Baroque horse magazine ~ issue 1

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Coudelaria Quinta OliveiraPh: +351938920119

[email protected] www.coudelariaquintaoliveira.com.pt

Pure Blood Lusitanos. We have for sale progeny from select lusitano stallions trained in advance level of dressage. Our lusitanos are registered in native stud-book in Portugal.

Horses negative of C-elisa exam, can be export to Australia,US and China. Our farm is located in close to international airport in Porto, Portugal

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Editor In Chief:Danielle Skerman

Editors:Patty TaylorKimberley Peters

Design:Danielle Skerman

Advertising:Patty Taylor

Photograpers:Direct Shots PhotographyBarbara SchnellGabriele BoiselleNadeen Davis

Contributors:Sarah WarneDanielle SkermanMylessa NickelsonCarol RaymenCaroline LarrouilhManolo MendezChris MaudsleyRuby GoodsellIrene MaasNadeen DavisPedro Blesa ©Baraque Horse Magazine AU.,2011 All Rigths ReservedNo 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.

From baroque horse people for baroque horse people.

Welcome to the first issue of Baroque Horse Magazine.

Editor

Coudelaria Quinta OliveiraPh: +351938920119

[email protected] www.coudelariaquintaoliveira.com.pt

Pure Blood Lusitanos. We have for sale progeny from select lusitano stallions trained in advance level of dressage. Our lusitanos are registered in native stud-book in Portugal.

Horses negative of C-elisa exam, can be export to Australia,US and China. Our farm is located in close to international airport in Porto, Portugal

Danielle Skerman

On the cover: Hayley Beresford and Relampago Do Retiro

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Anne 340 44 Garrido’s Mane38

Content

7. Hayley Beresford - Relampago Do Retiro

16. João Pedro Rodrigues

24. Australian & NZ Keuring.

30. Training the whole horse - Manolo Mendez

38. Garrido’s Mane

44. Friesian Dreams - Anne 340

50. Ricardo Ramalho

58. The Portuguese School of the Art of Riding

60. Dreams can come true.

68. Artist Profile - Elise Genest

76. Where in the world

78. Getting Started In Jumping

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João Pedro Rodrigues16 Hayley Beresford - Relampago Do Retiro07

82. Jumping Baroque Horse Gallery

84. When you look at your horse what do you see?

86. Just for fun

90. Kids and Baroque Horse Gallery

93. To find a friend, be a friend!

96. Photographer profile - Nadeen Davis

106. Moravita

112. Andalusian Classical Horsemanship

116. Quinta Da Marinha

122. Photographic Tutorial

128. Cristrogracia

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Lusitano Matchmaker

7..photo: Barbara Schnell

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S adly on Tuesday 28th June 2011 there was a very unfortunate accident and Relampago Do Retiro, Hayleyes Beresford Olympic partner, one of her best mates,

her beautiful Lusitiano stallion had to be put down after suffering from severe injuries from the tragic road accident, which took place near Hayley’s base in Soest-Lippetal, Germany

This news shocked and saddened many equine lovers world wide, with thousands of letters and messages of condolences were sent to show their respect for all effected.

Baroque Horse (BH) talks to Hayley (HB) about her Relampago Do Retiro (Reli)

BH - For those who don’t know could you please tell us briefly about Reli .. how old was he, his breeding, how tall etc.. HB - Reli was 14 yrs, lusitano, 163cm

BH - When did you first meet Reli and how did your partership begin?HB - Reli and I met in 2006 at Isabell Werth’s place. I had been coming backwards and forwards between Australia and Germany. Reli turned up during one

written by Danielle Skerman

Hayley Beresford Australia Olympian talks to Baroque Horse (BH) about Relampago Do Retrio (Reli)

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of the intervals whilst I was in Australia with his Brasilain rider who was preparing for the Pan Americans. One thing led to another and I ended up with Reli. I guess we had a bit in common. Neither of us fit into the European mould but we were both pretty gutsy and determined. I loved him from day one.

BH - Had you had much to do with Lusitanos before Relampago Do Retiro?HB - Reli was the first lusitnao experience I have had. I actually didn’t even know what a lusitano was!

BH - What is you fondest memories of Reli? HB - I have so many. There are numerous competitions where we were really good together but there are also many special moments we shared. The Beijing Olympics was our biggest achievement. We flew around the world, China, America, Brazil and competed all over Europe. Reli was my partner and my mate.

BH - Did he have any particular quirks to his personality?HB - I used to call him Reli-Monster because he could pull the meanest faces but he was actually a real softie and ultra sensitive underneath. He was the smallest horse in the team with the biggest heart.

Beijing Olympics was our biggest achievement.

We flew around the world, China,

America, Brazil and competed all over Europe. Reli was my partner and my mate.

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BH - Can you tell us a little about him and what he was like on a day to day basis? HB - Reli was always the first to work with each day and if he ever wasn’t then he would be very jealous of the other horses. During work he was always very serious with a great work ethic. He always tried his hardest and he was a tough and forgiving horse. If I rode terribly one day (and remember he was my first GP horse so I made loads of mistakes) the next day he was like starting anew. He was very sensitive to handle and you could never crowd or force him. During his afternoon walks and grazing he was quite often in a joking mood and would playfully nudge or nip you and he always would drag you off toward better grazing patches.

BH - What was he like to ride? Did he have a favourite movement?HB - Reli was great to ride. He could be nervous but he would never react. To train he was super clever. Not many horses make it to an Olympic Games with just a handful of GP starts prior. He was best at the half passes and changes.

photo: Barbara Schnell

Katie Cowley having some cuddle time.... photo: Bella Robson

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BH - How did you find riding a Lusitano in compared to Warmbloods? Is there anything in particular that you really like or enjoy about the breed?HB - They are completely different and I am not so experienced with Lusitanos. Reli was little, short (in compared to the big Warmbloods out there), when we met he had no walk and he had a mane and tail like a shetland pony..... but this horse had soul. I don’t know if its Lusitano or if it was just Reli.... But Reli was like no other horse I have ever partnered.

BH - If you could sum him up with 5 words what would it be?HB - Sensitive, Proud, Loyal, Generous and Forgiving.

BH - is there any wee Reli babies around?HB - Yes I shall go to Brazil and select one of his sons for my future team.

BH - If you could have magically turned him into a human, what famous person would he have been and why?HB - Danny Devito!!!!! He wasn’t the tallest around but had a BIG personality! He used to make us laugh daily in the stable with his expressions and personality.

BH - What does the future hold for you and Lustianos? HB - I don’t know, as of yet there is no Lusitano to compare to Relampago. They will always have a place in my heart.

Here at BH we would like to thank Hayley for taking the time to talk to us about a partner, a mate and trusted her steed Reli!. It is obvious that Hayley and her team all had a wonderful bond with him and that he brought much happiness to their lives in many ways. May he rest in peace and forever be remembered for the lovable talented character he was! a

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João Pedro Rodrigues

Classical Master of Our Generation.

By Sarah Warne

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By Sarah Warne

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So many horse minded person in Portugal recognise the talent, wisdom and above all character of the great João Pedro Rodrigues.

Young riders who know him, or have been lucky enough to have trained with him, are constantly inspired by his Equestrian knowledge. And many talented riders in Portugal, have learnt from the ‘classical master of our generation’.

When I first arrived in Portugal I was introduced to João Pedro and was immediately taken by his brilliance. Having grown up hearing constantly about the ‘god of dressage’, Nuno Oliveira, I was certain

João Pedro Rodrigues

By Sarah Warne

Classical Master of

Our Generation.

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that I had met the man who was keeping that training alive.

Today João Pedro runs his own stable where he gives lessons and rides everyday. He also manages his own breeding studfarm which is recognised as one of the very best Lusitano studs in the world.

Coming from a family of non-horsey people, João Pedro decided he liked horses just from seeing them on television and in the paddocks. And told his parents he wanted to ride.

So when he was 10 years old he began at a nearby riding centre managed by two well-known bullfighters.

From there João Pedro’s equestrian career began and he has spent the last 44 years working with horses. Passing on his knowledge and experience to everyone he can.

“Between 14 and 18 I was a jumping rider;

showjumping and three day event. “ says João Pedro.

“But at 18 I bought a horse that didn’t suit jumping and I thought why not try dressage? but I wondered if I was too old.”

From there Joao Pedro was given lessons from two of Nuno’s well known students, João Trigueiros De Aragao and Don Diogo De Braganca. At age 23 was invited by Dr Borba to fill a spot in the Portuguese School of Equestrian art.

“ The school has made up most of my riding life. I have watched it evolve from its very beginnings, to become one of the greatest schools in the world.”

“There were just 4 riders at the school at the very beginning and I felt extremely proud to be chosen as one of those four. Today we have a total of 15!”

Still a master at the school today, João Pedro is now a mentor to the younger members

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Above: João Pedro jumping

Right: with family

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and still performs every Saturday with the school that has become so much a part of his life.

“When I eventually do retire I am going to do everything I can to make sure the school finally gets a proper show room. For such a beautiful school with so much tradition it is such a pity we don’t have our own place to present our equestrian art to the world. We deserve a place we can all be proud of; a place worthy of the show’s brilliance.”

Spending so much time with the talented Lusitano horse João Pedro developed a fasination for the breed. 20 years ago he unintentionally created his own stud that is now amongst the best in Portugal.

“I didn’t mean to start my own stud. It was just luck and timing really. Teresa Cadaval from the well known breed Casa Cadaval wanted to use one of my stallions to cover her mares. In exchange she offered me a bay mare that she had for sale.”

“I decided to take the mare and a year later was given the chance to buy two more and I thought why not?”

And so the Coudelaria João Pedro Rodrigues was

created on the foundation of only three mares but led by a master of classical training.

Since its beginnings the breed has proved to be a huge success winning many national and international competitions, in everything from working equitation, to dressage competition and pleasure dressage.

“My greatest horse would have to be Oxidado, four time European champion, world champion and I don’t know how many times national champion!”

Today the Coudelaria João Pedro Rodrigues stud has 14 mares, which are put in foal each year, typically to Joao Pedro’s two prestigious breeding stallions, Rouxinol, Ahoto, Bariloche and of course the famous Oxidado.

“With breeding I love the challenge. It is not an exact science. You are playing with genetics so it is very dificult to achieve exactly what you want,” says João Pedro.

