Here is a video clip of the adorable TWH stallion Champagne Watchout showing dressage with a gaited flavour:
The other interesting thing about this horse is that he was shown flat shod at the 1999 TWH National Celebration. This caused a lot of controversy and made Champagne Watchout quite (in-)famous.
This video clip shows him next to the big lick horses during the competition. What a striking comparison between what a TWH should be and what excesses the show scene has produced:
Sunday, December 30, 2012
Sunday, December 2, 2012
classical gaited riding
I've been meaning for some time to write something about training and riding gaited horses, and whether it is possible to reconcile that with classical riding.
I've been too busy with university and work to give it too much thought until recently. I've started to gather some thoughts on the subject now and have a lot of related, but unordered thoughts on the matter which I want to include in the post. But when I started writing down some of these, I came to the conclusion that I will need to do a little bit more research first. I hate to "shoot from the hip" and then find out that I expressed myself badly, quoted wrongly or made any other errors.
I've had a fair bit of time off from reading horse books. I went through a stage of disillusionment and general discontent with my own riding on the one hand, and with what I see out there, being peddled as "all the answers" , "the quick fix" and "the latest & greatest". Although I didn't manage to spend much time working with horses or riding for fun for the last year, I have someone regained the fire in my belly to learn, to do, to teach, to write...
Consequently, I have horses in work again, with more planned for the coming months. I have new personal goals in terms of learning, riding and writing. Riding is fun. It's a good feeling.
So please bear with me, the gaited horses and classical riding piece is in the pipeline!
I've been too busy with university and work to give it too much thought until recently. I've started to gather some thoughts on the subject now and have a lot of related, but unordered thoughts on the matter which I want to include in the post. But when I started writing down some of these, I came to the conclusion that I will need to do a little bit more research first. I hate to "shoot from the hip" and then find out that I expressed myself badly, quoted wrongly or made any other errors.
I've had a fair bit of time off from reading horse books. I went through a stage of disillusionment and general discontent with my own riding on the one hand, and with what I see out there, being peddled as "all the answers" , "the quick fix" and "the latest & greatest". Although I didn't manage to spend much time working with horses or riding for fun for the last year, I have someone regained the fire in my belly to learn, to do, to teach, to write...
Consequently, I have horses in work again, with more planned for the coming months. I have new personal goals in terms of learning, riding and writing. Riding is fun. It's a good feeling.
Flamenca (photo by Yvonne Lehey)
So please bear with me, the gaited horses and classical riding piece is in the pipeline!
Tuesday, November 27, 2012
transitions: the bit
In Australia, most horses are started in a snaffle bit and continue to be ridden in a snaffle. Some dressage horses are eventually ridden in a double bridle (curb bit and thin snaffle), some are put into a Western style curb. Over the last few decades, people have started looking at bitless bridles as another alternative, but it is relatively rare to see horse ridden this way. Indeed, many club and competition rules expressly forbid horses to be presented without a bit.
In other horse cultures, this is totally different. Many horses are started in a noseband of sorts, be it a jaquima (hackamore), bozal, cavecon or sidepull. They are educated in the noseband, and when they are ready, they are introduced to a bit. A curb bit. This often involves a period of time when they are ridden in four reins. This allows the trainer to slowly change the signal over from the reins attached to the noseband to the reins attached to the bit, to give the horse ample time to get used to the new "language".
The young horse must first learn to carry himself properly with the new weight on his back. He must learn to step under to engage his hindquarters. He must lean to relax in the poll, to yield to left and right cues by turning the jaw. He must also learn to lift the base of his neck and increase hindquarter engagement when asked for collection and be light in the bridle in all gaits and through transitions. That's a lot of stuff to learn for a green horse.
The idea of using the noseband is that it keeps all the early training stages away from his sensitive mouth. In the early stages, it is necessary that the horse makes mistakes as he learns to do what is asked of him, and by using no bit, none of these mistakes will take their toll on the bars of the mouth. Aside from that, a well fitting noseband gives very clear instructions to the horse and is an excellent tool in teaching lateral bends and lightness.
Nosebands come in two basic types: those with rein attachments on the side and those with attachments under the chin. The former is the best for teaching horses to turn and yield the jaw, the latter is great for teaching good posture and making horses light by helping them lift the base of their neck. Some nosebands are designed for both, such as the Paso Fino noseband which has rings on the sides, but can be complemented with a chin-piece with low rings. I have even seen horses ridden in four reins on the noseband.
Once the horse has finished his basic education, he is considered ready to transition into a bit. A bit is simply much more precise, and allows for very clearer communication. It is refinement that is sought, not bigger brakes. Much in the same way that a good horseman sees spurs as a more accurate method of communication than heels.
The goal is that we end up with a horse that can be directed with minimal aids. A horse, where a minute lift of the hand or a squeeze of the fingers on the rein will be enough to ask for more collection, and a little lowering of the hand will be enough for a downward transition. That's my goal, anyway.
I'm currently going through this transition to the bit with one of my mares, Zara. To show some of the equipment I'm using, here are some pictures (all taken by Yvonne Lehey):
From the bottom up:
Mounted up, having sorted the reins. How I hold four reins depends on the situation. In this case, I have the noseband rein on top, and the curb rein relatively loose on the bottom, because it is her first time with the bit.
Here I'm just double checking for flexion from the saddle just before we set off. She has volunteered to turn her head all the way around, although I did no ask for it, all I was after was a yielding of the jaw. As a result, the inside reins are completely slack, a slack SHE put in there. You also can see clearly how I have used a lifting hand for the purpose, as opposed to a hand that pulls back or sidewise.
Walking off, on a very light contact, but clearly on a right hand circle. As a result of my lifted inner hand, focus to the left (could by more forward..) and turn of the shoulders, she is stepping her right hind under well and is following my lead. I'm very happy with the outline, which is relaxed and forward.
Another picture showing the same principle, but with more "action". Here we are out in the bush, in an area full of sandpits. The footing is "interesting" in places. We have already had a good ride, and I'm basically taking her up and down the little hills, giving her challenges. She is a smart, active horse and thrives when given things to do. You can see how she is following my focus. I'm being very clear in my directions, giving "big" cues as this is quite new to her. But as before, it is the hand lift and my posture which asks for the bend.
On the way home, she is a bit uncertain about something along the edge of the road. Here you can see that I have taken up more contact so that I can guide her, but on the noseband reins only. I am not slowing her forward movement. I am encouraging her to keep moving, but the slightly raised hands signal her to relax and soften again. This can, depending on the need, be a slight hold or half halts. I find this aid crucial. If I were to move my hands low and pull downwards, she would respond with tensing her top line and I would merely create resistance and kill her impulsion.
Nearly back home, coming along the driveway with stallions on both sides. Still bright eyed and bushy-tailed, and none the worse for all the new experiences.
After this ride, we had several more in four reins. Now I am changing to the curb bridle with a noseband over the top without reins, until eventually, we will progress to just the bridle and bit.
For comparison, more pictures to show the various bits and nosebands:
Winter picture of Samba in a sidepull. Sidepulls can now be bought in most Western saddleries. The one in the photo has been modified from the shop bought one by: removing browband and throatlatch and by changing the chin strap from a leather strap to a curb chain. I think the browband and throatlatch are unnecessary. The curb chain is more precise than the leather strap. Also, if I take out a green horse, and we have "one of those moments", the noseband slips up on the nose and the curb chain has a little bit more "speak" than the leather strap. On the other hand, if all is going normal, the chin piece merely holds the bridle in place. This is the bridle I start most of the young horses in. It is simple, light and effective as a means of communication.
