Andalusianworld magazine show edition by HRCS

SHOW EDITION

We cannot strive for perfection; they are already perfect. We can only strive to be worthy of such perfection.

Tilley

Andalusians

at Fieldstone Farms

Devoted to the preservation and enhancement of the Andalusian breed through select breeding services and sales.

Thousand Oaks, CA - 805.379.9390 www.TilleyAndalusians.com Photos ÂŠ Lavan, Locke Photos, Scott Trees | Ad Design by Working Lens

Contents 6

Show Nerves?

Huckleberry Lake

AndalusianWorld Magazine (805) 467-7325 P.O. Box 56708 Riverside, CA 92517

Lateral Work:

Behind the Art

Guide to Breed Show Classes

The Foundation Charity Event

HIGH POINTS AWARDS

Appropriate Tack & Attire

Showtime!

Advertising & Sales

Weaning

Contribute a Story

Western States Regionals

Historical Sires

South Point Equestrian Center

South Point Dining

South Point Rules

Publisher/Editor Amber Lentz Assistant Editor Katherine Edwards Design/Photographer Kevin Kidder

Add an Event Have a comment or suggestion? Contributors Kate Edwards Nina Fuller Bonnie Walker

On the Cover: Anna-Leigh London with her Andalusian Lusitano Gelding Max

Welcome to another issue! We, as with many of you, are scrambling for the most anticipated show of the year: Andalusian World Cup. After last yearâ&#x20AC;&#x2122;s amazing success, this yearâ&#x20AC;&#x2122;s show greets many first time exhibitors as well as veterans who have not shown in many years. On that note, we have decided to dedicate many articles to help all prepare for an amazing experience. Well look forward to seeing you all soon!

Show Nerves? Tips for beating nerves at the big shows September is here, and the Andalusian World Cup approaches. Is your horse ready to face off against the best of the best in North America?Just as importantly, are you? Don’t let the implications of winning or losing at a big show frighten you away from showing, or worse yet, becoming so preoccupied with your nerves that you forget to have fun at the show.

Things to remember: 1. There is no such thing as a loss if you learn something from the experience. Maybe your grooming wasn’t up to snuff, or maybe your horse lacked condition. Perhaps your horse did not perform as well as you hoped, or not as well as the competition despite your best efforts. Maybe you did not present yourself to the same standard as your competition. Maybe you forgot something, or maybe you didn’t do anything wrong at all, and the winning horse was just the one the judges liked the most. No matter how the class goes, win or lose, you have the opportunity to learn something. Be sure to collect the judges cards at the end of the show to see exactly why they placed you the way you did.

2. Simply being there is a victory. The World Cup sets a new precedent in Iberian horse shows in terms of numbers alone, much less prestige. Simply standing in the ring in Las Vegas with the best of the best from across the US, Canada, and Mexico, in front of the top judges from the US, Spain, and Portugal, performing for a worldwide audience watching intently online, you have already won in many respects. Congratulations for making it to this point in your and your horse’s career, and recognize that you are walking in and walking out of the ring a winner regardless of how the class goes.

3. Understand that there are physiological causes of show nerves that you cannot control with mental fortitude alone. Set yourself up for success by taking care of your body. A high stakes, high stress situation like a horse show (which often involves strenuous physical activity and sleep deprivation) will physically take it’s toll on your body. Stay hydrated, take electrolytes, and make sure you don’t skip breakfast or overload on sugars, which will cause spikes and crashes in your blood sugar and energy levels. Your body is going to be flooded with stress hormones like adrenaline and cortisol, putting you on edge, and robbing your body of essential minerals like magnesium. Caffeine and alcohol will also leech electrolytes from your body. Take a B vitamin every day, and drink plenty of water on a regular basis to flush excess adrenaline, lactic acid, and cortisol out of your system. Also, remember to center yourself and breathe! The physical calming effect of consciously focusing on your breaths is measurable.

4. Imodium is your friend. No further explanation necessary.

5. More than anything, be excited for show photos from the official photographer Yes, this sounds silly, but it’s important. It’s important because no matter what happens in that show ring, you can go home with gorgeous, professional photos of your horse presented at it’s absolute best. You’ll enjoy seeing those photos for years to come, whether or not you win the class. You can walk into that ring thinking “I can’t wait to see how these photos turn out.” instead of focusing on thoughts of winning or losing.

6. Look at the big picture. Stop. Think. What are you doing? You are not at a critical UN counsel with the fate of the world resting on your shoulders. You are in a resort city with hundreds of other people who share your niche interest in Iberian horses. You are here to have fun! When you look back, what will you want to remember most? What are you presently enjoying the most? What can you look forward to next year?

Just remember; It’s not about the destination, it’s about the ride! Now get out there and have fun at the show!

Wild Bill Hickok said “There is no Sunday west of Junction City, no law west of Hays City, and no God west of Carson City.”

By Nina Fuller I don’t believe a word Wild Bill says but I figured I check it out for myself. I went one hundred miles West of Carson City for my big adventure up into the Sierra Nevada’s. If it is true that God is in the details then Active Riding Trips and White Linen Adventures has you-know-who on speed dial, and Wild Bill is way off base.

says “Keep your dog off the bed.” This is fun, but where are the cowboys? Most likely with the horses, so I wandered over to the dock where they were packing the mules and saddling the horses for the day riders. I started chatting it up with anyone in a cowboy hat, which happen to be everyone working there. “So, where are these people going?” I asked a big hat saddling a horse. I got answers like “The lake” or “The meadow” or “The ridge,” information given without the job at hand slowing down. Cowboys don’t sit around and chitchat when they are working, corporate America, take note. I was going to be moseying and saddling now for a while, so I moseyed over to the saloon and saddled up to the bar to see if I could get more info from some off duty cowboys. Country music was playing, couples were doing the two-step on the dance floor, cowboys sat at the bar, and horses were tied up out front. This party was starting to pick up.

Not knowing exactly where you are going or what you will see puts a wash of brilliant colors on what you find, most of the time. It’s easy to be so flippant about what’s up ahead when you have a travel company who has arranged everything for you. I flew from Portland, Maine to Reno, Nevada. I knew I was going to a town called “57 miles East of Sonora on Rt 108” and I knew there would be horses, mules and camping, but the rest I figured I would leave to surprise, knowing that Stacey Adams from Active Riding Trips would not throw me to the wolves. Bob from No Stress Express picked me up at the airport. I love it when someone it standing there with my name on a sign. We drove out of Reno, and headed south on 395 through Carson City. It did not take long before all traces of city were behind us. We crossed into California near Topaz Lake. The tiny little towns got further apart until there was nothing but rolling hills and an occasional motel, there for lost travelers, according to No Stress Express Bob. We took a right onto 108 at Sonora Junction and drove straight up into the Stanislaus National Forest. Narrow, steep, windy road with views and drops that never ended, it was here I became aware of my heart beating. This heart awareness turned out to be a mild stretching exercise for what was to come over the next week.

It didn’t take long for the conversations to get around to what I was doing there and where I was going the next morning. Me: “I’m going to meet up with John Rosica.” Bartender: “Rosica’s up at Huckleberry Lake, he’s been up there all summer!” Me: “Well, then that is where I am going!” Everyone at the bar looked at each other, then down at their drinks and kind of smirked. “What?” I said, sitting there in my skirt, flip flops, and a pink ball cap with J’s Oyster Bar, Portland, Maine written on it. The bartender said, “Have you ever met Rosica?” No, I had not. “You know Huckleberry Lake is 23 miles straight up into the Emigrant Wilderness and should take you about eight hours on a horse to get there.” No, I didn’t know that either. They all smiled and slapped me on the back and offered to buy me drinks. In the typical iconic cowboy understatement someone laughed out loud and said: “You are going to have the time of your life.”

Kennedy Meadows Resort and Pack Station is it’s own little town of campers, families, fisherman, RV’s, cars, cabins and campfires along the river; a bee’s nest of activity plunked down in the middle of nowhere, although ‘the middle of nowhere’ was about to gain new meaning for me. Where I was going made Kennedy Meadows look like Times Square. Bob dropped me off at my cabin and headed back to Reno. Saying “see you in a week, Bob” had a strange ring to it; with no cell phone service you had to count on people to be where they say there are going to be, the correct time and day. That alone started to put my mind on a different course. I was about to get thrown back in time, much farther back then no cell phones.

At 5am I dragged myself, I was done sauntering, over to the dock where they were packing the mules and saddling the horses for the trek up the mountain. I put my soft LLBean bag and camera case in the pile of stuff being meticulously packed onto the mules and went to have breakfast with the rest of the crew headed up to Huckleberry Lake. Turns out everyone going on this trip, besides me and a guy named Steve from California, knew John Rosica. Not only knew him but grew up with him. I was on a yearly reunion get together with Rosica’s best buddies. There was a tall guy named Marty, quiet, dressed in fisherman camo with a German Shorthair named Yankee. Chris Helbling was a forty something exec with a cell

My cabin was clean and neat, bunk beds, bathroom, shower and a kitchen. You’ve got to love a room that has a sign that 10

phone company, although he didn’t have a suit on, I could tell he usually wore one, and his Dad, Julius who everyone called Jules. Chris’s twenty-year-old son, Quinton, worked at Kennedy Meadows as one of the cowboys and was going to help guide us up the mountain, along with a co-cowboy everyone called “Cowboy Dan.” Pancho was our trail boss and number one mule wrangler, horse expert and chef. Three generations of Helblings, Marty, Steve, Pancho, Cowboy Dan, and me.

