hot muscles will cause cramping. Apply cold water, scrape it off, and pour on more to carry heat away. Allow your horse to drink during and after exercise periods. Give him a chance to drink, walk him for a few minutes, offer more water, walk, and continue until he has had all the water he wants.

Product of the month: KER Perform January: All horses should have access to a salt block in the summer months. Sodium and chloride (salt) are the only two minerals horses will seek out, so access to a plain white or pink salt block or loose salt is ideal for ensuring they are consuming adequate amounts. Electrolytes are also important for working horses to replace the minerals lost in sweat. Because sweat can evaporate before it becomes visible, electrolyte replacement should be considered in all working horses even if sweat cannot be seen.

Product of the month: KER Restore

essential for fighting free radicals and protecting muscles from damage. Vitamin E is an essential supplement for hard working horses or any horses with muscle soreness.

Product of the month: KERx Nano E April: Feed for coat health and shine. Autumn is often the time when horse’s coats change and start to get thicker, and many people will clip their competition horses to maintain coat health for showing and competing. Including a fat source in the diet can make a significant improvement in coat quality, as well as a coat conditioning supplement.

Product of the month: KER Bio Bloom.

May: Ensure adequate body condition before the temperature drops. For horses that are inclined to lose weight in the colder months, prevention is always better than cure and ensuring adequate body condition now can make a significant difference to how they maintain their weight over winter. Feed plenty of hay, the correct amount of a fortified feed, and a fat supplement such as stabilised rice bran to manage body condition.

Product of the month: KER Equi-Jewel For more information see KER.COM

February: Feed storage can be a challenge when temperatures soar. Where possible, store your feed in a cool, dry, and well-ventilated place.

Consider buying pelleted feeds that last longer than mueslis and sweet feeds and never buy more feed than you are able to use up before the ‘best before’ date of the product.

Product of the month: KER Preserve

Autumn March: Horses in high workloads and regularly competing at this time of the year may experience muscle soreness or stiffness. Antioxidants are

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51.

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53.

Rhythm

TEMPO S T R I D E

L EN G T H

Energy output D r . T h o m a s R i tt e r © 2 0 1 3

Introduction The famous training scale, which goes back to the German army riding manual of 1912, starts with Rhythm, since its authors considered it to be the most fundamental element of training. This view is indeed not without merit, since equal, regular strides form the foundation of the even weight distribution between forehand and hindquarters, which is in turn the prerequisite for suppleness (Losgelassenheit), rein contact (Anlehnung), impulsion (Schwung), and collection (Versammlung). Irregularities in rhythm, tempo, or stride length, are always indicative of shortcomings in the horse’s training. They are caused mainly by a lack of balance, which immediately affects suppleness, the second step of the training pyramid. Once balance and suppleness are lost, the third element of the training scale – rein contact - will deteriorate. Without these elementary components, impulsion and collection are out of reach as well. In other words, there is a chain reaction, that is triggered by the “rhythm”, either in a positive or a negative direction.

Though it is the first and seemingly most rudimentary step in the training scale,

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“rhythm” is in reality a complex concept, composed of several elementary building blocks. One of the greatest problems in scientific discourse occurs when people do not define the technical terms they are using clearly enough, which makes intelligent discussion almost impossible. Carlos As Manoel Andrade observed very perceptively in his 1790 book “Luz da Liberal e Nobre Arte da Cavallaria”: “In the area of every art and every science, nothing contributes more to gaining understanding and knowledge than the solid knowledge and clear understanding of its own technical terms. … If we understand the individual technical terms correctly, we are able to fit into a larger framework what the masters have chosen to teach us concerning specific practical matters. And this grants us access to the foundation of an art, and allows us to grasp its deeper meaning and purpose.

This is also the reason why one has only a dim and uncertain understanding of any and every art, as long as one does not grasp the entire matter down to its most minute detail with the greatest clarity.” I will therefore try on the next few pages to define and briefly explain the elementary building blocks of rhythm, as you would in any science.

Rhythm Strictly speaking, the term rhythm refers to the footfall sequence of the basic gaits.

This means specifically that the walk should have a clear four beat rhythm, in which all four legs should touch down clearly audibly, one after another, i.e.

It should be neither a pace (a lateral two beat gait) nor a jig (a diagonal two beat gait).

“And now I’m writing – about riding – how to do it, and how not to do it – and I’m wracking my brain where and how to start.

The trot has to be a diagonal two beat rhythm with a suspension phase between the touch down of each diagonal pair of legs, which separates the individual steps from each other. The diagonal legs must touch down together, and if the front leg touches down before its diagonal hind leg or vice versa, the trot shows an impure rhythm.

The canter is a three beat gait (1. Outside hind leg, 2.

Main diagonal, 3. Inside front leg), which also contains a suspension phase between the individual strides. There are

rhythm impurities that can occur in the canter as well: especially common is the four beat canter, in which the outside front leg touches down before the inside hind leg, as well as the lateral canter in which the outside legs touch down almost simultaneously, followed by the inside pair of legs that also touch down almost simultaneously. In addition, there is a mixture of trot and canter, in which the front legs are trotting, while the hind legs are cantering.

The root cause of all rhythm impurities consists of tension in the back and abdominal muscles. This tightness can be caused by the horse’s natural crookedness, a tempo that is either too fast or too slow, by the rider’s stiff hips, or poor leg and rein aids.

Of all the gaits, the walk is the most susceptible to rhythm impurities. Its four beat rhythm can be destroyed by becoming a two beat gait

(a lateral gait, or a jig with a diagonal footfall sequence).

Some horses with weak backs have a natural inclination to pace. In a dressage horse this is a highly undesirable trait, whereas other equestrian disciplines value the pace, because it is very comfortable for the rider. Pacing can also be triggered by inappropriate aids by the rider. If the rider makes the walk too quick and too large for the horse’s natural ability by overdriving, the horse falls onto his forehand and braces his back muscles, which can lead to pacing, depending on the horse’s inclination.

In other cases, attempts to “collect” the walk beyond the horse’s training level, can also cause muscle tension in the back and hindquarters, especially if the rider overuses the reins. Such tensions can create lateral strides. It is interesting in this context to observe the walk on a dropped

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re-established and the hind legs remain on the ground long enough, the jigging will disappear as well. Attempting to increase the weight on the hind legs through half halts makes the problem worse.

rein. Some horses show a clear, pure four beat rhythm as long as the rider is not touching the reins, but as soon as the reins are picked up, the horse reacts with lateral strides. This is an indication that the rider has overused the reins, with too little support from seat and legs, and possibly sat too heavily. The correction is quite simple in this case: once the rider reduces the demands and relaxes his seat and hand muscles, the four beat walk will return in many cases.

Should this correction not suffice, the rider can keep the front legs grounded longer through stirrup stepping, so that they don’t leave the ground together with their lateral hind leg.

It is difficult for the horse to maintain the lateral footfall sequence in voltes and lateral movements, so combinations of voltes, lateral movements, and stirrup stepping are almost always successful.

Some horses have such conformationally weak backs that they pace even in the pasture, and only especially tactful riders are able to ride a clean walk with them; by contrast, others are so sturdy that even the most insensitive riding can hardly destroy the purity of the gait.

The diagonal steps of jigging arise from similar causes as those that result in pacing, particularly tension in the back muscles, which is generally created when the rider tries to squeeze the horse artificially into a short frame and to collect him beyond his current training level. A weak back compounds the situation. Stiff hips and gripping legs on the part of the rider can also cause jigging.

When the horse jigs, the hind legs do not remain grounded behind the vertical long enough to push the body forward. Instead, they are overburdened by the weight and try to evade by lifting off as quickly as possible. As soon as the balance between pushing and carrying is

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The easiest way to correct jigging is to put the horse in a fresh working trot. Once the hind legs start pushing and the back starts swinging again, the walk rhythm generally becomes pure as well.

Should this not suffice, a slow motion walk that is produced through the seat, weight, and stirrup stepping will often help. But the rider has to stay very supple in his joints to produce this effect.

Of all the gaits, the trot is the least susceptible to rhythm impurities. There are two main rhythm abnormalities that occur in the trot. The diagonal footfall sequence can break up if one hind leg touches down before its diagonal front leg. This rushy hind leg typically steps short as well and lags behind the centre of gravity. The opposite case is the rushy forehand, where the front leg is retracted in the air, touching down before its diagonal hind leg. This movement also leads to toe flipping. It is caused by muscle tension in the back, as well as stiff, unflexed haunches. The front leg is lifted high up, but instead of landing where it points, it is pulled back and touches down too soon. The downward acceleration of the front leg combined with the mass inertia of the hoof overstretches the flexor tendon, which can cause injuries.

Another gait impurity that occurs at the trot as well as the walk is forging. Here, a front leg is so overloaded that it cannot lift off soon enough and the toe of the lateral hind leg hits its sole or heel.

Forging is therefore always a rhythm impurity as a result of a loss of balance.

There are two main rhythm impurities that occur in the canter. If the rider tries to collect the canter by slowing down with the reins, the horse loses impulsion so that the outside front leg touches down before the inside hind leg.

This action breaks up the main diagonal, which should form the second beat of the three beat canter. The result is an unpleasant, bumpy four

The downward acceleration of the front leg combined with the mass inertia of the hoof overstretches the flexor tendon, which can cause injuries.

“Listen, a horse is passing by klabaster, klabaster – there you go, walk.

Walk? A misunderstood Olympic or movie walk, always forward, hurry, hurry, as if someone is driving from behind with a whip, restless. It clatters so nicely on the cobblestones. In the past, this would have been called ‘inspector’s walk’, but then it was not considered sworthy of a riding horse, without balance, broken, as it is shown now in film footage, only quick, quick!”

beat canter. It is always a symptom of a lack of impulsion and balance. Other horses respond to incorrect attempts at collection by bracing their backs and lateralizing their footfall sequences.

In both cases the correction is to ride a little more forward to restore the three beats of the canter stride. In addition, the rider can use the following stepping sequence: inside stirrup (inside front leg), outside stirrup (outside hind leg), both stirrups (inside hind leg + outside front leg). Since the upward movement of the forehand is too small in the incorrect canter, while the croup is being pushed up, it is important to emphasize the first beat of the stride with the seat when the outside hind leg is on the ground in order to raise forehand.

