Baroque Horse ~ Issue 05 by Baroque Horse Magazine

Baroque

Issue 5

The Royal Stud

ALTER Friesian Stallion

d set.

.Piaffe

BHM Follows

vealed Re

tails Inside

Gonçalo Carvalho &

RUBI Alter Real to the OLYMPICS!

Starting again? Why many go for

BAROQUE!

Price $7.95 AUD

Painting by Kim Bishop of ‘Decreto’

Sake 449 Sport

b a r o q u e h o r s e 1.

Wadelee Graphics

Hotse

of Black Swan

Hotse

Imported Sport Permit Stallion by Jasper 366 Hotse has exceptional expressive and fluid movement also he has a wonderful temperament Hotse is available for fresh & chilled semen. He will be standing at stud in Victoria for 2012- 2013 Service Fee Non Friesian

168 cm dob 20/4/2002

John Thompson with Hotse

Ravens Lodge Breeding for Performance & Pleasure Friesians & Friesian cross stock for sale & mares in foal for sale

$1450

Friesian mares

$1750

Asje: Due for

Hotse foal Nov 2012 Sponsored by 2. b a r o q u e h o r s e

ph 1300 857 727

0428 037 009 www.ravenslodge.com.au 0414 693 708 www.blackswanfriesians.com.au

Open to expressions of interest to book your own Hotse foal

Part Andalusian Filly

Australis Romanzo stands at Yalkin Stud, Monarto South Australia. If you don't have a suitable mare, or don’t want to interrupt your riding schedule, just choose one of Yalkin Stud’s quality mares to breed your next horse from this unique boy. Breed your own Pure Andalusian, Australian Andalusian or Part Andalusian for a set monthly fee. Youngstock sometimes available. For more information www.yalkin.com.au Email: tiffany.ayres@bigpond.com Phone:0407 609 908 Yalkin Stud PO Box 367 Monarto 5254 South Australia

This is the horse who does not stand on the laurels of his breeds’ reputation and pedigree -

He is out & doing it.

PHOTO JENNY BARNES

Pura Raza Espanola Pure Spanish Andalusian 15.2hh Registered with Australian & Spanish Studbooks

PHOTO IN MOTION PHOTOGRAPHY

PHOTO JENNY BARNES

PHOTO IN MOTION PHOTOGRAPHY

Pura Raza Espanola Pure Spanish Andalusian 15.2hh Registered with Australian & Spanish Studbooks

He is out & doing it.

This is the horse who does not stand on the laurels of his breeds’ reputation and pedigree Part Andalusian Filly Romanzo X Welsh Cob

b a r o q u e h o r s e 3.

lusitanos for sale

Coudelaria Quinta Oliveira

Ph: +351938920119 geral@coudelariaquintaoliveira.com.pt

4. b a r o q u e h o r s e

www.coudelariaquintaoliveira.com.pt

From the Editor .. Welcome to Issue 5 of Baroque Horse Magazine

Baroque

Issue 5

The Royal Stud

ALTER Friesian Stallion

I’d also like to thank Sarah Warne, our very hard working journalist and sponsored rider for her support and never wavering dedication to BHM. Sarah has been an integral part of the team from get go, and has worked hard to bring it to you, the reader, the vision of BHM. Thank you Sarah. A special thanks to all the contributors and photographers who help make this magazine what it is today. Riz, Caroline, Manolo, Jessica, Laura Z, Sue, Anna, Antonio, Pedro just to name a few. Thank you!

Issue 5 is now our first print issue! Available for subscription purchase all round the world and in news stands in Australia only! The concept of BHM was founded here in Australia and quickly expanded into to a global magazine enabling all baroque horse lovers world-wide the opportunity to be apart of a truly unique publication for all. We’re proud to say that we have contributors all over the world. With regular contributors Riz Ilyas in the USA, Sarah Warne in Portugal, Jessica Morton in Italy, Manolo Mendez in Australia and new contributors from Russia, UK, Netherlands and many more on the upcoming issues of BHM. Making us truly a global magazine! We’d love to hear from you and what you think of the magazine, what you’d like to see more of, or even any important topics that you would like to see covered.

Join us in our journey and ... go for BAROQUE!

Danielle Skerman

.Piaffe

BHM Follows

vealed d set.

I’d like to thank Patty Taylor for all the work she has done behind the scenes. Organising the administrative side, handling all the advertising and general enquiries. It has been a large task and I appreciate all your hard work. Thank you.

Time has finally come and we have printed our first issue of BHM. It’s a pretty exciting time for us here. Lots of hard work from the great team behind BHM. I would like to take this opportunity to thank everyone who has worked tirelessly to get this first print issue to the stands.

tails Inside

Gonçalo Carvalho &

RUBI Alter Real to the OLYMPICS!

Starting again?

Price $7.95 AUD

Why many go for

BAROQUE!

Painting by Kim Bishop of ’Decreto’

Sake 449 Sport

On the cover: Painting By Kim Irwin of “Decreto”

Editor In Chief: Danielle Skerman Advertising: Patty Taylor Design: Danielle Skerman Photograpers: Pedro Yglesias de Oliveira Cally Matherly, Antonio Mendonca Alexia Khruscheva, Laura Zugzda Lesley Skipper, Tibor Berecz Gábor Monos, István Merle Karen Hodges.Heidi Payne Direct Shots Contributors: Sarah Warne, Danielle Skerman Caroline Larrouilh, Manolo Mendez Jessica Morton, Riz Ilyas Sue Whitmore, Laura Zugzda Anna Melton Distributor: Network Services Pty Ltd Printer: DAI Rubicon Pty Ltd ©Baraque Horse Magazine AU. 2011 All Rigths Reserved. No part of this publication, editorial or advertisement, may be reproduced without the written consent of the publisher. The content of the advertisements within this publication is the responsibility of the advertiser. Although due care is taken in the preparation and publication for all advertising material, the publisher cannot be held responsible for any errors or for any consequential effects. Opinions and statements made by others in submitted text may not be the same as those held by either the publisher or the editor.

b a r o q u e h o r s e 5.

Contributors Manolo Mendez Master horseman with over forty years of experience spanning classical dressage, doma vaquera and jumping. Manolo Mendez was the first Head Rider, and one of six founding members of the Royal Andalusian School of Equestrian Art Sarah Warne Young dressage rider and Equestrian journalist, Sarah Warne, grew up in Australia. She now lives and trains in Portual under Mr João Pedro Rodrigues, and is loving everyday she spends training her 6 year old Lusitano Batailo! Riz Ilyas A proponent for ethical horse training and showing. He is a strong and very vocal critic of those who are abusive to horses. Most of his free time is spent with what he refers to as his “Merry Band of Misfits” as most are rescues. He gives credits to a wonderful group of people who have been kind enough to mentor him in the different aspects of horsemanship.

contents

09 Gonçalo Carvalho Conchinhas & Rubi Alter Real

Photographer Profile Alexia Khruscheva

49 Dressage Markers

92 Team BHM

84 The Forest Boyz

96 Riz’s Rant

86 Photoshop

78 The Lipizzaner

Tutorial

Jessica Morton A New Zealander who has been living near Florence, Italy for the past 6 years. She owns two horses with her husband, a Lipizzaner cross and a Sardinian Anglo Arab. 6. b a r o q u e h o r s e

BHM talks to Sylvia Loch

26 42

Sake 449

JUST 4 FUN 60

Manolo Mendez, Thoughts on Working In-Hand

Working Equitation with Roberta Inama

Readerâ&#x20AC;&#x2122;s Gallery

68 52 57

Equine Artist Kim Irwin

The Royal Alter Stud

Kids Educational with Sprinkles

Horses for Sale

Starting Again, why go for Baroque!

b a r o q u e h o r s e 7.

8. b a r o q u e h o r s e

Representing the Lusitano in London 2012 Olympics with

Gonçalo Carvalho Conchinhas &

Rubi Alter Real

Written By: Sarah Warne Photos: Pedro Yglesias de Oliveira & ‘supplied’

alloping towards the 2012 Olympics, Gonçalo Carvalho Conchinhas is set to make history with his Lusitano in London, having just scored an outstanding 78% for his Grand Prix Kur in Spain.

“When I found out we had qualified, I felt great pride and also a great certainty that all the sacrifices we had made over the last nine years were absolutely worth it,” says 29-year-old Conchinhas. Arriving on the international dressage scene just three years ago, Conchinhas has already proven his success and come a long way in bringing his Alter Real Lusitano, Rubi, all the way to the TOP! “This is without a doubt the highlight of my career – not only bringing Rubi into the top 100 dressage pairs in the world, but then managing to stay in 30th place in the FEI World Ranking with a Lusitano! With our recent scores topping 73% in the GP and 78% in the Kur, I feel great responsibility and pressure because I know that it will not be every day that I will achieve these scores! Not to mention the score of 83% in the FEI six-year-old class with a new Lusitano.” Also taking Coudelaria João Pedro Rodrigues’ youngster, Bariloche, into the international young horse class, Conchinhas proved that Rubi is not the only Lusitano destined for greatness, with young ones of the breed proving their potential for dressage competition! b a r o q u e h o r s e 9.

Gonçalo Carvalho Conchinhas & Rubi Alter Real

“I do not believe that the Lusitanos cannot match up to the warmbloods. There are so many very good Lusitanos that maybe were not placed in the best hands or offered the possibility of a dressage career. Rubi was the best so far, and he has proven himself against some very good warmbloods. But if you want to compare with Totilas, then I still have a long way to go. “There are already lots of people investing in talented Lusitanos, but they are mainly concerned with creating beauty and not focused on horses that will excel in top competition. But if we compare our breeding pool with the breeding pool of the warmblood mares, then I think the results are great. Increasingly I see people looking for Lusitanos for competition, and I believe in them. I am sure once they sample, they will be sold on the Lusitano,” said Conchinhas. Beginning at just five months of age, Conchinhas grew up with a love of horses, but it wasn’t until he was 17 that his ambition to reach the top set in. 10. b a r o q u e h o r s e

“To be honest I started doing dressage only because I found a horse that had the necessary skills. I hadn’t thought about taking up this discipline before that, but today I think I made the right choice.” Conchinhas’ horse Rubi, owned by rider and Lusitano enthusiast Christine Jacoberger, was bred by The Portuguese Riding School and hand-picked by Conchinhas as a horse with a greater purpose. Conchinhas pulled Rubi from the School, believing that this exquisite Lusitano stallion had the talent to compete at an international level. And he was right! Not only did Rubi go on to compete, but he is winning and has made Conchinhas the leader of the Portuguese dressage world. While he says it is difficult for him to recall when he first thought Rubi was an Olympic horse, Conchinhas says he always suspected the horse had the talent. “When I started doing tests with Rubi,

it was with the meaning and purpose of going to the Olympics. I have always believed that we were capable. I knew it would be a long and difficult road ahead but that we’d get there. While we worked very hard to succeed, we were always aware of our talent, and we always believed… one day our dream would come true!”

And of course this long road was very demanding on both rider and horse, but luckily it seems the pair has peaked just at the right time. “We work a lot. We dedicated a lot of our training time preparing for competition. This was very demanding, requiring more rigour, discipline and method. But we persevered and now are seeing evidence that all this work has enabled us to overcome our mistakes and difficulties. We have been evolving from year to year, and now, fortunately, we are ready to hit the games in top form. It seems our percentages have increased as the level increased!” Having qualified for the games, it is time for the duo to put some training time in on their home soil and prepare to reach their potential. “My objective for London is to make the best possible presentation. In the European Championship 2011 we achieved 69%, now I’m aiming to do 70%. I think it is absolutely possible!” Inspired by his late grandfather, Abel

Carvalho, Conchinhas’ riding as been developed and perfected with the help of many throughout his dressage years. “My riding is an assembly or a digest of many people… I learned a lot with Kyra, the Bemelmanns and Carlos Pinto. And beyond that I am motivated by talented riders like Carl Hester, Edward Gal and Isabel Werth.”

attitude within the test and out of it. In the test he is sometimes very tense, but fortunately, in recent tests, this aspect has greatly improved. Let’s see if we can keep this line.” Conchinhas hopes that, with their dedication, he and Rubi can one day abolish this weakness completely so the marks may increase EVEN MORE!

But of course his partner is his main inspiration, and he owes a lot of his success to one very special bay stallion.

“We both have a very strong personality, a great spirit of sacrifice, and we both work with an attitude of ‘We Can!’”

“Rubi is special, particularly for his character. He has an enormous spirit and talent and his piaffe is outstanding. He is certainly a very special horse with a great psychological stability.”

And what is the future for the Alter Real King?

Currently working on the relaxation of the horse, Conchinhas says the greatest weakness for Rubi is his altered attitude when in the test. “I am working with Rubi in the relaxation exercises, as my greatest challenge is the fact that he has a big difference in

“Right now we only think of the Olympics, and then we’ll see. The smartest option would be to retire Rubi at his best, which is sometimes a difficult decision. But as long as he is healthy I keep thinking we can still compete one more time.” a ‘Bariloche’, bred by JP Rodrigues and owned by Christine Jacoberger

“We both have a very strong personality, a great spirit of sacrifice, and we both work with an attitude of... ‘WE CAN!”

b a r o q u e h o r s e 11.

rt o p S 9 ake 44

BHM Talks to Jeanne Toonen Owner of the Amazing Friesian Stallion Sake 449 Sport

BHM: How did you get into friesians? was it a family tradition? JT: When I met my husband 35 years ago, he was stallion owner. He had riding horse stallions, thoroughbred Haflingers and Arabs. After we were married I arrived here in the village had two friends who had Friesian horses. They had their mares to cover up and down to Friesland. There were more and more Friesian horses around here, and this is when we decided to buy a Friesian stallion. This is how we got into owning Friesians. BHM:What is it that you love about the friesians that keeps you breeding? JT: After owning Friesians for some time, we are now absolutely in love

12. b a r o q u e h o r s e

Photos: Cally Matherly & ‘Supplied’

with them. We love the character of the Friesian horse – so calm and cool! Friesian horses really love children and people. They think with you; they are very intelligent. BHM: how long have you had Sake for and how did you come about to own him? JT: Sake 449 Sport was our last purchase. We bought him because we wanted different blood in our breeding and wanted to diversify our lines. Sake fitted well into our breeding program. BHM: Can you tell us a little about Sake’s personality please? What is he like? JT: Sake is a stallion who always wants to work and does so with much

pleasure. He has a strong personality and is astonishingly sweet! When I say he has a strong personality, I mean that old soul when he knows he must do something and does the job. For example, in the morning he must cover, because obviously as stallion owners he has to earn a living for us. He knows that he should do this nicely. When we are at a show he knows that he has a job to do and that he must concentrate and forget all the mares around him. Last year there was a “hengs sighted” mare with him in the dressage court, and that mare was in season and was very showy to Sake; but Sake knew, “I’m working and must not be looking at you”. So he ran his test neatly and remained quiet. When he finished his test he received huge applause from everyone who was there, and everyone said what a super stallion! This is where

Sake 449 Sport

b a r o q u e h o r s e 13.