Same bridle, different horse. This shows Wotan during one of his first few times under saddle. He looks a little bit more upheaded and strung out than I like, but he was very green and still finding his balance at that time.
Here I'm adjusting Chewie's bridle. It is the same bridle used on Zara, but here without the bozal over the top. The noseband is simply a light leather strap which is attaches to the bridle headband above the bit. It is snug, but never tight.
Flamenca, burning off excess energy by showing off. Perfect collection to levade with "minimal" contact.
All these horses have brio. They enjoy moving, they are opinionated and love to be challenged. Their progression from noseband to bit is a transition that aims to conserve those qualities. My goal is to have finer communication, where less is more and riding is enjoyable for all parties. We are not perfect, and never will be, but the journey has a clear goal.
In other horse cultures, this is totally different. Many horses are started in a noseband of sorts, be it a jaquima (hackamore), bozal, cavecon or sidepull. They are educated in the noseband, and when they are ready, they are introduced to a bit. A curb bit. This often involves a period of time when they are ridden in four reins. This allows the trainer to slowly change the signal over from the reins attached to the noseband to the reins attached to the bit, to give the horse ample time to get used to the new "language".
The young horse must first learn to carry himself properly with the new weight on his back. He must learn to step under to engage his hindquarters. He must lean to relax in the poll, to yield to left and right cues by turning the jaw. He must also learn to lift the base of his neck and increase hindquarter engagement when asked for collection and be light in the bridle in all gaits and through transitions. That's a lot of stuff to learn for a green horse.
The idea of using the noseband is that it keeps all the early training stages away from his sensitive mouth. In the early stages, it is necessary that the horse makes mistakes as he learns to do what is asked of him, and by using no bit, none of these mistakes will take their toll on the bars of the mouth. Aside from that, a well fitting noseband gives very clear instructions to the horse and is an excellent tool in teaching lateral bends and lightness.
Nosebands come in two basic types: those with rein attachments on the side and those with attachments under the chin. The former is the best for teaching horses to turn and yield the jaw, the latter is great for teaching good posture and making horses light by helping them lift the base of their neck. Some nosebands are designed for both, such as the Paso Fino noseband which has rings on the sides, but can be complemented with a chin-piece with low rings. I have even seen horses ridden in four reins on the noseband.
Once the horse has finished his basic education, he is considered ready to transition into a bit. A bit is simply much more precise, and allows for very clearer communication. It is refinement that is sought, not bigger brakes. Much in the same way that a good horseman sees spurs as a more accurate method of communication than heels.
The goal is that we end up with a horse that can be directed with minimal aids. A horse, where a minute lift of the hand or a squeeze of the fingers on the rein will be enough to ask for more collection, and a little lowering of the hand will be enough for a downward transition. That's my goal, anyway.
I'm currently going through this transition to the bit with one of my mares, Zara. To show some of the equipment I'm using, here are some pictures (all taken by Yvonne Lehey):
- Thin rope headstall for tying the horse up.
- Simple neckstrap and noseband attached to a Maestro curb bit. In the picture, the curb rein (grey/black) is attached to one of the top rings to minimise the curb action at this early stage in training.
- Headpiece clipped onto a wide noseband with side rings. Reins (black) clipped into rings on the bottom of the chin strap in this picture.
Another picture showing the same principle, but with more "action". Here we are out in the bush, in an area full of sandpits. The footing is "interesting" in places. We have already had a good ride, and I'm basically taking her up and down the little hills, giving her challenges. She is a smart, active horse and thrives when given things to do. You can see how she is following my focus. I'm being very clear in my directions, giving "big" cues as this is quite new to her. But as before, it is the hand lift and my posture which asks for the bend.
On the way home, she is a bit uncertain about something along the edge of the road. Here you can see that I have taken up more contact so that I can guide her, but on the noseband reins only. I am not slowing her forward movement. I am encouraging her to keep moving, but the slightly raised hands signal her to relax and soften again. This can, depending on the need, be a slight hold or half halts. I find this aid crucial. If I were to move my hands low and pull downwards, she would respond with tensing her top line and I would merely create resistance and kill her impulsion.
Nearly back home, coming along the driveway with stallions on both sides. Still bright eyed and bushy-tailed, and none the worse for all the new experiences.
After this ride, we had several more in four reins. Now I am changing to the curb bridle with a noseband over the top without reins, until eventually, we will progress to just the bridle and bit.
For comparison, more pictures to show the various bits and nosebands:
Winter picture of Samba in a sidepull. Sidepulls can now be bought in most Western saddleries. The one in the photo has been modified from the shop bought one by: removing browband and throatlatch and by changing the chin strap from a leather strap to a curb chain. I think the browband and throatlatch are unnecessary. The curb chain is more precise than the leather strap. Also, if I take out a green horse, and we have "one of those moments", the noseband slips up on the nose and the curb chain has a little bit more "speak" than the leather strap. On the other hand, if all is going normal, the chin piece merely holds the bridle in place. This is the bridle I start most of the young horses in. It is simple, light and effective as a means of communication.
Same bridle, different horse. This shows Wotan during one of his first few times under saddle. He looks a little bit more upheaded and strung out than I like, but he was very green and still finding his balance at that time.
Here I'm adjusting Chewie's bridle. It is the same bridle used on Zara, but here without the bozal over the top. The noseband is simply a light leather strap which is attaches to the bridle headband above the bit. It is snug, but never tight.
Flamenca, burning off excess energy by showing off. Perfect collection to levade with "minimal" contact.
All these horses have brio. They enjoy moving, they are opinionated and love to be challenged. Their progression from noseband to bit is a transition that aims to conserve those qualities. My goal is to have finer communication, where less is more and riding is enjoyable for all parties. We are not perfect, and never will be, but the journey has a clear goal.
Monday, November 26, 2012
responsibility
I had to think fairly hard to come up with a title for this post. I'm still not sure if it's the right one. Thinking about it gave me a chance to reflect on what I want to say though.
We were working Castellano and Bailador again this morning. They have now both had about half a dozen sessions of groundwork. They have both been introduced to a pad and roller, then the saddle and a little bit of work on the lunge. We don't lunge much, but I find it is a really important part of preparing the young ones mentally. It also gives them loads of opportunity to become familiar with gear. They can show us their personality and how they react to various situations and give us opportunity to help them through stressful moments. For no matter how slow we progress, how much care we take, there is some stress involved. New things always cause stress, but if presented well, they also lead to learning. For the horse and for us.
The way I see it is that as a trainer, I'm acting also as sort of a mentor for the horse. I'm not just teaching him stuff. I am also responsible for his well-being and his progress. Therefore, I never say: we take 6 weeks to start, and in week 1 we do X, in week 2 Y and so on.... Sure, I have a set of exercises I favor, to achieve certain goals, the main one being that the horse is OK with me riding him and accepting my guidance at the end of it all. How I arrive there, which specific path I take, and how long it takes, that depends entirely on the horse.