(Oskar M.Stensbeck, 1930) Tempo Ernst Friedrich Seidler gives a good definition of tempo in his 1837 book “Leitfaden zur systematischen Bearbeitung des Campagne- und Gebrauchspferdes”: “We refer to the time span between a leg lifting off and touching down as Tempo. Whether the horse is moving with longer or shorter strides, slower or quicker strides, the highest priority is to teach him a steady tempo. The regular movement of the front and hind legs vis-à-vis each other also creates this steady tempo. Tempo is the foundation of the entire training.”

So tempo is the number of strides per

minute, similar to the beats per minute in music. A musician who is incapable of maintaining a steady tempo is making noise, not music. A rider who cannot ride a steady tempo is the equivalent of the musician who is making noise.

Fluctuations in tempo must cause an almost physical pain to the rider.

Every horse has his own tempo in which he can work optimally because he is able to find his balance and relax in it. If the tempo is too fast or too slow, the horse does not find his balance; consequently, he becomes stiffer and stiffer the longer he is forced to work in this unsuitable tempo. These relationships have been well known for centuries, and yet they are often disregarded nowadays. In his 1877 book “La science et l’art de l’équitation, démontrés d’après la Nature” for instance, Dupaty de Clam, wrote very accurately: “Each individual has his own tempo, in which he can support himself. Above or below it, he feels uncomfortable and it is unpleasant for the human who rides him. It is up to us to feel Nature and to restore her to order.” A few pages later he notes that it is the rider’s job to perfect the natural tempo, but not to change it.

There are situations in which horses frequently speed up or slow down on their own, without the rider’s authorization, because they can avoid flexing their haunches or pushing with full impulsion this way.

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The following is a list of typical situations in which horses alter their tempo without permission: •

Slower strides at the beginning of the short side, quicker strides at the beginning of the long side.

•

Quicker strides in response to a driving aid. Speeding up at the walk before a transition into a higher gait. Slowing down at the canter or trot before a down transition into a lower gait.

•

Quicker strides when changing direction. Quicker strides instead of lengthening the strides. Slowing down when coming back from a medium trot or canter or an extended trot or canter.

•

Slower strides in the transition from a single track to a lateral movement.

•

Quicker strides in the transition from a lateral movement to the single track.

•

Quicker or slower strides in the transition from a straight line to a volte and vice versa.

In each of these cases the unauthorised change in tempo originates in a loss of balance and a lack of permeability. When the hind legs continue to push, without carrying and flexing sufficiently, the croup is pushed up and the horse has to speed up in order to regain his balance.

In the opposite case, when the hind legs continue to carry, but without pushing, then the horse sucks back and slows down. This loss of balance can be caused by a number of different factors, such as a change of direction, change of bend, change of gait, or changing the angle of the horse’s spine with the line of travel (single track vs. lateral movement and vice versa). All these transitions require certain adjustments to the balance, which is why they are the most likely places for

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mistakes to happen. To this I would add that a horse whose back is tight will not let the rider’s aids go through and speed up, when the rider applies a driving aid.

Conversely, half halts will also get stuck, and the horse will get slower, while staying behind the aids with unflexed haunches. Some horses slow down the canter, for instance, when you are trying to ride a down transition to walk or trot.

They appear to be avoiding the transition, because they are behind the aids and the slower and slower canter allows them to keep their haunches unflexed.

Stride Length The stride length defines the measure of the gait. We differentiate, in increasing stride length, between the school gait, the collected gait, the shortened gait, the working gait, the medium gait, and the extended gait. Until a few years ago, there was no working walk or shortened walk.

Only the school walk, the medium walk, and the extended walk were defined.

Once the rider has set a certain stride length, the horse should continue in it without change, since fluctuations in this area are also indicative of a lack of balance and permeability. If a horse loses his

Some horses slow down the canter, for instance, when you are trying to ride a down transition to walk or trot.

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balance, there are two ways in which the regularity of the stride length can be lost. A hind leg can take a quick, short step, which leaves no time to flex it, since it does not spend enough time on the ground in front of the vertical. The horse’s natural reaction then consists of pushing up his croup with the hind leg that is braced against the ground. Since the horse has lost balance, he is forced to accelerate his steps in order to avoid falling down. Simultaneously, he will usually invert, because the hind legs touch down too far behind the centre of gravity, rotating the pelvis backwardoutward. This usually happens with horses whose hindquarters are lacking in suppleness.

In other cases, the horse engages almost too much, so that the hind leg gets stuck underneath the body mass. The hind leg then does not possess enough strength to transport the load forward. In other words, the leverage of the body mass is so great that it stifles the hind leg. Some horses try to liberate themselves from this uncomfortable position by stopping and rooting with their heads in order to free their hindquarters. Others throw their heads straight up or even rear. You see this problem mostly in horses with a large natural over stride who lack the strength to translate their engagement into a balanced, steady forward motion.

Another mistake that occurs in connection with stride length is lack of engagement in the medium and extended trot. These horses appear to gesticulate a great deal but without covering ground. They are leg movers whose hind legs do not push sufficiently and whose backs do not transmit the movement of the hindquarters enough to the forehand.

Energy Output Impulsion forms its own element of the

training pyramid. Its raw material, however, the energy, or the effort, that the horse puts into his work, plays a role from the very beginning.

Most young horses and correction horses have to be reminded from time to time not to slack off in their efforts. If you leave them to their own devices, their work ethic will fade a little after a few good strides, which means that the hind legs diminish their thrust, and the gait becomes flat and lacks expressiveness. Their backs stop swinging and start to sag.

The observer has the impression that the horse is using only the lower part of his hindquarters, below the hocks, for locomotion, while the upper joints that are embedded in powerful muscles remain relatively uninvolved. As a result, the trot deteriorates into a jog and loses its gymnastic value. The croup muscles, back muscles, and the top line will not develop correctly. To a certain extent the energy output is linked in the horse’s brain to tempo and stride length. For instance, most untrained

horses assume automatically that driving aids mean “go faster“, so they increase the number of strides per minute. It is, therefore, the rider’s job to explain to the horse that the driving aids mean: “Work a little harder, but keep your tempo.” The reason for the separation of tempo and energy output or impulsion is that speeding up enables the horse to avoid using his entire hind leg and his entire body.

If he applies more energy in the same tempo, the entire musculature has to work more thoroughly.

Conversely, many horses will slack off when you ask them to stop rushing and to move more calmly, which also means that they are not using their musculature properly.

Concluding Thoughts Systematic training teaches the horse to regulate tempo, stride length, and energy output separately and eventually to maintain these parameters independently. This is important, because the ability to

control these parameters and to execute even the most intricate arena patterns and movements with the regularity of a metronome forms the foundation of balance, straightness, relaxation (Losgelassenheit), permeability (Durchlässigkeit), rein contact, impulsion, and collection.

Of course, on green horses we ride only simple arena patterns on a single track, including changes of direction and gait. Once the horse has achieved a certain security, the arena patterns gradually become more complex, the turns become tighter, and lateral movements are added. Many horses will initially slow down during the transition from a single track to a lateral movement and vice versa. The rider has to pay the closest attention to the regularity of rhythm, tempo, stride length, and energy output during all turns, movements, and transitions, since the development of the horse’s gaits, the fulfilment of his athletic potential, and his ongoing soundness fundamentally depend on them. a

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59.

Friesian The

Keuring

A

By Hans Maes - ANZFHS President

“Keuring” is a Dutch term that basically means inspecting the qualities of a horse. It has the same meaning as Quality Assuring (QA) any goods or services and determines how suitable they are for the purpose they will be used for.

M

ost breeds in Europe go through this process, not just Friesians. The KWPN (the Dutch Warmblood), undergoes a very similar process as do many other breeds. In the Friesian community, the keuring is an annual inspection of horses by officials of the Dutch Friesian Studbook in the Netherlands (The KFPS – Royal Society “the Friesian Horse Studbook”) and takes place at a large number of locations between May and September in the Northern Hemisphere, while in the Southern Hemisphere it is mainly February till April. The central mare keuring is held in September and the famous stallion keuring (aka the Stallion how) takes place in January, both in the Netherlands.

Representatives of the studbook visit many locations around the world and there are now 51 affiliated societies that all hold keurings. The keuring tour in Australia and New Zealand is held bi-annually from the middle of March till beginning of April and the next tour is in 2015.

This article tries to touch on most aspects of the keuring but it cannot cover everything in detail. The KFPS website has plenty of information about the keurings including the keuring rules and regulations.

Why do we hold the keurings?

The keuring is one of the methods of judging the progress of the breed as a whole against the KFPS breeding goals as well judging offspring of the breeding stallions. It is a system of scoring and classifying foals and adult horses. For adult horses it also determines whether they enter the adult register of the various books. The results of the keurings provides the KFPS with an indication of the improvement of the breed and determine the standards that are used to judge. Other methods to measure how the breed is progressing towards the breeding goals are suitability and performance tests. The IBOP is a 10 minute test that

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gives the rider or driver the opportunity to demonstrate the suitability as a performance or sport horse. The ABFP is a longer performance test over approximately 25 days.

Studbook stallions undergo a 70 test to prove talent in riding and driving, as well as behaviour and trainability.

Additionally, a horse can obtain the “sports” predicate if it has achieved a specific level in riding (dressage) or driving (driven dressage) or harness (showdriving).

The keurings have been held for as long as the Studbook exists, which is since 1879. The standards and methods have changed over time, which is why we now have a Friesian that still looks and behaves like a Friesian but is also a breed that can perform in equestrian sports. In a lot of ways, the Friesian is back to where it was 250 years ago but in a modern form.

How does the classifying process work?

Foals as well as horses can be entered in a keuring.

The judging involves 3 groups of characteristics namely racial purity (do they look like Friesian), conformation (exterior like build/development/legs) and movement (walk and trot). The classification consists of 4 groupings called a “premie” (premiums). They are 1st premie, 2nd premie 3rd premie and no premie. For foals, it provides an indication of the quality of the foal. For adult horses, typically at 3 year of age, it enables admission to the Studbook, except if the horse has a fault, indicated by a low score in one the five aspects, which can be racial purity, conformation or movement. The approval process for entering the studbook also involves the system of linear scoring. The linear scoring sheet contains 25 characteristics of the horse and the place of the mark in the score matrix will indicate how close the horse is to the ideal.