“I think what makes my breed special is that my horses have good movement and a proven functionality. Of course, we win the prices but it is the rideability and

With breeding I love the

challenge. It is not an exact

science. You are playing with

genetics so it is very dificult to achieve exactly what you want

23..

trainability of a horse that makes him stand out.”

When the foals are on the ground, João Pedro looks for good conformation and movement. Most of the horses are sold in one year.

“I keep one or two for breeding and the rest are sold here and overseas” says João Pedro.

“A lot go to Europe and sometimes one client will purchase more than one to start up their own breed. My biggest client bought 8 mares and one stallion.”

In Portugal, João Pedro is a man truly admired and respected for his work ethics and overall kindness toward everyone he meets.

A master trainer himself João Pedro has also been taught by a great range of other trainers over the years.

When asked who João Pedro considers his best ever trainer, he says it is Dr Borba, one of the founders of the Portuguese School of Equestrian Art.

“He had the ability to explain both the simple and the difficult. He could describe to me the evolution of a problem mapping out how to resolve it in a logical way.”

João Pedro will never realise how many people consider him to be an elite trainer as being a humble man he says that his greatest achievement is making a breed from nothing and the value he has put into the Portuguese School.

“After my family horses are the most important thing in my life. I love the character and the challenge of riding. A painter makes art with a brush, a rider makes art with animal which I believe is much more difficult.”

And so João Pedro will continue to work with the animal that he loves and deticate his life to ‘Arte Equestre’! a

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F or most of us in the Friesian world, a keuring, or inspection is a very exciting time. Preparing our horses to look their absolute best, no doubt can be a lot of hard

work and stress! But to see your black pearl moving out in the arena with all the grace and beauty that is the Friesian, it certainly makes it all worth while. Australia recently hosted its third such keuring, where there was a record number of horses entered. Every state was visited as well as both Islands of New Zealand. This year’s tour was a big success and also incorporated dressage clinics and pre-keuring clinics on how to prepare Friesian’s for their big day. Keurings in Australia are now held every two years and the next is scheduled for 2013.

The judges are highly trained, flying all over the world to inspect hundreds of horses each year. The inspection team will consist of a judge or a group of judges (called a “jury”), led by a senior (“class A”) judge known as an “Inspector”. There are only a handful of inspectors in the world and these have passed numerous tests and apprenticed as a judge for at least 7 years. Each horses is individually assessed against the breed standard to what a Friesian should ideally resemble. This breed standard includes things like Type, frame and build, Quality of legs and hooves, the walk and trot. Conformation is counted towards 40% of the score while movement is counted as 60%. The top % of horses are awarded a premium which is graded as a first, second or a third premium depending on quality. Mares, stallions and geldings can also be assessed for the ster predicate, which is

difficult to achieve as it is only the very top % of the breed that are awarded this.

This year in Australia we had numerous horses achieve the prestigious star rating and also there were several first premium ribbons handed out. More information on this years keuring, breeders in Australia or details regarding Friesian horses in Australia please visit www.ANZFHS.org.au a

Australia & NZ Keuring Tour

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Australia & NZ Keuring TourPhotos and Report by Nadeen Davis

pic: The judges, President of the ANZFHS, Chairman of the KPFS, owners, and trainers of the Champion & Reserve Champion Friesians of Victoria.

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Photo of by Nadeen Daviswww.wallbrookfriesianhorses.com

Zwenneke fan Wildcroft

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Zwenneke fan Wildcroft

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Photo by Nadeen Daviswww.wallbrookfriesianhorses.com

Ebony Park Jorrit

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The Importance of Riding the Whole Horse:

Supple and Tension Free by Manolo Mendez Specialist of in-hand and Classical Equitation with writer Caroline Larrouilh.

M anolo 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

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“Bring the back up, bring the back up!!!”“Drive the hind leg under, more, more, MORE!” and “Make him more round, rounder” appears to be considered by a lot of rider’s to be the three keys to dressage. To achieve these goals they are taught to put the horse in a frame by pulling on the outside rein while kicking with the inside leg, often while keeping the horse in endless shoulder fore or shoulder-in. Instead of a flexible, supple and tension free horse, this approach creates stiff and crooked horses, with little enjoyment for their work and eventually leads to soundness issues.

When I train my horse, I ride the whole horse, knowing that as I create postures that are biomechanically correct using correct gymnastic exercises, overtime, my horse’s back will naturally rise as a result of the whole body being straight and without tension.

As I am riding, I am always aware that I am sitting on the horse’s spine and that spine extends from

poll to tail without interruption. Just the same, muscles run from the poll to the tail uninterrupted. Anatomy plates show very delineated muscles but in reality dissection plates show that the muscles of the topline: neck, back and croup merge into one another and besides their individual function, also work as a whole.

My foremost goal in training is to make the horse secure and healthier with every ride. I work on balancing motion and energy without tension. I know that energy travels through my horse’s spine and that out of the spine, rooted in the spinal cord there is a complex network of nerves sending and receiving signals to and from the brain. I want to ride the spine poll to tail, without blocking it or damaging it by creating unhealthy postures. I remember that just like a train with many wagons, I have to create bend slowly and methodically without abrupt and exaggerated angles so as not to “derail” any vertebrae. I know that after flexion exercises I need to go straight before asking for

Manolo and Dinamico. Supple and tension free trot across the diagonal

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Manolo and Dinamico in a supple and tension free shoulder

As I am riding, I am always

aware that I am sitting on the horse’s spine

and that spine extends from poll

to tail without interruption.

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more exercises asking for flexion because the vertebrae need the straight lines to re-organize so that their spacing just like a pearl necklace is even and they are not touching, rubbing. I ride the whole spine carefully because I want to avoid arthritic changes such as kissing spine, fusion, fractures and I want to avoid damaging nerve roots which can lead to coordination problems and much worse.

I know that my horse’s spine is not very flexible but it accommodates different movements to different degrees in different locations and I understand what the whole body does to accommodate these differences. For example, under our seat, the spine connects to the ribcage and its 18 ribs (on average) so the motion of that spine segment is going to be very different to what the cervical neck can accommodate. In addition, because of the sacral spine portion being close to fused, I think of the five joints of the hind leg as shock absorbers. This is one of the reasons the stifle joint is so very complex and fragile: It has to absorb and distribute a lot of motion. Because of this, I do not insist on driving the hind legs under the horse to “raise the back” and create false collection. Instead of isolating one part of the horse, I focus on the whole horse and developing pure gaits with even, rhythmical, diagonal pairing action. Pure gaits are so important in dressage because they help create a supple, symmetric horse by developing a healthy muscle structure that supports the spine and the ribcage evenly through every expansion and contraction. If my horse were to be tense, crooked, short stepping he would then develop muscular restriction with every step that would impair his health and his progress.

To develop pure gaits and develop a flexible, supple, tension-free horse, I ride the whole horse gently into even contact, with the neck softly arched and the nose in front of the vertical. I am careful to sit centered on my horse and I do not sit stiff bodied but use my own balance, my body to help my horse find his own. I follow the motion of the horse’s neck and head with sensitive hands. I do not want my horse’s head and neck to move like a hammer vertically, instead I want a rhythmical forward, horizontal motion which I encourage and accompany with supple shoulders, arms, wrists, hands and trunk. To create a supple, tension-free horse I too must be flexible and tension-free and let my body influence my horse’s.

In encouraging the horse to work with a de-contracted topline and ample, forward gaits that are not precipitated or rushing I strive to develop gait regularity. As the horse’s

body begins to softy arch from tail to poll, ideally (if the horse does not have spinal misalignment, or incorrect muscling that needs to be addressed first), the back automatically rises underneath me, over time, as strength builds.(This is why on a young horse you stay off its back and do not sit the trot!!)I know that the correct way to developing a healthy back moving horse is to keep things simple and use forward motion to let the spine and the body organize itself. If I threw a rope on the floor and asked you to straighten it, you could either

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handle every kinked segment and push it this way and pull it that way – which would never create a true straight line and would take forever – or you could pick the front of the rope and pull it forward, making it very straight with little effort. The same principle applies to the horse. You can kick it this way and pull it that way to make it straight or you can allow him to do the job himself by riding him softly, straight into two even reins. Another reason why it is so important to keep a soft, living contact and allow motion to travel through the horse is that when a horse is framed by restrictive contact, it cannot be supple and tension-free. If I am an archer, I will find out very

quickly that the only way to send my arrows far and straight is to always unstring my bow when I am done. If I keep my bow stringed, I destroy its ability to bend, its give and flexibility. Same with the horse. If I keep my horse tight, with an un-giving outside rein, tight reins or even a martingale, tie-down or draw reins, I destroy his ability to move freely and expressively. If I am looking at a student working with a lower level horse, I check that the horse’s eye is between its hip and stifle point depending on conformation. At all levels, I check that the horse’s poll is supple, its throatlatch open so that its jaw is not pressing against the wing of its atlas creating a blocked poll

Manolo riding Dinamico in a light seat to assist the horse in developing a quality canter

..36

and restricted air and blood flow. Just like a train will be unable to travel forward if any two wagons are askew, any time a joint’s motion is restricted or blocked it impacts every other joints in the body – this is especially true for vertebral joints –and his ability to move freely forward. I check to see that the dock of the tail is not lower then the hip point and that the muscles of the entire horse are moving in rhythm, pliable, very much like a swimmer’s muscles. An exercise I rely on to help lower level student horses become more balanced and supple is to ride shallow loops. On the long side, I will start with a 10-12 meter loop, and in time, I will ride a 20 meter loop and include a circle at the apex, only as small as my horse is comfortable with ( I first ride a 15, 12, 10 meter circle and if my horse shows difficulties, I return to the size circle he was comfortable with). As my horse’s flexibility increases, I will ask for a second or third shallow loop, always checking that I am not blocking my horse and that the gaits are rhythmical and pure. I make sure their shoulders mirror their horse’s shoulders and that they accommodate the bend in the circle by moving their outside arm and hand forward as though they were turning on a bicycle or pushing a wheelbarrow in a turn.