My responsibility as a trainer/teacher/mentor is to find the right balance between two extremes: applying a healthy amount of stress to promote learning on the one hand, and giving enough peace and quiet time to let it sink in and give the horse the chance to relax on the other hand. My other responsibility is to present the right exercise at the right time to set the horse up to succeed. That isn't always easy. Something as simple as asking a horse to stand still at the wrong time can mean to set him up for stress and a failure, and other times it can be perfect to make him feel OK.
As so often when we work horses, we talk about new things we learn, what we observe in the horses we are working with and weird things we hear about from other people ;-) We are constantly bouncing ideas off each other and critically look at our own and each others work. Sometimes by observing, sometimes by looking at photos we take of each other. I have grown as a trainer since I've had the opportunity to work closely with Yvonne. In some ways we are very similar, in other ways very different. We help each other out, and while we both have some stronger areas, our goal is to become better in all aspects.
Anyway, coming back to the horses we were working this morning, and I have a perfect example to illustrate my point about setting up for success....
We were lunging Castellano. He only wore the saddle for about the third time. He was last worked briefly two days prior. He has not had much human contact in his early life, so he is still finding his feet mentally. He was a bit unsteady this morning, possibly not in the mood to work. He was fully focused on his handler, but he needed to move his feet because he was unsure of the situation. Yvonne recognised that he wasn't settled and allowed him to move on a little. Often enough, a couple of rounds of trot or gait are enough and the settle themselves. But he started to get into a stop/start pattern and was beginning to pop his head up every time she asked him to move forward into a trot. As a result, he was neither settling nor moving smoothly and he lost his bend while trying to evade to the outside with his nose. In addition, the stop/start was beginning to stress him and looked like it was becoming a pattern.
I suggested to take a whip to be more accurate with the forward cue. To walk him only and firstly look for the soft feel on the rope, the stepping under and bend of the neck. To be a little bit more pro-active when he wanted to stop, and to try and keep him in at an even speed. After only two rounds of walking, he looked a lot better. Started to relax, step under and bend. Then I suggested to look for a particularly soft moment (both relaxed topline AND release towards the inside with the nose), and then ask for the trot at that point in time. As always, she asked for the upward transition with only posture and a slight hand signal, and it was nice to see him do the transition smoothly and keeping his outline. A few steps, then she allowed him to stop and gave him a reward. She then walked him on again and looked for that same point to ask a couple more little trots, until shortly after, he did two perfect rounds on each side in lovely self-carriage while following the feel of the bend in the rope.
What a huge effect. Following such a small adjustment. It wasn't anything we don't normally do, but it still was a bit of an AHA! event, as it allowed me to realise the importance of it and to put the whole matter into words.
As trainers, we are responsible for the learning progress of our horses. Finding ways to help him learn by setting him up for success is one of the fun and challenging things we need to think about and become good at. Teaching horses is part science and part art, and it is the little challenges which make us grow as trainers and human beings. The learning therefore is a two-way street, one that never ends.
We were working Castellano and Bailador again this morning. They have now both had about half a dozen sessions of groundwork. They have both been introduced to a pad and roller, then the saddle and a little bit of work on the lunge. We don't lunge much, but I find it is a really important part of preparing the young ones mentally. It also gives them loads of opportunity to become familiar with gear. They can show us their personality and how they react to various situations and give us opportunity to help them through stressful moments. For no matter how slow we progress, how much care we take, there is some stress involved. New things always cause stress, but if presented well, they also lead to learning. For the horse and for us.
The way I see it is that as a trainer, I'm acting also as sort of a mentor for the horse. I'm not just teaching him stuff. I am also responsible for his well-being and his progress. Therefore, I never say: we take 6 weeks to start, and in week 1 we do X, in week 2 Y and so on.... Sure, I have a set of exercises I favor, to achieve certain goals, the main one being that the horse is OK with me riding him and accepting my guidance at the end of it all. How I arrive there, which specific path I take, and how long it takes, that depends entirely on the horse.
My responsibility as a trainer/teacher/mentor is to find the right balance between two extremes: applying a healthy amount of stress to promote learning on the one hand, and giving enough peace and quiet time to let it sink in and give the horse the chance to relax on the other hand. My other responsibility is to present the right exercise at the right time to set the horse up to succeed. That isn't always easy. Something as simple as asking a horse to stand still at the wrong time can mean to set him up for stress and a failure, and other times it can be perfect to make him feel OK.
As so often when we work horses, we talk about new things we learn, what we observe in the horses we are working with and weird things we hear about from other people ;-) We are constantly bouncing ideas off each other and critically look at our own and each others work. Sometimes by observing, sometimes by looking at photos we take of each other. I have grown as a trainer since I've had the opportunity to work closely with Yvonne. In some ways we are very similar, in other ways very different. We help each other out, and while we both have some stronger areas, our goal is to become better in all aspects.
Anyway, coming back to the horses we were working this morning, and I have a perfect example to illustrate my point about setting up for success....
We were lunging Castellano. He only wore the saddle for about the third time. He was last worked briefly two days prior. He has not had much human contact in his early life, so he is still finding his feet mentally. He was a bit unsteady this morning, possibly not in the mood to work. He was fully focused on his handler, but he needed to move his feet because he was unsure of the situation. Yvonne recognised that he wasn't settled and allowed him to move on a little. Often enough, a couple of rounds of trot or gait are enough and the settle themselves. But he started to get into a stop/start pattern and was beginning to pop his head up every time she asked him to move forward into a trot. As a result, he was neither settling nor moving smoothly and he lost his bend while trying to evade to the outside with his nose. In addition, the stop/start was beginning to stress him and looked like it was becoming a pattern.
I suggested to take a whip to be more accurate with the forward cue. To walk him only and firstly look for the soft feel on the rope, the stepping under and bend of the neck. To be a little bit more pro-active when he wanted to stop, and to try and keep him in at an even speed. After only two rounds of walking, he looked a lot better. Started to relax, step under and bend. Then I suggested to look for a particularly soft moment (both relaxed topline AND release towards the inside with the nose), and then ask for the trot at that point in time. As always, she asked for the upward transition with only posture and a slight hand signal, and it was nice to see him do the transition smoothly and keeping his outline. A few steps, then she allowed him to stop and gave him a reward. She then walked him on again and looked for that same point to ask a couple more little trots, until shortly after, he did two perfect rounds on each side in lovely self-carriage while following the feel of the bend in the rope.
What a huge effect. Following such a small adjustment. It wasn't anything we don't normally do, but it still was a bit of an AHA! event, as it allowed me to realise the importance of it and to put the whole matter into words.
This is Castellano during a previous session. Nice bend and stepping under
well. But not the ideal time to ask for an upward transition. Here I'm just asking
him to keep walking and to relax. Photo by Yvonne Lehey.
This looks better.
After today's session, he was able to maintain this throughout his walk trot
transitions and while trotting. We should have a picture next time :-) . Photo
by Yvonne Lehey.
Bailador is showing what I'm looking for. Moving nicely in gait, he has put a
bend in the rope. His inside hindleg is stepping under. He is in nice relaxed
self carriage and focussed on me. I need to do next to nothing to maintain
his outline, bend and speed. Photo by Yvonne Lehey.
Same feel again other side, and at the walk. Photo by Yvonne Lehey.
As trainers, we are responsible for the learning progress of our horses. Finding ways to help him learn by setting him up for success is one of the fun and challenging things we need to think about and become good at. Teaching horses is part science and part art, and it is the little challenges which make us grow as trainers and human beings. The learning therefore is a two-way street, one that never ends.
