Baroque
Issue 6
FRIESIAN Terms explained
YEGUADA LA CARTUJA
Gonรงalo Carvalho &
RUBI Alter Real on track for the
Re
d set.
De
vealed dv
.Piaffe
OLYMPICS!
tails Inside
Friesian Stallion
Harmen 424 Sport
$7.95 AUD
b a r o q u e h o r s e 1.
spor t imp
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PHOTO IN MOTION PHOTOGRAPHY
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lusitanos for sale
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From the Editor ..
Baroque
Issue 6
FRIESIAN Terms explained
We still have the regulars of the ‘Just 4 Fun’ section, Fantastic educational with Manolo Mendez, photographic tutorial and a thought provoking column by Riz Ilyas. We have lots of new contributors of people all over the world to bring you more information and photos to help fill your bi-monthly fix of these beautiful horses! I’d like to say a big warm welcome to Cátia Castro from Portugal who is a talented photographer and is working hard to bring you even more of that ‘behind the scenes feeling’ with her imagery and creativity! Lots of great stuff coming up for her in our future issues.
on track for the
OLYMPICS!
Re
vealed d set.
What a big issue we have for you with this edition! So much we couldn’t fit it all in so will have to continue on issue 7! In this issue you’ll find a great interview by Sarah Warne with Gonçalo Carvalho Conchinhas, with his lead up to the Olympics. We all wish them the best of luck and hope above all, that they have a great time and enjoy every moment reaching a dream!
RUBI Alter Real
dv
Our first print issue 5 was on the newsstands in June and we have been thrilled by the overwhelming positive responses to our magazine. I’d like to say thank you to everyone who took the time to take photos of the magazine on the newsstands or with themselves or their horses reading it and even one in the bath!! We have had people from all walks of equine life enjoying it from the wee kids to the older ones too!
Gonçalo Carvalho &
.Piaffe
Welcome to Issue 6 of Baroque Horse Magazine
YEGUADA LA CARTUJA
De
tails Inside
Friesian Stallion
$7.95 AUD
Harmen 424 Sport
On the cover: Rubi Alter Real & Gonçalo. Photo by Cátia Castro www.cmcequinephoto.com
Publisher: Baroque Horse PTY LTD ACN: 159 279 848 PO Box 18002 Clifford Gardens, Toowoomba QLD, Australia 4350 Editor In Chief: Danielle Skerman Advertising: Patty Taylor Advertising/Maketeting Assistant: Allison Sable Design: Danielle Skerman Photographers: Pedro Yglesias de Oliveira Cally Matherly, Antonio Mendonca Lesley Skipper, Direct Shots, Yves Theobald, Thierry Poussard, Nadeen Davis
In Issue 6 is a breeders special, with lots of Australian breeders to be found inside! If you have a story to tell, or something that you just want to tell everyone about, please don’t be shy, Contact us (editor@baroquehorse.com.au) We’d love to hear from you. I hope you’ll enjoy this issue of Baroque Horse Magazine! Remember, have fun and believe in yourself! Sometimes getting back into the saddle can feel scary, but if you take your time, do it right and be kind, you’ll be OK! Join us in our journey and ... go for BAROQUE!
Danielle Skerman
www.baroquehorsemagazine.com
Contributors: Sarah Warne, Cátia Castro, Danielle Skerman, Caroline Larrouilh, Manolo Mendez, Riz Ilyas, Séverine Tocaven, Nadeen Davis, Jenny Rolfe, Antonio Mendonca Distributor: Network Services Pty Ltd Printer: DAI Rubicon Pty Ltd ©Baraque Horse Magazine AU. 2011 All Rigths Reserved. No part of this publication, editorial or advertisement, may be reproduced without the written consent of the publisher. The content of the advertisements within this publication is the responsibility of the advertiser. Although due care is taken in the preparation and publication for all advertising material, the publisher cannot be held responsible for any errors or for any consequential effects. Opinions and statements made by others in submitted text may not be the same as those held by either the publisher or the editor.
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Contributors Manolo Mendez Master horseman with over forty years of experience spanning classical dressage, doma vaquera and jumping. Manolo Mendez was the first Head Rider and one of six founding members of the Royal Andalusian School of Equestrian Art Sarah Warne Young dressage rider and Equestrian journalist, Sarah Warne, grew up in Australia. She now lives and trains in Portugal under Mr João Pedro Rodrigues, and is loving every day she spends training her 6 year old Lusitano Batailo! Riz Ilyas A proponent for ethical horse training and showing. He is a strong and very vocal critic of those who are abusive to horses. Most of his free time is spent with what he refers to as his “Merry Band of Misfits”, as most are rescues. He gives credits to a wonderful group of people who have been kind enough to mentor him in the different aspects of horsemanship. Cátia Castro Cátia is from Portugal and is a photographer (member of the Portuguese Sports’ Journalist Association). Here with her Lusitano Stallion Dexeno (Jgr), she loves horses and sharing every image 6. b a r o q u e h o r s e that she can take of them.
contents
20 Gonçalo Carvalho Conchinhas & Rubi Alter Real
08
Harmen 424
49 Mafra - Reprise
49 Team BHM
84 Photoshop
84 Riz’s Rant
Tutorial
36
Thierry Poussard Photographer
28 14
Theo Blaickner
JUST 4 FUN 74
Manolo Mendez, Lateral Work
Yeguada La Cartuja
60
73
Reader’s Gallery
42 66 46
PT 2 of Interview with Sylvia Loch
Yves Theobald Photographer
Friesian Terms Explained
52
The Lipizzaner
58
Breathe Life into your Riding
b a r o q u e h o r s e 7.
H A R M E N
Interview by Danielle Skerman Photos: “Cally Matherly” & Supplied
4 2 4 BHM: What’s your stud breeding goal? Is there a particular thing or type that you are aiming for in your breeding? JT: We want to breed Friesians with a long front leg, beautiful neck and great movement. They must be beautiful, but they still must be a Fresian with beautiful hair and the feathers on their legs! We also want to keep the very good character of the Friesian horse – all the people in the world LOVE the Friesian horse because of his character, so we must take care of that. BHM: Is there something that you’re working on fixing with your breeding? JT: It is important for us that we go on in the breeding. When we have a Champion 8. b a r o q u e h o r s e
mare or a Crown mare, then we keep looking for what we can do better. My husband, Bertus, is very good at this – he looks to the horse and says, “I want more front leg, she can have a better backhand, and so on”. You see that with our stallions. When the first foals from Teunis were born, about five or six of them, my husband came home and said that we need “Feitse blood”. Although we got the long front legs, beautiful necks, good movement and tall horses from Teunis, we needed more Luxe so we bought Feitse. The combination with Teunis was great, and we got a lot of Star mares. Then suddenly Tsjerk came for sale; the combination of Teunis and Tsjerk was even better than with Feitse, so we were very happy.
When the offspring from Teunis and Feitse turned 3 years old, Bertus said we needed Leffert blood for our breeding, so we bought Tsjalke 397. My husband Bertus was right again – Tsjalke * Tsjerk * Teunis was a super combination! Soon after, Sake 449 came so the horses could have more “dancing” in their trot, and the combination with Sake give us little ballerinas – light-footed horses with the strong backhand from Harmen and the beauty from Tsjerk and Teunis. BHM: Can you tell us a little about Harmen’s personality please? What is he like? JT: Harmen is the kindest horse in the world. He loves you and you love him! He thinks with you! When there is a little child on our farm who wants to walk or
sit on him, he is so kind and sweet; but when Bertus takes him then he knows he has to work hard!
later, she says that Harmen taught her how to do this and tomorrow her exam will go well.
BHM: Do you have any funny or fondest moments with him that you would like to share?
Another special moment was when he became Champion from Holland for the carriage. That day was so hot – about 33 degrees. In the first round, all the horses came in and then the best five had to fight again for the Championship. We saw Harmen had problems with the heat, so Joke called him and he looked at her and the she said “HARMEN you know you are the Ferrari and the other ones are VW “kevertjes”. You can do it! My husband was groom and she called to her dad tell him HE is the Ferrari, my husband laughed at her but she became angry and she said again tell him! My husband did, and then they had to ride again and HE WAS THE FERRARI! All the people clapped for him – he was
JT: The first time Joke (our daughter) saw Harmen, he came to her and did not want to leave her. He looked at her and she cried because she missed his dad Teunis. He put his head on her shoulder and let her cry. I cannot tell you how special that moment was. He understood her sadness about his dad. Our daughter is still studying at university, and when she has an exam or when something is difficult, she studies in Harmen’s stables – Harmen is her teacher. When she comes back in the house a few hours
exceptional, he was coming on the long side of the arena, he looked where Joke was, she called him and called come on you are MY FERRARI’, you can not believe what happened……………………….. but HARMEN became THE BIG CHAMPION!!!! Another beautiful moment is when Joke and Harmen go swimming together in the river; Harmen loves swimming with Joke. They ride under the saddle together, she cleans him, washes him and so on. Those two love each other! b a r o q u e h o r s e 9.
Joke & ‘Harmen’ A special bond.
HARMEN 424 10. b a r o q u e h o r s e
Photography & design by Nadeen Davis
Tako JS A Friesian to make your dreams come true
15.3hh classical style stallion producing progeny who have it all superb movement and temperament with intelligence PH: 0413 020 561
www.grovebornfriesianhorses.com b a r o q u e h o r s e 11.
BHM: What is Harmen’s strengths that he passes onto his progeny? JT: The best things he gives to his offspring are: • • • •
A very, very strong backhand, with great movement Beautiful necks and heads Very good sporthorses – his offspring are very easy to ride and drive Very good Star mares and Crown mares.
BHM: Out of interest, do you know how many Harmen babies there are around the world?
JT: This is his sixth breeding season and he is very popular; his offspring are also popular. People from all over the world want to have Harmen offspring. I think there are between 500 and 600 foals from him all over the world! BHM: How long have you had Harmen for, and how did you come to own him? JT: We bought Harmen in Holland when he was just approved and 3 years old; it was the 5th of December 2005. He was the best Christmas present that Joke ever got! BHM: When looking at a Harmen foal, what are the best characteristics to look out for? JT: The foals of Harmen have very beautiful heads with a very attentive eye. They also have beautiful necks and you can immediately see the long front leg! BHM: Is Harmen available for stud, and where is he standing at? JT: Harmen is available at Hengstenhouderij G. Toonen, Marenseweg 1 5398 JD Maren-Kessel Nederland! Tel: 0031 412 47 9242. email: hengstenhouderij@planet.nl website: hhtoonen.nl You can also follow us on Facebook under Hengstenhouderij Toonen a
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Design: Andrew Cole
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YEGUADA LA CARTUJA
THE MOST IMPORTANT RESERVE OF ANDALUSIAN HORSE, CARTUJANO LINEAGE WORLDWIDE
Written and Photos by Cátia Castro www.cmcequinephoto.com
Beauty, energy and tradition are some of the qualities that have given international prestige to this great horse Since ancient times, the horse has been present with the wine and flamenco, being one of the most emblematic icons of Jerez de La Frontera in Spain, reaching its peak in the 15th century when the Carthusian monks brought the famous Carthusian horse.
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www.cmcequinephoto.com
b a r o q u e h o r s e 15.
T
he Cartuja monastery, established in the 15th century, became the cornerstone of Jerez horse breeding. With inside of this splendid renaissance building found at La Cartuja near Jerez, for about 400 years, the monks patiently undertook their horse breeding program. It was designed to conserve the purity of the breed, a breed that would give rise to the most noble of names: the Cartujano lineage. During the Napoleonic invasion of Spain, at the dawn of the 19th century, all this hard work was compromised. But it was in 1810 that a presbyter called Pedro José Zapata bought the best of the stock at the monastery, saving it for Jerez. From this point onwards the horses were branded with a new iron bit, or “hierro del bocado” in Spanish. Later, Vicente Romero purchased a portion of the stock farm and added a “c” to the iron bit. After nearly a century of conservation of this lineage by private owners, today, the public company Expasa is responsible for the management of the stud farm “Finca Fuente del Suero”. They have built functional facilities, making it a very special place dedicated
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exclusively to the Andalusian horse of Cartujano lineage for its breeding, study, improvement and expansion, and with the fundamental aims of protecting and maintaining the genetic wealth of a stud which constitutes the elite of Spanish thoroughbreds. From the hands of those hardy and laborious Carthusian monks, beauty, strength, nobility and balance are combined with a great docility, these are characteristics that have reached intact to us. These are the virtues that make them be so special and appreciated worldwide. At “Finca Fuente del Suero”, the research and training programs, as well as respect for the traditions, are combined harmoniously to create a unique project that will ensure the future of this exclusive national heritage. From the time the horses turn one year old, Hierro del Bocado colts are submitted to a morphological evaluation program, and at three years old they fertilise a large number of previously selected mares. These mares are invaluable as they are the
www.cmcequinephoto.com
b a r o q u e h o r s e 17.
ones predestined to procreate and breed these privileged animals. Only a portion of the adult male horses become stallions – only those whose physiological characteristics and genealogical strains correspond with the master lines of lineage. Only by passing this strict study program may a stallion join the select group of breeders that will mate with mares both within the complex and those belonging to other breeders. Breeding programs obviously benefit from the latest technological improvements and preventive health measures which ensure greater quality control and evolution of the gestation process. Various research projects are continued to maintain and improve the singularity of the Carthusian horse. These projects make a major scientific contribution to the horse world in Spain. Several guests from around the world come to see and buy the Carthusian horse, with more focus on customers of Spanish nationality, European and South American. Yeguada de La Cartuja’s dynamism is also important in the different services given to other breeders: programs in natural siring, artificial insemination, transference of embryos, as well as providing training in advanced techniques of reproduction. The Yeguada de la Cartuja employees make every day, this stud farm a welcoming place, with great dedication and organisation, where nothing is left to chance. On Saturdays, audiences have the privilege of watching a show displaying all the splendour of the Carthusian horse. There are carriage exhibitions, “doma vaquera” riding style and dressage, these are some examples
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of the functionality of this noble horse. One of the big surprises is the procession of mares, called the “snake”. The mares are attached to a rope and led by a horse and a rider, making geometric figures in the arena, in the three movements in unison of rhythm and mastery. Another highlight is the foals that enter the arena, running around in a frenzy, delighting the audience. Shortly after, the mares arrive in the arena looking for their foals, promptly recognising their own and remaining with them in a display of protection and tenderness. After the show exquisitely performed by riders and the great protagonist: the Carthusian horse, people disperse outside passing by the horse boxes, petting these friendly animals, leaving with an idyllic memory. We thank Yeguada de La Cartuja for receiving BHM so well. Contacts: Yeguada De La Cartuja - Hierro del Bocado Finca Fuente de Suero Ctra. Medina – El Portal, Km 6,5 11480 Jerez de La Frontera Cádiz SPAIN Tel: +34 956162809 www.yeguadacartuja.com a
Written and Photos by Cátia Castro www.cmcequinephoto.com
Cristogracia Spanish Horse Stud & Training Facility PRE Spanish Stallions at stud Live Foal Guarantee Chilled Semen Available Alegria Serio 2004 Grey 16.1 hh Alegria Agraciado 2001 Bay 16.1 hh P: (+61) 07 4095 1010 E: cristogracia@hotmail.com
www.cristogracia.com.au
b a r o q u e h o r s e 19.