As my horse gains strength and flexibility I keep asking him to gather his body and have a longer neck. As I work toward collection, I only ask a few steps of more gathered work before returning to a forward, down, out working posture. My aim is to help my horse’s balance so that in time I will have more horse in front of me then behind as my strong and supple horse is able to sit and coil his loins. While I train, I vary exercises and I do not keep any posture fixed for more than a few moments so that the muscles of my horse remain supple and tension does not have the time to creep in and create stiffness. I give my horse walk breaks and allow him to look around and I reward him with a pat for the smallest try. I want my horse fresh and attentive so I do not drill him or punish him harshly instead I make sure he understands my requests so that he remains calm, keen and confident and mental tension does not creep in and create stiffness. Every time I interact with my horse I am careful to tend to his body and his mind looking to create trust between us knowing that the enemy of harmony and good dressage is tension. a

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Garrido's Mane

Mylessa Nickelson talks about Garrido’s mane and how to care and grow a mane like him.

Mylessa and GarridoWest Wind Training StablesYou Tube: zzzMylessazzzwww.westwindtrainingstables.com

..40

“Is that real?” They ask, pointing to his mane. Yes it is really his hair, all attached at the roots. No, there are no extensions and yes, it is a lot of work.

Here are some tips to grow and care for so much hair. And while I think he has a long hair gene, I know that care helps, because when he came into my life 8 years ago, his mane was only to the point of shoulder. My effort and time has grown the mane and tail to the ground.

1. It begins in the feed room. I had a vet tell me once that the hair coat is the “garbage can” of the horse. No nutrition goes to the hair until every other organ and system has been fed what it needs. Then, and only then, does the hair get what it needs to grow and be luxurious. This is why a well fed horse has a great hair coat as their bodies needs have been met and so the hair can grow. Garrido gets a balanced diet of hay (SoCal has very little grass pasture), alfalfa in the morning and oat/barley mix in the evening, a grain ration that has a vitamin pack in it and Red Cell.

2. He lives in a box stall that has no edges in it and the windows have grills and/or bars which are always closed. It is important that there are no edges he cannot rub a hole into the mane. As a stallion who lives in a public boarding stable this is necessary to keep him from hanging his head out. He does comes out every day to work and he turns out, in a private turnout away from the other turned out horses but within their sight. I do let him get filthy as he enjoys this. There is a tree in his turnout but I stay with him so he cannot rub (great time to return clients’ telephone calls!).

3. The mane is washed every time he is presented to the public. If he has no shows I wash it once 7 to 10 days. I wish I had a list of products but the truth is I keep trying different things because everything seems to work for a while and then it doesn’t. I will use a dandruff shampoo on (only) the roots and then human shampoos on the rest. I will use a whitening shampoo if he is going out but after the human shampoos. I have used both horse and human conditioner and I am always trying to get the mane as clean as I can because he hates the bath. Anything that rinses out cleanly and quickly gets my attention. I always use a leave-in (usually clear) detangler for the comb-out on his damp hair. Because there is so much hair it will dry during the comb-out so I use a spray bottle with water (only) to keep the hair damp while I work on it.

4. His mane lives in braids and the braids live in bags

41..

It begins in the feed room. I

had a vet tell me once that the

hair coat is the “garbage can” of

the horse.”

..42

ALL THE TIME unless he is being exhibited. All work outs at home and even the warm-ups his mane are in his bags. I tease him that he is like an old movie actress in her curlers and cold cream at home. The braids are loose at the roots and then tight to the end plusI use elastics without metal.

5. His stall is bedded with shavings which are cleaned twice a day.

6. His tail did not grow past his pasterns until I put it in a bag. But because there were many flies at our previous barns he would swish it and break much of it off. I have now moved to a barn where are next to no flies because they use a feed through fly control product in the summer. Now he does not break off the tail hair from swishing, and it too has reached the ground.

It takes many hours to do all this work and can take up to 40 minutes alone to remove the bags

and undo the braids. A show bath can take 4 hours with an assistant as there will be two soapings, two conditionings and all the comb-out. At home I divide the work so he does not spend all day in the bath: the body and tail on one day, the mane on another, the head and forelock on a third. If I had to think of one word that guides my efforts I would say that word is CLEAN. Everything is as clean as I can make it and so he does not rub, rolling does not damage it, there are no tangles to yank clumps of hair out and it keeps growing. I hope this gives you some ideas about caring for your “big hair” horse. Garrido is 21 now and will be retiring soon. I may just cut it all off and place it in a braid next to his portrait. He will have a big pasture in which I will try to grow some grass and he will get and stay as dirty as he likes. I hope it makes up for all the “clean” he has had to live in and he will not miss the bath! I will have to find something else to do with my free time. a

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MB Equine Dressage Coaching &

Equine Training

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photos: Gabriele Boiselle

BH- Hi loraine, Thank you for taking the time to talk to us this evening.

How did you and your husband get into friesians?

LP - Oh well it started when I had retired from being a jeweller and my husband a policeman around 1997. We were looking for something to do and a friend suggested a friesian. So I looked into them and told my husband. We started going around looking at them and instantly fall in love with them.

If you have the horse blood in you, it seems the women fall in love with them and the men have to have them and so this is what happened .. he fell madly in love with them! This is a very true story. We then looked at some in kentucky and went all over and we looked at these horses. We didn’t know what we were look for. We were lucky enough to find a lady

that told us how to look at the paper work, how to look at the horses. That you look at the paper work and then you fall in love with the horse and which was wonderful. If it wasn’t for the lady in Minnesota we would have made wrong decisions on our mares. So we did that, what she said and we made very good choices and we have a barn of all star mares.

It all started when I went to the dentist and my husband was going to buy me one horse. When he came back, “I said what horse did you buy me”?, because we had look at all kinds of them, he said, I bought you 4 mares and a gelding! I said what!! I said, man your crazy, you wasted all of your retirement money on horses .. are you mad! ?and He said “I want something honest and something wonderful to do. This is what I want to do, I want to breed these horses they are magical”. So that there is where it started!

BH - wow.. what a journey!

Friesian Dreams

Baroque Horse (BH) had the wonderful opportunity to chat to Lorraine and James Paradinovich (LP) from Friesian Dreams

and very proud owners of Anne 340.

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How did you come about owning Anne?

LP - Well, My husband had bought 4 mares and a gelding and bought 2 more mares from the netherlands. We soon became the largest breeder in Wisconsin at that time. It happened really quickly because he fell madly in love with them. Because of our reputation in breeding friesians we were offered to buy Anne. So we bought Anne in 2003, my mother had just passed away so I was in no condition to say no, so my husband bought Anne. And in 2006 he bought Anton. We breed Anton very successfully for the years we had and and sold him a couple of years ago. We now have the only filly that was born to him this year which is for sale.

BH - sounds like you had lots of horses! how many horses do you have now ?

LP - 7 mares and the stallion - at one time we had lots of them out there, however because we are getting older we have cut down on the amount of horses we have. At some time we had over 20 some horses out there. We have cut down dramatically as that is a lot of horses for two people

to look after.

BH - Can you tell me a little about Anne personality, what’s he like?

LP - oh, oh my gosh, he is amazing, he is totally amazing, I can put my grandchildren up on him, he knows when he has a baby on top of him. Its an incredible breed. He knows when you put someone on top of him and he knows if they can’t ride. He wont let them drag him across the arena if they can’t ride. There was this time when my grandson was two and the judges had come from the netherlands and so did the trainer. We were sitting outside with our two year old grand son and he wanted to walk the horse and we said no no no.. and kept on asking so we said he could sit up on him and Anne was acting like a quiet old plough horse, we then he went into the auditorium that he was going to be shown in and past all the other stallions calmly and quietly. We took the baby off and he sat on the gate, and a runner from the netherlands took the horse and started to run him around, and the baby was shouting out GO ANNE GO. GO ANNE GO … and was echoing across the arena! after the runner had finished and Anne had done his thing the runner ran Anne up to the baby and Anne just came right

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Anne 340 Sport

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down and stopped prancing and stopped showing off and was so clam down at the baby, It was so awesome cause it showed the personality of the stallion. As long as the baby was with the stallion he was all about the baby. To be able to have him (Anne) act like an old plough horse one minute and then to go and show off in the arena and be so animated and then quieten down so fast for the baby is amazing. Even though in the arena he is so animated he’s not really like that, we can put candy in the babys hand and he very carefully takes it. Anton was the same, except he would do all kinds tricks for his candy where Anne doesn’t. The stallions have impeccable manners, their just wonderful.

The breed itself is wonderful. We’ve had quarter horses and a lot of different breeds of horses and their is just something about them. You can tell people that they are so different, that they are like a big black lab blown up into a horse, you can tell people that but until they actually experience it can they really understand.

We had a man, just recently buy one of Anton’s babies that we have here, the horse got loose and was running around and ran right up to the potential buyer of this horse and stood dead in front of him, my husband started laughing and said he couldn’t have paid the horse to have done that. It was like he was saying, take me! pick me! and they guy was like “oh my god this is so different from the horses I have had”, but then its a friesian. They love the attention!

As long as your good to them the horse will be good to you and they will be your best friend forever. And people don’t understand that, people who don’t know friesians think that that is a sale pitch, and I have to say I first heard that I thought it was a sales pitch to. And when i say that to people I laugh and I say “I know, I know it sounds like a sales pitch but it’s true!” It is so true cause these horses are so caring loving creatures. They have different personalities then any other breed that i have been around, and I have been around a lot of different breeds. The friesians are just big loving horses, they have big hearts.

BH - Do you know how many babies Anne has?

LP - Oh, i’m not sure! a lot, I know he has babies all over the world! I know he had quite a few in europe before we bought him.

BH - That must be an amazing feeling knowing that this boy who is apart of your family has little bits of him all over the world!

LP - oh yes, it is amazing. However with how the friesian breeding works we are used to it now. Other breeders

(non friesian) who may have a couple of international foals its a big deal. For us, its just the way it is. I guess we have had many years to get used to it. Its funny cause when we used to have Anton to it was like having Elvis Presley and The Beatles (laughs). You kinda don’t realise that until you go somewhere and then you have people that are movie stars and what have you, falling all over you going “oh my gosh you own them!” and your kinda looking at them saying yes and realising the enormity of it all. You don’t really look at them that way, because we are used to having them as they are apart of our family. We do forget that he is as known as well as he is, until we go somewhere. I guess to others he’s a friesian celebrity, but to us he’s like our child and family member who we love and adore.

BH - If you had to describe Anne in 5 words what would that be?

LP - oh, hmm… Loving, sensitive, trusting, caring and very intelligent. .. its hard to stop at 5!

BH - If you could turn him into a human being who would he be?