While stallions are judged as well on the same

Horse presented in trot, showing suspension, light in front, uphill. Photo: JM

characteristics, they do not get classified with a premie, and they can only move to the adult book if they become approved breeding stallions. This is quite an involved process with 3 rounds of inspection, 2 held during the stallion show in January and a 70 day performance inspection as well as DNA testing, X-rays of all joints and semen testing. Not until progeny testing has been done will a stallion obtain permanent approval.

the judges assess and evaluate the horse’s racial purity (head, hair, colour, neck), frame (shoulder, back, loin, croup), legs (stance, length, feet), while for foals the development is judged instead of the legs). In this part it is important to stand the horse appropriately to show its strong points best. A Friesian has a high vertical headset which helps the horse to stand with nice perpendicular legs (not under or over). Present the horse with the side without the mane showing facing the judges.

30-35 % of the horses will receive a 1st or 2nd premie. Mares and geldings can obtain a “ster” (star) predicate which requires them to be of 1st or 2nd premie quality. 1st premie mares will also be eligible for the kroon (crown) and model predicates.

The ster predicate is given to about 35 % of the breed. This number is continuously monitored by the studbook. If this % increases significantly and consistently, the standards will be amended to reflect the increase in quality. By doing this, the breed will be continuously improved. For crown and model mares, minimum height and age requirements apply and an IBOP tests must be done and passed with a 77 % pass mark.

IBOP tests include judging of walk, trot and canter as well suppleness, transitions, cadence etc. Additionally model mares must have nursed a foal.

The second part is the showing the movement. For foals this is done running with the mother in hand and the foal at liberty. For the adult horse it means in hand with a runner and a “chaser”. A triangular view is required: moving away from the jury, moving in front of the jury and moving towards the jury.

The movement is done in a walk followed by a trot. Often the jury will ask the handler to walk the horse after the trot again as the walk will often show better than at the first walk.

What happens during the keuring?

A keuring is split in different classes. Foals have filly and colt classes, Adults (mares and geldings) are grouped together as 3 year olds, a group of older adults (mares and geldings) and not in the adult studbook (4 +), adults in studbook entering for a predicate or upgrade in predicate (ster, kroon, model) . Stallions can be presented for the ster predicate only. As mentioned before, they cannot be entered in the studbook unless they are entered in the yearly stallion selection.

At the completion of the class, all horses are called back in the ring for the awarding of premies and predicates.

For all foal classes and all adult mare and gelding classes a champion is awarded.

In many foreign countries, the IBOP test is also judged during the keuring. As a rule, these are done first before the in-hand classes. A good IBOP result can influence the in-hand results but this can only happen when they are done first.

The keuring consists of two parts: The first part is a static presentation to the jury, during which

The four premie ribbons f.l.t.r. 1st, 2nd, 3rd and no premie Photo: Nadeen Davis

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horse shows nice horizontal upper arm (example of movement required in driven IBOP) Photo: KS

Admission to the studbook requires the horse measurements to be taken. As a rule this happens before the in hand presentation starts. Admission to the studbook requires a minimum height for mares and geldings and is specific for each predicate.

The jury is appointed by the KFPS and nearly always consists of a KFPS inspector and a judge. Both undergo intensive regular training and have in depth experience with judging the breed. The KFPS has approximately 6 inspectors and 25 judges. They do all the judging worldwide.

What is expected in the ring?

The jury is looking for a horse that is relaxed, alert and moves “on its own legs”.

When you place the horse in front of the jury, the mane is on the other side so the jury can see the head-neck connection.

Make sure the horse does not stand “under” and shows a nice well-built front. The jury likes a horse where the leg is straight underneath. With a horse that is build a bit forward, the handler can improve this by pushing the neck up a bit, at the same time being careful that the neck does not “bulge”. If the jury feels the horse is placed “artificially”, they can ask the handler to move the horse a few paces.

At the walk, being relaxed is the key. With a too hurried walk, it can lose its tact and also the length of the stride.

Handler and chaser can achieve a relaxed walk, by the chaser assessing the horse during the walk and using aids to stimulate the horse to walk as best s possible. The horse will usually walk best at a long lead, so it can bring its head down, using its back optimally and thereby lengthen its stride. The walk needs sufficient length with which the hind leg moves past the footprint of the front leg and the hind leg is placed energetically underneath the body.

When the triangle has been walked, the horse can be started in a trot. Make sure the horse is ready to trot, and the chaser has an important role here. The chaser regulates the speed and the tempo of the horse. At all times the chaser needs to ensure that the horse does not move beyond its own rhythm.

The handler must ensure that the horse “runs on its own legs” by feeling how much freedom or support the horse needs to have. Some horses will run well on a loose lead, others depend more on the hand to determine the speed. A handler would preferably have riding experience to have that feel. Holding the horse back with the hand might make the head and neck go

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Foal moving freely with the dam, relaxed, alert, showing nice movement.

Photo: Cally Matherly

backwards in relation to the body and this does not make a relaxed impression and can disturb the balance of the horse. The objective is to show a spacious powerful trot with good balance and suppleness.

Often the horse is presented with too much pressure and in a too fast movement as it will show a more spectacular trot in front.

However, this is not the ideal as the whole horse is judged and the horse needs to be connected through the back.

The presenters and the jury have a common goal of finding the best way to present your horse and achieve the best possible outcome. It is just a snapshot on the day, and while in Europe opportunities to go to a keuring are good, in Australia and New Zealand and other foreign countries you might only have the opportunity once every two years.

How do you prepare for a keuring?

Some work goes into getting ready for the keuring. Both the horse and the owner have to be prepared to spend time and money. In the Netherlands there are quite a few stables that offer preparation of the horse for the keuring as a service.

You have to start getting ready a couple of months before a keuring. There are basic aspects of preparation: Feeding – While you don’t want a horse to look fat, a nice shining coat, a good cover on the ribs are important. There are many

Linear Score form.

The horse positioned correctly, relaxed, alert, showing nice head-neck connection, chaser assisting to keep horse focussed. Photo: Cally Matherly

Horse in walk, energetic movement, alert

specialised foods nowadays that will assist in getting the horse the correct nutrition.

Do not present a horse that shows lameness or has (soft) swellings around the leg.

Muscle development – Because a horse is expected to move freely, relaxed and balanced, good muscle development will aid in balance, rhythm and active gaits.

A strong active walk, light in front, uphill and a moment of suspension in trot will all benefit from correct muscle development. Lunging and long reining can beneficial if used correctly to develop a supple and strong neck – back – loin – croup connection.

Attire – You are expected to wear white clothing, so the jury can distinguish the movement of the horse well. The best shoes to wear are runners and the handler needs comfortable shoes to run! Men are also expected to wear a tie! Horses are traditionally shown in white bridles or halters.

Practice presenting a horse – Develop an understanding with your horse of what is expected in the ring. Remaining calm and relaxed while standing the horse in front of the judges, keeping the head alert but relaxed at the same time, standing straight are all important aspects of presenting.

This should be a normal thing for a horse when presenting and the horse should get used to people walking around him by persons while being held by a handler. The chaser (actually a bad name for person that is at the controls of the horse) can be used to attract attention of the horse while being judged.

Daunting? Remember one important thing. After the judging you might be in seventh heaven or real disappointed, BUT you will still love your horse and there are no real winners or losers! a

When moving the horse, get the horse to understand what is expected. To walk away from the judges in an active (not rushed) walk followed by an active trot. Developing an understanding between the horse and the handler and the chaser is very important.

It won’t work on the day if the horse does not know what to do!

Grooming – Like any other breed, you would like to present a horse in show condition. Washed and trimmed at the appropriate places. The mane and tail are trimmed to make them look tidy, but they are left as long and flowing as possible. The same thing applies to the hairs around the feet and fetlocks. You may trim the hairs above that point to show a good length of leg. Trimming of hairs around the muzzle and the inside of the ears is now outlawed in Europe and the jury would expect presenters here to refrain from that practice as well. Artificial attributes such as dying, false tail and mane, and decorative markings (such as on the rump) are not allowed. Covering up white hairs may lead to exclusion.

Medical conditions or injuries - You are expected not the enter a horse in the ring if they are sick or have an injury.

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Hoof & Cont act with the Riding Surface

Written by Lou Verwey

he hoof of the horse makes contact and leaves the riding surface in different T speeds and gaits. From a canter which is

asymmetrical to a piaffe and passage which is symmetrical.

In all the different gaits/ movements the horse should feel secure.

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f the riding surface is too soft the shear resistance will be low which allows the toe to penetrate too deep and will move or give way by push off. The horse has to work harder to generate the propulsion required to carry out its movement with fatigue and diminishing performance as result.

If the riding surface is too hard there will be insufficient hoof rotation, chance of sliding and excessive concussion.

Riding on an arena that is either too hard or too soft will result in poor performance, fatigue , injuries of tendons, ligaments and suspensories . This could all shorten the active athletic career of the horse.

The proper riding surface should provide softness for the toe to penetrate by roll over and avoid excessive concussion. It should be firm enough to provide the correct shear resistance for all movements.

SOILTEX has been developed to provide a proper riding surface.

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OILTEX is the most advanced material for the use for horse riding surfaces.

SOILTEX can be supplied in different types and is manufactured from a range of mixed multi denier fibres and polyester textile pieces. The structure of the SOILTEX mixed with sand provides the required cushion and the mix of multi denier fibres mimics the root system of grass which will hold the sand of the

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riding surface together. This improves the shear resistance and give the horses security in all gaits , speeds and movements and at the same time reduces concussion.

The SOILTEX consists of man made fibres and does not contain any biodegradable material or material that will be effected by UV and has a life span of over 15 years. SOILTEX does not contain or require any chemicals additives or dust depressants such as silicone, waxes oils or binders.

SOILTEX minimises compaction and allows extended, full movement and stride length.

SOILTEX provides an even impact absorbing cushion which allows efficient propulsion with minimal fatigue and helps eliminate tendon overload. This allows optimum elasticity and controlled ‘shear ‘on impact, reducing the forces of the loading and unloading phase of the stride at all gaits and speeds.

SOILTEX is a high quality recycled textile product and does not contain biodegradable products such as waste from the manufacture of nappies and sanitary products.

