Issue 14 ~ sampler

www.baroquehorsemagazine.com 1.

ISSUE 14 FEB/MAR 2014

Gonçalo Carvalho and Zaire: A New Partnership| Master Luís Valença Rodrigues: The Dream Maker and Much More Inside.$9.95NZD £6.95

$8.95 AUD €7.95

Beauty, Strength Power&Beauty, Strength Power

2. www.baroquehorsemagazine.com

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Welcome to Issue 14, the first issue for 2014! It’s a rather fitting number

really. We do hope that everyone had a great 2013 and that you have enjoyed reading BH.

One of the most common questions we get here at BH is regarding what exactly defines a Baroque horse? Many who are unsure think it is a type or breed of horse, which is not technically correct. It is a number of breeds that were popular during the Baroque period. Friesians, Iberian, Lipizzaners etc. When I was thinking on a suitable name for

the magazine, this seemed like the logical option as it covers so many wonderful breeds that I just love and so many people around the world do too!

At times it can get tricky elaborating on what defines a Baroque horse, as up until recently many breeds were classed as Iberian that now all have their own stud book and breed registry. This often leads to the next question of ‘What is an Iberian horse?’ In a nutshell, it covers many breeds that are of a similar appearance and even genetic makeup. For example, some of the breeds that fall under this sub-umbrella are

Lusitano, PRE/Spanish, Lipizzaner, Murgese, Menorquin and some would argue the gaited horses like the Paso Fino etc, also come under this description. We do try to keep to the main Baroque breeds, however we still keep an open mind to similar breeds.

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8. Master Luís Valença The Dream Maker

14. Gonçalo Carvalho The Dream Maker

20. Heather Currie and Hatero

28. Horsemans Rendezvous

32. Elise Genest Artist Profile

38. Golegå Horse Fair

47. Horses of Interest

48. Carl Hester

54. Hot Topics To Geld or to not Geld

56. Basic Handling of the Young Horse with Jody Hartstone

62. Sara Duarte True Inspiration

68. Pilates for the Rider

74. Working in the Round

78. Horse Care

82. Poppe’s Story

87. Colour Genetics

w h a t ’ s i n s i d e

Danielle SkermanEditor in Chief

ISSUE 14 FEB/MAR 2014

Gonçalo Carvalho and Zaire: A New Partnership| Master Luís Valença Rodrigues: The Dream Maker and Much More Inside.$9.95NZD £6.95

$8.95 AUD €7.95

Beauty, Strength Power&Beauty, Strength Power

On the Cover: Heather Currie and “Hatero de PB” Photo by Danielle Skerman


05

Editor in Chief

Photo of ‘DEXENO (JGR)’ by Eduardo Castro

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EDITORIALEditor-In-Chief

Danielle [email protected]

Editor:Michaela Wake

Proofing:Mel Hughes

ART & PRODUCTIONDesign & Production Manager:

Danielle Skerman

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A great master and a living legend, the reputation of Portuguese equestrian artiste, Luís Valença Rodrigues precedes him throughout the world. Former master of the Portuguese School of Equestrian Art,

he performed at the Royal Horse Gala and Appassionata Shows for many years.

A living equestrian history book full of stories of important horses, and their associated important people, Master Luís Valença has been shaping dreams in every show he designs. He has devoted his life entirely to the training of Lusitano horses and unusual riding talents. His palomino Sultão, was unquestionably the very first chapter in this master’s amazing life.

Highly accomplished in classical riding, Master Luis Valença showcases all facets of high school dressage together with his daughters Filipa and Sofia Valença. Whether they are being led or ridden, Valença’s horses have mastered various styles to perfection, including Iberian Quadrille and Garrocha, which are reflected in their riders’ brilliant skills.

Hollywood actor Kirk Douglas visited Luis Valença twice in 1986 to gain inspiration from the horses for his book “The Gift.” Both Queen Elizabeth II of England and the late American President Ronald Reagan were impressed by his art of riding.