For hours there was only the sounds of the horses hoofs, and birds singing. Yankee stirred up a varmit and his bark echoed off the side of the mountain. Then I heard a voice calling to us, Rosica! I could hear his booming voice, and the sounds of his horse galloping for sometime before he came into view. Riding a gigantic dappled grey beauty of a horse he came out of the woods and rode up the narrow trail towards us. Voice still booming, he greeted each rider by offering a sip of whiskey from his leather-covered flask. John Rosica was decked out in full cowboy regalia, from his flat brimmed cowboy hat to his silver spurred boots. He sported a holster with a gun on his right and a knife on his left. Buttery leather chaps, scarf around his neck and a handmade shirt and vest completed the picture. He rode the last hour with us telling adventure stories of his summer, asking questions about our trip and about us. And then we rode into camp, I was still sitting on my horse, wondering what was going to happen to my legs when my feet touched the ground when a cowboy came over, looked up at me and said “Would you like a margarita?” Really? Was this some kind of cowboy middle of nowhere joke on this tired dust covered women from the East? Nope, it was real. “Yes, I would, thank you very much.”

By the time breakfast was over, the mules were packed and our horses were saddled and ready to go. A Charlie Sheen line from Apocalypse Now was playing in my head. I changed the wording to fit my own situation. “I was going to the best place in the world and I didn’t even know it yet. Hours away and Twenty-three miles up the mountain that snaked through the wilderness like a main circuit cable plugged straight into Rosica.” The sun was low and warm on that early August morning, and it felt good to be on a horse. Pancho led the way, hanging onto a rope that connected nine mules each packed to the hilt with our gear, and supplies for the camp. We rode over narrow bridges 200 feet above raging rivers, my heart pounded. We rode all day up granite slate stairs, and flat rocks. Mountains shot up out of green meadows with blue lakes surrounded by wild flowers. Around every bend and twist of the trail would be an even more beautiful site then the last one. If I wasn’t oohing and awing at the scenery I was oohing and awing at us. Watching Pancho leading those mules straight up cliffs and around hairpin turns. I’d look up and see the string of mules twisting and turning on the edge of a ledge and tell my heart to calm down. Whenever I would think of the pain in my knees, or think about my fear of heights, we would come around a corner and there would be a spectacular view, a view like I had never seen in my life, and any thoughts of pain or fear would dissipate. Besides stopping for lunch in Sheep Meadow, we rode up the mountain all day, getting farther and farther away from where we started and closer and closer to paradise.

I slowly lowered my self down from my horse and let my feet gently touch the ground, not knowing if my knees would hold me up. Some one in a black cowboy hat, brim hiding his eyes, which only accentuated his friendly grin, stood holding my horse. Where did he come from? I had this warm feeling of not being in a hurry. Time had stopped and I was in the moment. I limped over to the campfire and lowered myself down into a canvas chair, someone handed me a margarita. It was not in a tin cup, or a plastic cup or some camp type cup. It was in a margarita glass, large and bowl shaped with a stem shaped like a cactus; frosty, salt rimmed with a lime hanging off the edge. I looked around to make sure I was not just around the corner from Kennedy Meadows and the last eight hours had not been spent in some kind of alternate universe. I was, in fact, at Huckleberry Lake, sitting by a fire surrounded by Red Fir and Lodgepole Pine trees. The kitchen was under a tarp with a cook stove, large cutting boards and Pancho, the mule whisperer was now preparing steaks for the group. After I had relaxed a find my tent, which was pretty simple because

bit I went to

my name was on it. A canvas tent that I hardly had to bend my head down to get into, and I stood up straight once inside. My gear was in the tent and my cot was made with white sheets and a canvas bedroll. I stretched out on the cot, listening to the horses roam loose outside, the sounds of my new friends laughing, a log thrown on the fire, Pancho ringing the dinner bell softly. For the next week I rode my horse in Alpine Meadows filled with wild flowers. I swam in the mountain lake, sat under waterfalls, fished for trout, and climbed the rocks even higher to look down on our camp. At night the activities at the â&#x20AC;&#x153;Huckleberry Hiltonâ&#x20AC;? included sitting around the fire listening to stories, laughing until it hurt, and eating scrumptious food. When we would ride out of camp, or ride in, John would play the Lone Ranger song, or maybe the theme from the Magnificent Seven. This always made me smile so hard I would laugh out loud. At dawn, the morning I had to leave, everyone was standing around with well wishes, hugs and some hidden and not so hidden tears of goodbye. Steve handed me a special rock he had found in the shape of a heart, Chris tipped his cowboy hat and nodded good bye, Pancho handed me a burrito wrapped up for the trip and I headed out of camp. My heart ached in goodbye until I heard the William Tell Overture pounding loud behind me. I turned and waved good bye, laughed out loud at the beauty of new friendships, at the opportunity to spend a week in a place only a few people ever get to see, and most of all, I was taking with me the experience of being in the present where time had stopped and there was not place to be, except there. If You Go..and I recommend you do! Call Stacey at Active Riding Trips 800- 973-3221 activeridingtrips.com Cost: $2,495.00 6 nights accommodation, 5 days of guided trail riding, all meals beginning with dinner on the first night, horse, tack, guide and all taxes. Fly into Reno: Transfers are not included and rental cars are recommended as they are often a less expensive option than hiring a car service. Sorry Bob.

Lateral Work: Renvers, Travers, Haunches In, Oh My! Greetings Gentle Readers,

the first thing that needs to happen for a successful haunches left or right.

In this series I am going to break down lateral work for you in such a way that I hope it will help you understand the whys and wherefores of this sometimes murky subject. This article we will be discussing the haunches, otherwise known as renvers or travers, haunches in or haunches out, haunches left or haunches right.

All lateral work is wrapped up intimate and snuggly-like with the concept of bend. Like a high school couple on the dance floor, they cannot be separated. Outside the world of tests and ribbons lateral work uses bend, along with the displacement of the shoulders or the haunches (or both), to strengthen and better engage your horse’s body and hind leg. Bend and lateral work are so intertwined that leg-yielding is not considered part of the lateral work brigade, because there is no bend of the body involved.

First and foremost, there really is no such thing as haunches in or haunches out. In reality, there is only haunches left and haunches right. Let’s pretend we hired a freelance wizard and had him magically remove the dressage ring and all other rails from reality, leaving us with a big green field (We also had him turn our horse into a unicorn and summon a floating platter of cupcakes.). So rider and horse (unicorn) are trotting about in this large empty field, now devoid of any reference rail. What is haunches in (also known as travers)? What is haunches out (also known as renvers)? The point is that we do not know. It is important to understand that travers and renvers DEPEND ON THE RAIL FOR REFERENCE. In from what? Out from what? We need the rail to know which of the two movements we are doing. In reality, here is only haunches left and haunches right. If in a lesson we turn up centerline and your instructor asks you to position the haunches, he or she will have to specify which direction because there is no rail. Ex: “Trot up centerline and ride haunches left.”

In all lateral work the first thing that MUST be established is bend. To read more on how to bend your horse, click here. Are you back from reading the bending article? Great. Then you understand that the horse must yield from your inside hip and displace the ribs outward to create body bend? And you also understand that your outside hip regulates the haunches? Right? I got my eye on you, gentle readers. The yielding from the inside hip is the first thing that must be established before the haunches move inward, because the function of all this haunches work is that the horse’s rear must rotate inward and articulate around your inside seat. If you inside seat is not present then the horse has nothing to articulate around and they will simply swing their bodies in without bend. That will create a different movement all together, often known as nose-to-the-wall-leg-yield, or nose-away-from-the-wall-leg-yield. This does not serve the same athletic function as haunches left or right, aesthetically it does not appear the same and it will definitely not be scored the same if ridden in a test in place of a travers or renvers.

Most students first learn their haunches work in a dressage ring and because of this, separate renvers and travers into different worlds, when in fact they are sisters to one another. Renvers tracking left is travers tracking right. Travers tracking right is renvers tracking left. Get it? Got it? Good! So now that we get that there is only haunches left or right, how do we position a horse’s haunches left or right? The first thing that most riders will do is begin kicking frantically with the opposite leg. Haunch needs to come right? Start drumming against the horse with your left leg. Haunches need to come left? Get a good work out with your right leg. Unfortunately this is not

Poor leg yield resents the relationship that bend and lateral work have together. Poor leg yield resents the relationship that bend and lateral work have together.

So which hip is your inside hip? That depends, again our freelance wizard has shot our dressage ring into space and we are in our big, green field. Are you moving your horse’s haunches left? Then your inside hip is your left hip. Are you moving your horse’s haunches right? Then your inside hip is your right hip. Once you have your inside hip in place then the outside, regulating hip swings into action. Pun completely intended. Without removing your inside hip, you apply your outside hip and leg and press the haunches inward (remember, inward can be left or right and the rail does not make a difference to this mechanic). The haunches then wrap around your inside hip and create the body bend we so desire. The horse should be on four tracks and the angle should be around thirty five degrees. Four tracks means that the horse’s outside hind is inside of the horse’s inside fore. Three tracks means that the horse’s inside fore and outside hind are in alignment. We want four tracks with haunches work. So what about the head and neck? They should be moving up the rail, with slight inward flexion, undisturbed by all of those antics that are happening behind the saddle. A very, very common mistake is that the rider senses a lack of bend, or are yelled at to fix it by their red faced instructor, and rather than use all the all-powerful inside hip and leg, they pull on the inside rein to fix the problem. Gentle readers, this does not fix the problem. The horse’s shoulders, neck and head should be traveling straight into the direction of travel. If Dobbin’s head is pointing outside the ring sight-seeing then you have some serious bend issues, even if his bum is off of the rail. If he is looking to the inside of the ring then you are focusing on the wrong part of the horse to elicit bend. Another common mistake is the rider, when applying their outside leg and hip, will use the inside rein as a balance bar and pull as they push. This will cause the horse’s head to jackknife inward even if it is not what the rider intended, which can actually prevent the haunches from coming inward. Move that bum! Move that bum! Remember that even if you are riding in the big, empty green field that our wizard provided for us, that there is always and inside and an outside to the horse. It is up to you to decide what are your inside aids and what are your outside aids. That will then determine if you are placing your haunches left or right. Have you decided in the field that your right hip is the inside hip? Well then you are going to place your horse’s haunches right. If you want to place your horse’s haunches left then you must first switch your aids to a new inside (the left) and a new outside (the right). I hope this cleared up every single question you have ever had on the haunches work. If not, feel free to ask me anything that comes to mind in the comments section below. So get out there, gentle readers, and ride that unicorn haunches left or right, travers or renvers (depending on rail placement), and eat a cupcake for me. Don’t forget to tip your wizard