Our quotation is based on the supply of 2kg per sqm, using more product will result in a riding surface that is too hard.

Capricorn Australia has supplied SOILTEX for 200 arenas in Australia using this same formula – the fibre structure of the first supplied arenas has remained the same.

Adequate irrigation is required to maintain any synthetic arena surface.

The combination of a perfect riding surface and a low maintenance, all-weather arena that does not require irrigation is the EBB and FLOW system EBB AND FLOW ARENAS he Ebb and Flow technology for horse riding arenas have been used in Europe for many years now. The

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Ebb and Flow arena design is used by all the top dressage and show jumping riders for working arenas. Also Ebb and Flow arena design is widely used for competition arenas.

What is this Ebb and Flow arena technology?

The terminology Ebb and Flow comes from the Dutch language “Ebb en Vloed” which means low and high tide .

An Ebb and Flow arena basically works with a system of drainpipes which are installed under the sand cover. The water is kept in the arena by a heavy duty liner which has been laid before the sand is installed. With a ump next to the arena the water level in the sand can be adjusted and the capillary effect of the sand will provide an even moist / water level in the arena.

This level can be set and does not have to be altered unless the requirement changes . For example the water level can be set differently for flat work and dressage than when the arena is used for show jumping.

Altering the water level in the arena is easy to do and there a no tools required.

The sump has to be fed with water. This can be town water, rain water, dam or bore water. When it rains the rain water will then be pumped out of the arena and can be stored into a water tank and later be used again.

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he Ebb and Flow arena kit is ideal for our Australian climate where we experience both the extreme wet and dry conditions.

Hoof on SOILTEX

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• T h e O r i g i n a l S p o r t o f K i n g s •

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by Patty Taylor and Philip Leitch

he history of jousting goes back to the Middle Ages (10th century), when it was a means for knights to practice their horsemanship and their skills with the lance. The fully armoured knights faced each other on horseback with the lances aimed at their opponents in a mock battle in an open field. This was a spectacular sight, but dangerous. It was a favourite form of entertainment devised by rich nobles. Disputes were also settled according to the outcome of the jousts, with the victor being declared not guilty and to have God on his side. The most skilled and accomplished knight in the realm would fight a jousting combat for his king and be referred to as the king’s champion.

The tilt barrier was developed after the 1400s to reduce jousting injuries. Initially this was a cloth stretched along the list but soon a strong timber barrier was used instead. Horse and rider would charge along either side of the barrier, jousting at their opponent.

The decline of jousting came with the invention of the musket in 1520. Lances were supplanted by guns, and tastes changed in entertainment. Art, literature and theatre (with its lavish costumes and surroundings) became popular. Jousting declined in England at a faster rate than Europe due to these other forms of entertainment.

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Garry Davenport Dragon Images Photography

Garry Davenport Dragon Images Photography

A typical jousting scene would be set at a medieval castle with Baroque stallions and geldings facing each other. Their riders would be clad from head to toe in steel amour weighing over 30 kilos, with hefty wooden batons that they used to pound their opponents until they were forced to withdraw from the field. The horses were highly trained warhorses, which achieved a high level of classical dressage training so they were able to manoeuvre into positions of advantage in the melee. They would need to be able to canter tight, controlled circles, terre a terre, and canter pirouette, all the while carrying their

armoured rider if they were to stand any chance of winning the battle.

A crowd of thousands watched from raised seating around the large arena, heavily decorated with pavilion tents, banners and pennants fluttering in the breeze. The sound of trumpets signalled the start of the contest, and the horses charged towards each other across the tournament arena.

Medieval re-enactment is nothing new. People have been doing it with and without horses for years but the scene described above is something you would have not witnessed until fairly recently. This is a scene that would have been repeated all throughout Europe in the Middle Ages, apart from one point of difference—the year this tournament took place was 2014.

The style of these events is changing, as there is a higher demand for historical accuracy, and the community researches and discovers aspects of the medieval tournament that were previously untested.

Baroque horses are integral to this. It is becoming clear that the tactics and techniques used by medieval knights were such that they were required to be outstanding riders on well-trained mounts. Watching a melee like the one described above is very much like watching a classical dressage demonstration, albeit with a much more violent motivation. Our modern-day knights require strong, trainable mounts that are agile, fit and able to remain calm in difficult circumstances, just as their medieval predecessors did.

And like their predecessors, it is the Baroque style of horse that is proving its suitability for the task. The people behind these events are interested in more than just putting on a show for spectators. They want to educate and show people exactly what a medieval warhorse was capable of. Most people will assume that a warhorse was a huge lumbering beast, strong and trained to simply carry a heavy rider in a frontal charge towards his enemy. This is far from being true.

From analysing medieval paintings, surviving saddles, tack and horse amour, it is clear that the horses were much smaller than we would assume.

The 16- and 17-hand high horses we have today would have been considered gigantic and even a modest 15 hands was considered a good height. Their heights were also relevant to the size of the men in that period. Knights needed (and were able) to mount their horses from the ground in full amour, and the horses’ manoeuvrability and stamina were of just as much importance as its size, if not more. Luckily for our modern knights, suitable horses are still available, particularly in the Baroque breeds. The Iberian horses, Friesians and several others have proved to be very capable when performing in these events under an armoured rider. In Australia recently at the St. Ives Medieval Tournament, an event that is in its infancy but is looking like becoming a world class medieval tournament, a Friesian stallion, an Andalusian stallion and an Andalusian mare, were amongst the horses being used. Not only did these animals perform well, but their movement, look and showmanship created even more of a spectacle for the onlookers. Next year several more Baroque horses will be in attendance in

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Photos: Garry Davenport - Dragon Images Photography

what will be the biggest showing of the breeds in this type of event.

Jousting is very much alive today and we talked to Philp Leitch from Kryal Castle in Ballarat Victoria (Australia) who has made jousting his full time career.

BH: What was it that inspired you into jousting and how long have you been practicing it for now?

PL: I always had a keen interest in medieval history and knighthood. I have a background in martial arts, and when I became more interested in weapons-based forms, I started training in the use of medieval weaponry and fighting in amour.

Then I discovered that people were actually jousting in Australia. I knew how to ride (sort of), and my wife had a horse so I just started training myself in the back paddock at home. I then bought my noweight-year-old Friesian stallion “Valiant” as a 14-month-old colt.

My journey of learning to joust was really one where he accompanied me. We figured a lot of stuff out together, and there is no greater feeling than riding him in a joust.

BH: Do you get to participate in many competitions? How does that work?

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PL: Competitions are usually invitational, as there are limited spaces available. Organisers want to have jousters they know can perform well. Where I work, I joust every weekend and every day in holiday periods, so I usually only go to a couple of tournaments a year, but if you are keen, capable and have the right equipment you could probably do half a dozen shows a year or more. The opportunities for travel are great. As there are not a lot of jousters worldwide, big tournaments usually rely on international riders to make up the numbers.

BH: Is it safe? Is it something you have to have all the amour to do?

PL: With the right amour, horses and people jousting is quite safe in today's times. Sometimes you may get a couple of bruises but that’s usually the worst of it. Like any equestrian activity though, falls sometimes happen and you can get hurt.

BM: What sort of training is involved?

PL: Ninety percent or more of jousting is riding. So there is lots of general riding training, especially while wearing amour. We also have a spinning target called a quintain.

When learning to joust, I hit the quintains thousands of times, and now that I’m a seasoned jouster it is still an invaluable training tool.

BM: How does someone go about to get involved in jousting? Where and how do you start?

PL: Ride lots, and when you feel

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you’re riding OK, start training with amour and a quintain. For safety and to avoid picking up bad habits, get advice on technique from experienced jousters before you start. Also get advice from people in the know about amour. There is a lot of stuff out there, and most of it is rubbish. It’s important for your comfort and safety to have it right.

When you feel you’re going well with that, get in touch with some experienced jousters and talk to them about furthering your training.

Don’t try jousting without some expert knowledge or I guarantee you will get hurt—or worse, you will hurt a horse, something we in the jousting community don’t stand for. We do private lessons at Kryal Castle on a case-by-case basis. We have all the gear and knowledge to get you off to a good start in learning to joust. a

With the right amour, horses and people jousting is quite safe in today's times.

J O U S T ING t e r m i n o l o g y jousting The jousting terminology used during the Middle Ages included the following terms:

Atteint: Atteint was a common term used to determine a hit in a joust

Venans: The Venans were the challengers in a pas d’armes Tenans: The Tenans were the defenders in a pas d’armes

Lists: The ‘lists’ were barriers which defined the battlefield in a tournament

Berfrois - Grandstand which housed the ladies and nobility watching the jousting tournament Challenge: Calling another combatant out to combat, a challenge was either ‘à plaisance’ meaning friendly, or ‘à la guerre’ as in war

Tilt: A tilt was a barrier introduced in the 14th century to prevent jousting collisions Joust a plaisance: A series of elimination jousting contests which were held over over several days.

An overall jousting winner would be determined Pas d’armes or passage of arms Jousting event: A Knight would send out a proclamation that he would take on all jousting challengers at a specific time and place ‘À la toille’: A jousting event ‘À la toille’ was held on either side of a barrier. Prior to the 15th century, jousting events were conducted in the open rather than on either side of a barrier, which made the event much more dangerous

Vespers Tourney: A tournament held on the eve of a larger event, where the younger knights bachelor and squires had an opportunity to demonstrate their prowess before the other knights and assembled gallery

Coup de Grace: The death-blow a knight gave to his mortally wounded opponent Mêlée: A Melee was a team combat or ‘free for all’ where teams or groups of individuals met in the field Pas d’Armes: A form of tournament ‘à plaisance’ where combatants met to exchange pleasantries and test their skills against one another Club Tourney: Two teams using blunt swords and clubs tried to knock the crests off their opponents helmets

Invocation: The ceremony used to start a tournament or pas d’armes Tree of Shields: The place where several colored shields were hung for a pas d’armes. Challenging knights could choose the combat they required by hitting the shield Nail Money: This referred to the money paid to a tournament herald for nailing the challenging knight’s shield to the tree of shields Pavilions were the name given to the bright, round medieval tents of alternating colours which housed the combatants and surgeons

Recess: A recess was a safe area where horsemen and knights could gather and rest without fear of capture

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Alltech FEI World Equestrian Games 2014, Normandy, France

Let the Games Begin !

