Andalusian magazine 2013 02

Issue 2 | 2013Issue 2 | 2013

DEDICATED TO THE SPANISH AND PORTUGUESE HORSEDEDICATED TO THE SPANISH AND PORTUGUESE HORSE

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Andalusian Magazine (ISSN # 2151-5190) is published quarterly by the

International Andalusian and Lusitano Horse Association.

POSTMASTER: Send address changes to:

IALHA, 342 North Main Street, Suite 301, West Hartford, CT 06117-

2507. No part of this publication may be reproduced by any mechanical,

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COPYRIGHT © 2013 IALHAANDALUSIAN Magazine is the official Publication of the International

Andalusian and Lusitano Horse Association All rights reserved. Printed in U.S.A.

On the Cover:

HARAS DOS CAVALEIROS upper level winning team atthe Pin Oak Charity Horse Show, Working EquitationChampionship 2013. Acclaimed trainer Ernesto Tiago isriding the talented young stallion Cossaco RC in the "poleremoval" phase of competition. Haras Dos Cavaleiros is ahighly respected breeder of Lusitano champions. OwnersCARMINA ZAMORANO and RAFAEL CHAVEZ aresteadfast supporters of the working equitation disciplinewho promote the sport by hosting clinics and bysponsoring IALHA and Pin Oak competitions. Haras DosCavaleiros is also helping to field a U.S. working equitationteam at the FEI World Equestrian Games Normandy 2014.

www.ialha.org4 ANDALUSIAN u I s s u e 2 | 2 0 1 3

8 Training the Working Equitation HorseAndalusian recently spoke with Tiago Ernesto, atrainer for Haras Dos Cavaleiros, on what isrequired to train a horse for working equitation.

14 Preparing Your Horse to DriveThe temperament and conformation of Iberianhorses make them suitable for driving work anddisciplines.By Jenni Johnson

26 The Iberian Horse in Competitive JoustingContemporary competitive jousting is making arenaissance in the world of equestrian martial arts.By Zhi Zhu (AKA Jan)

38 Getting Your Driving Horse to the Show RingSix lessons that can get your horse to the show ringBy Howard and Erica Peet

C o n t e n t sI s s u e 2 | 2 0 1 3 u ANDALU S I AN MAGAZ IN E

fea tures

depar tments6 President’s Letter

22 2013 IALHA Equine Art Contest

42 Business Cards

44 Stallion Listings

46 Judge Training Seminar

47 Membership Application

48 Where We Have Been

DEDICATED TO THE SPANISH AND PORTUGUESE HORSE

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IALHA PRESIDENTJulie Alonzo

IALHA EDITORIAL BOARDJulie AlonzoJ.B. Lessels

ANDALUSIAN MAGAZINE IS PUBLISHEDQUARTERLY BY:

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The primary objectives and purposes of the International Andalusianand Lusitano Horse Association are:

(1) to preserve, improve, and maintain the purity of the blood of horsesof the Andalusian breed, which includes horses of Spanish origin knownas Caballo Pura Raza Española and/or of Portuguese origin, known asCavalo Puro Sangue Lisitano, or Raça Lusitano, and/or of Spanish/Portuguese origin, and to promote public interest in the science ofbreeding Andalusian horses, and to foster, aid, and encourage thebreeding, exhibition, and promotion of this breed; and

(2) to advance the knowledge and education of the public and membersabout horses of the Andalusian breed and to promote the acquisitionand distribution of knowledge of the history, use and standard, medicaland other care and treatment, and propagation of horses of theAndalusian breed.

**Only issues, statements, declarations and decisions discussed andagreed upon by vote of the Board of Directors or the membership shallbe considered official Association Policy. Any and all other issues, statements, declarations and decisions expressed in any publication,letter, video, speech, discussion or any other communication displayingor not displaying the name of the IALHA or expressed by any Officer,Director, employee or member shall be considered personal opinion andshall not be deemed in any way to be policy of this Association or itsmembers, Officers, Directors or employees. The use of the Associationname, letterhead and or logo or any other representation of the IALHA inany media shall not constitute recognition and/or agreement with thecontents of such.

POSTMASTER: Send address changes to:

IALHA, 342 North Main Street, Suite 301, West Hartford, CT 06117-2507. No part of this publication may be reproduced by any mechanical,photographic or electronic process without prior written permission ofthe publisher.

COPYRIGHT © 2013 IALHA

ANDALUSIAN Magazine is the official Publication of the InternationalAndalusian and Lusitano Horse Association

All rights reserved. Printed in U.S.A.

President’s

Letter | by Julie Alonzo

For centuries, horses were an essential partof the transportation infrastructure, and thevariety of carriages and horses rivaled theeclectic options we find in the modern-dayauto industry. Teams of draft horses have, byand large, given way to fleets of Mack trucks,making their strong but lumbering way acrossthe country. Livery stables full of grade horses for a vari-

ety of everyday uses have been replaced bygarages full of sensible sedans. Those who

seek nimble and explosively potent mounts, however, still turn to the Ferrari ofthe horse world: the Andalusian and Lusitano. Our exotic horses excel in pursuitsduring which responsiveness and maneuverability are paramount. And, the factthat our horses, like Ferraris, are easy on the eye just adds to their appeal. Last issue, we celebrated the show-ring success of a variety of IALHA horses

and riders competing in USDF and USEF shows. Previously, we’ve shared storiesof Andalusians and Lusitanos covering impressive ground in competitive or plea-sure trail events. In this issue, we highlight the versatility and athleticism of ourbreed with articles about Andalusians and Lusitanos involved in three different,yet challenging, disciplines: jousting, working equitation and driving. Each of these disciplines has rich, historic roots. Perhaps equally as important,

they all are events in which our horses have a bright future. Perhaps it’s time toconsider a tune up for you and yourhorse as you explore new adventures. Ihope you enjoy the articles, get inspired,and race out and ride – or drive – as thecase may be! � AM


Issue 2 | 2013 u ANDALUSIAN MAGAZINE

Dedicated to the Spanish andPortuguese Horse

Our exotic horses excel

in pursuits during which

responsiveness and

maneuverability are

paramount.

Fashion and Function

To learn about the different types of membership and the many perks of being a member, visit:

www.IALHA.orgor contact Debbie at Member Services:

860.586.7503, Ext. 554 • [email protected]

Become part of the IALHA!



Training the

Working EquitationHorse

Andalusian Magazine recently spoke with Tiago Ernesto, atrainer for Haras Dos Cavaleiros, on what is required to train ahorse for working equitation. Following is what he had to say.

Andalusian: How do you start a horse forworking equitation?Tiago: Starting a horse for working equitation is

exactly the same as starting a horse for any other disci-pline. You begin by teaching the horse to carry a saddle,to understand the rein aids, and to carry a rider. Whenthe horse is under saddle, the next step is the basic workalso common to all disciplines. You teach the horse tomove forward, calmly and regularly at a walk, trot andcanter; to halt and stand quietly; to yield to leg and reinpressure; and to move in straight lines as well as differ-ent size circles. This early work should not be rushed,and each horse progresses at its own pace. After these two steps, I start to work a lot on the qual-

ity of the walk and canter, while using the trot daily tohelp improve the horse’s balance. Once a horse has thebasics, I begin to introduce all the lateral work (shoul-der-in, leg yield and half-pass). These are essential fordeveloping a good working equitation horse. At aboutthis same time, I also start to introduce walk pirouettesand, eventually, canter pirouettes. The last thing I really focus on is flying lead changes,

but all the early work I do builds the horse’s ability toperform flying changes. It’s important never to forget thegymnastic work, because our horses must build thestrength to be able to work in collection and to perform

Opposite Page: Antonio Garcia Rolán riding Adagio DC, both fromHaras Dos Cavaleiros, demonstrates the proper technique of thesidepass pole. The pair are coming toward the camera performingthe sidepass in traverse. This is an advanced movement and earns ahigher score, when done well, than a leg yield.