Sake

or p S 49

14. b a r o q u e h o r s e

Come join us for a night of equine dreams & fantasyâ&#x20AC;Ś

OCTOBER 13, 2012 at the World Class Del Mar Arena Equestrian Complex & Event Center, San Diego County Fairgrounds, California

b a r o q u e h o r s e 15.

accidents can happen, but Sake was so well behaved and knew what to do and when to do it! This is why I say he has a strong personality. Sake is a schitterende stallion with a beautiful luxurious look, and he has lots of movement. If he’s trotting, then he seems to be a dancer. He moves through his body. Sake is an SUPER sport horse. He is fantastic in the dressursport between the KWPN horses. In the beginning, no one would think a Friesian could win; now they say when they see Sake at the venue, “There’s that damn good Fries again”. We can’t not win from him. Sake is already in the Sports Champion of the South, and when we visited the Netherlands in 2011 he became Dutch Open Champion. When we were at that championship, Sake pulled free from the trailer. We heard our competitors say, “Oooo, a Frieze on the loose”, all worried. But

16. b a r o q u e h o r s e

when he walked Z test he was quite different. Then it was “Oooo, Frieze” in a positive way, which is very good. He was that day also Dutch Champion in dressage. Sake is now a bright tour star. He loves the sport of dressage and is, in a word, AWESOME! His breeding is very good. His progeny have the flexibility of their father. His oldest progeny is two this year. In that short period he has already had several champions in foals and Junior Champions. He has very good semen; we sent frozen semen all over the world and fresh semen through Europe! We are proud of our whopper! People who want to breed with him can contact me: Phone 00 31 412 47 92 42 mail: hengstenhouderij@planet.nl website www.hhtoonen.nl a

Only the very best on offer in Australia

Photography & Concept by Andrew Cole

10 year anniversary discount on 2011 geldings.

Visit our website for more details

Ph:

03 5780 2600

www.friesians.com.au

b a r o q u e h o r s e 17.

ember of Russian Union Photographers, member of Association Equestrian Photographers of Russia.

Participant and winner of Russian and international photography competitions, photo exhibitions: EquiFoto(Moscow, 2008-2009), 2010 Equine Ideal Online Photography Contest »(USA, 2010), The Best of Russia 2010 (Moscow, 2011), First open national award «Best photographer» (Moscow, 2009) etc.

The author of photopublications in Russian and Europenian equestrian magazines (The Gift of Freedom, Golden Mustang, My Horse, RusTrakehner, Alfa-Centaurus, Horse Bazaar, Gippomaniya, Live View, Equus, Cheval

Junior, Mundo Equestre, I Nostri Amici Cavalli, etc). Servicing Russia and Europe with an individual approach to each client. “Horses have lived in my heart since my childhood. These beautiful and precious animals can only but delight. During shooting, working and communicating with horses each time I learn something new about them. When I give these animals my love and kindness, in return I get from them inexplicable energy that helps me move forward and make regular creative victories. Equestrian photography brings joy, happiness and unforgettable moments in life - it’s the best job in the world!

In each work I put my soul which reflects my feelings, emotions and thoughts. To work with animals is magical and is like being apart of another world... I love this world! All my photos are filled with stories and I’m very happy to show this to you.” +7 906 22 99 001 Skype: loshadenok Russia, Saint-Petersburg http://www.photolex.ru a

Alexia Khruscheva Equestrian Photographer 18. b a r o q u e h o r s e

Alexia Khruscheva Equestrian Photographer

b a r o q u e h o r s e 19.

20. b a r o q u e h o r s e

eva h c s u r h Alexia K grapher to o h P n a questri

b a r o q u e h o r s e 21.

22. b a r o q u e h o r s e

Alexia Khruscheva - Equestrian Photographer b a r o q u e h o r s e 23.

2 Sire of North Americaâ&#x20AC;&#x2122;s newest

approved stallion, WYBREN 464

2 Feike is known for passing along his incredible temperament and willing spirit to his offspring.

2 He adds beauty, power, strength, & majesty to his magnificent offspring with refined heads, long legs & powerful hindquarters, along with his thunderous heart of gold!

2 EVA Negative & vaccinated 2 Fresh & frozen semen available

Feike 395 Sport Feitse Pref. x Naen Pref. Permanently Approved on Offspring Height: 170 cm

24. b a r o q u e h o r s e

Design: www.LauraZ.net

Photos: Cally Matherly

ROYAL CAROUSEL FRIESIANS Annette Coester 801.910.5458 2 anncoester@aol.com www.RoyalCarouselFriesians.com

b a r o q u e h o r s e 25.

Manolo Mendez

Some Thoughts on Working In-Hand

By Manolo Mendez, Specialist of In-hand and Classical Equitation with Caroline Larrouilh

n-hand work is an integral part of my training, one that I use it with every horse, from green to Grand Prix, as it prepares and eases them into the demands of ridden work. I use in-hand first to build a correct foundation and then to help each horse progress along in his daily training, confirming the basics, working on balance and rhythm and introducing or refining movements. I find that it is a challenging but greatly rewarding way to gain insights into our horses’ minds and bodies and create a better working relationship with them. Traditionally, in-hand work is used to teach Haute Ecole and piaffe and passage but I use it from the first moment a horse begins its training with me. I work in-hand with the young horse to teach him how to use his body properly so he can develop into a confident, strong, supple, and balanced horse. I help the horse build confidence and trust in himself and in me, and at the same time teach him balance and rhythm. Good in-hand work requires great care on our part to exercise a sensitivity that we may not be able to display in our riding. It requires fitness and a mix of awareness, feel and timing. Awareness, because we need the ability to move swiftly and with accuracy, to mirror with our body what we are trying to create in the horse. We must know how and where to position ourselves to help the horse bend, halt, move forward, etc. We must be able to adjust

26. b a r o q u e h o r s e

our position quickly and smoothly as we watch the horse move and react to our requests. Feel, for how to shape the horse at his stage of training based on his conformation and history, asking neither too much nor too little, knowing what is good for each individual horse, what healthy postures, rhythm and angles look like. Timing, because the handler must know when to influence the horse’s movement and posture to be effective, and as importantly when not to ask based not only on where the horse’s legs and body are positioned with each stride, but also where he is mentally. Awareness, feel and timing are also about being able to gage if the horse has absorbed the lesson and is ready for another request, or if he needs more time, a break, or a different exercise altogether. We need to use our feel and awareness to discern if a horse is being disobedient or if he is not

understanding us. I find in most cases horses really try to figure things out. If they do not, it is often because they are afraid, do not understand, or are being asked something that they are not physically or mentally ready for. We should not punish the horse for these reasons; instead we need to ask ourselves whether something we are doing is creating the incorrect response we are seeing and how else to help the horse. We should not respond abruptly or brutally as we learn this work and are challenged with putting all the elements together. The cavesson handled incorrectly can be very severe and as importantly, in-hand work is about teaching and building the horse’s confidence and good will toward working with us. Forcing the horse destroys his desire to work and his trust and confidence in himself and in us. Hard hands, bad timing, pushing too hard or punishing the horse without cause in-hand (also under saddle!) can destroy his rhythm and pull him off balance creating

Manolo Mendez was the first Head Rider, and one of six founding members of the Royal Andalusian School of Equestrian Art. Based in Jerez, Spain, the school is one of the four classical schools which also include the Cadre Noir in Saumur, the Spanish Riding School in Vienna and the Portuguese School of Equestrian Art in Lisbon. A master horseman with over forty years of experience spanning classical dressage, doma vaquera and jumping, Manolo is dedicated to a soft, sympathetic and thorough training method which prepares horses physically and psychologically for each stage of training from training to Grand Prix and Haute Ecole. For more information and more articles visit: www.manolomendezdressage.com

â&#x20AC;&#x153; In-hand work is an integral part of my training, one that I use it with every horse, from green to Grand Prix, as it prepares and eases them into the demands of ridden work. â&#x20AC;&#x153;

b a r o q u e h o r s e 27.

Manolo Mendez

Photo descriptions Pic 1 (previous page) In hand work is great to prepare the horse for under saddle work. Here Manolo is practicing Spanish walk in hand. Manolo is very careful that Dinamico steps forward as he lifts his foreleg and is not stuck behind. 2. Manolo asked Joe to trot and is taking a moment to observe him to decide his next step. Without any pressure, he is positioning Joe on a circle, making sure he has a correct bend/flexion through his body. A correct bend/flexion means that there should be a natural arc from his poll to his tail otherwise the horse is crooked. Manolo is holding and directing the lunge line in his right hand and holding the bamboo in his left hand keeping it behind Joe’s hind feet but not driving it (at this moment). He safely holds the extra lunge line properly looped in his left hand. 3. To get Joe to use himself a little better Manolo just touched his inside hind leg above the hock gently with the bamboo he holds in his left hand. With his right hand he is taking a little more contact on the lunge line and asking for a little more bend in Joe’s body.

At the same time, Manolo is making sure he is walking forward and stepping in the same direction of travel as Joe to help him maintain his natural forward moving rhythm.

lungeline in his outside hand and the bamboo in his inside hand. Touching here and there to create cadence and activate the horse’s body and muscle memory.

4. Learning to work on three tracks. While Manolo is asking for flexion with his left hand at the cavesson, his right hand and arm is using the bamboo to help Joe bend and travel on three tracks. Three track work is known for being an excellent tool to keep the horse’s body compact without compromising the length of his neck. This is a method Manolo always uses, teaches and confirms before he asks for collected work under saddle. It is the beginning of teaching the horse to close the body that one day will lead to collection.

6. In the past, this horse has had very little in hand work if any. He is not carrying his neck as Manolo would like but he is beginning to learn to find his independent balance. With freedom in motion, his neck comes up a little for now but he remains soft overall. Manolo does not try and bring his neck down using the cavesson but focuses instead on building Clint’s rhythm and activity by touching the bamboo to the front of Clint’s inside foreleg. This will lead to his eventually arching his neck in a posture Manolo likes to see for this higher level of training.

5. Manolo is influencing Clint’s outside foreleg with the bamboo to activate the outside shoulder and leg and create more room for the horse to step underneath himself better with the inside hind. Note how lightly the lunge line is being held so as to encourage the horse to travel with a long, soft neck and an open throatlatch. 6. Manolo repeats the same exercise in the other direction making sure he is working Clint on both sides of his body. Note Manolo’s position with the

“In-hand work is not about mechanically working the horse. It is not about lunging the horse around and around to tire him or repeating the same requests again and again whether the horse understands them or not... We need to be able to observe and analyze our horse’s responses to the requests ” 28. b a r o q u e h o r s e

7. Manolo repeats the same exercise in the other direction making sure he is working Clint on both sides of his body. Note Manolo’s position with the lungeline in his outside hand and the bamboo in his inside hand. Touching here and there to create cadence and activate the horse’s body and muscle memory.

MANOLO

Manolo Mendez

In-Hand Work

We need to be able to observe and analyze our horse’s responses to the requests we are making...

problems and remedial work for the handler. While in-hand work is a unique and very effective tool, it must be used correctly to help the horse or it can really harm it greatly. In-hand work is not about mechanically working the horse. It is not about lunging the horse around and around to tire him or repeating the same requests again and again whether the horse understands them or not. If we want to make learning easy for the horse and help him to first develop straightness, rhythm, balance and confidence, and then learn lateral movements, introduce collection and eventually passage and piaffe, we have to really think about how we communicate with our horse. We need to be able to observe and analyze our horse’s responses to the requests we are making and be willing and able to modify our requests or change them so that our horse understands what we are asking. By being calm, observant, and flexible we create conditions for success, not stress and failure.

Being successful in-hand will depend on a few factors: what training the horse has had before beginning this work; if any, his conditioning; and his understanding of how and what we are trying to communicate to him. We want to work so that the horse is not defensive or afraid, and learns to accept, listen, and respond quietly to our requests. Our success in-hand also depends greatly

8. Pic 8 (above) Clint is showing more lift in his withers and a little more arch in his neck. Pic 9 (right) Here, Manolo has Buddy in an 8 to 9 meter circle to the right. He is positioned on the outside of the circle, the cavesson in his left hand and the bamboo in his right

on our ability to pay close attention to the horse’s body, his expressions and movements, and how he responds to our own motions, our requests. I do not work in-hand from the bridle. Instead, I only work in-hand with a cavesson. I prefer a completely adjustable, light, Spanish cavesson rather than one of the more cumbersome, heavier models from Germany and Austria. The cavesson I use has adjustable poll, jaw and nose straps and a single buckle (lighter than three buckles) on a padded noseband. It can comfortably fit any horse I meet during lessons and clinics, whether it has a small, medium or huge head. I am often asked why I recommend using a cavesson rather than work from the bridle. In my experience, I have found that in insensitive or novice hands, working from the bit can create problems with incorrect flexions and instill fear or resistance in the horse who is worried about his mouth. In addition, I have found that working with a Spanish cavesson or “serrata” gives the handler more flexibility and the horses moves with greater enthusiasm and freedom of movement without a bridle. Since I want the horse to move freely and find his independent balance without being “framed” or held together by auxiliary aids, the cavesson is a better choice for my goals. I never use side reins for the same reason.

hand. He is carefully shaping and directing Buddy at a walk on the circle making sure there is no resistance. Here and there, Manolo will move from an 8 to 12 meter circle into a three tracks shoulder in/fore while keeping the horse moving forward and travelling out. When Buddy achieves this in a fluid, relaxed and soft manner, then Manolo will come back to the 8 meter circle and repeat the shoulder fore/in out to 12 meter. Manolo is always directing this movement step by step in a very soft, forward manner. This exercise in walk is an excellent way to help your horse understand what you are asking for in the beginning of teaching lateral movement under saddle.

b a r o q u e h o r s e 29.

Manolo Mendez

How to get the most out of beginning inhand work: keeping the horse calm and accepting. Before I introduce in-hand work and different exercises, my horse needs to already understand how to move freely and softly in walk, trot and canter both directions on the lunge line. He also needs to have an understanding of basic balance, rhythm and correct flexion/

bending. I do not begin work in-hand until I have this understanding in place. Once my horse is comfortable being lunged on a circle, I can use the track (wall) to keep my horse straight and introduce him to having different parts of his body mobilized with a bamboo pole for in-hand work. For my bamboo pole, I use a simple,

straight garden-variety bamboo that has been allowed to dry so that it is very light. I like to have different lengths available, 6ft, 8ft, 12ft. The diameter is usually about the size of my index finger at the beginning which is the part I hold. I touch the horse with the tip part of the bamboo which is very thin and very light. I pay special attention to the bamboos being straight and having no asperities.

As a result of frequent in hand work Brolga is not intimidated by Manolo working with a bamboo and a cane at the same time He is working on piaffe with his owner calmly and willingly.

30. b a r o q u e h o r s e

Manolo Mendez As I introduce work in-hand, I keep things very simple. I begin at the halt by touching one leg with my bamboo. Then I ask the horse to walk on, halt again and I touch another leg. Then I repeat the walk, halt and touch another leg routine until the horse responds calmly and without fear or concern. I want to desensitize the horse to having his legs touched by my bamboo, take away his fear and teach him that when I touch him a certain way, I am asking for a specific reaction. I may be asking him to engage this or that leg a little bit more or step up or back. If I place the bamboo in front of his front or hind feet, I may be asking him to confidently touch it with his hoof with each stride and create his own rhythm. Before any of this can happen, the horse must be acclimated to the bamboo.

crooked? Tense? Reactive? You can work your horse for a little bit on a straight line then come back to a halt and touch one leg gently. If the horse responds ever so slightly by moving his leg - reward, praise, give a pat. Repeat, walk on, halt, and touch the other leg. If he responds, reward. At this point, you only care that the horse is responding by moving his leg calmly; the direction does not matter.

so that the horse can get underneath himself and move his shoulders freely when we ask for a response by tapping the hind legs. When his neck is long, the horse will have plenty of room to move forward and, most importantly, be able to move with softness. Softness is defined by a lack of tension or bracing and relaxed, bouncy muscles.