The Opening Ceremony

Articles/Interviews and photos by Cátia Castro

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he opening ceremony of the 2014 FEI World Equestrian Games (WEG) was held the night of 23 August at the fully packed D’Ornano Stadium. More than 20,000 spectators attended.

The main story was a little girl named Diane, who proudly led out her beautiful grey horse into the big arena. She has a dream of one day competing with her horse. Maybe one day her dream will come true. The opening ceremony was full of memorable moments.

The French Prime Minister Manuel Valls, declared the Games open, the first time in the history of the Games that a Prime Minister of a country was present in the Opening Ceremony.

FEI President Princess Haya welcomed the athletes, federations, sponsors, media, volunteers, and everyone involved in this WEG. There was the pledge of fair play from all riders and judges, with the French team member representative of the FEI Bureau Kevin Staut, and the president of the ground jury for Para-dressage Anne Prain. (see photo below).

In the parade of the presentation of countries, 74 competing countries were represented, with each country waving and saluting the spectators, and some of them making their appearances humorous and interacting with the audience and the tv cameras.

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“Whether you win or lose, these Games are sure to be a highlight of your career. I am confident that you will represent our sport well and prove yourselves to be true champions. I wish you all the best of luck.” Princess Haya

After the national delegations parade, no fewer than 300 artists, including 100 riders, performed 30 scenes divided in three acts to show that all horse paths lead to Normandy.

Skertzò offered new forms of performance using 3D-projections combining monumental arts, performing arts and high technology, in a dazzling equestrian-themed display based on the concept of “Around the World with 80 Horses”.

In the display there were Akhal Teke horses, a horse known to be fast and resilient, was celebrated in the time of antiquity for its beauty and intelligence, it spread though the Orient, India, China and Russia. It contributed to the development of several breeds like the Arabian, the English Thoroughbred, and the Trakehner. The Quarter Horse was represented by two American riders.

Lorenzo (The Flying Frenchman) with his free grey horses closed the ceremony, presenting an amazing show that made all viewers energetically applaud with delight.

The stars shone inside the D’Ornano Stadium, with the horses shining back in the ground, officially launching the Alltech FEI World Equestrian Games.

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BRAZIL “The green and yellow flair…”

Chef d’equipe: Mariette Withages

Rider:

Horse:

Breed:

João Victor Oliva

Signo Dos Pinhais

Lusitano (grey coat, 1998)

Manuel Tavares de Almeida

Vinheste

Lusitano (bay coat, 2002)

Pedro Tavares de Almeida

Samba

Lusitano (grey coat, 1999)

Luíza Tavares de Almeida

Pastor

Lusitano (bay, 1996)

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hree siblings riding in the dressage team for Brazil: it is a first at the World Equestrian Games and perhaps even a record for the Guinness Book.

Thirty-three-year-old Luíza Tavares de Almeida and her twin brothers Pedro and Manuel were teaming up not only as a family but also for their country of Brazil. They all were riding Lusitano horses, all bred in Brazil, by their father and trainer Manuel Tavares.

Luíza represented Brazil in the dressage discipline at the Olympic Games in London 2012. She had started her career in jumping when only six years old. At 12 she took up dressage to improve her riding skills and convinced her brothers that dressage can be quite exciting.

Sometimes there is more to sport than results. There are few Grand Prix level riders in the country, but it’s growing. Getting sufficient competition practice was difficult, and therefore the Brazilian team was on the road for several weeks. They trained in Germany with DolfDietram Keller and then competed in Nice and Deauville in France, keeping them out of Brazil for three months. For the twin brothers Pedro and Manuel, the time away from home was even longer. They spent one semester at university in Hamburg and continued riding with Keller in Northern Germany.

Pedro Tavares de Almeida and Samba

The fourth member of the team was Joao Victor Oliva. At 18, he is the youngest of the foursome, and his time away from home was longest of all. He is starting a two-year training stint with Coach Norbert van Laack, aiming to qualify for Rio 2016. For Normandy he qualified by winning the South American Games in Chile. He rode the grey stallion Signo Dos Pinhais, a Lusitano as well. They finished at rank 85 out of 100 competitors.

“All in the family” – the team for Brazil finished last, after Luíza was eliminated when her stallion Pastor developed lameness in the arena. The twin brothers Manuel and Pedro Tavares de Almeida ranked 87 (63.057%) and 91 (61.529%). João Victor Oliva ranked 85 (63.843%).

Mariette Withages, a Belgian national and former international dressage judge, very knowledgeable of the Lusitano breed, was the Brazil’s Chef d’equipe.

Manuel Tavares de Almeida and Vinheste

Luíza Tavares de Almeida and Pastor

is

João Victor Oliva and Signo Dos Pinhais

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The youngest dressage rider in the WEG 2014, João Victor Oliva, shared his thoughts about this great competition with BHM: BH: How did you feel representing your country?

JVO: It was a great honour to represent my country. I was the youngest rider and I see that in a positive point of view, because I have more time to learn after an experience like this one.

BH: How did you prepare for the WEG? JVO: Lots of training, every day, with the help of the people around me: coaches, grooms, veterinarians, farriers, and my father, among others.

BH: How did horses became part of your life?

JVO: I love horses because I grew up riding them. All this is thanks to Rogério Clementino, a dressage rider who is also responsible for what I know about horses.

BH: Why did you choose a Lusitano for competitions?

JVO: I choose the Lusitano because it was the breed I know best. My father has bred Lusitanos since I was born (Coudelaria Ilha Verde Stud), so I grew up with the breed. For me it’s the most reliable breed.

BH: What is your opinion of your participation in this WEG? JVO: I believe the WEG gave me a lot of experience. I had the opportunity to see and be where the top riders of the world are, in the same arena.

BH: What are your future projects?

JVO: I want to prepare myself to represent my country in the dressage level that matches the top riders of the world, and give them work and something to worry about by competing with them.

Today I live in Germany. I train from Monday to Friday in the saddle. I do ground work with the horses on Saturday, and Sunday is their day off. My trainer is the German, Norbert Van Laak, and I’m focusing in the Pan-American Competition in Toronto, Canada.

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France Robinson delafont - A Lusitano horse with French accent

FRANCE Chef d’Equipe:

Alain Francqueville

Rider:

Aranud Serre

Horse:

Robinson delafont de Massa

Breeder:

Elevage Massa Stud (Slyvan Massa)

Breed:

Lusitano (bay) – Born in 2005

B

aroque Horse Magazine met with Elevage Massa Stud at the WEG and talked about Sylvain Massa and his insight, vision, determination and his quest for perfection.

BH: Can you tell us how it all began in the Elevage Massa Stud?

EM: At the age of 25, after an already successful and accomplished career as a show jumper, Sylvain Massa discovered the Lusitano breed of horses, their particular charm, gentleness and generosity to their riders. Originally bred as horses for use in war by the cavalry, the qualities of this breed have allowed both horse and rider to perform in harmony in the field of battle. These traits have given them a big advantage. If there is one thing that has been lacking in the breed for succeeding at the top level of competitive dressage, it is the horses' ability and scope to extend its gaits. When competing against German and Dutch breeds, this lack of propulsion becomes all too apparent. Sylvain has made it his mission to correct this deficiency and produce the horse that competes successfully in this modern, competitive dressage world. Sylvain started to study all the horses' traits and eight years later decided to start his own Lusitano breeding programme. He went out and found the best mares he could acquire: a good walk, balanced gallop, impulsiveness and the ability to extend were the traits he was searching for. Those who had short, stocky necks, abbreviated gaits and bent hocks were eliminated.

Instead he searched for mares with longer backs, angled shoulders and longer legs.

BH: How did you begin breeding with the Lusitanos?

EM: Historically the introduction of new blood from other breeds to the Lusitano breed was deemed important and highly sought after. Mares with these characteristics were highly sought after. In the early days, Sylvain was guided by a legendary Portuguese breeder of Lusitanos, Dr. Guilherme Borba. The knowledge Dr. Borba gave to Sylvain on breeding lines and genetics was crucial to his mission and he is very grateful for all that he did for him and the breed. In addition, He agrees to sell some of his best mares to Mr. Massa : Nortada, Guapa, Ortiga, Tempestade, Janota, and his Grand Prix international stallion, Maestro. In 1983, a four year old mare, Prezuda, was the first star of the Massa breeding programme. This magnificent mare went on to breed some celebrated offspring, the most famous being Galopin de la Font and Vendetta. This became the basis for the genetic enrichment of Sylvain's horses. By 2014, eight generations of the Massa programme has evolved.

The Lusitano stallions have also not been neglected. They have been selected for their good character to compete at high level dressage tests. They have formed an important part of the programme, notably Rieto, the star of the breeding programme. His offspring, notably mares, have introduced valuable traits into the

breed. In 2000, Sylvain Massa introduced a registry for the new Lusitano Sport Horse breed which he founded. The registry includes historical blood lines as well as additional information on current blood line inputs from Dutch and German stations.

The Lusitano mares have good temperament and collection whilst the Northern European stallions have power and extension.....it is the perfect marriage.

BH: And how are the Elevage Massa’s Lusitanos of today?

EM: Today the Lusitano Sport breed is now nine years old and they have given him great pride. Several international riders have already purchased offspring of the Sport breed. They are impressed with their attitude to working sessions, their strength and impulse on, collection and extensions. The success with the Lusitano Sport breed has encouraged Sylvain to continue on this path.

To sum up he has developed two aspects to the breeding programme: pure bred Lusitanos and Lusitano Sport.

The excellent results that have been obtained over time (confirmation, show in hand, and dressage competition) have amply demonstrated the importance of the breeding line that Sylvain had founded. The Lusitanos and the Lusitano Sport breeds are now well established in dressage competitions.

A Massa horse is always present in the big international competitions: the Olympic Games, the World Cup, the Nations

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Cup, European Championships...

The Massa breeding programme consists of 100 mares and 7 stallions, 50 pct of which consists of Lusitano Sport.

