BH Dressage - Issue 26 by Baroque Horse Magazine

Classical Dressage

CLASSICAL DRESSAGE

MODAL SILK SCARF by BARO QUE HORSE COLLECTION

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EDITORIAL

Editor-In-Chief Danielle Skerman editor@baroquehorse.com.au Sub Editor Patty Taylor patty@baroquehorse.com.au

ART & PRODUCTION

Design & Production Manager: Danielle Skerman Design: Kasia Misiukanis-Celińska

ADMIN & MANAGEMENT Patty Taylor patty@baroquehorse.com.au

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advertising@baroquehorse.com.au +61 419 363 635

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PHOTOGRAPHERS:

Danielle Skerman, Katarzyna Okrzesik-Mikołajek, Lena Saugen and Bruno Barata.

CONTRIBUTORS:

Danielle Skerman, Patty Taylor, Sofia Valenca, Cath McDowell, Dr John Kohnke, Dr Thomas Ritter, Teresa Burton, The Nude Horse, François Lemaire de Ruffieu.

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

photo by Katarzyna Okrzesik-Mikołajek

– Clémence Faivre and Adagio –

beauty strength power

editors note A

w e l c o m e

s always we continue our journey with our educational content in this issue. This is not just dressage or training based, for us, its first and foremost about having the horse's wellbeing in mind. When training, our primary concern is that it is carried out in such a way that the horse's biomechanics are considered, and we all work with the horse's natural movements and this evident in all of our educational articles. Nothing means more to use than this!! This is our passion and we will continue to demonstrate this with every issue we produce. We wanted to reinforce this as too often we see a horse is compromised for the greater gain of the rider - teamwork and harmony is paramount. In this issue, we have an exclusive interview movie legendary Burt Reynolds in his the latest movie "Apple of my Eye". Not only is Burt renowned for his horse movies, he also has a genuine love for horses, and he is an accomplished horseman in his own right. We also were privileged to talk with the lovely Ashley Klein, who is the horse trainer of this film. We discussed what it is like to work on a film set and what is involved in training a horse for the movies. As they say, animals and kids are nightmares in the film industry, but Ashley makes it look simple but is all about the connection and love of horses and of course, patience! This will be a movie to take the whole family too, and sure you will relate to the bond that man can develop with our equine friends. In the next issue, we will talk to the producers of Apple of my Eye and Albion: The Enchanted Stallion. This is a great insight into the film industry with our equine talent. In this issue, we also chat to the amazing and talented Clemence Flaivre, who is internationally recognised for her spectacular liberty work and her natural connection and bond with her ever so talented horses. The photos speak volumes of her ability and talent that we can only admire and appreciate. What is Liberty work? This is a valuable connection between you and your horse from a ground level and is important to develop and foster this connection with your horse. Everything else will fall into place as this trust will flow through on all your training. It is also important to work on the basics before going to the next level. Liberty work is more than just chasing a horse around an arena to take photos; its about learning to create a form of a conversation between you and your horse and opening up the lines of empathy and understanding. Liberty work often gets confused with in-hand work which is a great deal different yet so similar at the same time. This is an integral part of training for your horse and will develop a platform for you to perform better in dressage, and we strongly encourage you to learn more about Liberty - we promise you that you won't be disappointed! As always we value your feedback and love to hear from you. Cheers.

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/ Editor-In-Chief / Baroque Horse DRESSAGE / www.baroquehorse.com.au

contents

I S S U E

w h a t

26 i s

i n s i d e

01 Interviews 14 18 22 36

Burt Reynolds - Apple of my Eye Ashley Klein and Apple Paulo and Maria Caetano Clémence Faivre

02 Training The Valença Method - Part 2 by Sofia Valença Divide and Conquer - Xenophone Press Arena GPS Training Exercises by Dr Thomas Ritter 10 Riding Essentials Natural Asymmetry of the Horse by Jochen Schleese

We Recommend page:

30 44 56 60 62

On the cover: Boéro - owned by Clémence Faivre PHOTO: Katarzyna Okrzesik-Mikołajek

04 Of Interest 66 76 79

page:

Itching Horse and Skin Disorders A Natural Approach to Colic and Ulcers 5 Handy Hints - by Dr John Khonke Stabilised Rice Bran

Django - The Last Dance Q&A Interesting Equestrian Influences page:

68 72 74 80

page:

03 Health

14 22 30 44

I N T E R V I E W

EXCLUSIVE

The list of movies and television shows that Burt Reynold has been in since 1960's to today is an impressively long list. Movies and shows that we all know and love like Smokey and the Bandit, The Cannonball Run, The Dukes of Hazzard, Gunsmoke, Boogie Nights and Deliverance - the list goes on and on! In addition to this Burt has even made it in a couple of video game too!

urt is a resilient star and now staring in the "Apple of My Eye", and this is testaments to his longevity in Hollywood. Burt plays the role of Charles, the head trainer of Southeaster Guide Dogs. We were able to interview him on his role in this heart-warming movie that is soon to hit our screens. BH: In "Apple of My Eye" you play a former horse trainer named Charlie who runs a guide dog training facility who also trained Apple, a miniature horse, to be a companion for a young girl and her surrogate eyes. Were you able to draw upon your previous horse experience for this and how did it help?

I Love HORSES and have been around them all my LIFE

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Previously when I have worked with HORSES there was mainly some sort of SHOOT em up thing going on... BR: Yes, I love horses and I have been around them all my life and even though Apple is a miniature horse she still thinks like a full sized o ne. So yes, being around horses gave me a very good idea of what to expect and how to interact with her. BM: What was it that drew you into doing this role? Was there anything in particular that you really liked about it? BR: I've been telling my agent that I want to do some family oriented films and the combination of a p icture with a horse and the family angle appealed to me. Previously when I have workedwith horses, there wasmainly

Burt Reynolds IN MOVIE'APPLE OF MY EYE' Directed by

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Castile Landon

some sort of a 'shoot 'em up'thing going on, so this was definitely a change of pace. It is well written and Cas, the director, is a sweet upcoming star and has a very bright future.

BH: Both of your producers Joseph Restaino and Dori Rath are Florida State University graduates, your alma mater as well, so how was it working with the duo? BR: They're just great. They assembled a team that ran well and had worked together before. It's often been said that the film crew on set is like a family and that was truly evident on this project. Joe's wife and little girls are precious, and Dori has a beautiful family as well. BM: Have you worked with FSU filmmakers previously? BR: FSU has a terrific reputation as a Film School, and I may be a little bit biased, but I always work with alumni whenever I can. BH: You have had horses in the past, do you still have horses today? BR: No, I don't have any right now, but at one point I had over 100. The problem is you can't ride them all every day! But you have to make sure you get along well with them, so my background with horses was a big help. Photos: 1) Burt on set as his character Charlie. 2) with lead actress Avery. 3) with Director Castille Landon. 4). Burt riding a horse in one of his earlier movies. 5) Burt on set enjoying some time with Apple and her trainer Ashley Klein. 6) Apple of my eye poster.

2 BH: Do you have any particular horse that stands out for you? BR: One of my favourite horses was Destifinato. I didn't own him but I worked with him on Navajo Joe and he was one of my favourite horses of all time. I hope to get to ride again soon!

BH: How did you like working with a miniature horse and have you ever worked with one before? BR: Apple was great, and I've never worked with miniature horses before. I have been around smaller ponies, but mini horses really are different to the ponies. I've been around a few minis at some horse events, but I've never owned one. BH: You have been in the movie world for some time and have worked with many

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animals over time, what advice would you give to someone wanting to be an animal trainer in the movies? What do you see as the important qualities? BR: Time is money on a film set. The trainers have to be in complete control of whatever animal they are handling. My job is to make sure I make friends with the horse and the trainer to make sure that we stay on schedule. There are so many distractions on a film set, and the trainers have to make sure that they keep the focus on whatever they have to be doing at the time and not get distracted by noises or lights or activity behind the camera. So the trainer has to have a higher level of trust with a movie than the general population does. BH: In this film, you worked with Ashley Klein who is

TIME IS MONEY on a film set. The trainers have to be in complete control of whatever animal they are handling. My job is to make sure I make friends with the HORSE AND THE TRAINER, TO MAKE SURE that we stay on schedule.

relativity new to the movie world, how did you find working with her? BR: Just like everybody else on the set and crew, Ashley is great, and she got Apple to do everything we needed her to do. There were never any issues that held up the production as she was very well prepared, and Apple is very well-trained. We would like to thank Burt for taking the time to talk to us, it was a great pleasure and we look forward to seeing him in the movie when it comes out. a

INTERVIEWS: Danielle Skerman PHOTOS BY: Supplied

I N T E R V I E W

EXCLUSIVE

Apple of my eye ASHLEY KLEIN

Ashley Klein is rising to fame in the movie world and is recognised as a very talented horse trainer for the silver screens. Ashley now has two films under her belt - Albion: The Enchanted Stallion and soon to be released with Apple Of My Eye. She has been working with some of Hollywood's stars and in this latest movie with the legendary Burt Reynolds. Ashley was kind enough to take the time to talk to us about her work most recent film and her little star - the most adorable miniature horse named Apple.

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BH: Can you tell us a bit about the new movie - Apple of my Eye? AK: Apple Of My Eye is about a young girl that loses her eyesight after a horseback riding accident. Apple, the movie horse, becomes her companion and surrogate eyes throughout the film it portrays the bond that these two. Apple Of My Eye was written and Directed by the very talented Castille Landon and Produced by Dori Rath and Joseph Restaino. It stars Burt Reynolds, Amy Smart, Liam McIntyre, Jack Griffo, AJ Michalka and Avery Arendes as Bailey. BH: You were/are the trainer of the equine star of the movie, Apple, can you tell us about your journey with her and what was involved in getting her ready for production? AK: The producer bought and helped pick out Apple for me after the script was written. Apple was five months old when we bought her, and she had not yet been weaned. It was heartbreaking to take her from her mama. That first day we picked her up it was cold and snowy, and she was lonely, so we didn’t want her to have to ride in a huge

horse trailer by herself….so she rode in the back seat of my truck. A horse in the back seat of your car can be a little insane, and she even pooped in my cupholder! However, Apple did settle in quickly, and I started trick training her right away. She was very young-minded but also very smart. In no time, she was racing up and down the stairs in the house, watching TV while sitting on the couch, and tormenting the house cat, June Bug. Apple soon became very attached to me, and we had a strong bond of trust and a rapport that made trick training her a lot easier! BH: How did all the training go? Did you have anything that was particularly hard for her to learn? AK: Training Apple was very easy, and she even needed to be potty-trained for the film, which she did very well. She would walk around the Producer’s (Dori) house, and I was so nervous that she would have an accident (because she’s still a horse, after all!), but she never did, to my great relief!

BH: Most horses will have their favourite thing they like to do, what would be Apples? AK: Apples favourite trick was to play dead. She did it very well considering all the noise on set and things being moved around. Her trust with people was very beneficial! We also later learned that Apple had narcolepsy, a rare and serious sleep disorder, which she appears to be outgrowing. BH: What was it like on set with a miniature horse? Did it feel like a giant dog? AK: Yes it was a lot like a big dog or a three-year-old child! Since horses are constant grazers, she had to have lots of breaks. Apple also made sure everyone in the room knew she was there! Nobody could sneak by if they had food - Apple would follow and pester them to no end. BH: Do you have any standout moments on set? AK: My favourite part of the set was when Apple was sitting at the breakfast table eating oatmeal. She completely nailed the scene - it was a tremendous feeling of accomplishment

BH: Who would you say was the most exciting for you to work with? AK: Everyone I have worked with was very nice! Burt Reynolds was very cool because he loves horses and has many stories about films, horses and everything in between! Amy Smart is just an awesome, fun-loving person! Liam McIntyre is also just a great person and very helpful to everyone! BH: What now for Apple? What's life like now for her and does she have any further plans? AK: Apple is learning to play the keyboard in her spare time, and we are developing additional film and television ideas and hope to start pitching these soon. Iâ&#x20AC;&#x2122;m also starting to work on a childrenâ&#x20AC;&#x2122;s book, so if you know of any interested publishers, send them my way!

BH: What about you? What are you up too? AK: Apple and I have been visiting nursing homes and schools just to put smiles on faces!! BH: If people are interested in learning more trick training can they get lessons from you? AK: Yes I am planning a worldwide equine tour on how to train movie horses, do tricks and much more. It was a pleasure to talk with Ashley and learn a bit behind the filming and training with Apple. Ashley has a promising career, and sure she and Apple will be a team to follow, and both are sure to be in many more equine movies. We also wish Ashley success with her childrens' book. a

BH: What does it take to trick train a horse? Do they need a particular temperament? AK: Trick training takes patience, time, consistently and a routine. I do like it if they have a little spunk to their temperament because they stay interested in doing their tricks longer. BH: In the past, you worked on Albion, The Enchanted Stallion and with many big named celebrities what is that like? AK: During filming, you don't get much of a chance to think about it because you are so focused on getting what you need to get done and doing a good job. Apple was adored by the actors, so it made my job a lot easier. FOLLOW APPLE ON FB FACEBOOK.COM/APPLETHEMOVIEHORSE

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I N T E R V I E W

AN INSPIRATIONAL

Father & Daughter STORY

With the ‘hot topic’ debates about modern-day competition dressage and classical dressage on so many lips, I cannot think of a greater example of this in action than the dynamic duo of Paulo Caetano and his daughter Maria. Two people who live and breathe traditional classical and modern day dressage.

ecently I paid a visit to my friends Paulo and Maria to gain more insight into their lives. Their home is in the Alentejo, Portugal close to the Spanish border. A long drive takes you up to one of their beautiful farms, where their Lusitano horses are bred and trained. The landscape is a timeless scene of rolling hills, lakes, clusters of trees, wildflowers and everywhere is teeming with bird life. The drive winds its way to the farm, made up of a house, stables, indoor and outdoor arenas and a breeding facility that is situated in the middle of the expansive Alentejo views. When Lena and I arrived, we found Maria busy with her sponsors trying out new Bates saddles on her competition horses. I reflected it was only a few weeks before I saw her performing at the World Equestrian Games on her Lusitano stallion

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trained two riders to compete in the World Equestrian Games in Caen France – his daughter Maria and Manuel Veiga. TB: You had a classical equitation training with Masters that changed you - who are they?