Thursday, November 15, 2012
ego kills learning
I had a scary experience. I met a closed mind.
"Leave your ego at the door" - motto of many BJJ schools.
"Leave your ego at home" should apply to horse people. Too much ego is involved when we work with our horses, when we go to clinics, when we go to competitions and when we go out riding with our mates.
According to the Oxford Dictionaries, ego is: "a person’s sense of self-esteem or self-importance". We all have it. Some people claim to have none, but I believe it's part of how we define ourselves, and that in itself is a necessary part of us being who we are. I know this is getting into pretty deep philosophical waters (where clearly, I'm out of my depth..). But I posit there is a "healthy" level of ego which everyone should have. Too little is bad and has it's own problems. Too much ego, on the other hand, can lead to conditions such as "egotistical" (a.h.), an inflated sense of self-importance, self-delusion, arrogance, disrespect for other human beings and that most horrible of all problems called a closed mind.
The strange thing is that an oversized ego and inflated sense of self-importance is often associated with a certain fears. Most often, the fear of losing face. Often, this seems underpinned by a lack of expertise or understanding. So on the one hand, there is the need to look good, while on the other hand, there is feel of uncertainty. So what does the big ego demand? A cover-up. No way is it possible to admit that there may be something missing. In fact, the really deluded ego doesn't see the gaping hole in knowledge. How is the cover up achieved? By BS mostly. The ego-driven person lies to self first and foremost, and everyone else also. They will divert attention away, point the accusing finger at their horse, their teacher, the circumstances, their friends or any bystanders, anything. The ego driven person thinks and proclaims they never err, never make a wrong decision. Therefore, they cannot accept responsibility for anything they say or do and choose to play the blame game.
As they already know everything and make no mistakes, there is then no need to attempt to learn anything new. In fact, this reinforces the whole closed mind scenario, because no new facts need to be absorbed, critically evaluated and there is no need to change as a result. A closed mind sometimes reacts with hostility to new ideas. It's like a clam that snaps shut. The only reason I can figure for that hostility is that niggledy uncertainly in the back of the mind about things not being quite perfect. After all, if all was truly as magnificent as the big ego tells itself, then there would be no need for hostility. Magnanimous indifference yes, but not hostility.
All things are not black and white, and on the ego scale, most of us fall part way between too little and too much. Sometimes, we just have a little too much, and we may be able to tune it down when we realise its an issue.
But let's look at learning.
What is a prerequisite to learning? Surely an open mind: a willingness to listen to new ideas and concepts. A willingness to immerse ourselves in the material presented, to critically evaluate what is offered, to try out, test and make mistakes with the new stuff until we find those parts that work for us. Then we integrate that new knowledge and the associated skills with our current way of doing things. And as a final step, we give credit to our teachers, mentors, colleagues, training partners and whoever else helped us to grow.
To begin with, we need to realise that we don't know everything, and that we need to fill a void. Not with hollow fluff about our own self importance, but with real knowledge from people who have gone down that road before and who have things to teach.
The typical learning journey has several important stages. Psychologist have come up with four distinct steps (from Wikipedia):
So the next time you hear someone tell you "I understand", "I know", "I see" when clearly, they do not, then be aware that you may not be able to help that person. At least not immediately. Most people are able to change though. I've certainly seen some pretty amazing transformations, and I'm an optimist. Sometimes, just by quietly continuing to do what I do, and offering knowledge in a non-confrontational manner, ego barriers drop. At other times, I just walk away, because I'm not prepared to waste my time. Or suffer the thrashing around of a closed mind which acts like a cornered wild beast when confronted with hard to deny truths.
"Leave your ego at the door" - motto of many BJJ schools.
"Leave your ego at home" should apply to horse people. Too much ego is involved when we work with our horses, when we go to clinics, when we go to competitions and when we go out riding with our mates.
According to the Oxford Dictionaries, ego is: "a person’s sense of self-esteem or self-importance". We all have it. Some people claim to have none, but I believe it's part of how we define ourselves, and that in itself is a necessary part of us being who we are. I know this is getting into pretty deep philosophical waters (where clearly, I'm out of my depth..). But I posit there is a "healthy" level of ego which everyone should have. Too little is bad and has it's own problems. Too much ego, on the other hand, can lead to conditions such as "egotistical" (a.h.), an inflated sense of self-importance, self-delusion, arrogance, disrespect for other human beings and that most horrible of all problems called a closed mind.
The strange thing is that an oversized ego and inflated sense of self-importance is often associated with a certain fears. Most often, the fear of losing face. Often, this seems underpinned by a lack of expertise or understanding. So on the one hand, there is the need to look good, while on the other hand, there is feel of uncertainty. So what does the big ego demand? A cover-up. No way is it possible to admit that there may be something missing. In fact, the really deluded ego doesn't see the gaping hole in knowledge. How is the cover up achieved? By BS mostly. The ego-driven person lies to self first and foremost, and everyone else also. They will divert attention away, point the accusing finger at their horse, their teacher, the circumstances, their friends or any bystanders, anything. The ego driven person thinks and proclaims they never err, never make a wrong decision. Therefore, they cannot accept responsibility for anything they say or do and choose to play the blame game.
As they already know everything and make no mistakes, there is then no need to attempt to learn anything new. In fact, this reinforces the whole closed mind scenario, because no new facts need to be absorbed, critically evaluated and there is no need to change as a result. A closed mind sometimes reacts with hostility to new ideas. It's like a clam that snaps shut. The only reason I can figure for that hostility is that niggledy uncertainly in the back of the mind about things not being quite perfect. After all, if all was truly as magnificent as the big ego tells itself, then there would be no need for hostility. Magnanimous indifference yes, but not hostility.
All things are not black and white, and on the ego scale, most of us fall part way between too little and too much. Sometimes, we just have a little too much, and we may be able to tune it down when we realise its an issue.
But let's look at learning.
What is a prerequisite to learning? Surely an open mind: a willingness to listen to new ideas and concepts. A willingness to immerse ourselves in the material presented, to critically evaluate what is offered, to try out, test and make mistakes with the new stuff until we find those parts that work for us. Then we integrate that new knowledge and the associated skills with our current way of doing things. And as a final step, we give credit to our teachers, mentors, colleagues, training partners and whoever else helped us to grow.
To begin with, we need to realise that we don't know everything, and that we need to fill a void. Not with hollow fluff about our own self importance, but with real knowledge from people who have gone down that road before and who have things to teach.
The typical learning journey has several important stages. Psychologist have come up with four distinct steps (from Wikipedia):
- Unconscious incompetence
- The individual does not understand or know how to do something and does not necessarily recognize the deficit. They may deny the usefulness of the skill. The individual must recognise their own incompetence, and the value of the new skill, before moving on to the next stage.[2] The length of time an individual spends in this stage depends on the strength of the stimulus to learn.[3]
- Conscious incompetence
- Though the individual does not understand or know how to do something, he or she does recognize the deficit, as well as the value of a new skill in addressing the deficit. The making of mistakes can be integral to the learning process at this stage.[4]
- Conscious competence
- The individual understands or knows how to do something. However, demonstrating the skill or knowledge requires concentration. It may be broken down into steps, and there is heavy conscious involvement in executing the new skill.[3]
- Unconscious competence
- The individual has had so much practice with a skill that it has become "second nature" and can be performed easily. As a result, the skill can be performed while executing another task. The individual may be able to teach it to others, depending upon how and when it was learnt.