I s s u e 2 | 2 0 1 3 u ANDALUSIAN 9

In the Figure 8, Tiago Ernesto riding Cossaco RC, Haras Dos Cavaleiroshorse and rider, do a flying lead change in the middle of the Figure 8. Thechange at this point is an important part of the score in this obstacle, as wellas the slalom and drum (cloverleaf) obstacles.

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the movements required in both the dressage tests andwhile working the obstacles.

Andalusian: How much time do you spendworking on dressage versus obstacles? Tiago: All horses are different. Each horse tells us the

work they need and where we need to work more. WhenI think about it, though, in general, I spend more timeworking on dressage, especially in the beginning of thehorse’s career. This really is the foundation for every-thing else. Working on the dressage movements is wherethe horse builds strength and balance, and wherestraightness, bend, cadence and rhythm are formed.

Andalusian: At what point do youintroduce speed?Tiago: It is important to introduce speed gradually. I

usually start step by step, depending on the horse’s bal-ance on the obstacles. But we should never forget that agood speed test is the one in which we use the least possi-

ble space, and not necessarily the greatest speed. Havinga horse who can maintain balance in very tight turns canreally help reduce the time in the speed phase.

Andalusian: Talk about how you prepare ahorse to learn flying changes.Tiago: Before I begin training for the flying changes,

I have to prepare the horse and the canter in order toavoid creating resistance and tension. It is important tokeep in mind that flying changes involve a change ofdirection and not a change of speed. Because of that, Ineed to work at different speeds at the canter andcounter canter to help the horse develop its strength. Ialso have to introduce the horse to simple changes, so itbegins to understand the cues associated with a leadchange. After we have all this work done, the flying changes

should start coming without trouble, just with slightaide changes: I cue for the change in lead by shifting myweight slightly to the side I want the horse to change to,and then keep my weight there waiting for the horse tochange lead.

Andalusian: Talk about how you train forthe different obstacles.Tiago: Personally, I divide the obstacles into two

extremely different groups. In the first group are thoseobstacles that require time for the horse to get used toand become confident with. These obstacles include thebridge, the bull, the lance and the gate. For some horses,the sidepass pole, backing through an “L” and the corri-


WORKING EQUITATION

Here Carlos Salguero riding Diablo DC, Haras Dos Cavaleiros horse andrider, round a pole in the Slalom between Posts. Notice the collection andimpulsion as they weave between the posts.

Antonio Garcia Rolán skewers the ring off the back of the bull riding AdagioDC, a Haras Dos Cavaleiros pair. This obstacle is frequently in the middle,between the Remove a Pole from and Placement into a barrel. While accu-racy does count, especially in the Speed phase, a controlled gait and lack offear are more important in the Ease of Handling phase.

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dor also are in this group. These obstacles are moredemanding on the horse’s compliance and trust of hisrider. In the second group are those obstacles that require

technique and a lot of daily training and conditioningfor the horse to be able to perform them. These obsta-cles include the slalom, the barrels and the cloverleafaround the drums. What makes these obstacles so hardis that they ask for a really strong horse that needs tomaintain a good, balanced, rhythmic canter, while alsocompleting numerous flying changes. The only way toimprove on these obstacles is to have consistent training,with lots of repetition to improve the horse’s balanceduring, after and between obstacles.

Andalusian: What can riders do at acompetition to improve their scores? Tiago: In the Dressage phase, it’s important to be pre-

cise about performing the movements exactly as they areoutlined in the course. Knowing what you are supposedto do throughout the whole test is important, if you wantto earn a good score. For the Ease of Handling phase, I think it’s important,

when walking the course, to be able to think about whatyou can do for each horse to help it move smoothlythrough and between each of the obstacles. Use the walk-through as a chance to consider how you will leave eachobstacle, so you set up a good approach for the next one. For the Speed phase, again the most important thing

is to think about a strategy for going through andbetween the obstacles in such a way that you can cut asmany seconds off your time as possible. Too many ridersfocus on galloping fast, instead of thinking about how tospend the least amount of time possible as they com-plete the course. Really think about your strategy andtechnique, rather than blindly racing through thecourse. Remember, too, that it’s important not to ruinthe horse’s attitude and trust in your hands. Don’t pushthe horse beyond where the two of you are ready to go,or you will end up causing future problems. � AM


WORKING EQUITATION

Tiago Ernesto riding Cossaco RC, Haras Dos Cavaleiros horse and rider,wind their way around a post in the Slalom between Parallel Posts. Whilesimilar to the other slalom obstacle, this obstacle requires loops aroundposts rather than a weave. The pair is at speed in this photo so you willnotice they are closer to the post than they would be if done during theEase of Handling phase.

Rebecca Algar riding the Haras Dos Cavaleiros horse Campino DCdemonstrates a smooth and controlled opening of the gate duringEase of Handling.



I was excited when IALHA asked me to write about preparing your horse todrive. I would love to see more Iberians competing in harness. The temperamentand conformation of our horses make most of them quite suitable for driving work and dis-ciplines. However, trying to write an article about starting a horse in harness brings similarchallenges to writing an article on starting a horse under saddle. It’s a subject for books, clin-ics, training videos and years upon years of lessons and experience.

By Jenni Johnson

Horse to DrivePreparing Your

Reading horses and knowing when they are ready forthe next step cannot be explained easily in written formand, like all training with horses, can mean the vital dif-ference between a positive experience for horse andhuman, and potential disaster. This challenge is com-pounded by the many diverse training methods used bydifferent people.Hitching and training a green horse to drive can be

rewarding, but also can be a dangerous situation for eventhe experienced trainer. Horses are flight animals bynature, and attaching a vehicle on wheels to an animalconditioned to run away from what it fears can have fatalresults. In this article, I will focus on some of the ground-work I have found useful in preparing my training horsesto drive, prior to their first hitch. The article will stop justshort of “putting to” (hitching).

The thing that cannot beemphasized enough in dri-ving preparation is thegroundwork, groundwork,groundwork. So ground-work is the focus here.Putting to and driving thegreen horse is a subject for aseparate article. A significantamount of time should bespent on each of the follow-ing steps. When your horse isready to hitch, a knowledge-able local trainer who knowsyou and your horse will beyour best resource.

What makes a good driving horse?MANYOFTHEATTRIBUTES that make a good riding

horse carry over into the driving world. A sound body andexcellent character are paramount, of course, but what else?A strong shoulder and broad chest will make your equine’sjob easier by distributing pull contact over a larger surfacearea. A willing attitude goes far, and, while many of usdesire a sensitive animal for performance, an overly sensi-tive or fractious horse is not suitable for driving and can bea danger to both itself and others, if driven. It seems a common misconception that horses unsuit-

able for riding might, at least, have a career in harness. Ifthere are holes or issues with your horse’s previous train-ing, those issues undoubtedly will show up in front of acarriage. Take the time to address those issues first,remembering that not all horses have what it takes to bedriving horses. Ask yourself what type of driving youwant to do. Different demands are placed on a fine har-ness horse than on Sunday road drivers or combined dri-ving athletes.