Xirpiti. Trained by her father Maria is now one of Portugal’s leading stars in dressage and competing internationally. So what makes Paulo and Maria's story so special and so unique? Well, Paulo Caetano is a man of great style, a warm smile and with an engaging manner. He was also one of Portugal’s most renowned bullfighters. In 2014, he

PC: My first Master, from the age of four, was my uncle, Fernando Metzner Serra. He had German equestrian origins which he openly he shared with me. I was taught the fundamentals of classical equitation and the teachings of Pluvinel by Robichon de la Guerinière and Baucher. For me, they were the unquestionable Masters, and I gained all my basic principles from these men. My uncle was good friends with the Master of Masters João Branco Nuncio, João Nuncio and Nuno de Oliveira who are the most famous classical Equestrian icons in Portugal. I was very lucky to have the opportunity to go with my uncle Fernando to Vale de Lobos, Nuncio´s farm at Alcácer

TB: What are your achievements that have made you proud? PC: I am very proud of two of my Lusitano horses bred and trained by me that were selected to go to the WEG at Kentucky: Util for Portuguese Team and Portugal for Brazilian Team. do Sal. I watched him riding fantastic horses like Ferrolho and Lord Mayor. During the revolution, two good friends of my father, who lost their farms, came to live in Lisbon. The Viscount da Córte and his best friend and student João Parreira Cano, two of the great classic dressage riders and I trained with them every day for three years in the classical method. I’ve always had the desire to make sure I watched and rode with the great masters like Coronel João Martins Abrantes, João Lopes Aleixo and Francisco Cancela de Abreu. They are generous people that have been open and willing to share their knowledge. All of them have given me knowledge in different ways, but most of all, they imparted the importance of respect and love with the horse. TB: Have you any very special or funny memories that you would like to share with our readers? PC: Yes, I have so many I don’t know where to start... In the second Young Riders European Championship where Maria was due to compete, but her horse hadn't arrived yet, and a friend asked her to participate in a Prix St. George competition. So I lent her one of my horses, and she worked with the Lusitano son of Neptuno for a couple of days and performed a good PSG test. What people don’t know is that the day after I fought with that horse in a Corrida (bull fight) - he was one of my best horses. In 2006 Maria won the Iberic Cup of Dressage riding a beautiful black Lusitano called Sole Sombra. Fifteen days later my son and I had one of the most important Corridas of the season. Campo Pequeno at Lisbon. One of my best horses went lame, so I started training Sole Sombra. It is a testament to the importance of the classical equitation basics as he was ready and bullfighting in only two weeks. We did a great job in Campo Pequeno Lisbon and one month later I sold him to a dressage rider to Germany. What a horse!

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In 2014 Maria won The Portuguese Championship Grand Prix riding Xiripiti; The National Open Prix St George riding Coroado and the Masters Freestyle with Zingaro de la Lyra y la W. The three most important competitions with three different horses and all of them Lusitanos. Two riders I trained have been selected to the Portuguese Team in WEG at Caen. My daughter riding Xiripiti and Manuel Veiga riding Benhur da Broa. Another GP rider Maria Amaral also trained by me gained an excellent result in Barcelona and then later won the silver in the Open Portuguese Prix St George Championship. Francisco Pimentel was first in the Portuguese Cup Young Horses (four-year-old) riding the beautiful Esquadra MV which is now with my friend and fantastic rider José G Mena. Also, all of my successful students around the world make me very proud every day. TB: I am very interested in the cross over with classical dressage and modern

competition, and it seems there is a full circle happening with riders globally and looking more closely at the roots of classical equitation. Can you talk a bit about how you find the crossover? PC: To answer this question, I think it is fundamental to understand, the history of the Lusitano (Iberian) horse and how Portuguese equitation has evolved. The Iberian horses are very important in our history because it is their functionality that made them very versatile companions and these animals influenced the way forward in our civilisation. They started as great war horses offering us incredible combat skills in their agility and ability for collection to produce powerful movements (tricks). Then, later when the war was over classical equitation grew from the skills that had developed in combat. If you assimilate the classical equitation doctrine practised since the “Haute Renaissance” to the Saumur (France), Belém (Portugal), Viena (Austria) and Jerez ( España), you will still see the principles. I think it is also very valuable to understand the influence of the German masters too; they were making the bridge between the gymnastic of the horse and the importance of the development of the horses' body and mind following an intelligently structured method. Then, it is important to understand and

YOUNGER THAN FIVE YEARS, a horse is not mature enough to engage in more complex exercises. MORE HEALTHY MIND and be stress-free.

people as nowadays; we can get the best horses, the best riders and the best judges. integrate the interaction of the training scales, classical principles and how important the influence of the rider is on the horse. I feel the training levels act as the bridge between classical and modern dressage. When it comes to classical and modern dressage the basics are the same, although professional dressage training or a professional bullfight training have some very different requirements, different things to achieve but the basics don’t change. In sport, you have to follow a strict development program to build the physical capacities of your horse. It is vital to respect and understand his limits to help him achieve the best he can. The sports horse is not a pet he is an athlete, and you must be responsible for his improvement and for him to stay healthy. To achieve the goal, you have to have a good eye, to have the capacity to anticipate reactions, the discipline to follow the right way but, mainly, to know which is the right way. TB: What do you feel are the most important aspects of classical training brings to modern competition? PC: In my opinion, in modern competition, the most vital classical elements are the importance of beauty, lightness and harmony and we must always work to keep this. To ride a horse making invasive movements towards a wild bull who is attacking you is truly special. The flexibility, the impulsion, the confidence, the collection, all these fundamentals are there. Equitation is a vital function in bullfighting and to be able to defend your life. It is an incredible feeling as a rider. To know, without reservations, that your horse is a true partner and is totally with you. When we taste this emotion, nothing else can compare. Bullfighting has been through many different times and in the 70´s and 80´s in Portugal, a good bullfighter was so famous. On the subject of opinions about bullfighting, I don’t know. I am comfortable with my career, my challenges, my future goals, my horses and the riders training with me. My family respect and love horses and we all love our job. About the future - who knows? We are all are blessed

TB: Do you still mostly compete with your home-bred horses? How much has Maria competition in dressage that has influenced your horse breeding decisions? What bloodlines do you use? PC: To compete with horses bred by us is our continuing objective. I am very proud that now I have the three of the best Lusitanos bred by me: 3 four-year-olds – Flamenco, Fogo and Falcão - fantastic horses!! I am very motivated by them. My primary concern in producing good GP horses is the power, the strength, a good character and generosity in spirit. I know which mares to use for this, but with stallions, I always choose horses that give me high results and scores as this is the best proof of their quality.

MARIA CAETANO Maria is not only a petite, beautiful and intelligent but also an accomplished Grand Prix dressage rider and she competes at the highest levels internationally. And is not afraid to gallop across rolling hills rounding up cattle. TB: At what age did you start riding, how did it all begin for you? MC: I don’t remember the first time I sat on a horse, but maybe when I was one-year-old and sat on a horse’s back with my dad. But

TB: You and your father have quite a dynamic relationship how do you like working together? MC: It’s a pleasure, and I am lucky to have my father as a trainer. We work every day together, which is a huge advantage. Our relationship is fantastic. He can be strict, but we know that at the end of the day we are father and daughter! I’m so blessed to have a master like him at home! TB: Is all your training with Paulo or do you have others trainers also? Do you attend clinics etc.? MC: I have had the opportunity to learn from great masters. I have spent some of my summers and Christmas holidays in Germany, training with Lisa Wilcox and then with Dolf Keller. I also use to attend to clinics with Kyra Kyrklund and her husband Richard White, Jan Bemelmans and Francisco Cancela de Abreu.

I do remember that the first time I rode a horse by myself was at the Golegã fair, and I was five-yearsold. I started competing when I was 13 in small dressage competitions and at Portuguese traditional equitation competitions. But it wasn't until I was 14 that I began to compete more seriously in Working Equitation. TB: You did very well in your younger years, but you then competed on a Warmblood how was that for you? MC: I started in the serious dressage competition as Junior. It was when I was in the young riders level that I began my steps into International competition. I chose to compete on a Warmblood at that level because, at the time, they were more competitive in movements that were required for Prix St Georges. So, I competed as YR on White Cedar, a Hannoverian, and we achieved two gold medals in the National Championships, and we competed three times in the European Championships. I then needed a schoolmaster to help me to get into Grand Prix, and we bought Diamant, a big Warmblood from Kasselman Stables. He was a great schoolmaster for GP and gave me a gold medal in the Senior National Championships on 2008 and a place on the national team for the European Championships in Windsor 2009. For me, the best horses are the good ones no matter whatever their breed. However, it’s a greater pleasure for me to represent my country on the back of a Lusitano. TB: What makes the Lusitanos special for you? MC: It is their willingness to work and their need to please the rider. A Lusitano is always trying to understand and help their rider, giving all of him or even more if he can.

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TB: I have seen you and Paulo ride the same horse and I notice differences as would be with any two riders. Paulo rides more classically and has the bullfighting roots, how does this affect the horse when you hop on him afterwards? MC: In fact, we have the habit of sharing horses in our daily work with each other. I find that it is a very positive thing that we both ride the same horse as we can then share our feelings and opinions and work out the best way to train each horse. Of course, my father has a lot more experience than me in training horses up to GP. So, he uses his skills, his focus and his method in teaching the horses new exercises and I usually focus on my techniques and skills in preparing them for the competitions. TB: Your riding has come from classical principles too? How do you find the cross over into modern competition and what are the key differences for you, if any? MC: Classical equitation is, for me, is the right basis for the sport and I always work within the FEI training scale. I think these are the main tool structures for the horse and rider to combine to bring a horse to competition level. Nowadays,

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@batessaddles

dressage has developed a lot and the marks increased exponentially, in my opinion, we are beginning a golden time of good equitation, and I think that riders are coming more and more to the classical dressage principles.

in the WEG (2010), my horse Util died five days before the competition, so I wanted to be there in 2014.

TB: What was it like for you to ride out into the arena at the World Equestrian Games (2014)?

Unfortunately, Xiripiti was not totally fit, due to an injury he had after the National Championships and he lost some weeks of training before the WEG. Anyway, he did a very clean test, with no mistakes, but without his usual strength in the extensions and half passes.

MC: It was a big pleasure for me to represent my country with a Lusitano at the WEG! I had been before in three European Championships as Senior, but

TB: You are now very much involved in the horse breeding aspect of your farm, how are you making your breeding

28 Baroque Horse DRESSAGE | www.baroquehorse.com.au

decisions these days as I believe you are still producing Lusitanos for bullfighting and dressage competition? How many mares do you have? MC: We have 15 Lusitano mares that we breed for dressage and bullfighting and for a long time I use to say, "a horse that is good is good for everythingâ&#x20AC;?. Of course, it is not strictly like this but, we always try to find horses with strong backs and legs, flexibility and self-carriage and a sound mind, and always willing to work with the rider. These are essential characteristics for bullfighting and dressage. Then, we try to use stallions with the curriculum in dressage and bullfighting. TB: You are not just a dressage rider but a very fun adventurous rider that is not afraid to have some real fun galloping across the Alentejo hills rounding up cattle, and taking part in many Portuguese traditions such as wearing traditional

clothing. Tell us a little about this side of your life. MC: I always loved to ride out in the countryside and to work with the cattle. I like to participate, as a hobby, in Acoso y Derribo competitions with my husband. It is a Spanish tradition where two riders have to lead a cow and catch it in the open field. It is fun, and it gives you a lot of adrenaline. We have to have very well trained horses to do it. I canâ&#x20AC;&#x2122;t imagine having a hobby that doesn't involve horses. I want to thank you Paulo and Maria for your openness in revealing parts of your world, and you have achieved remarkable things, and you are a truly an inspirational family. Whatever one's opinion is about bullfighting â&#x20AC;&#x201C; it is an art of high precision and an excellent horse/rider relationship plus it is also amazing to hear how a horse can compete for PSG one day and bullfight the next. I eagerly look forward to following your future developments. a

30 T R A I N I N G

30 Baroque Horse DRESSAGE | www.baroquehorse.com.au

BY: Sofia Valença

The

L E V E L 2

Valença Method You should always respect the timing when working on the progression of a young horse, however you must always be bold enough to want to progress. In the previous issue (25) we introduced you to the Valença Method Level 1. When a horse is understanding and is competent in Level 1, you can start to introduce new concepts.

ou should begin your work with the three phases of Level 1.

1. Lunging work 2. Lunging work with side reins 3. Handwork This work will be a type of “warmup” for the horse and help the horse be more stable, and when you mount him, you won’t have difficulty in

holding him. The animal will, in turn, will remember what he has learnt during the first phase (voice, whip and accepting the rider). The start of the work on horseback must be done with the assistance of another rider or helper on foot. BEGINNING THE PHASE 3 exercises of the VM LEVEL 1 (handwork) – photo 1, 2 & 3 –

h e r e w e g o! 