“It is important to use the same, consistent sequence to instill understanding and confidence in the horse.If we ask straight away for the trot and try to touch our horse with the bamboo, he will run away from it and our session will achieve nothing. We must go on slowly and with great calm and focus.”

My goal is to touch all four legs with the bamboo at the halt as well as introduce it to different areas of the horse’s body: his neck, chest, sides, belly, croup, down his hindquarters, etc. I can rub him with the bamboo so that it feels good and stand next to him with my arm over his back, moving the bamboo around the side of his body, by his feet, neck, and face until he is comfortable. I do not force him to stand, I take my time and I am quietly confident so my horse picks up his cue from my lack of concern. If my horse begins to feel pressured by the boundary of the wall, I can take him back to the middle of the arena where he has learned to feel confident with previous lunging lessons. I work the horse to the left and to the right. I never know how my horse is going to respond day to day, so I test the waters and I am always observant of his responses while working on the circle and when using the wall to keep him straight. How does he feel today? Sluggish or forward? Is he moving evenly? Is he

I have observed many horses responses and generally they will accept this process as it is short and there is no pressure. From there I go on to add trot to the routine. I ask the horse to trot, then walk, then halt. I touch each leg in turn at the halt and so on. It is important to use the same, consistent sequence to instill understanding and confidence in the horse. If we ask straight away for the trot and try to touch our horse with the bamboo, he will run away from it and our session will achieve nothing. We must go on slowly and with great calm and focus. It is very important to go backward and forward with these exercises in walk and trot to help the horse understand what it is that we are asking. As we are performing these exercises we are looking for softness throughout the body and a correct posture. This is the key to all good in-hand training. To have good posture and a soft, tension free horse we must create regularity, balance and harmony in the body of the horse

The horse has to be able to use his neck for balance and have room to move underneath himself, which cannot happen if the neck is too short. If we keep the horse too short in front then the horse will travel on his shoulders and be crooked. He will not find his own independent balance and rhythm.

If this happens even just a little bit it will create big problems for us when we train transitions. As I mentioned earlier, correct posture from the beginning is the key to developing a strong, supple and balanced horse. Problems that occur when riding can and will occur when training in-hand because when a horse is being a little lazy with one leg, or is crooked, or is not equally strong on both sides of his body. The result can be seen and felt in-hand as well as under saddle. For example, what do we do if a horse is not moving evenly and does not step under his body with his left hind leg exactly the same way and distance as he does with his right hind leg? If we observe the horse carefully, we will notice that the stride of the left hind leg is smaller than the one of the right hind leg, and as a consequence the horse steps shorter on his right shoulder because whatever the hind leg does, so does the opposite diagonal shoulder. So when we address the horse’s left hind leg, we will also address the restrictions in the right shoulder and benefit the whole horse. With in-hand work we can very precisely

M A N O L O

M E N D E Z

b a r o q u e h o r s e 31.

Some thoughts on working in-hand. influence any leg we want and ask it to step up a little more actively. To help the horse step up with his left hind leg a little more actively to match his right hind leg, we ask him to travel on a straight line and just as the left hind leg is moving off the ground, we can gently touch it from behind between the pastern and the hock. We observe the results and that helps us figure out if we asked at the right time, too early or too late, too hard or not enough - and it helps us refine our feel and timing.

we find that the hind legs are responding well but the front legs are not traveling in the same way as the hind legs? The horse is tensing his neck and shoulders and his body is not working as a harmonious whole but working mechanically in fits and starts. We have to reward the horse a lot for what he is doing right because learning piaffe is hard work and he is articulating and bending his hind legs very well but we also need to teach him to use his front legs in sync with his hind legs. So what should we do?

coiling of the loin and the lowering of the haunches that the piaffe requires. Knowing this, I ask him gently to lower his neck and head and I massage the base of his neck where it meets the shoulder to see if he will release the tension he holds there. I can also ask him to walk and then trot around me on an 8 to 12m circle (I use the size circle that works best for my horse, I do not force him on a smaller circle then he is comfortable traveling) and observe carefully how he is using his body to the left and then the right. I do not rush him off his feet but look for rhythm, softness and a correct flexion or bending through

In-hand is patient work that requires we be observant and flexible. To help the horse develop in a healthy way, it is very important to observe what is happening in his body. To look at his muscles development, in motion and at a standstill and note asymmetries: what side of his body is more developed, what shoulder, what side of the croup, what hind quarter when you lift the tail, what pectoral or poll muscles, etc. These differences are a map that tells us how the horse is developing and gives us indications about problems we may be experiencing or will experience in the future. In-hand is patient work that requires we be observant and flexible. Sometimes while everything looks like it is going well we may see something that is not quite right and we have to think about how we can help the horse succeed. What if when we begin the piaffe work

To help him learn to work as a fluid whole and to free him of tension instead of repeating the same requests again and again, I stop schooling the piaffe and bring the horse to the centre of the arena. As I mentioned earlier, for the

the body. When I see him respond and soften I can resume teaching the piaffe. We have to look at the whole body and make sure that every part of the horse is working in harmony. When the neck gets too high or the neck gets too low or behind the vertical, the horse is telling us that he does not understand how to carry himself and does not know, or cannot find his balance using his neck. It reveals a weakness in the neck musculature.

horse to work in balance evenly and with regularity, we need to keep the horseâ&#x20AC;&#x2122;s body soft and tension free so that his topline his elastic and he can accommodate the bend in the body, the

Horses need to be encouraged to stretch the neck out (withers to poll) and compress the body (withers to dock of tail) shorter. If we shorten a horse from the poll to the dock of the tail then the body will weaken over time and lose its grace and elegance. The horse will struggle to find his balance

Picture discription (above). Here Manolo is working with Brolga on piaffe using a different way to use the cavesson for in hand work. While the lunge line is looped around Brolga and both ends are attached to the nose buckle, Manolo is keeping the connection light and encouraging Brolga to stay soft and in front of the vertical.

32. b a r o q u e h o r s e

M A N O L O

M E N D E Z

WolfeMen Stallions Presents...

Imported Andalusian | Grey | 2000 | 16.2hh

2010 & 2011 Victorian State Champion Pure Spanish Entire Dinamico campaigns successfully in numerous events and dressage competitions showing a calm mind, 100% reliability and commitment in all events. Dinamico is known for his outstanding temperament and is proving to be very popular at all outings.

Standing at Stud for the first time

Introductory Service Fee $1650 including GST Fresh & Chilled Semen available

Enojado II

Salinero XV Salina

Dinamico XII Celesto

Popular Andalusian representative at Equitana 2010

Dinamica IX

Baturro VII Enojada II Jenson Animosa IV Jenson Nema Barquillero X

Obstinada II

Animosa IV

Saddleworld Dressage Festival 2010 - Novice 2nd Place

Equestrian La Mancha Sunbury, Victoria. b a r o q u e h o r s e 33. Phone: (03) 5428 1882 | Mobile: 0427 810 180 | Email: manolomendezdressage@gmail.com

straight lines and influence his fore and hind feet, or place one on his chest as I work with his hind feet to slow down his progression down the wall. There are more techniques available yet for those who become proficient at working in-hand. For example, both ends of the lunge line can be attached to the buckle of the cavesson and the horse can be “short-lined” with the handler walking or running behind the horse as he works on piaffe and passage. This requires the horse be well prepared and trusting of his handler.

develop a bad posture - and we know M and bad postures create problems at every

A N O L O

stage of the training.

To help keep the horse’s neck long and his body short there are in-hand exercises I can use very much like exercises in ballet to create regularity, strength and suppleness. They yield better result than trying to fix these problems from the saddle.

M I can encourage the horse to lengthen his E N D E Z

neck by gently tapping the dock of his tail while he travels on a circle, ask him to lift his back by touching the base of his neck or his belly. I can trace circles in the sand vigorously with my bamboo parallel to his footfalls and ask him to move a little more forward so that his motion organizes his

body for me and he stretches his neck to balance. I can ask him for an easy shoulder fore around me on a circle at the walk or take him to the wall in shoulder-in letting his neck lengthen and his body shorten as he steps under his belly line. I can change direction by having him step around his quarters or do a quarter pirouette, taking each step slowly and deliberately and touch any leg as needed so that they step evenly, with correct timing and alignment. I can ask him to trot on a straight line and play with where I place my bamboo in front of his front or hind feet so that he trots with more animation and arches his neck as his front end lifts off the ground. I can take a second bamboo and work on

Working in-hand, there is no end to how we can organize the horse’s body to help improve or enhance his balance, rhythm and suppleness and prepare him for different movements under saddle. As importantly, in-hand work helps us develop the horse’s confidence and attentiveness as his understanding of what we ask of him grows and he finds that we are fair, clear and precise. By constantly observing and working to preserve the softness in our horses’ bodies and minds, we can deepen the connection we have with them and make our training and companionship more efficient on the ground or under saddle. In-hand work is at its best when it is not used to push or force results, but used instead to allow us to work in harmony together with our horses, and use the time spent together in this manner to understand our horses better and find ways to make it easier for us to work together under saddle. a

Pic 12 (above left) As a result, Dinamico under saddle is learning to perform Spanish Walk calmly and correctly.

34. b a r o q u e h o r s e

WWW.ACMENDONCA.NET

Worming more than one horse? Razor Equine Wormer Primary Pack Carton 30mL Dimension: 333mm x 175.25mm Scale: 80% Original date: 24 Nov 2004 File name: 59467_51223_Primary_MPL.pdf Date this version: 19 January 2011

DIRECTIONS FOR USE: Give orally via syringe to the back of the horse’s mouth.

Mares may be treated at any stage of pregnancy. Stallions may be treated without adversely affecting fertility. If used on performance animals, regulations of relevant authorities regarding medications should be observed.

WARNING: Can be fatal to children if sucked or swallowed. FIRST AID: If poisoning occurs, contact a doctor or Poisons Information Centre (Tel: 13 11 26). PROTECTION OF WILDLIFE, FISH, CRUSTACEANS AND THE ENVIRONMENT: Ivermectin is extremely toxic to aquatic species. Do not contaminate dams, rivers, streams or other waterways with the chemical or used container. DISPOSAL: Dispose of empty container by wrapping with paper and placing in garbage.

Each syringe treats two 600 kg horses or four 300 kg ponies DOSAGE AND ADMINISTRATION: Administer 1ml/40kg bodyweight or 15mL for a 600kg horse. All horses should be included in a regular parasite control program with particular attention paid to mares, foals and yearlings. Foals should be treated initially at 6-8 wks of age and then as directed by your veterinarian. Razor Equine Wormer has a wide safety margin at the recommended dosage rates. It may be used in horses of all ages.

WITHHOLDING PERIOD (MEAT): DO NOT USE less than 28 days before slaughter for human consumption. SAFETY DIRECTIONS: Harmful if swallowed. May irritate the eyes and skin. Avoid contact with eyes and skin. Wash hands after use. Do not allow children to play with paste or used containers.

Active constituents: Ivermectin 8mg/g; Praziquantel 100mg/g

SEE LEAFLET FOR FULL LABEL INSTRUCTIONS

30mL

multi-dose syringe

Roundworm, Tapeworm and Bot Treatment for Horses

CAUTION

KEEP OUT OF REACH OF CHILDREN READ SAFETY DIRECTIONS BEFORE OPENING OR USING FOR ANIMAL TREATMENT ONLY

Roundworm, Tapeworm and Bot Treatment for Horses

30mL

multi-dose syringe

Active constituents: Ivermectin 8mg/g; Praziquantel 100mg/g

Axon Animal Health Unit 14, 25 Narabang Way, Belrose NSW 2085 Tel: 1800 223 217 • www.razorwormer.com

STORAGE: Store below 30oC (Room temperature). APVMA Approval Number: 59467/51223

barcode

BATCH NO. EXP

unvarnished area

XXX-II

b a r o q u e h o r s e 35.

BHM talks to..

Part 1 of Interview with Sylvia Loch

Classical Trainer,

Writer & Lecturer

Sylvia Loch

www.classicalriding.co.uk

Photos by Lesley Skipper

“ Two were quite unrideable, but BHM:

How did you begin riding and what

gradually with patience and a great

influences led to your love of horses?

deal of luck (looking back now!) I SL.

None of my immediate family rode, but

my father was incredibly supportive of my desire to ride as an eight year old. Lessons were arranged because I was so passionate. My first pony came

managed to get them all really wanting to work... this was rather the story of my

to me before I got much older, and it was not that

life from then on... “

we went looking. Tommy was a very fiery Welsh grey gelding and came to me as part of a bad debt owed to my father. Being soft-hearted, he had lent someone some money whose only way to repay

BHM: Have you ever competed in dressage? What do you think of the modern competition?

him was by way of three ponies! Two were quite unrideable, but gradually with patience and a great deal of luck (looking back now!), I managed to get them all really wanting to work. And this was rather the story of my life from then on… horses just came to us. Decades later, I discovered that my grandfather had been a mounted sharpshooter in the Boer War and almost got the Victoria Cross for rescuing a fellow soldier under intense fire. Quite extraordinarily, only two days before I set off to Calgary to run a dressage clinic for the Canadians in 2010, I discovered that he had sailed from Scotland, aged 15, to Canada and had been trained in Calgary! So there I was, going out to teach at the very place where my grandfather, William Cameron, started his equestrian career!

SL:

Yes, I competed quite a lot in dressage in the UK between 1980

and 1995 before we left the south east of England to move back to my roots in Scotland. By then I was working on my fourth book on equitation and had very little time. I have had great success at national breed shows for the Lusitano horse and Spanish horse at the highest level of dressage (where we were usually judged by international judges). By contrast, I found competing under British dressage rules with younger horses at a lower level a discouraging experience. Although we had some success, the comments were always the same – “not enough contact”, “horse needs to be more up into the bridle”, and so on, when my horses showed signs of self-carriage. After talking to numerous judges, many of whom knew less than most of the people that rode before them (all that has changed now and judges have to ride above the level they assess), I discovered a worrying lack of knowledge about the biomechanics of the horse. Few had any idea about lightness of the forehand or indeed the engagement of the hind. It was all about powerful gaits often at the expense of balance. It was around this time I started the Classical Riding Club as a way of educating people on what should be important. We even

36. b a r o q u e h o r s e

â&#x20AC;&#x153;I competed quite a lot in dressage in the UK between l980 and l995 ...By contrast (to higher level dressage), I found competing under rules with younger horses at a lower level a discouraging experience.â&#x20AC;?

Sylvia is an accredited Instructor of the Portuguese Equestrian Federation, Founder of the Lusitano Breed Society of Great Britain and of The Classical Riding Club. b a r o q u e h o r s e 37.