Leading and voice commandsYOUR HORSE SHOULD be a solid citizen on the

ground before progressing to additional training. If hepulls or balks while leading or has an otherwise disagree-able temperament for basic handling, those issues needto be addressed before moving forward. Lead your horsefrom both sides, and take it on walks out and about onyour farm as well as off the property where it lives. In everyday activities like leading in the stable and to

and from its turn out area, begin using clear and consis-tent voice commands that will transfer to your driving

Left: Labyrinth Fiona, a 3-year-oldLusitano mare, beginning her drivingeducation.


Above: Expand the horses' comfortzone as you build their trust in you astheir leader.

training. In driving, your voice is one of youraids, in addition to your reins and whip. Your horse already may know to walk

when you tug on the lead or step forward.Use this to teach the horse your new voicecommands. Say the new command you aretrying to teach first, immediately followed bythe aid it understands. For example: If thehorse knows how to walk forward from a tugon its lead, say “And Walk,” then immediate-ly tug on the lead.Continue to reinforce your voice, until your horse

walks forward on your voice command alone. Say itsname or another word to get its attention preceding thecommand. If you eventually will be driving pairs or mul-tiples, it is a good habit to get your horse used to its nameor a word that is used only for that horse. I find myselfusing the word “and” before a command. For example “And Walk,” “And Whoa,” or for my mare

Viva, I might say, “Viva, Walk,” or “Viva, Whoa.” It is the extra word or name that tells your horse, “I’m

going to tell you something; pay attention.” I uncon-sciously use a different voice when talking to my drivinghorses and have even been told I talk in some indis-cernible mix of accents from no real country.

Driving can be a wonderful opportunity to share yourhorses with friends and family who may not otherwise behorse people. A relaxing carriage ride can involve a lot ofchatter and banter, and having a distinct way of speakingto your horse will help your equine partner know whenyou are speaking to it, and not just having a conversationwith a passenger.

Educating yourselfFAMILIARIZE YOURSELF with the harness and its

parts, before introducing it to your horse. If you aren’talready working with a trainer, find one who can helpyou with proper fit and adjustments to the harness.Putting a harness on a green horse for the first timeshould not be when you learn which parts go where. Ifyou are new to driving, you are probably not the bestperson to teach your horse to drive. Find a mentor, if youcannot find a driving trainer, and read books and watchvideos. Take lessons and audit clinics. Volunteer at dri-ving events, and join the American Driving Society andyour local driving club. If you are sending your horse to a driving trainer to

be started, don’t forget about your own education, if youwill ever be taking the reins yourself. Just like riding, dri-ving is a partnership between horse and driver, and bothyou and your horse need a proper education. Youwouldn’t think of starting a horse under saddle if youdidn’t know how to ride.The same should go for driving. Take responsibility

for educating yourself, before trying to train your horseon a subject with which you are unfamiliar. Always try toset you and your horse up for success; educating yourselffirst will put you on this path.

General desensitizationONCE YOUR HORSE is competent with general han-

dling, start to introduce objects, sights and sounds that itmay find scary. Introduce these slowly, pushing the horse


Use assistants when you have them available and every time you areintroducing something new to your horse. Having a knowledgeable personattached to the head of your animal for safety allows you to stay in the longlining or ground driving position.

A handler can stay on a slack lead when not needed, and should stayquietly behind the blinkers of the horse. Instruction, direction and praiseshould be given to the horse by the person ground driving it, rather than theheader, as the horse must learn to listen to and trust the person with the reinswhose voice is coming from behind it.

ASSISTANTS/HEADERS:

DRIVING

Left Top: Header is used for safety and to encourage the horse for-ward as we transition from a lunging form to a ground driving form.

Left: Introducing long lines: inside line is attached to halter (not bri-dle) while she becomes comfortable with outside line running alongher side and rear.

to expand its comfort zone and build its trust in you as aleader. Use a soft polo wrap, and run it between yourhorse’s legs and under the base of his tail to simulate acrupper. Ask your horse to walk over, under and through avariety of man-made and natural obstacles. Get the horseused to different noises and sounds. If available, expose itto other horses being driven. While there are some specific sounds to which a dri-

ving horse needs to become accustomed, like the rattle ofthe carriage behind the horse, for example, most of thiswork is about teaching your horse to trust and listen toyou in uncomfortable situations. This is much moreimportant than desensitizing to specific objects orsounds. We cannot possibly desensitize our equine part-ners to every single thing that may be encountered in thereal world, but we can set the horses up for success byteaching them that, although something might be scary,the horses will be ok. It is your responsibility to make surethey are. Exposing your horse in hand to scary situations over

which you have control will help you better “read” your

horse and its reactions in uncomfortable situations. Youalso will see where additional training time should bespent. The term “bomb proofing” has been used for thistype of training. While no horse is ever truly bombproof, it will do you

well to take the time on the ground to get your horse asclose to that “bombproof” ideal as possible, prior tohitching. Once you feel competent with your horse in hal-ter, you can come back to this training with your horse inharness, in blinkers, and even while being ground driven.Again, we are working from the familiar to the new,always working to expand the horse’s comfort zone.

Lunging and long lining LUNGE YOUR HORSE using your clear voice com-

mands, and expect your horse to respond quickly to yourcommands. When I ask ahorse to walk on the lunge, Iexpect it to walk – not jig,trot or play to get out energyuntil the horse is ready towork (that is what pasturetime is for) – but to walk.When you ask the horse totrot, it should pop right upinto a working trot, andcome back to walk or whoaimmediately, when asked.Your horse should not beallowed to turn and face itshandler when stopped. Oneof the most important com-mands you can teach yourhorse is to “stand.” The wordyou use for this does notmatter; however, your horsemust learn a command thatmeans do not move.Your horse should master

walk, trot, canter, whoa andstand, all on the lunge line,before progressing. Onceyou and your horse are con-fidently working with yourvoice commands on thelunge, it’s time to introducethe long lines. Add an out-side line first when intro-ducing a secondary rein,attaching it to the halter thefirst time your horse is get-ting used to lines around itsbody. The feel of the line

around the horse’s rear end


Above Top: Once a skill is mastered inthe arena, work outside in a controlledenvironment to expand the comfortzone and introduce new sights andsounds.

Above: Once your horse is competentwith general handling, introduce objects,sights, and sounds that may be scary tothem.

Above: Once a horse is relaxed being led in the harness, attach the breeching tothe traces to form a circle around his body. He can then be lunged in this man-ner. The breaching can be adjusted slightly lower for training than for driving.

Above: Your horse is ready to start pulling objects when he is pulling stronglyand confidently against the assistant’s pressure on the traces.

and legs will be a new sensation – both inmotion and while standing. I prefer to teachmy training horses to long line in a plainsurcingle and open bridle (without blink-ers). While the horses may be learning aboutwearing harness in the same time frame, Ikeep harnessing and long lining lessons sep-arate while the horses are learning each.Focus on one thing in each lesson. A horse should belong lining without harness, and independently shouldbe wearing harness without issue, before long lines areadded to a harnessed horse.