So the next time you hear someone tell you "I understand", "I know", "I see" when clearly, they do not, then be aware that you may not be able to help that person. At least not immediately. Most people are able to change though. I've certainly seen some pretty amazing transformations, and I'm an optimist. Sometimes, just by quietly continuing to do what I do, and offering knowledge in a non-confrontational manner, ego barriers drop. At other times, I just walk away, because I'm not prepared to waste my time. Or suffer the thrashing around of a closed mind which acts like a cornered wild beast when confronted with hard to deny truths.
Wednesday, November 14, 2012
transitions
Good transitions are essential in riding horses. What we are looking for (yes, the order is deliberate):
Transitions, both upward and downward are usually a result we want. The goal is to change speed and/or gait. However, the experienced rider knows that transitions can also be a tool. Revisit the list at the top. I said there "maintain or enhance". Yes, transitions are a great way to improve balance, lightness, attention, forwardness and collection, provided that the rider has balance, feel and timing. Oh, and lightness!
In a way, transitions also keep things fresh, they provide change and keep the ride interesting and give horse and rider things to do. They can be like a little game: Hey, let's see low few steps we can use before the downward transition is complete. Hey, let's see if half the amount of hand lifting suffices. Hey, let's see if breathing out from the middle will make a difference in the downward transition.
The same applies to work in hand, when the horse is on the circle. I always try to see how "little" a signal will suffice to get the transition. And I find that the more I ask with lesser cues, the more the horse tunes in. Sure, at all times I have to be prepared to ask again, with a more obvious cue. But I always ask with the lesser cue(s) first, as my goal, be it on the ground or in the saddle, is aways to achieve the points in the list at the top.
The transitions I'm really looking for are the ones where I have to do so little and the horse responds so smoothly and looks so beautiful, that most onlookers will think the horse did it by himself. They don't always happen, but they do happen. I do however, constantly aspire to get them.
- smoothness
- maintain or enhance our horse's balance
- maintain or enhance our hore's lightness
- maintain or enhance our horse's attention
- maintain or enhance our horse's "forwardness"
- maintain or enhance our horse's collection
Transitions, both upward and downward are usually a result we want. The goal is to change speed and/or gait. However, the experienced rider knows that transitions can also be a tool. Revisit the list at the top. I said there "maintain or enhance". Yes, transitions are a great way to improve balance, lightness, attention, forwardness and collection, provided that the rider has balance, feel and timing. Oh, and lightness!
In a way, transitions also keep things fresh, they provide change and keep the ride interesting and give horse and rider things to do. They can be like a little game: Hey, let's see low few steps we can use before the downward transition is complete. Hey, let's see if half the amount of hand lifting suffices. Hey, let's see if breathing out from the middle will make a difference in the downward transition.
The same applies to work in hand, when the horse is on the circle. I always try to see how "little" a signal will suffice to get the transition. And I find that the more I ask with lesser cues, the more the horse tunes in. Sure, at all times I have to be prepared to ask again, with a more obvious cue. But I always ask with the lesser cue(s) first, as my goal, be it on the ground or in the saddle, is aways to achieve the points in the list at the top.
The transitions I'm really looking for are the ones where I have to do so little and the horse responds so smoothly and looks so beautiful, that most onlookers will think the horse did it by himself. They don't always happen, but they do happen. I do however, constantly aspire to get them.
Sunday, October 7, 2012
A small project
I'm working on a small project. More details later.... :-)
The efforts of today's labour:
The efforts of today's labour:
Sunday, September 23, 2012
saddle review: Hidalgo Valencia II
We were sent a Hidalgo Valencia II by Natalie from Horse Connections. We used it for several weeks on a variety of horses which included Part Andalusians, Paso Finos, Peruvian Pasos and American Saddlebred horses.
Overall, we were very impressed with the saddle. Here is why....
The saddle came well wrapped and with all the attachments separately. Aside from the saddle, there were: the panels, a gullet cover and some knee blocks. All attach via velcro to the saddle. The picture below shows the saddle straight out of the box, with only the main panels attached (not visible). The leather piece o the right is the lining for the gullet, which was attached underneath the saddled and between the panels just after this picture was taken. The things on the back of the saddle are straps with clips and dees which hold up the stirrups when not in use.
The stirrup leathers re attached under the flaps. I much prefer this to leathers above the flaps, like with most conventional saddles, as there is much less likelihood of pinched legs, and it looks very neat. Unlike most saddles with flexible trees, the Hidalgo VII has safety bars.
The picture shows the long straps, which are made from decent, doubled up leather. The seat and the front and back of pommel and cantle are suede, but the knee pads are plain leather. The optional kneed blocks can be attached under the knee pads in a variety of positions. We didn't end up using them very much, but had a play around with them and found them to be very functional and easy to adjust.
The picture also shows the dees at the front for attachment of a breastplate.
Not visible are the U-shaped panels, which are attached by velcro to the bottom side of the saddle. They can be adjusted to suit different back shapes. They are well padded, soft, but firm enough. When fitting them to the saddle, it is of course necessary to first look at the width of channel which is desirable, and then ensure that the panels are placed parallel. Uneven panel placement could mean that the saddle and rider end up sitting crooked, and ultimately lead to back issues. However, it is very easy to line the panels up, and if need be, check with a ruler.
The seat is very comfortable. I understand it has latex under the cover. What I also liked about the seat is that it has a relatively narrow twist. Unlike some other flexible tree designs, I found that it allowed me to hang my legs straight down, which I find so important for a correct seat. The stirrup bar placement is also such that it encourages a good, balanced seat. The suede seat, combined with the deep seat encouraged by the shape gave a feeling of security. This was even greater when adding the knee blocks. We tried the saddle out on some fairly fast rides over uneven terrain, and on some very green horses, who put in the odd spook. We always felt quite secure in the Hidalgo.
On a horse, it looks like this:
The horse is a mare I bred, called Narrawin Morena. She is by a Peruvian Paso stallion and out of an American Saddlebred mare. She has a fairly normal (if a slightly long) back with a good wither. This picture illustrates well how, without any effort or tensions, I can sit in the saddle with a nice deep seat and long legs.
... to be continued....
Overall, we were very impressed with the saddle. Here is why....
The saddle came well wrapped and with all the attachments separately. Aside from the saddle, there were: the panels, a gullet cover and some knee blocks. All attach via velcro to the saddle. The picture below shows the saddle straight out of the box, with only the main panels attached (not visible). The leather piece o the right is the lining for the gullet, which was attached underneath the saddled and between the panels just after this picture was taken. The things on the back of the saddle are straps with clips and dees which hold up the stirrups when not in use.
The stirrup leathers re attached under the flaps. I much prefer this to leathers above the flaps, like with most conventional saddles, as there is much less likelihood of pinched legs, and it looks very neat. Unlike most saddles with flexible trees, the Hidalgo VII has safety bars.
The picture shows the long straps, which are made from decent, doubled up leather. The seat and the front and back of pommel and cantle are suede, but the knee pads are plain leather. The optional kneed blocks can be attached under the knee pads in a variety of positions. We didn't end up using them very much, but had a play around with them and found them to be very functional and easy to adjust.