In regards to the direction in which

In Great Britain today, we are very lucky

dressage seems to be moving, it worries

indeed to have a rider such as Carl

me more and more that it is becoming

Hester who really does ride beautifully;

an elitist sport. Although there are a few

but I very much doubt even he would

noteworthy exceptions, a huge amount

dare ride his horses as lightly as he might

of money is involved in acquiring a top

like. It’s almost as though dressage

level horse, and the cost of training by the

judges today want riding to look like a

“right people”, being seen at the “right”

power struggle, when in fact in previous

competitions and the whole politics of

times it was supposed to look effortless.

the sport are daunting. For lower level

I truly believe if judges were taught the

devised a new method of judging dressage

competitors it should be easier, but

biomechanics of the horse and asked to

to encourage better riding practices, and all

even there we see that money counts

adhere to the FEI principles to the letter,

this can be found on the CRC website www.

and judges are too easily blown away

there would be many happier dressage

classicalriding.co.uk.

by the sheer size and potential of an

horses on the planet today and less that

expensive horse. Judges are encouraged

end up on the scrap heap.

My motivation for doing this was to return

to mark very athletic breeds higher

to a situation where you could showcase

than rewarding those who compete

the work you and your horse – whatever his

on a less-favoured animal, even if the

breed – had done together. This, up until

latter is actually more correct. It is very

about 1950, was the original purpose of

disheartening when a rider who rides

dressage. Cavalry officers would be judged

an impeccable test is given mediocre 6’s

on how they had schooled and transformed

and 7’s when her neighbour on a flashy

their often difficult, remount horses. Many

“dressage machine” is immediately

of these were thoroughbred in origin, very

given 8’s and 9’s despite being over-

different from today’s carefully produced

bent, the horse grinding its teeth and

“dressage types”, and it was the unknown

being rigid through the back.

factor that made the competition so interesting. Everyone was on a level playing

field and it was a test of skill of the horse and rider together, based entirely on the training. Needless to say, the rider was the trainer, no one else – as is often the case today!

38. b a r o q u e h o r s e

“It’s almost as though dressage judges today want riding to look like a power struggle, when in fact in previous times it was supposed to look effortless. I truly believe if judges were taught the biomechanics of the horse and asked to adhere to the FEI principles to the letter, there would be many happier dressage horses on the planet today”

Finally, I am glad to see that the Baroque horses are gradually being accepted by the judges; but again, if they are not allowed

Prazer, Sylvia’s purebred Lusitano stallion and main teaching horse in Levade after a partnership of 10 years’

to be ridden lightly, their paces will suffer. The Iberian horse’s centre of balance is further back than that of a warmblood, and if we are not very careful, riding them to please the judges will have a deleterious effect not only on their physical welfare but on their mental welfare too. All over Spain and Portugal, one is beginning to see signs of the breed being changed in certain areas to “suit” FEI dressage… and that should send out warning bells. For me, it’s time to change dressage, not to change our wonderful breeds.

BHM: In your training do you ever teach your horses the capriole, levade etc?

SL:

In my training, almost every

horse I have owned in the past 20 years I have taken on to High School levels. This

I have a natural talent for collecting the

you are unlikely ever to get lightness. A

horse – it was something I watched for

difficult mouth generally indicates some

years in Portugal and my late husband

form of tension or even pain behind.

Henry Loch, cavalry rider and maestro,

Of course, there are horses that are

could collect as naturally as you could

restless in the mouth because they have

advance to levade and beyond.

ever hope to see. Horses just came light

been badly bitted

Now, I feel this is not of my making but a

the back; the reins soft, like silk.

generally means piaffe, passage, canter pirouette, flying changes (but not always tempi) and, in addition, there have been a few horses who decide for themselves – or should I say make it possible for me – to

God-given thing. The horse himself wants to do it and I am shown the means how.

for him. It was all done with the seat and My first real schoolmaster, an exbullfighter LusoxArab called Palomo, When I ride and only when the horse

always tried to get his tongue over the

is ready, I work in the same way as he

bit and often did simply because he

did. You ask and the horse offers. But

had a very narrow mouth, and after

collection is something that has to be

an excessive use of the curb with his

built up slowly since it involves the

previous owners, just could never be

gradual suppling of the hind limb joints

settled in the mouth again in any bit.

and the growing in strength of the

I often rode him with just a cord in his

horse’s back, and particularly the loins

mouth, which he seemed to prefer, and

– so you can never rush it.

if he chose he could always drop it which he often did at the end of a display… to

If the horse is not happy in the mouth,

everyone’s astonishment. It only stayed

b a r o q u e h o r s e 39.

“They become much more powerful as the hocks come under and sometimes, if they are not used to that feeling of freedom, they cannot help themselves. A couple of times I have brought a couple of horses to passage for the first time in their lives and they go ‘Yipee! now I can fly!’ - and they do!” Pic left: ‘Espada (Portuguese for sword) has been with Sylvia 20 years, travelling the length of the . UK to star in films and demos including her Phantom of the Opera routine which used to wow the crowds.’

Within a couple of years he was offering LEVADE with the greatest of ease. there because he accepted the contact.

The aids for levade are just a re-

help them to take their weight back,

It was a favour that he allowed me

affirmation of the aids for extreme

that is, hocks more underneath, none of

because he trusted me. Despite past

collection. It is all about lightening the

the above problems can be sorted.

difficulties, his piaffe and passage was

seat at the back to free the loins and

to die for and he could do small levades.

the rider having a lot of core strength

Unfortunately, the horse cannot yield its

to help the horse maintain balance. I

body until it has learned gently to flex

I had another Lusitano stallion that was

have written about this in my new book

from the poll and relax the jaw too; so if

very strong in the back and happily

The Balanced Horse, which will come

we have a tight flash noseband, that will

settled in the mouth because I got him

out next year and is mainly comprised

immediately get loosened by several

at an early age, and within a couple of

of photographs to explain the different

holes. Then I start work by letting the

years he was offering me levade with

aids visually.

horse stretch, and gradually, with small,

the greatest of ease. My present schoolmaster Prazer, who appears in several of my DVDs, especially

discreet “give and take” feelings with BHM: In your pleasure time, what sort of riding do you like to do?

the Sensitive Schooling series (see www.

the fingers and legs (always light hands and light legs), persuade them to chew on the bit and release all those tight areas that will create blockages further

classicalseat.co.uk), is now doing levade

SL:

in his 15th year. We started this work

sound a bit too single-minded – I just

about l8 months ago and he loves it.

adore to school. I particularly like riding

Some horses come to the bit correctly

He has offered a few steps of courbette,

someone’s horse which needs help, for

for me almost immediately. I feel it is

and from time to time we get a feeling

example, on the forehand, stiff, rushed

a massive relief for them. Others take

of capriole, but not of the standard of

gaits, not enough impulsion, and so on.

longer.

the Spanish Riding School of Vienna. I

I also like to work with horses that carry

think, really, one needs someone on the

their head either a) too high or b) too

As a true horseman or horsewoman,

ground for that, and I am not sure that

low, amongst other things. Generally, in

one never stops learning, and each

he is powerful enough.

each case the important thing is to start

horse, whatever their problem – even if

to rebalance the horse. Unless you can

it’s a common one – has something to

In my pleasure time – it may

back.

teach us. 40. b a r o q u e h o r s e

I am now at an age where I will not just

always made sure I could see the rider

So, far from being dull, schooling strange

get on anyone’s horse without seeing

on their own horse first!

horses can be very exciting and certainly

them on it first. I am much too long in the

very rewarding indeed. As for schooling

tooth these days. In the past, I have been

There is just one downside of bringing

my own, what it particularly does for

caught out a number of times by horses

a horse into balance that has never

me is re-affirm all I am writing about.

that the rider is afraid of and who will do

been in balance before – they become

Without schooling, you can’t possibly

quite unpleasant things. I’ll never forget

much more powerful as the hocks come

be a good teacher or a good writer, and

the first time I went to New Zealand, or

under and sometimes, if they are not

I firmly believe you have to understand

was it Australia, whichever... and got

used to that feeling of freedom, they

the whole spectrum of dressage from

thrown off in the first five minutes of the

cannot help themselves. A couple of

novice to High School to help others

first lesson by a huge 18 hander. I think

times I have brought a couple of horses

help their horses.

everyone thought I couldn’t ride, but I

to passage for the first time in their lives

made sure I made up for that later with

and they go “Yipee! Now I can fly!” – and

More of BHM’s interview with Sylvia in

the rest of the horses and, from then on,

they do!

issue 6. a

b a r o q u e h o r s e 41.

Working Equitation. www.gotteroranch.com

Roberta Inama T

here is a dusky aura to the Ligurian countryside in the early morning. The rolling hills are softer at this time of the day, and it is now that the region demonstrates best its celebrated romantic ambience. It is late in January when I decide to drive out from Florence to the flood ravaged Ligurian region to meet two influential

Macina, Roberta’s star mare and winner of the Betaiga trophy in 2009 is a sweet mare that demonstrates how talented she is in a liberty demonstration of Spanish walk with Roberta - it is real privilege for me to watch this equine/ human partnership well known amongst working equitation and Murgese enthusiasts Murgese horse trainers and discover what their black horses can offer modern recreational and competitive riders.

42. b a r o q u e h o r s e

Written by Jessica Morton Photos: supplied Chiusola is a tiny village located in the Apennine mountains. Standing guard over a densely forested topography, the lure of the Ligurian Apennines is that the villages up here feel authentic, without any of the obvious tourist trappings that plague the nearby Cinque Terre. The old streets and stone houses have remained almost exactly the same as they were a thousand years ago – the streets are calm and one can smell the soft scent of Marsiglia soap lingering in the air. Michelangelo Boer grew up in this small mountain village. An accomplished horseman, he developed a fascination with the Murgese horse in the late 1980s after reading an article that praised the breed’s hardiness and aptitude for trekking. At the time, Michelangelo was looking for a low maintenance trail horse that could handle living outside during the cold winters and working during the summer as a trail horse at his riding centre. Up here, the thickforested surroundings are home to wolves, wild boar, eagles and deer. The terrain is challenging; steep and craggy. To handle this unforgiving landscape and the extreme weather, the horses need to be tough. A visit to Puglia convinced him that the Murgese was what he was looking for – a strong and hardy horse that was also versatile. Michelangelo met Roberta Inama, a local dressage rider from nearby La Spezia. With their combined equestrian knowledge and experience, they worked together to breed and produce exceptional Murgese horses for a variety

Winner of the Betaiga trophy

2009

on her Murgese mare

’Macina of disciplines, from long distance trekking through to dressage and eventually working equitation. Roberta and her brilliant mare Macina have promoted the breed internationally through working equitation. At the 2006 World Championship in Lisbon, the little blond Inama and her powerful black horse achieved a team medal (bronze),

Lunch with Italian Working Equitation rider/trainer team Roberta Inama and Michelangelo Boer

Roberta

Inama

Roberta and Macina competing in working equitation

The Murgese stallion lines can produce an outstanding variation of type, suitable for a wide selection of equestrian pursuits. Roberta and Michelangelo are quick to point out that why they consider this an attribute of the breed. “Murgese horses were bred by nobility. There were horses for different purposes – and even today at the annual sales you can find a very diverse range of horses for sale”. b a r o q u e h o r s e 43.

the n o e l o p s ros c l l a m s a r hat e t v y o a s s d e n l u p bo peo n e h w e “ ‘Adone’ o.” ru l t e t g o n n a l s ’ e t h I s Mic e k o j ground. “ , ” p jum t ’ n a c e s Murge “you can find a very diverse range of horses for sale”

Interestingly the couple have also sold on horses which have became famous in equestrian perfomance shows - and watching the beautiful Troiano work for them in harmony and complete liberty, I can understand why. 44. b a r o q u e h o r s e

and in 2009 the pair participated at the German Bentaiga Trophy where they took away two gold medals in dressage and the Completo title (for all four trials). I meet Roberta in the village. The rain has stopped for the moment, so we decide to head straight up to the stables while the weather holds out. Michelangelo picks us up in the farm truck, and we are followed up the road by the couple’s big white sheepdog. The Murgese stallion lines can produce an outstanding variation of type, suitable for a wide selection of equestrian

exudes a very special presence when he moves. “This is an excellent classical dressage horse,” Roberta tells me. As they leave the arena, Adone bounds over a small cross pole on the ground. “It’s not true when people say that Murgese can’t jump,” jokes Michelangelo behind her. Aurora is next. This pretty, 17hh dressage mare reminds me of a Westphalian gelding I once worked with. This mare competes with a 14-year-old rider and recently took out the silver medal at the regional dressage championships,

After watching the gelding in the arena, I tell Roberta that it’s a shame he’s not going to be used in dressage. Michelangelo laughs that with the market the way it is, the fact he has a good home is what is important. Violante enters the arena with head held high and nostrils flared. She is a statuesque mare with a fiery personality, not at all for the faint-hearted. Roberta had hoped she would be suitable for working equitation, but is now swaying towards dressage as the horse is too highly strung for the latter. As Violante tears around the arena showing off her remarkable movement, I ask Roberta whether she was a bucker. Roberta grins and Michelangelo laughs. “Not anymore,” she tells me. Michelangelo watches the mare and tells me, “There are butteri (Tuscan cowboys) that would give their right arm for a mare like this. Unfortunately, she just didn’t have the consistency for working equitation.”

pursuits. Roberta and Michelangelo are quick to point out why they consider this an attribute of the breed.

proving not only the wonderful nature of the Murgese but also their athletic capability.

“Murgese horses were bred by nobility. There were horses for different purposes – and even today at the annual sales you can find a very diverse range of horses for sale.”

Troiano and Beniamino are next up. Troiano is Roberta’s dressage mount. He dances about the arena excitedly and then runs up to Michelangelo and Roberta who show me how he can bow down at liberty. Interestingly, the couple have also sold on horses which have become famous in equestrian performance shows; and watching the beautiful Troiano work for them in harmony and complete liberty, I can understand why.

To demonstrate the different types, they bring out each of the horses they currently have in training and release them in the arena. Adone is first up; a black stallion with an unmistakably Baroque profile. Roberta sends him off and works him at liberty in the arena. He is not a big horse but

Beniamino is a young horse that has recently been sold as a trekking mount.

Next up, Roberta brings out Bruno Rinaldi, a young stallion. He is, in her eyes, the ideal working equitation type. Rinaldi’s compact conformation is very similar to the Napolitano horse of old; his stature and movement is exemplary of the type of horse required to swap between working cattle and classical dressage. He is quick and agile on his feet, yet level-headed. The majority of horses competing internationally in working equitation are classical working horses, predominately the Lusitano, PRE and Lipizzaner. “Precision and speed are important, but if you don’t have a horse that’s sensible in the head, then it’s all over. This is what lets down many riders. The riding is good, but the horses can’t always be counted on,” Michelangelo explains. “We have high hopes for this horse,” Roberta adds. “He’s small for a Murgese, but look how well put together he is. Tall horses don’t usually do well in working equitation anyway,” she says. Macina, Roberta’s star mare and winner of the Bentaiga Trophy in 2009, is a sweet mare that demonstrates how talented she is in a liberty b a r o q u e h o r s e 45.