BHM: First of all, thank you very much for the privilege to be here talking to you. Please tell us how this all began?LV: All that happened here was based on the horse. Jerónimo Fenollos started the Centro Equestre da Lezíria Grande—CELG—35 years ago and he bought a palomino horse I would train. That horse was Sultão, and after he appeared in my life, a series of strange things happened, like a star to light the way. Many positive things happened because of Sultão.

My second riding master, Don José Manuel da Cunha Menezes, was a “Baucherist”; he taught me a lot of the Baucher style of learning. When I got Sultão, he was a paolomino, (and my master Don José’s last horse was also a palomino, named Baudelaire), I taught Sultão the all programs that I learned with my master. Baucher had exercises that do not apply

Master Luís ValençaT H E D R E A M M A K E R

Article and photos by Cátia Castro



working towards the future

ARTICLE AND PHOTOS By CáTIA CASTRo


Hatero de PB (Imported from Spain)Hatero was born 25/01/05 and bred by Hermanos

Peces-Barba. Standing at 16hh, he is an extremely rare

grullo/sabino PRE/Andalusian stallion, and is approved

for breeding. Hatero is registered as a purebred PRE

(Pura Raza Espanola) with ANCEE, the Spanish PRE

governing body and also with IALHA (International An-

dalusian and Lusitano Horse Association).


&L

ocal Australian FEI rider Heather Currie and striking imported Spanish stallion ‘Hatero De PB’ are

currently drawing praise from fans and judges alike as they work their way up the dressage ranks here Down Under. Hatero (aka Harry!) has commanded some impressive scores for both his medium and extended trot, and we can’t wait to see what this dynamic duo have to offer when they reach the higher levels. Currently competing at Medium and with scores in the mid-70’s, it’s easy to see that Harry is much more than just a flashy-coloured import!

Back in 2009, Hatero PB was a young untried stallion, barely started under saddle, but he caught the eye of Kerrie Massey, who was at that stage looking for a young horse to bring on. Kerrie explains a little more about how and why she bought Hatero to Australia:

“He caught my eye for three reasons. At first I thought he was a liver chestnut – and one of the best horses I ever had, was that colour. (A gelding, I owned for more than 30 years, and rode for at least 25). Secondly, Michelle, (Kerrie’s sister)is a “colour guru”. She loves loud-coloured horses, and Harry had enough “chrome” on him to make

me sit up and take notice! Finally, he had a white belly spot. (In fact he has two!). That is a particularly good omen for my family, because at the time, we had an interest in a very handy racehorse called Starspangledbanner.

I uhmmed and ahhhed about Harry for probably four months before I finally worked up the courage to contact Miriam Frenk. She confirmed that he was still for sale, and had by that time been started under saddle. She sent through videos of him at liberty and ridden, and I was sold. He moved so well for a green saddle horse – there wasn’t much difference between his liberty and ridden videos. He extended quite beautifully in both and was looking composed and supple under saddle. I felt this was unusual at such an early stage, and got the impression of a true athlete.

Miriam was surprised by his colour, suggesting he was a grullo (grew-yo). She had him tested, and discovered he was indeed a black horse. It seemed we were not the only ones to have difficulty placing his colour. He was entered into the Spanish studbook as a chestnut, later registered as a bay, and is now noted as a black following submission of his DNA results. His sire (the qualified stallion Gento)

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Interview and photos by Danielle SkermanWritten by Michaela Wake

HeatHer currie


Elise Genest is a Canadian painter and photographer from the Québec City area whose work is entirely devoted to horses. Though she is only 28 years

of age, she has many years of experience in the horse world. She grew up in a family of artists, became involved in raising horses at a very early age, and quickly learned some of their secrets. Her passion for the equine provided a powerful stimulus for her to perfect her techniques as an artist. Her ability

to share her enthusiasm with other horse lovers has elevated her mastery as an artist to a class of its own.