The picture also shows the dees at the front for attachment of a breastplate.
Not visible are the U-shaped panels, which are attached by velcro to the bottom side of the saddle. They can be adjusted to suit different back shapes. They are well padded, soft, but firm enough. When fitting them to the saddle, it is of course necessary to first look at the width of channel which is desirable, and then ensure that the panels are placed parallel. Uneven panel placement could mean that the saddle and rider end up sitting crooked, and ultimately lead to back issues. However, it is very easy to line the panels up, and if need be, check with a ruler.
The seat is very comfortable. I understand it has latex under the cover. What I also liked about the seat is that it has a relatively narrow twist. Unlike some other flexible tree designs, I found that it allowed me to hang my legs straight down, which I find so important for a correct seat. The stirrup bar placement is also such that it encourages a good, balanced seat. The suede seat, combined with the deep seat encouraged by the shape gave a feeling of security. This was even greater when adding the knee blocks. We tried the saddle out on some fairly fast rides over uneven terrain, and on some very green horses, who put in the odd spook. We always felt quite secure in the Hidalgo.
On a horse, it looks like this:
The horse is a mare I bred, called Narrawin Morena. She is by a Peruvian Paso stallion and out of an American Saddlebred mare. She has a fairly normal (if a slightly long) back with a good wither. This picture illustrates well how, without any effort or tensions, I can sit in the saddle with a nice deep seat and long legs.
... to be continued....
gaited gene
There has been much speculation about a gene or genes which cause lateral and ambling gaits in horses. Recently, a study was done in Sweden and a paper published. The interesting thing is that their research, based on horses and mice, showed that a single gene is responsible.
If find that amazing. Certainly, there was never a doubt in my mind that "gaitedness" is genetic, but I always expected it to be a complex matter, with several genes involved, and maybe enhanced by certain types of conformation.
Anyway, I'm sure that this is just the beginning of more of such interesting discoveries.
If find that amazing. Certainly, there was never a doubt in my mind that "gaitedness" is genetic, but I always expected it to be a complex matter, with several genes involved, and maybe enhanced by certain types of conformation.
Anyway, I'm sure that this is just the beginning of more of such interesting discoveries.
why?
I can't begin to understand why it is so difficult for horse people to work together. Especially in the breeds small in numbers, people seem to be hellbent on doing things their way. They seem to do anything, any which way but get along, let alone cooperate...
Now I totally understand the mental fortitude required to be enthusiastic about and push the barrow for a small and unknown breed of horses. The prerequisite is possibly to be a rugged individualist and to have a certain amount of stubbornness. But I sometimes wonder if those same personality traits drive people to be so unbelievably resistant to tolerance, communication and cooperation.
As I see it, nobody lives in isolation. For a small (in numbers) breed of horses, the involvement of more people is not just desirable, it is essential. Limited gene-pools and knowledge of breed specific training means that cooperation among a small lot of breeders and enthusiasts will benefit everyone. Not only the breed overall, but every individual involved.
Sadly though, I see over and over again that people are apparently unable to put aside their egos and personal agendas. I also know horse people who CAN and DO work together, for mutual benefit as well as betterment of their chosen breed. Such a pity that they are the exception rather than the rule.
So if you are enthusiastic about YOUR breed of horse, please do some soul-searching. That, and some critical self-evaluation of your words and actions. Maybe, just maybe, there is a better way to get along with your fellow breeders and enthusiasts, and by giving a bit, you will gain a lot in the long run.
After all, having horses is a privilege and a joy, and it's about realizing a passion, which we share.
Now I totally understand the mental fortitude required to be enthusiastic about and push the barrow for a small and unknown breed of horses. The prerequisite is possibly to be a rugged individualist and to have a certain amount of stubbornness. But I sometimes wonder if those same personality traits drive people to be so unbelievably resistant to tolerance, communication and cooperation.
As I see it, nobody lives in isolation. For a small (in numbers) breed of horses, the involvement of more people is not just desirable, it is essential. Limited gene-pools and knowledge of breed specific training means that cooperation among a small lot of breeders and enthusiasts will benefit everyone. Not only the breed overall, but every individual involved.
Sadly though, I see over and over again that people are apparently unable to put aside their egos and personal agendas. I also know horse people who CAN and DO work together, for mutual benefit as well as betterment of their chosen breed. Such a pity that they are the exception rather than the rule.
So if you are enthusiastic about YOUR breed of horse, please do some soul-searching. That, and some critical self-evaluation of your words and actions. Maybe, just maybe, there is a better way to get along with your fellow breeders and enthusiasts, and by giving a bit, you will gain a lot in the long run.
After all, having horses is a privilege and a joy, and it's about realizing a passion, which we share.
Carlos NS performing family duties for my nephew Will and his dad Tony
Sunday, August 12, 2012
working mules
Mules are commonplace for work and pleasure riding in many parts of South America.
Here is a video clip from Brazil, showing how to do a neat tail knot on a mule. I wish my Portuguese was good enough to understand what he's saying. But it's interesting all the same. Enjoy!
And here is a video of someone's saddle and gear collection. I believe this is all gear for mules. Some beautiful stuff.
Here is a video clip from Brazil, showing how to do a neat tail knot on a mule. I wish my Portuguese was good enough to understand what he's saying. But it's interesting all the same. Enjoy!
And here is a video of someone's saddle and gear collection. I believe this is all gear for mules. Some beautiful stuff.
Thursday, May 24, 2012
Wednesday, May 9, 2012
tiger eye
I had noticed that several of our Paso Fino horses have very interesting eyes. Distinctly amber or lighter.
Here is a picture of Zara (AuSome Zarzuela by Don Cristobal Mako out of La Tentacion Mako), taken by Yvonne in December 2010:
The next photo shows Guajira (AuSome Guajira by Don Cristobal Mako out of Guanatanamera de la Raza). She was with us to be started under saddle a few years ago, when Yvonne took this picture. Guajira is now in NZ.
We have couple of other mares with similar eyes. It has always struck me as unusual and interesting. By coincidence (I was flogging google for other information), I came across an article about "Tiger eye" on a NZ website. It describes how "A researcher in the US has received a grant to study the genetics of "tiger eye" in Paso Fino horses". Quite interesting.
It is mentioned that tiger eye has a recessive pattern of inheritance. I have too small a sample of horses to draw any useful conclusions in that respect, but my observations agree with this this. Zara's sire Cali had dark eyes, so did her dam. Her full sister also has normal eyes. Two halfs sister out of another mare, however, have the tiger eye, and you can also see it in their dam. Some eyes are not as obviously yellow, but rather more like a dark amber, but close up, it is still pretty distinct.
I will see if I can find more photos with interesting eyes.
Here is a picture of Zara (AuSome Zarzuela by Don Cristobal Mako out of La Tentacion Mako), taken by Yvonne in December 2010:
The next photo shows Guajira (AuSome Guajira by Don Cristobal Mako out of Guanatanamera de la Raza). She was with us to be started under saddle a few years ago, when Yvonne took this picture. Guajira is now in NZ.
We have couple of other mares with similar eyes. It has always struck me as unusual and interesting. By coincidence (I was flogging google for other information), I came across an article about "Tiger eye" on a NZ website. It describes how "A researcher in the US has received a grant to study the genetics of "tiger eye" in Paso Fino horses". Quite interesting.