Bonnie Walker is a skilled instructor, rider and trainer, Bonnie Walker has earned her United States Dressage Federation Bronze and Silver Medals. As well, she is a USDF “L” Program Graduate with Distinction. Bonnie has participated in multiple advanced biomechanics Teacher Training Workshops, hosted by “S” Judge Sandy Howard, to prioritize her skills as an instructor as much as she focuses on riding, training and competing. Also, Bonnie is currently the only USDF Certified Instructor in San Diego, earning her certification through First Level. Currently Bonnie is actively showing and training, and writes for Dressage Daily and Sidelines Magazine as well as her own blog. She has been published around the world including magazines such as USDF Connection and Dressage Today. Outside of dressage, Bonnie is a graduate of the University of California, Irvine with a major in Playwriting. Visit Bonnie’s blog at www.DressageDifferent.com 17

Behind the Art

with Heather Jansch Heather Jansch is a British sculptor based in Devon, who “breaks the mold” of traditional metal sculpting by creating ephemeral and unforgettable sculptures of the equine form, utilizing the shapes and textures of natural driftwood, which are then immortalized in bronze. Find out what makes Heather tick, and how these unique sculptures are brought to life in this edition of Behind the Art. AW: Your work is very unique. Can you tell our readers a little bit about what you do? Heather: I am a sculptor best known for my life-size horses. Drawing horses was my childhood passion, my days were spent following them in the fields surrounding our house and my nights were spent compulsively studying and reading about the different breeds. I immersed myself and learned as much as I could. My hero was Leonardo da Vinci. I kept ponies of my own until going to art school after which I moved to the coast and bred Welsh Cobs. I painted traditional equine portraits, and my accuracy commanded high prices from the outset. In search of a more personal expression I turned to sculpture. AW: Why driftwood? Heather: I love the organic shapes and textures of driftwood honed by the sea and thrown up by the tides, it has always fascinated me but who could have imagined driftwood horses and their popularity? Over thirty years ago they appeared in my workshop when I added small driftwood pieces to a copper wire sculpture in my search for ‘horseness’. Since then they have grown in scale and gone to the farthest corners of the earth. They seem to have set a trend but despite that I am still enthralled by the process, each sculpture is still a compelling three dimensional jig saw puzzle, each one is still an adventure. The fascination lies in finding the balance between form and space that exposes the power and spirit of the horse. This use of space is what I believe gives the vital force force to the work and takes it beyond being merely a literal copy. AW: The next step is making them into bronzes. What is the reason for doing this? Heather: The only disadvantage is the heartbreak of the inevitable decay in sculpture left exposed to the elements. I will not pretend that they will last outside. After years of struggling to keep up with repairs to extend their lives, I discovered the joy of working for bronze; it allows me greater choice of material so I can now include the most fragile of driftwood, which is often the most beautiful,’ AW: How do you go about making driftwood into bronze? The process is complex. The driftwood horse is deconstructed at the foundry for the mould making, and the bits are returned 20

to me. Whilst the individual bronze pieces are cast, I rebuild the original sculpture accurately to act as a pattern for when the cast pieces are welded together. The transformation is completed when I work with the foundry on the final adjustments. I love witnessing the emergence of the horse, strong and full of vitality, still holding the essence of driftwood. It is an intense and emotional experience seeing them stand together, the joy is that bronze will last forever. The originals are usually reserved for summer exhibition in part because they are lighter and therefore easier to transport than bronzes. They are only sold for for interiors where they will last indefinitely. AW: What other kinds of work do you enjoy producing, in addition to the driftwood horses? Heather: My sculpture is not confined to horses; I also love to work with site specific installations. My biggest project to date has been the ongoing creation of my sculpture garden which was an essential to provide a photographic backdrop for my horses but which rapidly became a sculptural work in its own right. I now open it to the public several times a year to raise money for charity. AW: What kind of experience do you hope to impart upon the people who view your work? Heather: I don’t have any expectations of peoples’ reactions but it is both gratifying and surprising to see how deeply people seem to be affected. It is not uncommon for some to be moved to tears by my sculpture and so I have planted aromatic and medicinal herbs by the pool, which makes a tranquil spot for them to sit and recover their equilibrium. The response I look for is in myself; I wait for the sudden pricking of my skin or shiver that passes through me when I hit the right ‘note’ so to speak. I wait for the sort of thrill that I get when I look at Picasso or when a truly authentic work of art roots me to the spot and makes me draw breath involuntarily. It can be a long time coming or it can happen almost immediately and I don’t let work go from here until I have felt that even if it takes years. AW: Where is your sculpture garden project located, and will people be able to visit in the future? Heather: The sculpture garden is in South Devon and is open to the public for one weekend in May and for 4 weekends in late summer/early autumn. An average visit is three to four hours but some spend the whole day. There is a sense of wild timelessness in the wooded valley, there are no buildings within sight, no roads or telephone wires and wildlife abounds everywhere in the wildflower water-meadow. Closer to the house the formal gardens and pools are surrounded by recycled materials with plenty of undercover areas to escape sun or rain. AW: What is your favorite piece, to date? Heather: I can’t say that I have a favourite piece, it is the process that interests me.

21 her website at http://www.heatherjansch.com/ To learn more about Heather’s work, visit

Breed Show Classes A Quick Guide to Andalusian Lusitano Guide/ to Breed Show Classes Source: USEF.org With show season underway, we though it would be a good time to explain what is expected and required for the variety of classes offered at breed shows. In this quick guide, the most common classes are mentioned, but it is not a comprehensive guide to all classes offered. What is the difference between dressage hack and show hack? Read on to find out…. If you have questions about tack and attire, please read “A Quick Guide to Appropriate Tack and Attire” published in the December issue of AndalusianWorld Magazine. Note: The following guidelines are intended as general advice only. Be sure to carefully study the rules for the show you are attending. Rules for IALHA / USEF classes can be found at: https://www.usef.org/documents/ruleBook/2014/04-AL.pdf

alter Classes Horses enter the arena at a walk in a counter – clockwise direction and strike a trot after 5 or 6 steps. They are required to trot in hand the length of the arena, before taking their place in line. Horses are shown to the judge one by one at a walk and trot in a determined pattern and then are presented to the judge. The horse should stand still while being judged. At the conclusion of judging, the horse returns to the rail at a trot and makes another lap of the arena to resume their place in line. Emphasis shall be placed on type, conformation, quality, way of going, substance and manners. Half Andalusians will be judged on conformation, quality, way of going, substance and Andalusian type, in that order.

**Please note, Purebred Stallions 5 years old and older entered in their respective halter classes must compete in a ridden functionality test which counts as 25% of the horse’s total conformation score. In functionality, horses are shown at working gaits of the walk, trot/jog and canter/lope. Lengthening of gaits may be called for by the judge(s).

est Movement Classes

To be judged on movement only and not conformation. 1. Horses are to be shown In-Hand as they would in a halter class. 2. Four-beat walk showing as much overstep of the front hoofprint by the hind hoofprint as possible. 3. Animated trot with emphasis on extension, suspension and a balanced cadence with impulsion.

Horses are shown at walk and trot both directions of the arena, according to the best movement pattern, which can be found in the USEF rule book and will also be posted at shows.

nglish Pleasure: Formal Saddle Horse 1. Horses must be brought back to the walk before being asked to make the transition from the trot to the canter. 2. The judge may not request that gaits be performed only on the snaffle or curb.

Qualifying Gaits: 1. Animated Walk – A lively, animated and graceful walk that could be loosely termed a four-beat gait, but which does not give the appearance of being a jog or a prance. It should be judged as a separate entity and not merely as a transition gait. 2. Animated Trot – Executed in a highly collected manner. The horse’s energy should be directed toward animation rather

Q 1 2 3 4 5 l

than speed. This gait requires extreme knee flexion and use of the shoulder for a balanced, graceful extension to the point where the horse does not significantly move forward. The hocks should remain well under and be lifted and not driven to the rear. The most desirable animated trot gives a balanced appearance from front and rear. 3. Canter â&#x20AC;&#x201C; A three-beat gait, which is to be collected, animated, true, smooth, unhurried, straight and correct on both leads. Loss of form due to excessive speed must be penalized.

RANGE OF MOTION CHART 4 3 2 1

Key: 1 = Hunt Seat English Pleasure 1 = Pleasure Driving 2 = Country English Pleasure 2 = Country Pleasure Driving 3 = Saddle Seat English Pleasure 3 - Show Pleasure Driving 4 = Formal Saddle English Pleasure 4 = Formal Driving

nglish Pleasure: Saddle Seat Horse 1. Horses must be brought back to the walk before being asked to make the transition between the trot to the canter. 2. The judge may not request that gaits be performed only on the snaffle or the curb. 3. It is imperative that horses give the distinct appearance of being pleasurable to ride and display a pleasurable attitude. Vitality and presence are highly desirable and obedience to the rider of prime importance. All gaits must be performed with willingness and obvious ease, cadence, balance and smoothness. 4. Excessive speed at any gait must be penalized.