Stop

32 T R A I N I N G

2  Move forward

 Exercise 1 (mobilising the back)

 Exercise 2 (mobilising the shoulders)

It will always be easier for a horse to learn and understand these exercises with the assistance of a rider on the ground. In the first phase, your helper on the ground will be more present, and little by little they will start to decline their assistance to you while you’re on the horses back. Slowly your legs and hands aids will be introduced quietly to the horse, without him realising it, allowing a simple and stress-free progression (photo 4). Depending on how the horse accepts you, the work should always begin by back rotations and then the circle, with the rider on foot holding the rope. You should make some circles, trotting, to give the horse the necessary time for it to adapt to your legs and hands. At this beginning stage, your

helper on the ground can always intervene, so the horse doesn’t feel lost. Often, in fact, most of the time, you don’t have the same precision as the contact isn’t made with the fixed reins and that transition isn’t always well understood by the horse. The tone of your voice in combination with your physical guidance will always be more effective. Once the horse reaches a constant trot rhythm and contact, you can start to work on the transitions of his gait. It’s important for the horse to understand this action without losing contact. As in Level 1 the horse has learnt these transitions with the help of your foot movement and voice, therefore you must continue to reinforce this. With the start of this work on horseback, you will start to analyse

 No help

 Lounging walk 4

the how the horse perceives and understands the guidance given by you, the rider, on his back. You cannot rush from releasing the horse from the rope if he hasn’t accepted your hands fully yet. If the horse doesn’t understand the leg commands to move forward (this is perfectly normal at this early stage) then the whip is a useful aid for this leg action (photo 5). Once the horse is released from the rope, the helper can and should continue to be close at hand for the horse’s work. You mustn’t radically sever the ties created between the horse and your helper. This break must be done gradually so that the horse doesn’t feel lost. The helper should only correct when necessary. During this phase, you will want the horse to know new guidelines for his work. To

WHEN THE HORSE shows enough understanding between your hand and leg action, you can become bolder AND START TO INTRODUCE some sideways movements

 Loungung Trot

 Trot

 Walk avoid stress, you should follow the instructions that the horse is already familiar with and slowly introduce new instructions. Any type of learning should be done in a natural way, and you should never impose anything on

the horse by force and rather introduce it by patience. In this phase, the exercises are simple, yet they are not easily done. You will want the horse to move forwards and stabilise in the new contact and obtain a good cadence. Circles, straight lines, turns, diagonals - these are examples of exercises that must be performed walking and trotting. Transitions from walk to trot and vice-versa are also important so that the horse can start to have a stable balance (photo 6 & photo 7). When the horse shows enough understanding between your hand and leg action, you can become bolder and start to introduce some sideways movements. For instance, when you take the centre line or any

34 T R A I N I N G

11 other straight line, you start to test the leg action and the outer reins, so the horse starts leg yielding. Another exercise that greatly helps to perceive the aids in sideways exercises is a shoulder out. Using the wall, you command a flexion on the outside and use your inner leg so that the horse moves in the opposite direction to this aid (photo 8). For example; going left you ask the right flexion and use your right leg, so the horse moves its back

a little inwards. Since the wall is helping you and you don’t run the risk of the horse following in the shoulders, this enables the horse to start learning how the leg works and walks sideways. Don’t carry this exercise along the whole length of the wall – only do for a few metres and then straighten out and repeat. It is more important to have fewer steps and a good balance and end the exercise well rather than letting the horse lose its balance and end in a bad phase of the exercise.

The learning by repeating short exercises will be more beneficial to your and your horse (photo 9). The leg action has already been addressed with the aid of a helper on the ground, in Phase 3 of Level 1, so it won’t be completely unknown to the horse at this stage. The most important part of this phase is for the horse to understand the start of the exercise. The horse must work on his walk and trot and only when you achieve good control of the horse’s balance can he begin to canter. In an initial phase, canter on horseback must be done in almost total freedom of the reins. The horse must develop his canter naturally and little by little you can ask for this movement to become more concentrated. The movement of the horse’s spine is the most important element in canter, and it is, therefore, important for the horse to already have good balance and for your action to be easily understood (photo 10). When the horse shows good balance when cantering, you can start to work on the transitions from trot to canter and vice-versa, and in between the transitions you can have sideways exercises, for instance, leg yield or shoulder out to have a nice relaxation from the top line. Little

34 Baroque Horse DRESSAGE | www.baroquehorse.com.au

by little the horse will allow you to control the canter and you will start to have some control over the exercises he wants to perform. Circles and straight lines should continuously be performed during this phase of the canter work (photo 11). Later on, you can start with more complex canter work. Once the horse shows some maturity in this gait and is still slightly unbalanced, you must ask for a more concentrated movement and start

YOUNGER THAN FIVE YEARS, a horse is not mature enough to engage in more complex exercises. If we respect these timings, we then allow the horse to grow with a MORE HEALTHY MIND and be stress-free.

and you take the diagonal to ask for the counter-canter, you must shift your weight slightly to the left to help the horse to do the corner. Your hand must offer the horse some freedom so that it can find its path without interference from you. It is very easy for you to lose balance in canter when passing by the corners. You must have very subtle action on the horse’s back so he can find the balance by himself and he does not lose his body’s position and continues to do the counter-canter, then returning to normal canter in the next diagonal (photo 12). Each horse has its own evolution timeframe. However, during this

phase, it can take several months and, in fact, it should do. If we identify the levels according to the horse’s age they can be – Level 1 for a horse from three and a half to four years and Level 2 from four to five years old. Younger than five years, a horse is not mature enough to engage in more complex exercises. If we respect these timings, we then allow the horse to grow with a more healthy mind and be stress-free. The same applies for children – if we compare with their schooling, first comes junior school, then senior school and lastly, university level (photo 13). a

WANT TO LEARN THE

10 to counter-canter. The counter-canter can be a double-edged sword. The horse needs to have a certain balance to carry it out, but at the same time, you want to use in search of better balance! It is essential for the exercise’s preparation to be very well done and not to compromise the horse’s canter balance. You must choose a very well designed diagonal that offers enough room for the horse to do the corner without compromising his balance and you need to give him enough room to make the corner. You must take great care, so your position does not interfere with the horse’s balance. For instance, when you work the left canter

Valenca Method ?

ANNOUNCING THE 2017 AUSTRALIAN TOUR OF Sofia Valença

Goncalo Linhas

Daughter of Master Luis Valenca - and mother/trainer of Ines Valenca, Portugal's top junior Gran Prix rider and an up and comer on the international scene.

Senior trainer for Appassionata and Bartabas in Germany and France, and also a trainer of many European and American dressage riders, both competitive and Baroque.

FOR MORE INFORMATION: KRISTEN FLEET - 0418 413 441

INTERVIEW BY: Danielle Skerman PHOTOS BY: KATARZYNA OKRZESIK-MIKOŁAJEK

C Clémence

I N T E R V I E W

Faivre and

her amazing horses

Beauty, talent and charm are the words that easily describe Clémence Faivre. She is an inspiring actress and equestrian, and her career is full of colour and adventure from being in many films to entertaining many in her leading role in a European Medieval Horse Show. She has travelled the world with her unique performances and has entertained some of the most prestigious of audiences.

orn in France, however now she resides in Seville (Spain) and once a week is at the Royal Andalusian School of Equestrian Art Foundation at Jerez, where you can be treated to see her in one of the many shows with Alvaro Domecq (the founder of the school). Clémence has a love for horses and in particular the Lusitano. She has her own stud which was founded with mares from Veiga, Coimbra and Arsenio Cordeiro bloodline. We were delighted to be able to find out a bit more about Clémence.

36 36

Baroque Horse DRESSAGE | www.baroquehorse.com.au Baroque Horse DRESSAGE | www.baroquehorse.com.au

BH: How did your career with horses begin? CF: I believe I was born with the love for horses and this grew when my father gave me my first horse at the age of 12. It wasn't until I met the Italian stuntman Mario Luraschi that I decided to dedicate myself entirely to horses professionally. BH: You have also lived in Australia for a year - how did that come about? CF: I was studying at drama school in Paris, and I wanted to learn English, and I also wanted to be in touch with nature too, so I decided to take a year off to make this happen in Australia. I was able to experience the beautiful

countryside and wildlife when working at 'Simeon Stud' who have Arabian horses. I was also able to travel a lot too while I was there which was an added bonus. BH: What would you say is some of the proudest moments in your career so far? CF: My proudest moment to date would have to be the first time I presented my Freedom show with Gotan

(bronze Lusitano stallion) in Saintes-Marie-de-la-Mer and also performing for his Majesty Hamad Bin Isa El Khalifa (King of Bahrain) and his Majesty Qaboos Bin Said (Sultan of Oman) - this was unforgettable!! BM: Liberty is your main passion, what drew you to it and how did you get started? CF: As a child, I was always amazed by horses at liberty since I saw the

L I F E S T Y L E

movie 'The Black Stallion'. To have a horse that was actually a friend who wanted to play with you. That was special, and it has always fascinated me. It is the relationship between horse and human that captured my interest and heart. BM: Can you tell us about the horses you have now and who does what and what is their speciality? CF: Gotan is my most special one, he is the luck of my life, and I truly believe that it was fate in me finding him. I had a little budget so I was looking for a pony and I must have seen 200 ponies, without lying. I travelled many, many kilometres to find my rare pearl without success. Then one day I was called to see a very beautiful pony, and I thought it would be the last as I was losing hope. I went to see him, but the pony was older than I was told and I was disappointed. I walked in the stables to see the other horses, and as I approached the gates there was a four-year-old chestnut colt, "Eclipse" just harnessed. He looked at me from the bottom of the box, without moving, straight in the eyes, he kept the distance and snorted, nostrils wide open. I asked if I could see him outside and he was very expressive, very proud and with lovely movements - he was really something special. But a buyer was coming to see

him the next day. I dreamed about him all night. The next morning, Eclipse was injured in the harness, nothing serious, but when the buyer arrived in the afternoon, the horse was exhausted and wounded. He didn’t make a good impression, and the client found him too small so he didn’t buy him. The very next day I bought him and Eclipse became Gotan! I have a very special relationship with Gotan, and I believe we were made for each other. He is an extraordinary horse, and it’s because he is so exceptional that I have been able to do such things with him. We are nothing without a good horse. Gotan is the most generous, intelligent, and sensitive horse I have ever met. He's a real partner; he never lets me down, and we know each other by heart. I also have an outstanding stallion, FUEGO FG and he is the best horse I have ridden since Gotan. In the stable, I have more than five horses at work, Gotan, Fuego, Adagio, Boléro and Vendôme, all Lusitanos and working in Haute Ecole, and Freedom. I used to have more, but I didn't have enough time to work all of my horses. I prepare them fully myself with tack, costumes and training for performances. I will present my new show with Fuego in July in SaintesMarie-de-la-Mer, the same place where I started with Gotan. And I cannot forget my amazing pony, Romeo! He is a real actor; he has a real personality, and he is funny. For photo sessions, he poses, and I feel he knows where the camera is. He likes to play but also knows how to be serious when he has to. He is great! BM: Can you please tell us about your training methods and what is your training philosophy? CF: For me, working with the horse's personality and natural ability is the most important. I let them do what they like to do and don't force them to do movements or routines that are too hard or something they just don't want to do. What I like to do is to take advantage of the character and the natural ability of each horse and leave

38 Baroque Horse DRESSAGE | www.baroquehorse.com.au

the advanced work for those that are the most gifted. If I see that one does not like an activity or they are not as talented I let them do something else. I take the best of each horse and work with that. I do not have any preconceived goals of what each horse must do, and I like them to be free from these expectations and allow the horses to tell me what they want. When I'm selecting my horses, I look at what they might have in aptitude and take that into consideration. BM: You talk about providing your horse with confidence, what does this mean exactly? CF: I want the horse to feel good and happy with me and that he likes my company. That they enjoy what they do, isn't that the whole point? I don’t want a slave or a machine that obeys my every order like a robot making a movement. I want a friend, a partner. My horses are part of my family! They didn’t choose this life or to spend their whole life with me, so it’s better that we all enjoy each others company and have a good time together. That’s the least I can do - I ensure they are kept healthy and happy. BM: You do a lot of riding without the bridle and how do you know when your horse is ready for this step? CF: I always teach the horse with lots of leg aids, and it takes many months of preparation and training. I will only take off the bridle when I feel that I can ride and not rely on or use the reins at all, that I can control him completely with my legs, my voice and my body. It’s an incredible feeling of freedom and fusion with your horses. It's a true sign of trust and connection. BM: Do you have any mentors or trainers you admire? CF: I really admire Lorenzo; his show is outstanding and unique in the world. As a rider, Edward Gal and the partnership he made with Totilas, the horse of the century. BM: Why did you get into the Iberian breeds? CF: They are the best for my work. Everything about them is artistic - their morphology, the way they move, their personality and they are real dancers.

My favourite breed is Lusitano, and I have founded my own breeding of Lusitano (Clémence Faivre Stud) with a Veiga blood base, primordial. All my mares are mothers, daughters or sisters of exceptional horses in dressage and Haute Ecole. All my mares came from the great champion Navalheiro, son of the famous Opus 72 or the great champion Novilheiro, brother of Opus 72. I have an outstanding stallion, FUEGO FG, who is one of my best horses. He is a grandson of Navalheiro and therefore great grandson of Opus 72. He also has a lot of Coimbra blood on the mother's side. I love quality horses with excellent bloodlines that are intelligent, generous and courageous. I look for horses with strength and good movement, however with it all, they must have an exceptional character. BM: What is your favourite movement you like to do/perform with your horses? CF: I love the Spanish walk, Piaffe and to ride without the bridle, but there is so many things I love to do with them. BM: What are the common mistakes you see people do with liberty work? CF: By asking too much of the horse, not knowing when to stop, not having enough knowledge about the mechanics of the horse, where to touch

40 Baroque Horse DRESSAGE | www.baroquehorse.com.au

the horse, how, when, where and why. Going too fast, jumping some steps with not enough good bases or enough preparation on the physic or mental aspects of the horse. But mistakes can be good if they are constructive as they can teach you to improve, and you can learn to understand what is best for the horse. It's about experiencing, and with horses you will learn all your life. BM: What are your goals and plans for the future? Anything for us to be keeping an eye out for? CF: My new Haute Ecole and Freedom performance with Fuego next year. I have also created new routines with other horses and they are all very different. I am also writing a book and making a DVD and all are progressing well, plus the development my breeding is ongoing. I also want to go to other countries where I have never been yet. I want to buy a farm and have a quiet coffee every morning while watching my mares. We would like to thank Clémence for taking the time to chat to us here at Baroque Horse, and we look forward to her upcoming book and dve. You can find out more about Clémence and her performance at clemencefaivre.com

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

FOR INFORMATION ON THE BREED

Contact Andalusian Horse Association of Australasia (inc) PO Box 266, Torquay, Victoria, Australia 3228. Telephone: 61 5263 3402 Email: ahaa@iprimus.com.au www.ahaa.org.au

O F

I N T E R E S T

THE

Ultimate horse

D RO O L - WO RT H Y H O R S E T R E AT S !