Wearing harnessONCE YOU ARE knowledgeable about the harness,

its parts and functions, and are familiar with its fit andproper adjustments, you can start to introduce it to yourhorse. Horses that have worked in hand and worn asurcingle, or are already going under saddle, usually havelittle objection to most of the harness parts. The biggest objections usually come with the crupper

and when taught breaching. Some trainers allow thehorse to get used to wearing harness in a stall or roundpen. I dislike the “let ‘em work it out” method, whereby ahorse is left loose to buck or run away from the equip-ment, or are lunged ad nauseam, until the horse tires orgives in. I prefer to slowly introduce new things in anenvironment over which you have control, while posi-tively reinforcing every baby step. When harnessing, note whether your horse is becom-

ing tense being touched in a particular area. This mayneed more desensitizing by hand or with a soft polo wrap

or cotton rope. Once thehorse is standing relaxed inharness, lead your horse inits new tack. A harness inmotion feels different than aharness at rest, and yourhorse is likely to get a littlegoosey to the crupper thefirst time it moves with it on. Take the time to praise

any and all relaxation. Makelots of transitions from thehalt to the walk, while lead-ing. When your horse is relaxed, add a few steps of trot inhand. Be sure to praise your horse even (especially) if thisis uneventful. The goal is for the entire process to be sys-tematic enough that it is all uneventful. Once a horse is relaxed being led around in properly

fitted harness, I attach the breaching to the traces, form-ing a circle around the horse, and start to lunge it in thismanner. Over time, you can make this adjustmentshorter, so the breaching is felt around the horse’s rearwith less movement. For some horses, all this may be done in one session;

for others, it may take days or weeks of building uponthe previous lessons. If you get a reaction, do not stopwhat you are doing, but do not progress to the nextstep until your horse relaxes into what you are asking.If you get a strong reaction, back up a step andprogress at a slower pace, to where you were when thestrong reaction occurred. This is true for all training,not just harnessing. Most inexperienced young horses will buck or kick

out when lunged with crupper or taught breaching thefirst time. Correct this behavior by immediately sendingthe horses forward with your voice and whip. If thebucking or kicking continues, go back to walking andtrotting the horses in hand, or keep your transitiontimes shorter. Always immediately correct kicking inharness. Failure to address this issue early on will putyou and your horse’s safety in jeopardy, if you move onto hitching in the future.Your horse should quietly walk, trot and canter both

directions on the lunge in harness, prior to long lining inharness. Your horse should understand long lining in anopen bridle, prior to long lining the horse with blinkers.You might want to revisit long lining without the harness


We all want to keep our horses safe, don’t forget about you. Adjustmentswill need to be made in close quarters to your horse. You will be a neardistance to your horse’s hind hooves while ground driving. Protect yourselfand your assistants by always wearing gloves and a helmet. Considerinvesting in a body protector, use quick-release snaps and shackles, andalways carry an emergency knife.

KEEPING SAFE

DRIVING

Above: A noisy wheelbarrowsimulates the sounds of a cart.

Right: Basic starting equipment:PVC training shafts and a tireattached to a training singletree.

Above: Quality gloves are importantsafety equipment - both to protect yourhands, and to give a secure grip on thereins.

to confirm that you and your horse are ready to do it inharness.You will start to slowly move from the center of the

circle to a more direct line behind your horse, while alsomoving closer to the horse at the walk (and trot if youcan keep up at a jog with steady hands). This is the tran-sition time from long lining to ground driving.Concentrate on transitions, changes of direction andbend. Work on using just the aids you will have available

when driving: reins, voiceand whip. You cannot spendtoo much time at this stage.Once your horse is profi-

cient in the ring beingground driven, explore theoutside world in long reins.Your horse should be wear-ing a halter under its bridle,and an assistant can walkalong beside the horse forsafety on a loose lead, justbehind its blinkers, as youexplore new environmentson foot.

Simulation of soundsand environmentWITH YOUR ASSIS-

TANT quietly and looselyattached to your horse’s head (for safety, not for guid-ance), start to add additional stimuli while ground dri-ving. Another assistant can roll an empty wheelbarrowwith a couple of rakes in it quietly behind you. Based onyour horse’s reaction to this sound, you can ask your


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Above: Emphasize turning in your training shafts as this is where your horsewill feel the restriction of the shafts on his sides and shoulder.

Above: If you don’t have training shafts,you can use PVC pipe to get your horseused to the feel of a shaft on his side.

assistant to get progressively louder andcloser with the noise. Leave some buckets or other items on

the ground that you can kick as you passby. Sounds that may not have botheredyour horse before may be quite frightening when it is notallowed to turn and face them. Do not progress untilyour horse is relaxed and able to handle surroundingstimuli without incident.

Learning to pullFROM THE BEGINNING of our equines’ lives, we

have taught the horses to move away from pressure. Ifwe push on the horses’ sides to move over, we rewardthem by releasing the pressure. When we lead the horses,we apply pressure to the halters that is released when thehorses respond. It has been ingrained in the well-trainedhorse to respond to pressure by moving away from it. Now we are changing the rules: We are going to ask a

horse that has been taught its whole life to move awayfrom pressure to move into it. To pull into the breast col-lar and to hold back on the breaching are things a dri-ving horse must learn. It is no wonder many horses areconfused by this request. To teach your horse to move into the breast collar, it

is ideal to have two assistants. While you are in theground driving position, one assistant will be attachedto the halter for safety. Your other assistant holds thetraces or a training singletree attached to your traces.Ask your horse to walk forward and have your assistant

start to slowly add pressureto the traces. If you don’t have a second

assistant, it’s better to leadyour horse at the head, whilethe assistant you have pullson the traces. The focus hereis on moving into pressureand pulling into the breastcollar – the ground drivingelement is secondary. It’smore important to have ahandler at the horse’s headfor this lesson, both forlearning the lesson and foryour safety.There should be much

praise when your horsemoves forward. If yourhorse is confused, stops ortries to back up away fromthe pressure on its chest,lighten the pressure and usestronger aids. Ask your assis-tant at the horse’s head to

help encourage it forward until the horse learns it canmove into the pressure on its chest. Once the horseunderstands this concept, your other assistant will addprogressively more pressure to the traces, while walkingbehind your horse. Your horse is ready to start pullingobjects when it is pulling strongly and confidentlyagainst the assistant’s pressure on the traces.A tire is a good object to start pulling. Get your horse

used to the sound of a tire being dragged behind it by anassistant. Then progress to attaching the tire to a school-ing singletree attached to the traces for your horse todrag. Spend as long as needed at this stage. Just like withthe harness and long lines, I take my training horses outand about the farm while dragging the tire. In addition topulling in an outside environment, a tire being draggedover different surfaces, like gravel, will provide moresounds to get used to.If you don’t have training shafts, you can use PVC

pipe to get your horse used to the feel of a shaft on itsside. Have an assistant hold it beside the horse, and walkalong with it at each gait. Get your horse used to the feelof your mock shafts pressing into its shoulder and sidesas it turns into them. Emphasize turning in your train-ing shafts, as this is where your horse will feel the restric-tion of the shafts on its sides and shoulder. Training shafts and tire can be combined along with

long lining. I expect my horses to be able to quietly longline at all gaits (including canter) in training shafts, whilepulling a tire, before I would consider hitching them.Take your time, and combine steps once each step is mas-tered. You can even work through cones or other obsta-cles at each of these steps.Seek help from those with experience, do not rush

anything, praise routinely and have fun! � AM

Jenni Johnson is the owner of JC Andalusians LLC inBarboursville, Va., where she breeds and trains Andalusiansand Lusitanos. The training focus at JC Andalusians is onyoung horses and driving. Johnson is the 2012 IALHA

Professional Horsewoman of theYear and is an active competitorin combined driving events.