Qualifying Gaits: 1. Walk - A four-beat gait, which is to be true, flat-footed and ground covering. 2. Normal Trot - A two-beat gait, which is balanced overall, relaxed, and easy going with elasticity and freedom of movement. 3. Strong trot - To be faster with lengthened stride, maintaining balance, ease and freedom of movement. 4. Canter - A three-beat gait, which is to be smooth, unhurried, straight and correct on both leads. 5. Hand Gallop - To be a faster gait, with a lengthened stride. It should be mannerly and controlled, straight and correct on both leads.

Questions about appropriate Tack & Attire? There is an article for that too! 25

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ountry English Pleasure 1. A judge may not request that gaits be performed only on the snaffle or curb. 2. It is mandatory that horses be asked to halt on the rail, stand quietly, back and walk off on a loose rein, at least one direction of the arena. 3. It is imperative that the horse gives the distinct appearance of being a pleasure to ride. A quiet, responsive mouth is paramount. 4. Horses must be brought back to the walk before being asked to make the transition from

the trot to the canter. 5. Excessive speed at any gait must be penalized. Qualifying Gaits: 1. All gaits must be performed with willingness and obvious ease, cadence, balance and smoothness. 2. Walk - A four-beat gait. To be true, flat-footed and ground covering. 3. Normal Trot - A two-beat gait. To be an overall balanced, relaxed, easy going trot with elasticity and freedom of movement. High action MUST be penalized. Posting is required. 4. Strong Trot - A two-beat gait. To be faster with lengthened stride, maintaining balance, ease and freedom of movement. High action MUST be penalized. Posting is required. 5. Canter - A three-beat gait. To be smooth, unhurried, straight and correct on both leads. 6. Hand Gallop - To be a faster gait, with a lengthened stride. It should be mannerly and controlled, straight and correct on both leads.

nglish Pleasure Hunt Seat 1. Manes and tails may be braided. 2. Excessive speed at any gait must be penalized.

Qualifying Gaits: 1. It is imperative that the horse give the distinct appearance of being a pleasure to ride and display a pleasurable and relaxed attitude. The neck should be carried lower than that of an English Saddle Seat horse with the head in a more relaxed manner with less bend at the poll. 2. Walk - A four-beat gait. Straight, true and flat-footed. Regular and unconstrained with

good reach. 3. Trot - A two-beat gait. Straight and regular. The trot should be mannerly, cadenced and balanced. To be performed at a medium speed with a free-moving, ground-covering stride, with rider posting. 4. Canter - A three-beat gait. Even, smooth, unhurried, correct and straight on both leads. 5. Hand Gallop - To be a faster gait, with a lengthened stride. It should be mannerly and controlled, straight and correct on both leads.

ressage Suitability 1. Exhibitors may be asked to lengthen or shorten strides, walk on a loose rein, halt, stand quietly and back. 2. Horses should give the appearance of having the potential to become a dressage horse. Horses which have competed above First Level Dressage are not eligible to compete in Dressage Suitability. Slight errors should not be penalized. 3. Trot work to be ridden sitting or rising at the discretion of the rider.

Qualifying Gaits: 1. Walk - A four-beat gait. Straight, flat-footed and ground covering. Irregularity of gait should be penalized. 2. Trot - A two-beat gait. The trot should be free, forward and balanced. The hocks well flexed with the hind legs stepping over the foot print of the front foot. Speed is not a factor; the trot should never be hurried. 3. Canter - A three-beat gait. The canter should show impulsion, balance and engagement. The horseâ&#x20AC;&#x2122;s back must be relaxed

and supple allowing the hindquarters to reach under and work with moderate power and drive. The horseâ&#x20AC;&#x2122;s neck should be relaxed and carried in a natural position for each individualâ&#x20AC;&#x2122;s conformation. The class shall be judged on freedom, regularity and purity of the paces; harmony, lightness and ease of movements; lightness of the forehand and engagement of the hindquarters; acceptance of the bridle with submissiveness throughout, without tension or resistance. Horses are judged on gaits, type and correctness, and manners consistent with United States Dressage Federation (USDF) and Federation rules. Classes may be divided for Open, Amateur, Junior Exhibitor, Stallions, Mares, Geldings and Junior Horses. Slight errors should not be penalized.

ressage Hack 1. The Dressage Hack class is open to any horse, however, once a horse has been entered and shown in a Dressage Hack class that horse may not thereafter be shown in a Dressage Suitability Class. 2. Manes and tails may be braided, secured with thread, yarn or bands. Ribbons or other decorations are prohibited.

Qualifying Gaits: 1. Horses to enter at a working trot, in a counter clockwise direction. Horses will perform working walk, working trot, working canter, lengthened trot and lengthened canter both ways of the arena. Free walk and working trot on long rein with horse stretching forward and down to be performed in at least one direction. Horses may be asked to back four (4) steps on the rail as a group or individually in the lineup. Canter transitions may be called from a walk or trot. 2. Trot work to be ridden sitting or rising at the discretion of the rider. 1. Classes may be divided for Open, Amateur, Junior Exhibitor, Stallions, Mares and Geldings. If classes are divided, a Championship is recommended. A horse must have been entered, shown and judged in a qualifying class to be eligible for the Champion- ship class. 2. In addition to objectives for the Dressage Suitability class, horses should begin to show more thrust (pushing power) and show progression towards a degree of balance and throughness. Horse should be reliably on the bit. A greater degree of straightness, bending, suppleness and throughness is required. There should be a clear distinction between the paces (working and lengthened). The horseâ&#x20AC;&#x2122;s ability as a Dressage mount is to be highly considered.

how Hack 1. A judge may not request that gaits be performed only on snaffle or curb. 2. The collected and extended gaits must be called for; i.e., collected walk, extended walk, normal walk; collected trot, extended trot, normal trot; collected canter, extended canter, normal canter and hand gallop. 3. At the discretion of the judge, horses while on the rail may be asked to halt and back. 4. A Show Hack horse is not necessarily a Dressage horse, nor an English Pleasure horse. Elevation and high knee action are not to be emphasized. The Show Hack is a suitable section for

the well trained animal. Show Hacks must be balanced and show vitality, animation, presence, clean fine limbs and supreme quality. Soundness is required. 5. Horses may show with a braided mane and tail. Braids maybe secured with tape, yarn or rubber bands. 6. Decorations are prohibited. 7. Excessive speed must be penalized. Qualifying Gaits: 1. A Show Hack horse shall be able to perform all of the gaits with a noticeable transition between the normal, collected, and extended gaits. The horse must be under complete control and easily ridden. Obedience to the rider is of prime importance.

If the horse exhibits clear transitions in a balanced and level manner, appearing to be giving a comfortable and pleasurable ride, he is performing correctly for this class. 2. Walk - A four-beat gait. Straight, true and flat-footed. Normal Walk: Regular and unconstrained, moving energetically and calmly forward. Collected Walk: Strides are shorter and higher than at the normal walk. The head approaches the vertical, but should never move behind it. Pacing is a serious fault. Extended Walk: The horse is allowed to lengthen frame and stride while rider maintains light rein contact. The horse should cover as much ground as possible without rushing. 3. Trot - A two-beat gait. Free-moving, straight, rider maintaining light contact with horse’s mouth at all times. Normal Trot: Light, crisp, balanced and cadenced. Collected Trot: The horse’s stride is shorter and lighter, maintaining balance and impulsion. The neck is more raised and arched than at the normal trot as head approaches the vertical line, never moving behind it. Extended Trot: Maintaining the same cadence and performing at medium speed, the horse lengthens its stride as a result of greater impulsion from the hindquarters. Horse should remain light in rider’s hand as it lengthens its frame. Trot work to be ridden sitting or rising at the discretion of the rider. 4. Canter - A three-beat gait. Straight on both leads, smooth. Normal Canter: Light, even strides, should be moved into without hesitation. Collected Canter: Marked by the lightness of the forehand and the engagement of the hindquarters, the collected canter is characterized by supple, free shoulders. Neck is more raised and arched than in normal canter as the head approaches the vertical line, never moving behind it. Ex- tended Canter: Maintaining the same cadence, the horse lengthens its stride as a result of greater impulsion from the hindquarters. Horse should remain light in rider’s hand as it lengthens its frame. 5. Hand Gallop - To be a faster gait, with a lengthened stride. It should be mannerly and controlled, straight and correct on both leads.

estern Pleasure 1. Horses are to be reversed to the inside (away from the rail) and will not be asked to reverse at the lope. 2. Light hand contact with the horse’s mouth must be maintained at all gaits without undue restraint. 3. Only one hand may be used around the reins, and hands must not be changed. Two hands may be used when a Junior Horse is being shown in a snaffle bit or hackamore. 4. The horse must be ridden with the horse’s eyes generally at or above the withers in all gaits.

5. Excessive speed at any gait must be penalized. Qualifying Gaits 1. Horses are to be shown at a walk, jog-trot and lope on a reasonably loose rein both ways of the ring. Exception: Open classes, horses are to be shown at a walk, jog-trot, lope and hand gallop on a reasonably loose rein both ways of the ring. 2. Walk - A four-beat gait. True, flat-footed and ground-covering. 3. Jog-Trot - A two-beat gait. Free, square, slow and easy. 4. Lope - A true three-beat gait. Smooth, slow, easy and straight on both leads. 5. Hand Gallop - To be a faster gait, with a lengthened stride. It should be mannerly and controlled, straight and correct on both leads.

how Pleasure Driving: 1. One person per vehicle allowed. 2. Excessive speed must be penalized. 3. High, natural and free moving action is desirable. 4. The Show Pleasure horse generally has less animation than the Formal Harness horse but should still be alert and responsive.

ormal Driving: 1. One person per vehicle allowed. 2. Formal Driving horses are not required to back.