INGREDIENTS

THE QUICK VERSION

1 carrot 1 apple

INGREDIENTS

1 cup molasses or honey

3 tablespoons of molasses or honey

2 1/2 cups oats

1 grated carrot

2-3 tablespoons of vegetable oil

2 cup rolled oats or sweet feed

Directions

1/2 cup water Directions

METHOD Preheat oven to 325 degrees

METHOD

Grate the carrot and apple

Mix the oats with water

Mix together all of the ingredients

Add the honey and carrot

Place large spoonfuls on a baking sheet

Roll into balls and refrigerate for a few hours

Bake for 30-40 minutes or until golden brown Cool for a few hours in the refrigerator Drool-worthy horse treats!

Now here's the fun part. Consider the above your base recipes, perfectly fine on their own but even better when you add one or more of the following •

Peppermints - crushed or pressed whole on top (perfect for the holidays)

•

Raisins

•

Sugar cubes (go easy here - too much sugar isn't good for your horses health or figure!)

•

Blackberries

•

Pitted fresh cherries (some studies show horses prefer cherries to carrots!)

•

Applesauce (try replacing part of the molasses with applesauce to lower the sugar)

•

If you think of any yummy additions I didn't list, leave a comment below. Now, time to get baking. Your horse will thank you.

PS. Horse treats last longer when stored in an air-tight container in the fridge.

42 Baroque Horse DRESSAGE | www.baroquehorse.com.au

LOOK WHATâ&#x20AC;&#x2122;S NEW AT HORSEL AND

Fi n d a NEW w ide r r an g e of s a d d les, exp er t s er vi ce and pr ofess iona l a d vice. Ride in sty le, f eel the motion. To f i n d y our loc al stor e g o to www.hors ela nd .com. a u

44 T R A I N I N G

& Conquer divide

Book 1

François Lemaire de Ruffieu

Advice for Trainers and Riders before Beginning the Training Study

“On a horse, the rider must look glorious but be humble.”— Unknown THE RIDER’S POSITION Many great books have been written on the subject of Riding. Some authors describe the physiological aspect; others describe the psychological attitude. All are wonderful and full of truth if their methods are applied as stipulated. To ride a horse properly, the rider must be well-placed in the saddle. There is an infinite number of good positions for each gait, and each movement has a corresponding series of attitudes. It is the aptitude to quickly be able to switch from one attitude to another with suppleness that constitutes the true riding position. The rider should be placed on the saddle as if she were standing on the ground with her

44 Baroque Horse DRESSAGE | www.baroquehorse.com.au

upper body erect, without rigidity, her knees slightly flexed, her heels directly under her hips and her hips vertically under her shoulders. On the saddle, the rider should have more a feeling of kneeling than sitting. To provide better balance, the rider might spread her toes to enlarge her feet, resulting in more weight being placed on the balls of the feet and lowering of the heels. Two types of positions should be avoided: 1.

The Chair: The rider sits far back in the saddle with her legs and knees too high and too far forward.

The Fork: The rider sits on her crotch with her knees too tight and her heels away from the horse’s barrel.

Figure 5 – The Chair

SEAT A good seat is of primary importance as an essential quality that any rider must possess to properly ride a horse. FIRST, a good seat will provide the rider with the proper balance and the ability to remain in full harmony with her horse in all circumstances; SECOND, a good seat will provide the rider independence of the aids so that she may ride a horse with circumspection and adequacy and thereby develop a good hand; THIRD, a good seat will connect the rider with the horse at all gaits, thereby allowing the rider to remain in control of any necessary or unpredictable movements. The sine qua non to ride a horse effectively is a good seat, a good seat, and a good seat. A good seat also ensures the comfort of the horse through the absence of shocks in his back due to the lack of the rider’s suppleness in her upper body. A good seat enables the rider to properly use her superior and inferior aids, i.e., hands and legs. Almost all problems a rider may encounter while riding a horse originate from an incorrect seat. A wrong or unbalanced seat will result in the horse acting differently by running too fast, being lazy, falling, rearing and even bucking or producing other undesired behavior. A good seat is the essential condition that a rider must gain to properly ride a horse in any discipline and at any level. Nowadays people often speak about the seat but do not do very much about it. Not so long ago, horsemen rarely mentioned the seat but regularly worked at obtaining a good seat. It was not long ago that I would see riders in the warm up arenas at horse shows riding without stirrups to perfect their seats. Today, I rarely see anyone riding in this manner. What has happened? Is there a new generation of riders born with good seats? While serving in the Cavalry, my fellow comrades and I had developed a natural seat by riding cross-

Figure 6 – The Fork

country without stirrups daily. The Military way, at the time, was march or die. Although we encountered many unpredictable situations, we all survived. More importantly, the results justified the means, and the results were noticeable. The training we received shaped our future in the Equestrian world. The Cavalry has been replaced with tanks and other motor vehicles, and a new generation of riders are learning different methods without the benefit of consistency and centuries of practice associated with the great riding academies. Please note that I said different, but I did not say better. What we endured in the Cavalry enabled us to become Centaurs, so to speak. How does the rider obtain a good seat? The rider should be as limber as possible. To prepare her body, the rider should not only stretch her muscles prior to mounting but also while riding. First, the rider must learn stretching exercises when the horse is standing and then practice them while walking, trotting, and even cantering. Time and mileage at the sitting trot without stirrups, holding onto the pommel or not, will always be the most efficient route to develop a good seat. In time, as the rider improves her seat, she can trot and canter cross-country and even jump while sitting erect in the saddle (the old jumping style). Because few riders today practice the sitting trot without stirrups, some may be apprehensive about riding in this manner. Some years ago, I was working with a rider who displayed such fear. After trying other methods, including using a vaulting surcingle, without success, I developed a pair of elastic stirrup leathers. An elastic strip of six inches in length was attached to each stirrup leather. The elastic prevents the rider from putting excess weight on the stirrups, allowing greater suppleness of the lower back, which thereby improves the rider’s seat. When these stirrups are used at the posting trot, the rider is forced to use her legs with greater vigilance. Where should the rider sit in the saddle? When the rider’s body becomes more adaptable to the horse’s gaits, the rider should consider how she should properly seat herself in the saddle. To be in balance above the horse’s centre of gravity, the rider must sit with

equal weight on her two seat bones (ischia) as close to the pommel as possible.

How to place the seat in the saddle

The most comfortable place to sit on the saddle is near the horse’s withers and shoulder blades. The horse’s shoulders are not attached to his spine by a joint but are connected with muscles and ligaments, which implies some elasticity. The shoulders are in the withers area. The pommel of the saddle should be placed on top of the horse’s withers. For greater comfort, the rider should place her seat as close as possible to the front of the saddle. By sitting near the pommel, the rider will be positioned above thehorse’s center of gravity.

Two methods, a classic method and a modern method, are provided to properly place the seat in the saddle. To accomplish the classic method, the rider acts as follows: 1.

Hold onto the pommel with one hand.

Slightly lean the upper body backwards.

Quickly and energetically lift both knees to a vertical plane, simultaneously

Pulling on the pommel while sliding the seat as far forward as possible. The rider then kicks both legs down and back into place.

Classic Method

To accomplish the modern method of placing the seat in the saddle, the rider acts by: Bringing both legs in front and on top of the saddle flaps. Bending both knees energetically, the rider slides the seat as far forward as possible. The rider then brings both legs back into place.

Modern Method

These two methods can be practised when the horse is standing still, and then at the three gaits. There are other methods to properly place the seat in the saddle, but they are more psychological than physical.

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46 Baroque Horse DRESSAGE | www.baroquehorse.com.au

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REIN ACTIONS Supinate indirect rein

The rein actions are the means through which the rider may guide the horse.There are five rein actions that are listed below in terms of the functions they perform. The division of the five rein effects is classical and relatively recent. Classical because these actions were already taught in the XVII century at the School of Versailles in France, recent because they were taught and codified in the mid-XIX century by General de Benoist. [Dressage et conduite du cheval de guerre, 1899, Général Jules de Benoist - Editor’s note.] (The Military, by necessity, has invented 90% of what we know today about horse training.) There are five rein effects: 1.

The direct rein, also known as the leading rein

REACTIONS OF THE HORSE:

The direct rein of opposition

The indirect rein, also known as the neck rein

Nose: Turns slightly to the right.

The indirect rein of opposition in front of the withers

The indirect rein of opposition behind the withers

For our present study we will need only the first three of these rein actions. The remaining two rein actions will be used in the future when the horse begins learning the upper level movements. The rider’s aids for the rein actions are presented for turning to the right. (They would be opposite for turning to the left.)

Head: Turns slightly to the right. Neck: Bends to the right, (called a “pli “). Shoulders: The right shoulder carries more weight than the left. Haunches: No opposition effect, the haunches will follow the path of the shoulders. RESULTS : If the curvature of the neck and the impulsion are sufficient, the equilibrium will be disturbed on the right so that the horse will turn to the right with the horse’s haunches following his shoulders.

In the following descriptions of the rein effects, I describe a movement by which the rider’s wrist will supinate. Supination is the rotation of the rider’s wrist, palm turning upward, and the thumb being on the outside. When the rider applies one of the five rein effects, the rider should supinate to easily maintain her upper body straight and erect, which will help the horse to maintain proper balance. Supination will invite the rider to maintain an erect upper body position.

A DIRECT REIN ALWAYS ACTS directly from the rider’s hands to the horse’s mouth and has no physical contact with the horse’s neck. AN INDIRECT REIN always acts indirectly from the rider’s hand touching the horse’s neck before reaching the horse’s mouth.

Direct Rein

Right Direct Rein or Leading Rein (Lateral Effect)

A bend (pli) is a slight rotation of the horse’s head at the poll in the direction of the motion. A counter bend is a slight rotation of the horse’s head at the poll in the opposite direction of the bend in the horse’s neck. Tracking to the right, the horse’s nose will be to the left; tracking to the right, the horse’s nose will point to the left. The rider’s hands must never cross over the crest of the horse’s neck. The rider’s right hand belongs to the right side of the horse and vice versa for the left hand.

THE RIDER’S AIDS: Hands: The right hand, supinates, the hand moving slightly forward and to the right, away from the horse. The rider’s arm remains relaxed with her elbow near her hip. The left hand yields to allow the action of the right hand and then regulates the bend of the horse’s neck. Legs: Applying equal pressure with both legs, the right leg will act slightly closer to the girth; the left will act when positioned a little behind the girth. Seat: Should be more to the right mainly by increasing the weight on the right stirrup so the rider does not bend her spine.

Direct Rein

To straighten the horse’s body while going forward or backward, the rider should move the head in rapport to the neck, the neck in rapport to the shoulder, and the shoulder-in rapport to the haunches. Consequently, to straighten the horse’s body, the rider should ALWAYS place the horse’s shoulder-in front of the haunches and not the haunches behind the horse’s shoulders to avoid disorganizing the gait. Straightness is most important for the symmetry of the horse.

Nose: Slightly to the right (counter bend).

THE RIDER’S AIDS

Neck: Bend slightly to the right.

Hands: The right hand supinates and moves slightly to the right and away from the horse. The right hand acts lightly, creating an increase in resistance from front to back and parallel to the horse’s body. The left hand yields and regulates the action.

Shoulders: The left shoulder is slightly more burdened.

The Right Direct Rein of Opposition (Lateral Effect)

Legs: The rider’s right leg pushes the horse’s haunches to the left; the rider’s left leg regulates the rate of displacement of the haunches,

REACTIONS OF THE HORSE: Head: The poll will slightly tilt to the left.

the left pivoting around the haunches if the horse is in continual motion. If the horse is at a standstill or is moving very slowly, the horse will move backwards.

Haunches: No effect of opposition; the haunches will follow the shoulders. RESULTS The horse’s shoulder veers to the left with the haunches following the forehand.

Seat: The rider’s seat will be positioned slightly to the left (by increasing her weight on the left stirrup).

In front of the withers

The Right Rein of Opposition Behind the Withers

REACTIONS OF THE HORSE: Nose: Moves to the right and back. Head: Moves to the right and back.

THE RIDER’S AIDS

Neck: Curved to the right,

Hands: The right hand acts from right to left behind the withers and the shoulders.

Shoulders: The right shoulder, being heavily charged, will move to the right, Haunches: Displaced to the left due to the curving of the spinal column and opposite to the left shoulder.

The left hand yields by moving forward and lower, regulating the action of the right hand. Indirect rein – neck rein

RESULTS: The horse turns more or less tightly to the right, or pivots on the spot.

The Right Indirect Rein of Opposition in Seat: The rider’s seat will be positioned more to the left thereby increasing the weight on the left Front of the Withers stirrup.

THE RIDER’S AIDS Hands: The right hand supinates and acts from right to left in front of the horse’s withers. The left hand yields by moving forward and lower, to then regulate the action of the right hand. Legs: The rider’s right leg sustains; the left leg acts to push the haunches to the right.

Indirect rein of opposition

The Right Indirect Rein or Neck Rein (Diagonal Effect)

THE RIDER’S AIDS: Hands: The right hand supinates, acting slightly forward and to the left, without crossing over the crest of the neck. The left hand yields and is positioned a little lower than the right hand. Legs: The rider’s right leg predominates slightly to accentuate the movement. The left leg is passive. Seat: Positioned slightly to the left seat bone by increasing the weight on the left stirrup.

Seat: The rider will have more weight on the left seat bone, thereby increasing the weight on the left stirrup. REACTIONS OF THE HORSE Nose: To the right and back Head: To the right and back Neck: Concave on the right Shoulders: The left shoulder will bear more weight.

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REACTIONS OF THE HORSE Nose: Move to the right and back Head: Move to the right and back Neck: Concave on the right. Shoulders: The left shoulder will bear more weight Haunches: The haunches will deviate diagonally to the left RESULTS The curvature of the neck to the right will increase the weight on the horse’s left shoulder and left haunch. The right rein, acting through the horse’s center of gravity, will displace the horse’s entire body to the left. a

Haunches: The haunches will be displaced to the right in opposition to the shoulder, which will be moving to the left. RESULTS The horse’s equilibrium is disturbed toward the back and to the left because of the weight increase on the left shoulder and the haunches deviating to the right. The horse will turn to

The material contained in this article is from Divide and Conquer Book 1 by Francois Lemaire de Ruffieu and is reprinted by exclusive permission from the publisher and copyright holder, Xenophon Press.

Legs: The right leg acts slightly behind the girth to push the haunches to the left and to support the movement. The left leg maintains the impulsion.