Working Equitation . www.gotteroranch.com

demonstration of Spanish walk with Roberta. It is real privilege for me to watch this equine–human partnership – well known amongst working equitation and Murgese enthusiasts. It is touching to hear how Macina was in a box all alone when Roberta found her. Even then, there was something special about the little mare – and that spark turned into a successful partnership that is still evident today, even though Macina has been out of work due to injury for two years. Macina has done more for the promotion internationally of the Murgese horse than any other example. This was the horse that made it onto the European working equitation competition circuit and proved to the world the versatility of the breed. It is apparent with all the horses here that the temperament is generically good, even the excitable Violante comes up to me twice when free in the arena. These are horses that seek human contact; this is a testament to their trainers since the

46. b a r o q u e h o r s e

horses often arrive terrified of humans. “They arrive virtually unhandled. The mares don’t get touched at all,” Roberta tells me. “It’s survival of the fittest down there. The stallions get it worse. Castration is non-existent. As soon as they start causing trouble in the herd, they are closed up in a box.” Aristotle, a handsome little gelding used as a first horse by a 70-year-old woman, leans out of his box for some attention. “He was one of the worst when he arrived,” Roberta tells me. “They can tell the difference, though. Like an abandoned dog that has been kicked around all its life, they can draw a distinction between a kind hand and a violent one.” The rain by this stage is falling hard, so we decide to put the horses away and retire to the farmhouse where, over a plate of Genovese pesto pasta, we enter an interesting discussion on working equitation here in Italy.

Working equitation, or Monta da Lavoro, began in Italy after an organised competition was held between the butteri of Tuscany on their Maremmano horses and the French Camargue cowboys on their native mounts. Today, Italy as a team is traditionally highly competitive in the speed and cow trials but still relatively weak in the dressage trial.

Roberta

Inama

the

Pure Ita lian Breed.

and

Murgese

nci

ent

and

Horse

The

Murgese Horse

info

The Equestrian Centre “Il Corsiero Italiano”, in close collaboration with some of the best breeding studs in Puglia, Italy (homeland of the Murgese Horse) selects, trains and competes hand picked examples of the ancient and purest Italian breed: the magnificent Murgese Horse. This is a horse of the highest quality and natural ability which thanks to its wonderful willingness, natural ability and versatility is suitable for a multitude of equestrian sports such as Classical Dressage, Working Equitation, Doma Vaquera, Trekking/Trail and stunt/performance work of all types. Mrs. ROBERTA INAMA Equestrian Centre “Il Corsiero Italiano” Breeding Stud “Roberta Inama” (Gottero Ranch) e-mail: gotteroranch@libero.it website: www.gotteroranch.com

The Murgese Horse is a descendant of Emperor Frederick II’s legendary war horses, admired throughout Europe since medieval times. Distinguished by their blue roan or black/bay coloring; the Murgese is a baroque horse doted with a remarkable hardiness and predisposition for Dressage and Working Equitation. The Murgese Horse has a strong muscular neck, a convex profile, a long full mane, broad chest with a decent shoulder slope. His short back is strong, and his hind legs are positioned underneath his body to provide impulsion under saddle. The feet and legs are notoriously resilient from his upbringing on the Karst landscape. Height varies from 155 cm to 170 cm. The personality of the Murgese is one of his greatest traits.

n a •

b a r o q u e h o r s e 47.

“Working equitation competitions have been a good learning curve for us,” Roberta says. “We now realise we need to improve our horses’ basic training and it’s been good to compete against other countries like Portugal to better understand the holes in aspects of our schooling. The Italian team has good riders; fast and fearless. We excel at the speed trial and work cattle well, but we need to work on refining our riding and training system as this is what is holding the team back. “We are not as organised as a team compared to some other countries,” she says, adding that she believes Germany will become extremely competitive in the future. “It’s still a new sport in Germany. But they are extremely dedicated and they have good support for the discipline which is something our team doesn’t have. I believe they will move up the ranks quickly.” Interestingly a German rider is competing in working equitation with a Murgese horse too. When I ask why the Murgese makes a good working equitation mount, Roberta answers: “These are horses raised amongst cattle in Puglia, so cow sense is bred into them. The quick, agile movements that were once important on the battlefield, and the dependable personality, make the breed suitable for each of the four working equitation phases.” Roberta and Michelangelo both state the importance of a level-headed horse in this sport. “You can have everything else – speed, elegance, etc. – but if your horse loses his head, then he’s never going to go far.” Roberta and I discuss how to best publicise the Murgese horse for modern riders. She tells me, “It’s a case of reinventing a warhorse into something marketable for the 21st century. The popularity of working equitation internationally has promoted the Lusitano horse immensely, and I hope the same will occur with the Murgese. The Murgese, like the Lusitano, was a war horse. War horses needed to be fast and agile, yet steady under pressure. The Murgese is ideal for various 48. b a r o q u e h o r s e

equestrian pursuits – be it trekking in the mountains, classical or traditional dressage, or working equitation. There is a great selection of registered horses available, and this in itself is a great marketing attribute for the breed.” As I am about to leave, a deep rumble causes Michelangelo to leap to his feet and yell for us to get out of the house quick. “Earthquake!” We all run outside, and later I find out that we were located right at the epicentre of a 5.4 magnitude earthquake. We say our goodbyes then as Roberta and Michelangelo jump into their truck to go and check the horses are OK. Luckily it turns out that the quake caused no damage. I drive home thinking about these wonderful black horses and how fortunate I was to see a selection of different examples of the breed in such an enchanting location. Michelangelo and Roberta are two very particular horse people, as they have realised the importance of not only good breeding but also in good training and promotion of the Murgese horse under saddle. Whether it is out on a mountain trail ride or competing at regional dressage competitions, the Murgese can selfpromote itself, but it really does need to be seen to be believed. a

Dressage Markers The Truth . . . Possibly . . .

Written by Sue Whitmore

orget the lovely fairly tales you

mind worked a hundred years ago. The

The one thing every military officer

have heard about Prussian

US has the best documentation, and one

would be intimately familiar with was

palaces, doorways, gateways

of their re-enactment societies kindly

the compass and compass points have

and

precedence.

sent me all their mounted exercises,

a strange naming convention. They start

These are just myths, created

scanned from the originals, performed

at the ordinal points - the quarters of

by the cavalry troops.

the circle - and the half points, then the

lines

to bamboozle and wrap mystery around things that are quite obvious if looked at

quarter points, which are quarter of 90

in the proper context. The big mistake

When dressage was first performed

degrees. North is always “up” so you

we all make is to look at the markers

at the Olympics, in 1912, there were

would always work, notionally, south

clockwise - then they really make no

no markers at all, but the competitors

to north. Outdoors in the Northern

sense at all.

were all cavalry officers. The markers

Hemisphere this would ensure that the

in a military school were javelins stuck

sun wasn’t in your eyes. Military riding

Dressage tests have to be considered

in the ground. If the movement was,

schools were usually only 13 - 15 metres

in the context of the military, or to be

for example “incline left at the quarter

wide, not 20, as this was the largest span

precise, the cavalry. So to understand

marker” it would always be at the next

that could be built economically prior to

the lettering convention for markers,

logical place. On the left rein, it would be

steel girder technology.

you need to understand how the military

the equivalent of H to F or F to H.

Dressage markers are named alphabetically according to points of the compass. They are sequential if visually distinct - hence D is omitted because it is visually similar to C and later G and J. The ‘spare’ letters are ‘used up’ in the imaginary markers on the ground lines. X always marks the centre of a circle as in “X marks the spot”.

b a r o q u e h o r s e 49.

Dressage Markers - The Truth . . . Possibly . . .

(diagram 1)

(diagram 2)

Dressage markers are named in a

circuit (South, East, North, and West) A

he 20 x 60 metre dressage arena is a

sequence that is logical for ridden

B C E.

stretched 40m with the extra 20 metres

exercise.

added to the middle. After A, incline left from the quarter

Most horses are softer on their left and

marker, which in a 13m school, intersects

The 6 metre markers are too useful to

the convention was always to warm your

at exactly SSE, the quarter of the

lose, as 6m is approximately two canter

horse up on its soft side first. Thus when

quadrant and at around 6m. An incline is

strides – a safe stopping distance.

a military ride entered the school, it

22.5 degrees, so the rider would always

Thus a second ordinal circuit is named

would track left, which is anti-clockwise.

end up at the other marker. This gives

sequentially still on the left rein, giving

you F H and puts you on the right rein.

you P, R, S, V.

After A, incline right from the quarter

It may seem very complex to us today, but

marker (SSW) giving you K M.

At A,

these officers lived by compass bearings;

Enter at A (south). Track left.

turn up the centre line to X noting the

it would be natural and automatic to

Name the ordinal points on the first

imaginary markers D and G. (diagram 1)

them. (diagram 2) a

Putting this in action in a 13 x 40 metre dressage arena with quarter markers…

About Sue Whitmore: Sue, like many ardent horse-lovers, had to wait for her first horse until she was an adult and able to pay for it herself. She’s made up for lost time ever since, previously owning and managing BHS & ABRS approved riding schools and now breeding Lusitanos. She has found the very best tools in her lifetime quest for horse mastership have been the questions “Why?” & “How?”

50. b a r o q u e h o r s e

Ambleside Designs • practical elegance • artisan craftsmanship • unique style

0422 726 132 : : annj@alphalink.com.au www.alphalink . com.au / ~annj

distinctive horsewear since 1999 www.amblesidedesigns.com

b a r o q u e h o r s e 51. 04-12-004 Baroque Horse Magazine.indd 1

4/13/12 4:32 PM

The Royal Stud ALTER Founded in 1748 by King João V, the Alter Real Lusitano Stud is known not only for its royal heritage but its ability to excel in the highest schooling of classical dressage.

“A

t the time of the Stud’s creation, the art of classical equitation was becoming a real fashion in Europe and the King was keen to lift the status of his Royal Riding Academy. He set out to bring together the bloodlines of his many royal studs throughout Portugal and unite them in one grand stud farm, one that would produce Lusitanos fit to perform in his royal School. Having selected the best from the various studs, he brought them to the small southern village of Alter where they have been breeding top Lusitanos to this day,” says long time Alter Real rider and

52. b a r o q u e h o r s e

Written By: Sarah Warne Photos: Pedro Yglesias de Oliveira

photographer Pedro Yglesias de Oliveira. And so the world renowned Lusitano Stud was born. While most Alter followers say the Stud is named after its location and royal heritage, others point out an alternative reason for the almost 300-year-old title. “Some people claim that Alter Real is actually an abbreviation of the words ‘Alteza Real’, which in Portuguese is the way one would address their king, translated in English to ‘Your Royal Highness’,” says de Oliveira.

Regardless of its true meaning, the Alter Real Stud served its royal master in the Academy until the turn of the century when the Alter horses were welcomed into the traditional school of a new age. Created to preserve the heritage, practice and teaching of traditional equestrian art, the Portuguese School was the natural sequence of this Academy, and to this day displays the beauty of classical riding on the King’s chosen horse, the Alter Real. The ‘Escola Portuguesa d Arte Equestre’ (EPAE) is a team of 14 elite riders who have been carefully selected to present the art of equestrian weekly to a delighted audience. The School prides itself on the careful selection of the Lusitano horse, using only Lusitanos from the royal Stud. Today the magnificent Bay Alter Lusitanos are bred purposefully for their starring role in the School, and their unique talent for collection and trainability is

outstanding! These horses are uniquely built with strength and willingness that allows them to perform the “airs above the ground” with a perfection and skill that is unmatched. The Alter Real Lusitano is a horse of great beauty and talent, but also a horse of undeniable strength! Known for its deadly cold winters and scorching summers, the region of Alter has proven the strength of the Iberian blood as the horses grow tough and determined in these harsh conditions. And the endurance of the Alter Real even outweighed that of the Arabian horse, a breed typically known for its durability. The King once had the idea to mix in some Arabian blood and introduced eight Arab mares onto the property. Despite the mares being granted special sheltered boxes, they could not stand up to the

EPAE Escola Portuguesa de Arte Equestre.

challenging climate and, unfortunately, his plan to mix the breeds was far from successful.

I love to photograph the Portuguese Classical School because it combines all of the things I love into one – horses, top equitation, photography and art,” says de Oliveira.

Today, de Oliveira is recognised as the official photographer for the Portuguese School of Equestrian Art, but interestingly was also one of the original six riders involved in the creation of the Portuguese School and says the Alter horses make up so much of what the School is today.

Having published two of his most popular books on the School and its history, de Oliveira is just one of many Alter Real admirers who hope to capture the heritage of one of the purest Lusitano lines in the world.

“These horses are noble and beautiful, but above all they have real character… it´s the Alter horse’s personality that makes his rider fall in love with him.

“I want to share the Alter history and also share the beauty of these animals and the art they can produce with elite training.” b a r o q u e h o r s e 53.

truck and, at the precise day and hour, are transported carefully across to the island at low tide. Once on the island, the youngsters are set free to roam their own paddock, covering the size of 50 football ovals, while the three-year-old colts from the island are herded up and taken back to the village to be broken. de Oliveira says this occurs once every year, with an average of 25 male foals (half the pool) completing the journey.

And it is not just the royal blood but also the unique operation of the Alter stud farm itself that makes the breeding farm so unique. Most interesting is the process used to separate the male foals from their mothers. The young Alter stallions grow up on an island three hours journey from the village of Alter. Every year the manager of the island must monitor the water level surrounding the island, ready to alert the main farm when the water drops to its annual low. The eight-monthold males are then loaded up onto the

54. b a r o q u e h o r s e

“It is a great opportunity for anyone who wants to breed top Lusitanos, particularly for Dressage, as the Alter blood is a key ingredient to the dressage Lusitano” The manager on the island must then paddle by boat every day to check on the young horses and ensure they are thriving in their chosen equine oasis. Nowadays the Stud is thriving, and the Portuguese School offers a fantastic platform to show off the Alter breeding success! The breeding process has improved the selection a lot; only the stallions proven in the show are used for breeding. This cycle maintains perfection in the show with only the best equine blood for

classical performance being put back into production. What began in the 18th century with 276 breeding mares is now focussed on a core of 50 mares that keep the name and the Alter cycle alive. Each year the 20 male new additions are sent off to the island, and of the 40 that return, the best are kept for classical training in the School and the others are sent to the annual Alter Real auction. Held on 24 August, the Alter auction is a chance for Lusitano enthusiasts to acquire their very own piece of royal Iberian blood. “It is a great opportunity for anyone who wants to breed top Lusitanos, particularly for dressage, as the Alter blood is a key ingredient to the dressage Lusitano,” says de Oliveira. Also up for sale are a handful of the older mares which are being replaced by younger models.

“If the Stud introduces three of the young females, then three of the older breeding mares will be put up for auction. Again, a good way to lay a foundation for Lusitano breeding… purchase a wise and proven breeding queen,” explains de Oliveira. But the journey hasn’t always been easy. While the beginnings stem from royalty and riches, there were many hurdles along the way and still today, the Alter Real Stud is not free from challenges. During the French revolution, nearly the entire Alter population was stolen by French invaders and taken back to France! The royal Stud was left with only a small group of its older mares and was forced to begin again almost from scratch. Despite its determination to keep the name Alter alive, today the Stud and the School face massive economic barriers and need support from horse lovers like us if they are to preserve the traditional bloodline and classical equitation.

the best riders in Portugal and maintains a reputation as an elite equestrian training school. But it is a shame that the Portuguese Riding School hasn’t improved working conditions as this would ensure it prospers into the future.” Beyond Olympic fame, even the great Master Nuno Oliveira himself enjoyed riding the royal bloodline, and with horses like Amcioso and Corsario, he amazed his fans (and on one occasion even wowed the Queen herself) for decades. Producing an Olympic Lusitano, and delighting audiences for generations, we hope the Alter Real Stud will not only prosper but thrive for centuries to come! The photographs and historical information for this article were by Pedro Yglesias de Oliveira, official photographer for the Portuguese School of Equestrian Art and well known author of several popular equestrian books. For more information or to purchase a copy of these beautifully photographed books, please contact warnes@live.com.au. a

Qualifying his Alter Real Lusitano, Rubi, in this year’s London Olympics, Gonçalo Carvalho Conchinhas says the Portuguese School of Equestrian Art gave him the opportunity to benefit from unique classical training, and he owes much of his beginnings to it and, of course, the Alter Stud that bred his Olympic partner. “The Portuguese Riding School fosters b a r o q u e h o r s e 55.

www.portraitsbykim.co.uk 56. b a r o q u e h o r s e

Equine Artist KIM Irwin BHM showcases exquisite equine artist Kim Irwin, whose stunning art work features on the cover.

have always drawn since I was a little girl and especially loved drawing horses as I grew up riding them. Animals have always been my main subjects, but it was people portraiture that got me into commissions in the first place.