To quote Sylvan Massa; "What a pleasure it is to watch the birth of a foal! To see the young horse develop from the pastures to the dressage arena fills me with pride and joy. To walk amongst the young horses and hope that each one will bring great pleasure to their future riders and to know that our Lusitanos are true friends.... I will always be indebted to those wonderful mares like Pezuda, Nortada, Herbanaria, Admira, Vendetta.... To develop this breeding programme has been my life's work and dream. Each horse is unique. THIS IS MY LIFE." WORLD EQUESTRIAN GAMES 2014, Normandy BH: Can you talk about how Elevage Massa and its rider Arnaud Serre, experienced this WEG? EM: It was a great moment for Sylvain Massa to have a horse entered into the World Equestrian Games on the French team. He has already had horses bred by him in the Olympic Games, European Championships and World Cup but for the Portuguese team. This was the first time that he has had a horse on the French team. The WEG take place every 4 years and to have able to be included in the French team, and in France itself, with a French horse from French breeding and ridden by a French rider was an unforgettable moment. Since Arnaud Serre has been given the ride of Robinson delafont de Massa, this combination has always been selected to support the French flag either as a reserve or as a full team member in various nations' cups, such as Rotterdam or Vidauban.

He is a full performing member of the French team. Arnaud Serre and Robinson de Massa have been very consistent in achieving higher scores at each competition. At the WEG on Grand Prix day, there was enormous pressure as they were the last of the French team to enter the arena before the English Olympic winner, Charlotte Dujardin and Valegro. Arnaud and Robinson had achieved the best scores for France and the stadium (the Orano Stadium at Caen, Normandy) erupted in applause. They had achieved 72.843 pct, the best French score, and were placed 20th overall thus qualifying for the Grand Prix Special.

Robinson de Massa is the result of 35 years of breeding selection. Each year we produce excellent horses for high level competition either in the pure Lusitano or Lusitano Sport breeding programme. These horses are easily trainable to reach higher levels. Our endeavour is to produce horses with good temperaments. Robinson was not a horse for low level competition, rising quickly to Grand Prix level at age of 6 to 7. He learned all the movements very quickly without any setbacks. With age he will gain strength and go forward to achieve even better results. A wonderful future awaits! Arnaud Serre knows the Lusitanos well and has established a deep friendship with these wonderful horses. When the movements are established there is no doubt about their execution.

Above all, the Massa horses are selected for their power, energy, gaits and temperament and to perform no matter how difficult the task. A lot of horses will follow Robinson's footsteps. Arnaud Serre had very well organised Robinson's WEG training programme. During the run up to the Games, he did not put excessive pressure on the horse but kept the horse calm with the same routine. The real improvements will be worked on this winter. During the WEG it was important to manage stress‌ Arnaud and Robinson were confident in their routines and partnership.

His spouse, Anne-Sophie Serre, was always at her husband's side during the entire training programme, absorbing a lot of the pressure herself.

The staff of the French team were exceptional. They took care of our two champions, man and horse! The French Olympic Team Trainer, Jan Bemelmans was also invaluable in achieving our goals for success. He watched and guided our practice sessions and warm-ups giving precious advice at key moments. As a result, Jan, Arnaud, Anne-Sophie, and Robinson made a great team. All went well!

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Spain

T

he P.R.E horses: “Norte Lovena” and “Grandioso”, had the best dressage results of the Iberian breed in the WEG 2014.

Just before José Garcia Mena and “Norte Lovena” entered to perform the Grand Prix Special, the Spanish crowd in the stadium all started clapping hands in the Spanish Flamenco rhythm, and then this pair entered the d'Ornano Stadium in great support and confidence. When José Daniel Dockx and his horse “Grandioso” completed the dressage test, the Spanish crowd cheered and yelled several times the name of the rider Dani.

When Garcia Mena finished his GP test he just hugged “Norte Lovena”, and put his hat on “Norte Lovena” to indicate that it was the horse that was the star. Dani, made the flamenco dance with his hands and arms, and waved to all audience and especially to the thrilled Spanish crowd.

The spectators had come from all over the world to Normandy France, to see dressage in the highest level and were overjoyed with these performances.

JOSÉ GARCIA MENA INTERVIEW:

Chef d'Equipe:

Luis Lucio

Riders:

José Daniel Martín Dockx

José António Garcia Mena

Horses: Grandioso Norte Lovena Breed:

P.R.E (bay) born 1999

Owners:

José Daniel Dockx

Dressage Team classification:

P.R.E (grey) born 2000

Miguel Lovena Garcia

5th place

Dressage Grand Prix Special results: José Daniel Martín Dockx and “Grandioso” - 74.090% José Garcia Mena and “Norte Lovena” -72.689% Dressage Grand Prix results: José Daniel Martín Dockx and “Grandioso” -74.243% José Garcia Mena and “Norte Lovena” - 72.414%

For me it is a great honour and great pride to have gone to the WEG 2014. This has been my second WEG. We had a training schedule for “Norte” where we made sure we trained him gently to ensure he was fresh for the competitions at CAEN (Normandy – France).

I am very satisfied. “Norte” gave everything beautifully. I think there were details that could have been avoided then everything would have been perfect, but I'm happy with how it all went.

By 2015 we want to start the season in February. “Norte” is now on a break. The idea is to compete little and well and be in good tone and fitness. From February to September 2015 we only will be doing a maximum of four-five competitions.

JOSÉ DANIEL MARTÍN DOCKS INTERVIEW: For me to represent Spain in a World Games is an honour and a pleasure. It's a lot of responsibility but it is an unforgettable experience and difficult to repeat.

The preparation was a success. We went from Spain and stayed 35km from of Caen to train and concentrated over a week before the Games, and for the horses to become acclimated to the weather and also have enough time to rest. We were accompanied by the team veterinarian Castellins Gaspar, and the Spanish Federation technical team who were we carrying out different activities and trainings.

I am very satisfied with my role in this WEG. We were ranked the best Iberian horse and ended the 18th best in the world, with average of 74%. “Grandioso” gave his all and I think together we gave everything we had and what was expected from us.

The next competitions will be the Horse Week in Madrid in November, and then in December we will go to Wellington (USA) to compete in two international competitions.

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Portugal

Flag colours of the birthplace of the Lusitano:

Green for hope; Yellow armillary sphere for the group union; Red for joy, conquer and sacrifice

Chef d’Equipe: Riders:

Carlos Lucas Lopes Maria Caetano Couceiro

Carlos Pinto

Manuel Borba Veiga

Horses: Xiripiti Soberano III Ben Hur da Broa Breed:

Lusitano (grey) B 2003

Owners:

PCI Paulo Caetano International

Lusitano (grey) B 1999

B

runo Miranda (veterinarian) only concerned was for the weather changes for the horse performances as their physical conditions were all good. There is a great team work and bond between the Portuguese riders, the veterinarian, the Chef d'Equipe, and the groom, and at the conclusion of the games they all raised their champagne glasses to celebrate friendship, mutual aid, and by the words of the Chef d'Equipe Carlos Lucas Lopes: “We toast to the best WEG team ever and a problem free event”. Carlos Lucas Lopes also said that the team had to analyse this WEG 2014, and plan, improve and prepare to the next challenge: the Olympic Games in Rio 2016.

For the Lusitano breed it's important that its birth country has a special promotion, and takes extreme pride when other countries choose the Lusitano for their favourite horse for competitions.

The well known rider, Carlos Pinto, a Portuguese rider that is based in France, competed with “Soberano III”, had a great display of elegance in the arena with this Lusitano from the Hostil and Xaquiro bloodlines (two of the most important Lusitano bloodlines).

Manuel Borba Veiga, from the Veiga Stud Farm, one of the oldest and important Lusitano breeders in Portugal, showed great skills and a good performance in the dressage arena. This is the result of his knowledge of the breed, their functional and the quality of the horses.

Maria Caetano Couceiro, daughter of a famous Portuguese bullfighter Paulo Caetano, showed us what it takes to be a good and accomplished horse rider.

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Lusitano (grey) B 2006

Francisco Bessa de Carvalho Manuel Tavares Veiga Stud

MARIA CAETANO COUCEIRO Interview: I consider the WEG as very positive experience, despite physical limitations that “Xiripiti” presented. Unfortunately, he was injured after the Portuguese National Championships in June 2014, where he won his second consecutive championship, and performed at the highest level. This injury affected his training in the month before the WEG and caused a loss of fitness and consequently their usual fantastic display of movements. Anyway, I was quite happy with Xiripiti's performance, which, despite failing to reach his usual "highlights" (notes eight in half pass, extended trot and flying changes), managed to make a fairly accurate test without any failures.

I would also like to congratulate the other team members, who presented themselves in an excellent standard, both technical and ethical. As well as the Portuguese Equestrian Federation for the work done for our dressage team at WEG, of the Chef d'Equipe Carlos Lucas Lopes and Veterinary Bruno Miranda.

I believe that the coming years will be very important in the career of Xiripiti, with three more years of in Grand Prix and then he will be 12 years old and will be more consolidated and ready to face major challenges like the next Olympic Games.

Besides Xiripiti, I'm also counting on the Grand Prix, the Lusitano “Zingaro LYW” who is only 10 years old has been the winner of CDI Iberian Cup in 2013, was the reserve team for the European Championship 2013 in Rotterdam and also reserve for these WEG. I also intend to debut the young Lusitano “Coroado”, now seven years old, competing in Grand Prix next year and he was champion in September 2014, of the National Champion in the level of Prix SG / inter1.

In addition to these three Lusitano stallions, we have several young horses, including colts from four years and three were bred here our home (two Lusitano and one Warmblood mare) who have shown great qualities for a future in dressage.

MANUEL BORBA VEIGA interview: To be able represent Portugal and our stud (Manuel Veiga Stud) in the WEG was a unique experience. I competed with a horse bred by Manuel Veiga Stud who was educated by me. He was the youngest horse in the championship, and with only six months of making the Grand Prix level was just fantastic.

My future projects are with “Ben-Hur da Broa” and “Altivo da Broa”. I have great hope in these two horses for the next championships ahead, both horses are very young one being eight years old and the other nine years old, which is great because they still have time to grow and evolve.

Above all, what is most important is having a great family that always supports me in everything especially my father who is a major pillar in my life.