Behind the withers

Lusitano

HORSE ASSOCIATION OF AUSTRALASIA

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

LUSITANO HORSE ASSOCIATION OF AUSTRALIASIA E-MAIL: info@lusitano.com.au PH: +61 2 4887 1042

Sylvia Coyle | Ph 02 63 376521 | scoyle960@gmail.com

PO Box 1857, Bowral NSW 2576 Australia

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56 T R A I N I N G

ARENA G P S

TRAINING EXERCISES by Dr. Thomas Ritter

GENERAL TIPS FOR THE APPLICATION OF EXERCISES & MOVEMENTS If you observe a mistake during an exercise or a movement, you can interrupt it in order to ride a new exercise that teaches the horse the mobility, coordination, or understanding he needs to overcome the problems in the original exercise. No exercise or movement is so important that you can't interrupt it for an explanatory or corrective exercise. Afterwards, you ride the original exercise again, in order to check and see the horse can now execute it better. If an exercise turns out to be too difficult, you can ride an easier version or replace it with an easier exercise that addresses the same issue. If you want to work a specific hind lege, you bring it underneath the body through a lateral movement, then you load it, for instance through a narrow turn and/or by stopping into his hind leg.

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After the horse has successfully executed an exercise, you can change direction, gait, location, topic, take a break, or even finish the workout as reward. You should not, however, leave the location until the horse has shown some cooperation. Otherwise, the horse can draw the wrong conclusion and become disobedient. Every exercise serves as a preparation for the following ones, similar to the rungs on a ladder. It makes sense, therefore, to prepare for difficult transitions or movements. The skilful selection of exercises brings the horse into the best balance for the envisioned movement. Every exercise has a certain effect of the horse's gait and posture. This effect has an "expiration date". You must not, therefore, allow too much time to pass between the individual elements of an exercise sequence. Otherwise the beneficial effect of the previous part of the exercise will be gone and you have to start over. You also have to start over if a mistake happens during a sequence of exercises, because we want to take advantage of the cumulative effect of the individual parts of the exercise. After an exercise you always have to evaluate in which direction it was more difficult and in which direction it led to the greater improvement.

SHOULDER-IN TRIANGLE This exercise can be found in Arena GPS 1.2

Shoulder-in Triangle: Ride a shoulder-in on the long side of the arena. Stop into the outside hind leg (i.e. half halt on the outside rein, when the outside hind leg is grounded). Next, ask for a few steps of full pass toward the center line. After a few steps to the side, reinback in a straight line, until the croup reaches the wall again.

Here it is important that the horse’s shoulders and pelvis move sideways simultaneously and the same distance. It is also very important that the angle between the horse’s body and the arena wall remains constant throughout the exercise. Otherwise, the horse becomes crooked. In the shoulder-in the body mass is supported more with the outside hind leg, during the full pass it is supported more by the inside hind leg. This exercise mobilises the horse’s hips and shoulders. It improves the horse’s straightness, body control and coordination, and it increases the degree of collection. It is furthermore a good preparation for half passes.

VOLTE LEFT, SHOULDER-IN RIGHT This exercise can be found in Arena GPS 1.0

Voltes connected by shoulder-in: This is an application of the principle that the hind leg which was on the outside in the turn has to engage as the inside hind leg immediately afterwards. Both voltes have to be equal in size. The shoulder-in has to be ridden strictly parallel to the short side or the long side, so that the outside hind leg supports the weight enough and the inside hind leg engages.

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Control the outside hind leg with your outside calf and the inside shoulder with your inside knee and rein, so that the horse does not get crooked. If the outside hind leg escapes sideways and the horse falls onto his inside shoulder, the exercise will lose effectiveness.

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10 T R A I N I N G

Riding Essentials If you are new to riding or an experienced rider, it is always good to know what new products that are on the market or be reminded on the trusted older goods and even keep updated where safety regulations that may have changed. We decided to put a list of 10 essentials that will be of benefit to all

1. Recording Your Ride:

your horse is injured and you have mounting vet bills? The stress of an injured horse is bad It is difficult for a rider to judge their training enough however by having insurance this can session or competition ride without sitting back alleviate the added pressure of the huge expenses and watching a recording. Nor is it always is it that can occur. The team at Fitton HorseInsure possible to have a cameraman ready on hand to have first-hand experience and knowledge in the record you. Introducing Pixio - the auto-follow horse industry and have been looking after horse camera. Pixio is like your own robot that will enthusiasts since 1984. They are fully qualified follow you, will zoom in and out automatically and trained in all facets of the insurance industry and capture your ride perfectly. As Pixio can also so they can arrange a policy that suits your specific be used inside as well as outside, it can be used for needs. Itâ&#x20AC;&#x2122;s worth that phone call to see what your many other important events that you may want options are call the team at Fitton HorseInsure to record. Visit ProEquestrian Surfaces webpage today on 4638 4233 or email jo@fitton.com.au to find out more about the Pixio Auto Follow to arrange an obligation free quotation. Camera. visit: proequestriansurfaces.com.au

4. A Safe Horse Float:

If you own a horse at some point in time you will want to transport him, whether it be to a As of the 1st January 2017, the new regulation for competition, going on a trail ride or to pony club a safe float is paramount. So how do you go riding helmets in competition become effective. about buying a float and stop hiring that clapped Can you answer yes to these questions? Does out float? You need to go a company that can your helmet comply with the new rules? Does your helmet fit properly? If you can't answer yes, help you find the right float for your budget and you are guaranteed great service when your you need to look at replacing your old helmet. The price of a new helmet is priceless should you call iCredit. They even have flexible repayment options to meet your needs. It is stressful have a fall. Regardless of whether you compete or not, it is best to be reassured that you have the purchasing any major item, so it is import to talk best protection possible. You can find a wide range with a trusted company like iCredit. of helmet at Horseland so go and see at your visit: icredit.net.au nearest store, or you can buy online.

2. Riding Helmets:

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3. Insurance:

Arranging insurance can be overwhelming for horse owners. In the event of an accident have you considered how it would affect you if

60 Baroque Horse DRESSAGE | www.baroquehorse.com.au

5. Wound Care:

Owning a horse you need to make sure you have a first aid kit fitted out with the simple items to take care of any incidents. Your horse isn't in a sterile environment sometimes wounds get infected and hard to treat so we recommend that you consider having EquiMed bandages in your first aid kit.

EquiMed bandage is a blend of carbon and silver which draws out the bacteria and allows the body to start healing itself. No messy creams, no ointments - just a bandage. How simple is that! Visit: equimedag.com.au

6. Horse Boots:

It is paramount to protect your horse's leg from injury. You need a product that is cost effective, easy to use and a style and colour to suit your needs. We recommend you go and check out Horseland for your bell or shin boots. visit: horseland.com.au

8. Riding Gloves:

There are more reasons to wear a glove than it is part of the competition gear. Gloves help you to firmly grip on the reins, keeps your hand warm in cold weather and stop your hands from stiffening up, and if it is hot, it stops sweaty hands becoming slippery on the reins. If you fall with the reins between your fingers, the gloves will protect your hands and if the horse pulls they can prevent blisters. It is also a good idea to wear your gloves when lunging your horse or for that matter any ground work. There are different types of gloves from riding gloves to light work gloves. SSG Gloves have gloves for the horseman in mind - they use high-quality natural materials and have many luxurious styles. visit: ssgridinggloves.com

7. Protective Hoof Boots: Not everyone wants their horse shod, and many prefer the barefoot movement. Just like us we like to take our shoes off so why not opt the same principal for your horse? But what happens when you want that extra protection for your horse's hoofs? That question has been solved by Scoot Boots with their unique, innovative hoof boot technology and is superior to other boots... easy on and off, lightweight, easy to clean, doesn't turn on the hoof, or get soggy or heavy, excellent traction and does not impede the horse's movement. We suggest you check out Scoot Boots and their website. The team can advise you on the size, and they are just a phone call/ email away too. visit: scootboots.com

9. Riding Balance:

It is not always possible to have a trainer by your side to tell you that your balance in your saddle isn't correct. One of the most important facets of riding is attaining that balance as without this you are not in tune with your horse. Balance and muscle control go hand in hand so should also consider exercises off the saddle to strengthen those core muscles. So, how do you know if you are balanced when riding your horse? Simple - with modern technology! CoreX Equine app works with your Apple device and is attached to a belt which sits neatly in the small of your back, and it tells you when your balance

www.fitton.com.au with physical vibrations and also audio cues. It has a durable belt and is a one size fits all with an adjustable velcro material with a clip to easily fit your iPhone or iPod. It is lightweight so won't impede on your riding session. CoreX Equine plus iPhone clip is an inexpensive way to gain the correct balance in your saddle. visit: equicanine.com.au/corex-equine/

10. Ice-Bandages:

Immediate first aid is always best when an injury occurs but what if you need ice as the treatment? It is not always possible to be near a fridge to access the ice. There is an easy solution to this - Equinice is a product you should consider as it is a reusable compression cooling bandage that does not need refrigeration or ice to get results. It works by a rapid evaporation cooling method and draws out the heat while also providing support to the area via compression. Easy to keep in your first aid kit as doesn't require refrigeration, can be used anywhere, is reusable - just recharge with coolant. visit: equinice.com.au

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, id e r U K sage R s e r D it h ghes il e s - S m B e ll a G b y E m m a H u Photo: o t Pho

E D U C AT I O N

natural ASYMMETRY F A C T

O R

of the horse

F I C T I O N ?

What are the implications to Saddle Fit ? Did you ever stop to think that about 85-90 percent of the world’s population is right handed? Nine in every ten people are said to be right handed, but of the remaining 10% who are left-handed, males outnumber females 3 to 1. On average, statistics even seem to support the longevity of right handed people – they are said to live nine years longer than left handed people. Many devices and appliances are made primarily for right handed individuals, such as refrigerators, scissors, microwaves, can openers, button down shirts, guitars, and even military rifles. In the past, many schools have forced children to write right handed. Left-handedness was seen as being undesirable. However, usually you can’t tell just by looking at someone whether they are right or left-handed, and we are not considered ‘asymmetrical’ because of this.

it turns out however, most horses are actually left-handed (or at least what we call dominant on the left hand side), and it is usually extremely obvious. There are many theories as to what causes this predisposition. The German FN (the governing body of riding in Germany) even recognizes in its rule

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books that most horses are born with “a natural asymmetry” and that it is “cerebral, or determined at birth”. It could also be caused by the way the equine embryo grows in its mother’s womb. We have found that a good 70% of the horses we see (and this numbers in the 1000s every year) are ‘lefthanded’ while about 20% are ‘righthanded’ and the remaining 10% are

A symmetrical gullet plate may actually cause problems as it does not accommodate the natural unevenness of most horses. The gullet plate on the right has been opened wider on the left (as seen from the front) to ensure there is enough room for the bigger left shoulder of the horse.

pretty even. I am personally of the opinion that asymmetry occurs because of domestication, and the conditions under which we train and keep our horses – at least in part. I go into the various theories behind the asymmetry in more detail in my book “Suffering in Silence” in the subsection of Chapter 4 entitled “The Natural Asymmetry of the Horse” in case you are interested; in this article I would like more to concentrate on the issues that arise because of this asymmetry – regardless where or how it was caused. Suffice it to say that most of the horses which I have analysed over the course of my 34+ years of working in this field are kept in stables or are living on fairly flat pastureland – and most of them had more musculature on the left, over and behind the left shoulder, with a shoulder blade that was obviously higher and further back on the left In nature the trend may likely be to more evenly muscled horses, but I have not dealt with enough ‘wild’ horses to be able to comment on this with any authority. On the contrary, we actually seem to cultivate this affinity to the left – we mount from the left, we lead on the left, we saddle on the left – some horses are even distinctly ‘uneasy’ when approached from the right, and you will observe that when two horses fight, they turn their left shoulder to the aggressor. Often it is easier to canter on a left lead – have you experienced this? After the age of two, the development of the skeletal structure is pretty much finished. Correct training may work to impact the muscular development to counteract any natural asymmetry, but this inherent asymmetry absolutely needs to be taken into consideration when fitting a saddle properly. The saddle support area of the horse’s back begins immediately behind the shoulder blade at the base of the withers. Particularly the shape and position of the gullet plate needs to accommodate any unevenness in the shoulder area. Its function cannot be substituted with or eliminated by any amount of reflocking, shimming, or

orthotics. It is usually necessary to actually be able to fit the gullet plate asymmetrically at the shoulder to accommodate the larger shoulder and to achieve the necessary support equally on both sides. Fitting a gullet plate in this manner will not result in a crooked saddle – it is simple logic which dictates that you fit each shoulder as it should be fit (anyone who has one foot larger than the other will understand the problem in buying shoes that fit – do you buy a pair to fit the larger foot and use insoles [shims] for the smaller foot, or do you squish the larger foot into a pair to accommodate the smaller foot? I think this question is rhetorical; of course you buy a pair to fit the larger foot, which is exactly how the gullet plate should be adjusted – to fit the larger shoulder at the tree points! If this truism is ignored, and you put a saddle with an even gullet plate on a horse with a larger shoulder (left or right!), it will inevitably fall to one side as it will be pushed there by the more muscled shoulder – as is demonstrated in the photo of the rider from the back (and this is a common picture – even some of top riders who have been photographed from the back will demonstrate this phenomenon). Farther down the horse’s back the saddle will actually put pressure on the left side (if the left side is larger) of the spinal column, because it no longer lies in the proper position within the saddle support area – which keeps the spinal vertebrae clear of the panel. So what happens to the rider? She will shift to the right as well, but will try to counteract this fall to the right by shifting her weight to the left. There will be less support for her left butt cheek on the left because the saddle has shifted to the right, which causes her to collapse further at the hip. This extra pressure will cause the saddle to shift even more to the right (does this sound familiar?) A crooked rider has difficulty to give the horse the proper aids – especially using the subtle muscle contractions and shifts in weight you want in dressage. She may find

rom the measurements we have accumulated over F the last 30+ years from about 150 thousand different horses, we have determined that a) about 70% are more strongly muscled on the left; b) about 10% are evenly muscled and c) about 20% are larger on the right.