LP - well, to be honest i don’t think one could do it, he would really be a combination.. a bit of President Reagan - because I felt that he was a a gentleman who his wife totally loved him, there was a romantic story there. Popularity wise he would be like Mr Kennedy, people loved him, it was like camelot for the United States. hmm.. Superstar wise he was like Elvis Presley!

I don’t think one person can fully incapsulate him, he has many characters to himself, and so is Anton. Anton is a mr lover a Don Juan, he was a big personality. Anne is a lot like my mother, very kind, a teacher, respectful and wanting to take care of you. He’s special.

For us owning two of the top friesian stallion in the country wasn’t about the status but about our love for them and the breed. Anne will be with us always, we love and adore him.

Thank you Lorianne, for taking the time to talk to Baroque Horse magazine. It is an undeniable that you have a lot of love for your horses and Anne. They sound very lucky to have such a wonderful caring owners! We wish you much happiness and success with yourselves and your horses.

If your interested in purchasing a friesian from Lorianne and James do see their web www.friesiandreams.com/ for more info. a

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Behind the scenes look

at the Portuguese School

of Equestrian Art with

Ricardo Ramalhoby Sarah WarnePhotography PPYO

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C reated to preserve the heritage, practice and teaching of traditional equestrian art, the Portuguese School beautifully

presents classical riding and performs it exactly as it was performed over a century ago.

A reconstitution of the Royal Picaria, (the Equestrian Academy of the Portuguese Court of the century), 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 the delight of their audience.

The school prides itself on the careful selection of the Lusitano horses, using only horses from the royal stud Alter do Chao that was founded in 1748, with the aim of supplying the Royal Household and His Equestrian Academy.

The Portuguese School of the Equestrian Art is thus the natural sequence of the Portuguese Royal Academy that was extinguished in the last century. The horsemanship and tradition are now brought back to life in this unique school of classical equestrian masters.

For a behind the scenes look at the school, Baroque Horse interviewed one of those 14 elite classical riders; Ricardo Ramalho, who has been riding with the school for 12 years.“Since the first time I saw the school it became my dream to, one day, be a part of that school,” says Ricardo. “Every time I could, I went to watch the school exhibitions and also the daily work in Queluz. I was dazzled by it all, the beauty of the Alter horses, the costumes and the way the riders presented the horses. I love the Alter Real horse (The Alter Real breed is a branch of the Lusitano breed that are always bay). I love having the chance to work with other riders. To exchange experiences and each other’s knowledge’s, having a daily based learning and above all, the chance to honour an equestrian tradition so deep in our culture. “

At just 10 years of age Ricardo started riding in a farm near his home. He heard about the school for the first time at Golegã Festival where

he had the chance to see the School Exhibition. From there his interest in the school grew until he was 20 when he was approached by Dr. Filipe Graciosa (EPAE Director) who told him they had an opening spot in the school.

Ricardo goes on; “Dr. Filipe Graciosa asked me to go to the school and ride. And so it was. I was riding for two days under Dr. Filipe Graciosa’s observation. At the completion of this he asked me to go to his office where he told me he had accepted me as a student in the EPAE. He explained to me my new responsibilities and obligations and on that day I became a part of the EPAE.”

An initial invitation is only the beginning; a rider still has a long way to go before they can perform as part of the school to ensure the elite standard of horsemanship is maintained.

“A student at the school is there for at least two years and during this time they are helped by an elder rider on a two to one basis (two students to one elder) mentoring them to learn the ways of the school. Once you have trained for

Behind the scenes - a look at the Portuguese School of Equestrian

Art with Ricardo Ramalho

by Sarah WarnePhotography PPYO

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“The relationship amongst riders is amazing. We exchange opinions and

ideas on a daily basis and the best way to ride them. When there are different

opinions over a subject, we talk about it in a constructive way.”

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around two years, and if your progress is good, you are asked to become an elder, and perform as part of the 14 elite. They train 5 days a week and perform for an audience every Saturday.” explains Ricardo.

That is when you get to perform in the fabulous displays of Equestrian Art and riders in the school can continue their careers at the school for many years – Ricardo himself has been in the school for 12 years and says that he would like to continue for “Many more”

He explains; “It’s not really possible to say how many years a rider will stay in the school because there is no rule about that. Actually, there are riders who have been in the school for 32 years now and there are some others who only stay in it for some years and then leave to take on personal projects.”

Many of the riders have work outside the school and that work is often related to horses. “Outside the school I develop and work in an equestrian centre, the Quinta da Estribeira, where I am granted great working conditions. I prepare horses for dressage, horses which I then take in competitions. I also

train horses for other riders, give riding lessons, and help out in breeding Lusitano horses. But apart from horses I am currently completing graduation in Equine Sciences.”

These commitments don’t keep Ricardo away from the school that he loves, not just because of the classical training it provides, but because of the school’s heritage and its connection to the beautiful Lusitanos. “The EPAE is the reconstitution of the Picaria Real, Equestrian Academy of the Portuguese Court in the XVIII Century. Therefore, it represents a world equestrian heritage, unique in the world.” he says.

“As for the Lusitano, I think the school is important for two factors: the Alter Real horses that are distinguished in the school are used as stallions to serve the mares in Alter. The Alter Real horses are delicate, noble, with good rhythm and ride-ability and the breeding is always improving the quality of the horse. This has allowed other Lusitano breeders to use the Alter genetics to improve their stables. Another factor is the promotion and disclosure of the Lusitano horse that the EPAE does with its

57..

equestrian shows throughout Europe.”

As much as Ricardo loves his work at the school, he does yearn for an indoor arena. “Sadly, after 32 years running, the school still doesn’t have a covered ring, which makes the working conditions extremely hard in the extreme heat and in the rain.” It is a repeated disappointment for Ricardo when they have a rainy day and the tracks are flooded and the horses can’t leave the boxes. “It does also make me sad that we don’t have our own Showroom to present ourselves. I think that the priority is to build an indoor arena as that would bring multiple advantages.”

“The riders at the school also make the school what it is too.” says Ricardo.

“The relationship amongst riders is amazing. We exchange opinions and ideas on a daily basis and the best way to ride them. When there are different opinions over a subject, we talk about it in a constructive way.”

Ricardo thinks that “People should come to the show because they get the rare chance to see a reconstitution of the Picaria Real, a show from the baroque époque,

therefore, a classic equestrian show” Undoubtedly, Ricardo says that the chance to represent the school in the Four School Show in Bercy, Paris, is the best thing about the school.

If you would like to visit the school and see the show they perform every Saturday at 11:00am in the Queluz National Palace.

www.alterreal.pt/epae/ a

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The Portuguese School of the Art of Riding is the natural sequence of what was the Portuguese Royal Riding Academy, extinguished in the last century. Even so, that horsemanship and tradition survived and they had a great influence on the way of riding in Portugal.On the other hand and due to the continued practice of bullfighting on horseback, the same kind of horse, the same horsemanship. harness and costumes used in the XVIII century have been kept up till nowadays.All this represents a unique cultural equestrian patrimony in the world. The stallions used by the School (EPAE) are Lusitanian horses from the ancient Royal Stud at Alter, founded by King João V in 1748.

I - Work on the HandIt is used for tie training of exercises performed above the ground. The preparatory movement is the Piaffer, trotting on the spot.PIAFFER AT THE PILLARS The old riding masters used it to reinforce the concentration of their horses. LEVADE The horse , its quarters deeply bent stand for a moment in the classic posture of many equestrian statues.

CORVETA The horse jumps out of the LEVADE position, on its hind quarters.CAPRIOLE The horse leaps high into the air, striking out horizontally with his hoofs, and gliding momentarily in the air.

II - Long-Reins WorkThrough training, the horse becomes docile and acquires a slow enough cadence to be guided on foot, performing all the movements of Haute-École as if it was mounted.

III - Exercises Performed above the Ground The same movements we have seen on the hand are now performed with the horses mounted by the riders.These movements were the high point of barroque horsemanship.

IV - Pas-de-TroisDemonstration by three riders of several movements and figures of the riding-hall.

V - QuadrilleA group of eight riders present the school`s quadrille rather like an equestrian ballet.

The Portuguese School of the Art of Riding

http://www.alterreal.pt/epae/

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Dreams can come trueBy Sarah Warne

There is something magical about the beauty of a stunning black Fresian. Everyone remembers watching the famous ‘Black Beauty’ as a young girl and then dreaming of riding their own majestic animal through the night. For one young farm girl in Norway, this dream is a reality, and Ronja Vesterøy says she loves to watch her mum riding the black stallion across the Norwegian mountains. “Mum and her black beauty; they look very, very, very good together. I love to watch her ride, especially when they canter,” says 9 year old Ronja.

“He is big and elegant and has a long mane and tail. He looks beautiful. And he runs so fast in the field and looks so powerful when he lifts his head up and snorts up at the sky!!”

Ronja’s mother, Randi Vesterøy Alvseike, also born in Norway has been riding the native Icelandic horses since she was 6 years old but says that it was both luck and desire that pushed her into buying her first black Fresian.

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By Sarah Warne

“It was a little to do with luck, I guess, that I bought my Fresian,” says Randi.

The beauty of the huge black horse, with the long mane and tail, and the muscly body, caught Randi’s attention. She phoned a lady in Norway who knew a lot about Friesians. “I liked everything she told me. I liked the strict rules of breeding, the fact that only a few stallions are accepted every year, meaning the breed is kept very much in control without many accidental offsprings.”

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“I liked the self control they have, and the strong body. Also how the Fresians look when you have trained them well and they have built up muscle and the chest and front body is raised. Its a proud and gracious animal,” says Randi.

Randi’s Fresian, Otaije Fan Erberveldused was bred in the birth place of the Fresian horse and although this added extra expenses for Randi, she just had to have him.

“Otaije was a stallion situated in Holland, which is a far away from Norway, so it was a big decision whether to buy him or not. Plus the timing was bad. I was pregnant at the time and my husband and I were a young couple with kids and a farm and plenty of things to spend our money on. The initial plan was not to spend much money on a horse. But plans changed rapidly and I just had to have him. With all our animals, the dogs, cows and sheep, we are always very concerned with the breeding, that there are good bloodlines. So we soon changed our minds and we agreed that if we were going to have a horse, it was going to be a well bred one.”

But it was also the dream of making the ‘Black Beauty’ fantasy a reality that really bought Otaije to Norway.