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Rubi Alter Real & Gonรงalo Carvalho Conchinhas Written by Sarah Warne Photos: Cรกtia Castro 20. b a r o q u e h o r s e
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King Rubi Alter Real... Runway to London!
A
s the countdown to London continues, the majestic Lusitano King Rubi Alter Real and his partner Gonçalo Carvalho Conchinhas are busy nurturing both their training partnership and themselves to ensure they arrive at the Olympic Games in tip-top condition! “I feel I have already been successful… my ultimate goal with Rubi has been reached!” says Gonçalo. “My aim was to qualify him for the Olympic Games and to get the best ever scores with a Lusitano nationally and internationally.
It had a big impression on me to watch riders from other nationalities achieve the best performances on my country’s national horse, the Lusitano. Now that it is a Portuguese rider who has taken this title and successfully won the best performances with an international Lusitano horse, I feel immense pride. As a result of our talent we have been granted direct qualification for the Olympics, and having achieved so much it is not so relevant to me what we place at the Games. My goal is to reach 70% in the Grand Prix, which we did several times; but if we fail to reach this score, I will still be happy. I will make sure that Rubi and I enjoy our moment to the fullest!” Working hard to continue their path to success, Gonçalo has been pleased with their Olympic preparation but says there have of course been challenges in the lead-up.
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“Currently Rubi is working very well, and while he did spend a considerable period out taking semen, he is recovering from the physical demands of this role very well! I feel that he is evolving and improving with every lesson.” Gonçalo says the only way to overcome challenges such as these is to just stay calm, continue the work patiently and know that things will turn out for the best. “We always, always believed that we could overcome these obstacles. This is what is most important!” However, it seems that the one particularly demanding hurdle of actually qualifying for the Games did catch up with the young champion, and after a flat-out start to 2012, Gonçalo realised he needed time to regroup before his London debut. “I arrived in May at the height of exhaustion, and I realised I was too tired both physically and psychologically
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Rubi AR
b a r o q u e h o r s e 23.
to continue. I had to take a step back and decide how best to improve my situation.” After going over his calendar, Gonçalo realised he had not taken more than two consecutive days off in over five years. He decided then and there to get away with his family for one week. “We took off for the beach, where my only goal was to shut off the phone, forget about my busy career and the horses, and just prepare myself mentally for the Games. I began to internalise that fact that we were actually going to the Games and decided that I could not let my stress and external pressures affect my and Rubi’s journey. I spent hours walking the beach alone, and sometimes with my wife and son, just so I could process what will happen and let go of all the stress and tension that I must not take into training. The decision to get away was the best one I’ve had… I came back much more peaceful, tolerant and inspired to win.” After taking his trip, Gonçalo set a plan 24. b a r o q u e h o r s e
to go to the gym every day, eat more than just his usual three meals per day, and strive to get a minimum seven hours sleep per night, at least until the Games. “Mentally, I am trying to follow the line that I took when I went on vacation – to block out all the outside influences and just focus on myself and my work with Rubi.”
“My aim now is to avoid taking on any pressure and particularly to not transmit any pressure to Rubi” With a 3-year-old son, a wife and a 17-horse stable, the 30-year-old faces a lot of outside pressures but knows that he must remain focused if he is to perform at his best.
“My aim now is to avoid taking on any pressure and particularly to not transmit any pressure to Rubi. I try not to think about the Olympics… I am very focused on the work of all the other horses I have in my team and the daily work of Rubi. I am trying to just enjoy the moment and not set myself up to achieve any kind of personal record score. I have not changed anything about my work, and I continue with the same training routine. Only now I strive for more direction and strength in both my physical and mental health.” With the Games less than a month away, every day counts, and both Rubi and his chief are making the most of every minute they spend together. “My weekly preparation is simple – the beginning of the week is focused on the basis for work and trying to establish a fun and easy attitude towards the work within the basic exercises. As the week goes by and Rubi has solidified the groundwork, we move to the more complicated exercises where the concern is not only working the
exercises themselves, but also gaining Rubi’s acceptance of greater activity whilst maintaining his relaxation.” Trying to balance a family, client needs, a traditional school and a lifelong dream, Gonçalo’s day is packed full. And having trained with him for almost a year, I can personally attest to his unrelenting hard work and sacrifice. “My daily routine involves getting up early and then going to the gym for an hour’s workout before making my way to the Portuguese School of Equestrian Art. After I have worked my horses from the school, I hit the road again and head to Quinta Dos Cedros where I keep the horses of my organisation. VERY important is the hour between one and two o’clock when I lunch at a restaurant close to the stables... Portuguese cannot do without their proper lunch! After my well-deserved lift, I arrive at Cedros where I remain until around 10pm, when all of the many horses within my Organização equestre de Gonçalo Carvalho have been worked. After all these hours have passed, I have no time left for anything other than going home for supper, answering some important emails and going to sleep. A tiring but enjoyable day!” Arriving in London almost a month before the games, Gonçalo b a r o q u e h o r s e 25.
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{Photos by Cรกtia Castro for Baroque Horse Magazine} www.cmcequinephoto.com
will head to the fabulous stable of world-renowned trainer and Olympic rider Kyra Kyrklund to continue his solid path towards the Olympic centerline. “Kyra very kindly gave me a box at her establishment where we can train. She is without doubt one of the best riders and coaches in the world.” With just one more competition between now and London, Gonçalo is yet to decide whether or not to give Rubi one more show... “We are attached to the CDI Vierzon in France, but I have to think about it – I really just want to get to London as soon as possible and I do not want to tire Rubi before the Games begin... let’s see.” One thing, however, is for sure… this is one Royal Lusitano, destined to reign in London! a
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Manolo Mendez
LATERAL WORK
Lateral Work (part 1): Beginning Lateral Work By Manolo Mendez, Specialist of In-hand and Classical Equitation with Ysabella Dean and Caroline Larrouilh
T
he key to success in executing the higher school dressage movements with graceful precision is preparation.
Preparation is the key to developing horses properly at every stage of their training from green to Grand-Prix and beyond. If the training has progressed correctly and the horse has been prepared carefully and patiently, there comes a time when the horse is going freely and smoothly, in correct balance and rhythm. This is the moment when the horse is ready to be introduced to the beginnings of lateral work which will eventually lead to movements such as pirouettes, piaffe and passage. Preparing the horse for smooth transitions is crucial in helping it maintain its balance and rhythm in the lateral work. If smooth transitions are not confirmed all the lateral work will appear and feel stiff and forced, translating into lost rhythm and poor quality of movement. In the early stages of training, we do not ask for more than a little bit of lateral bend here and there, and we are willing to go back to the fundamental basics of training to maintain the horse’s confidence in the work. We want to avoid drilling and making the horse crooked by using aids that are too strong, thinking we can impose the bend we want. If we work calmly, and we prioritize developing the horse’s suppleness, straightness and balance, we create the ideal conditions to obtain good elasticity and bend-ability in the whole horse. By working patiently and progressively we ensure the horse 28. b a r o q u e h o r s e
will develop a willing and tensionfree attitude towards lateral work. This will eventually results in lateral movements that show great rhythm, freedom and expression. To start the shoulder-in, the horse must have reached the stage where he is well-balanced under the rider’s weight. He should be finding it very easy to do eight, ten and twenty meters circles as well as loops and serpentines. The horse should clearly understand all leg aids and by this stage these should be subtle and refined. When we are confident we have all these elements in place, we are ready to begin introducing lateral work with a little shoulder-in. In the beginning there was the shoulder-in Between shoulder-in and travers we have the foundation for all higher movements. These two movements compliment each other very well. Shoulder-in is one of the most useful training exercise because it
produces suppleness and collection, encouraging the horse to take more weight on his hindquarters and freeing up the shoulders. The shoulder-in helps the rider develop a feel for fine-tuning his aids and get increasingly refined responses from the horse. The horse has fifty-four vertebrae from the poll to the end of the tail, and the body should bend equally in the shoulder-in and travers. With a young horse, we start by asking for a slight bend around the inside leg, and school up to the movement on three tracks. There are different ways to introduce the shoulder-in to your horse. You can do it on the track or on a 20 meter circle which I use to secure the flexion before I introduce the shoulder in. I begin all introductions in walk first. Introducing the shoulder-in on a 20 meter circle We can begin by teaching the
Manolo Mendez was the first Head Rider, and one of six founding members of the Royal Andalusian School of Equestrian Art. Based in Jerez, Spain, the school is one of the four classical schools which also include the Cadre Noir in Saumur, the Spanish Riding School in Vienna and the Portuguese School of Equestrian Art in Lisbon. A master horseman with over forty years of experience spanning classical dressage, doma vaquera and jumping, Manolo is dedicated to a soft, sympathetic and thorough training method which prepares horses physically and psychologically for each stage of training from training to Grand Prix and Haute Ecole. For more information and more articles visit: www.manolomendezdressage.com
“ Preparation is the key to developing horses properly at every stage of their training from green to Grand-Prix and beyond. “
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Manolo Mendez shoulder-in on a twenty meter circle because this is the easiest way for a young horse to understand what we want from him. We want him to bend his body evenly to the inside of the circle from poll to tail, thus creating the correct flexion to introduce the shoulder in. We want him to go both forward and sideways and to bring his inside hind leg underneath himself as best he can at this early stage of his training on three track. Every horse is an individual and we should feel for what is right for our horse, asking neither too much nor not enough. We ask for only a little angle to begin with and for just a few steps at a time. We are careful not to allow the hindquarters to fall out. This is a sign that we are demanding too much bend. Hindquarters falling out can happen more easily on a circle, and we must be aware of this and not allow it to develop into a habit. When we get a little try from the horse, no matter how small, we reward him by asking him to return to a single track and move forward. We build up to a few steps, and then reward again the same way. We ask for a few steps here and there, and that is enough for each training session at this stage. When the horse understands what we want on the circle, we practice the movement down the long side of the arena, but it is a mistake to assume the horse is now ready to complete a shoulder-in down the length of the arena wall. We can begin by asking for an eight to ten meter half-circle on the short side, after the centre line, and ask him to do a few steps of shoulder-in back to the long side, and then go straight. Later, we can do an eight to ten meter circle in the corner, and, as we come out of the circle,
we ask the horse to do a few steps of shoulder-in down the long side. Then we ask him to go straight. We can repeat the circle along the long side and again ask for a few steps of shoulder-in as we return to the track. This will help create suppleness and reinforce the understanding of the leg aid. Introducing travers When the horse understands the shoulder-in exercise, we are ready to introduce the travers. Travers is a good exercise because it supples the hindquarters and hip
“Every horse is an individual and we should feel for what is right for our horse, asking neither too much nor not enough. ” 30. b a r o q u e h o r s e
joints. However, we must be careful not to execute this movement with too much angle because the risk is that the horse will find it too hard and will “open” his body – i.e. evade bending its spine by straightening out its head, neck and shoulders. The movement will end up on four tracks instead of three which is undesirable as it does not allow for optimal diagonal pairing the way two and three track work does. We have to remember that none of the higher level movements are performed on four tracks. In all our work from the first time we ride our horse, we want to use exercises that gather the body and encourage the
MANOLO
Manolo Mendez diagonal pairs to develop equally because we want to preserve or enhance gaits purity. Diagonal pairing is present in canter and in trot. In the case of piaffe and passage, they are offsprings of trot, a two-beats, diagonal gait. In the case of pirouettes, the quality of the canter, the evenness of contact and the strength to collect is paramount. Piaffe and passage are two-beats movements that rely on powerful and equally developed diagonals pairs that can, not only support the horse in perfect self carriage, but allow him to fold all his hindquarters joints deeply and push off the ground, as well as receive himself in perfect equilibrium. Even, symmetric, rhythmical diagonal pairing action in trot or canter is a reflection of how straight, supple and balance the horse is. Four track work does not allow diagonal pairs to work in synch and it inhibits the horse’s bending through the ribcage. It dissunites the natural action of the diagonal pairs and for that reason I avoid it. In my experience, four track work requires that the horse rotate and drop his pelvis in an exaggerated and unhealthy manner (on the side opposite to the travel direction) to allow one hind leg to cross over another in a motion that is unnatural for the limb joints. This is also true of the forelimbs which are not built, do not have the range of motion, to cross over one another fluidly. To do four track work, the horse has to contort its body and this is counter productive to cultivating freedom and expression in the horse.
back to the long side in a little travers – only four to five steps, then we let him travel straight again. We repeat the exercise, asking again for another few steps of travers, then letting him travel straight again. As with the shoulder-in, we ask only for a little, just a few steps here and there and we praise our horse. We are always aware of the importance of preparing our horse well for the lateral movements, positioning him on three tracks and keeping him supple from poll to tail so he can bend evenly. We do it this way for a little while till the travers is established, just like the shoulder-in. Establishing shoulder-in and travers makes half pass easy At this stage we do not ask for too much angle in either the shoulderin or travers. By asking for just a little effort here and there, we do not make it too hard, and the horse will enjoy trying for us. We gradually increase the angle over time, aiming eventually
for complete synchronicity coordination of all four legs.
and
When the horse is well able to do these simple exercises, we shouldn’t have any problems introducing the half pass. We should not be greedy when we get to the half pass, and ask for too much angle, because the horse must always travel forward and keep learning to travel forward, as well as maintain his balance and rhythm. The angle is about forty-five degrees, but we should start at about half that angle and work up to forty-five degrees gradually. It is a movement where many green horses often lose balance and rhythm. If we keep it clear and simple and at the right angle, the horse’s legs will have plenty of freedom beneath him, and he will not be blocked while traveling forward. In half pass, the horse has to be bent in the direction he is going, and we should always make sure we do not ask for more bend in one direction than the other. We have to keep the bend in a very soft, simple way. It should never be forced.