It is mentioned that tiger eye has a recessive pattern of inheritance. I have too small a sample of horses to draw any useful conclusions in that respect, but my observations agree with this this. Zara's sire Cali had dark eyes, so did her dam. Her full sister also has normal eyes. Two halfs sister out of another mare, however, have the tiger eye, and you can also see it in their dam. Some eyes are not as obviously yellow, but rather more like a dark amber, but close up, it is still pretty distinct.
I will see if I can find more photos with interesting eyes.
Wednesday, May 2, 2012
RIP Jorge
It feels like the end of an era to me. I received the sad news over the weekend. My friend Jorge de Moya passed away.
His uncompromising search for excellence, his vast knowledge of the Paso Fino breed and thorough understanding of the mechanics of gaited horses became inspiration and guidance for me. We were both too stubborn and opinionated to agree on everything, but from spirited discussions came better understanding for me. I had the pleasure of working for Jorge and taking care of his OliVaylle horses for several years. We always remained friends even after our paths diverged. He was generous to a fault. He was in love with his horses and even when his riding years were over, he never lost his passion for them. Paso Finos were in his blood from his youth, being a native of Cuba. However, he was never breed blind, and was able to appreciate and admire a good horse of any breed or colour.
Many years ago, Jorge did some ground breaking research into the gaits of the Paso Fino, and produced a video called "What is my Gait?". Unfortunately, not many good copies of this remain. This video is the best I have seen to clear up some myths and misunderstandings about the four beat gait of Pasos (and other horses). It was the first time I heard the term "isochronal" in the context of gait. Yet, it perfectly describes the ideal we seek for in a gaited horse: an even-timed four beat gait. Neither lateral nor diagonal.
He was an accredited judge for Paso Finos and wrote several articles about the gaits. His particular passion were the Puerto Rican Paso Finos. I understand that he was instrumental in bringing Alicante to North America, and he, together with Betty Klein, bred Paso Fino horses with the famous "Mako" postfix for many years.
Jorge was the first person to bring Paso Finos to Australia. He bred horses under the "AuSome" prefix. Aside from Paso Finos, he had Peruvian Pasos, Andalusians and Australian Stockhorses. We were of a like mind when it came to mixing the blood of some of these breeds to produce superior gaited riding horses, and both OliVaylle and Narrawin went down that road.
Sadly, when Jorge became ill, the horses had to be sold. I was able to help place many of them. I also acquired some of his Paso Fino and Paso Creole horses, which are now integral part of our stud.
The last time I saw Jorge, we picked up a float full of his best horses. He was happy to see them go home with me, but I could see it was breaking his heart.
Rest in peace, Jorge.
I will promise I will keep taking Chewie out for rides while he's fit and well. While I can no longer tell you the funny stories about Chewie's adventures, I will certainly be thinking of you.
Many years ago, Jorge did some ground breaking research into the gaits of the Paso Fino, and produced a video called "What is my Gait?". Unfortunately, not many good copies of this remain. This video is the best I have seen to clear up some myths and misunderstandings about the four beat gait of Pasos (and other horses). It was the first time I heard the term "isochronal" in the context of gait. Yet, it perfectly describes the ideal we seek for in a gaited horse: an even-timed four beat gait. Neither lateral nor diagonal.
He was an accredited judge for Paso Finos and wrote several articles about the gaits. His particular passion were the Puerto Rican Paso Finos. I understand that he was instrumental in bringing Alicante to North America, and he, together with Betty Klein, bred Paso Fino horses with the famous "Mako" postfix for many years.
Jorge was the first person to bring Paso Finos to Australia. He bred horses under the "AuSome" prefix. Aside from Paso Finos, he had Peruvian Pasos, Andalusians and Australian Stockhorses. We were of a like mind when it came to mixing the blood of some of these breeds to produce superior gaited riding horses, and both OliVaylle and Narrawin went down that road.
Sadly, when Jorge became ill, the horses had to be sold. I was able to help place many of them. I also acquired some of his Paso Fino and Paso Creole horses, which are now integral part of our stud.
The last time I saw Jorge, we picked up a float full of his best horses. He was happy to see them go home with me, but I could see it was breaking his heart.
Rest in peace, Jorge.
I will promise I will keep taking Chewie out for rides while he's fit and well. While I can no longer tell you the funny stories about Chewie's adventures, I will certainly be thinking of you.
Sunday, April 15, 2012
you beaut new riding horse
Update on Rorion... We didn't do much during the week because I didn't have time. The only free morning I had was taken up by holding horses for the farrier. But yesterday, we took out Rorion for his first proper (if very short) ride on the road and into the forest.
He did fantastic. He is such a cool kid :-) Here he is in perfect gait (s'cuse my chair seat...):
He never put a foot wrong and he's now going to have a good holiday to grow up some more. After all, he is only four and a half years old and by no means ready for continuous work. But I'm so happy with how he went and he'll be a breeze when we bring him in again in summer. That one might be a keeper.
He did fantastic. He is such a cool kid :-) Here he is in perfect gait (s'cuse my chair seat...):
Photo by Yvonne, who was riding Flamenca (hence the 'elevated' position of the photographer).
He never put a foot wrong and he's now going to have a good holiday to grow up some more. After all, he is only four and a half years old and by no means ready for continuous work. But I'm so happy with how he went and he'll be a breeze when we bring him in again in summer. That one might be a keeper.
Saturday, April 7, 2012
beauty is as beauty does....
We've got this youngster at home. He's well bred. But he is a cross of two very slow maturing breeds, so he is still gangly and unfinished at over four years old. Depending on when you look at him, he doesn't seem to fit together sometimes. And due to one of the breeds which is responsible for 1/2 of his pedigree, he is a hairy s.o.b. as soon as the weather turns cool :-)
He was a spectacular foal, but he's been ugly as sin ever since. My friend thought I'm mad when I said I have high hopes for him, and she fell in love with his elegant (if still hairy) half brother. She couldn't stand the sight of this young fellow. I will agree, on a beauty scale of 1 to 10 for horses, he'd be a 1.5 :-) It didn't help that he rubbed his forelock off, and just had this jagged stubble of fur between his ears. I actually cut it to the same length of stubble, which looked mildly less bad.
But... we brought him in to start him. She thought that's great because then he becomes a saleable item and she won't offend her eyes by having to see him much longer. But... what transpired is that he's one of the easiest, calmest, most sensible horse critters we've ever started. He's also very well gaited. His solid body and sloping croup look none too appealing out in the paddock. But put a saddle on him and ask him to step out... Whoa! What self-carriage! He steps under well and his has a lot of natural action as well.
Suddenly there is no more talk of wanting to see the back of him. He has impressed everyone with his personality and his movement. He is a delight to work with. And when he moves, he is beautiful.
May I present .... Rorion NS:
In case you are wondering what his breeding is? He is by an Icelandic stallion out of a Peruvian Paso mare. In Germany, these are known as Aegidienberger horses. Here, we would call him a Paso Creole.
Next summer, when he has shed that winter coat and is another year closer to maturity, he will look as nice as he is inside.