64 H E A LT H

This saddle has a number of problems – besides having shifted to the right, its gullet is too narrow and the panels are hard and compressed.

increased difficulty with a right canter lead. Her back may start to ache, her hips start to throb. The horse will feel resistance and the continued pressure of the saddle on the left side of the vertebral column increases stress to the SI joint – which can cause a crooked pelvis for the horse and possibly lead to complete lameness in the right hind! This does not mean that saddles should be made crooked; it means that it is essential to be able to adjust the gullet plate asymmetrically (not just in angle, which is common for some of the saddles with interchangeable gullet plates – but also in width, and also independently at both ends) to accommodate the horse’s conformation. Changes can be then further addressed as necessary because the horse’s degree of asymmetry will change over the course of its life. Just like a blacksmith forms an iron to fit the hoof, a gullet plate should be formed to fit the horse – not be available in only one permanently fixed position! Once the gullet plate has been adjusted to accommodate any natural unevenness at the shoulder, the saddle should be sitting straight on the horse’s back both when standing still but especially during motion. This will allow the rider to sit properly and in balance and keeps the pressure off the horse’s vertebrae. This is something discussed in one of my previous articles in early 2015 concerning static and dynamic fit issues. There are many articles appearing

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The cross sections show (a) an even skeletal structure and (b) a distinctly higher left shoulder blade with a stronger humerus on the right.

about on rider exercises and how to strengthen your core as a rider to allow you to sit straight and balanced in your saddle. However, unless you take into consideration the requirements of your horse’s conformation when fitting your saddle in the first place, your personal ability and strengths as a rider will always be compromised. Think about how much more successful you would be if you could actually use the saddle to help achieve your riding goals rather than fighting it to maintain your position! ■

This rider is trying to compensate for her saddle sliding over to the right because of the bigger left shoulder of the horse. (Photo courtesy of Dr. Joanna Robson, DVM)

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O F

I N T E R E S T

o g n a j D

THE LAST DANCE by

Lynn Jenkin

Once up on a time there was a mare called Renske fan e’ Olde Hoek. Well that seems like an appropriate way to start for what has been a bit of a fairy tale. We encountered Renske at the first Friesian Keuring held in Australia, at Tamworth. This was a momentous occasion for Friesian enthusiasts at was our baptism into the world wide “club” of Friesian breeders and owners with our horses being assessed equally against all Friesians worldwide.

y own little mare, my first Friesian, was accepted into the studbook but with no awards. Renske on the other hand, a vison of Friesian loveliness recently imported from the Netherlands by Carl and Anne Mitchell, covered herself with glory and was awarded Star status in the studbook. At the time she was newly in foal so, having fallen in love, I enquired as to the plans for the foal. At that stage they were to keep it, regardless of gender but as we know things can always change so I kept my ears open and when a young colt was born, I enquired again and luck was on my side, he was for sale. And that is how we finally met Django of Cacharel. Like all good fairy tales there

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must be a little but of the dark side and for Django that was the fact his dam declined to feed him so he was reared on a bucket with a camel, called Sam, and an old mare for company. For a bucket raised colt, he has always had impeccable manners for which we can thank his companions, his breeders and our own horses that took him under their wing when he finally got home to Tashkent Friesians. Again, as with all good stories, there must be an early coincidence that foreshadows what’s to come. In Django’s case it was being off loaded by the transport company at North Kaludah whilst on his way to us. Jeremy almost got to meet him before us and certainly saw the strapping young weanling before we did as we had not seen him since he was a month old. Little did either of them know how their futures would be intertwined.

As we move into the “middle” of the story we see Django and Jeremy forge a partnership that will take them both from Dressage neophytes to perhaps the most widely loved combinations in Australian Dressage with both Friesian enthusiasts and general horse lovers alike. No matter what the occasion, whether it be hooning round SIEC with the show jumpers in a stallion auction, throwing lollies to the audience as Santa and his Friesian at Werribee, or proudly wearing the Australian Flag at the Horse of the Year Show in New Zealand, they have both

always shown a genuine willingness to engage with their fans. I wonder just how many children from babies onwards have had a photo op with Django? Or adults for that matter. Somewhere in all this competition, in opening the way for others to follow him, for promoting the breed far and wide, Django also has managed to sire some outstanding offspring. He has a daughter in New Zealand, a son in France as well as pure and partbredâ&#x20AC;&#x2122;s throughout Australia. One of his eldest partbred sons, Deep Purple, has already had his first PSG start and his purebred son Duvel TK was NSW Keuring Champion. The test of a great sire is not just that he himself is a talented performer, but that he can pass that talent on and Django has consistently done so. All good stories must however have an end and the story of Django of Cacharel, the Peoples Horse, had its final thrilling chapter at Equitana 2016. We had all decided (the humans at least) that there was nothing more we could ask of such a grand horse. That at nearing 16 years of age (in January 2017 he turns 16), 6 years at GP, 12 years of competition, he had proven over and over again what an amazing creature he was. It was time to retire him from competition while he was still bouncing with enthusiasm to be out in his public, to go out on a high. To be a top level horse does not just mean constant training and time in front of the judge, it also means constant travelling from Qld to Victoria in order to compete and that would take its toll on him as he got older as much as would competing. And so to his Last Dance. We thought we would be ending with his last full dance in the Freestyle at Equitana. Django and Jeremey certainly gave it all in that ride but sadly just missed out on a placing â&#x20AC;&#x201C; home amazing would it have been to go out on a win! Still that was not to be. A standing ovation however was won! But there was more to come. The Powers that Be at Equitana had decided to give him a farewell usually reserved for Olympic horses. After the last horse for the night had strutted his stuff, the music came on again and Jeremy and Django rode proudly back into the arena sporting a huge garland and rosette. They danced around the arena with Django looking as fresh as a youngster, not an almost 16 year old that had just done a Freestyle. Every one left their seats to stand along the rail and be as close as possible to the champion of hearts. After a few circuits they rode quietly into the middle of the arena as the music stopped. Jeremy dismounted and Kat, in her role as body slave (as opposed to other role of FEI rider in her own right), stripped him of his saddle. Jeremy and Django then accompanied each other on a final lap of

the arena, with Django putting in some Airs Above the Ground for good measure to show just how good he felt. As this was happening, the Equitana volunteers had filed into the arenas and set up an honor guard through which the pair excited the arena. The emotion rises up in me even as I write about it weeks later. And so the Last Dance has ended, the orchestra has gone home, the party clothes have

been cast aside and the last long haul along the Hume Highway has ended. The story of the Black Fluffy Dressage Horse has reached its conclusion. Djangoâ&#x20AC;&#x2122;s full story has not however. He may have retired from public performance, to have retired from the Dance, but he is happily putting his enthusiasm into siring super stars of the future. This story may have ended, but the next one is still being written.

68 H E A LT H

68 Baroque Horse DRESSAGE | www.baroquehorse.com.au

Skin disorders

ITCHING HORSE &

The Nude Horse (Equine Epidemiologist)

Finding the cause to an itch is paramount to finding the right solution, whether it be eradication of the cause or a long term successful management of the diagnosed condition. Horses confined to paddocks or stables, are often in close proximity to other horses creating a breeding ground for diseases and parasites that affect the skin. SARCOPTES is perhaps the best known cause of itch and hair loss in the mane and tail of horses. The microscopic female mite when impregnated tunnels into the skin and deposits eggs in the burrow. The larvae hatch in 3 to 10 days, move about on the skin as they mature into adult mites. Adult mites live three to four weeks in the hostâ&#x20AC;&#x2122;s skin. The action of the mites moving within the skin and on the surface itself produces an intense itch that may resemble symptoms of QLD Itch. Their excreted faeces resemble dandruff or scurf and are often mistaken as just that. Thinning of the hair occurs as they damage the hair follicles causing reduced hair growth and hair thinning. Some skin disorders do not cause itching, but secondary infections such as bacterial or yeast infections cause the horse to itch and subsequently hair loss. It is possible the time the itch occurs the initial skin disorder is long

gone. Your vet will perform a skin scraping to identify the cause of the itch, likely parasites are considered as the first cause of an itch. Treating mites successfully requires application of a mite killing insecticide to be applied externally every 4th day for at least three weeks to ensure the breeding cycle is broken. As the insecticides work only at the skin surface, each lot of hatchlings needs to be treated, hence the ongoing treatment method to ensure a completely successful eradication. Treating rugs and companion horses is also best practise. Seek veterinary assistance to select a suitable insecticide. RAIN SCALD can be attributed to Dermatophilus Congolensis. This organism likes to infect traumatized skin, particularly in the presence of high moisture. Young horses with poorly

developed immune systems are at a higher risk of getting rain scald. Skin trauma can be initiated by abrasions, insect bites or frequent rain exposure that softens the skin, particularly along the horseâ&#x20AC;&#x2122;s topline. Once dermatophilus congolenis takes hold, likely secondary bacterial infections occur such as staphylococcus (staph) and or streptococcus (strep). Hence it is of paramount importance to treat the rain scald immediately before any secondary infections break out. (a) The best treatment is to wash the horse with antimicrobial and antibacterial shampoos once a day for a week. Allow the shampoo 10 minutes to sit before rinsing thoroughly. Condition and dry off. In severe cases prescription antibiotics will need to be prescribed by a qualified vet. QLD ITCH is an allergic reaction to the saliva of biting midge (biting insects that colonized near

a water source and feast at dusk and dawn on nearby stock). Getting an accurate diagnosis from skin scraping or veterinary assessment is the first step to managing this condition correctly. Often times sarcoptes mites are the culprit behind the itch, not the midge or biting flies. Noticeable symptoms that extend through the cooler months and exhibit dandruff symptoms are an indication the itch is mite related. Sometimes the horse is dealing with both mites and QLD Itch in warmer climates. Prevention is the likely most successful approach. Warding off the biting insects by rugging from dusk to dawn and applying a water resistant insect repellent to the exposed areas will greatly reduce the rate of biting flies. Secondly try to minimise the infections that occur to the broken skin from rubbing such as bacterial and yeast infections. At this stage people start to recognise their horse has QLD Itch. Washing the horse with a medicated shampoo each week, keeping rugs clean and the horse dry will minimise the skin related infections. Humidity also increased skin related infections, so do not allow the horse to sweat underneath constant rugging in warm weather. SCIENCE BEHIND THE ITCHING REACTION A mast cell is part of the immune system and contains many granules rich in histamine and heparin. Although best known for their role in allergy and anaphylaxis, mast cells play important protective roles as well being intimately

involved in wound healing including angiogenesis and defence against pathogens. Histamine as part of the immune response to foreign pathogens and is produced by basophils and by mast cells. Histamine increases the permeability of the capillaries to white blood cells and some proteins, to allow them to engage pathogens in the infected tissue. Heparin has been proposed to defend at such sites against invading bacteria. To signal the correct response cytokines (small proteins) are released by cells to affect the behaviours of other cells. The problem with allergic reaction occurs when incorrect signalling occurs at this cytokine level. Loosely put they can signal a Type 1 or Type 2 response to favour either a cellular immune response an antibody response. (b) Type2 (Th2 ) over activation against auto antigen will cause Type1 IgEmediated allergy and hypersensitivity. As a result of a faulty allergic response the horse begins to rub from an â&#x20AC;&#x2DC;over reactive itch responseâ&#x20AC;&#x2122;, next pathogenesis occurs â&#x20AC;&#x201C; the skin enters a diseased state and becomes microbial infected, inflamed or has tissue breakdown. The gastrointestinal system plays a central role in the immune system.(c) New scientific approaches to managing an itchy horse include feeding supplements that may work from the gut to down regulate the over reactive immune response. Ask at your local feed store for a supplement that works from the inside approach to benefit

holistically. Veterinarian approaches to managing the symptoms of classic QLD Itch include regular bacterial skin washes, applying effective insect repellents and injections with cortisone are administered in extreme cases. External solutions that can be applied to skin are popular methods to manage the new infections occurring on the skin surface. Caution should be exercised using any Iodine based preparations as these may lead to hypothyroidism with long term use and result in hair loss and un-wellness. Soothing oil preparations with insect repelling properties are popular; however caution should be exercised not to apply in the heat of the day. It is well know that healing skin must breathe to heal successfully, so resting skin for a few days between applications is best practise. PIN WORMS The adult worm lives in the rectum and lays its eggs on the surrounding skin externally. Pin worms cause severe irritation and sometimes rub so badly to rub the tail head raw leading to secondary infections and hair loss. To treat successfully some helpful tips include, using a pyrantel based wormer

70 Baroque Horse DRESSAGE | www.baroquehorse.com.au

Often times sarcoptes

MITES ARE THE CULPRIT behind the itch, NOT THE MIDGE

or biting flies.

repeating every 6-8 weeks. Clean the horse’s rectum first thing in the morning to remove eggs. Apply Vaseline to surrounding skin to help reduce the number of eggs that stick to the skin. Keep up treatment with wormer for minimum of 12 months as the immature stages of the worm are less sensitive to wormers so may survive post worming. NECK THREADWORMS Referred to as neck worms the adult Onchocerca Cervicalis worms live in the large nuchal ligament that runs from the poll to the withers. The reproduction process lands the highly irritating microfilaria (larval) around the face, shoulders chest and abdomen on the horse where biting flies come to feed. The culicoides fly serves as the carrier, reinfecting and spreading the larvae. The adult Onchocerca Cervicalis worms do not usually cause discomfort to the horse and will reside within the neck for around 10 years meanwhile laying thousands of eggs each year. Often inflammation occurs on the underbelly, ending in self trauma to the skin and chest as the horse rubs intensely to relieve the itch. Another tell tale sign includes a bullseye of hair loss and inflammation on the horse’s forehead. Most horses exhibit dermatitis, crustiness, hair loss, itching, swelling and self trauma, often mistaken for QLD Itch. Usually younger horses even though infected may not have symptoms until the age of 5 or more, hence the sudden onset of itch to a horse previously not itchy. Treatment of the microflilaria can be achieved with regular doses of ivermectin or moxidectin (some recommend weekly or fortnightly) until symptoms subside. A horse that has neck worms will demonstrate maniac itching for 48-72 hours post worming. The total onchererca life cycle lasts from 4 to 5 months, so consistent treatment is a priority. a