If we set our horse up for the right amount of bend at the right angle, the horse’s legs have plenty of freedom beneath him and we do not block his shoulders or quarters. When we ask for travers on three-track we get a greater connection and arch from poll to tail. The horse can travel easily and smoothly at a natural, moving angle that is comfortable for its body and creates no resistance or blockage. He builds strength and flexibility for the half pass. We start by asking the horse for an eight to ten meter half circle in the corner, coming
b a r o q u e h o r s e 31.
Manolo Mendez When we introduce the half pass we start with the ten meter half circle in the corner and ask the horse to half pass back to the track. We are careful to keep the impulsion, and to make sure the hindquarters do not fall out. We keep the horse in the correct bend from poll to tail, not letting the neck bend too much. We make sure our weight moves in the direction of the movement – we do not allow ourselves to slide to the outside of the horse.
As the horse gains confidence and suppleness, we can ask for the half pass from the centre line. We must always go straight for a few meters before asking for the half pass because we do not want the horse to anticipate and fall into the movement as he turns onto the centre line.
three to five months – IF the horse is not finding it difficult physically and IF the training is gentle and sympathetic. But it can take longer, especially if the horse has to overcome disadvantages of conformation, or needs to adjust the way it travels naturally, for example if he travels with his head too high.
Conformation may affect lateral work
Conformation may affect the degree of angle and the degree of ease with which a horse executes different movements. A narrow horse often finds it much easier to travel in half-pass than a horse with a wider chest. Long legged horses find it easier than those with short legs and a big body. Horses that find it harder may need more time to develop the shoulderin, travers and half pass, and should be brought on slowly and carefully.
It is possible to establish and perform correct shoulder-in and travers in
A horse with more angle in the stifle area, i.e. from the stifle to the hock, will often find it much easier to do dressage, especially the higher movements. A horse that is straighter in the hocks will need more time to develop through basic training. We must also watch and feel, and decide if the horse needs special work, and what kind of work, to help him in areas where he is lacking in muscle and strength.
M A N O L O
M E N D E Z
32. b a r o q u e h o r s e
But conformation is not everything. In fact a horse who finds some things hard may be better at other things. Temperament and the nature of the individual horse will also affect how easy he finds it to learn to execute the various movements. The most important thing, the crucial thing, when we start to do all these exercises is that we have to be very careful to prepare our horse for the lateral movements while maintaining the correct position of the neck, and the angle of the nose and the amount of contact. The head must be in front of the vertical, so that the poll is not stiff or bent too much. If we force the outline, and the horse goes behind the vertical, we will make the contact weak. If the horse tries to evade the forced outline by pulling, our contact will become too strong. With a forced outline the horse will get hollow in the spine and thus lose the connection between his poll and his tail, which will create even more problems with contact and results in an incorrect bend.
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Equestrian La Mancha Sunbury, Victoria. Equestrian La Mancha Sunbury, Victoria. Equestrian Sunbury, Victoria. Phone: (03)Mancha 5428 1882 | Mobile: 0427 810 180 | Email: manolomendezdressage@gmail.com b a r o q u e h o r s e 33. Phone: (03) 5428 Phone: 5428 1882 1882 || Mobile: Mobile:0427 0427810 810180 180 | |Email: Email:manolomendezdressage@gmail.com manolomendezdressage@gmail.com
Manolo Mendez If we get the horse behind the vertical in the early training we will have difficulties later when we are training the higher level movements. For example, they will not be able to bend as they should at the higher levels nor have even rhythm for piaffe, passage and pirouettes. With these movements, we need plenty of room to go in and out of collection in order to build the horse’s confidence with collection and to create harmonious transitions. If we insist on ignoring the importance of the correct length of neck and of building up strength and confidence, we will create a horse that becomes short necked and long bodied, and has restricted use of those very important back muscles. The movements will become forced, awkward and stiff. True collection is soft, light and balanced.
him too high, and we can also cause damage by working him too low – as in low, deep and round. Low, deep and round is one of the worst things we can do to a young horse because we stop the shoulder of the horse moving out. We block the loin and the stifle, and the hock cannot not come under. After that, there is nothing left but to force him under with whip and spur, and we never want to do this to our horse.
he understands his job properly and knows he can do it without hardship.
Training should improve horses, not damage them We can damage our horse by working
34. b a r o q u e h o r s e
If we do the right thing by the horse by not making him stiff and inflexible through incorrect training, then he will be able to perform the higher movements with true freedom and fluidity. This is the purpose of training: To teach the horse to work in such a way that it improves his body, not causes it to break down. The horse should be better physically at Grand Prix then he was at training level, and he should be filled with confidence because
A N O L O
This is the real test in training: can we get the horse to Grand Prix level without expecting him to sacrifice his body and mind? To teach all the high movements, we should only be using the spurs and whip to remind him not to go to sleep if he gets a little lazy, not as a forceful resort. We remind him and he tries, and then we reward him. That way he understands clearly what we are asking of him.
“The most important thing, the crucial thing, when we start to do all these exercises is that we have to be very careful to prepare our horse for the lateral movements while maintaining the correct position of the neck, and the angle of the nose and the amount of contact.”
If we shorten the neck and put the horse too much behind the vertical, we are blocking the freedom and regularity of movement, and this will cause bigger problems later on. Whatever the front legs do, so do the back legs and the shoulders must move freely for the hind legs to step well underneath the horse. We have to be very careful how we start all these exercises with a young horse. Preparation is key.
M
M
In teaching lateral work – shoulder-in, travers and half-pass – we are aiming all the time at developing the horse so he can carry himself in an increasingly better position, becoming more proud, more elegant, and more beautiful with every passing year.
E N D E Z
In dressage training we are working towards the ultimate, which is riding the Grand Prix movements in true lightness. Every training exercise we do with our horse should bring us a step closer to true lightness, not take us further away. a
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b a r o q u e h o r s e 35.
Emperador
Thierry Poussard photographer Interview by Danielle Skerman Photos by Thierry Poussard www.thierrypoussard.com
36. b a r o q u e h o r s e
SueĂąo - Nicolas Brodziak Horse Show
Gotan - Clemence Faivre Horse Show
‘Prince’
b a r o q u e h o r s e 37.
Gotan - Clemence Faivre Horse Show
“As a horseman, pay attention to the ears; as a photographer, pay attention to the background! ”
Sueño - Nicolas Brodziak Horse Show
‘Prince’ 38. b a r o q u e ‘Prince’
horse
BHM: Being a rider, horse enthusiast and successful polo photographer, what draws you into photographing Baroque horses? TP: I have ridden Baroque horses for many years, but two of them especially (emotionally) changed my life: a Kladruber and a Spanish stallion. Neither of them was mine, but they sparked my fascination with Baroque horses. I spent time with them, and I spent time at Baroque horse shows with my camera. Polo came later.
BHM: What drew you into being an equine photographer? TP: Nuno Oliveira said, “Art is the sublimation of the technique through love”. Was he talking about Equestrian Art? That’s how I would describe my photographic work. I love the horses that I capture in my photographs – that’s what drew me in to being an equine photographer.
BHM: What is your most memorable moment as an equine photographer?
BHM: Would you say that being a polo photographer assists you in getting great shots and capturing “the moment”? Does this also help when photographing the Baroque horses when they are performing?
TP: I went to Haras Nationaux to catch foals. I was honoured to be authorised to spend hours in the largest plot with over 30 mares and their 1-month-old foals. As a horseman, I promised myself that I would not disturb them too much, moving slowly, lying in silence, keeping my distance to take pictures while they were sleeping and playing. How magic it was when the first foal came to me, step by step, smelling my neck, touching my back, trying to eat my camera!
TP: I just can’t say which helps more. Taking action polo pictures in daylight is technically easier than taking pictures at a horse show at night! Spending time with polo ponies (real athletes) at Palenque helps me feel and catch the right eye, the right ear, and the right breath, and improve my capability when catching Baroque stallions on show. Gotan - Clemence Faivre Horse Show BHM: Recently you photographed a Clémence Faivre horse show. Can you tell us a bit about this shoot? How did it come about and what was it for?
BHM: For those getting started and wanting to be an equine photographer, what would be your best piece of advice for them?
TP: As Clémence lives near Chantilly, she wanted to have new pictures for her book that were taken in front of the cattle. That’s when we spent a sunny afternoon with Gotan (her main show Portuguese x Arabian stallion) catching bridle-less work. It was important for her and me to be able to catch “the right moment”. Clémence was very professional about the result, and I think that my own dressage knowledge helped me even more than my photographic ability.
TP: As a horseman, pay attention to the ears; as a photographer, pay attention to the background! a
www.thierrypoussard.com b a r o q u e h o r s e 39.
T h i e r r y Poussard
Gotan - Clemence Faivre Horse Show
‘Prince’
Gotan - Clemence Faivre Horse Show 40. b a r o q u e h o r s e
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b a r o q u e h o r s e 41.
Friesian
terms and lingo explained
Written and Photos By Nadeen Davis of Wallbrook Stud www.wallbrookfriesians.com.
Following is a brief description of the studbook to assist those who may be considering buying a Friesian or those that are new to the breed. Having a basic understanding of the studbook is very important in the event of purchasing a Friesian, as the registration status does have an influence on the price and subsequent value of the horse. The ‘Studbook’ referred to above is actually a number of different books there is the Main Studbook, the B-books I and II, and the D book. Within the Main Studbook and B-Book I is a register for foals, aptly titled the Foalbook. Registered foals are entered here and if they are of sufficient quality, and satisfy the minimum requirements for movement and conformation, will eventually be elevated to the adult Studbook. Horses not meeting these requirements will remain in the Foalbook, as do all stallions other than those granted full breeding approval, or “Studbook status”. B-Book II is not split up into separate registers for foals and adults, as horses within 42. b a r o q u e h o r s e
B-Book II are not eligible for predicates or increases in status.
The Main Studbook Breeding Friesian horses within the KFPS studbook system is strictly controlled. Foals from a dam in the main Studbook (Mare Studbook or Foal Book) AND by a Studbook stallion with KFPS approved breeding privileges (an Approved Stallion) are automatically registered in the Foalbook register of the Main Studbook. Until recently in Australia this has only been possible with the use of artificial insemination using imported frozen semen or importing a mare already in foal to a studbook stallion. Late last year Australia welcomed its first Studbook stallion, with the importation of Maiko 373 from the USA. The USA has the second largest collection of Studbook stallion’s outside of the Netherlands. A studbook stallion is easily identified by the three numbers following the stallions name. The three numbers refer to the
stallion’s order in the Studbook. The higher the number, the more recent the Stallion’s approval. Friesians from the main Studbook generally attract a higher price than those registered in the B books. The papers for horses within the Main Studbook are yellow.
B-Book I To promote and encourage quality breeding in countries where Approved Stallions are rare (such as Australia), and success with frozen semen is limited, there is a subsidiary registry within the studbook system referred to as B-Book I (in Dutch, Bijboek-I). Foals can be registered in B-Book I when the sire is a registered Foal Book stallion that has been granted approval by the KFPS for a limited breeding permit under specific predefined conditions. Foalbook stallions can be identified on the registration papers as V.B., Vb or vb. (referring to ‘Veulenboek’ or Foalbook) following any sire’s name or registration number on the upper branches of the
THE FRIESIAN STUDBOOK It is fair to say (especially for those that are new to Friesian horses) that the rules of Het Friesch Paarden-Stamboek (KFPS) are complex – and that’s putting it simply! The complete Studbook of the KFPS contains five separate books and each book has a number of registers. The primary goal of having such a set up is to identify the differences between the registry and status of each horse, with the aim of improving and preserving the breed overall. Evaluation of the quality of foals and adult horses is done by the KFPS, with consideration to movement and conformation 60% and 40% respectively.
ancestral tree. To be considered for a breeding permit, a stallion must have attained a ster rating (refer later in this article for definition on ‘ster’), pass a series of vigorous tests, including semen analysis and x-rays and must also have been through at least two rounds of the stallion classification. They are the best of the ster stallions and must have the sport predicate (refer later in this article for definition on ‘sport’), or have had an IBOP (Individueel Bruikbaarheidsonderzoek (Friese) Paarden – or dressage/driving suitability test) result of at least 77 points or equivalent performance results. Descendants of B-Book I mares can be elevated to the main studbook after three generations of breeding back to an Approved stallion. Horses within the B-Book I register are given brown papers.
B-Book II There is a second subsidiary registry within the studbook called the B-Book II (Bijboek II). This registry is for all
purebred Friesian horses that were bred using a stallion WITHOUT the breeding approval of the KFPS. In some associations, this type of breeding is discouraged and the horses are considered not eligible for registration. B-Book II horses can be identified by their distinctive blue and blue/pastel-papers.
D-Book Due to demand from the membership, the D-Book has been recently implemented to allow breeders to register horses where the dam is a KFPS registered mare (from any of the books) and a stallion approved for breeding with the German Friesian association or FPZV (Friesenpferde-Zuchtverband). Foals resulting from a stallion previously approved for breeding with the KFPS, but disapproved on offspring and subsequently approved for breeding with the FPZV can NOT be registered in the D-Book.
Premiums Foals, yearling and two year old mares, stars and the higher quality studbook mares and geldings can receive premiums (in Dutch, premie) when they are judged. On Keuring day, a first premium horse demonstrated better movement and conformation than a second premium horse, which demonstrated better movement and conformation than a third premium horse. Foals – judged for racial type, frame, development, walk and trot. Score between 1 and 10. 1st premie – 36 points or more and average 7 or more for movement. 2nd premie – 33 to 35.5 points, no points of 5 or less and at least 6.5 for movement. 3rd premie – 29 to 32.5 points, no 4’s or two or more 5’s, and at least 5.5 average for movement No premie – lower than the above. “No premium” foals can result from many factors including genuine faults, poor quality, temporary unsoundness on Keuring day, unacceptable white b a r o q u e h o r s e 43.
The Crown predicate is a predicate to which exterior and sportaptitude requirements apply. Selection for the (preliminary) Crown predicate takes place during the Central Mare Show/ Centrale Keuring. This is the main Keuring for mares that were awarded a first premium at the breeding days and Keurings held during that same year. Selection for the Crown predicate can (in foreign countries outside The Netherlands) also take place at the respective Keurings abroad. The requirements for consideration for the (preliminary) Crown predicate are: • Minimum age is three years old. • For permanent Crown status the mare must complete an IBOP or ABFP test before the end of the calendar year following the year in which she made preliminary Crown with a minimum score of 77.0 points and an average of 7 for walk and trot. If the Sport predicate is earned within that time frame, that will also convert the preliminary-Crown status into permanent Crown status. • Minimum height at the withers 1.58m/15.2 hands.