As a single mother at that time, I found that the freedom of expression very liberating. However, the art market was a very difficult area to break into, without creating a new art movement or having the backing of the likes of Charles Saatchi.

I had copied a photo of my son, when he was at nursery and a friend saw it, and wanted one done for herself. And so I went on from there. Painting and drawing everything from houses, cars, boats, to budgies.

Food needed to be put on the table! Circumstances led to me getting a â&#x20AC;&#x2DC;proper jobâ&#x20AC;&#x2122; plus I had my lovely mum to care for as well. I simply did not have time for portraits and after 14 years of painting portraits I had to call it a day.

In 1995, I wrote to Gabrielle Bourselles for her permission to paint, (my first oil painting) of an Arab stallion photograph. She wrote a lovely letter in reply and thankfully allowed me to paint it, which I did. Horse commissions followed and I have to admit that they have now become my favourite subjects. Other commissions still continued, and the joy that they bring people has been so rewarding in itself. In 1997 I decided to go to university and study art, in depth. I studied fine art & illustration at Portsmouth University. I loved the study and the emersion into different styles of art.

b a r o q u e h o r s e 57.

www.portraitsbykim.co.uk In 2011, I relaunched my painting career. The main difference I have to acknowledge is technology and the wonderful way it makes our lives as artist so much easier. I find that I can manipulate photos in paint programmes to incorporate different backgrounds. This is elements that I would have to do sketches in notebooks before, or hold my breath and just do it, hoping that it would all come right in the end. The painting of the horse galloping in the water was mocked-up in PaintShop Pro and I then decided to go with a fantasy style which you can see in the finished painting. The amount of travelling to horse shows, art shows etc and loading up my Morris Minor with all my paintings, took me out of my studio, however was essential in order to promote my work. All this is now done on the internet, via web pages

and or course social media sites where my work can be viewed all over the world as I paint it. This all must seem so mundane to you all, but believe me after being away from the art scene for some time it’s just made life so much easier!! The other wonderful thing is the amount of wonderful photos available for me to see and use in my artwork. It was the Spanish YEGUADA SUSAETA STUD where I found an amazing photo of ‘Decreto’ the stallion. The owner gave me permission to use the photo. This painting has given me the experience of using acrylic paints, something I had never tried before now, and just using the coloured pencils for the very fine detail. It has generated interest from all over the world in my work. I hope that I have managed to capture the proud, dignified majesty of this beautiful creature. I also recently got my first commission of a Friesian and they are just so magnificent. They are so

Pic (below left) painting of Tyrus fan Bosksicht. Pic (below and on front cover “Decreto”.

graceful for their size and carry themselves with such elegance. In the past year I have been shortlisted for the Artist of the Year competition ‘Artists & Illustrators Magazine. I have been a finalist in ‘The Artist Magazine’s Annual Art Competition’, selected for the World Artists Calendar 2012, and third place in Ex Arte Equinus 5 Equine Art competition, and I am published in their Book. I have had commissions from all over the world and recently Carol Pearson, who is on the British Eventing Team, commissioned ‘Major Promise’. I work in various mediums as some suite the subject more than others. I can work from good quality emailed photo/s or from original prints. For a perfect gift at anytime of year that will be treasured for ever please call me on: +447837676318 or email me at: portraitsbykim@hotmail.co.uk Website : www.portraitsbykim.co.uk www.facebook.com/portraitsbykimpage a

58. b a r o q u e h o r s e

Equine Artist KIM irwin

www.portraitsbykim.co.uk b a r o q u e h o r s e 59.

GAL L

READE

RS’

ERY

Notavel HM owned by Eduardo Costa Of Costa’s Lusitanos

Sander- owned by Kris McKenna

Friesian colt “Amadeus” owned by Brenda Rondo

Sander Owned by Kris McKenna

60. b a r o q u e h o r s e

“Amadeus” owned by Brenda Ron

Natascha Marsh, daughter & ‘Hanna Hilandero’

Uranio owned by Sue Whitmore

Natascha Marsh & ‘Hanna Hilandero’ (NZ)

Uranio prancing owned by Sue Whitmore

Natascha Marsh & ‘Hanna Hilandero’

Zarco HM owned by Eduardo Costa of Costa’s Lusitanos

Adara PJ (x Wobke 403)

Seraph (Gabriel) & Angie

Rio ownded by Marina Anderson Goran Ladyhawke owned bt Alisha Rohrlach

Colt bred and owned by Antonio Mendonca

Would you like to see your photos on the reader’s wall? We’d love to see them! Please email your photos to editor@baroquehorse.com.au

’ RS E AD

RE ‘Glamour’

Esme Venter & Weibert

Frederiksborg horse mum owned by Britta Birkholm

Y R LE

L A G

Danbry Park Dj’adore owned by Jody Millward b a r o q u e h o r s e 61.

SUBCRIBE TODAY

for the printed magazine...

WIN!! DVD Set

to the value of

$150

BHM issues also viewable on-line.

TO WIN SUBSCRIBE TO

6 PRINT issues OF BHM

www.baroquehorsemagazine.com

Subscription 62. b a r o q u e h o r s e for 12 months of the printed magazine must be purchased before 1st July 2012 to be in the random draw to win 1 dvd set of Piaffe Revealed. Valued at $150 USD. The prize is not redeemable for cash.

USD

UN F JUst 4

Puzzel Maze! Help the hungry horse find the apple!

Just for laughs.. Q: Why canâ&#x20AC;&#x2122;t horses dance? A: Because they have 2 left feet. Q: What do you call pony with a sore throat? A: A little hoarse. Q: Why did the horse take a slice of hay to bed? A: To feed his nightmares! Q:What do you call the horse than lives next door? A: neighbour!

Spot the 5 differences

Answers: 1. Shirt changes colour to red, 2. Girls hair gets smaller, 3. Part of the fence disappears, 4. Horses Tail gets smaller, 5. Throat latch on bridle disappears

b a r o q u e h o r s e 63.

Crossword

DOWN

2. Where horses sleep at night 3. The measured beat of movement; balanced/rythmic flow 4. Term used in English riding for a three beat gait. 6. A movement in trot with an extended moment of suspension. The horse’s quarters carry more weight and propel him forward. 7. Regular sequence, regular intervals. 9. A horse (mare or female) that is between one year old and two years old. 10. Used to measure a horses height 14. Riding without a saddle. 15. Medical term, refering to the presence of abdominal pain. 17. Protective cover for a horse’s feet.

1. Is bent into the direction of movement but does not move forwards at all, it moves sideways only. 2. When a horse refuses to move forward or to go over an obstacle. 5. A movement in trot (alternate diagonals). A proud and rhythmic movement performed nearly on the spot. 7. Horizontal bars of a jump or of a wooden fence. 8. The overall build and appearance of a horse. 11. Round, colored markings on a horse’s coat. 12. The father of a horse. 13. A general term which includes the equipment used for riding an horse (e.g. bridle, saddle) and training it (e.g. whip, lounge lead). 16. A horse (either male or female) less than a year old.

Find the words in the letters.

BRIDLE CANTER DAM EQUITATION EYES FORELOCK GIRTH HAT HELMET HUG JUMPING LAME

64. b a r o q u e h o r s e

LEVADE MANE MARE PIAFFE SADDLE SHOW SIRE STALL TAIL TEST TROT WALK

Find-a-word

ACROSS

T H

Horse talk! Neigh, whinny, squeal, scream, snort, blow and nicker... these are all the sounds your horse makes to communicate. The neigh or whinny is the loudest and longest sound as he holds his head high to see whose attention he is getting. The squeal is short and quiet or loud or long and is his way of telling you to ‘back off’. The scream is when he is scared or in a rage. The snort is short and when he is unsure of something. The blow is a bit like a snort as he exhales through his nose with his mouth shut and is to show he is curious - like when he meets another horse. The nicker is a vibrating sound and may be used just to say hello.

ACROSS: 2. Box. 3. Cadence. 4. Canter. 6. Passage. 7. Rhythm. 9. Yearling. 10. Handshigh 14. Bareback. 15. Colic. 17. Boots. DOWN 1. Halfpass. 2. Balk. 5. Piaffe. 7. Rails. 8. Conformation. 11. Dapples. 12. Sire. 13. Tack. 16. Foal. Maze.

Answers b a r o q u e h o r s e 65.

DidYouKnow... There are over 300 different breeds of horses and ponies around the world.

Random Facts and Horse Trivia...

In the wild horse world, the mare decides when and where the herd will go while the stallion follows. It is estimated that there are about 750 million horses in the world.

A different image is seen by each horse’s eye so a horse is seeing two different pictures at the same time. A horse can see completely around its entire body except for small blind spots directly in front of its face, underneath its head, and directly behind itself. The “OLDEST” horse recorded to date is “Old Billy”, an English Barge horse who lived to the age of 62 years old. A horse can poop up to 14 times a day! Horses cannot vomit.

The horse was the ‘LAST PRIMARY ANIMAL’ to be domesticated.

The average horse weighs about a half a ton, its brain is the size of a baked potato.

Horses cannot breathe through their mouths.

A horse can live up to 40 years of age, or more, though it´s average lifespan is 20-25 years. But many horses in captivity only live to age 8! When spoken to, horses distinguish tones rather than particular words.

Riding FIT!

The average horse’s heart weighs approximately 9 or 10 pounds.

Did you know .. ?

Calories burned while riding. Below are estimates of calories burned per hour for a 150pound/68kg person: Horseback riding (walking) Ironing Yoga Cooking

Horseback riding (trotting) Weight lifting (vigorous) Chopping wood Step Aerobics (low impact)

441 cals 441 cals 441 cals 477 cals

Horseback riding (galloping) Walking up stairs Mountain cycling Zumba

Activities 171 cals 153 cals 189 cals 180 cals 549 cals 549 cals 576 cals 540 cals

No wonder many horse owners have no need for gym membership! Work hard in a gym or go for a horse ride?? Hmmm hard choice! 66. b a r o q u e h o r s e

Colour ME In!!

Artwork by Helen Taylor.

Just ..For the kids..! Colouring in competition! We’d love for you to colour in this picture. It needs lots of colour to bring it to life! Get and adult to send it to us and you’ll go into the draw to WIN a BHM prize pack! Name:

Or .. you can send us your very own drawing - we’d love to see that too!

Age:

Phone: Address:

_ Postcode/Zip:

Email Address:

Simply send us your picture and fill out the form to go into the draw and have your picture published in the next issue of Baroque Horse Magazine! Winners shall be notifiyed by email or phone and published in the next issue oh BHM.

b a r o q u e h o r s e 67.

what is EQUESTRIAN BALLET ? Did you know that the first ballets were performed on horseback?

The Capriole The Capriole is one of the exciting movements called the “airs above the ground”. These were leaps invented by soldiers to help them fight on horseback. The horses had to he highly trained to be able to perform these jumps with control and precision. In the Capriole the horse jumps straight up from all 4 legs and then kicks out behind. This was a great way to knock down people on the battlefield, whether they were on foot or mounted. Riders had to be really good to stick in the saddle during this movement!

In the 17th century King Louis XIII and members of his court staged elaborate outdoor ballets called Carousels with hundreds of riders and chariots, as well as actors on foot. Everyone was dressed in fancy costumes, including the horses! Of course the Kind was always the star of the show!

This horse and rider are from the 15th century, the time of Queen Elizabeth I.

The horses performed the “airs above the ground” in addition to the trotting and cantering in intricate patterns to music. Modern day Dressage competition has classes in which the horses and riders perform to music. This is called a Kur. There are classes for single horse and rider teams as well as classes for 2 riders, and even 4 riders. That’s called a Quadrille. Of course today we don’t wear fancy costumes, just regular riding attire and tack. I think that’s to bad, don’t you? This golden Palomino is doing a Piaffe which is a proud trot in place.

The Courbette Like the Capriole, the Courbette is another movement of the “airs above the ground”. The horse leaps repeatedly off his hind legs without ever touching down with his front legs. The Courbette was invented so that the generals could get a better view of the battlefield above the heads of their soldiers. 68. b a r o q u e h o r s e

This is a picture of a rider from the 18th century. He doesn’t really have the gray hair, He’s wearing a wig made of horse hair which was the fashionable look of the period.

b a r o q u e h o r s e 69.

Horses For Sale Expressions of Interest in Foals due this year The first progeny from the beautifully bred Andalusian stallion Diestro Dinero Sire: Esplendido Dam: KORONG PARK ROSARIA III •Pure and cross bred Andalusian mares by Multi National Supreme Sires and Dams including ML Talento and BF El Gran Senior •1x being bred for the show ring and competition arena from thoroughbred mares carrying such impeccable blood lines as Star Kingdom and Chief Sundance {USA] WR 8 Fur. Contact www.facebook.com/ Gumnut Farm Andalusians Email emrt.ali@bigpond.com Ph +61 ……0407 370 206

in A

ia ustral

...

Buddy’s Lad 1st Tb x Andalusian Grey Gelding Reg. AHAA currently 16hh, 4 yrs Very gentle and loving personality Mother: Eventful Lady (TB) Royal show Hack Champion

$5000.00

Sire: Buddero (spanish) Movie horse and state champion Bred for dressage or eventing and has looks, ability and personality Straight moving, willing, versatile, trail rides and is have fun growing up. Ready for work www.facebook.com. Gumnut Farm Andalusians Email emrt.ali@bigpond.com Ph +61 ……0407 370 206

$4,000 ‘Centor’ - Spanish Warmblood yearling colt (to be gelded) Dam: FW Marrianne (Hannoverian) Sire: Centauro (Iberian) This sweet and very friendly boy shall only be small (around 14hh) but he’ll be very pretty, dark and very quiet! Great for the kids or next hack! He’ll be a friend for life! Danielle 0404 843 636 or danielle@directshots.com.au

Simanda Park Nikita dual reg Hispano-arabe and AHAA rising 4yrs. Champion Hispano-arabe filly at the 2012 Nationals. Outstanding temperament and movement. A real dream to handle in everyway. Has been backed last Nov. Price: $5,500 web www.upnaway.com/~mmoss 0407 104 048

est Inter f o s n year essio Expr due this Foals

$8,800 Simanda Park Shibarna PRE rising three yrs, height mature 16hds Sire: Shibumi PRE (deceased) Dam: Simanda Park Milagra Outstanding filly, excellent temperament. Will be suited to any discipline, has that ‘look at me’ presence . web www.upnaway.com/~mmoss 0407 104 048 70. b a r o q u e h o r s e

Expressions of interest for pure and part bred foals due in the coming year by permited imported stallion ‘Hotse’ www.blackswanfriesians.com.au & www.ravenslodge.com.au

Horses For Sale

ope r u E

...