“My dream ever since I was a child was to own a huge black stallion, like the one in the Black Beauty movies, or other movies like Zorro and EverForever(cinderella. Then and all of a sudden he was mine!” says Randi. “And Ronja started drawing Otaije too, when she was quite small, saying she loved the way he looked.”

Having drawn the horse in her early years, Ronja took an interest in riding Otaije when she was 5 and Randi says his beautiful black features definitely encouraged the youngster to develop a love of horses. “I like that the horse is a big and strong animal and that we can ride them,” says Ronja.

“If I am going up in the mountains, I can ride the horse. I enjoy being in balance on horseback, and the rocking feeling, and the fact that he carries me around. I will start taking riding lessons in a school this August. I hope to one-day be a skilled rider.”

Bred for use in both harness and under saddle, Randi says the breed is ‘cool in the head’ - meaning they have the nerves under control, and still they are alert and respond quickly to commands when working.”“Otaije Fan Erberveld is calm, but at the same time a stallion, so he will always have this urge to perform; ‘underlying explosives’.

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He is an easy learner and he is willing to try. When I am using extra aids he is very positive, and tries to please me and give everything a go.”

When not on the horse, Randi runs a large farm in the South of Norway and with a husband and three young kids she says it is difficult to find enough time in the day to ride.

“I would love to ride in dressage competitions, but at the time I have three small children, age 1, 3 and 9, so I hardly find time to ride at all. But I ride as often as I can. And hopefully that will increase during the next year or two. And I will have to take more classes, or maybe get a personal trainer to come home to my farm to instruct me in dressage. Maybe I will have to buy a new horse before I join any dressage competitions, as Otaije

will probably be getting to old by the time I get there.”

Having spent her life around animals, Randi wants to pass this passion on to her children and hopes that maybe one-day all three will be riding horses, or training the dogs.

“I train sheep dogs, Border Collies. I have been doing this since I was a child and I always will. But for now I am planning to take an education at the Norwegian Academy for teaching riding instructors to become an instructor myself and hopefully I can bring my own horse there.” a

“If I am going up in the

mountains, I can ride the horse. I enjoy being in balance on

horseback”

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Sire: Chapelhouse Centauro - Pure iberian (irreal imp - grand prix Dressage)Dam: Bella (lander imp- holstiener)

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Pic of Sire

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www.elisegenest.com

69..

Elise GenestHow long have you been painting for?I have always been painting and drawing, since I was a little girl. My parents have a framing shop, I was surrounded with artist who’d recognize the talent (and personality) of that little girl. I was quite sure of myself back then. ;);)

What is your preferred medium? Oils, pastels etc.. I work with acrylics because I don’t have any patience to look at it and dry! Now I somehow know my technique with acrylics, this medium can be very interesting when used with mediums and textures. I also always dray on top of my paintings with a chinese marker and start my canvas with heavy texture.

What drove you to paint horses? My passion for horses drove me to art. When I was

about 11 - the age most kids stop drawing - I would be drawing horses all day, because being away from my horse was so painful! So there were little horsies everywhere in all of my maths books... ;);)

What do you enjoy the most about painting horses? The fact that they can be everything in life. I can express any expression through them. And also because their body is so beautiful... their bold curves and muscles... their movement... their strenght yet their fragility... horses!

Do you sell prints of your paintings? I recently started to sell prints of my paintings, because I can’t keep up with the demand on my paintings... it opens a new market, it makes it easier for me.

http://elisegenest.com/en/galerie-dart/giclee-prints-on-canvas

Talks to BHM

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“Hilandero de Oro”, acrylic on canvas ©EliseGenest

www.elisegenest.com

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www.elisegenest.com

To buy prints gohttp://elisegenest.com/en/galerie-dart/giclee-prints-on-canvas

..74

www.elisegenest.com

..76

Where in the world .....

Caroline PhillipsUK

Name: Caroline Phillips

Where are you from? I used to be Caroline Miller-Robinson when I lived in Sydney, Australia where I grew up and lived until I was 20

Where in the world are you now and how long have you been there? I now live in Northamptonshire, England and have lived here for 16 ½ years.

What sort of horses do you have? The horses that I have are Spanish and Portuguese (Andalusian and Lusitanos), we have 16 horses at the moment though only 10 of them are actually mine, the rest are clients horses that are with me long term. There are 9 PRE’s, 4 Lusitanos and 3 “normal” horses.

How long have you had horses for? I have owned horses for more than 20 yrs and have worked with Baroque horses for 24 yrs as I started working at El Caballo Blanco in NSW when I was 13.

What do you do with them? We do displays and competitions with our Baroque horses, I also give classical lessons on them.

What do you love about your baroque horses? I love our baroque horses because of their beauty both inside and out, their generous temperaments and the sense of nobleness and history you can’t help but feel a part of when your with them.

If you could say 1 thing that you have learnt from a horse, what would that be? One of the many things I have learnt from a horse is to trust your instincts and listen to the horse, I have this lesson over and over again. Sometimes there may be no rhyme or reason why you feel that something isn’t quite right or your horse doesn’t seem settled, I have had many instances where I have trusted my instincts and they’ve turned out to be right.

Whats your most memorable baroque horse moment to date? I have lots of memorable moments to date though my

About every day people doing great

things with their horses.

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first memorable baroque horse moment was the first time I ever had the chance to sit on a Spanish Stallion when I was 13 at El Caballo Blanco. I was working as a volunteer at the time before I was employed by them, I was so in awe of the girls who rode there and had watched the shows for years. Bizzaro XIV was that horse, I got to choose who I wanted to ride as a treat for being very dedicated to sweeping and it was Bizzy. As a 13 yr old girl, I was so excited to be allowed to not only ride him but to ride in “that” arena with the chandeliers and velvet drapes and the mirrors. I still have the same level of excitement when I perform now! a

Caroline can been see herewww.eldiva.co.uk

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learning to jump you need a good understanding of how your horse moves at the walk, trot and canter. When you have developed an understanding on the flat of ridding your inside leg to outside rein and have established some rhythm, we can commence some basic jumping training. There are three positions when jumping and our job as the rider is to learn to be competent and effective with all of them.

The two point seat is when your seat is just a bit out of the saddle when your legs are the two points of contact. This is the position of your body when your horse is at the peak of its jump. It is a very good position for developing a good base of support with your lower leg and flexibility of your ankle. This is also good for developing the contact of the lower leg inner calf, an effective contact which isn’t vice like or locked, as this blocks the weight and doesn’t allow the weight to flow to your heels.

Light three point is a crotch seat along with your two point of contact with your legs. Here, the weight of your seat, along with your leg, aids help control and balance your horse.

Three point, when your seat is fully in the saddle and you have maximum seat aid, along with your legs aids. A very strong seat can be quite useful in a difficult situations )i.e a spooky jump or environment)

The problem with the Maximum 3 Point sear for an inexperienced rider, when jumping, is that the rider can actually get behind the movement, hollowing the horse’s back and locking against its neck. It can also encourage the leg to ride forward, or heel to come up, losing control of the upper body. When the rider gets behind the movement in front of the jump, they will either stay behind the movement over the fence, or throw themselves to catch up with the

Jumping into the future with David Finch

Getting Started in Jumping

Written By David Finch

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David Finch has been EFA Australia Coach of the Year. He is the current Queensland EFA Coach of the Year and has been on five separate occasions. He coaches throughout Australia and many countries and his clinics suit a wide range of riders. Finch is also an EFA NCAS Level II Show jumping Specialist and he has ridden and developed show jumping horses to World Cup standard. Coach, Judge, trainer and course builder www.finchfarm.com.au

David Finch

Above Lusitano Stallion Tojo from Coudelaria Quinta Oliveira showjumping

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momentum, causing a major re-group situation on landing and departure.

The biggest thing with these three positions, is whatever your position, that you train your eyes to look where you want to ride and learn to feel what is happening underneath you. Carrying your hands without setting them not on the horse’s neck with closed fingers, flexible wrists and elbows, keeping your hand slightly elevated, will help with your focus and centre of balance.

Set yourself single exercises, whether it be a trot pole to a cross rail, or even just poles on the ground, or some poles around the arena, for you to develop some rhythm, establish your lower leg, train your focus and have an effective contact with your horses’s mouth.

The better you develop these basis, the more longevity you can expect in the sport, as you and your horse will have exposed yourself to and effective and safe system, that you will both gain confidence

Along with these basics, it is important, that your saddlery fits correctly and sets you in an aligned position and that your horse is physically and mentally capable for the task. Remember show jumping doesn’t have to be an Extreme Sport! a

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Expect hospitality, comfort, peace, space, quiet, surround-scenery, hot showers, a homely relaxingambience. Expect also a quality dining experience.The food is mostly all grown and prepared on sitewith passion. The menu (at our website) includes ourlamb, duck, chicken, vegetables, cheese, salami,pickles fruit and nuts.

On the rail trail at Lauder. Perfect for a cycle or walk tothe tunnels and viaduct.

Muddy Creek Cutting Dinner B&B

i

Address:Tel:Website: E-mail:Contact:

3275, State Highway 85, Lauder+64 (0)3 4473682www.muddycreekcutting.co.nzmuddycreekcutting@clear.net.nzKevin Scott & Ross Campbell

Above Lusitano Stallion Tojo from Coudelaria Quinta Oliveira showjumping

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Jumping GalleryDo you have some photos of your jumping baroqu horse that you would like to share.. Please send to [email protected]

83..photos and art work by Direct Shots Photography

Jumping Gallery

..84

Try and picture this scene.

You’re a child again.

It’s early morning. The sun peeks its fiery gaze over the trees. The heads of the long grass sway in the soft breeze back and forth.

In the distance you see him. The tendrils of rising fog blend with the silvery whiteness of his coat. The pearl like unicorn horn gleams golden in the rising sun.

Trotting softly to your side he lowers his head in submission only seeming to breathe again when the innocent hand strokes his face. One by one his mares, each with a different shimmering horn, join and surround you; protecting.

He is your unicorn, a symbol of purity, strength and grace.

And he could be sitting in your back paddock right now.

Although there are many legends and reported sightings of unicorns such as the Chinese qilin with its wondrous coat of 5 mystical colours to the more familiar western unicorn emblazoned on the Scottish Coat of Arms, the closest we have to a real unicorn is the Andalusian and more precisely, those with Carthajuno lineage.