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Para-Dressage Rider: Sara Duarte Horse: Damasco Breed: Lusitano (grey) B 2008 To be able to compete in the WEG 2014 was a goal that I am thrilled to have achieved! After missing the WEG 2010 in Kentucky I was very eager to compete in the largest equestrian event! With the unexpected death of my Lipizzaner horse Neapolitano I saw this as a fading dream, but I was able to go to the WEG 2014 with the Lusitano Damasco and this was such a huge achievement!

Damasco came to the Academia Equestre João Cardiga mid February and since then has trained with João Pedro Cardiga and myself. We had very little time to get him prepared for the competition. Dr Vasco Oliveira Santo learnt of the sad news of Neapolitano passing and offered his support and I feel very fortunate that he is a man of such kindness with a huge heart. Damasco is part of their stud and João Pedro Cardiga found him to be the most suited despite his young age of only six years. This was a huge challenge!

The first test was average and the second test wasn’t so good, and I was eliminated because Damasco’s adverse reactions. But I finished the WEG with the feeling of accomplishment as we got to go and experience the thrill of WEG. After all, Damasco is only six years old was the youngest horse in Paradressage with only six months of work (at the time of WEG) and the stress of attending such a great event.

My plans at this time must be in short term, although I’m always thinking about the Olympic Games of 2016, but we know that is something very difficult to reach. For 2015 we’ll try to go to the largest number of national and international competitions we can.

The exposure of Paradressage doesn’t appear to have gained more exposure in the past years and I would love for it to have more of a prominent coverage. I am grateful for my current sponsorships, the insurer Allianz, the Santa Casa Lottery Games, and Bellator and I couldn’t achieve these dreams and challenges without them. a

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how to do the double running plaits. Could

you provide a step-by-step tutorial? – Rebecca, WA.

GROOMING

Q.

I would love to learn

A.

Tutorial for the Portuguese ‘double’ braid:

Step 1: Prepare the mane by washing it a few days prior to braiding. A mane that is too clean will be harder to braid and won’t hold as neatly. The mane must be thoroughly detangled. To keep it manageable while braiding it may be useful to use a slightly damp sponge or use preferred products designed to give it a textured hold.

Step 2: Part the mane equally on both sides of the neck. Take extra time to ensure it is equal and the part line is straight and neat.

Step 3: Begin the braid at the top of the horse’s mane, near the poll and just behind wear the bridle will be. Take a manageable section and divide it into three equal strands (about ½” wide). The first two pass like a normal braid, and with the third you add more mane to the existing strand. Continue braiding along the neck keeping your hands close to the crest and the mane strands. The braid should be quite firm but not too tight.

Step 4: Finish the braid by plaiting down and securing with either needle and thread or rubber banding. Fold the end up neatly and secure. It is important to leave at least a hands-width of mane loose at the wither or base of the neck.

This will make it more comfortable for the horse when wearing the saddle and lowering and extending the neck.

Step 5: Repeat this on the opposite side, ensuring that the sections and strands are equal to the first side. For a very neat braid you want it to be a mirror image. It does take practice as naturally we are either left or right handed, and by double braiding you are essentially training your less practiced side.

Step 6: To finish the nice presentation the forelock can either be left out loose or neatly braided and folded or rolled (depending on the length and thickness).

Technique: You will notice that in the pictures the braid is almost on top of that crest line, rather than lying flat along the neck and drifting longer (like a triangle). To achieve this high neat braid it is all in the technique and practice.

You have to braid over/under rather than under/over.

Tips: This beautiful braiding style is for presentation, either in show classes or when ridden. It should not be left in for a long period of time, and as soon as possible it should be un-braided. This is a sensitive area for the horse, and as the neck is lowered and stretched an overly tight braid will pull on the roots and hair shafts – making it uncomfortable for the horse and damaging to the mane.

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Lipizzaner naming system work? – Gemma, QLD.

BREED

Q.

How does the

A.

The naming system for the Lipizzaner horses is based on traditional customs according to the system of the former court stud Lippiza, or according to the system of the former Austro-Hungarian State and Military studs.

The stallion names consist of both the sire and dam, while mares continue only the maternal line.

For example, the colt’s name Maestoso Bonadea XI comes from the sire (Maestoso) and mare (Bonadea XI). In the case of a filly, she would be called Bonadea XII; the 12th filly in line of ancestress. This system allows for the immediate identification of a horse’s lineage.

There are six classic stallion lines:

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•

Maestoso

•

Pluto

•

Favory

•

Siglavy

•

Conversano

•

Neapolitano

The Lipizzan International Federation (LIF) accepts two additional stallion lines as equal to the 6 classical lines: •

Tulipan

•

Incitato

In addition to the stallion lines, there are 20 classic mare lines, 14 of which exist today. However, there are up to 35 mare lines recognized by various Lipizzan organizations.

Reference from www.vlada.si/en/about_slovenia/ geography/lipizzaner_horse/ www.lipizzan.com/lines.html www.lipizzan-online.com/

Directions 1.

It is advisable to wash the horse first with an Organic or natural shampoo and conditioner,

2.

Follow with Certified Organic EQUINE-SOOTHE,

3.

And then a rug.

By following these 3 simple steps you will see results. Your horse will have much needed relief from the itch that drives them to rubbing both their mane and tails out.

EQUINE-SOOTHE has been developed with horse’s sensitive skin in mind and especially Qld Itch. Trials conducted over a period of 6 months showed significant improvement in the horse’s coat, particularly around the areas of the mane and tail, where Qld Itch is usually present.

No product alone and used in isolation will cure Qld Itch, however with proper care and management EQUINE-SOOTHE will soothe the horses itch and revitalise the skin for new regrowth of hair.

EQUINE-SOOTHE is a Certified Organic product developed with no nasty petrochemicals or synthetic ingredients. It is safe to use on horses and just as safe for our human friends to apply without the worry of toxic ingredients penetrating the skin.

EQUINE-SOOTHE is available in 1 litre & 200ml bottles.

Contact: Ann-Jane Brown Mobile: 0412 089 278

ann-jane@manderlayos.com.au

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gelding is 10 years old

and ridden regularly.

I am trying to build a better topline through his work, but is there anything I can feed that will help? He always appears to have a hay belly. – Catherine, NSW.

HEALTH

Q.

Question: My

A.

The common belief that it is possible to put on “condition” (fat) and then change it to muscle (protein) by exercise and training is a myth. Fat supplies aerobic energy for exercise, which can help to improve muscle endurance during training and assist the horse to gain fat indirectly, but muscle “bulk” requires a good quality protein base in a ration, as well as exercise to stimulate its development.

A well balanced diet with adequate protein, such as 400g (2 cups) full fat soybean meal or 500g (2½ cups) of crushed lupins, or even 2kg lucerne hay for a 500-600 kg horse, will provide the necessary amino acids for muscle and tissue development. This supplementary protein, when combined with loading exercise to ‘work’ the backline and rump (flat lunging is not effective), such as controlled hill work or ‘collected’ work outs at the trot and canter will help to improve muscle ‘bulk’. In addition, a daily supplement of Kohnkes Own® Muscle XL® has been shown to be a successful way of improving ‘top-line’ and rump muscle strength. Muscle XL® is a muscle building supplement consisting of natural branched chain amino acids as well as vitamin E, organic sulphur and organic zinc which are specific nutrients required for muscle development and recovery after exercise. The natural ingredients in Kohnkes Own Muscle XL® are highly digestible and when given as a 21 day course after exercise, Kohnkes Own Muscle XL® has been shown to assist in improving top-line and muscle bulk.

Sian Raines Nutritional Advisor JOHN KOHNKE PRODUCTS www.kohnkesown.com 1800 112 227

Got a question you’d like to ask, email editor@baroquehorse.com.au with your questions !

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By Shannon Godwin BaAppSc GDTL

Coat Condition

A

common outcome that is desired by all horse owners regardless of their equine discipline of interest is a horse in full bloom with a healthy, shiny coat. Aside from looking fantastic, a shiny coat is indicative of a horse that is healthy inside and out. The skin and hair of a horse is the body’s first line of defence against natural elements and these are the most visible signs of a horse’s overall condition.

Balanced Nutrition Many nutrients have a direct impact on the health and shine of a horses’ coat. One of the first signs of inadequate nutrition is a dry, dull coat and cracked hooves. Certain ingredients such as fatty acids, zinc, biotin, methionine, lysine, copper and vitamin A must be present in the correct amounts in a horses’ diet or skin, hooves and hair will suffer. Hyfeed Equimin Plus is a superior vitamin and mineral supplement formulated with sufficient levels of Biotin and Bioplex™ Zinc to improve hoof, coat and skin conditions in horses.

If a horse’s diet is low in essential amino acids & oils, it will probably be displayed by a dull, listless coat. Hyfeed Soy Gize is high in fat and easily digested by the horse and contains all the essential amino acids and essential fatty acids required for healthy skin and a glowing coat. Adding oil to the diet such as Hyfeed Alpha E Oil will supply essential fatty acids that are required by the hair follicle to lubricate the hair which gives it a shiny appearance. The oils in Alpha E & Soy Gize contain substantial amounts of Linoleic, Linolenic and Oleic (the Omega) fatty acids that are essential for a horse’s health and particularly skin and coat condition. The Omega fatty acids are known to help the maintenance of elastic skin and slick, glossy coats.

Hyfeed Shine On is the ideal concentrate for horses that can help deliver: •

Superb shine for the show ring

•

Premium quality protein & Omega Oils

•

Increased top line & muscle definition

•

A comprehensive range of vitamins & minerals (including Biotin & Bioplex Zinc®)

•

Cool energy in a grain free pellet

Management & Coat Health •

Rug - Keeping a thin sheet on your horse during the sunniest periods of the day may reduce bleaching of your horses’ hair coat.

•

Exercise improves the delivery of blood and therefore oxygen and nutrients to the skin. Exercise is also beneficial by stimulating the flow of sweat and sebum. Sebum is the oily material secreted from the hair follicles that helps give the hair its shine and forms a protective layer over the skin, preventing excess moisture loss and drying.

•

Parasite Control - It is very important to maintain a regular worming schedule as nothing will take the shine of a horses coat faster than a heavy worm burden.

•

Brush - Regular brushing stimulates the sebaceous glands which release oils that cause the hair to lie flat and shine. Brushing will also remove the dead hair from the horse’s coat, improving the health of the skin and coat.