DRIVING

Above: Get your horse used to thesound of a tire being dragged behind himby an assistant. Then progress to attach-ing the tire to a schooling single treeattached to the traces for your horse todrag.

If you don’t have a second assistant, it’s better to lead your horse at the head, while the

assistant you have pulls on the traces.

http://www.jcandalusians.com

Our contest in 2013 attracted many incredible artists,from high-profile professionals to new, yet-to-be discov-ered artists. The difficult selection process for the ShowCommittee and Board of Directors was guided by the needto choose a work that uniquely represents our breeds,shows well on the cover and on apparel, and grabs the heartof the viewer. “Frères d’Âmes” does that and more.


Soul Searching

This year, the winning artist is Elise Genest, a Canadianpainter and photographer from the Quebec City area,whose work is entirely devoted to horses. Her work,“Frères d’Âmes” (Soul Brothers), was selected to grace the2013 IALHA National Championship Show programcover as well as apparel, posters and other merchandise.Though Elise is only 29 years old, she has many years

of experience in the equine world, and her passion for thehorse provides a powerful stimulus for her to perfect hertechniques as an artist. She grew up in a family of artists,became involved in raising horses at an early age, andquickly learned some of their secrets. Her ability to shareher enthusiasm with other horse lovers is evident in thebeautiful calendars and prints for which she is known. Since 2005, Elise has exhibited her work at major

equestrian events in Canada and the United States. Elisewill win a free booth at the 2013 IALHA NationalChampionship Horse Show, and a print of “Frèresd’Âmes” will be displayed in the Silent Auction at theNationals. The subjects for “Frères d’Âmes” are Cruzerioand Zairo, Lusitanos from Interago Lusitanos, now atTreasure Coast Dressage in Florida. The art method ismixed media on canvas, 36 x 48 inches.

By Kay Laake and Nancy Holman

If you’ve visited the IALHA website or Facebook page recently, youlikely have been awed by the images of Andalusians and Lusitanossubmitted by global artists for the 2013 IALHA Equine Art Contest.

“Frères d’Âmes” mixed media by Elise Genest

“Flying Changes” by Lisa Harding

Art contest entries celebrate the essence of the horse

This year’s art contest featured photography, acrylic,mixed media, watercolor, graphite, oil, sculpture andother media from artists in the United States, Canada,France and Netherlands. Be sure to visit www.IALHA.orgto see all 50 entries, and to visit the artists’ websites. Someof their works also can be found in the Art Auction sec-tion of IALHA Classified section. A true passion for the horse is a common thread

among the artists, whether they are Andalusian/Lusitanoowners or only admirers. Marti Adrian, inspired by herown Andalusian, submitted a print of her bronze sculp-ture, “El Andaluz,” and says she hopes her love of natureand all living things comes through in her art, so that it“touches the hearts of others of like mind.”Amy Larson sums up the sentiment of these artists,

when she describes her work, “Trilogy.” “I began on the left with a planned image representing

the history of equestrian artistry and followed with a sec-ond image that arrived completely from the fires of myown appreciative imagination,” Larson says. “The thirdimage in Trilogy defied my intention for drama andbecame instead, a quiet study of my sweet and gentleAndalusian mare. The finished piece is a trilogy of honor,admiration and celebration for this very inspiring andmagnificent creature.” � AM


“El Andaluz” bronze sculpture by Marti Adrian

“Light in the Dark” by Debra Colleen Arney

“Tornado XXXVIII” photograph by Terri Cage

“Kabileño” by 2012 winning artist, Frédérique Lavergne“Flamenco” acrylic by Paula Collewijn

“Trilogy” graphite by Amy Larson

CASCAIS, PORTUGAL 2009Male ChampionSire Champion

Champion of Champions2 Gold Medals in the National

Championship

2011 2011 IALHA NATIONAL CHAMPIONSHIP HORSE SHOW & CHARITY

National Champion Lusitano Stallions 6 Years and Over

2012 IALHA NATIONAL CHAMPIONSHIP AND FOUNDATION CELEBRATION

Reserve Champion and BESReserve Champion and BEST MOVEMENT AWARD Lusitano Stallions 6 Years and Over

NATIONAL CHAMPIONSHIPPORTUGAL 2004

First Place and Gold Medal Class 3 Years

GOLEGA CHAMPIONSHIP 2005First Place and Gold Medal Class 4 Years

Unanime Da Broa

Unanime Da BroaA Veiga-bred stallion from Portugal, Unanime is the only Recommended Stallion (APSL Reprodutor Recomendado) in the United States of America. There are very few worldwide. He has offspring in France, Spain, Portugal, Mexico and the U.S.A.

Unanime is one of the world s most important Lusitano stallions, not only for the many international titles he has earned, but also because of his prepotency as a breeding stallion, invariably passing on his strength, conformation and beauty. His offspring Distinto DC was awarded with a Gold Medal at the Feria Nacional do Cavalo Golegá, Portugal 2012.

IALHA Best Lusitano Breeder, U.S.A.for two consecutive years:

2011-2012

Unanime’s o spring Distinto DCGold Medal Feria National do Cavalo

Golega Portugal 2012

http://www.harasdoscavaleiros.com

EQUESTRIAN CENTER TRAINING BOARDING SALE STALLIONS AT STUD YOUNG STOCK TEST DRIVE26427 Peden Road Magnolia,Texas 77355Tel. 281 259 4861 / 710 8932

www.harasdoscavaleiros.comwww.harasdc.us

Email: [email protected]@harasdc.us

X-Perto DCVIII CHAMPIONSHIP OF THE

LUSITANO HORSE IN MÉXICO 2004:First Place, Gold Medal Colts 1 Year

Young Champion National Champion

Champion of the Breed Champion of the Breed

IX CHAMPIONSHIP OF THE LUSITANO HORSE IN MÉXICO 2006:

National ChampionBest Horse Born in Mexico

Male Champion

PIN OAK U.S.A 2011:Champion of MorphologyChampion of MorphologySport Horse Champion

Champion in Dressage Sport Horse in Hand

Donatello DCIALHA National Champion 2012

Lusitano Saddle Geldings and BEST MOVEMENT MEDAL

Cristal DC2012 IALHA National Reserve Champion Lusitano Stallions 4 & 5 Year Olds and

BEST MOVEMENT MEDAL The Pin Oak Charity Horse Show 2012

First Place Dressage Sport Horse Breeding and Stallions 4 & Older Breeding and Stallions 4 & Older

Diablo DCIALHA NATIONAL CHAMPIONSHIP HORSE

SHOW & CHARITY 2011National Reserve Champion Lusitano

Stallions 4 and 5 Year Olds

The Pin Oak Charity Horse Show 2012 WWorking Equitation Champion

2012 IALHA NATIONAL CHAMPIONSHIP AND FOUNDATION CELEBRATIONWorking Equitation Champion

Gabacho DCThe Pin Oak Charity Horse Show 2012

First Place Dressage Sport Horse Breeding and Colts 3 & Under

First Place Specialty Yearling Colts Futurity

http://www.harasdc.us.com



However, military technology advanced, andarmoured warriors on horseback became obsolete. And,after a few tragic jousting accidents in which members ofthe nobility were severely injured or killed, competitivejousting tournaments faded into obscurity.