Look for the ‘Bocado Bump’... a small ½” flap of cartilage located where his forelock meets his forehead. This ‘bump’ is considered by some as a sign of purity of breed.

The 18thC Carthusian foundation stallion, Esclavo, passed the characteristic trait of ‘horns’ to some, not all, of his progeny. These ‘horns’, or frontal bosses, vary from calcium-like deposits at the temple to small horn-

When you look at your

horse what do you see?

By Carol Raymen Photo of Alegria Serio (www.cristrogracia.com.au) by Direct Shots Photography

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like protrubence near or behind the ears. The Moyle horse from the USA, also distantly related to Esclavo, has quite distinct ‘horns’.

Science however, explains these ‘horns’ as genetic anomalies and realistically, they are probably right.But does it really matter what science says? If we can

recapture that magical moment when we first laid eyes on our equine soul mate then we have found our own unicorn.

It is these moments that gives us the strength to get through those fundamentally human dramas that shape our everyday lives. That is the true power and gift of the unicorn – its strength.

So, when you look into your back paddock, what do you see? a

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JustFunPuzzel Maze!

Help the hungry horse find the apple!

Pu

zzel

Maz

e -

Pu

zzel

Maz

e -

Pu

zzel

Maz

e -

Pu

zzel

Maz

e -

Pu

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Maz

e -

Pu

zzel

Maz

e

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Fun

Colour in the pictures and send them in

Colour in the picture and find the apples and carrots!

Co

lou

rin

g In

- Co

lou

rin

g In

- Co

lou

rin

g In

- Co

lou

rin

g In

- Co

lou

rin

g In

-

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Cross Word

Cr

oss

Wo

rd

- C

ro

ss W

or

d -

Cr

oss

Wo

rd

- C

ro

ss W

or

d -

Cr

oss

Wo

rd

- C

ro

ss W

or

d

-

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G U L T A E V E N T I N G Y V F R I E S I A N B L P I N T O B N E N J O Y Q R U L Q E T K A B S S L B A Y A S S S Q C E R M E H I Y F U I I U K E D Y O A C O P T I N D T D N I N A Q R L W I U L P S A R R A W R U E A J Z P L A Y N E I S H D E B S U Z I Y Y E O S P T I E A A S M A U H Y B U S D A S N K C I P N S T A L L A H L P T L K C I E D L A A O G O L E I O W A N R M D I C J E R I R R V F L G L N R D K Q F S O D E E S V Y A C K L I S T E N Q S

SHOWJUMPINGDRESSAGECLASSICALFRIESIANANDALUSIANLUSITANOLIPIZZANER

BAROQUEHORSEENTIREMAREFILLYSTALLIONWHISPER

LISTEN RIDELOVEENJOYBAYBLACKPINTO

BRAIDEVENTINGYARDSTALLBACKNECKPLAY

Find a wordFind the words below in the letters.

Find

A W

or

d - Fin

d A

Wo

rd

- Find

A W

or

d - Fin

d A

Wo

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- Find

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d A

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-

Cross Word Answers - ACROSS: 3. Buck 4. Friesian 6. Tree 7. Dam 8. Rails 9. Trot 11. Mare 12. Sire 14. Paddock 16. Conformation 17. Filly 18. Gallop 19. Yearling 20. Broodmare. DOWN 1. Bridle 2. Farrier 5. Unsound 10. Gymkhana 13. Weanling 15. Dapples

..90

Kids and aroque horses

Zamaan riding

Khnum in

Spanish Walk

Chloe relaxing with Deja vu

Ella and Bella when she was 6 days old

Victoria Davies and JOCOSO XV

Dutchess and Henry Davies

Gandolf and William sharing breakfast

Jenty Park Cruise and Charlotte

This section is to show fun photos of kids and baroque horses. If you have a photo and would like to add to next issue please email photo/s to [email protected]

91..

Javan and Groveborn Indianne

Gandolf

and Jacob

Caitlyn Moritz riding stallion Romerito

Gandolf and William sharing breakfast

Isador of Raven’s Lodge

The girls are Tayla

(cuddling him) and Emily.

Connor Coghlan& Serio

Dantes and

BenjaminCaitlyn Moritz & Ardiels Moonlight Sonata

93..

A big part of friendship is being able to communicate with each other, and being friends with horses is the same.

Horses talk with each other just like you and I do, except they have their own language. A big part of their language is through movements of parts of their body, so it is called body language. They also make distinctive sounds that help us to understand them.

Because they use body language themselves, they also watch our body language and quickly work out what sort of mood we are in and whether we can be trusted. They learn how to understand us by a combination of our words, how we hold our bodies and the movements we make with different parts of our bodies like our hands and legs - even where our eyes are looking.

So if they make the effort to learn our language, isn’t it only fair that we make the effort to learn theirs too? Then we can talk with them a lot better. Won’t that be a lot of fun? It’s also a lot safer for you as you can then tell if your horse is being playful or is frightened or becoming annoyed.

How we touch them also tells them a lot - so a consistently

gentle loving touch will reward you with a friendly and calm horse who trusts you and wants to be your friend.

However horses also read the energy we are sending out: how we feel, whether we are happy to be with them or scared of them, whether we are likely to hurt them or admire and respect them and whether we are honest with them or are lying to them.

So stay alert, be kind and watch for your horse’s reactions.

To find a friend, be a friend!

By Chris Maudsely - Classical Trainer, written by Ruby Goodsell and Irene Maas.

Connor and Cristogracia Hugo

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Head - Held up very high - horse alert or wary

Lowered - horse relaxed

Ears - Forward and/or to the side - horse is happy and listening

Laid flat back on neck - horse is unhappy and may lash out

Eyes - Soft eyes - contented, relaxed horse

Showing the whites of their eyes - horse is scared or even panicky

Muzzle - Relaxed, lips quivering - horse contented

Chewing and licking - horse is thinking about what you have just done together

Pinched, pulled up and/or snorting horse is frightened or upset

Tail - Hanging relaxed or occasional swish at flies - horse relaxed

Jammed against their bottom - horse is nervous or scared swishing vigorously from side to side - horse is upset or angry and warning you to keep away

Some basic horse body language positions are:

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These positions tend to work together, starting with very subtle signs and working up to very obvious degrees of relaxation or warning of impending kick or strike.

For example:

Back leg - standing on one hip like we do combined with lowered head and relaxed ears and eyes - h o r s e is quietly resting and enjoying your company

standing on one hip with leg cocked, combined with head up, possibly swishing tail, ears going back - preparing to kick out

Be sensitive to the energy you are projecting to your horse and feeling from him. You can quickly learn to tell if your horse is happy or is trying to tell you something. Trust your intuition! You can also hold pictures in your mind of what you want your horse to do or know. You’ll be surprised at how much they can pick up if you are clear and focussed.

Some basic safety rules are:

When approaching a horse, use your voice to let him know you are coming - else he might kick out if you surprise him and he gets a fright. When he hears you he will lift his head and look at you. Always walk to his near (left) shoulder first.

Never walk behind your horse unless he is trained to this and he knows you are there.

When walking with your horse or leading him, always walk at his shoulder, not in front so if he gets a fright he won’t run over you.

When rewarding your horse with a food treat, arch

your hand open as far as you can with your palm upwards, fingers together, thumb tucked alongside your palm and the treat sitting on top of your palm. Your horse should have manners and not snatch the treat but rather gently accept and softly take the treat from your hand.

Most important, be soft and kind to your pony - don’t sit on him all day - his back gets sore and he gets tired too. Treat your pony like a best friend and don’t do to your pony what you wouldn’t do to your best friend! Have a wonderful relationship with your pony, treat him with kindness and respect and you have a long-lasting loyal friend. a

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Photo’s by Nadeen Daviswww.wallbrookfriesianhorses.com

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..104

Introductry Service fee

$880LFG

Pure Iberian StallionP/SP 003 Chapelhouse CENTAURO.

DOB: 19.1.07Sire: Irreal (imp Portugal)

Dam: La Querencia Pamperita.

facebook.com/Chaplelhouse-Centauro

Contact: DaniellePh 0404843636

[email protected]

Chapelhouse%Centauro

105..

Introductry Service fee

$880LFG

Pure Iberian StallionP/SP 003 Chapelhouse CENTAURO.

DOB: 19.1.07Sire: Irreal (imp Portugal)

Dam: La Querencia Pamperita.

facebook.com/Chaplelhouse-Centauro

Contact: DaniellePh 0404843636

[email protected]

Chapelhouse%Centauro

..106

In May 2011 I had the opportunity to return to Ton & Aletta Duivenvoorden’s Moravita Classical Breeding & Training Centre in the Netherlands. Since 2008 Moravita has been my home for training horses according the classical principles. Ton & Aletta Duivenvoorden have an incredible passion and love for horses, breeding and classical training. Their extensive knowledge and personal approach makes Moravita a successful business that operates throughout the world with clients in Europe, United States and Australia. In this article they will tell us more about their Classical Breeding & Training Centre.

IntroductionThe Classical Breeding & Training Centre Moravita is located in Coevorden, a small city in north-eastern Netherlands near the border of Germany. Moravita was founded by Ton & Aletta Duivenvoorden in 2006.

MORAVITA Classical Breeding &

Training Centre

By Mariette van den Berg, B. (Hons), MSc (Equine Nutrition)Photos by Nikki de Kerf (www.fotogenikki.nl)

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The name Moravita was not randomly chosen. Moravita is named after a Lipizzaner filly that was bred by Ton & Aletta in 2005. Thoughtful breeding of an excellent moving Lipizzaner mare named Morava and the Dutch Champion Lipizzaner stallion Siglavy Allegra M, both bred by Ton, resulted in an excellent filly and new bloodline. There are traditional naming patterns for both Lipizzaner mares and stallions. The names of Lipizzaner mares are taken from the maternal line in the pedigree. The names from the sixth and eighth generation are reviewed and out of those two generations a name is chosen. The bloodlines of the mare Morava

Equine nutritionist/animal scientist: Mariette van den Berg B. (Hons), MSc. (MB Equine Services – www.mberg.com.au)

Mariette is a nutrition consultant, dressage rider and coach who graduated at the Wageningen University in The Netherlands specialising in animal/ equine nutrition. In 2009 she moved to Australia and founded an independent equine nutrition consultancy which she combines with her dressage coaching and training work. MB Equine Services offers specialised and effective consultancy services for horse owners seeking integrative horse nutrition and holistic property design and pasture management. Mariette also writes independent articles for a number of national horse magazines.