Model Predicate
markings, inability to show on the day etc. Among adult horses, Approved Stallions and younger Star Mares and Geldings are eligible to receive a first or second premium. The higher quality studbook (non-star) mares and geldings may receive a third premium. In the case of multiple premiums over different Keurings, the most recent is the most important. Foal premiums may or may not be relevant indicators of a horse’s quality as an adult.
Star/Ster Predicate The Ster predicate is awarded during inspections of horses from the year they are three years of age. To be considered for the Ster predicate the horse needs to meet minimum requirements for exterior, movement (in hand), and height at the withers (minimum height 1.56m/15.1 hands). The Ster predicate may be awarded to mares and geldings in the Studbook register, and Foalbook stallions. The awarding of the Ster predicate for mares and geldings can take place at the same time as Studbook entry. Foalbook stallions with the Ster predicate that are gelded keep their Ster status. Foalbook stallions can become Ster at a Keuring in the year they are two and half years of age. Mares and geldings for admission to the adult Studbook – judged for racial type, frame, feet and legs, walk and trot. >7.5 average score – admitted to studbook with 1st premie (automatically ster) 7 – admitted to studbook with 2nd premie (automatically ster) Between 6 and 7 – admitted to studbook, 3rd premie 6 –admitted to studbook, no premie <6 not admitted in studbook For any score that is 4 or less than 4, no entry in studbook Foalbook stallions can only be judged for ster, not for a premie.
Crown/Kroon Predicate 44. b a r o q u e h o r s e
The Model predicate is a predicate to which exterior and sportaptitude requirements apply. The best mares of the population are considered for the Model predicate, with the term itself indicating the mare is a “Model” for the Friesian breed. Awarding of the (preliminary) Model status takes place at the Central Mare Show/Centrale Keuring, as selected from Star and Crown mares that during the breeding days in that same year were awarded a first premium. Selection for the Model predicate can also take place at the respective Keurings abroad (outside The Netherlands). The requirements for the (preliminary) Model status are: • Minimum age is seven years old. • The mare must have produced a foal or have a foal on her. • For permanent Model status the mare must complete an IBOP or ABFP test before the end of the calendar year following the year in which she made preliminary Model, with a minimum score of 77.0 points and an average of 7 for walk and trot. If the Sport predicate is earned within that time frame, that will also convert the preliminary-Model status into permanent Model status. Minimum height at the withers 1.60m/15.3 hands. •
Sport Predicate The Sports Predicate can be awarded to mares, geldings, and stallions that achieve good results in competitive sport. The Sport predicate can only be obtained based on results achieved at shows registered with approved federations. The sport predicate can be achieved by dressage or driving.
Preferent for Mares Mares registered in the Foal Book and the Studbook may become Preferent on offspring. The Preferent predicate needs to be requested with KFPS. Preferent status may be requested both by the owner of a mare or by the owner of (one of) the offspring. Preferent status may also be requested posthumously. Preferent status for mares is granted when
the mare in question has produced at least four quality horses (hence she is the “Preferred” mare to breed from!). Quality horses are considered: 1. Ster or Model mares. 2. Ster geldings. 3. Foal Book Ster stallions. 4. Studbook stallions. 5. Stallions that made the second viewing of the stallion inspection.
Preferent for Stallions The Preferent predicate can be awarded to stallions that have a lasting, special influence on the breed. For consideration for Preferent, the quality of the offspring will be tested for the breeding-goal characteristics. The lasting value of a stallion is evaluated based on the offspring produced that have determining roles in the breeding of Friesian horses such as Preferent mares, stallion dams and (based on offspring) approved sons. Performance-dam/Prestatiemoeder Predicate The predicate Performance dam/Prestatiemoeder is awarded to mares that have produced three direct offspring that were awarded the Sport predicate.
Linear scoring This is a system to score a horse against twenty breed/racial characteristics. In some traits, it is more desirable to have a low score, whilst in others, it is the opposite and a high score is a better result. A good example of this is the score for the head. To the left of the sheet is ‘plain’, whilst to the right of the sheet is ‘noble’. Obviously a higher score towards noble would be more desirable for the head. The opposite is true of the score for hind legs. To the left of the sheet is sickle hocked, and to the right of the sheet is straight hocked. Neither of these extremes are ideal, and it is much more preferable to score close to the midline. Linear scoring is used for admission to the studbook. The summary row on the bottom of the form determines the premie of the horse. A linear scoresheet is a very powerful tool in a breeder’s toolkit. Armed with the linear scoresheet of an individual mare, it is then easy to see in which areas she has strayed from the breed goals and which areas need improvement. It is then a matter of finding a stallion with complimentary areas on his offspring linear scoresheets, with the hope of finding that ever-elusive perfect match! It would also be pertinent to point out that sometimes the papers are not the most important aspect of purchasing a Friesian. Here in Australia, we have a high number of B-Book horses simply due to our geographic isolation and poor record with frozen semen. There are some fantastic quality horses out there that should not be discounted simply because they may have been born into the ‘wrong’ book, but with both parents ster! With that in mind, however – the goal of any breeder should always be to improve upon the two individuals being bred from – and thanks to the hard work of many breeders here in Australia, we have some wonderful stallions from which to choose and new mares and bloodlines constantly being imported. The future for the Friesian is very bright here indeed, Down Under! a b a r o q u e h o r s e 45.
BHM talks to..
Classical Trainer,
Part 2 of Interview with Sylvia Loch
Writer & Lecturer
www.classicalriding.co.uk
Interview by Danielle Skerman
Sylvia Loch Photos by Lesley Skipper
BHM: many people ask what is classical dressage.. what is it to you? SL: In l990, I wrote a book - some might call it a tome - since it was quite academic, lengthy and based on historical fact, which many would say answers this question. That was after all its main purpose. At around 140,000 words if I remember correctly, it was also liberally illustrated and I gave it the title Dressage, the Art of Classical Riding .
“ Had it not been for the horses, I could never have written any books. It has been their gift to me, but it has been wonderful to study the old Masters which have validated all I feel and believe. “
Today it is still in print in this country and the US and it has been translated both into German and French which I regard as an honour. I believe my book has a greater following on the continent of Europe than in the United Kingdom today, but this comes as no surprise. It has only been in the last 40 years or so, that the British have turned from hard, fast, sporting riding to embrace the work of the manege again.
English still fought hand to hand combat for which they required a sensitive well schooled horse with lightness in hand, all important to aid them in battle - and hunting only indulged in by kings - come these wise words. Equitation is confessedly a Science; every science is founded upon principles and theory must indispensably be necessary, because what is truly just and beautiful cannot depend upon chance.’ Earl of Pembroke, London, 1778.
Whether competition dressage and classical dressage are the same - depends entirely upon the way in which the horse is ridden. Hopefully, by quoting from the various authorities, I highlight in the first chapter of my book, the reader can make up their own mind.
I then go to to explain that competition dressage is a relatively modern ‘invention’ but that the Art of classical riding as described above is as old as the hills. Unfortunately, that is not necessarily how some riders view it today. People like to put things into boxes and all too many think ‘classical’ is different. Well, if ‘different’ means educated and good, I’ll go with that. But should it be different? Certainly not, even though people’s perceptions of a how a dressage horse is trained, seem to have changed.
To help, I particularly like these two quotes from two contrasting eras. ‘Riding is pleasant and can be made an Art. And who would not be an artist? Only those, however, who try with their whole soul to understand the horse’s psychic disposition and who endeavour to establish pefect harmony by sensitive feel instead of crude force, are entitled to be called artists.’ W. Müseler, Germany l937. And equally, enlightening from a time when the 46. b a r o q u e h o r s e
So why has everything been polarised? As a teacher, I have come to realise that many people who do dressage have never been taught the classical principles, which are those based on Nature’s laws, gravity, locomotion, etc; neither do they have any inclination to study them. Some are quite happy to get on a horse that may or may not have been schooled by someone else and compete. To help them on their path, many find a trainer. The difference between a teacher and a trainer is generally that the teacher focuses on the rider, the
Sylvia is an accredited Instructor of the Portuguese Equestrian Federation, Founder of the Lusitano Breed Society of Great Britain and of The Classical Riding Club. Photos by Lesley Skipper
b a r o q u e h o r s e 47.
trainer on the horse. Often that trainer will be a competitor themselves, maybe even a judge. Unfortunately, this does not necessarily indicate they can teach. It is very possible they neither have the intuition or the theory to help the rider ride better. The average trainer makes up for this, by being very quick to tell his student what to do. Ride a half-pass! Get him on the bit! Ride deep! Show some lengthening! Make a transition! etc etc. The busier the rider is kept, they less they are likely to become a nuisance and question. If this sounds a bit cynical, so be it. Unfortunately, there are plenty of trainers who do just that and get paid good money. Fortunately, there are also trainers who first address the rider and who have the knowledge to help them progress their horse. Unfortunately, they can be hard to find. It takes real understanding not only of the horse’s biomechanics but also that of the rider to give a good lesson. People seems surprised when one spends half the time correcting their position, when their previous experience has only been about correcting their horse. Those who really want to learn, are pleased. Those who only want results feel it unnecessary. It is fascinating when a new student arrives for a lesson. I generally know which ones won’t return, and which -
luckily the majority - will be begging for more. I am not saying this out of conceit, but generally they don’t come here in the first place if they are not prepared to be corrected before we start riding wonderful movements. To sum up therefore, riding is both an Art and a Science. Without an understanding of both, we can theorise all we like, but are unlikely to make much difference. There are by the way, some very odd theories going about, even in the so-called ‘classical’ world - but that is another story! For me, the basics have not changed much since the days of Xenophon (around 400 BC) and certainly not since the days of Podhajsky, Director of the Spanish Riding School of Vienna and part of the Austrian Olympic team, who died in 1973. In other words the practice of Dressage and particularly at the higher levels is almost impossible to achieve without principles and points of reference. Which brings us to kindness, understanding the horse’s body and his psyche and a total lack of brutality in training. We must remember that of all the sports and disciplines that will thrill the crowds at this year’s London Olympics, only one involves a living, breathing, sentient creature - other than ourselves. While showjumping and eventing etc do not purport to be anything other than an exciting, often
breathtaking sport, dressage is in another league. It is supposed to show the harmony between horse and rider at its highest level and reflect how the horse would move in Nature. My thinking is this, until dressage judging addresses these ideals and make it quite clear through the mark process that only horses that are light, balanced and well engaged should score high points, dressage cannot be deemed classical. Increasingly, over the years we are seeing horses forced out of their natural balance. I refer of course to horses that cannot see where they are going, horses ridden in tight reins, on the forehand and with hindlegs that can scarcely bend.. Xenophon wrote ‘Anything forced can never be beautiful....’ He compared the movement of the horse to that of a dancer and pointed out how painful spurring would extinguish the dance. All this goes to show that even in those days, there were good riders and bad riders. The difference is today, that bad riding seems to be rewarded. Horses that carry their heads in an unnatural position overbent and pulled towards their chest - are not penalised! The all-important lightness of the forehand, an ideal that the FEI rules themselves purport to uphold are flagrantly disregarded by many riders and yet no one seems to mind!
“Together, we can change the world... even in dressage!” Pic left: Old Masters of Sieur de la Gueriniere (l8th Century)
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Thank the Lord, there are still some riders out there who do ride classically, who do allow their horses to carry the poll at the highest point, and who are able to move through the different manoeuvres effortlessly and easily. My problem is - it seems too many judges do not reward them and perhaps don’t even know the difference!
Pic: Turn on the haunches teaches the horse to step under and take the weight back
Until this state of affairs can be seriously addressed through the judge training system, I shall continue - I’m afraid - to highlight these concerns, write books and articles and lecture on the subject - until there is a sea change. It was for this reason that I started the Classical Riding Club to encourage all those who feel the same. Together, we can change the world... even in dressage!
Pic: Encourages the horse to pick up the hind feet and flex the hindlimb joints
BHM: For people who are making the transition into classical dressage, what bit of advice would you say for them to get started? what is the most common bad habit you see of those who haven’t started riding the classical way? SL: For people who are making the transition to classical dressage, my advice is similar to the Scout movement motto - Be Prepared!
Pic: This shows the horse moving from the quarter pirouette to the demi pirouette but should only be attempted when the horse is confirmed in the quarter pirouette first.
First, be prepared to be amazed. You are about to start a journey that will take you through your life and leave you at the end, breathless and full of wonder and gratitude. The thing is you never come to the end of that
journey, because there is always more to learn - and that is the beauty of it. Travellers along the way, may have to take a few steps back before they start the journey. I know I did. You’ve been riding for years, it all seems very understandable, you know the basic aids and can get a good tune out of your horse, so what’s the big deal? The big deal is that to attain an understanding of the aids which will allow you to ride a horse subliminally, almost without thinking, takes time, practice and above all a positive but enquiring mind. This is serious brain stuff - because the physical is ultimately controlled by our heads, feeling and understanding can only come cerebrally. While Lightness is the aim of every classical rider, it cannot be achieved over night. It can take many many years. And I am not talking about riding around with loopy reins. I am talking about a horse that is so well engaged behind that he can turn on a sixpence, go from ‘0 to 60’ like a Ferrari, move forwards, backwards, sideways, even up all at the touch of ‘button’ on his side. That feeling of complete and utter partnership and contained power is the most heavenly feeling in the world. But to achieve that for yourself, to teach a horse from scratch, to be able to synchronise his body with yours is a lifetimes pursuit. The best way forward is to take some lessons on a schoolmaster. But if the ‘schoolmaster’ is heavy on your hands and requires a lot
Photos by Lesley Skipper b a r o q u e h o r s e 49.
of physical activity from your legs and seat... forget it. Look elsewhere. Your introduction to a schoolmaster should give you the feel of a horse that is collected, so you can understand that the balance has to be behind you and not in front and who will respond to the ‘breath of your boot’. Only when you’ve felt that will you know what you’re looking for and this is very important because without that feel you won’t know what you are missing.
amazingly forgiving and once they feel the new you, the one that listens to them, wants the best for them, and is trying they really do seem to know. Always give them the benefit of the doubt, always reward the tiniest step forward. Remember, riding is a discipline for you and the horse. By being disciplined yourself, they too will grow in confidence, stature and ability.