He was a spectacular foal, but he's been ugly as sin ever since. My friend thought I'm mad when I said I have high hopes for him, and she fell in love with his elegant (if still hairy) half brother. She couldn't stand the sight of this young fellow. I will agree, on a beauty scale of 1 to 10 for horses, he'd be a 1.5 :-) It didn't help that he rubbed his forelock off, and just had this jagged stubble of fur between his ears. I actually cut it to the same length of stubble, which looked mildly less bad.
But... we brought him in to start him. She thought that's great because then he becomes a saleable item and she won't offend her eyes by having to see him much longer. But... what transpired is that he's one of the easiest, calmest, most sensible horse critters we've ever started. He's also very well gaited. His solid body and sloping croup look none too appealing out in the paddock. But put a saddle on him and ask him to step out... Whoa! What self-carriage! He steps under well and his has a lot of natural action as well.
Suddenly there is no more talk of wanting to see the back of him. He has impressed everyone with his personality and his movement. He is a delight to work with. And when he moves, he is beautiful.
May I present .... Rorion NS:
In case you are wondering what his breeding is? He is by an Icelandic stallion out of a Peruvian Paso mare. In Germany, these are known as Aegidienberger horses. Here, we would call him a Paso Creole.
Next summer, when he has shed that winter coat and is another year closer to maturity, he will look as nice as he is inside.
saddle testing
We are currently testing a treeless Hidalgo Valencia II. First impressions are very good. I will post a report and pictures soon.
The saddle is sold in Australia by Horse Connections.
Sunday, March 11, 2012
horse for sale
I was reading through a listing of horses for sale today, and came across this gem:
She does tricks but is not for the inexperienced rider as she has been handled by knowledgeable riders.
... no further comment :-)
She does tricks but is not for the inexperienced rider as she has been handled by knowledgeable riders.
... no further comment :-)
Sunday, February 12, 2012
Vietnam trip
I have just returned from a week long trip to Vietnam. I spent a couple of days in Saigon and took a trip to the Cu Chin tunnels. But most of the time I spent in the seaside town of Vung Tau.
I did the sightseeing thing, which included some pagodas. And I found two horse statues.
The first one was inside one of the buildings in a pagoda near the seaside. The main building had a huge sleeping Buddha, but in another part of the complex, there was a dragon boat full of water with three islands, and behind it, a room with several statues, including this horse:
For size comparison:
A few days later, we went to another pagoda on the other side of the peninsula. This one was very different, with huge gardens and a large sitting Buddha. Interesting there were four large carved panels inscribed with the teachings of Buddha, one each in Vietnames, Thai, Chinese and English.
The extensive gardens of this pagoda also had near lifesize statues depicting the travels of Buddha. The most impressive ones were firstly a scene with a sitting Buddha and a monkey offering fruit and a kneeling elephant. Secondly, a scene depicting a princess with a horse and the princess is in the process of cutting her long hair off:
From the other side, the fishing harbour can be seen in the background:
The only real horses I saw in Vietnam were at a hilltop resort and theme park. We arrived there fairly late in the afternoon and ran out of daylight. I saw one of the ponies pulling a cart and there were other carriages which obviously were used to cart tourists around. I saw a couple of horses led with tourists on board. Later on, as it was getting dark, we walked past the stables and I had the chance to have a look at the horses.
It was a bit hard as they were in box stalls and the light was getting low. They seemed conformationally pretty close in type to the ponies I had seen in Indonesia a few years ago. Pretty leggy, longish bodies, relatively upright in the front and hind end. Not pretty by Australian standards, but they looked tough and capable of working. I'm sure that the pony I saw in front of the cart was ambling. Looking at the conformation, I wouldn't be surprised if several of them had gait ability. However, I couldn't really tell. I'll admit, I don't know very much about Asian horse breeds, as I have not been able to find a lot of sources on the subject.
The rest of the impression of the horses wasn't too good. They had the typical sour look of stabled horses who spend their days with non-horsey people who see them no different to riding go-carts. The stables were clean but had concrete floors with only a thin rubber mat. Of course, the tropical climate would make dirt floors impossible, and the bricked walls would help to keep things cool. They stables were open and breezy, and the horses had been provided with freshly cut long sheaves of green grass. They looked in pretty reasonable condition, though several had healed up saddle sores. Overall, my friend commented, they were in better condition than most of the other horses he'd encountered in his travels in Asia. The only thing that really struck me was the open hostility towards people which some of the horses showed. The ponies across the aisle mostly had a much less sour attitude. But as I said, the life of permanently stabled horses who have to work and deal with the unknowing public is not conducive to a good outlook on life. No matter where in the world.
I did the sightseeing thing, which included some pagodas. And I found two horse statues.
The first one was inside one of the buildings in a pagoda near the seaside. The main building had a huge sleeping Buddha, but in another part of the complex, there was a dragon boat full of water with three islands, and behind it, a room with several statues, including this horse:
For size comparison:
A few days later, we went to another pagoda on the other side of the peninsula. This one was very different, with huge gardens and a large sitting Buddha. Interesting there were four large carved panels inscribed with the teachings of Buddha, one each in Vietnames, Thai, Chinese and English.
The extensive gardens of this pagoda also had near lifesize statues depicting the travels of Buddha. The most impressive ones were firstly a scene with a sitting Buddha and a monkey offering fruit and a kneeling elephant. Secondly, a scene depicting a princess with a horse and the princess is in the process of cutting her long hair off:
From the other side, the fishing harbour can be seen in the background:
The only real horses I saw in Vietnam were at a hilltop resort and theme park. We arrived there fairly late in the afternoon and ran out of daylight. I saw one of the ponies pulling a cart and there were other carriages which obviously were used to cart tourists around. I saw a couple of horses led with tourists on board. Later on, as it was getting dark, we walked past the stables and I had the chance to have a look at the horses.
It was a bit hard as they were in box stalls and the light was getting low. They seemed conformationally pretty close in type to the ponies I had seen in Indonesia a few years ago. Pretty leggy, longish bodies, relatively upright in the front and hind end. Not pretty by Australian standards, but they looked tough and capable of working. I'm sure that the pony I saw in front of the cart was ambling. Looking at the conformation, I wouldn't be surprised if several of them had gait ability. However, I couldn't really tell. I'll admit, I don't know very much about Asian horse breeds, as I have not been able to find a lot of sources on the subject.
The rest of the impression of the horses wasn't too good. They had the typical sour look of stabled horses who spend their days with non-horsey people who see them no different to riding go-carts. The stables were clean but had concrete floors with only a thin rubber mat. Of course, the tropical climate would make dirt floors impossible, and the bricked walls would help to keep things cool. They stables were open and breezy, and the horses had been provided with freshly cut long sheaves of green grass. They looked in pretty reasonable condition, though several had healed up saddle sores. Overall, my friend commented, they were in better condition than most of the other horses he'd encountered in his travels in Asia. The only thing that really struck me was the open hostility towards people which some of the horses showed. The ponies across the aisle mostly had a much less sour attitude. But as I said, the life of permanently stabled horses who have to work and deal with the unknowing public is not conducive to a good outlook on life. No matter where in the world.
Saturday, January 7, 2012
Happy 2012
I know I'm a week late :-)
Don't forget the rules:
Engage and retain your sense of humour.
Always look on the bright side.
Be open to new things.
Never stop learning.
Have fun.
Wishing you a very happy and prosperous 2012 !
Don't forget the rules:
Engage and retain your sense of humour.
Always look on the bright side.
Be open to new things.
Never stop learning.
Have fun.
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