Above: Mariette van den Berg

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go all the way back to Romania. The name Moravita, named after an area in Romania, was selected for the filly. When Ton & Aletta rebuilt their dairy farm and founded the Classical Breeding & Training Centre the name of the filly was chosen as a homage to 25 years of Lipizzaner breeding.

Background Ton Duivenvoorden is very passionate about classical training. Ton can be called an autodidact, he instinctively taught himself about how you should treat horses, how horses treat each other and how you should train horses so that the horse has a long, healthy and happy life. Ton combines classical horsemanship techniques and today’s equine science in his classical training and riding. Ton says “ The art of training or handling horses is not to be the dominator, but to be equals in the play. This develops a two-way challenge and encourages mutual respect while working towards a higher level of training.” Ton trained with various classical masters such as Brent Branderup, Arthur Kottas (chiefrider of the Vienna Riding school), Pedro Almeida (Portuguese master of dressage art) and others. At Moravita he

trains approximately 10 to 15 horses a day. Besides riding, lungeing and groundwork training, Ton coaches various riders from recreational up to Grand Prix level.

Since 1987 Aletta Duivenvoorden has been working full time in the equine industry. In Germany she completed her Bereiter training at the German riding school in Warendorf and worked with Heike Kemmer, Johann Hinnemann and other known riders and trainers. Aletta also worked in the United States and Japan as manager, trainer and mental coach in various equestrian disciplines. In 1996 and 2000 she supported the equestrian team of the United States at the Olympics in Atlanta and Sydney. Aletta trained various horses from green up to Grand Prix. She is also a certified Centered Riding coach, specialized in harmonising the communication between rider and horse by giving special attention to the posture, seat and balance of the rider. At Moravita Aletta is responsible for managing the business and training of staff and students. In between she finds time to train a couple of their beautiful horses. Personal development never stops and both Ton and Aletta are guided and trained by various trainers

109..

and classical masters to maintain and develop their knowledge and riding and coaching skills.

What is classical?One of the first questions people ask is; what is classical? Aletta explains that you can refer to very known classical masters such as Xenonphon, Gustav Steinbrecht and others. But for Moravita classical means respect. On the moment that we decide that we are going to sit on a horse’s back we are changing the centre of gravity. It is therefore important that you start training your horse so that he is able to carry you while staying healthy and happy. What you also would like to train are those movements that horses show in the wild when they are playful and excited. Piaf, passage and flying changes are all movements asked in the higher level dressage tests but are also expressed by horses in the wild. The aim is to train your horse to its ability, that it is physically possible for your horse to do all those movements when asked. The horse has to develop muscles, balance and coordination so that when you asked your horse it is able to show these movements without tension. You should aim to be a harmonious team, that only by your

seat or on your breath you can let your horse move.

Throughout the centuries horses where used for battle and working the land, nowadays we use horses for leisure. Owning a horse is a great responsibility and you have to take care that you think about as many things as possible to keep your horse a healthy and happy athlete. Your horse should have the space to run outside, be able to be enough horse and have lots of variety when training. All types of horses from various sport disciplines and training levels can be trained according the classical principles. Classical is not limited to only baroque breeds. Ton & Aletta give two explanations; 1) throughout the centuries it has been proven that training of horses according the classical principles maintains the horse’s function for a long time at high level, even at older age. And 2) that horses perform mentally very well because the mental and physical abilities of the horse are considered, allowing the horse to develop freely without tension.

The horses at MoravitaSince the eighties Ton has been breeding Lipizzaner

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horses. He made various national and internationally successes with his mares and stallions. In 2004 Ton was introduced to the Danish Fredriksborger horse. Ton is fascinated about preserving old baroque breeds and decided to start breeding Frederiksborgers. In the logo of their Classical Breeding & Training Centre this is represented with the Royal Danish crown above the letter M of Moravita. Many of the Frederiksborgers at Moravita have bloodlines that go all the way back to 16th and 15th century. Ton & Aletta are sole breeders in the Netherlands and largest worldwide of Frederiksborger horses. At the moment they have 4 classified stallions. The Frederiksborger is a rare breed, there are approximately 50 pure blood Frederiksborger horses left in the world. Frederiksborger horses are most often white marked flaxen chestnuts, but there are also bay, palomino, grey, black and buckskin coloured horses.

Moravita has in total 6 certified stallions. Besides the 4 Frederiksborger stallions they have a certified Lipizzaner and Lustitano stallion. Moravita is home to approximately 70 horses of various breeds (Lipizzaners, Frederiksborgers, Lusitanos, Andalusians, warmblood etc). Daily routine consist of training between 30-35 horses a day which is mainly done by Ton, Aletta and the stable rider. They have on average 5-6 other staff members that help with feeding the horses, keeping the accommodation and stables clean and they take care of some lungeing and groundwork training of horses.

Horses for sale & trainingFor the last 25 years Ton & Aletta have been a reliable address for selling horses around the world. They find it very important that the person that wants to buy a horse connects with the horse. If we feel that the combination is not right the horse won’t leave our property. If you buy a horse of us we give a lifelong guarantee. We will provide our services if something may happen with the horse or because of circumstances you have to sell the horse. We find it essential that our horses end up at good homes. At Moravita were not only selling baroque horses. We think that a good horse can have all colours and can be of all breeds. It can be that

you come to us for a Friesian horse but leave with a Lipizzaner. It’s very important that we know what fits with you and what your ambitions are. As a private horse owner you can stable your horse at Moravita for a period of time to educate your horse or to prepare for sale. With their personal approach they will try the find the best match also their client’s horse.

Shows & educationMoravita is asked to perform at various national and European events like the Equitana. At these shows and events they present their horses and demonstrate their training methods. They also organise their own baroque horse competitions which include a gala dinner and show where they demonstrate classical training methods and riding.

Recently Moravita started a private course of 3 days called Classical all-round. In this course people can learn the basic principles of classical training and riding as done at Moravita. It also covers behaviour, communication, nutrition and biodynamics of horse and rider. Ton & Aletta find proper education for horse owners essential. With their clinics, shows and courses they hope to inspire more people.

It’s a unique view at Moravita where you can see Lipizzaner, Frederiksborger, Lustitano, Andalusian and warmblood horses running together in the fields. This is something you see nowhere else in the Netherlands. Ton & Aletta Duivenvoorden are proud to live their dream and spend the day training and enjoying their beautiful horses.. a

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Vlieghuis Europaweg 387742 PR Coevorden, HollandTel.: + 31 (0)524-221287Mob.: + 31 (0)[email protected]

Breeding of baroque horsesSelling of horses and ponies with high quality

Clinics, shows and demonstrations all over the worldInstruction for all levels and breeds up to Grand PrixTraining, revalidation and correction

MoravitaClassical Breeding and Training Centre

Moravita.com

Moravita is known for it’s high quality (baroque) horses. We have got

several horses for sale. If you are interested in buying a horse and you are looking for professional help in fi nding your magical match please contact us at

[email protected]

..112

T his is a concept developed by Pedro Blesa that describes the pure, beautiful and harmonious art of horseback riding according to the tradition and ancient customs of riding and training horses in Andalusia.

ORIGINS AND EVOLUTION

Horseback riding became very important in Spain with the arrival of the Arabs in 8th century. It was during that time that we begin to see the first differences between the two styles of riding: a la brida and a la jineta.

Christian horsemen rode a la brida, with long stirrups and heavily armored, while the Arabs rode a la jineta, with short stirrups and bent knees. The Andalusian horsemen adopted this short-stirruped style of riding to increase their maneuverability against the skirmishes of the Arabs riders’, who used astuteness and the art of riding rather than the brute force used by their Christian rivals.

The jineta seat was kept alive and encouraged through these skirmishes and “juegos de cañas”, games of mock combat with sticks played by Andalusian riders since the 13th century. These games were used to train both horses and horsemen for combat.

This sport evolved and became a true exhibition of the art of horseback riding, called “vueltas y escaramuzas a la jineta” (turns and skirmishes). At the same time the number of fighting bull ranches was increasing in Andalusia, making it essential to use horses. This also led to the evolution of the jineta seat, which would become our doma vaquera style.

At the time of the Catholic Kings, when their armies invaded Naples, their horsemen learned how to ride a la brida, which was the predominant style throughout Europe. Once they returned to Spain they enriched Spanish equitation with their new knowledge, at which point the High Spanish Riding School appeared. Nowadays this school is considered an a la brida style influenced by the jineta seat.

BASIC FACTS

Ritual plays an important part in horseback riding.

It is simply the naturalness of beauty and the expressive art of horsemanship, rather than exaggerated mechanical movements.

By Pedro Blesa

ANDALUSIAN

CLASSICAL HORSEMANSHIP

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Pedro Blesa was born 36 years ago in Andalusia (Spain) in a family that is closely tied to the world of horses. He made his debut when he was 5 years old, and then continued learning and improving. He met Rafael Jurado, his teacher, who changed his idea of horseback riding. Pedro Blesa became a doma vaquera judge when he was just 19, the youngest in Spain.

Nowadays he is a horseback riding trainer, dressage judge, national doma vaquera judge and High Spanish Riding School judge. He manages equestrian facilities in Southern Spain, where he trains horses and riders.

Pedro Bles

..114

The main goals are fluidity, elasticity and “art”, not perfect geometrical figures.

It is a new concept, but it explores the most deep-rooted tradition and Andalusian culture.

More than a way of riding, Andalusian Classical Horsemanship is a way of understanding the art of horsemanship, a philosophy and a way of life.

The influence of Andalusian romanticism shows through in every aspect of this style of riding.

If dressage could be considered gymnastics, this movement would be equivalent to Andalusian dance.

This type of equitation is based on balance and the ability to handle the Spanish horse, and not on physical, muscular strength.

In this style we look for the beauty which accompanies elegance and a pleasing style on horseback, always within the context of our tradition and Andalusian culture.

Any rider who is passionate and has a feel for the horse could belong to this art, gradually opening up his soul and feelings to create an equestrian art form.

In Andalusian Classical Horsemanship everything is a ritual: the way the saddle is placed, the reins held, the hat worn and the pole held. This is all done with natural Andalusian art and sensitivity.

Everything is done for a reason in the Andalusian tradition, and not simply for fashion or esthetic beauty.