Be prepared also, to have some pther riders, even friends, laugh at you. ‘You’re not going to go down that road - are you?’ they say. However kindly meant, they are only saying this because they themselves have obviously rejected that road and perhaps don’t have either the imagination, the desire or the open mind, to try it for themselves. It is much easier to stay in a rut if you have built yourself a comfy space there. Be prepared to feel a complete failure. There will be regular bouts of humiliation because you know what you want, but your own body - normally quite controllable - suddenly feels awkward and does the opposite of what you thought you had told it. Be prepared for your horse to laugh at you. Until you are acquainted with the correct classical aids, he will continue to do most things from the front end and if you try to ride him from behind, he may turn round and say - ‘I don’t have a clue what you want! Ask me properly and I might give it to you!’ ... only in the first stages of doing things correctly, it’s not that easy! Be prepared to say sorry. Horses are 50. b a r o q u e h o r s e
Pic: ‘Espada (Portuguese for sword) has been with Sylvia 20 years, travelling the length of the. UK to star in films and demos including her Phantom of the Opera routine which used to wow the crowds.’
BHM: do you have a manoeuver that you love riding or teaching? SL: To help people who are new to the ideals of classical dressage but who have never ridden the horse from behind before, I first teach them the quarter pirouette or turn on the hocks at walk. This is such an easy movement for the horse, because no horse out at pasture turns on the forehand unless he is grazing. A horse in movement always turns from behind in other words - he takes weight on his
quarters and moves the forehand around the hindlegs. This of course is taken to a higher degree in canter pirouette - again a natural movement - but under saddle, only when the horse is fully schooled and sufficiently engaged to take us with him. I have described the turn on the hocks in walk, over and over again in my books and shown it in my DVDs, therefore I am not going to enlarge on the Aids here. Nevertheless, I will say it is more about the outside rein and outside leg than it is about the inside. For many riders, it is the first introduction to the weight aids. Without the correct weight aids there can be no classical riding. Weight affects our balance, it affect the horse’s balance, so to dispense with weight aids is like saying to the pilot of a passenger plane, don’t worry about where the passengers are placed, don’t worry about the luggage. In much the same way as the plane, incorrectly placed weight can both ruin horses’ gaits, or liberate them to such a degree you think - how did I ever ride without these? Oh, and by the way, as regards horses, weight aids have to be applied subtly because otherwise they don’t work. So to sum up the exercise of the quarter pirouette (90 degree turn) on the haunches. It has many advantages. It relieves the forehand of weight. It teaches the horse to engage behind. It supples the horse in the movement and straightens the horse out of the movement. It is for me the first step towards helping the horse to collect or come to the bit without force. It teaches balance. And most of all it gives the rider a real sense of achievement and awareness to know they can start to ride the horse from behind. And what a different feel that is! a
www.classicalriding.co.uk
ISBN no. 0-948253 46 0 Published by Kenilworth Ltd www.countrybooksdirect.com
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The
Lipizzaner Written by Séverine Tocaven, Photos as credited.
When someone talks to us about Lipizzaners we immediately think of the magnificent horses of the Spanish Riding School in Vienna. But the Lipizzaner is so enigmatic as it is both popular and unknown at the same time. The Lipizzaner’s history dates back to the 16th century when the Hasburg royal family decided to open a stud farm in the county of Kras, in a village named Lipica, located in Slovenia. The royal family wished to breed a race of horses to supply the imperial school in Vienna.
Some years later, in 1580, Archduke Charles II also opened a stud farm in Lipizza. From this time onwards, Spanish horses were purchased and brought back to Austria where numerous cross-breeds were produced between them and the Kras horses. From 1595, the Archduke received some 30 stallions every year stemming from this new breed.
At Kras, numerous cross-breeds were produced between the native horses of Lipizza (formerly named Lipica), but it was only at the end of the 16th century that some Andalusian blood was brought in to produce a strong and agile horse. It was in 1562 that Maximilien, the brother of Archduke Charles II, opened a stud farm at Kladrub (Bohemia).
Lipizza was then provided with other stallions from Italy (Polesina), Kladrub and Fredericksborg. The real basis for the Lipizzan race came at the end of the 18th century, under the reign of Empress Marie-Thérèse, with the settling of the male and female lineages.
The six founder lineages correspond to six stallions: PLUTO, born in 1765, of Spanish origin, grey, from Fredericksborg CONVERSANO, born in 1767, black, of Italian origin
MAESTOSO, born in 1773, grey, also from Kladrub
FAVORY, born in 1779, isabel, from Kladrub
SIGLAVY, born in1810, grey, from Arabic origin.
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NEAPOLITANO, born in 1790, bay, from Napolitan origin
Siglavy Cimbola at SA Champs, Levade. This was taken at the South African Dressage Championships in Cape Town in 2011. Photo by. Tracey Robertson. The handler is Chief Rider, Lilian Moller. b a r o q u e h o r s e 53.
These lineages are the only ones accepted at Lipizza and at Piber (AUT).
According to the different national stud books, the horse can exhibit some variants. Horses are marked with an iron and wear three brands:
However, two other lineages are recognised by the International Federation of the Lipizzaner (LIF www. lipizaninternationalfederation.eu) – the Tulipan and the Incitato. There are also 18 founding lineages of females.
• •
the initial letter of the male lineage (“F” for Favory, for example) a number indicating the chronological order in the breeding a distinct sign indicating the maternal grandfather’s lineage.
Beyond these classic lineages, around 30 sub-families stemming from national or private stud farms have been added since the end of the 19th century.
•
Initially, the colours of horses were different, and as the first choice for the royal courtyard was the grey, selection was oriented on this colour.
When breeding is not about paternal lineage but of the maternal grandfather, a sign is used to differentiate:
Foals are born a darker colour, but the mature horse is generally grey. The contribution of the lineage Siglavy fixed the colour grey as dominant in spite of the existence of a few bay horses which are always produced. The Spanish Riding School of Vienna always preserves a standard bay stallion for working. All this work of selection and crossing makes the stud book of the Lipizzaner the oldest one in the world. Presently, the Lipizzaner can measure between 1.55m and 1.65m at the withers, ideally between 1.55m and 1.58m for a fully grown male; females are smaller. The longevity of the Lipizzaner is superior to the average, often reaching 25–30 years. The horses’ head shape is important, with a convex profile and wide nostrils,
Priama, with her first daughter, the little “Bradamanta” whose father is Maestoso Basowizza
and it seems to be a strong horse with a well defined wither and a long back. The croup is powerful and developed, the joints are wide, and they have dry tendons and strong feet.
Pluto
Conversano
Favory
Maestoso
Siglavy
Neapolitano
In regards to the identification and the name, the race follows a few rules. Males have a double name – the first one is the name of the traditional lineage of the father and the second is the name of the mother. The foals receive the name of the family or the sub-family, with a number indicating their chronological order in the breeding.
Finally, on the left thigh is the first letter of the stud farm from which the horse originated (for example, “P” of Piber surmounted by the crown of the Emperors of Austria).
LIPIZZANERS WORLDWIDE Today there are approximately 3500 Lipizzaners worldwide. Presently, 40% of them are on American territory. The clubs and societies around the Lipizzaner are very rich and diverse in the United States with: • • • • •
LANA (Lipizzaner Association of North America (www.lipizzan.org)) MALA (Mid Atlantic Lipizzan Association (www.malalipizzan.net)) South West Lipizzan Association (www.southwestlipizzan.com) United States Lipizzan Registry (www.uslipizzan.org) Western States Lipizzan Association ( www.westernstateslipizzan.org) .
Europe still has some large breeding dispersed across several countries: • Piber in Austria (200 horses) (www.piber.com) • Lipica in Slovenia (historic stud farm (www.lipica.org)) • Szilvasvarad in Hungary (www.menesgazdasag.hu) • Sambata de Jos in Romania • Dakovo in Croatia • Topolcianky in Slovakia (sk.nztopolcianky.sk) • Monterotondo in Italy. 54. b a r o q u e h o r s e
These are the “traditional” European stud farms.Despite these large European stud farms, other breedings and structures have been developed to push the production and the value of the Lipizzaner: • South African Lipizzaners à Kyalami (www.lipizzaners.co.za) • Lipizzaner Association of Australasia (www.lipizzaneraustralia.org) • British Lipizzaner Horse Society (www.lipizzaner.org.uk) • Belgian Lipizzaner Studbook (www.lipizzaner.be) • Lipizzaner Stamboekvereniging Nederlands (www.lipizzaner.nl) • Lipizzaner Zuchtverband Deutschland e.V. (www.lipizzanerzuchtverband.de) • Norsk Lipizzanerforening (www.lipizzaner.no) • French Lipizzaner Federation (www.lipizzan.fr)
‘Priama” Photo MF Chevallier Le Page
“Bundesgestüt Piber : Spanische Hofreitschule” Photo MF Chevallier Le Page
A STORY MARKED BY CONFLICTS During their history, Lipizzaners have been at the heart of European military conflicts, and they were moved many times to escape war. In 1797, during the conflict between Prussia and the empire of Austria, the horses were moved from the stud farm of Lipica. They returned the same year to find the stud farm destroyed. During the battle of Austerlitz in 1805, they were taken again and returned in 1807. And while being moved again in 1809 due to the Treaty of Schonbrünn, many horses were lost. Finally, in 1815, at the end of the Napoleonic wars, Lipizzaners could finally rejoin their stud farm. The war continued in Europe, and at the end of World War I the province where Lipica is situated was taken over by Italy during the Treaty of Versailles.
The Spanish Riding School of Vienna supplied as of 1920 with the stud farm of Piber in Austria. This stud farm was created in 1798 and received Lipizzaners as of 1853.
farm of Hostau, so the American Army forced the German prisoners to disclose where the horses were so that the allied forces could find them before the Soviet citizens.
World War II put the Lipizzaners in danger once again. The Nazis took horses to send them to the Czech Republic to the stud farm of Hostau, and the ally’s bombardments carried out of Vienna forced the movement of horses towards Martinmas in Austria.
General Patton gave the order to Colonel Charles Reed on the 28th of April 1945 to bring the horses back behind the Soviet line. Only 250 Lipizzaners survived and the race was saved. The United States successfully reclaimed horses to pursue breeding, in particular at Temple Farm in Illinois.
When the area of Martinmas fell under the control of the American army, Aloïs Podjasky, who was manager of the Spanish Riding School during that period, convinced General Patton to give his protection to the Lipizzaners, so they could return safely to Vienna at the end of the war. Towards the end of the conflict, the Soviet threat encroached on the stud
It is very exciting to see this horse having so many associations and structures being dedicated to it everywhere in the world. And as there is not a large number of Lipizzaners, each distinction in competition is praiseworthy for this breed. pic below: Favory Modena in Courbette at an outside performance for Century Property Group. Photographer Natalya Michalakis
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Pic left: 257 Favory Pallavicina ‘Merlin’ owned by Annwn Park Lipizzaner Stud
AND IN FRANCE? In France we can find one of the biggest European breedings of Lipizzaners, the stud farm Haras des Elfes Blancs – located in Réalville in the south-west of France – which has approximately 300 horses including 140 brood mares. Between 50 and 60 foals are born every year. The manager, Jean-Claude Olivier, produces horses for all disciplines – training, show jumping, the three-day event, horse ball, driving, and more. Moreover, he is the owner of horses which allowed Benjamin Aillaud to reach the highest world level of four in hand driving. Several breeders and users of Lipizzaners got together within the Fédération Française du Lipizzan (FFL) to ensure that the expansion of the breed and the communication on their sporting achievement continues. Madam Marie-Françoise Chevallier Le Page covers the presidency and wishes to develop an effective partnership between the breeders and the users. This association,
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Above: Photo MF Chevallier Le Page
thanks to its Facebook page, facilitates exchanges between the breeders, horsemen and riders of Lipizzaners worldwide. Madam Chevallier Le Page hopes to encourage people to discover more about this horse and convince riders to own one. Marie-Françoise Chevallier Le Page, president of the FFL, and its stallion Pluto Romina 52, stud farm “Haras de l’Etalon Blanc” (FRA) Madam Chevallier Le Page also owns a stud farm in Normandy – Haras de l’Etalon Blanc – which breeds Lipizzaners native to Piber (AUT). Her stallion, Pluto Romina 52, does reproduction and leads a brilliant career of a horsehorse dressage competition. Pluto Romina 52 in training, stud farm “Haras de l’Etalon Blanc” (FRA). Even if this race has been known for centuries for its many complications, the Lipizzaner is really a horse promised to a beautiful upcoming, he only asks to be discovered and esteemed for his several performance. a Marie-Françoise Chevallier Le Page with her stallion Pluto Romina A Hausberger is riding -on the ad- the famous Maestoso Basowizza
Above: Photo MF Chevallier Le Page
2nd annual Andreas Hausberger* Dressage Clinic 1st-3rd September, 2012
Haras del’ Etalon Blanc Haras de l’Étalon Blanc Ménerval - Normandie (France)
*Chief Rider of the Spanish Riding School in Vienna
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www.naturallyclassical.com
Jenny Ro passion lfe has been ate ab out horse s since ch spend ing mu ildhood, ch tim obser vin e native g herds of ponie s, learn about ing their natur and wa e ys. Ov er yea she de rs Let Je vel for dre oped a lov nn e ssa breath y Rolfe in the me ge but felt troduc ing. Le thods taugh impo e ar t rtant connect could not conn n to use th you to inno bring ion she ection about As he fel that all t with with e power of vative tech r riding ponie horses by Ibe progre ni su s as a rian ho ssed, child. and ha btle ener ques of co Jen rses an travel gy re led to rmon d classi ny became Po inspir cal tea train y in ri to find true rtuga ed the l with ching ding. he an her pa re. On her return r Spanish sta d th to the llions Spanish of discover UK to y. Throu stallio , Jenny powe continu r of bre n, Delfin, she gh listening ed athing to her the ho – From first as a pro learned the rse am found changes . She belie the Fo Includ connect azing rewor in energ ves that bre langu ion wi es fasc d by Ja y are age of th the ke athing and inatin ne Kidd the he y to subtle ‘My dr rd an g case d harm learning the Durin eam of studie ony in g her life she da riding s from experi nc . ing w ha ences ‘Jenn Jenny’s to help s drawn on ith a w in tra y’s be ining ma for co studen teachi mulat ny div illing me po . Years paren e her ng ha and ha spent ts: t, caring ss uniqu erse ib nu le s e conc rsing ppy ho .’ – Ge empo behavio for and epts ural pro children mma wered rse ha with ch as a foster the aw blems s me to arene allengin ss need , have helpe both believe g horse ed to d Jenny s an evalua in mys horse to gai te res n nor rid d students. el po f.’ nses of She be er recep – Rebe lieves tive. Th can learn cca that unles e bo family relation nd of trust, s they are neither calm essen and tial ing ships of the sadly missi ng redien foster t for tra children in the Jenny ining is also the ho , is an the au rse. (the suc thor of cessfu Ride Fro contr l book ibu an m UK an tor to top eq d DVD) an the Heart d abroa d a reg uestrian ular husba d. She nd lives in magazines in the her sta Barrie, wh ere she north Devo llions n with and tea co come her from ches stu ntinues to all ov lea stallio dents er the ns an and cli rn from world d study ents, wh to wo her me o The au thods. rk with he r thor can www.s be co panis nta cted thr The au hdres sageh thor wil ough orses. her we procee l dona com bsite: te part ds fro m of the Christ ians Ag this book to For a ainst the ch co Pover arity J.A. Al mplete lis ty (CA t of P). len, Cle 45–47 rkenw equestrian Clerke ell Ho book nwell us s and Green, e, DVDs , cont Lond act: on EC 1R 0H T
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This is a series of articles which will help to transform your relationship with your horse, through techniques of core breathing. This journey of enlightenment for me, began many years ago as I was training Delfin my beautiful ex bullfighting Spanish stallion. On one particular day, when we were working in our outdoor school, Delfin was totally inattentive to my usual aids. My frustration grew and my aids became much stronger. He was more concerned with some mares in a nearby field and he was just not willing to listen to me. After several minutes of total inattention, I gave a deep sigh of despair. I then took a deeper inward breath followed by an outward breath and immediately I felt a change. Delfin was tuning in to ME, listening and responding. He moved forwards from my outward breath and as I inhaled, he came back to halt. I was amazed and then repeated this way of breathing, with the same results. I decided to finish the session of training on this more harmonious note and wondered if Delfin would respond in a similar manner again.
breathing and energy exchange to create a deeper connection with the horse.