Today, most people are familiar with the choreographedor theatrical jousting seen in the movies or at renaissancefairs: performances in which men in fanciful armourcharge at one another with lances; knock each other offtheir horses; and continue the combat on foot, usually with


The Iberian Horse in Competitive Jousting

BY ZHI ZHU (AKA JAN)

Jousting is one of the oldest equestrian sports in the world (horse racing generally is believed to bethe oldest). In medieval and renaissance Europe, jousting tournaments were the most popular sport-ing events around. Knights who did well in tournaments were given the same kind of adoration thatsuccessful football and basketball players are given today.

big clanging swords and lots of fake blood. Choreographedjousting certainly requires a great deal of skill and training,but it is not the same as the sport of contemporary com-petitive jousting, which is making a renaissance (punintended) in the world of equestrian martial arts. Although the term jousting has come to refer specifi-

cally to two people on horses cantering toward eachother with lances, jousting originally referred to a varietyof mounted exercises used to train knights for battle.These exercises eventually evolved into a spectator sport,and the jousting tournament became a popular form ofentertainment. What most people now call “jousting”originally was referred to as “tilting,” since the dividerbetween the two lanes down which the horses canteredwas called a “tilt.” All jousting tournaments included tilting, but most

also included other forms of equestrian martial arts suchas mounted skill at arms (MSA) and mounted melee. Ittook a special horse with specific training to be competi-tive in the different aspects of a jousting tournament.The horse used by knights in medieval and renaissance

times, both in battle and in the sport of jousting, was fre-quently referred to as a “destrier.” A destrier was not a spe-cific breed of horse, but rather a certain type of horse –one with solid bones, strong muscles and the intelligenceand agility to perform the types of movements requiredin the various forms of equestrian martial arts.

Unfortunately, historical sources can be vague, confus-ing and, sometimes, flat out contradictory, so the exactnature of destriers is still a subject for debate. Baroquebreeds such as the Andalusian, Lusitano and the variouscrosses of these breeds are very much the type of horsethat could have been considered a destrier. Many contemporary jousters concerned with histori-

cal accuracy choose to use Iberian horses as their joustingmounts, because they believe the horse to be the closestmodern equivalent to the type of war horse actually usedby knights. Others choose to use Spanish and Portuguesehorses, because their intelligence, agility and athleticismmake them particularly well suited for certain aspects ofcontemporary competitive jousting, particularly mount-ed skill at arms (MSA) and mounted melee. The sport of competitive jousting has been growing in

popularity around the world. While many different typesand breeds of horses are used in contemporary competi-tive jousting, Andalusian and Lusitano horses are popu-lar with European jousters, and a growing number ofNorth American and Australian jousters are beginning toappreciate the qualities that Iberian horses can bring tothe new/old extreme sport of jousting.

Training a horse to joustMUCH LIKE ANY OTHER equestrian sport, one

must start with the basics. Although some jousting hors-es originally are trained in Western or other styles of rid-ing, most U.S. jousters and nearly all internationaljousters prefer their jousting horses to have a solid foun-dation in classical dressage. Classical dressage originallywas developed as a way to train horses for mounted com-bat, so it is an excellent basis on which to build the skillsused in jousting tournaments.Before any horse can be trained and used for jousting,

two things must occur. First, the horse must be well trained– enough to walk, trot, canter, turn, stop and back up withlittle to no effort. If he can do these things in a controlled,collected manner, and is capable of and trained to do moreadvanced dressage movements, then that’s even better. Second, jousters must be skilled enough to cue the horse

to do all these things using one hand on the reins, their seatand their legs without having to think about it. Riding thehorse must require almost no concentration from thejouster, in order to allow the jouster to concentrate on con-trolling and targeting the lance, the sword, the spear, etc.

Clockwise from opposite page top left:

Opposite Page Top Left: Andreas Wenzel on Sigismund

Opposite Page Middle: Virginia Hankins and Casanova

Left: Alix Van Zijl on Torero Andreas; Wenzel on Sigismund

Opposite Page Bottom: Andreas Wenzel on Sigismund; PetterEllingsen on Talento

Opposite Page Far Left, Bottom: Alix Van Zijl on Talento


Joust training has a number of different steps,and different people will complete these steps indifferent orders, depending on the rider, the horseand what seems best at any given time. Althoughthe following steps are presented in a certainorder, they do not have to be carried out exactly inthis order.

Mounted skill at arms (MSA)JUST LIKE IN MEDIEVAL and renaissance

times, the first thing modern jousters and joust-ing horses usually learn are the exercises referredto as mounted skill at arms (MSA). A wide varietyof these skills exist, sometimes with variations on thesame skill. They are first practiced at the walk, then thetrot, and then the canter. Some of the more commonMSA exercises are:• The Cut and Thrust: using a sword to chop in halfand/or skewer some form of fruit or vegetable (cab-bages are a popular choice) balanced on top of a post

• The Spear Throw: throwing a short spear or javelinat a target (sometimes something representing adeer or other animal, and sometimes concentric cir-cles placed on a bale of hay)

• Tent-Pegging: using a long spear to pop tent pegs (orsomething representing tent pegs) from the ground

• Pig-Sticking: using a long spear to impale and rideoff with a small faux “pig” (obviously, real pigs arenot used today)

• Tilting at Rings: guiding a lance (or sometimes aspear) through a series of loosely hung rings andcarrying them off; sometimes the rings get progres-sively smaller down the length of the course

• Tilting Against the Quintain: guiding a lance to hitthe target on the quintain to make it spin; the morespins the better.

Since armour is not usually worn during MSA compe-titions, the only two things the horse must learn at thispoint are: first, to ignore the various weapons and equip-ment used in MSA, and second, to cope with the chang-ing body positions of the rider as the jouster swings asword, throws a javelin, thrusts with a spear or aims andstrikes with a lance. Unless a horse is extremely spooky, a general desensi-

tization process will serve to train them to ignore the var-ious weapons. However, some horses, especially highlytrained or very sensitive horses, may have trouble under-standing the difference between the jouster’s movementsas he attempts the various skills, and the movementsused to cue changes in speed or direction. As with any equestrian skill, it is best for an inexperi-

enced jouster to learn to joust on an experienced joustinghorse. However, since this is not always possible, it isimportant for the novice jouster to remember that themovements, even those of which he is not consciously

aware, are serving as cues for the horse. If the horse keepschanging speed or going in unexpected directions, thehorse may not be trying to avoid the equipment; it maybe that he is simply trying to obey what he believes arecues given to him by the jouster. Of course, it also may bethat the horse still is nervous about the jousting equip-ment, and more desensitization is needed. In competitions, the MSA can be run as “individual

skills,” or a “combined course.” MSA – individual skillsmeans jousters compete in one skill at a time. Aftereveryone is finished competing in that skill, the next skillis run. MSA – combined course means that a variety ofskills are tested in one run. MSA – combined course maylook similar to a working equitation course. Although, inMSA, the skills are related to equestrian martial arts,rather than to cattle working traditions. One final skill frequently used in training, but not

often seen in MSA competitions, is tilting against theshock quintain. Unlike the regular quintain, the shockquintain can vary greatly in design, and it does not spineasily. In fact, it usually does not spin at all. It is weightedto the ground or uses strong springs to provide resistanceagainst being knocked over. The shock quintain is used totrain jousters and their horses to withstand the shock ofhitting the opposing rider with their lances. After all, theforce of the hit goes both directions to some extent(though that varies, depending on the style of lance used). After mastering a variety of MSA skills, especially tilt-

ing against the quintain and/or the shock quintain, thenovice jouster and horse should be ready to learn how totilt against another jouster.