Elise’s remarkable career path steered her directly into the equestrian world. Since 2005 she has exhibited her work at major equestrian events in Canada and the United States. Her masterpieces reflect a wide range of styles and derive their inspiration from many sources. Her subject, however, remains consistently unchanged.

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Elise GenestEG

Elise talks to Baroque Horse about horses, art and her photography.

BH: How did you get started in photography and art (which came first and how did you progress to the other)?

EG: It started as a passion. I always had interest in visual arts, and I grew up surrounded by artists as my parents owned a picture-framing shop. I would be inspired by the work I’d see at the shop, and create my own little masterpieces. I started to sell paintings at age 7, doing dripping abstract paintings.

I got my first professional camera at age 10, thanks to my photographer uncle. By the time I was 14, I had my own dark room and I would spend countless hours printing my own pictures.

I started to draw horses at age 10, when my horse was born. My passion was so intense, I was drawing horses all the time, when I was away from my filly—especially at school. My school books were full of horses, but I was such a good student, (I had the best grades in the school!) that the teachers could not say a word about it.

I never stopped drawing and painting, always horses, but the photography came back to my world when I purchased my first reflex digital camera in 2005. The serious photography however, began in 2010, when I visited a yeguada in Mexico. I got addicted to the photo shoots, to the energy and inspiration they bring to my paintings. I was lucky to see high quality farms having me as a guest for my photography. My paintings got a lot better, as I could finally find what I was looking for.

BH: What is your creative process (from photos to painting)?

EG: I usually have moments of the year when I am dedicated to photography, bringing images in my imagination. Then I am dedicated to painting, when I let images out of my head and heart.

Photo shoots are exhaustive. I sometimes go away for weeks at time; so far I have visited farms in Spain, France, the Netherlands, Mexico, and the United States. The process of photography treatment is the same as a professional photographer would do. We organise locations, horses, concepts. I spend the following weeks working on the pictures. I make my selection of favourites.

For some pictures, I love them simply as they are. I would not paint them, as they are art themselves. A painting would not make them better.

For other pictures, the capture inspires me for a painting, but I would not share it as photography. Usually my favorite photos are not the same as the ones that inspire me.

Then…I need ideas. New techniques to try for the art. Energy. Composition. Colours. Size. Feeling. I need to see what I will do. Not just the horse, but the whole piece of art. Some pictures that are incredibly inspiring can wait months or years before I finally paint them, because I can’t visualise the whole painting.

When I am ready, I start. I need the actual picture printed in my hand, which is one of my “old grumpy artist” habits. The painting itself is surprisingly fast to appear on canvas. I am spontaneous when I paint; I need it to be created fast!

When I start, it is like a stream of consciousness. When I am into it—usually at night when everybody sleeps—I don’t want to do anything but paint. The feeling that comes to


photo by Cátia CastroManuel Veiga & Altivo da Brôa (MV) 2nd place, Gold Medal on the 5 y.o. Model and Gaits competition


Golegã

Horse Fair

~ 2013 ~

The Portuguese centenary fair was back for another year of Lusitano horses, roast chestnuts, wine, costumes, saddlery and lots of competitions to see, all in a celebration of tradition.

XXXVIII National Horse Fair, XV Lusitano Horse International Fair, Saint Martin’s Fair, was from November 1st to 11th, in Golegã – Portugal. Many people from all over the world came to see the Lusitano

and its traditions in this emblematic fair.Equestrian competitions, shows, exhibitions, seminars, and

for the first time this year the national championship of horse racing (gallop and trot) in the Hippos - Equestrian Sports National Center for High Performance.This year, the organisation registered about 1700 horses, plus

200 horses in competition, and another 200 horses in harness. In total, more than 2,000 horses were at the Fair, which was considerably more than last year.Many horse lovers and riders visited the fair, displaying their

beautiful horses, costumes and saddlery. Lusitanos, Crossbreeds, Friesians, and other breeds could be seen walking the Arneiro’s square. The city was overflowing with visitors, filling the streets with a multicultural cacophony of foreign languages. Tourists could visit the Stud Farm breeders in their “casetas”, litle houses/stands in the perimeter of the Arneiro’s square, where people can go and see the Lusitanos for sale.