I experienced huge anticipation before my next ride, but I tried to be calm and attentive to focus on my core- breathing. Delfin again, responded immediately and I felt a huge feeling of elation as this highly sensitive, intelligent horse was trying to teach me a crucial lesson on how to match his sensitivity. He was well advanced in his dressage training and many people said that they could watch him all day such was his great charisma. Over many years I have continued my exploration and now help to empower riders from across the world, to feel the power of
Correct core breathing is similar to filling a glass of water - from the bottom to the top. Once the glass is full you empty it from the top to the bottom. This is similar to our pattern of breathing as we breathe air in from our core which fills our upper body. The outward breath releases through our upper torso and flows down into our core. In this way balance and energy flow can be controlled by breathing which will assist the horse in his own self-carriage. Try this exercise, which demonstrates how core breathing can create more energy. Pick up a ball and throw it to a
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Front cover illustra Back cover tion by pho Back flap pho tos: Bob Annie Wh Atk iteley Desig n by Pauto: Bob Atk ins (left), Barrie ins l Saund Rolfe ers
£22.50
Picture below Jennys student ELLA demonstrates the ‘top to toe’ position
partner with no focus at all, on your breathing. Before you throw the ball again, take a deep inward breath as you prepare to throw the ball. Then exhale strongly and direct the energy towards your hand as you release to throw the ball. As you direct the energy from your breath into your arm, the ball will be thrown with much more intense power and speed. If we can influence energy when throwing a ball, through focus on our breathing, how much more can we influence a sensitive horse. CORE BREATHING- BUILDING YOUR AWARENESS
CORE-BREATHING
I
nspire d by th e conn breath ing te chniqu this fo llow-u e p to Ri Heart de Fr is writ te n teache to em rs and pow rider to conn ect with s of all d a rela the ho tionshi rse a p built unders on trus tandin t g. Brea facilit thing ate se lf-cont tec mind, ro l, calm stabili ne ty and enhanc energy s ing ba , thu lance within and ha your rid rmon ing. Jen
Just begin by focusing for a few moments on your core- breathing. Take a deep breath inwards, beginning in your core, allowing your stomach to inflate and fill with air (as if inflating a balloon.) Allow the breath to flow filling the lungs with air. Take the breath into your spine and shoulder blades which will enhance mobility of your shoulders and prevent tightness. Place a hand on either side of your rib cage and feel the inward breath inflate the rib cage wide and full. Keep your sternum (breast bone) relaxed. Then breathe out naturally relaxing and releasing throughout your body.
The inward breath will influence the rider in the following ways: The chest will expand and widen, the abdominal area inflates creating more stability and power. The body is re-charged with vital energy The spine will strengthen and lengthen- giving stability to your upper body. The thigh will strengthen, stabilising the seat. The body will naturally re-balance. The DEEPER inward breath is the essence of the half-halt in training.
The horse will mirror our relaxed state of mind- Habil closing his eyes responding to my deep sigh’
The outward breath will send a ripple of energy down, through the spine. This releases the lower back (below your waist) a movement similar to sitting on a swing and pushing it forward. This is far more subtle. Allow the release of the pelvis and the energy from the outward breath to encourage forward movement from the horse. You can practise this whilst walking and feel how the body naturally ebbs and flows with a focus on core- breathing, like a wave in the sea. MAKING THE CONNECTION When we are fully aware of our thoughts, body language and breathing we can communicate with the horse in a most profound way, connecting with his world. Our busy, over active thoughts can become more tranquil as we connect through core-breathing with the ‘here and now’ and allow our mind to be, just in the moment. In this way we learn the personal power of just feeling, being and allowing. Just think for a moment how much we rely on using arms and hands. From the time we wake up in the morning we are making breakfast, driving a car, then shopping, cooking and looking after our horses. We are constantly using our hands to connect, yet when we sit on the back of a horse, we need to think of an initial connection from our seat and core. It is too easy to ride the horse using too much strength through our arms. Within our busy lives we are full of concerns and plans, often multi tasking. To truly connect with the horse, our mind needs to be more calm and focused. Breathing awareness is the key to support a relaxed mind which encourages the horse to want to be with us. We are offering him a place of security where a relationship of trust and harmony can be built.
Homework: Just spend some time walking – be aware of your core breathing – become aware of your posture – feel the ebb and flow and energy of your breathing. This will become your connection with your horse.
Jenny gives clinics with her Iberian stallions. Her books and DVD ‘Ride From the Heart’ and ‘Breathe Life Into Your Riding’ are available from her web site www.naturallyclassical. com. a
Jenny with her Spanish stallion DELFIN her inspiration and greatest teacher
My articles will teach a system of total body awareness ‘top to toe’ to help you to become more tuned into a natural posture for riding, enhanced by core breathing.
www.naturallyclassical.com
b a r o q u e h o r s e 59.
Theo Blaickner Film Performance Werbung Interview/Article by Danielle Skerman Photos Marianne Antensteiner & ‘supplied’
It’s a majestic sight. A man and his steed with the presence of the king of horses – a horse that is strong, proud and loyal, his lustrous coat as black as night and mane as wavy as the tide on a windy day. Standing in the pure white snow, the pair looks alert, searching and waiting for one more king – the king of birds. Soaring towards them in a breathtakingly seamless movement, the eagle gently lands on the man’s outstretched arm. This sight is not something that you’ll see often, but it’s one that will linger. It is Theo Blaickner, expert horseman and falconer from Austria, whose passion is training horses for film, advertising and performances. Theo has a strong bond with his horses, mostly Friesians and Iberians, which developed with his mother’s influence from when he was a young child. At the tender age of 12, Theo began his long journey of horsemanship and falconry which has endured to this very day. Many things have influenced the way Theo trains. He says, “I have seen and visited many circuses and learned much from these people, and there was an old man in Innsbruck, Tirol, who was a great teacher – I learnt a lot thanks to him.” 60. b a r o q u e h o r s e
When asked about riding styles, Theo says that Philippe Charles has influenced him immensely. “He is one who inspires. I like the way he deals with horses and his riding style – I like it very much!” Theo has a team of nine Golden Eagles, five Friesians and three Iberian horses that he uses for shows, performances, film and TV. With all his animals, Theo endeavours to charm audiences with his passion for these animals and their natural power of expression. This concept was not derived from traditional shows, it was
www.theo-blaickner.com
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Theo, born in 1949 in Zell, Austria, has a long list of achievements which include Parallel Artistic discussion with Music in 1969, Visual Arts, and Performance Art in 1971. He has studied at the Vienna Jazz Academy and received a scholarship to Berkeley University in Boston with residencies in South America. Theo continues his intensive work with animals, has a studio for visual arts in Linz, and since 1999 has lived and worked in Hinterstoder, Upper Austria, as a performance artist with horses and eagles. Theo is also a member of Secession Vienna and Künstlerhaus Vienna! Over the years, Theo has provided both horses and eagles for numerous films and television series. When asked what his most memorable moment was, Theo recalls the movie “Breath of Heaven”.
more a consequence of what remains of the interpretation of collaboration and interaction between the magnificent birds of prey and the baroque horses. No two shows are ever the same. Theo speaks of what inspires him to create such beauty. “I am artist, sculptor and painter. Animals have been used in art since prehistoric times – cave paintings of animals and, surprisingly less frequently, human beings constitute the first themes of representation, which tell us of hunting, a way of life, and magic.”
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“In one particular scene our horses were required to be filmed in a wild snow blizzard. It was necessary for the horses to be safe and calm with all the activity as the blizzard was being created by a helicopter from above. It was essential that they listen very carefully. This was a particular challenge as there were no reins with which to conduct and control the horses. This was undoubtedly very difficult and proved to be quite a spectacular moment that I’ll never forget.” On occasions, Theo has been used as a stunt double in films with his horses, which has provided many unforgettable moments for him and shall continue to do so. Horses and animals are more than just a show for Theo Blaickner – it’s a way of life, it’s a dream that he lives and loves. a
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Theo Blaickner
Film Performance Werbung
www.theo-blaickner.com
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Interview by Danielle Skerman
Yves Theobald
Impulsion www.impulsion-project.book.fr
Baroque Horse Magazine (BHM) talks to Yves Theobald, a professional commerical/ advertising photographer about his interest and photographing horses with fashion. BHM: What is it about photography that you love so much ? Yves : Photography allows me to live unique moments. Weeks of preparation are involved for a single second of joy. The most amazing thing is that one particular moment of joy will be saved forever. ¬¬¬What I like also with photography is the pleasure of staging, work of lighting, work of settings in order to have my image. BHM: How is it that you came about photographing horses and how do you like it ? Yves : From 2003 to 2010, I worked on an exhibition entitled “Peau d’Argile” or I was doing research for future projects, especially on the skin of animals, mainly elephants. In 2007, I decided to get closer the horses, in order to discover them. I fell in love immediately. The horse fascinates me. He is always on guard. He is very sensitive; It also makes me scared, sometimes. My first question to myself was how to stage a horse, in of an unusual context? then, IMPULSION was born. BHM: What kind of equipment do you use for your horse / fashion photography? Yves: If you speak of photographic equipment, I work with medium format, digital today like Phase One, Hasselblad, etc.. and film photography, mainly in manual mode. I always work in manual mode because I want complete control of my image. I rarely use the traditional format “35 mm” b a r o q u e h o r s e 67.
BHM: Do you have a most memorable moment whist photographing horses?
head. Needless to say, the shoot was over after that.
Yves: Maybe not my favourite, but certainly the most powerful moment with horses: In August 2009, I was in a bullfight arena in the South West of France and it was about 30 °C. The model was dressed in 12 meters of red fabric. Esplandido, a Pure Spanish horse, made two rounds in front of the camera. I wanted to take a last shot however; I suspected something strange about the horse. He stopped and looked at me. I asked the owner if a horse can charge; he laughed and told me that itâ&#x20AC;&#x2122;s impossible. The impossible almost happened. I was lying down on the ground, eyes into my viewfinder, an assistant and a strobe beside me. Esplandido, was watching me. He started the gallop in order to pass a few inches right next to me. An intense stare, ears lowered: a worrying sign ... He runs towards me, on me, I am still flat on the ground. I had a vision...my whole life passed before my eyes in one second. He suddenly stopped with his legs straight and stiff and jumped over me. His front legs 10 cm on my left side, , resting his hooves back 10 cm on my right side. Everything stopped in my
BHM: Impulsion is such a spectacular project, what sort of work is involved to set up a photo shoots like them? How long does it take to organise everyone involved?
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Yves: My photos are planned well in advance. I collect all the teams of people who I need to be involved, it requires a lot of organization. First, I find the horses that I need and would like to use, talk to the owners and make sure all is achievable. I choose and book the models. I then start creating and organising the details, clothing and stying,(example: the blue dress), locations and gathering permissions to photograph there, and the finial detail of the hair and make-up teams etc.. 8 months of patience for one second of happiness. BHM: When creating such a large photoshot, what sort of extra considerations need to be given? Yves: When I decide to scenography the animals, especially horses, there are
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rules to respect: tolerance and patience, among others. Production of an image is very important: location, to choose horses, models, stylist, makeup, hair, logistics, permissions etc. .. It’s like working on a movie scene. Despite my constant wish to find different places, the slogan remains the same: safety for animals and men. Safety first! BHM: What are the inspirations for your pulse images? Yves: This is my representation: I have an imaginary horse that gallops inside my head. I guess this is my representation on how to overcome oneself. I came into the world of horses by accident while doing research for a personal photography project in 2007. I spent a whole week to watch and photograph them. I quickly began to imagine a way to integrate them into a photo project. I created “Inpulsion”, an introspective work that presents the horse as a symbol, in an unexpected context. BHM: What was the biggest production? Yves My largest production was on a racetrack. I had 4 jockeys and their horses, a professional male model, a television crew and my crew, which came to 25 people in total. This picture quickly became more stressful than I realized. The photo was titled: a departure on a racetrack, with professional jockeys amongst the man “horse” (the male model). The model also goes out of the gates and is to run straight out with the horses! This actually happened. I don’t photoshop to create a scene.. all appears exactly is how it was. With this shoot the first time out the gates and it was a failure as a flash didn’t fire and was broken! This as fixed and the second shot was a success! BHM: Among all plans pulse which is your favourite and why? Yves: The image I like best right now, this is my first photo, with the PRE horse who comes out behind a wall, and the model who wears the blue dress. A great deal of Lengthy preparation was involved, however it was all worth is with a result that pleases many. This picture was bought by a pharmaceutical group, and particularly used in Australia. a
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* Training for both horse & rider of all levels. * Offering top Lusitanos for sale. (world wide) * Available for clinics. (world wide)
goncalocc@gmail.com 72. b a r o q u e h o r s e
UN F JUst 4
Puzzel Maze! Help the hungry horse find the apple!