Tilting against another jousterUNLIKE MSA, tilting against another jouster always

requires armour, so the first thing the horse must learn isto accept the noise and weight of a jouster wearingarmour, as well as how it changes the way a rider moves.Although a properly fitted set of armour does not changethe way a person moves very much, even the best armourstill affects a jouster’s balance and movement to someextent. Some horses don’t seem to be bothered byarmour at all; others are terrified of it and require a lot ofwork to become desensitized.


JOUSTING

Andreas Wenzel on Sigismund; Joram Van Essen on Zogo; Alix Van Zijl onTalento; Arne Koets on Maximillian

- -

http://www.laubela.com


The next thing a jousting horse mustlearn is to wait patiently at one end of thetilt, until cued, and then to canter downthe length of the tilt and to halt at theother end. This may not sound difficult,but some horses get excited and will wantto run down the tilt lane as soon as theysee it. Other horses may not want to stopat the end. Many in the sport have heardabout the jouster who tried to train aneventing horse named Duchess to tilt, butgave it up as a bad idea when Duchess kepttrying to jump the fence at the end of thetilt yard.Learning to face the opposing horse also

can be difficult for some horses. Certainhorses, usually nervous or submissive hors-es, are scared by the opposing horse andrider and are unwilling to face them in thetilt, no matter what. However, most horsescan be taught to ignore the oncoming horseby starting both horses at the walk, andthen slowly working up to a canter. And,some horses that seem to relish the chanceto face down the opposing horse.In Texas, a jousting mare named Plum

would famously pin her ears, snake herneck and even snap at the opposing horsesas she passed them. She made more thanone horse shy away at the most inoppor-tune moment, distracting its rider andcausing the lance to go off target. Plum wasan unregistered horse whose exact breedingwas unknown, but she was a great horse onwhich novice jousters could learn to tilt. Because of their extreme sensitivity,

Iberian horses are not always the best hors-es on which novice jousters should tilt.According to international jouster andtournament organizer, Arne Koets, “Themore talented the horse, the more confi-dence and skill the rider needs, yet the fur-ther the horse will bring him.”A sensitive horse that will do quite well

with an experienced jouster may balk whenridden by an inexperienced jouster. This isnot necessarily a reflection of the novicejouster’s riding skill, but, quite likely, areflection of the novice jouster’s emotions.Tilting is an extremely dangerous sport, andit is quite natural for an inexperienced (oreven an experienced) jouster to be nervouswhen facing another jouster in the tilt, espe-cially during a tournament. Horses as sensi-tive as are many Iberian horses, may pick upon that nervousness and become nervous.


JOUSTING JOUSTING TERMSTilt: the barrier between the two opposing jousters. It can be a solid fence, a wooden rail,

a length of fabric or even a simple rope.

Counter Tilt: a barrier, usually shorter in height than the tilt that defines the outside edgeof the lane down which the jousters will canter. It can be a wooden rail or a simplerope. Not every tilt yard includes a counter tilt.

Tilt Yard: the area where the tilt is set up.

Tilting: the original term for what now is referred to generally as jousting.

Lyst Field or Lysts: the arena or designated area where the jousting tournament takesplace. The lyst field includes not just the tilt tard, but also the areas for mountedmelee, mounted skill at arms and/or any other activity included in the tournament.

Tenan: the jouster considered to be defending the field in a series of jousting passes.

Venan: the jouster considered to be challenging the defender of the field in a series ofjousting passes.

Chamfron: armour for protecting the horse’s face. It can be made of leather or metal.

Caparison: the fancy cloth that covers the horse during tournaments. It usually displaysthe jouster’s colors and, sometimes, their coat of arms. It does not provide any protec-tion; it is purely to help identify the jousters.

Ecranche: a small wooden shield strapped onto a jouster’s left shoulder. Ecranches werecommon jousting targets used from the late-14th century to the early-16th century,and usually were painted with the jouster’s heraldry.

Grand Guard: a small metal shield bolted onto the jouster’s left shoulder. It may besmooth or have a series of raised grids, and was a common jousting target used in themid- to late-16th century.

Coronel: the shaped cap (frequently crown shaped) that is placed on the tip of the lance.Coronels come in a variety of shapes and materials.

Vamplate: the flared round metal “shield” that sits on the base of the lance, just in front ofthe jouster’s hand. Some lances include vamplates, and some do not.

Mounted Melee: any of a variety of forms of mounted combat performed as a sportingcompetition, rather than an actual battle. There are team melees and individualmelees (every participant versus every other participant), timed melees, eliminationmelees and crest melees.

Mounted Skill at Arms (MSA): a variety of skills used to train for mounted combat. MSAmay include tilting at rings, cut and thrust, thrown spear, tilting against the quintain,pig-sticking, tent-pegging and other tests of skill.

MSA – Individual Skills: a competition in which each skill is performed individually.

MSA – Combined Course: a competition in which a number of different skills are com-bined into one run. An MSA – combined course is similar to a working equitationcourse.

Quintain: an apparatus with a small shield or target set at approximately the height torepresent an opposing jouster’s shield. The target is on one end of a spinning plankthat has a weighted bag on the other end. The Quintain is used to practice controllingthe lance, so that you can hit the tip of the lance against a small target.

Shock Quintain: a shield or target heavily weighted or attached to the ground with springsin such a way that is difficult to knock over. It is used to train both rider and horse towithstand the shock of hitting the opposing rider with the lance.

King of Arms: the main referee for the tournament.

Lady of Honour: the one who assures everyone behaves with chivalry/good sportsman-ship. Her duties and amount of authority may vary from tournament to tournament,and some tournaments do not have a Lady of Honour.

Line Judges: referees that help the King of Arms with scoring and assuring all the safetyrules are followed.

Ground Crew: the absolutely essential personnel who set up and take down the tilt andother equipment; who hand lances to the jousters during the tournament; remove bro-ken lance pieces from the tilt yard; and who generally assure everything that needs tohappen actually happens.

Squires: people who help specific jousters with their armour and equipment during a tour-nament. They frequently also act as ground crew.