Article and photos by Cátia CastroPhotos also by Antonio Mendonca


Baroque Horse Magazine had the chance to catch up with British Olympic Gold medalist and Dressage Rider Carl Hester, MBE, recently when Carl was Down Under in Sydney, Australia as part of Equitana Asia Pacific. Carl was

conducting a ‘Specialist Dressage Clinic’ and had the stands packed to capacity at each of his appearances; he was very much a crowd favourite! His sense of humour and engaging personality ensured that all his clinic participants

enjoyed their time with him and were able to relax and get the most out of his instruction and advice.

Carl Hester

CARL HESTER MBE OLYMPIC GOLD MEDALIST

Interview with Carl Hester at Sydney Equitana

Photo by JULIA RAU


Carl Hester

Here’s what Carl had to say to BHM Editor, Danielle Skerman:

BH: Recently You had ‘The Dressage Convention’ and you invited classical trainer Sylvia Loch and Portuguese Dressage rider Miguel Ralão there. How did it all go?

CH: It was pretty groundbreaking to do that, and it was really well-received. We are trying, after all, to include everybody. For so long, competitive dressage has been seen so differently. It was very welcoming to come and do that. Miguel of course with the Iberian horses, they’re so popular now in England, and they’re a little bit misunderstood. That’s why people think that they’re amateur horses and they’re actually quite busy-going horses. Miguel brought this brilliant breath of fresh air about the breed and how to ride them, and what they do. It was a brilliant mix.

It’s all still very organic, obviously, in its stages of how we’re going to run it. I think it’s a way for the future. There was everybody there; there was the Valegro fans there. We went from the bottom to the top. We started with people that couldn’t even sit to the trot, and then of course, we ended up with Valegro. It did keep everybody happy. We’d like to do that every year.

BH: Would you bring it to Australia?

CH: Why not? you don’t obviously have to travel horses to do that. It’s all about everybody’s seeing the final result. The point is, here, you can take people that aren’t the finished products and help mould them. It is definitely something that you could travel.

BH: You feel it was a success?

CH: It was definitely a success, from the amount of people that came, from the amount of comments. I think the fact that we were using Twitter screens; we were doing really…I had to pretend I knew how to do Twitter. “If you can’t do this, you’re really not keeping up with the times (spoken in jest) and I can’t do it myself!. (laughs)

you know what it did? That included people that couldn’t come to the events, so they could Photo by JULIA RAU


JODy HARTSTONE WITH ‘GL CONQUISTADOR’

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So you have yourself a wonderful Baroque beauty and you can’t wait to get in the saddle... It seems like forever until you are able to send your youngster away to be started at age three or four. So what are some basic handling exercises to do with your horse to ensure he is safe and

easy to work with whenever you are around him? The aim of working with a young horse is to be able to control his movement. This includes forwards, stop, backwards, hind quarters to the side, fore quarters to the side, lowering of the head and “park” or stand still. Once these basics are established, you will have a horse that is easy to move around and he will be calm and free from unwanted behaviours such as barging, pawing and biting.