Qualifying Gaits: 1. Animated Walk - A lively, animated and graceful walk that could be loosely termed a four-beat gait, but which does not give the appearance of being a jog or a prance. It should be judged as a separate entity and not merely as a transition gait. 2. Animated Trot - Executed in a highly collected manner. The horse’s energy should be directed toward animation rather than speed. This gait requires extreme knee flexion and use of the shoulder for balanced, graceful extension. It is most desirable that a horse go above “level arm” but it is not desirable to lose extension to the point where the horse does not significantly move forward. The hocks should remain well under and be lifted and not driven to the rear. The most desirable animated trot gives a balanced appearance from front and rear. 3. At the command “show your horse” the driver has the privilege of showing the entry to its best advantage at the trot, but excessive speed must be penalized. Qualifying Gaits: Walk - A highly collected four-beat gait exhibiting much “primp” at a slow, regulated speed, with good action and animation. It should have snap and easy control. It is a four-beat gait performed with great style, elegance and airiness of motion. Normal Trot - Natural and cadenced with impulsion and power from behind, the front airy and light. The action is balanced, bold and brilliant, characterized by free shoulder action. The horse is to have leg flexion with extension, the foreleg extending fully forward at full stretch with floating motion combined with hock action that is powerful and well raised, and the hind leg being brought forward with a driving stride. 3. Strong Trot - A strong trot is to be faster with a lengthened stride, maintaining balance, ease and freedom of movement.

ountry Pleasure Driving: 1. Walk - A highly collected four-beat gait exhibiting much “primp” at a slow, regulated speed, with good action and animation. It should have snap and easy control. It is a four-beat gait performed with great style, elegance and airiness of motion. 2. Normal Trot - Natural and cadenced with impulsion and power from behind, the front airy and light. The action is balanced, bold and brilliant, characterized by free shoulder action. The horse is to have leg flexion with extension, the foreleg extending fully forward at full stretch with floating motion combined with hock action that is powerful and well raised,

and the hind leg being brought forward with a driving stride. 3. Strong Trot - A strong trot is to be faster with a lengthened stride, maintaining balance, ease and freedom of movement. 1. It is imperative that the horse give the distinct impression of being a pleasure to drive and display a pleasurable attitude. To this end, all gaits must be performed with willingness and obvious ease, cadence, balance and smoothness. 2. Excessive knee action must be penalized. 3. Excessive speed must be penalized. Qualifying Gaits: Walk - A four-beat gait, brisk, true, and flat-footed with good reach. 2. Normal Trot - A two-beat gait, to be performed at medium speed with moderate collection. The normal trot must be mannerly, cadenced, balanced and free-moving. 3. Strong Trot - This is a stronger trot, performed with a lengthened stride, powerful and reaching, at a rate of speed which may vary between horses since each horse should attain his own strong trot in harmony with his own maximum natural stride. The horse must not be strung out behind. The horse should show moderate collection without exaggeratedly high action in front. He must present a willing attitude while maintaining form. The strong trot must be mannerly, cadenced, balanced and free-moving.

leasure Driving: This is the ideal class for the driving horse who carries himself in an Andalusian/ Lusitano hunter pleasure type frame. 2. Excessive knee action and/or speed must be penalized.

Qualifying Gaits: 1. Walk - A four-beat gait, which is to be true, flat-footed and ground covering. 2. Normal Trot - A two-beat gait, which is balanced overall, relaxed and easy going with elasticity and freedom of movement. 3. Strong Trot - A strong trot is to be faster with a lengthened stride, maintaining balance, ease and freedom of movement. 4. It is imperative that the horse give the distinct impression of being a pleasure to drive. A quiet, responsive mouth is paramount. All gaits must be performed with willingness and obvious ease, cadence, balance and smoothness.

eritage Tack and Attire: Entrants must submit a narrative not to exceed one minute in length to be read by the announcer during the class describing and the period and heritage it represents. 1. Exhibitors shall enter the ring in a counterclockwise direction at the trot. 2. Exhibitors shall show their horses at the walk, trot and canter both ways of the ring. Entries shall be judged 70% attire and 30% on performance.

MARKETING 101

The Foundation of the Spanish Horse to Host Charity Event the Andalusian in Lasis Vegas Most people consider marketing andat advertising to be one inWorld the same.Cup The reality that advertising is just one small component to the equation.

If you are planning a trip to Las Vegas for some fun, the best dates to see beautiful horses and amazing riding done with a Spanish be September at the fabulous South Point Arena Equestrian The Andalusian WorldourCup When weflair, meetwill someone new, we 24-26 are marketing ourselves as friendly, funny,and intelligent, andcenter. so on. At work we also market selves forpacked, promotion by our work habits, of work, andPure dedication. have different names for such interacis a jam international show filledquality with spectacular SpanishThough Horses we andmay their relatives. tions, they are still marketing, but on a personal level.

This is the premier event for the Iberian Horse community in the USA, so if you would like to learn more about the breed So is perfect Marketing? thiswhat is the place to visit. There will be many of the best horses in the world competing for cash, prizes, and bragging rights. The versatile Iberian breeds will be showcased in Dressage, Dressage Sport Horse Breeding Classes, as well as the new Marketing is the sum all actions we take related to our to business, service, etc. fun with Working Equitation, the horsand exciting sport of of Working Equitation. It is difficult tell whoproduct, is having the most es, the riders, or the spectators. Once you see what this sport is all about, you will want to try it with your horses too.

Okay, so all you want to do is get out there and ride in the shows. Well that is marketing too! Would you show your horse unclipped and dirty? Show up in cut off jeans and dirty tank top? I didn’t think so. There alsoconditioning, will be manytack types of halterwardrobe and underchoices, saddle and andpreparation rail classes in andourselves Spanish riding styles. All of the selections, areWestern, part of usEnglish, marketing and horses to For the P.R.E horses, there will be Championship in hand and morphology classes where horses will compete to be called the Chamjudges.

pions of the Breed and breeders will compete for the coveted Best Breeder and Best Exhibitor titles. So why is marketing important?

On Saturday evening, September 26 at 5:00 p.m., The Foundation of the Spanish Horse will host a Social Hour and Banquet When you represent barn,rescue a product, or aThe service, yousilent do isand a reflection of it. Let sink in a for minute. with proceeds goingatohorse, help abreed horses. eventeverything will include live auctions withthat great items everyone. We are hoping to raise much-needed funds to rescue Spanish Horses throughout the USA. During the festivities there will This includes everything the presentation of your our barns quality of our toaway the pictures that you post of Facebook. also be a Derby or crazy from hat contest. Come with crazyand hatsthe and see who canads, walk with the prize! The that we put into beindustry as thought as hit your for a show. The attention perfect storm that has hitmarketing the generalshould equine hasout also thepreparation Spanish breeds, and The Foundation for the Pure

Spanish Horse has been tasked with assisting an alarming amount of horses. We need your help!

Branding: “a “name, term, sign, symbol or design, or a combination of them intended to identify the goods and services of one seller”

Tickets for the Saturday night Social Hour and Banquet benefit are $55 per person, including dinner, and can be purchased in advance visiting pagein 16branding of the show premium: http://andalusianworld.com/awc/wp-content/uploads/2015/04/ Perhaps theby greatest names are McDonalds, Nike, AT&T. We know their product simply by the sight of a logo or a AWC2015-Premium.pdf combination of colors. . Tickets are also available or by contacting The Foundation at info@prehorse.org or 505.294.0800. Entrance into the Andalusian World Cup itself is free and can be watched online if you can’t get there in person. You also can anyone make direct, taxbeen deductible donations to the rescue efforts visiting www.prehorse.org. help Spanish horses For who has to an Andalusian/Lusitano breed show,by many examples should come toHelp mind.usFrom the branding onin need! the horses, to the custom color coded halters, E-Z Ups, and adornments, each ranch is “waving” its flag, projecting its brand. 70

ative Tack and Attire: 1. Exhibitors shall enter the ring in a counterclockwise direction at the trot and shall show their horses at the walk, trot and canter both ways of the ring. 2. Entries are to be judged 50% on tack and attire and 50% on performance.

antasy Costume: 1. Excessive speed must be penalized. 2. Exhibitors may be asked to halt and stand quietly. 3. Light hand contact must be maintained. 4. Lineup position is at the discretion of the judge. 5. It will be at the judge’s discretion to decide if a costume is unsafe and cause for elimination. 6. No walkers allowed. Flags, bards, and /or banners are permitted. Qualifying Gaits: 1. Exhibitors to enter the ring at a walk in a counterclockwise direction. 2. All horses shall be worked at a walk and trot both ways of the ring.

See you at the Show! It is the consistency in branding that leaves a lasting impression in others. Much like the saying “Show me, don’t tell me”. (PRINT) Advertising: Beyond the show ring, this is how we get noticed, and remembered. Advertising is what builds your image. It includes your barn setup, arena banners, your show performance, web advertising, magazine ads, and even your Facebook posts and pictures. Anything that can cause an outside observer to develop an opinion about you. The quality and thought that goes into your “advertising” is VERY important!! The thrown together ad with the cell phone pictures, poor type, and poor layout will reflect itself as the quality of attention that you give to training, breeding, nutrition, etc., true or not. On the other hand, a professional looking advertisement represents the quality and attention to detail that people are looking for when making an investment. Your photo choices (and photoshop skills) should receive the same level of professionalism, and literally make the difference between a $5000 horse and a $25000 horse. A bad advertisement or photo can do you more harm than good! Effective marketing doesn’t have to be painful or even expensive, but it does require some thought to use it wisely. You have invested a lot of time, effort, and money into this industry. Shouldn’t those efforts receive the same representation and acknowledgement?