Diamondvale Kali

Black Friesian Sporthorse Filly, rising 3yo by Friesian Iepe TJ(dec) Lovely black filly with loads of presence and lots of love to give. Lovely movement $7,500 + gst and has had everything done ready for breaking. Lunges in all gaits, washes, ties, trimmed, self loads onto float. A great horse for the first time Baroque buyer or the all round competitor. Won her first class against other Baroque breeds at the Qld AHAA State Show as a youngster. Registered with the AFSS and ready to go. (Queensland, Australia)

www.diamondvalestud.com.au

CENTAURO dos PARDINHOS - TIXAQUIR (SPP) x EMBAIXATRIZ (VO) – born 14 February 2007 (1.64m) grandson of XAQUIRO a super stallion considered for many to be the best Lusitano stallion of today. www.acmendonca.net - ajcmendonca@hotmail.com

Lusitano stallion, bred on Opus 72, famous bullfighting horse of the Domecq brothers. You can ride him with the LG-bit, i.e. bitless.

DARTAGNAN dos PARDINHOS – TIXAQUIR (SPP) x XUVA (ACM) borned 16 March 2008 (1.64m) Grandson of XAQUIRO a super stallion considered for many to be the best lusitano stallion of today.

Contact: Katharina Benzinger email: k.benzinger11235@yahoo.de

www.acmendonca.net - ajcmendonca@hotmail.com

SOLD THROUGH BHM

Son of Peralta - 4 year old, 1.69 m, Broken in and started work. POA For more information please email sarah at warnes@live.com.au

Pure Blood Lusitanos We have for sale progeny from select Lusitano stallions. From foals at Lusitano trained in advance level of dressage. Our Lusitanos are registered in native stud-book in Portugal. geral@coudelariaquintaoliveira.com.pt www.coudelariaquintaoliveira.com.pt b a r o q u e h o r s e 71.

Starting Again!

Written By: Sarah Warne Photos: supplied

Adult riders who return to the saddle this time, just for themselves! The Baroque horse is known for his strength, both in mind and body, and is gaining a reputation as the ‘go to’ horse when riders begin their riding career... for the second time.

hether it be time out to raise children, long term injury or financial and/or family drama, many once top competition riders find that “life happens” and they, for some reason or another, have to hang up the saddle for a certain period of time. After this stage of life has passed, the dormant riding bug resurfaces; and when they return and attempt to sweep the cobwebs from the tack room floors, they find new, unwanted cobwebs in other places.

72. b a r o q u e h o r s e

Their once sturdy position is now filled with the rust of time, and that attitude of “I am untouchable” has been replaced with a knowing feeling that “it would really hurt if I fell off!”. After spending time with my new friend and riding buddy Kicki, I was inspired by her training knowledge and ideals, and we could have spent hours discussing our similar philosophies in the correct training for classical dressage. But, more importantly, I realised after hearing Kicki’s story just how many

adult riders I know making the similar life decision to return to the saddle and finally take the time to put their riding career above all else. “My mother was an avid rider. Because of that she didn’t want me to ride, knowing it is quite a dangerous sport. But one day, she didn’t have anyone to look after me when she went riding so she had to bring me. One of the teenagers at the club put me on a pony, and that was the start of it. Totally caught the ‘horse-bug’ in that single moment,” says the now mother of three, Kicki Linnell.

“After finishing school, I decided to go against my parents’ wishes and went to Sweden to fulfil my dream of having a stud farm and becoming a riding instructor. So I went ahead with nothing but my dreams... no money. By the time I was 25 I had a farm, two children, a fantastic breeding stallion (who doubled as my dressage horse) and all kinds of horses in training. Initially focussing on warmbloods and thoroughbreds, with just the odd pony, Kicki’s farm began to focus more on the little guys and on having little ones of her own. “I had three daughters, all good riders, who enjoyed riding our wonderful ponies – Welsh ponies from all the four sections and breeding stallions that were all used as the dressage ponies for the girls. “So for a period of over 15 years I was a ‘pony-mum’, pulling the trailer across the country almost every weekend to attend the different shows.” Unfortunately for Kicki, an accident in her teens left recurring pain and she still struggles to overcome her back and neck issues. “I recovered from [the accident], but with the wear and tear over 20 years of hauling bales of straw and hay, wheelbarrowing, carrying water buckets, and ‘wrestling’ youngsters with an

Following the dream, Kicki Purchased a Lusitano occasional fall, the strain was finally too much for the entire spine and mostly the neck. So gradually, my ability to move was impaired until the point where I could not move at all. I found myself in hospital, almost paraplegic with excruciating nerve pain. All nerves were trapped and I had to have major surgery done to ‘remodel’ the whole neck. “But after my surgery it became impossible to ride so much, and so I started training to become a dressage judge as well as a judge for breeding shows. I had a horse at the time which I sold, thinking I would never be able to ride again. Glad to be wrong!” Throughout her years raising children, although she never totally gave up horses and riding, Kicki says she could never find the time or resources to really

put her riding and training first, and that she feels like now is her chance to do just that! “Because the girls grew to become such good riders, I rode less and less, plus I couldn’t afford the luxury of keeping a horse just for myself. So I became coach, sponsor, groom, driver… while they did the riding. Great times! “The physical problems I still have (nerve damage in the neck) made it impossible to run a farm. And since I couldn’t do any work, I became totally dependent on other people, particularly my girls, to take care of everything.” Kicki decided she needed a change and needed to leave all that behind. So, with her partner, she moved to Portugal. Having made the move and followed the dream, Kicki purchased a Lusitano from the breed’s country of origin and began her new SELF-FOCUSSED training regime with classical master Mr João Pedro Rodrigues. “Since starting my training I have rediscovered the joy of riding; riding only for my own pleasure. I do not have to achieve anything or prove anything, just riding day to day and enjoying every moment. “But I do want to compete – I’m that kind of personality, so I have to have goals. But this time I set them up myself.”

b a r o q u e h o r s e 73.

Starting Again.... Location has also played a part in Kicki’s Iberian purchase, and she says that even before she bought her own Lusitano she quickly became aware of the talent of the breed throughout the long sampling process.

“ In my age and state, I am no longer aiming to achieve so Much at the competitions.... I just want to have fun! ”

“ …I am no longer aiming to achieve so much at the competitions; my goal is not the World Cup or anything. I just want to have fun and train to become the best rider I can be. If you have ridden warmbloods all your life, you know that this is maybe the best breed if your goal is to win at the top; but it is hard work! They are big, powerful, strong horses, whereas the Iberian horses work on much lighter aids, and the collected work is without comparison! “These horses are also trained differently than in Northern Europe, which forces me to be aware of how I give the aids and make sure I only give one aid at a time. Very good practise – for me and also for many other riders, I think.”

“There are many things to like, but while looking for a horse to buy, and trying several, the one thing that strikes me the most about the Lusitano is his rideability. It is a horse that really wants to please his rider. Every horse I sampled tried his best to understand my (sometimes very bad) aids and to do what I asked of him. “For a person in my state (old, stiff, uncoordinated), I love to ride a horse where bucking doesn’t come easily! These horses are forward, alert, but don’t spend time trying to avoid what is asked of them. They all seem to enjoy to be ridden!” Always “fascinated by Iberian horses”, Kicki says she has had many encounters with PRE and Andalusian crosses over the years; but living in Portugal, of course she needed to be training a horse of the nation’s breed. “I chose to buy a Lusitano because the Baroque breeds make it seem ‘easier’. What I mean is that some of the things that are more difficult to accomplish with other breeds seem to be so easy for the Lusitano to grasp. They have a conformation that is made for dressage – their movements make them more comfortable to sit on, and as you move into the higher levels you can enjoy riding a horse that makes the most difficult exercises seem effortless. 74. b a r o q u e h o r s e

Since commencing her Lusitano training, Kicki says she has rediscovered the “joy of riding”, and would definitely recommend the move to a Baroque for the many adult riders in her position. “I would absolutely recommend my path to those adult riders looking to make a comeback. My advice is to find the right horse (which can be quite an experience in itself) and just enjoy the riding. No matter what your personal goals are, just indulge in the joy and harmony of being one with the horse.” Lucky for Kicki, not only does her chosen horse help overcome her physical limitations – “there is no physiotherapy

like riding” – so does her master trainer! “I am in such a lucky position that I now keep my horse with Mr João Pedro Rodrigues, whom I discovered to be the best trainer in the country. He gives me all that I need and value in a way that I can understand. He knows this breed so well, and he also knows dressage – from the classical art to the modern sport. What else can I ask for?” Finding inspiration in everyone she meets, from her trainer to an enthusiastic young rider… ME (lol), Kicki says she has loved every minute of her second wind in the saddle and can’t wait to see what the future will bring! “Even though I haven’t had my horse for that long, the feeling when I manage to do things right and he dances with me, in harmony, is indescribable! You will see me smiling from ear to ear. Pure joy! Sitting on a horse that responds to the lightest of aids and just wants to do more!

“I would absolutely recommend my path to those adult riders looking to make a come back” “Beyond indulging in that feeling, for my second shot at a riding career I want to become the best rider I can be, and have fun training. There will be competitions, and the goal will probably be something along the lines of being able to ride the St G-tests with a decent score.” You can keep up to date with Kicki’s journey by following her regular blog at https://stallbabbel.wordpress.com/ a

Crystal Michaux

Fiona Edwards

Kylie Hill

I had a fantastic supportive husband, two perfect little girls and lived in paradise - all that was missing was my dream horse. One that would stand still when scared and didn’t bolt. Now ownes Yasper Van Gelder, Friesian stallion.

I had a break for 7 years. Then I bought my girl as a yearling, then thought ”OH NO ”what do I do now! I ended up with the best horse ever! A few little hiccups but they are very forgiving!

I had a break for 7yrs due to a horrific car accident. I was told afterwards, that when I was in coma that I would never walk again and would be severely brain damaged. I had a C2 Hangmans Fracture. Now with long rehabilitation I’m still recovering and had to learn to walk and talk again.

“I chose to buy a lusitano because the baroque breeds make it seem ‘easier’ ” Gale Bransford This 4 yr old Friesian stallion, imported by a neighbour from Holland, came into my life years after I said I would never have another stallion. I felt I just didn’t have it in me any more. Geale was a dream with his temperament, high intelligence, calm sensitivity and loving personality. So different than endless numbers of nonBaroque horses I had worked with years previously.

Our relationship truly felt “like falling in love again, for the very first time” Even being over 50 years old, with a chronic illness (Fibromyalgia) and several old injuries from too many years in the saddle, I was able to back this horse and even ride him bareback, in very little time.

It was the ridding of a horse that had me dreaming of getting better and that made it easier. I was on the front page of the Saturday’s paper meeting the lady that did CPR on me. I said in that article that I would ride as soon as possible. Christopher Reeves (Superman) broke his neck Showjumping literary few days later, similar injuries but he wasn’t so lucky. Five years later I met my hubby who bought me a pony that the vet rescued. We paid $500 for a wild little brumby. I swapped magazines with a friend and in it my hubby came across ‘Cruise’s’ photo, that was my first Baroque horse! I have never regretted purchasing him for a second. With my injuries I’m left with a heap of pain and suffering. When I walk out to the paddock sometimes I think I’m dreaming when I see him..and my pony!

b a r o q u e h o r s e 75.

Starting Again.... Kim Foster I came to Friesians in my 40s after a lot of upheaval in my life. Still have Navarre (aka Fluffy) with me. He is 20 this year. To cut a long and highly eventful story short he is the reason where I am today. He’s the reason I’m a dressage judge, a hoof trimmer, saddle fitter, horse breaker, my lifestyle, my values, my everything! Direct line back to him.

Alison Goward I broke my back and shoulder when I was younger, being bucked off - and was a bit nervous [ok very nervous!] 20 years later I thought I’d go and buy a foal to get my confidence with it!! As a kid I had seen the Disney film on the White Stallions of the Spanish riding school and of course wanted one, so thought that is it! – I’ll get and Andalusian filly foal. I ended up buying a stallion, mares and as well as the foal!

* Training for both horse & rider of all levels. * Offering top Lusitanos for sale. (world wide) * Available for clinics. (world wide)

goncalocc@gmail.com 76. b a r o q u e h o r s e

Talento was 16.3hds, so wonderful and so kind. At first I had a horse psychology person ‘help’ me with him. I overheard him say “this stallion is a man’s horse” …I thought about this and said. ’Nah’!, this horse was bred by a woman, previously owned and trained by a woman - all women!! That comment spurred me to actually overcome my fears, so with the help of my beautiful big boy we ditched the trainer, and we did it ourselves

from then on. This was in 1993 and so started my journey with the Baroque horse which continues today. I have bred and trained 5 National Champs and use all my beautiful horses in the Equus College Clinics Without the kind, gentle heart of Talento, I would not be doing what I do today - which is to help be of a service to the horses around the globe.

Looking for a stallion ? look here! FREE TO VIEW ON-LINE STUDBOOK

Training in Portugal Sarah has fallen in love with

the Lusitano, and together with her partner Promocaval, has created a network of contacts with the countries top breeders and trainers. If you are interested in purchasing a Lusitano from the breeds country of origin you can contact promocaval@gmail.com

WWW.BAROQUEHORSEMAGAZINE.COM/ STALLIONS-AT-STUD.HTML b a r o q u e h o r s e 77.

The Lipizzaner The Breed of the Spanish Riding School of Vienna The Lipizzan, or Lipizzaner, is the breed of horse associated with the much envied Spanish Riding School of Vienna, Austria, where the finest representatives demonstrate the haute école or “high school” movements of classical dressage. These movements include the highly controlled, stylised jumps and other elements known as the “airs above the ground”. Place: OTP world cup, Budapest, Papp László Aréna, 2011 Horse: Pluto XXXIV Photographer: Tibor Berecz

78. b a r o q u e h o r s e

baroque horse www.lipizzaneraustralia.org

79.

The Lipizzaner

photo: December 2011 in Budapest Papp László Arena at Edit Kappel’s Liberty Show. Horse: Pluto XXXIV Photoghrapher: Gábor Monos

he Lipizzan, or Lipizzaner, is the breed of horse associated with the much envied Spanish Riding School of Vienna, Austria, where the finest representatives demonstrate the haute école or “high school” movements of classical dressage. These movements include the highly controlled, stylised jumps and other elements known as the “airs above the ground”. The Lipizzan breed dates back to the 16th century when it was developed for the purposes of the Habsburg nobility, who used the breed in dressage for cavalry and sport, and for harness. The breed takes its name from one of the earliest established stud farms in the village of Lipica (spelled “Lipizza” in Italian), located near Trieste, in modern-day Slovenia.

80. b a r o q u e h o r s e

The Lipizzaner has been so envied over the last four hundred years that its herds have been threatened by theft during wartime. It has faced decimation and extinction but has always been carefully conserved by those individuals who understand its unique qualities. Over the last 75 years, the Lipizzaner has become progressively more available to classical dressage riders and competition harness drivers throughout the world. It is now found in many nations throughout Europe and North America and, since the 1970s, in Australia. However, the breed remains classified by the EU as “rare and endangered”. The number of foals born each year is small, and breeders take extreme care to preserve the purity of the breed.