HoW HoRSES LEARN

Before embarking on any training program, a basic understanding of horse psychology and how horses learn will help you train in an ethical and understanding fashion.There are three ways horses learn. The first way is through ‘habituation’ – they simply get used to things – like girth pressure, wearing a rug, being brushed etc. There are many useful techniques that can be used for habituation including response prevention (holding the horse still), gradual habituation, counter-conditioning, overshadowing and approach conditioning.The second type of learning is via ‘operant conditioning’ where a behaviour is either reinforced or punished to make it more or less likely to occur again. There are four quadrants of operant conditioning which are:Positive reinforcement: Where the horse is rewarded for a behaviour by the addition of something pleasant such as a scratch, a rub or some food. This makes the behaviour more likely to occur again.negative reinforcement: Where the horse is rewarded for a behaviour by the removal of pressure ie freedom from pressure is the reward. This is how our leg and rein aids work under saddle for example. It is also known as ‘pressure – release’Positive punishment: When the horse is punished by the addition of something aversive after a behaviour to decrease the likelihood of the behaviour happening again. This is how an electric fence works to stop the horse pushing through fences.negative punishment: When the horse is punished by the withdrawal of something after a behaviour to decrease the likelihood of the behaviour happening again.It is important to note that a horse’s brain does not function the way ours does. He is not a human on four legs. His ability to reason is very limited due to the due to the lack of pre-frontal tissue in the brain. A horse will never carry out a behaviour ‘on purpose’, and

basic handling of the Young horse

Photos by Sheree ConroyBy JoDY HARTSToNE


Sara Duarte, Portuguese para-dressage rider, won her first national championship in 2005, with the Lusitano mare “Rima.” In the same year, she was a gold medalist at the Fourth Spanish Dressage

Championship in Madrid. In the following year, she premiered with the rising four year-old Lipizzaner stallion “Neapolitano de Morella” from the breeder Camara Machado Stud Farm of the Azore Islands, Portugal. The owner of this stud, Professor Artur Machado, showed him after a national appeal on television promoted by Maria de Lurdes Cardiga from the João Cardiga Academy.

Sara and Neapolitano made a perfect match and never stopped amazing us. They were such a wonderful example of good work, friendship, and lots of motivation, always supported by the João Cardiga team. In 2009, they were awarded a bronze medal in the European Championship in Norway.

The pair were national para-dressage champions several times, and have represented the sport and the Portuguese nation in two Paralympic Games: Beijing 2008 and London 2012. Their work and the results went beyond their dreams.BHM went to see this amazing duo in João Cardiga’s Academy, and sat down to talk with Sara:

BHM: At what age did you start riding horses? How did you get to like horses?

SD: I started at age seven by medical prescription and because of my mother; she was always searching for therapies that could help me in my development. The passion for horses was a result...I’ve experienced and enjoyed them and the more I rode, the more I liked it; now I’m fully addicted!

SARA DUARTEt r u e i n s p i r a t i o n

Article and photos by Cátia Castro



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In our modern world it is refreshing to realise that many fine horsemen throughout the ages used sophisticated and effective horse training methods that were also kind and respectful to the horse.

ANCIENT HORSEMANSHIP

Renaissance trainer Antoine Pluvenile’s book Le Menage Royal was published in 1633 and detailed the use of a single pillar in horse training. Pluvenile was one of the first since Xenophon in about 350 BC to see the horse as a sentient being. He was noted for his humane methods for treatment of the horse and used “gentling” rather than “breaking”*. Of special value was his insistence on “courtesy, sound judgment, patience and virtue”, and consideration that the horse “must take pleasure in his work”. Pluvenile, as Royal Ecuyer to King Louis the 14th used and wrote of the single pillar ; but since that time, little has been written about how to incorporate pillars, either single or double, as a tool for horse training. The Vaqueros of California brought many sophisticated horse training methods to American horse training including the single pillar.

At ‘Imagine a Horse’, we use the ancient and classical single pillar to help teach and perfect basic obedience as well as high school gaits such as the Spanish Walk, Passage and March steps. Here we call the pillar the Liberty Pole because it is used as the link between simple in-hand schooling to Liberty Training, or work in which the horse has no attachment to the handler.

Modern and legendary horsemen such as Al Dunning and Mike Bridges are among trainers who incorporate the use of a single pillar in their training, although the name is different. Al calls it a ‘Patience Pole’ and Mike calls it a ‘Circus Pole’. Nonetheless, both see the value in incorporating training at the pole.

By Suzanne De Laurentis and Allen Pogue, Imagine a Horse 2011


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Issue 14 ~ sampler