P.R.E. M undial Highpoint Awards HIGH POINTS AWARDS

The Foundation for the Pure Spanish Horse is pleased to announce a Special P.R.E. Mundial Highpoint Award program in conjunction with the 2015 Andalusian World Cup Show! To be eligible, a horse must have a valid P.R.E. Mundial Registration with the correct, up-‐to-‐ date, owner listed and be shown at the 2015 Andalusian World Cup Show. These awards are in addition to all other awards at the show. Awards will be given in the following categories: High Point Morphology Awards Performance Awards High Point P.R.E. Mundial Stallion High Point P.R.E. Mundial Young Stallion (4 & Under) High Point P.R.E. Mundial Mare High Point P.R.E. Mundial Young Mare (4 & Under) High Point P.R.E. Mundial Gelding High Point P.R.E. Mundial Adult Best Movement High Point P.R.E. Mundial Young Horse Best Movement Points will be earned for Morphology in both World Cup and ANCCE halter classes (those who enter both divisions will have double the opportunity to score).

High Score P.R.E. Mundial Dressage National Levels High Score P.R.E. Mundial Dressage FEI Levels High Point P.R.E. Mundial Working Eq. Novice High Point P.R.E. Mundial Working Eq. Intermediate High Point P.R.E. Mundial Working Eq. Advanced High Point P.R.E. Mundial Working Eq. Youth Overall High Point P.R.E. Mundial Performance Overall High Point P.R.E. Mundial Performance Youth Performance High Score and High Points Awards will be earned in their respective divisions. (Dressage, Working Equitation, Overall Performance includes all Andalusian World Cup driving as well as under saddle classes).

The points will be tabulated according to the following formula: First Place = 6 points Championship in any of the Morphology Second Place = 5 points categories will add 5 more points. Third Place = 4 points Fourth Place = 3 points Reserve Championship in any of the Fifth Place = 2 points Morphology categories will add 3 more Sixth Place = 1 point points. 33

Showtime!

Appropriate Tack & Attire With big breed shows just around the corner, we thought it would be great timing to publish a guide to appropriate tack and attire. With a dazzling array of performance classes available to exhibitors at Andalusian/Lusitano breed shows in the US, it can sometimes be confusing to know which tack and what clothing are appropriate for each class. Taking cues from other exhibitors may not be an ideal plan, and other competitors (no matter how famous) may be ill informed, or only guessing as well. In order to maximize your chances of doing well in the class (and avoid potentially being excused), it is important to understand appropriate turnout for both yourself and your horse. Note: The following guidelines are intended as general advice only. Be sure to carefully study the rules for the show you are attending.

Overall Indications Turnout: Horses should be sound, and should always be free of any signs of lameness or discomfort. Open wounds, welts, or blood should never be present. They should be in good condition overall. Manes, tails, and coats should be clean, shiny and well cared for. Remember, a good grooming program starts at home, months before the show! Mares are typically shown with a shaven and shaped mane and a neatly tail shaven past the vulva, while stallions over two years old are left with a full mane and tail, which may be braided for performance classes. Pulled and/or banded manes are always discouraged. Weanlings of both sexes are shown with a shaven forelock, and a shaven and shaped mane. Tails of both sexes are shaven in weanlings. The tails of the fillies either shaven with a small bob at the tip, or shaven past the vulva and banged above the hocks. Two year old fillies and older may be shown with a forelock if desired. Mares showing in performance classes only may be shown with or without a â&#x20AC;&#x153;mare clipâ&#x20AC;?, but do not mix styles. A mare with a shaven mane should always have a shaven tail as well, and visa versa. It is advisable to clip the legs, ears, jaw, and muzzle of all show horses for neatness. Shoes are not permitted for weanlings and yearlings. Feet should be scrubbed and sanded, and either clear or black hoof polish should be applied (Warning! IALHA classes forbid hoof black). Never apply hoof black on white feet, even at venues where hoof black is allowed. White feet require clear polish.

Halter Classes Turnout: Clipped, or full manes and tails for the appropriate age and gender. Braided manes and tails are not prohibited, but typically horses are shown without braids. The exception to this being Sport Horse In Hand classes. Horses should be fit and clean. It is not appropriate to enter pasture-condition horses in a halter class. Tack: A headstall with a throatlatch is required. Depending on the breed organization, current show-ring fashion, and personal 36

preference, exhibitors may use a serrata, arabian style, saddleseat style, or Spanish style headstalls. Modern Spanish show style halters with a chain under the chin, and flat, wide leather nosebands and browbands are presently in vogue. If using a serrata, the noseband should be wrapped in leather. Be sure to snugly adjust the serrata to avoid injury to the horse, and make sure the horse is familiar with this equipment before showing. All whips must be under 6 feet long, including lash. Attire: The handler should be neatly dressed in a suit and tie (a bolo tie or kerchief may also be appropriate) for daytime classes. Jackets are optional for daytime classes, but long sleeved shirts are required. Authentic Spanish or Portuguese attire is optional in most breed organizations, but should always be paired with authentic halters and turnout. Denim is never appropriate in the show ring. A tuxedo may be worn in evening classes, but this is optional and tuxedos are not appropriate in daytime classes. Clean, well fitting leather dress shoes or similar, as well as gloves should be worn.

English Pleasure: Formal Saddle Horse Turnout: Full mane and tail, but mares will not be penalized for having a traditional clip. Braids are not appropriate. Ribbons braided into the forelock or mane are not appropriate. Tack: A show-type double bridle or with a curb and bradoon, or a pelham must be used. Junior horses may be shown in a snaffle. A cutback english saddle is REQUIRED. Spurs and whip may be carried. Attire: Daytime informal saddle seat attire is required, with jodhpurs, a vest, jacket, and either a soft hat or a derby hat. Formal attire is discouraged or disallowed before evening sessions. Do not wear hunt or dressage attire into saddle seat classes. Helmet may be worn without penalty.

English Pleasure: Saddle Seat Horse See above

Country English Pleasure

Turnout: Full mane and tail, but mares will not be penalized for having a traditional clip. Braids are not appropriate. Ribbons braided into the forelock or mane are not appropriate. Tack: A show type bridle; either a double bridle or pelham, or a single snaffle or single curb. English cutback or dressage saddles are both allowed, but hunt saddles are not acceptable. Spurs and whip are permitted. Attire: Informal saddle seat attire only. No hunt or dressage attire. It is recommended to select modest colors. Contrasting ties and vests are acceptable. Helmet may be worn without penalty.

English Pleasure Hunt Seat

Turnout: Manes and tails should be braided. Tack: Bridles including a snaffle, Pelham or kimberwicke bit are required. A cavesson type nose band shall also be used with the above bridles. Saddles should be of hunt seat type, although dressage saddles are also permitted. Spurs and whip are permitted. Attire: Riders should wear coats of conservative color and are generally paired with light tan colored breeches. White breeches are not appropriate for this division. A shirt with a collar 37

and stock pin is required. A helmet is also required.

Dressage Suitability and Dressage Hack

Turnout: Manes should be braided, but tails traditionally are not. Tack: Snaffle or double bridles are permitted and flash nose bands are permitted with snaffles. A dressage saddle is required for these classes, hunt seat saddles or cut back saddles are not permitted. Spurs and whip are permitted. Attire: Riders may choose to wear either a jacket with helmet OR a shadbelly with a top hat. You must not “mix and match” these two. A shirt with a stock and stock pin is required.

Dressage Hack

See Above – with the exception of flash nose bands. Flash nose bands are NOT permitted for this class.

Western Pleasure

Turnout: Western Pleasure horses are shown with a full mane and tail. Tack: Curb type bit, except for Junior horses (5 & under) may be shown in a snaffle or bosal. Western saddle is a requirement for these classes, either working or show type. Barrel saddles, reining saddles, etc are not appropriate. Attire: Western style show shirt, jacket or shirt and vest may be worn. A pin, bolo tie or kerchief is required. Jeans (any color other than blue) or pants may be worn under chaps. A hat is required, but helmet may be worn without penalty. It is advisable to follow current Western show fashions in the show ring to present an updated and professional image.

Driving

Turnout: Driving horses are shown with a full mane and tail Tack: See rule book regarding appropriate vehicles and harness for the specific division you are showing in. Vehicle and harness should be in great condition and clean, with any brass or other fittings polished and “show ready”. Attire: A skirt or dark pants and jacket or shirt and vest are required for most driving divisions. A hat should be worn in all classes. Helmets may be used without penalty. A “header” (second person) will be required for driving classes and must be dressed in appropriate attire. The header must wear a “duster” – a long jacket that looks similar to a white lab coat, and will be required to stand at the head of the driving horse in the line up. It is important to know that they are not permitted to touch or restrain the horse until after the class has been judged and placed. Andalusian World Cup rules may be found at http://andalusianworld.com/awc , under the Forms & Information tab. Please Note: Rules for each section of the show (ANCCE classes, World Cup, Working Equitation, & Dressage) have different rules and requirements. USEF rules can be found online at: USEF.org for USEF sanctioned shows. If the show you are attending is not USEF sanctioned, rules can normally be found on the website of the host organization. If in doubt about tack or attire, please ask the ring steward or other staff member for guidance. They are there to help you get the most out of your show experience!