Educational programs have been developed in order to promote the breed and foster adherence to traditional breeding objectives. As well as retaining their classic position at the Spanish Riding School of Vienna, the Lipizzaner is competing successfully in international dressage. This includes Tokyo Olympic competitor Conversano Caprice and Rome Grand Prix Speciale gold medallist Lipica’s Maestoso Monteaura, who also competed at the Los Angeles Olympics. Lipizzaners are much sought after for combined driving, in which they excel at international levels. Very recent winners have been brothers Lazar Vilmus and Zoltan, and Dick Lane, Chardon and Schoop. In Australasia, the Lipizzaner is registered with the Lipizzaner Association of

Australasia, an active group of enthusiasts who are enjoying a surge in popularity in this breed. The Lipizzaner Association of Australasia (LAA) is hosting Dr Yvonne Peeters – practising veterinarian, Classical Rider

at high school level and internationally respected judge of working and breeding stock of various breeds – offering an unprecedented opportunity to learn more about these horses and how they are evolving and meeting the challenges of today’s competitive horse environment. Young horses will be classified, there will be examples of the different lines and breeds, and nuances will be explained. Other questions addressed will include: Do the main blood lines differ very much in conformation and character and innate talent? What, in general, should a modern Baroque horse look like? If I wanted to buy one, what should I look for? Should Baroque horses be handled differently from other horses? How soon should I start educating and backing my horse and asking him/her to work, given they are a late developing breed?

Photo above: Playing in the snow with Favory XXVIII-5 (Állami Ménesgazdaság Szilvásvárad) Photographer: István Merle

b a r o q u e h o r s e 81.

Photo left: Taken in Állami Ménesgazdaság Szilvásvárad. Horse: Favory XXVIII-5 Photographer. Gabriella Mitrov Pic below: 200 Marta and her foal 271 Monteaura by 226 Favory Naussica. Foal owner Carol Maxwell, WA Photographer Karen Hodges

LAA Committee member: When was it that you actually purchased your first Lipizzaner? Dr Peeters: After I graduated as a veterinarian I bought my first Lipizzan mare, however I still had my Warmblood mare as well. At the same time I wanted to know more about the breeding and selection of Lipizzan horses and therefore I visited almost all the Lipizzan state studs: Piber (A), Lipica (SLO), Djakovo (Croatia)Lipik (Croatia) Vucjak (Bosnia) Karadordjevo (Serbia) Szilvasvarad (HU) , Topolcianky(SL), Simbata de Jos (RU) INTERVIEW WITH DR YVONNE PEETERS

LAA Committee member: How did you become so involved in horses? Dr. Peeters: Even as a very young child I was very interested in horse breeding. My father’s family bred with a famous KWPN (Warmblood) mare family (the Wobria family). I had the luck to be educated in judging Warmblood horses by one of the most famous breeders of the KWPN: Cees Hogendoorn. During my school years I became familiar with Arabian and Shagya horses as the school I attended had a riding school and made use of those breeds. 82. b a r o q u e h o r s e

LAA Committee member: So how did you grow to love the Baroque and/or Lipizzaner Horse? Dr Peeters: Over years I took a number of summer school holidays riding classes at the stables of Lipizzan whereby I met an expert by the name of Piet Bakker. It was there I fell in love with the Lipizzan horse. Especially it’s the Baroque conformation and the very special character that appealed to me. Then a further journey to the Lipizzan State Stud Piber, where I was personally shown around by the director Dr. Lehrner, won my sympathy for the Lipizzan horse completely.

LAA Committee Member: And when did you qualify as a judge? Dr Peeters: I qualified as a horse judge in the Netherlands and took special training for judging Lipizzan horses (as well as other breeds).

LAA Committee Member: So tell us more about your Lipizzaners back home? Dr. Peeters: At this moment I have three Lipizzan horses: an approved stallion 20 years old Maestoso Capriola (I bred him myself), a 16 year old son of his Maestoso Fantasca and a 22 year old mare Capriva (a daughter of Conversano Primula, the

Piber stallion I rode in my student time) They are all out of a Romanian mare line (Hidas line).

LAA Committee Member: What’s your favourite pastime? Dr. Peeters: My greatest pleasure is to start the day with riding my stallion and enjoying his ability in high school dressage - and primarily his joy to perform and willingness to please. While touring Australia, Dr Peeters will also be classifying all eligible Lipizzaners for breeding purposes. Dr Peeters will be supported by Dr Appie Nordkamp, a veterinarian and a horse breeding expert who practises in the Netherlands. These events are taking place at major locations around the country and will be open to the public. This is a unique opportunity to talk to world experts in friendly surroundings. a Contacts: 02 4998 8359 (Julie Brown) or 02 6684 5350/0424 010 408 (Georgina Beard) or 0437 487 585 (Anna Melton) www.lipizzaneraustralia.org

ANNWN PARK LIPIZZANER STUD

A N N W N

P A R K

Picabove: Stallion 226 Favory Naussica (imp, Fr) , The Fulmer Rise StudPhotographer Karen Hodges

WHERE BEAUTY & PERFORMANCE COMBINE

23 Maestoso Gaetana Fully accredited Bay Stallion (frozen semen pending)

WWW.ANNWNPARK.COM.AU

22 Maestoso Romida 8 Fully accredited 15.3hh Stallion (frozen semen)

Home to The Lipizzaner - 257 Favory Pallavicina ‘Merlin’ Internationally Accredited Stallion - 15.2hh - Supreme Champion Led & Ridden

b a r o q u e h o r s e 83.

In the Company of

84. b a r o q u e h o r s e

Meike, Menno and Saphire are young Friesian stallions that live together in a bachelor herd in the forests of the Northern California coast. They live outside 24/7 on approximately 20 acres, and have a 3-sided shelter they share when the weather is cold and harsh. Living in a bachelor herd is a great life for a stallion. They share deep intimacy and companionship, theyâ&#x20AC;&#x2122;ve developed all their own games, and the forest is a great playground to develop muscle and agility.

www.ForestBoyz.com

b a r o q u e h o r s e 85.

Tutorial by Danielle Skerman Multi Award Winning Professional Photographer

Photographic Tutorial

Image kindly provided by Angelika of Little Hampton Farm, Photo by Heidi Payne.

THIS

Looking at Photoshop ... and how to turn..

Above: Origional Image.

n this first Photoshop tutorial we’re going to look at 2 different levels of editing. The first level shall be a clean up to a smart professional level, just jazzing it up a bit really so it’s crisp and looks good. The next level we get creative! Once we start having some creative fun we’ll look at how to change the background of a photo. In this tutorial we’ll show how to realistically cut your subject out of a background and we’ll also reveal some tricks to enhancing an image! So.. Lets get started! I’ll be doing this tutorial using Adobe Photoshop (PS) CS5, however you should be able to do what I’m going to show in the older versions PS and in Elements (to a degree). Please also remember that there is many ways you can achieve edits, I’m showing just some ways that I do it.

86. b a r o q u e h o r s e

Above: Photo cleaned up.

Step 1... Step 1. The first thing I do is to create a duplicate layer of the background (main/ original) image. (FYI - I ALWAYS keep a layer of the original image. Just in case I go too far in editing and need to bring back some of the original image.) The easiest way to do this is to drag the layer to the graphic next to the trash bin. It looks a bit like a page with the corner turned up. A new layer shall appear, this is where you start your editing from.

To THIS!

Above: Getting Creative !

Step 2... Step 2. The very fist bit of editing I do on every photo is to work the levels and the colour. In the image on the left, youâ&#x20AC;&#x2122;ll see the black mountains, this is your light and dark range. Dark is left, light is right in this image. This is the default sides of the light and dark ranges.

Light

A good golden rule is to bring both slides in a little (as shown in diagram). If you have a dramatic increase like in the dark area, it is said to bring your pointer to this mark. Just doing this shall make your image pop more. Dark

Open your colour balance (apple/control B) and move the sliders until you are happy with the colour. Click OK.

b a r o q u e h o r s e 87.

Photographic Tutorial . . .

Step 3...

Brush

tip...

When editing, I aways create new layers. I do this because your history only goes so far, and nothing is worse than not being able to undo! It’s easy to just delete a layer. After I have made an edit and I’d like to start another edit, I do a merge visible. A merge visible joins the selected layers and creates a new one

on top. Therefore all the below layers become one on top, without losing (or flattening all as one) them all from below. I do this all the time. I feel that this is a good practice for efficient editing. The keys shortcut is .. shift, apple/control E at the same time.

Step 4...

Step 4. Masking. Next we’re going to cut out the horse and rider from the back ground. First, I like to use the magnet lasso first for a quick selection and rough mask. Next I click the ‘edit in standard mask’ (shown in pic) and a red background shall appear outside of your selection. Now, zoom right in and using your brush paint in or out what you want selected - In this example I was selecting what I didn’t want. Tip... You can adjust the 88. b a r o q u e h o r s e

opacity, and in doing so adjusts what gets seen/ selected! Great to do for the gradual blurring backgrounds. Also good to do so on the masking area to create a smooth not harsh blend to new or altered background. When done, click the mask away by click the same button you did to get it. If you click the add layer mask button you’ll get an instant mask from the selection. As shown below.

Step 3. Next I noticed the sky has lost detail and is looking a bit white. To fix this I shall first do a merge visible (shown in tip). I then make a duplicate of the original layer. (Remember to do this, and not to use original - you never know when you may need it, just like this example!) Duplicate the layer as we did in the first example and place the layer below the merge visible one you just did. By doing this it enables the original to come through when using the masking layers.

Step 5. Now that you have your selection, time to have some fun with it! You can use it in many ways. You can create a part black and white image whilst keeping your selection in colour. You can blur it or even completely replace the background. For this one we’re going to do a realistic blur. Keeping your selection, go to the filter menu, scroll down the blur and select lens blur (more realistic than Gaussian blur which is a popular option for many) Keep your selection selected. As you open you’ll see the

Next, create a layer mask. Click on the box with the circle in it. This is how you get the layer mask. Inverse the default white to black by pressing apple/ control I. Next get your brush. You can alter the strength of the brush by moving the opacity slider. Using the brush, brush back in the sky by using a white coloured brush. Tip.. (Black hides, white shows.)

Step 5...

background blur out (if your selection is blurry, click cancel, and inverse your selection and open lens blur again) If you had played with your opacity when masking in previous step you should see a gradual blur in the areas that you used a lower opacity brush. Use the sliders find an amount that you like. Remembering that subtle amounts are more realistic! Now, your done to level 2 editing! You should have a nice clean image!

Photographic Tutorial . . .

Step 6. Now, let’s get creative! As you’ll see in the photo above I have lots of layers! Tip...Every step I do it with a new layer. (I would also suggest that you do a save regularly.) You could consider removing some of the below /older layers as you don’t really need them anymore. Delete and do a new save. Next, adjusting the background, playing with the colour and textures of the image.

Step 6...

I have a picture of clouds with a rough texture over it that I’m going to use. Drag and drop it into the picture. Make sure it sits under the layer that shows the horse and rider. Next you’ll need to make sure the two layers blend nicely together. Work at different opacities to make a seamless blend. You don’t want obvious messy seams. Check the hair on both horse and rider, it’s the fine details to makes the difference. Tip... Watch your colour, make sure it matches.

Step 7...

Step 7. Now that we have our background in I want to bring some uniformity to it. Even though it’ll be obvious that it is a altered background and is an artistic edit, it still needs to blend smoothly. To do so we’ll need to do a merge and edit as one. Before I do that, I want to tone down the colour. To do this I select the adjustment level (this is the half black/ white circle.) This opens your b&w adjustments and alter

Step 8...

Step 8. Fine Tuning. Once you feel your pretty happy with how it looks, I then like to go back to basics and sharpen the image as a whole. Not too much is needed, just a tiny bit to give that crisp feeling to the image (filter, sharpen, unsharp mask).

It’s worth re-visiting levels and playing with this with the highlights and shadows. For example, in this image through the editing the face has become a little dark. So I shall use the curves to lighten it. I’ll then inverse the layer mask to black. I’ll use a small soft brush to brush in lightness in the areas that I wish to lighten.

to your liking. I then reduce the opacity in this layer rather low, just enough to take some colour off. As you can see by doing this starts the transformation. Always explore when doing edits like this. Often you can be surprised by an unexpected result!

Step 9...

Step 9. Tip... This is a fun tip ‘n’ trick that many don’t know about. If you want to give your image that smooth look that’s still crisp then you can do so using the noise reduction filter. Play with the slides to see the different results. Personally, I’m not a big

fan of the over use of this and similar filters. I think a subtle amount keeps the image at a realistic level. This is often really nice on skin, gives a nice smoothness to the face. Best used in conjunction with the layer mask to control where it is seen. b a r o q u e h o r s e 89.

Photographic Tutorial . . .

Step 10. After working on the basics and achieving a nice working synergy, blending the two together, a common finishing touch of a photographer is to darken the edges. Some images that are overall darker can handle a stronger vignette (darker edges), however, do be careful to make it blend. All too often I see the over use of this where it is too dark and goes over the focus point of the photo. I have also been guilty of it in my earlier days.

Step12. I’m now pretty happy with how it’s looking. Remembering that this is a fun creative edit now. All is looking nice, however I feel it still needs a little punch or pop. This can also be referred to as some contrast. Instead of playing with the curves or levels, this time I’m going to do a merge visual layer. Under where the layers word is on in its pallet, you’ll see a drop down menu. This effects the treatment of the layer. Have a play and click on them all and see what they 90. b a r o q u e h o r s e

Step 10...

The best way to do this, I find, is to use your levels, not the burn tool. The burn tool tends to leave the image with a funny unnatural colour. However, sometimes it’s OK. So, use your levels, make it nice and dark. Your colour shall intensify, so use your hue/saturation (apple/control U) to pull down the saturation. Use your layer mask in inverse (black) and use a white large soft brush to bring in the darker edges.

Step 12...

do. For this instance, I’m going to choose the soft light. This makes the image dramatically darker and the colour and contrast shall intensify. If your not liking the colour just use your hue/saturation to reduce this. I often pull it right back to black and white. You’ll see that you still have the colour from the next layer coming through. Finally, I reduce the opacity of this layer as it’s too intense. I often like about 30%, however this shall change as per taste.

Step 11...

Step 11. Looking at this image I wanted to give it some nice cool tones (blues/purples type colours are considered cool, and brown/red type colours are considered warm) To do this I opened my curves (apple/control M), in the main drop down menu called curves, pick the blue channel. Here you’ll be able to adjust the tones and

can create a split tone, with yellow and blue. To do this you’ll need to create a gentle S shape in the line. Play with it on the sides to see what colours you can make. This can be done with all colour channels, however find that I like the blue the best.

Finish...

Now that I’m happy with how it is all looking, I like to review the below layers to see if I have gone too far in editing. I do this by clicking the eye (in they layers pallet) away and back again to see the differences. When your having fun playing with colours and textures it can be easy to get carried away. Reviewing in this way is a good way to go over what you have done. Keep in mind that often less is more. There is lots of things that you can do when editing. I say have a go and see what it looks like, but always look back. As sometimes you might like what you did several steps back. a

b a r o q u e h o r s e 91.

BHM sponsored riders

Sarah Warne & Gonรงalo Ribeiro Photos of Sarah Warne by Marta Guedes Vaz Photos of Gonรงalo Ribeiro by Antonio Mendonca

92. b a r o q u e h o r s e