It cannot be clarified enough that it is essential for a horse’s health and nutritional requirements to be met by plenty of roughage and balanced nutrition in order to obtain the glossy, shiny coat that is desired throughout the world by equestrians.

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24/10/2014 10:04 pm

Horse Clipping S

Article: Patty Taylor Photos: Wylam Young Illustrations: Tabitha Osztreicher

ummer is here and your horse is looking a bit woolly from winter what do you do?

Do you let your horse shed naturally or clip? There is different answer for each horse owner and this depends on whether you are competing, everyday riding or even have a retired paddock horse.

As the weather gets warmer the longer coats can dangerous and many horses can succumb to heat exhaustion. Not only does the thicker hair cause your horse to heat up quicker during exercise but also takes longer to cool down and this also hinders the drying process that can lead to skin infections.

Nature has provided our equine friend with three different types of hair coats; •

A summer coat that is sleek and shiny.

This coat also serves to prepares the horse’s body for winter.

•

There are two winter coats. One is a short, thick layer and the other has long hairs that will stick up and give air space and serves to insulate against the cold winter temperatures.

A horse’s coat may also change colour with the seasons. Not unalike our hair, the horses' coat can give you an indication of their health and a poor coat can be the cause of many ailments. You should always observe your horse’s hair growth and coat condition to see if there are any health issues.

9 2.

You can take the natural approach and let your horse shed themselves and this process can take months depending on where you are. You can speed up this approach with regular grooming with a curry comb to loosen the dead hair and brushing. The fastest way to remove the winter coat is with body clippers and precision trimmers and this will also reduce your daily time of grooming and your horse will be ready for your summer activities.

You need to consider what types of clipping style you will opt for and this will depend on what you are doing with your horse; •

Are you competing or working your horse?

•

Preparing your horse for sale?

•

Is your horse stabled or out in the paddock?

•

Are you rugging?

•

Does your horse sweat or does he feel the cold?

•

Has he been clipped before?

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Types of

Clips

FULL CLIP Where: All the body including legs, head and ears excluding

a inverted V about the tail Best for: Horse in high level competition work Benefits: Sleek coat and sweat can evaporate off easily Be Aware: No protection or warmth, exposure to rain scalds

May require stable management

Rugged to maintain horse’s warmth

BELLY CLIP

LOW/HIGH TRACE CLIP

IRISH CLIP

Where: Underside of the neck and belly up to the traces

Where: A line a drawn from the poll to the belly to

make a triangle shape. Half head can also be

clipped if desired. Legs are left unclipped

Best for: Horse in light work Benefits: Protection to neck, body and legs

Horse does not get too hot and sweaty when in exercise

Where: Underside of the neck and belly Best for: Horses in light work Benefits: Protection to neck, body and legs

Best for: Horses in light work Benefit: Protection and warmth to the legs

HUNTER CLIP

BLANKET CLIP

Where: This is a smart clip with all the of the coat removed

except the legs, saddle patch and the inverted V

above the tail

Where: The neck is fully clipped. Head is half or

full clipped. Legs are left unclipped

Best for: Horses in medium to hard work Benefits: Protection and warmth to the legs

Benefits: Can exercise thoroughly without losing

condition through sweating

Protection against saddle rub

Best for: Horse in regular work

Protection and warmth to the legs

Beware: Horse does not become too cold w w w. bar o q u e hors e m ag azi nE.com

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15 Clipping

TIPS

1.

Know what clippers you need before your start the job, generally two pairs of clippers on hand at all times or 2 sets of sharpened blades – use the correct clipper and blade size to achieve your desired result.

2.

If using 240v electric clippers be sure to use a cord with an RCD cut out - to prevent any risk of electrical shock or fault.

3.

Be sure to keep the head of your clippers clean and well lubricated - only use good grade oil. Clipped hair build up inside the head will result in premature part wear, overheating and poor cutting of the clipper head.

4.

5.

Do not over tension your clipper by screwing the tension screw down excessively. This will cause your clipper blades to lose their edge very quickly as well as overheating. Too much tension will reduce the amount of clipping you are able to complete with your blades as well as overloading your clipper motor.

Always use correctly sharpened blades and this is achieved on a specific clipper blade sharpener (see your retailer).

Correctly sharpened, calibrated and measured blades will extend the life of your blades and clippers, as well as offer your animal a clean polished finish every time.

6.

A clean animal is always your best option as the clean coat will not reduce the life of the sharpened blades as quickly as a dirty coat and you will result in a much cleaner finish.

7.

During clipping brush hair out of blades regularly and lubricate every 5 minutes and also ensure that air vents of your clippers are clean and free from hair – if these become blocked it will cause overheating of the clipper and lead to motor burn out. If you feel your clippers are getting hot or they start to smell turn off immediately and allow them to cool down.

8.

Make sure your horse is in a safe and comfortable spot and free from distractions.

9.

Ensure correct tension on blades, do not push your clippers hard into a thick coat as this will result in lines being left and discomfort for your horse.

10. Start with a smaller area if you horse hasn’t been clipped before or isn’t comfortable with the clippers. A noisy clipper may make your horse uncomfortable.

11. Draw chalk lines around the areas that you don’t want to clip.

12. Use a string or measuring tape to help you create equal patches on both sides of the horse.

13. When you encounter cowlicks around the mane manoeuvre your clipper so you are always clipping against the grain of the hair – this will ensure a clean finish.

14. Clip all large parts first, leaving muzzle, ears and eyes for last and keep skin taut around the eyes and hold the eyelashes out of the way with your free hand.* 15. To clip the outside of the ears, hold them closed and point the blades upwards, and clip the hairs poking inside and around the base for above areas.* *Heiniger A5 Cordless Saphir small animal clipper is ideal for these areas - smaller blade and whisper quiet.

Best after care of your clippers: • Be sure to clean your clipper (head & vents) after each use this will ensure your clipper is always ready for use.

• Regular servicing of your clippers to replace worn parts will ensure correct operation in every instance and a clean, comfortable clip for your animal every time.

• If you follow all of the above advice this will result in trouble free clipping of your horses as well as offer extended life of your clippers and blades.

• In addition your horse will experience greater comfort during their clip and will result in a clean well presented finish. a

Locking

Stifles in H o r s e s

By Kentucky Equine Research Staff - May 14, 2014 The stifle joint in a horse’s hind leg corresponds anatomically to the knee joint in the human leg.

However, instead of appearing halfway down the limb like the human knee, the horse’s stifle doesn’t even look like a joint because it is hidden within the structure of the horse’s upper hind leg. If you put your hand on the front of the horse’s hind leg where it ties into the flank, you can feel the patella, a small bone that is the anatomic equal of the human kneecap. The patella sits just above the stifle joint where the horse’s femur (upper leg bone that ties into the hip) and the tibia (long bone above the hock) meet.

The medial patellar ligament has the important function of hooking over a notch in the end of the femur when the horse is standing still. This stabilizes the stifle and allows the standing or snoozing horse to bear weight on the hind leg without muscular effort.

Normally, the ligament slides out of the notch when the horse swings its leg forward as it begins to walk. If the ligament gets hung up and doesn’t slip into an unlocked position, the hind leg can’t be flexed forward and the horse has to drag the stiffened limb forward for a few steps before the ligament releases. This is commonly known as a

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locking or sticking stifle. While veterinarians term the condition “upward fixation of the patella,” old-time horsemen have a simpler descriptive phrase: “That horse is stifled.” They might add, “Back him up a few steps to get it to release,” and this trick often works.

Locking stifles aren’t limited to one breed or type of horse or pony, but they are somewhat more common in horses that have very upright hind limb conformation, with overly straight angles of the hock and stifle joints. There isn’t much an owner can do to correct this faulty conformation, but putting the horse in a gradual conditioning program will strengthen the muscles around the stifle and decrease the incidence of locking. The problem of sticking stifles has been relieved in some young horses that gained 55 to 100 lb (25 to 45 kg), possibly because they developed a larger fat pad behind the patella. Any desired weight gain in horses should be the result of a gradual increase in caloric intake, not through drastically increasing the amount of grain given to the horse.

Corrective shoeing helps to eliminate sticking stifles in some horses. The farrier encourages hoof rotation by trimming the inside wall or applying a lateral heel wedge. Better medial break over can

Stifles

l In one study that looked at treatments for locking stifles, 40% of horses with locking stifles showed complete recovery, and 20% had marked improvement following corrective shoeing. be enhanced by rounding the medial aspect of the toe of the hoof or shoe.

In one study1 that looked at treatments for locking stifles, 40% of horses with locking stifles showed complete recovery, and 20% had marked improvement following corrective shoeing. Another 10% of affected horses showed improvement when corrective trimming was combined with weight gain and exercise.

If these noninvasive techniques don’t help, veterinarians can use one of several procedures to cause mild scarring of the ligament, decreasing its elasticity. When the ligament is somewhat less flexible, it can be pulled into position more easily rather than stretching and staying locked in place.

These procedures eliminate the problem in some horses but are less successful in others.

Sticking stifles are not always a serious problem, and mildly affected horses may be usable as long as the rider takes into account that the horse

should not be asked to make smooth, athletic movements as it begins to walk after standing still.

These horses may not always show classic locking, but might display more subtle signs such as a shortened stride, difficulty picking up or maintaining a canter lead, or a bit of scrambling while going up or down hills. Horses that regularly display classic locking stifles and don’t achieve a normal gait after a few strides may not be safe to ride.

To detect the problem in a horse being considered for purchase, ride the horse at all gaits and in circles as well as straight lines. Check for problems going up and down hills, and have an experienced horseman or horsewoman watch for regularity of gaits and shortened strides in a hind leg. Avoid buying a horse with obvious conformation faults like crooked or overly straight legs. If you suspect a problem with legs or joints, ask the veterinarian about your concerns during the horse’s prepurchase examination. a

1 Upward fixation of the patella in horses: prevalence, results of conservative and surgical treatment Michèle Dumoulin UGent, Frederik Pille UGent, Paul Desmet, Ann Martens UGent and Frank Gasthuys UGent (2004) Proc. 12th congress of the European Society of Veterinary Orthopaedics and Traumatology (ESVOT). p.230-230

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Phillip Dutton wearing SSG Hybrid Gloves

Photo: Michelle Dunn