Weaning

Planning a foal, from pre-conception to weaning is a lengthy ordeal. You’ve stallion shopped, planned for the foal, and gone through the process of having your mare bred. You’ve waited 11-12 months, and foaled out your mare. Now the baby is growing rapidly, and you’ve gotten it reasonably well handled. Your hard-earned foal is almost an independent entity! It’s eating solid foods, annoying it’s mother to the point of exasperation, wandering farther and farther away from her in the pasture. It is probably becoming somewhat bratty with you, too. All signs point to weaning time. But, there is much discussion as to the appropriate way to wean a foal, and there are two primary methods; abruptly, and gradually. Which method should you use? There are pros, cons, and variations for each method of weaning. Use your discretion, and keep your mare and foals’ personalities in mind when making your decision. Foals are typically weaned by US breeders between 4 and 6 months of age. It is sometimes necessary to wean foals even younger than this if they or their dam are experiencing a health issue. A veterinarian should be consulted whenever weaning foals younger than four months of age.

1. Weaning Abruptly This might be the safest and most effective means of weaning a foal. Simply, separate the mare and foal into extremely safe and secure enclosures, out of sight, and out of earshot of one-another. Often times there will be very little in the way of distress or vocalizations on the part of either the mare or the foal, and other times there will be calling for a day or two. Horses are social creatures, so placing weanlings with babies of the same age, or a gentle mare or gelding for company is a great idea. The mare might also benefit from the company of another horse with whom she gets along. However, mares are often relieved to be rid of their babies, and babies are generally ready to be more independent by this age. While weanlings often seek comfort with other babies or an older “babysitter” horse, nursing is no longer necessary past 4 months of age, though evidence suggests that the longer a foal can receive milk, the healthier it will be. High strung mares and babies typically fare better utilizing this method of weaning, as it eliminates prolonged stress and anxiety.

2. Gradual Weaning Gradual weaning can be executed several different ways. The safest way is by setting up adjoining stalls, placing the mare in one, and the foal in the other. There must be a direct line of sight present. Pipe corrals are not suitable for this method due to the possibility of either horse climbing over or through the panels and becoming injured. By weaning gradually, mare and foal are able to see and possibly even touch each other, while occupying separate spaces and eating separate food. Done incorrectly, or with horses with the wrong dispositions, this method can cause extreme anxiety and injury in high strung, or highly-attached mares and foals as they attempt to cross whatever barriers separate them.

3. The middle ground - Gradual weaning in groups If you have a larger group of mares and foals of approximately the same age, mares may be removed one or two at a time, gradually, until there is only a herd of weanlings left. While individual mare-and-foal-pairs are weaned abruptly, each has the opportunity to socialize with others of the same age class. Removing two mares at a time allows the two foals missing their mothers to buddy-up, thus preventing frantic searching behaviors from either single weanlings, or a large group of recently weaned, and potentially distressed and disoriented babies all searching for their mothers at once. Being gregarious animals, foals will take their social cues from the group they happen to be in, and if one or two foals find themselves in a group of happy, romping babies, they are far more likely to go play with the others instead of fretting about their mothers. Removing two mares at a time also introduces the opportunity for the barn manager to pair up compatible mares at weaning time.

Special weaning tips: It can be a good idea to make bran mashes with electrolytes added, in order to make sure that your mare and foal are not only consuming enough water, but to ensure that things are moving along well in their guts during this time of stress. Use U-Guard paste as a prophylactic against ulcers in both the mare and foal for the first few days. This is known to prevent the formation of stomach ulcers. Make sure each horse has some kind of company immediately following weaning. Pay special attention to the herd dynamics of a newly formed weanling group. Make sure that smaller foals are not being singled out by aggressive, dominant weanlings, or prevented from drinking and eating normally. Make sure the foal is feeding well on solid foods well before weaning. Depending on how much milk the foal has been receiving, it will experience an abrupt decline in caloric and fluid intake when separated from itâ&#x20AC;&#x2122;s mother. As with all horses, additions to a horseâ&#x20AC;&#x2122;s diet should be made as gradually as possible to accommodate the animalâ&#x20AC;&#x2122;s delicate balance of gut flora. It is not a good idea to suddenly introduce grain to a weanling; it should begin creep feeding whatever grain you intend to provide it weeks before it is weaned. Colts and fillies should be in separate groups after 6 months of age, unless the colts have been gelded already. In unsupervised or wild settings, weanling fillies can and will become pregnant, and weanling colts can and will impregnate them.

Make sure your foals are well handled by the time weaning occurs. This will save you many literal and figurative headaches, and ensure that the foal’s early experiences of being handled are not primarily associated with anxiety and fear. A well handled youngster will often experience little to no anxiety in the face of weaning, because it has already learned that its entire world does not revolve around its mother, and that humans are a source of comfort as well as leadership and direction.

What to Avoid While it may be a common practice to wean foals abruptly in pairs by placing them together in box stalls, a study performed by Rutgers University in 1990 revealed that while the foals appeared to be more quiet, they in fact suffered greater immunosuppression-- a symptom of heightened stress, than foals weaned without a cohort of the same age class. Additionally, a dominant foal may take out its frustration on its stall-mate, who cannot escape from such a small space. Sometimes “We’ve always done it this way” is not the answer. Do not wait to halter break your foal at weaning time, unless you want to deal with a 300 pound orangutan with a system full of adrenaline, and an empty brain. If you must postpone halter breaking, postpone it until after the week of weaning. A newly weaned foal will be frightened, confused, and downright dangerous because of its size, and ignorance of giving to pressure and submitting to instructions from humans. Wrestling a halter onto a wild weanling and leaving a drag line trailing behind it is only asking for more anxiety, negative associations toward humans and handling, and the potential for injury. If you must leave your babies wild until after weaning, halter break them once they have calmed down and are ready to pay attention. Do not place mares or foals into unsafe enclosures at weaning. This is asking for an accident-related injury. This could include T-post type fencing, cattle or sheep panels, electric fence, barbed wire, insecurely installed pipe panels, or broken pipe panels.

Western States Regional Championships Western States Region 1 & Region 10 Championships, held at the Los Angeles Equestrian Center from August 6 through August 9, was blessed with not-so-hot weather. Although not a huge amount of entries, the quality of the horses presented was awesome. This comes from our team of judges; the Honorable Cecile Hetzel-Dunn of Weirsdale, Florida, Richard Petty of Jacksonville, Oregon and Jennifer Sullivan of Pembroke, Massachusets. Post show the judges posted to facebook about what a great time and a quality event it was. Thursday, August 6, featured Dressage and Western Dressage and an afternoon of Dressage Sport Horse In Hand classes. These were judged by the Honorable Eileen Fagen of Valley Center, California. Friday through Sunday featured our horses together with Friesians and a few USEF Open to All Breed classes. The theme of this year’s show was “Its An International Affair” and our exhibitors really took it to heart and decorated with a smattering of most countries throughout the world. Stall decoration awards were given to both the small barn group of 5 stalls or less and the larger groups of 6 stalls or more. Cassandra Adams barn with an oriental theme took the first prize for the larger barn and Kim Johan-Nass from Northern California took the small barn award. It was a lot of fun to see the various barns to nicely decorated. The show featured an Ice Crème Social on Saturday afternoon on the patio outside the show office, which is where the Barn Decorating awards were presented. The High Point Winners of the show were: Hi Point Half Andalusian – A Fabulous Dream, owned by the Croasmun family of Santa Clarita, CA Hi Point Purebred Andalusian – Vendito RJ, owned by Jim Johan-Nass of Nicasio, CA Hi Point Andalusian/Half Andalusian Youth is Loris Denton of Glendale, CA High Point Part Bred Friesian – TDR A Diva by Design, owned by Three Day Ranch of Temecula, CA High Point Purebred Friesian – Jilke fan ‘e Koarndyk, owned by Debie & Kimbel Stuart of Nicasio, CA High Point Friesian/Part Bred Friesian Youth is Anaiah Richter of Temecula, CA All in all, the show was a great success and we are looking forward to 2016.

Taking a look at...

Historical Sires One of the great gold standards in 20th and 21st Century Andalusian horse breeding was, and is, the Cardenas stud in Ecija; an ancient Moorish city in the very south of Andalucia. With a gene pool based mainly in Bocado (Cartujano) blood, with an influx of 20th Century Military influence, the Cardenas stud is known the world over for producing exceptionally beautiful, phenotypically correct animals with temperaments and athletic abilities to match. In particular, they are especially noted for their long, elegant necks, and spectacularly lofty movement. Extension, joint articulation, lift, and suspension are not mutually exclusive of one-another in Cardenas horses. Cardenas horses are scarce as hens’ teeth in the United States, but wherever they may be found, they make their mark on the North American show scene and gene pool. Of particular eminence is Heroe MAC, this edition’s featured Historical Sire. Heroe MAC was bred by Miguel Angel Cardenas Osuna, and imported to the US as a yearling in 1999. He was purchased by, and still resides with Karen and John Rock of Jay Stables, in Big Rock, Illinois. Standing at 16.1, the stately gray stallion is a grandson of Vasallo II and Leviton, both. Looking as though he recently stepped out of a calendar or coffee table book, Heroe exemplifies the Cardenas ideal. Heroe lives up to his family’s reputation, and has a hugely positive influence upon the Andalusian genepool in the US. With over 150 registered offspring in the United States, Heroe has become known for passing on his world-class quality to his offspring, who frequently carry on his winning ways in the show ring. Celtica DD, Santeno KDW, Usario KDW, JS Dahlia, and JS Cazador are some of Heroe’s noteworthy offspring. Heroe himself has an extensive show record. Shown through Third Level Dressage and extensively at Andalusian breed shows, he has dominated in not only the Halter arena, but also in Doma Vaquera, and Best Movement. Heroe is still currently standing at stud at Jay Stables. Truly, the epitome of a venerable stallion, Heroe is Andalusian World’s September 2015 featured Historical Sire. More on the Cardenas Stud In the 20th century, Cardenas horses were made famous to the general public with Robert Vavra’s iconic images of the Bilbaino III sons, Vasallo II and Valido; Champions of Spain both. Today, the Cardenas stud remains relevant on the international Dressage platform with the much-loved dressage Olympian, Fuego de Cardenas, whose electrifying Grand Prix test earned him the title “King of Hearts” during the 2010 World Equestrian Games. Following in his late father’s footsteps, Miguel Angel Cardenas Osuna presides over the Cardenas stud, and continues to produce exceptional Andalusian horses for the serious dressage competitor and modern day aristocrat alike. To learn about how you can breed to Heroe MAC, visit http://www.jaystables.com/