The authentic Andalusian Classical Horsemanship rider is the one who shows that he is a typical rider by the way he moves, feels and expresses himself on the horse, rather than following traditional rituals.

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DISCIPLINES

As we have seen, there are two types of horseback riding which constitute the Andalusian tradition and the essence of this style of riding: equestrian dressage that developed directly from the a la jineta style and the High School style which is much closer to riding a la brida, but with some features of the jineta seat. In this last style we can also distinguish between low-level, where we can find classical exercises such as the Spanish walk and jambette, and high-level, which includes airs above the ground, such as the levade, posade, courbette and capriole.

Doma vaquera is the dressage style of Andalusian ranches, which has its origin in wild cattle herding. It became a discipline in the 1970s, when rules and a worksheet were created, in which the test only includes the pass and canter, arrear and fast stop, half pirouette on the haunches, lateral work and reinback. These exercises are based on ranch work and riding a la jineta, which nowadays has reached a very high level of equitation.

The High Spanish Riding School is a discipline as old as doma vaquera and, as we have seen, a style of riding based on the brida seat with a touch of the a la jineta style. This type of equitation, which is so deep rooted in Andalusia, did not have its first regulations as a discipline until 1999.

For more info please email Pedro on [email protected] a

117..

Quinta Da Marinha has become a special place for many a horse-minded person, but for Carmila Nagoda, the place represents more than just horses.

“It means holidays, happiness, and an upcoming trip to the beach to cool down after the intense horsey activities, “ says 15 year-old Camila.

“I keep going back to the Marinha because firstly, I love horses, secondly I love the lessons there with my teachers, and thirdly, most of the people there are absolutely lovely. As well as all those positive factors, it’s a great place: calm and relaxing.”

Started as a horse racing facility back in 1924, Quinta da Marinha is now home to over 200 horses and is well-known for it’s ability to provide a fun riding holiday experience.

Camila first heard about the Marinha when her mother was looking for a dressage teacher- “a proper one”.

“Mum asked around and was told about João Pedro Rodrigues” says Camila.

“After my first dressage lesson, I decided I wanted to do jumping too and so mum went in search of a jumping teacher as well.”

So at 13 Camila made her first trip to the Quinta, during her fortnight long school break in May and loved it so much that she returned the following summer for the whole 2 months.

“Now I visit every available holiday, “ says Camila. “Christmas, Easter, Summer, a week in May.. you name it!”

Nestled in the Sintra-Cascais National Park, close to the Guincho beach and surronded by the Atlantic Ocean, Quinta da Marinha is now considered one of the largest and most well equipped equestrian centres on the Iberian Peninsula.

“The atmosphere at the Marinha is very zen, productive (you feel like you’ve done something with your day- even if it’s just by watching people ride). It’s both fresh and relaxing,” says Camila.

“And the teachers I have are brilliant and most

Quinta da Marinha

Portugals Equestrian Getaway!

by Sarah Warne

..118

people are friendly, even though you don’t necessarily need any friends to be happy there because it’s not a lonely place, merely a quiet one.”

The creation of the Marihna kicked off with the building of a horse-racing track accompanied by a grand stand able to house a large audience. But in the 1950’s, the commencement of harness racing, led to the construction of the first horse stables.

A decade later and the marihna had really started to grow, with the contruction of the first jumping arena, cross country circuit and of course, more boxes and equine infra-structure, to cater for the diversification of activities and the increase of public affluence.

119..

In 89, another major step was taken, with the opening of the Indoor Arena and its very own Café-Restaurant, so visiters to the Equine centre could dine out while watching their four-legged friends.

Nowadays the Quinta da Marinha Riding Centre includes 230 boxes, mostly occupied by competition horses. Various infrastructures are available, including:

• Indoor arena;• Paddocks;• Show Ground with grandstand;• Riding School;• Horse Shop;• Farrier;• Saddler;• Restaurant;• Hacking;• Outdoor Arenas;• Racing track.

With all that on offer, Camila says she can’t imagine anyone not enjoying their experience at the Marinha, but admits that she is equine-inclined, so this may bias her decision.

“Really, it is very fun!”

www.quintadamarinha-centrohipico.pt/ a

..120

ACPREACPREACPRE---Australia IncAustralia IncAustralia IncPO Box 453, Mt Barker SA 5251

Phone 61 8 83889719

Officially recognized by FESCCR, Spain to represent theirSpanish Purebred horse

“PURA RAZA ESPAÑOLA”in

Australia

Don’t settle for less than an accredited, internationally registered P.R.E.; beware as there are impostors!

Learn more about this magnificent horse in Australia; PURA RAZA ESPAÑOLA at

www.acpre-australia.org.auor email your questions to the National Office

[email protected]

121..

..1

Looking for a Stallion?

Find one in Baroque Horse Studbook

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Lusitano * Lusitano * Lusitano * Lusitano


Tojo

BREED Lusitano

Height 1.62m

Regist in PURE BLOOD LUSITANO

APSL stud book LA 4485.y

Sire: Juazeiro x Zaire

Dam: Eia x Iberico II

[email protected]

Ph +351938920119

www.coudelariaquintaoliveira.com.pt

Tojo

Tojo

Video Coming Soon!

Progeny by Tojo

Tojo is stallion shows him funcional, versatily, rideability competing in dres-

sage and show jumping also is been train in cross country.

This stallion come from very funcional lines. With

wonderfull characture any level of ridder could ride and enjoy this lusitano

stallion.

His progeny are showing functional qualities and the same characture like

Tojo. Proneny exported to Europe.

Horses negative of C-elisa exam, can be export to Australia, US and China.

Our farm is located in close to international airport in Porto, Portugal.

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ROUXINOLBREED Lusitano Height 1.62m

Coudelaria João Pedro Rodrigues

ROUXINOL ( Xaquiro x Coca by Maravilha)- Vice Champion Golegã 2002- Vice Male Champion FIPSL 2004- 76 points in the adults book inscription- Father of ZAIRE from Pedro Passanha and BARILOCHE from our breed ( property of Chrstine Jacoberger)Coudelaria João Pedro Rodrigues

RouxinolRouxinol

Video Coming Soon!

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by Direct Shots Photographywww.directshots.com.au

Danielle Skerman - AIPP Accredited and Multi Award Winning Photographer

Photographic

Tutorials

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Welcome to the first of a regular photographic tutorial to feature in every issue.

When photographing horses there is a lot to consider, from lighting to where to position yourself to get the best angle etc. We are lucky in todays times that photographic technology has taken leaps and bounds. Even from the days when I first studied when we used film!! and processed our images in wet darkrooms. Today our darkrooms are our computers and our film is a small memory card that we can re-use and re use! It certainly is wonderful and exciting times for the photographer and photographic enthusiasts!

One of the most common questions I get from people is what sort of camera should I buy. Camera or photographic equipment is actually one of those rare things that the more you spend the more you get! However the most important factor is do you really want or need or those fancy add-ons that are available. There is no point buying a convertible if you have 6 kids!! Same for cameras, no point paying for features that you have no need for!

When buying a camera there is a few things you need to look at and consider before purchasing. The very first and most important factor is how much money do you want to spend! How serious do you want to get? Do you just want a really flash point and shoot small camera to fit in your pocket or would you like to learn more buy having a larger camera that you can buy lots of different lenses? buying a camera is a very personal decision and I would highly recommend looking at reviews and getting to your local camera store and trying these cameras out for your self.

One of the other factors with buying a camera is a little technical term called resolution, dpi (dots per inch), ppi (pixels per inch) or even image quality. These terms all mean the same thing which

is as the last term says the.. Image quality or how many tiny little dots are in a space to create the image of which we can see. A good way to think of this is those pictures that are made up of many different photos to look like a face or similar. The higher this number is generally the larger and better quality should be. However there is always some that have a high number however really isn’t as nice as others (camera phones can be a great example of this). The quality of an image comes from several factors, the resolution, the quality of the glass used in the lens and how well it is exposed!

To create a photo that looks better you need to incorporate great timing, positioning, lighting, angle, exposure and

composition. Composition for those who don’t know is where you position the subject in your photo. In this issues tutorial we are going to have a look at composition. With composition there is a rule called “the rule of thirds”. This dictates placement in a photo when an image is broken up into 9 equal sections, and that important compositional elements should be placed along these lines or their intersections.

The rule of thirds is applied by aligning a subject with the guide lines and their intersection points, placing the horizon on the top or bottom line, or allowing linear features in the image to flow from section to section. The main reason for observing the rule of thirds is to discourage placement of the subject at the center, or prevent a horizon from appearing to divide the picture in half and giving it a less appealing and interesting feeling to it.

Lets have a look at some examples of what does and does not work when applying this rule of thirds.

How to take better equine photos! By Danielle Skerman of Direct Shots Photography

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Take a look at the two photos below.. which do you think looks better or appeals more to you?

If we use the rules of thirds you’ll see that this photo breaks two rules with the horizon very close to the middle and the center focus is in the middle of the image. Whilst this is a nice photo it just doesn’t have the desired impact.

Looking at this photo is more pleasing as it is following the rule of thirds. With the horizon line below the center half and the major focus point in the center of the intercection points. Over all a much more appealing image.

By following the rule of thirds and moving in on the subject a more dramatic image is created. you can see below with the rule applied where the image has 3 focus points through the intercections and the horizon is below the centerpoint line.

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Which would you use? When photographing I like to play withthe rule of thirds to see what is going to look best. Sometimes its nice to have a variety to pick from. I often find what you like when your shooting behind the lens isn’t always what I like when I get back to my computer. Varitey is the key! Think outside the box, zoom in and out, get up and down, move the horizon!

1

2

3

4

This shot shows the horizon and subject int he middle which makes for a less pleasing image

Tilting the camera up and left a little brings into the rules

Also does by tilting the camera down and to left.

By zooming in a little and keeping subect with in the intersections points created a nicer image.

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The Finial Image!

No 4 image was the one I chose to edit. With a bit of Photoshop and flipping the image I came to this final image!

I flipped it because i didn’t like the subject to be looking from right to left. With western culture we read from Left to right, so is natural for us to prefer our subject this way to!

I’ve flipped it again as the origional for you to see the difference.

Now i’ve flipped them upside down! creates a different feeling hey!

With all these rules, remember rules are made to be broken! However I strongly recommend to master them first and then have fun breaking them! a

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Baroque horse magazine ~ issue 1

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Transcript of Baroque horse magazine ~ issue 1