Just for laughs.. Q. Why did the boy stand behind the horse? A. He thought he might get a kick out of it! Q. What is the difference between a horse and a duck? A. One goes quick and the other goes quack! Q. Where do you take a sick horse? A. To the Horspital!
Spot the 6 differences
Answers: 1. Hanging tree branch disappears. 2. horseâ&#x20AC;&#x2122;s ear disappears. 3. logo on saddle blanket disappears. 4. Stirrup is removed. 5. Manâ&#x20AC;&#x2122;s arm is removed. 6. Horse looses a leg. b a r o q u e h o r s e 73.
READE RS’ GAL LER Y
Where in the world is Baroque Horse Magazine!
In Portugal with Cátia & lusitano stallion Campino (XL). Campino’s owner and photo by Jenny Almeida
Wylam - excited to get his copy of bhm.
Above: Lilly and ‘Neeltje’
Portalhipico.com in Spain enjoying BHM.
Left: Never to young to enjoy BHM!
Portalhipico.com in Spain enjoying BHM. Kat and ‘D’adore’. D’adore owned by Jody Millward 74. b a r o q u e h o r s e
Legendario owned by Joanne Lumb
‘Hanna’ Stud NZ
Lee & ‘Remus’
‘Thor’ owned by Karen Kohler TT Calixto owned by Tiana Hornickel
Colt bred and owned by Antonio Mendonca
Would you like to see your photos on the reader’s wall? We’d love to see them! Please email your photos to editor@baroquehorse.com.au
’ RS E D A
RE
GA
partbred Palomino filly in sunset owned by Marina Andersen
‘Weibert’ owned by Esme Venter
Y R E L L
Marsh girls with ‘Hanna Hilandero’ & pony
‘Booze’ Owned by Helen Stan
b a r o q u e h o r s e 75.
DId you know
Lipizzaner Facts... · · · · · · · ·
The stallion name comes from Lipizza, which is located in Slovenia. General George Patton saved the Lipizzaner from extinction near the end of World War II. Most Lipizzaners are born black and gradually turn white over a period of 6 - 10 years. The Lipizzaner stud farm became an Austrian government farm in 1858, and is still located in Piber (Austria). In the olden days when a Lipizzaner was born white, which was rare, they would be used to pull the royal carriages. The Andalusian breed was instrumental in the breeding and development of the Lipizzaner line. The Lipizzaner stallions are engaged in formal performances in the Hofburg place in Vienna and is also the place of the Spanish Riding School. The Disney movie ‘The Miracle of the White Stallions’ was about the rescue of the Lipizzaner
Andalusian/PRE Facts... · · · · · ·
The Andalusian/PRE horse if officially know as a purebred Spanish horse. They are one of the oldest breed of horses in the world. They have been known as a ‘war horse’ and pride by royalty. The Andalusians were almost decimated in the 19th Century due to warfare, disease and crossbreeding. The excel in high/PRE school dressage and are used in cattle work and bullfighting in their native Spain, They are usually gray, there also purebreds that are bay, black and chestnut.
Iberian Facts.... · · · ·
The Iberian is a sport horse of minimum of 25% Andalusian and or Lusitano bloodlines from one or both parents. The origin of the Iberian dates back to 3000 BC in the Iberian of Peninsula. The Iberians have been very instrumental in the development of the sporting horse breeds. In Europe the Iberian horse was used to improve and create many breeds, including the Thoroughbred (using Iberian mares and Italian Mares of Iberian blood) and helped to created the famous Lipizzan horses.
CABALLOS ECUESTRE YEGUADA COLT DAPPLES HOOF PRE SPANISH CARROT APPLE TRAINER CLASSICAL MURGESE LUSITANO LIPIZZANER COUDELARIA STUD
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PURE FEATHERS BRAIDS RIBBONS MANE HAY HELMET BLACK GOLD BLANKET BOOTS NEGRO NETHERLAND SNOW EQUITATION
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Colour ME In!!
Artwork by Helen Taylor.
Just ..For the kids..! Colouring in competition. We’d love for you to colour in this picture. It needs lots of colour to bring it to life. Get and adult to send it to us and you’ll go into the draw to WIN a BHM prize pack! Or .. you can send us your very own drawing - we’d love to see that too. Age:
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Simply send us your picture and fill out the form to go into the draw and have your picture published in the next issue of Baroque Horse Magazine! Entries can be recieved by photo via email editor@baroquehorse.com.au Winners shall be notifiyed by email or phone and published in the next issue oh BHM.
b a r o q u e h o r s e 77.
T H Copyright © 2012 Baroque Horse Magazine. Artwork by Helen Taylor.
MOVIE QUIZ Q1. Q2. Q3. Q4. Q5.
Who was the famous actress who starred in National Velvet? What is the name of the movie based on children’s book about a young boy who was shipwrecked? Black Beauty was based on whose classic book? What was the real name of the horse who played ‘The Black Stallion’? What kind of horse did Zorro ride?
A1. Elizabeth Taylor A2. The Black Stallion A3. Anna Sewell’s Q4. Cass Ole Q5. Friesian and Black Andalusian depending on the movie. Maze.
Answers 78. b a r o q u e h o r s e
Horses For Sale Purebred rising 2 yr old colt by Onne 376. Gideon is well handled, floats easily, stands patiently for the farrier and is very keen to learn new things. He is expected to mature in the 16hh range. He is a modern type Friesian with floating movement and an eye catching look about him making him well suited to a dressage home. Further details at www.grovebornfriesianhorses.com or call 03 5978 5022
Warlander Filly Noble Shadow Ameya (Friesian x Andalusian) Sire: Valiant Dam: Animado Feliz Navidad D.O.B: 09/04/11 Height: 15.2hh
$7500.00
Ameya is a beautiful athletic filly with super movement, loads of elevation and extension. Ameya will be a very versatile performance horse and her confirmation and nature will see her excel in a variety of disciplines. Ameya has much to offer the ambitious rider. Ameya is registered with The Warlander Studbook, AHAA and the AFWHS. Lisa 0400518704 lisaleitch@gmail.com
Portugal
$4,000 ‘Centor’ - Spanish Warmblood yearling colt (to be gelded) Dam: FW Marrianne (Hannoverian) Sire: Centauro (Iberian) This sweet and very friendly boy shall only be small (around 14hh) but he’ll be very pretty, dark and very quiet! Great for the kids or next hack! He’ll be a friend for life! Danielle 0404 843 636 or danielle@directshots.com.au
Portugal
Pure Blood Lusitanos We have for sale progeny from select Lusitano stallions. From foals at Lusitano trained in advance level of dressage. Our Lusitanos are registered in native stud-book in Portugal. geral@coudelariaquintaoliveira.com.pt www.coudelariaquintaoliveira.com.pt
CENTAURO dos PARDINHOS - TIXAQUIR (SPP) x EMBAIXATRIZ (VO) – born 14 February 2007 (1.64m) grandson of XAQUIRO a super stallion considered for many to be the best Lusitano stallion of today. www.acmendonca.net - ajcmendonca@hotmail.com
Diamondvale Kali
Black Friesian Sporthorse Filly, rising 3yo by Friesian Iepe TJ(dec) Lovely black filly with loads of presence and lots of love to give. Lovely movement $7,500 + gst and has had everything done ready for breaking. Lunges in all gaits, washes, ties, trimmed, self loads onto float. A great horse for the first time Baroque buyer or the all round competitor. Won her first class against other Baroque breeds at the Qld AHAA State Show as a youngster. Registered with the AFSS and ready to go. (Queensland, Australia)
www.diamondvalestud.com.au
b a r o q u e h o r s e 79.
Some Things Not to do at a Horse Show One thing that really bugs me at shows is riders that treat their ponies as if they were pieces of furniture! Instead of dismounting between classes and giving their ponies a break to relax and munch some hay, these people sit on their ponies’ backs all day, eating junk food and chatting with their friends. If ponies were meant to be a lawn chairs we’d come with cup holders! Not only is the kid on the left showing no concern for his pony, but he’s put himself in a potentially dangerous situation. He’s dropped his pony’s reins. If a breeze should come along and blow the trash that he’s thrown on the ground and spook his pony, he would have hurt if he fell off. And then he’d probably blame is pony for the accident!
The unbalanced rider If a rider is unbalanced on her pony’s back, he becomes unbalanced as well. Imaging that you have a squirmy puppy on your back. You’d lose your balance too! And Just like this pony, you probably wouldn’t like it!
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Written & Photos by António Correia de Mendonça
Mafra Reprise
Centro Militar Educação Fisica e Desportos
At nearly 62 years old, the Reprise is nowadays formed by eight riders (officers and sergeants of the Portuguese Army), all with Lusitano horses from the Nacional Stud.
About 40 km from Lisbon, the capital of Portugal, we can find Mafra, a small village known for its convent. Inaugurated in 1730 on the king’s birthday, construction on the convent began in 1717 after King D.JOÃO V ordered it to be built. This convent, with one of the largest and most beautiful libraries in Europe and several carillons comprising 114 bells, is, no doubt, the masterpiece of the Portuguese Baroque. Today, in the shadow of this elaborate convent, is the CMEFD – the Centro Militar Educação Fisica e Desportos (Military Center of Physical and Sports Education) – the legacy of the Portuguese Army equestrian traditions and the “mother-house” of the Reprise da Escola de Mafra. Installed in Mafra in 1911, it was initially named Deposito de Remonta (young horses’ depot) before being renamed the CMEFD in 1993. During its rather long life, the most important change took place in 1948 due to a significant restructure of the Portuguese Army aimed at improving and standardising the teaching of military horse riders in Portugal. It was then that Captain Jean de Saint André, from L’école Militaire d’Equitation de Saumur and a brilliant rider of the Cadre Noir, was invited to come to Mafra and teach the
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military riders. He remained in the Military School of Mafra until 1952. During his four years at the school, Capitan de Saint André was part of the group responsible for the instruction given to the masters, instructors and horse riding monitors of the Portuguese Army. They greatly transformed this training, using as its basis the methodology of the French horse riding military school founded on the suppleness of the horse and supported above all on the doctrine of the former chief trainer General Alexis l’Hotte – “CALM, STRAIGHT and FORWARD”. At the same time (1949), the Portuguese riders, Capitan Fernando Paes and Reymão Nogueira, were sent to Fontainebleau and Saumur as probationers, and as result of their well accepted qualities as riders they took part in several public presentations of the Cadre Noir. Being worthy of displaying “LA CRAVACHE ET LES EPERONS ON OR” of that school in honour of their equestrian qualities. After their return to Mafra in 1950, these two brilliant riders – with the determination and effort of Captain Fernando Paes and supported by Captain de Saint André – made a “carroussel” of 12 riders with their most promising pupils. This was the beginnings of the Reprise da Escola de Mafra. It was in October of that same year that the first public exhibition of the Reprise took place during Spanish President General Franco’s visit to Portugal.
b a r o q u e h o r s e 83.
Between 1951 and 1961, several spectacular shows strengthened the national and international reputation of this unique horse riding school. Between 1961 and 1975, due to the constant mobilisation of cavalry officers to the different wars in Africa (Guinea, Angola and Mozambique), presentation of the Reprise became quite impossible. In 1975 after the military revolution that brought a great number of changes to Portugal (as the end of the war in Africa), with the will of the commander of the Center at the time Coronel Jorge
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Mathias, the Reprise was reborn. In 1999 an agreement was established with the Serviço Nacional Coudelico (the State body responsible for the Nacional Stud) with the purpose that the Reprise be exclusively supplied with pure Lusitanian Horses of the Nacional Stud, on the other the Reprise would be as a true life laboratory availing the future stallions to be used by the Nacional Stud. The Nacional Stud, which belongs to the Portuguese State, is one of the oldest Portuguese studs and has maintained
the typicity of the Lusitano Horse, breeding horses whose characteristics can classify them as pure Baroque horses. The first exhibition of a Mixed Reprise took place in 2002 with a school of five grey Lusitano horses from the Nacional Stud and another school of five chestnut crossed horses. This was also the first time the gala uniform was used by the riders â&#x20AC;&#x201C; an extravagant uniform of great optical impact. Over the last few years the Reprise has
been invited to do shows for highlevel foreign individuals that have visited Portugal and also at national and international exhibitions such as the Gala des CriniĂŠres dâ&#x20AC;&#x2122;Or in Avignon, France, contributing to the divulgation of a true equestrian art. At nearly 62 years old, the Reprise is nowadays formed by eight riders (officers and sergeants of the Portuguese Army), all with Lusitano horses from the Nacional Stud. Using classical school riding, the Reprise
horses undertake various exercises (circles, crossings, wrappings, pirouettes and flying changes) in perfect balance. The music, the beauty of the Lusitano horses, and the light grey of the pelage contrasting with the darkness of the gala uniform of the riders and the silent presence of the monastery, takes us back in time to the Baroque period. However, we cannot forget that all of this is the result of the hard work and daily devotion of the military riders of the Reprise which allows them to present us with perfect and classical riding and turns them into the true
heirs of traditions of the Portuguese Military Riding School. a
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Tutorial by Danielle Skerman Multi Award Winning Professional Photographer
Photographic Tutorial
Image kindly provided by Cristogracia Photo by Direct shots photography
How to achieve that perfect black background.
THIS TO
Photo cleaned up looking smart Standard outdoor portrait
C
Making your backgrounds work for you!
Creating beautiful portraits of horses can be done in many ways. You can opt for the natural outside look or the artistic black and white with the dark/black background. In this tutorial, we’re going to look at how to create the perfect black-backgrounded image. This can be achieved in two ways:
(1) by photographing outside and carefully masking (cropping out) the horse from the background and replacing with a new background (however, if you’re after the finer details of the mane then this can be a bit tricky and time consuming), or
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(2) by photographing in front of a dark background (this can reduce your Photoshop time). If you have a large piece of black material that you can hold up, that’ll work. However, this option can also be time consuming and is not always easy to do. You could use a backdrop stand and lighting to give the same effect, but this can get rather expensive. The easiest and most effective way to achieve a black background is to use your existing surroundings, such as a stable doorway or barn entrance. The key is to keep the background as naturally dark as possible, for example, close any extra doors or windows that may let light in. Carefully place your horse with his/her head in the light and the rest of the body in the shadowy, darker area.