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Excellent additional reading can be found at http:// thehorsesback.com/neck-threadworms/. a. http://www.equusite.com/articles/health/ healthRainRot.shtml b. http://cid.oxfordjournals.org/content/32/1/76.short c. http://www.ncbi.nlm.nih.gov/pmc/articles/ PMC2515351/

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72 H E A LT H

A Natural

APPROACH TO COLIC AND ULCERS

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

Colic in horses is one of the most feared of conditions because of the dramatic way colic can spiral downward into a life threatening condition so quickly. Most horse owners have experienced at one time or another their beloved horses colicing- usually the vet is called out, the horse given a paraffin drench or an anti-spasmodic, the horse is walked around until he passes manure and is eating and drinking with good gut noises being heard - everyone breaths a big sigh of relief and no one is really the wiser as to what caused the problem. Usually the horse Is wormed again just to make sure. (a practice I am against after trauma to the GIT- there are other ways!)

bstructive colic’s are naturally the worst and scariest to deal with because, as illustrated in the above scenario, we have no way of knowing what the causal factor is unless the horse dies and an autopsy is performed. Usually you will find an enterolith ( preventable with a herbal detoxing) , or compacted dry roughage and necrotic tissue ( because the gut had been deprived of blood supply for a few days leading up to the fatal colic) tumours or foreign items that have inadvertently ended up in the horses GIT. Worm damage (particularly form bots) is another cause. A twisted bowel or telescopic bowel is often what ends the horse’s life, as it’s very difficult to correct these problems once the situation has turned from bad to worse…

72 Baroque Horse DRESSAGE | www.baroquehorse.com.au

Most colic events are usually from poorly designed diets or management .Overly anxious horses are at risk in certain circumstances because they can stop eating and drinking for significant periods, which creates opportunities for feed to be ingested with minimal fluid causing compactions of feed as it is too dry to pass through the GIT easily. Greedy horses can do the same as they can gulp down feeds into a small , nervous and tight gut, the same outcome of pain and spasm occurring. Horse with a history of digestive upsets and ulcers are also at risk. PREVENTION IS THE BEST CURE: A well designed natural whole food diet with natural foraging is

the best. Herbal support is advised for the anxious horses (particularly chamomile – a natural anti spasmodic and aids a comfortable peristalsis) and horses that are prone to general digestive upsets. Make sure hay is palatable and able to be chewed up well, checking your horse’s teeth helps in this processing. Magnesium is a good supplement to give regularly. Keeping the gut filled with appropriate roughage and water is essential. Fasting can be very dangerous in some situations, and a horse should never be without out food or water for more than 12 hours. STRESS AND ULCERS Competition and Travel Stress creates the highest risk- so measures must be taken to ensure that your horse’s diet during travel and water intake is kept up. Again chamomile and nervous system herbs are ideal, as well as the Bach flower rescue remedy is very useful. THE LINING OF THE GUT: At all stages, from the inside of the mouth to the anus, the tube is lined with mucus producing cells which are specialized to protect the walls of the tube from erosion. The tube needs protecting from the acids (as in stomach acid) the alkalis (as in bile) and the other chemical reactions, which take place down its whole length. This protective mechanism works by the cells producing fluid continually so that corrosive chemicals at the surface of the lining are washed away constantly and are

Herbalist I was first introduced to the concept of Herbal Lore when I was very young. I think one of the earliest influences I can remember was from my grandparents, who

Slippery Elm Powder to coat the GIT

•

Rescue Remedy – can be added to the tea and aids with shock and stress.

•

McDowell’s Nervous Episode Tonic- contains the herbs Valerian and Zysiphus.

•

McDowell’s Travel Mix – for long distance protection from Travel sickness and stress

•

McDowells Worm Mix – as part of normal Rotation program

therefore unable to attack the walls of the tube itself. In the stomach where the strongest and most corrosive chemical (Hydrochloric Acid) is found, protection from acid attack also depends on the regular muscular contractions which further stimulate the mucus cells to produce a great deal more fluid than they would without such movement. A STOMACH ULCER: A stomach ulcer is an area where the membrane comprised of mucus producing cells has been eroded away and the acid has been able to attack the muscular wall beneath. This causes pain and inflammation and can cause bleeding into the stomach which is debilitating and potentially life threatening on its own, and can also stimulate colic episodes. Slippery Elm powder is an ideal addition to the diet to soothe gastric ulcers along with Chamomile tea. At Home always have handy the following Herbal Formulas and Bach remedies. •

Chamomile flowers- to be given as a tea

were very traditional Bathurst farmers of the well known Cox family. My grandfather had the “people’s home library” which was a compendium of all kinds of home cures.

CATHERINE MCDOWELL

•

Herbal Medicine is, at its core, studying nature and the humanities. It’s about observing our diet, our environment and how we respond. Keeping a balance is difficult in the modern era as we are no longer interacting with our environment in the same way as we may have done even as little as a 100 years ago. As a Dorothy Hall graduate working along side the well known Robert McDowell for many years and furthering my education with

I have also found that therapeutic touch- like T-Touch and Bowen therapy, very useful when dealing with the overly anxious and hyper-vigilant horse. In conclusion, whilst we can’t protect our horses from unforeseen reasons for colic (we can’t always know a tumour is brewing) or eliminate the need for a vet, we can, however, do our best to keep our horses digestive systems and nervous systems healthy with a whole food, natural diet and good management practices, minimising the risk of possible colic. I have been involved with and cared for over 40 horses personally, and I have only ever had two horses colic- I suspect that for both, reasons were due to changes in diet and season, but I will never know, because it has never happened again. I took steps to ensure that both these horses were out of the high risk group.

Dennis Stewart, I have developed my own unique application of herbal remedies. Working primarily with animals (Horses and Dogs) has been the most rewarding. Having seen herbs work so well in so many cases has proven to me time and again the under-utilised power of herbal medicine. It is heartening to see now Vets, and some Medical Doctors seeing the traditional application of herbs as useful. My comprehensive service includes free animal consultations 24/7 via my web site, and face to face consultation in Bathurst. www.mcdowellsherbal.com

74 H E A LT H

Handy

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

H A N D Y

F R O M

D R

J O H N

H I N T S

A N D

K O H N K E ’ S K O H N K E

P R A C T I C A L

O W N B V S C

R D A

CHECK OUT SOME GREAT TIPS FROM ONE OF AUSTRALIA’S MOST POPULAR AND KNOWLEDGEABLE VETERINARIANS! YOU CAN ALSO FIND MORE GREAT ADVICE ON HIS FACEBOOK PAGE WWW.FACEBOOK.COM/JOHNKOHNKEPRODUCTS

HOLIDAY TIPS FOR YOUR HORSE Going away on a holiday at this time of the year can be a stressful time for horse owners. There are always the questions: Will my horse be OK while I am away? Will my horse have enough feed and water to last the duration of my holiday? Will the person looking after my horse be OK with the job? It is a good idea to ask someone who will be confident with the job of looking after your horse/s while you are away. A reliable friend who can check on your horses daily, feed and water them as necessary and be aware to signs of illness is important. A detailed record of feeding requirements for each horse, contact details for you and your vet, necessary equipment such as lead ropes, rugs and a first aid kit should be easily accessible for your ‘horse sitter’. Stock up the feed shed with enough feed for the time that you are away or talk to your local feed store and organise a delivery while you are away if necessary. Remind your horse sitter to check the water supply each morning and evening and ask them to clean the troughs or buckets regularly. Depending on how long you are away for and the current pasture quality and growth you should also consider instructions for grazing management to prevent problems. These include a horse gaining too much weight with an increased risk of laminitis or the horse running out of pasture, then requiring a hay supplement to their ration. A well implemented plan and the right person to take care of your horses will help you to relax and enjoy your holiday!

WHAT DOES A ‘CRESTY NECK’ MEAN FOR MY HORSE? In the Spring and Summer months, horses at pasture will often show signs of increased fatty deposits, such as a ‘cresty’ neck or lumps around the tail butt area. This often occurs because of the high WSC (water soluble carbohydrate) content of Spring and Summer pastures. The high sugar concentration of grass during this period provides more than enough energy for the horse’s requirements and any excess is stored as fatty

74 Baroque Horse DRESSAGE | www.baroquehorse.com.au

DOES YOUR HORSE HAVE GASTRIC ULCERS?

deposits. If these fatty deposits become very hard and solid to the touch, especially in an insulin resistant horse, it is an indication that the horse has a high risk of developing laminitis in the near future. The diet of at-risk horses should be adjusted to a high fibre, low GI ration. Cereal grains and grain derivatives are very high in starches and can cause a continued risk. Instead, focus on providing a diet based on soaked grassy hay or lucerne hay to control sugar intake, as it is best to restrict pasture access to minimal periods especially if the grass is short and under stress from hot or dry weather. It is very important to include a good vitamin and tracemineral supplement such as Kohnke’s Own® CellProvide® or Cell-Vital® as nutrients can be leached out by soaking the hay and many are commonly deficient in low GI diets. Kohnke’s Own TRIM will also be very beneficial in the diet of overweight and cresty horses or ponies during this period. TRIM is formulated with specific nutrients that support normal sugar and fat metabolism. TRIM helps to strip off ‘cresty’ necks and other unusual fat deposits as a safe and effective weight management supplement.

WHAT ARE ELECTROLYTES? Electrolytes are a group of salts that are dissolved in the blood and cell fluids. These salts are essential for functions such as nerve transmission, muscle contraction and metabolic processes. They also regulate water loss from the body. Electrolytes are lost from the body in several ways, such as digestive secretion and urine, however, larger levels are lost through sweat. Exercising horses lose more electrolytes, especially potassium and chloride salts, as their sweating increases. Some horses are naturally heavy sweaters and humid weather can also increase sweating and therefore electrolyte loss. These electrolytes need to be replenished in the diet to maintain correct acid-base balance within the body, particularly the blood system. A very effective way to replenish these electrolytes is to add the concentrated, balanced salt mix, Kohnke’s Own Cell-Salts, to the first meal after exercise. This will ensure that electrolytes lost as a result of sweating are replaced to normalise the acidbase balance within the body.

Gastro-intestinal ulcers are a very common condition effecting up to 80% of some horse populations and are often undetected. Ulcers can be caused by many factors but are essentially due to our modernday husbandry practices. High grain diets, not enough roughage, fewer opportunities to graze, exercising on an empty stomach and even stressful situations can all lead to gastric ulcer development. Horses suffering from ulcers can show signs of anxiety or sensitivity when touched around the stomach region, girthy behaviour, unwillingness to move forward under saddle, excessive drinking through meals, reduced appetite as well as stereotypic behaviour such as crib-biting and wind sucking. Gastric ulcers can be treated with medications which reduce acid secretion in the stomach. Kohnke’s Own Gastro-Coat is very beneficial in combination with drug treatment or as a natural supplement for the health and function of the digestive system. You can check our popular Facebook page for a video explaining how to avoid or help resolve gastric ulcers in horses, including information on the benefits and use of Kohnke’s Own Gastro-Coat.

KEEPING YOUR HORSE COOL IN SUMMER

It is important to consider the best way to keep your horses cool during the Summer months. Preferably, grazing horses should be housed in a paddock with plenty of shade trees or a well-ventilated shelter which they can stand under in very hot weather. Stabled horses should have ample ventilation, e.g. fans can be very useful in this situation. A fly mask with built in nose flap will stop the flies from irritating them and prevent the sensitive skin around the muzzle from becoming sunburnt. Always ensure that your horses have constant access to clean water as they will drink more during this time. Roughages, such as hay and fibre-based feeds, are fermented in the hind gut and this process naturally produces heat. Lucerne hay is higher in protein and takes longer to ferment, therefore producing more heat compared to grass or cereal hay and chaff. Thus, try to keep lucerne to a minimum – feed it overnight if possible to take advantage of cooler temperatures. It is always a good idea to exercise your horse early in the morning to avoid exhaustion in hotter temperatures and always hose off after exercise. However, it is very important to scrape the water from under their belly after hosing as this water will trap extra heat and reduce cooling efficiency. a

QA and

WHEN A HORSE ‘LICKS AND CHEWS’ M WHAT DOES THIS REALLY MEAN? SOME SAY IT MEANS THE HORSE IS THINKING IS THIS TRUE?

any believe that when a horse licks and chews they are ‘digesting a thought’ but this isn't entirely true. So let’s look the science behind the licking and chewing process of the body. When there is a change in the autonomic nervous system, it causes salivation, and this stimulates the horse to lick and chew. So, what is the autonomic nervous system (ANS)? It a control system that unconsciously regulates the bodily functions like the heart rate, digestion respiratory rate, etc. The ANS has two branches – The Sympathetic Nervous System and the Parasympathetic Nervous System. • The Sympathetic Nervous System (SNS) is often referred to as the fight of flight system. • The Parasympathetic Nervous System (PNS) is often considered the ‘rest and digest’ system. So, when an animal is stressed the SNS is engaged and when this is resolved it switches back to the PNS system. So, the licking and chewing is a simple reflex reaction to deal with the salivation. The licking and chewing reflex isn’t an indicator of stress or tension as this happens after a horse has survived the fight or flight encounter. Running around the paddock or training will cause the heart rate to increase and the ANS to kick in, and when the training is finished the heart rate drops back, and the rest and digest system is activated, and the horse will lick and chew its saliva.