South Point Hotel, Casino, and Equestrian Center South Point Arena & Equestrian Center 9777 Las Vegas Blvd. South Las Vegas, NV 89183 From California: Head North on Interstate 15 to Exit 31 (Silverado Ranch Boulevard). As you exit, stay right and make your first right into the parking area for South Point. (866) 796-7111 General Information (866) 791-7626 Reservations (702) 796-7111 Equestrian Center AWC Reservation Code: AND0921

It is our desire to make your experience at South Point as enjoyable as possible during your stay, so we would like to provide you with a little information that might provide useful: Check-In: Check-in service will be available to you upon arrival to the barn area for both the show and your hotel room. Stalls: Stalls will come with 3 bales of shavings and stall mats made available for $40/show (pre-order). Stall assignments will be made upon receipt of entries and assigned first come, first served. Stalls DO NOT have automatic waterers, so please pack water buckets! Stalls MAY NOT be drilled into for ties, buckets, etc. Please make alternate provisions ( C-clamps, etc) for necessary cross ties, buckets, etc. Barn Area: Facility does have wash racks with hot & cold water Feed and additional bedding (first bedding provided) is available onsite! There is a equestrian supply store on-site should you forget something! Barns are conveniently located near the ground floor of the elevators. You wonâ&#x20AC;&#x2122;t even have to leave the hotel! Those who book through the above reservation code will have barn access through their provided room key.

We look forward to seeing you soon!

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STALL MAP

South Point Dining Michaels Gourmet Room

Coronado Cafe

Guests must be 12 or older.

Garden Buffet

Hours of Operation 5:30pm - 10:00pm Menu Dress Code: Business Attire. No shorts permitted.

Hours of Operation 24 Hours Menu Dress Code: Casual

Reservations: 702-796-7111

Big Sur Oyster Bar

Regular of Operation Noon to Midnight - Mon-Fri 11:00 to Midnight - Sat/Sun

Silverado Steakhouse

Hours of Operation 5pm - 10pm (Sunday - Thursday) 5pm - 11pm (Friday & Saturday)

Dress Code: Casual

Steak ‘n Shake Regular Hours: Sunday - Thursday 11am - Midnight

Reservations: 702-797-8075

Don Vito’s Italian

Hours of Operation 5pm - 10pm (Sunday - Thursday) 5pm - 11pm (Friday & Saturday)

Friday & Saturday 11am - 1am

Dress Code: Casual

Zenshin

Hours of Operation 11am - 11pm (Sun - Thurs) 11am - 1am (Friday & Saturday) Menu

Reservations: 702-797-8075

Primarily Prime Rib

Dress Code: Casual

Hours of Operation 5pm - 10pm (Wed., Thurs., & Sun.) 5pm - 11pm (Friday & Saturday)

Del Mar Deli

Hours of Operation Mon. - Thurs. 8:00am - 10:00pm Fri. - 8:00am - 1:00am Sat. - 7:00am - 1:00am Sun. - 7:00am - 10:00pm

Dress Code: Casual Reservations: 702-797-8075

Baja Miguel’s Mexican

Kate’s Korner (Ice Cream)

Regular of Operation 11am - 10pm (Wed., Thurs, & Sun.) 11am - 11pm (Friday & Saturday)

Hours: Sun. - Thurs. - 8:00am - 12:00am Fri. - Sat. - 8:00am - 1:00am

Dress Code: Casual Reservations: 702-797-8075

Seattle’s Best Coffee

Hours: Mon. - Thurs. - 5:00am - 10:00pm Fri. - Sat. - 5:00am - 11:00pm

Priefert ARENA 1

Priefert ARENA 2

VENDOR SPACE

SPECTATOR ENTRY

INFO

SALOON

CONSESSIONS

MAIN ARENA

South Point Rules SOUTH POINT ARENA & EQUESTRIAN CENTER RULES, REGULATIONS AND INFORMATION General Information:

South Point Hotel, Casino & Spa 9777 Las Vegas Blvd, South Las Vegas, NV 89183 Hotel Telephone Number (702) 796-7111 Arena Office Telephone (702) 797-8005 Arena Office Fax (702) 797-8006 Show Office Telephone (702) 797-8146 Show Office Fax (702) 797-8147

In case of an emergency, there is a hotel phone located outside of the show office. Security.

Dial “0” and ask for

Rules and Regulations: 1. Equestrian participants enter the arena and practice areas at their own risk. 2. Absolutely NO abuse to animals will be tolerated. 3. South Point is not responsible for any lost, stolen or damaged property. Please contact hotel Security for lost and found. 4. Any accident regardless of nature is to be immediately reported to South Point security. 5. Riders must lead horses in the stall area at all times. Riding in the barn is not allowed. Riding is allowed in designated practice and performance areas only. Absolutely no riding will be permitted in any parking lot at the South Point facility. 6. Do not leave horses unattended outside stall area. Horses are to be confined to the show arenas, barn, stall and designated dirt practice areas only. 7. It is the policy of the South Point that pets (i.e., dogs, cats, birds, etc) are not allowed on property. Accommodations will be made for ADA compliant service animals. 8. Shavings are required in each stall as dictated by show management. No straw will be allowed as bedding in stalls. 9. Shavings are available for purchase exclusively from the South Point Arena & Equestrian Center. Shavings are $10.00 per bag. No outside shavings will be allowed. 10. Smoking is prohibited in the Arena, Barns and Stalls; this includes e-cigarettes and vaporizers. 11. No glass is allowed in stall area or Arena. 

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12. No outside food or beverage allowed in stall area or Arena. 13. No weapons of any type are allowed on property. 14. All children must be accompanied by an adult at all times. 15. Printed collateral, including magazines and brochures which promote products, services or upcoming events are not permitted without the permission of South Point Management. 16. No commercial activities are allowed on property without the permission of South Point management. 17. As a courtesy to our equestrian guests, cork boards are provided to display personal information only and not for commercial use. Signs posted on any other surface will be removed and any damage from placing or removing the sign will be invoiced to the Responsible Party. No stapling, no taping, no nailing and no sticking of any objects to the stall walls. 18. Horse owners will be responsible for the removal of all items, with the exception of soiled shavings upon their departure. Any damage or excessive cleaning of the stall area will be billed to the responsible party. 19. Horse owners must clean and maintain their stall(s) for the duration of the event. Please do not clean stalls directly into the aisles. Gondolas are provided at the end of each aisle for the ease of waste disposal. 20. Do not clean trailers directly onto the parking lots. 21. No obstructions may be kept or stored in the stall aisles including furniture, chairs, carts, tack boxes, etc. Stall decorations must be fire retardant, must not block aisles and must be in compliance with local codes. 22. Biohazard containers are available and must be used for the disposal of all biohazard materials and needles. Please do not place needles in the trash receptacles or on the floor. 23. No spray painting, hoof black or hoof dressing should be applied to horse hooves in stall area and/or barns without floor protection. 24. Appliances such as coffee makers, microwaves, refrigerators, space heaters, etc. are absolutely prohibited in the stall area. 25. Parking outside of designated areas will result in the vehicle or trailers being towed at the owners’ expense. 26. Overnight RV boarding is not permitted on South Point property under any circumstances. 27. Any motorized vehicles are prohibited in the arena and equestrian center, with the exception of loading and unloading in designated areas. 28. Unauthorized removal of any items from South Point property, including stall mats, push carts, hoses, etc. will be prosecuted to the fullest extent of the law. 

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Nevada Equine Transportation Requirements: What you will need to know and have when entering and exiting the State of Nevada with horses and/or cattle: 1.

A current Livestock Health Certificate issued by a licensed veterinarian.

2.

A Coggins Test performed within the previous 6 months.

3.

Cattle for sale, show, or remaining in Nevada require an ENTRY PERMIT (Call 775-688-1182, Ext. 230)

4.

To sell (change of ownership) or EXIT Nevada, YOU MUST HAVE SOME SORT OF PROOF OF OWNERSHIP IN YOUR POSESSION WHEN GETTING A BRAND INSPECTION CERTIFICATE. The horse permits listed below are issued in lieu of Brand Inspection Certificates for TRANSPORTATION ONLY and are honored statewide and other states:   

Horse Lifetime $30.00 Horse Annual $15.00 For regular Brand Inspections Fees – Any Livestock, Change of Ownership, or regular transportation out of district or State of Nevada: $10.00 for 1st horse, $3.00 per additional horse $10.00 for 1st cattle, $1.00 per each additional cattle

PLEASE CHECK WITH THE SHOW OFFICE WHEN ARRIVING AT THE EVENT AS TO WHERE AND WHEN THE DEPUTY BRAND INSPECTOR WILL BE AVAILABLE TO RECEIVE YOUR CERTIFICATE. PLEASE REMEMBER! “YOU MUST HAVE A BRAND INSPECTION WHEN LEAVING THE STATE OF NEVADA”. THANK YOU FOR YOUR COOPERATION. It is the responsibility of the Show Producer and the horse owner to insure that the Health requirements are met. South Point Arena & Equestrian Center assumes no responsibility for the administration of check-in or health procedures.

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