To this...
b a r o q u e h o r s e 87.
Photographic Tutorial . . . You can use a bit of fill flash (this is a low amount of flash light to enhance the subject), however, if you have natural light from the sun then that is enough! If you do use a fill flash, keep an eye out for reflections of the flash in the horse’s eye, which isn’t desirable.
Step 1...
Here is a striking head shot that is going to be a relatively easy edit, and it will keep lots of great detail! So let’s get Photoshop!
editing
in
Step 1. The first thing you’ll need to do is to create a duplicate layer to the original image. It’s imperative that this is done to help guide you through your editing, and it also gives you the opportunity to grab detail from the original image if required. To do this, you’ll need to select the layer in the Layers pallete and drag it down to the Create New Layer button which sits next to the little trash bin. Once you have done this, you’re ready to start editing.
Step 2...
Step 3...
Step 2. For this first copy layer we will work on the exposure for the back ground. We want it to be nice and black. Open up your Levels pallete – this can be done by going up to Image, down to Adjustments and then clicking on Levels. Using the slider in the Levels pallete, slide the middle arrow (which deals with the mid range in exposure) towards the light end, which will increase the dark area. You’ll see the image, and in particular the background, darken and go black. This is the desired result – very simple, very fast! If you happen to have some light spots from unavoidable light, select a dark brush and paint them out with black. Of 88. b a r o q u e h o r s e
course, do all this on a new layer just in case it doesn’t look the way you want it to. Now that the background has been exposed to be nice and black, there are still a few highlights on the horse’s face that need to be corrected. Again, create a new layer on the original layer as you did in the first step; however, this time place it above the layer you just edited. Once again, open up your Layers pallete and pull the middle arrow further to the right into the light range – thus creating even more dark area. Click on OK. Do a copy of this layer for further editing down the track. Click on the eye to make it not visible.
Step 3. Next you need to create a layer mask. To do so, make sure the layer is selected and click the button at the bottom of the Layers pallete that looks like a circle in a square. You will now see a white box next to your image in the layer. clean image! You will now need to reverse the layer mask to black so the detail can be painted in. To do this, hit Ctrl/Apple I – this will make it black, thus not showing the edit you have done to the layer. Grab a paintbrush and carefully brush in the detail. You may want to lower the opacity of the brush so you can slowly bring in the detail and have greater control as to how much you’d like to let in.
Now you should have a good colour image of your horse with a nice black background.
Photographic Tutorial . . . With your lovely image, you may like to get a bit more creative and go for black and white or a nice tone. Black and white is easily done by opening up your Hue/ Saturation tab and pulling the saturation level down to 0
(zero). And, there you have it – it’s black and white! Many would consider this complete, however, if you want to have more control, follow the next few steps for a more professional result.
Step 6...
Making it black and white Step 5. Now that you’ve got the basics done, you can flatten the image creating a new original layer, or you can do a Merge Visible, creating a new layer comprised of all the bottom layers. If you decide to do this you can use the layer that you saved earlier on in step 2. If you didn’t save one, then simply re-create that layer which comprised a darker image. You can use the one you have, however, for this particular image I prefer the more dramatic effect.
Step 7...
Step 6. Select the dark layer or the top layer in your Layers pallete. Next, go to the half black and white circle found at the bottom of your Layers pallete and select Black & White. A new pallete will appear.
Step 7. However, if you would like to add a warm tone, this is how to do it. Create a new blank layer by simply pressing the New Layer button (no dragging a layer in as in previous step, just click it) at the bottom of the Layers tab (it is next to the little trash bin).
Next, fill this layer with a tone that you want on top of your photo; for this I’ve chosen a brown colour. Colours can be selected in the Color Picker which can be found by double clicking on the colour square at the bottom of the left pallete. In this pallete you can alter directly how the different colour tones can affect the black and white image. Have a play and see what it does! In your Layers pallete you’ll also see a new layer that is self-named Black & White 1. This is your final copy if you are after a straight black and white image that looks smart!
Select the colour you want and click OK.
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Photographic Tutorial . . . In your colour section you’ll need to swap the brown for the white. Click on the arrows above to swap, or press x as a keyboard shortcut. To fill your blank layer with this colour, hit Ctrl/ Apple/Delete. You’ll now see this colour filling your layer. Just below the Layers title in the pallete will be the word “Normal” in a dropdown selection. Select Multiply. Lower the opacity to get your desired result. Now it’s complete – a lovely, soft-toned black and white image!
In the pictures below you’ll see close-up of the forelock, you can still see the fine detail of the whispy hairs, and a simular shot of the wiskers on a nose – and all without having to cut them off or spend hours trying to mask them! If you can Its a great way to get that black back drop look with out having to spend a fortune on equipment or spend hours in photoshop! I hope this tutorial has inspired you. If you wish to follow along and edit this image yourself, it can be found online on our blog. a
90. b a r o q u e h o r s e
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s there such a thing as the perfect position? As young riders, there are many people we can admire for their ability to ride with what we consider perfection.
Written by: Sarah Warne
‘Arrogante’ and Gonçalo Ribeiro
‘Ulisses’ and ‘Batialo’ and Sarah Warne
Living in Portugal, surrounded by some of the most advanced classical dressage masters in the world, Gonçalo Ribeiro and I are lucky that we get to watch great riding in real life, every day. But even the most experienced professionals have difficulties that they will never truly overcome. Edward Gal is one rider whose hips and legs – and, well, every part of him really – seem to just float with the horse. But when I asked him about his riding, he said that of course there are things he has to work on every day. I certainly can’t find them, but the point is that even the TOP riders have their faults! We all have something we do… something that no matter how much we think about it or how much we are reminded to fix it, if we forget about it for even a second, there it is again! Gonçalo Ribeiro says that his master trainer, João Pedro Rodrigues, is constantly
reminding him to “put his heels down”. I, on the other hand, suffer from the hand flop. And if I don’t think about it all the time, my hands slowly turn, enabling my thumbs to have a very intimate conversation!
But some so-called “faults” may actually be a rider’s way of overcoming a physical hurdle, and their perfect position on a particular horse may differ from the way a rider may need to position themselves on another.
b a r o q u e h o r s e 93.
So what is the most effective dressage riding position for optimum performance?
he have the PERFECT position for that horse, but then change things slightly as the different horses required?
“Balance is the first and most crucial thing a rider must establish before they can move on,” says Gonçalo.
Traditional instructors tell us that our feet should face forward, parallel to the horse’s body. However, modern instructors know that to fully allow movement and relaxation in the hip and leg, the toe should point slightly outwards; so what used to be considered “aeroplane feet” is now correct.
Can it be that the key to a good rider is not a textbook copy of what it should look like, but the ability to establish a seat that in no way prohibits the horse from fulfilling their full range of movement and potential?
“An unbalanced rider will never establish the correct rhythm on a horse, as the horse will be forced to search constantly for the best way to distribute his own weight evenly underneath his unstable rider.
The best articles I have read from experts theorising position link the rider’s ability to the objectives of the horse. This makes perfect sense to me, because isn’t the aim of dressage to create harmony with the horse... for horse and rider to become one?
Only when a rider can balance their own weight will the horse gain the confidence to relax and move with natural expression.”
Can we very accurately theorise the perfect position? Doesn’t a rider’s position – to be truly effective – need to adapt specifically to the particular horse, on the particular day, and to its particular way of going in those conditions? Does Edward Gal ride every horse the same way as he rode Totilas? Or did 94. b a r o q u e h o r s e
Just as there is self-carriage in the horse, there is also self-carriage in the rider. A rider must therefore balance perfectly so that the horse will not distribute its own weight unevenly.
This makes sense, as the first point on the training scale of the horse is rhythm; and without balance, you can’t expect to find rhythm! So I agree that balance is the most vital aspect to riding, but it made me wonder
whether an unbalanced person can ever learn how to ride? “Of course some people are naturally gifted riders and have the balance and posture that allows them to excel,” says Gonçalo.
quickly adapt their position, feel the horse’s strengths and weaknesses, and get balanced and expressive work out of that horse by the end of a single lesson. But success can also be found in many things...
“But I do think that riding can be taught. It just takes a lot more time and persistence for those people who are not naturally balanced in the saddle.”
I am now proud to feel as though I can hop on any horse and not feel anxious that I will be unable to at least find a way of working him efficiently.
A rider’s balance can also be improved through work off the horse, and if a person can strengthen their core muscles and work on their equilibrium, they will benefit greatly on the horse.
But one of my most rewarding achievements was when a “stress-ball” horse, which I used to have trouble catching in a stable, started to not only come up to me when I went to ride him but would whinny in my ear as I put the headstall on!”
But if the perfect position cannot be defined, then the phrase, “I am a successful rider because I sit perfectly.... ”, can never be true! So what, then, is success for a rider? “I think a rider is successful if they can take a young horse, from the very beginning, and train him all the way up to Grand Prix,” says Gonçalo. I find success in riders who can ride any horse and can
Success in riding therefore cannot be defined by a rider’s position on the horse, or what you see in a single photo, but must be judged in context so we can see the picture in its entirety. Look to see how the horse is going... Has the rider improved the horse? Is the horse reaching its full potential? Is the horse happy? And, most of all, are the two halves making a WHOLE? a
Want to read more from Sarah, then go to her blog Warneys Whip www.warneyswhip.com/
b a r o q u e h o r s e 95.
R I z
I l y a s
R Riz’s Rant R Perfect is the enemy of better!
F
irst of all let’s talk about perfect. In my experience, it doesn’t exist. It is an illusion, especially when it comes to horsemanship. No one can seem to agree on what perfect is much less show an example of it. For me, coming to terms with the fact that perfect, even if it does exist, is not something I am not likely to achieve was quite liberating and allowed me the opportunity to learn and grow as a horseman. The less I cared about being perfect the better my training/riding has become. I still have a long, long way
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to go to even be a good rider, but I am having fun. Do you remember what it was like when you were a kid? All you wanted to do was be around horses. I don’t recall being a child and wanting to ride perfectly, I just wanted to ride. No ego, no sale that needed to be made, no ribbon that had to be won…just pure love and passion and that is what we have to hold on to. It is far too easy, especially with Internet chat groups and Facebook armchair experts, to offer judgment and opinion on a photo or video clip and then to fall into the trap of believing perfection actually exists.
www.piafferevealed.com It seems people attempt to elevate their own status by critiquing the work of another, instead of showing the results they themselves have achieved. I have been kicked off of more I\ Internet chat groups than anyone in history simply because I ask the critics to show me how they can do it better, and boy does that tend to make people angry. I find it highly ironic that the ones who curse the darkness the most are the least likely to light a candle and are the most offended when their own credentials/results are in question. Allen Pogue, a great mentor of mine, once told me to find people who
could do with their own horses, what I wanted to be able to do with my horses, and then to pay attention. I offer you that same advice with the caveat that you will certainly upset people along the way. I also find that the riders/trainers who are good and consistently get better are the least likely to pick on the work of others. Some people view history thru rose-colored glasses and fondly recall the perfection of the great riders from the past, but I have yet to find any footage of the old masters that is anywhere close to perfection. What I have found is brilliant and talented riders who are managing to improve a horse, to get better at what they are attempting… nothing more.
so much that we want to do everything just right, but we must be careful not to let that desire rob us of our passion and dampen our enjoyment of the time we can spend with our horses. More importantly, don’t let it rob your horses of enjoying the time they spend with you! I will be the first to tell you that I cannot
maybe it is something being projected on a level we cannot quite explain, but there is a reason why nervous riders have tense horses and there is a reason why confident riders tend to have confident horses. If a horse can tell when we are nervous and scared or confident then it is not such a stretch to believe that they also can feel when we are frustrated or disappointed. No wonder so many people have barn sour horses that just want to get back to their buddies in the pasture. The people in their lives are not much fun to be around!
“I have been kicked off of more Internet chat groups than anyone in history simply because I ask the critics to show me how they can do it better, and boy does that tend to make people angry”
If the masters weren’t perfect, why must we not allow ourselves to grow until we excel at a certain level or until we master a certain skill before moving onward. Sure, it is a great thing to care
prove it, but I firmly believe that our emotional energy is transferred to our horses. Maybe it is our body language or
Once I was able to free myself from the need to achieve the unachievable, I was able to enjoy the small successes and just focus on becoming better at helping my horses understand my requests. My horses felt the change in my attitude as well, and I found them to be more eager to work than ever.
R I z I l y a s Carol McArdle on PRE Stallion Victorioso
Allen Poque with Navegador (Luso/Arab) Creator of Imagine a horse
Carol McArdle and Allen Pogue have been my two biggest influences. Both I have studied under for many years.
b a r o q u e h o r s e 97.
Jorge & Heather are people who have helped light the candle for me, they lead by example.
R I z I l y a s
Below,Lusitano ‘Sudy’, and Heather Moffet of Enlightened Equitation.
Above: Ventania and Jorge Gabriel from Casa Lusitana Photo credit: STUDIO EQUUS/ AMY E. RILEY When I get to the farm my horses are lining up ready to play and they know that a day of fun and laughter is ahead, the cookies in my pocket don’t hurt either ☺. My horses are so eager to work that I have to be careful who I work in front of another so that they don’t take it out on each other after I am gone. I am going to let you all in on a little secret. I will probably never been good enough to ride in the Olympics, and odds are neither will you. But we all can enjoy the horses that are in our lives, and help them enjoy being with us. Celebrate what is good, and get a good laugh from your mistakes. Read the following excerpt and be careful that you don’t fall into the same trap: “Over a period of time, this apparently intelligent man had created a conception about what riding should be. His conception of ideal riding became more and more formidable over the
“ I am going to let you all in on a little secret. I will probably never been good enough to ride in the Olympics, and odds are neither will you...but we all can enjoy the horses that are in our lives.. ”
years, until he felt he could not measure up to it. He had created for himself a demon and then he consciously let the demon devour him. . ..No wonder his critiques were so vitriolic, , ,Who knows what bitterness he kept within for the thing that tore him away from his beloved riding. . ..he sadly let his conceptions grow so unchecked by action and reality that is own ideas become too powerful. He intimidated himself, and in the process destroyed his real love in life. The mind can not only freeze the body in terms of immediate reflexes and responses, but it also has the power to create permanent paralytic effects as well, as in this case.” --excerpt from Riding Towards the Light by Paul Belasik. A wise person seeks perfection, but only a fool expects to find it! Riz Ilyas a
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