76 Baroque Horse DRESSAGE | www.baroquehorse.com.au

WITH THE HOT AUSTRALIAN SUMMER I WORRY ABOUT MY HORSE OVERHEATING. DOES MY HORSE FEEL THE HEAT LIKE ME WHEN WORKING OUT? If

you feel hot when working out, your horse will feel worse. Horses get hotter three to 10 times quicker than we do because they are larger than us and have more active muscles when exercising. When a horse’s body heats up quickly so do the working muscles, and they can reach temperatures where the proteins in the muscles begin to denature (cook). After a moderate exercise in humid weather for your horse’s temperature can reach a dangerous level and can be at the risk of dehydration. Dehydration can disrupt critical functions like circulation and digestion and can damage organs Like us, horses sweat to cool off and can sweat off up to 10 to 15 litres per hour on a hot day and a lot more in humid condition. But our sweating is more efficient at cooling us down than this horse is. A horse can produce twice as much sweat per square inch of skin than we do. Approximately 70% of the horses' sweat isn’t evaporated and just drips off their body whereas 50% of our sweat is evaporated. Plus a horse sweats more salt that we do (four times more), and these salts will need to be restored. Giving your horse only water will not replace this lost salts and rehydrate him. Because your horse's sweat has a higher concentration of electrolytes than yours does, he's slower to develop an electrolyte imbalance and slower to feel thirsty. You can put in some electrolyte solution into your water to replace the sweat losses and trigger his thirst. It is about being sensible about the times your ride and exercise your horse and of course, is best to ride in the cooler times (earlier morning or late afternoons). Unfortunately, many competitions are held in the middle of the day, so if you are riding competition it is best to slowly acclimate your horse to the hotter weather, and this must be a slow process. Research has shown from previous Olympic games after 10 -14 days of getting used to the heat they were better able to regulate their temperature when exercising in hot weather. Of course, discuss with your trainer and work out the best training method for you and your horse. Ensure you have shade for your horse to cool down under. You can cool your horse down faster by rinsing with cold water or sponging, but you must scrape off the excess water. If you don’t scrape off the excess water, it will lie in the horse’s hair and warm up quickly. Repeat until your horse has cooled down sufficiently. You can still enjoy riding but be sure you plan in advance on how to cool your horse down after riding on these humid summer days.

CAN YOUR MELANOMA INTERNAL SUPPORT BE USED AS A PREVENTION TREATMENT IN MY GREY MARE? In

answer to your question , the answer is Yes. Herbal medicine is often used as a prevention. I suggest giving a 15 week course of the full program, and maintaining the prevention program thereafter with the Maritime Pine Bark extract and make sure that you are keeping an eye out for anomalies in case you need to start the internal again. MELANOMA

It also protects the circulatory system and is immediately obvious in reduced stiffness and soreness after strenuous exercise. Maritime Pine Bark is also a mainstay of my cancer support programs. Diet is important with any recovery program - As a general rule though, I like to feed: (this diet is excellent for Cushing’s and laminitis prone horses) •

Chamomile flowers ( ½ handful per feed) Nervous system support- P, K, mg in balance

•

Rosehips (2T in 500mls of hot water, divide over 2 feeds) Kidney /liver support, iron, vit c Cobalt.

•

2-3 cloves of garlic- sulphur, Vit A /E and various other vitamins and minerals that is excellent for immunity and heart/circulation health.

•

½ cup of Crushed millet per feed- silica- bone health /hair /connective tissue

•

½ cup of Crushed Linseed per feed Omega 3, 6, 9 lignin’s for healthy joints and flexible ligaments.

•

1 T of Kelp trace elements and iodine for thyroid function

•

Dolomite – Mg/trace minerals

This is the recommended diet, along with the herbal support. . If you need any more information please feel free to ask.

•

Speedi beet - macro carbohydrates, forage

•

Hay- oaten or meadow 24/7 or pasture- roughage /Calcium/silica

MELANOMA - INTERNAL SUPPLEMENT

Extra Protein options: Copra meal and Rice Bran, Oats and Barley.

The herbal prescription for internal use specifically targets those aspects of the immune system which allowed the Melanoma to develop in the first place. It contains the Bach Flowers Crab Apple, Honeysuckle and Chestnut Bud as well as the herbs Maritime Pine Bark, Comfrey, Horsetail and Violet Leaves.

Extra supplements can be given in specific circumstances to address issues….but the above is very good as a basic. And gives a superb coat and muscle condition. You want the horses strong, good muscle mass, low fat – lean and strong. Most commercial feeds fatten the horses and make their metabolism heavy…. can lead to insulin resistance, laminitis and Cushing’s disease.

Mostly horses can live very happily with these kinds of tumours, so long as they don’t interfere with their elimination/respiratory systems. The burst tumour can look nasty, but with the use of herbs you should be able to get the area soothed and comfortable. Sometimes the tumours can be growing inside and cause problems that can’t be seen, but mostly these tumours are slow growing. The herbal support aims at maintaining a slow growing rate, or may assit the horses own immune system to stop the growth of the tumour outright. I suggest that you give your mare the following 3 part program .Generally whilst we may not be able to help your horse get rid of the Melanoma in its entirety, we can ease the progress and make your mare more comfortable.

These herbs together support the lymphatic system and the process of rejecting the cancers . I am always interested to follow up individual cases of equine cancer cases and encourage you to discuss the progress of each case, with either myself or my staff, after the first Maritime Pine Bark ($152 200mls 8 weeks supply) This specialist antioxidant is nearly 25 times more powerful than Vitamin C and as such clears free radicals generated by athletic exertion at a phenomenal rate.

Also, Speedy- Beet is an excellent feed, with added herbs to make up the balance… I hope that this is helpful, and please contact me if you require any further information. If you have any further questions please do not hesitate to contact Cath McDowell. a

QA and

I UNDERSTAND THAT THE HELMET REGULATION ARE CHANGING IN AUSTRALIA. WHAT ARE THESES NEW STANDARDS?

afety for any horse owners is paramount and wearing a helmet that fits well is not the only requirement - it is a good idea that it meets the safety standards even if you aren't competing. A helmet that protects you in case of a fall or hit to the head is priceless. As of 1st January, 2017 helmets with the EN1384 standard will not be permitted in competition. All protective headgear must conform to the currently approved safety standards. When purchasing a new helmet check that it complies with the NZ/ Australian Standards, and if the label identifies the manufacturer license number, this is a further assurance that the riding helmet has been manufactured under an independently audited product compliance program.

CHECK THE LABELS FOR THESE STANDARDS APPROVAL IDENTIFICATION NUMBERS: •

Current Australian standard AS/NZS 3838 (2006 onwards) provided they are SAI Global marked.

•

New Australian standard ARB HS 2012 provided they are SAI Global marked.

•

Current American standards ASTM F1163 (2004a or 04a onwards) provided they are SEI marked or standard SNELL E2001.

•

Current British standard PAS 015 (1998 or 2011) provided they are BSI Kitemarked.

•

Interim European Standard VG1 (01.040: 2014-12) with or without BSI Kitemark.

Note: The above has been sourced from Equestrian Australia - General Regulations. Effective from 19th October 2016. http://www.equestrian.org.au/sites/default/files/ Equestrian_Australia_General_Regulations_19_ October_2016.pdf and please go and download yourself for further clarification.

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WHAT TO LOOK FOR WHEN BUYING A SAFE HELMET? •

Adjustable harness to help in getting the best fit.

•

- Select the right size and one that feels the most comfortable - please don't buy one to grow into!

•

- If you can feel pressure points on your head, then the helmet is too small.

•

- If you can move the helmet back and forward, then it is too big.

•

- If you can put a finger between the helmet and the head, it is then too big.

You are best to talk with the retailer when purchasing and get their help when choosing the right helmet. BE SAFE AND CHECK YOUR HELMET TODAY.

O F

I N T E R E S T

Interesting

equestrian infulences from past

to Present

id you know that the reason you either drive on the left or right-hand side of the road has an equestrian explanation to it? In today times, about a 35% of the world drives on the left, and the ones that do are mostly from British colonies. Where the right-hand side is mostly from Europe and the USA. Going back over 300years ago, almost everybody travelled on the left-hand side. This was due to quite a few reasons that all supported left-hand side travelling. Going back when life was extremely volatile and dangerous it was the most sensible and safest option to be able to protect themselves or those they were travelling with. Since most people are right-handed, swordsmen preferred to keep to the left to have their right arm nearer to an opponent and their scabbard further from him. So if they needed to fight or protect themselves this was easier to draw their swords and fight. Moreover, it reduced the chance of the scabbard (worn on the left) hitting other people. If you consider back to when there were knights and when they were at a tournament and doing jousting, they would need to carry the lance in their stronger arm, and given that most were right handed meant the would need to pass eachothers right arm thus putting them on the left side. Another interesting tid bit is that a right-handed person would found it easier to mount a horse from the left side as it would have be very difficult to do so on the side that they wore a sword (which would be worn on the left so could be easily removed with the right hand). Can you imaging trying to mount your horse with a sword in the way! It was also safer to mount and dismount on the left whilst the road, rather than in the middle of traffic, and also opening yourself up for being vanurable to your apponest. Placing the horse between you and them gave the rider more protection from their opponents. Driving or riding on the right, didn't start to come into place until the late 1700s. This was due to people hauling farm products in big wagons pulled by several pairs of horses. These wagons had no driverâ&#x20AC;&#x2122;s seat; instead, the driver rode on the left rear horse, so he could keep his right arm free to lash the team - again coming back to the stronger dominate right arm. Since he was sitting on the left, he naturally wanted everybody to pass on the left so he could look down and make sure he kept clear of the oncoming wagonâ&#x20AC;&#x2122;s

wheels. Therefore he kept to the right side of the road. There is also thought that another contributing factor to the right-hand drive was because of Napoleon the French military and political leader who rose to prominence during the French Revolution. The reason it changed under Napoleon was because he was lefthanded his armies had to march on the right so he could keep his sword arm between him and any opponent. The states that had resisted Napoleon kept left â&#x20AC;&#x201C; Britain, the Austro-Hungarian Empire and Portugal. This European division, between the left- and right-hand nations would remain fixed for more than 100 years, until after the First World War. Over the years more neighbouring countries changed out of necessity. Interestingly enough, On 7 September 2009 the Independent State of Samoa became the third country ever to change from right- to left-hand driving. Samoa had been driving on the right since it had become a German colony in the early 20th century, although it was administered by New Zealand after the First World War and gained independence in 1962. Prime Minister Tuilaepa Sailele Malielegaoi wanted to swap sides to make it easier to import cheap cars from left-hand driving Japan, Australia and New Zealand. a

80 H E A LT H

S TA B I L I S E D R I C E B R A N M AY O F F E R A D D I T I O N A L H E A LT H BENEFITS FOR HORSES BY KER

tabilised rice bran is a natural source of high-quality fat that horses find palatable. Owners frequently feed stabilised rice bran to horses to add or maintain weight or to offer extra energy in a way that avoids grains. Other reasons that horse owners and managers offer stabilised rice bran include: Altering the diet of horses that suffer from Tying Up and endocrine disorders, such as Cushing’s disease and metabolic syndrome (replacing starch with fat as an energy source is advocated by nutrition experts); Managing gastric ulcers; • Providing a fat source to optimize coat health; and • Helping modify some behavioural concerns (fat provides a cool, slowrelease energy). Although the equine industry seems to be most interested in stabilised rice bran for its high fat content and concentrated source of energy, researchers are eyeing other potential health benefits such as its glycaemic index (GI). When you decrease the feed intake with a low-GI feed such as stabilised rice bran you can decrease blood insulin concentrations, which may be advantageous in helping minimise bone development problems and other metabolic syndromes, or heated behaviour. Rice bran is known to be high in natural sources of vitamin E and other antioxidants, as well as some proteins, fibre, vitamins, and minerals. The antioxidant component, for example, is of particular interest because antioxidants help protect cells and tissues from damage

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following exercise and injury. Considering the health benefits associated with antioxidants, scientists are delving deeper into stabilised rice bran in an attempt to find “secret ingredients” to extract and use to treat specific conditions. For example: Stabilised rice bran is a good source of B vitamins, including thiamine, niacin and riboflavin, as well as magnesium, potassium and fibre. These B group vitamins are responsible for many metabolic reactions to provide energy for work and maintenance. Stabilised rice bran* may regulate blood lipids and glucose, modulate gut mucosal immunity, inhibit colorectal cancer in animals and humans, and appears to promote the growth of probiotic organisms, including Bifidobacterium. Preliminary research also suggests stabilised rice bran has health benefits for humans with type 2 diabetes, different types of cancer and Alzheimer’s. Other research ** noted that stabilised rice bran inhibits key enzymes in the inflammatory cascade that contributes to impaired joint health, pain and arthritis. Thus, stabilised rice bran may also help horses with osteoarthritis. Have you ever considered feeding your horse stabilised rice bran but weren’t sure what it is, how to introduce it, or— perhaps most importantly—how to use it properly? Equine nutrition experts agree that stabilised rice bran is a valuable feed additive for some horses but, like any change in diet, must be added slowly and properly to avoid gastrointestinal problems. Be certain to purchase stabilised rice bran. Unstabilised rice bran is available but will go rancid quickly and cannot be

stored for longer than 5–7 days, depending on heat and humidity. It is also important to not confuse stabilised rice bran with other rice products available for equine consumption, such as broken rice or pollard (both powder or pelletised). In Australia, the only stabilised rice bran product available is EQUI-JEWEL®. EQUI-JEWEL is the original, research proven stabilised rice bran conditioning supplement. It is the only conditioning supplement that offers the combination of high fat with minimal levels of oxidisation, low starch and an effective amount of digestible fibre with added natural vitamin E, organic selenium and calcium. Unstabilised rice bran is naturally high in phosphorus and low in calcium, which is considered an inverted calcium-tophosphorus ratio. Calcium is therefore added to quality products to remedy the problem. Another point to note is rice bran oil is not the same as stabilised rice bran. Stabilised rice bran has the added benefit of fibre, as well as balanced nutrients. Consider consulting an equine nutritionist prior to implementing any dietary changes. Discuss all components of the diet, including supplements, to ensure you are not double dipping or over fortifying the ration. KER is proud to offer free diet consultation to all horse owners. For more information please call 1800 772 198 or email advice@ker.com. *Sheflin, A.M., E.C. Borresen, M.J. Wdowik, et al. 2015. Pilot dietary intervention with heat-stabilized rice bran modulates stool microbiota and metabolites in healthy adults. Nutrients. 7(2):1282-1300. **Roschek, B. Jr., R.C. Fink, D. Li, et al. 2009. Proinflammatory enzymes, cyclooxygenase 1, cyclooxygenase 2, and 5-lipooxygenase, inhibited by stabilized rice bran extracts. Journal of Medicinal Food. 12(3):615-623.

World Leaders in Equine Nutrition

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Official Equine Nutritionists for

KEEP UP TO DATE!

Pack Size

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Day Supply

20kg

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xxx Days

Nutrition Consultation Service 1800 772 198 | advice@ker.com www.ker.com | www.kera.equinews.com

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

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

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SSG Gloves

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