One reason for jousters to be nervous isthat in tilting, unlike almost any other sport,there is no defense. Jousters are expected topresent their shields and themselves in the waythat makes it easiest for them to be struck. Ajouster who dodges the opponent’s lance orwho fails to present the shield properly may bepenalized or even disqualified from a tourna-ment. Learning to “present” properly is asimportant a part of learning to tilt as learningto hit your opponent with your lance. For the jousting horse, one of the most dif-

ficult things can be learning to ignore the sen-sation of its rider getting hit with the lance.During early training, many horses will stopor run out, either in confusion or in anattempt to get back underneath the riderswho suddenly have become unbalanced. Theonly way to train both rider and horse toaccept getting hit is to allow a trusted oppo-nent to hit them again and again. It is impos-sible to practice tilting without an opponent,and, frequently, the person a jouster is prac-ticing with one day will be the same jouster hefaces in competition the day after.Tilting is, in a sense, a team sport – not just in regard to

the teamwork required of horse and rider, but alsobecause opposing jousters must, to a certain degree, worktogether in order for the competition to work. If onejouster takes off down the tilt before the other jouster isready, it does not give one jouster the advantage, it simplymeans that the pass has to be re-run. The two opposingjousters must work together to get the timing of the passcorrect. Also, as mentioned previously, each jouster mustpresent the best target possible to his opponent. In jousting, chivalry is not just an abstract concept; it is

a necessary part of the sport. Because tilting and mountedmelee are such dangerous activi-ties, it is vitally important thatcompeting jousters trust oneanother to be as concerned fortheir opponents’ safety as fortheir own.

The mounted meleeWHILE MANY PEOPLE

consider tilting to be the mostexciting part of a jousting tour-nament, others prefer watchingthe mounted melee, because ofthe high degree of skill – of bothrider and horse – that can bedemonstrated. During themounted melee, the higher leveldressage skills are most useful.Horses capable of these skills,

such as Andalusians and Lusitanos, can really show offtheir intelligence, athleticism and agility. In mounted melee, riders use some form of sword-like

weapon to strike other riders anywhere on their bodies fromthe waist, up. Various weapons can be used in mountedmelee, including actual blunted steel swords, carved wood-en batons, lightly padded rattan sticks, or “whack-bonks” (apiece of PVC pipe covered with a piece of a pool noodle).Though not often seen in serious competition, whack-bonks frequently are used when practicing for melee. Part of training a horse for melee is desensitizing him

to having the sword-like weapon of choice swung aroundhim. The desensitization process also can include rub-bing the weapon against the horse and even lightly tap-ping him with it. During the actual melee, hitting thehorse is, of course, absolutely forbidden and will result insevere penalties against the rider who does so.The other part of training a horse for melee is getting

him used to moving in and around other horses in a“combat” situation. This is where intelligence, athleticismand agility combined with higher level dressage skills real-ly can be useful. Riding a horse that is capable of collec-tion, lateral work, turns on the forehand, turns on thehaunches, and that is sensitive to his rider’s every movemakes it much easier to attack and evade other riders. Once, during a melee practice, an Andalusian/Lusitano

cross named Shadowfax wound up inside a group of cir-cling combatants. Although he had never been trainedbeyond second-level dressage, he performed a lovely con-trolled and collected three-quarter canter pirouette beforebreaking out of the center of the circle.


JOUSTING COMPETITIVE JOUSTINGRESOURCES• The Jousting Life: a website that includes news, photos, videos and other

information about the new/old sport of competitive jousting. It also includeslists of competitive jousting tournaments and jousting troupes, as well asmany other useful links. www.TheJoustingLife.com

• The International Jousting League (IJL): the oldest and largest contemporarycompetitive jousting league. The IJL encompasses all of the more popularequestrian martial arts, including tilting, MSA, mounted melee and mountedarchery. users.skynet.be/hackamores/IJL/IJL.htm

• The International Jousting Association – USA (IJA-USA) www.ija-usa.com/index.html

• The International Jousting Association – Canada (IJA-Canada)www.cricketlane.ca/joust-canada/index.html

• The Society for Creative Anachronism (SCA): some, but not all, branches ofthe SCA, a historic re-enactment group, include competitive jousting amongtheir activities. www.sca.org

• A’Plaisance LTD: a company that produces competitive jousting tournamentsand demonstrations. www.APlaisance.com

• WorldJoust Tournaments: a company that produces competitive joustingtournaments and demonstrations. www.WorldJoust.com

• “Jousting in Medieval and Renaissance Iberia” by Noel Fallows: a modernbook containing translations of historic texts about jousting.

Andreas Wenzel on Sigismund

Admittedly, his rider, Douglas Wagner, had beentrained in higher level dressage, and Shadowfax probablycould not have performed such an advanced move with-out guidance from his rider. Nevertheless, while watch-ing mounted melees, it is fascinating to see dressagemovements that seem rather abstract when performedduring a dressage test take on practical meaning whenperformed during mounted combat. International jouster Douglas Wagner describes his

experiences riding Shadowfax: “Riding Shadowfax in thehunt [fox hunting] and the joust, partic-ularly in the melee, was great fun. He cer-tainly possesses strength and talent, butalso needs firm direction. Shadow’s ener-gy is a bit like a compressed spring, withready power just on the verge of gettingaway from you. With attention, consis-tency, and by keeping him focused, hisrider can use that power in very athleticways. Initially, he was insecure and scat-tered. However, once convinced that Iwas serious about my cues, he proved tobe a great mount. In the melee, I found Iwas able get where I wanted, how I want-ed, making for excellent approaches andescapes.” A number of different styles of mounted

melee exist. With individual melees, eachcompetitor versus every other competitor;and with team melees, teams of jousterswork together to overcome the opposingteam. During timed melees, the melee willcontinue for a predetermined amount oftime, and then judges will determine whowon. With elimination melees, competitorsare on their honour to remove themselvesfrom combat after receiving a certain num-ber and/or type of blows. Another form of elimination melee is

the crest melee. In a crest melee, eachcompetitor attaches a crest to the top ofhis helm. The crests can be elaboratepapier mâché creations representing thejouster’s coat of arms or something assimple as a balloon. The goal is to useyour weapon to knock the opponents’crests off of their heads (or burst theirballoons). The last team or individualjouster who still has a crest on his helm isthe winner. All the jousters who helped provide

information for this article seem toagree that the mounted melee is wherethe difference between riding an Iberianhorse and any other kind of horse ismost obvious. In describing the experi-

ence of riding an Iberian horse in melee, they havemade statements like:“I have used [Solo, a PRE x Arab gelding] as a melee

horse in training, which was an exquisite pleasure. Heoffers lead changes like Sigismund (a PRE stallion), but willalso do a canter pirouette like it’s super-easy.”

– International jouster, Andreas Wenzel

“...but for the mounted skill at arms (especially when in acombined course) and particularly the melee, [Iberian


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horses] are just way better. We did a training on theweekend with only Iberian horses plus one murgese.It was amazing what even the slightly less experi-enced riders managed: canter pirouettes, leadchanges, repulons, all just in a day’s work – inarmour, one handed, in a fight – with six horses orso in the heap.”

– International jouster and tournament organizer, Arne Koets

International jouster Wouter Nicolai has beenriding his PRE stallion, Flamenco, in joustingtournaments for eight seasons. When asked whyIberian horses are a good choice for jousters, heresponded, “The PRE and other baroque horses descendfrom horses that were bred for warfare, which meansthey are, in a way, ‘built for combat.’ This especiallyreveals itself in the melee, where an Andalusian (andother baroque breeds) will often be superior to anymore modern breed. Although training is still the mostimportant for any horse and rider, the potential of mostbaroque horses is, in my opinion, far greater than anymodern breed.”

Of course, not all horses – not even all Iberian horses– have what it takes to make a good jousting horse.

What makes a good jousting horse? A GOOD JOUSTING HORSE must be healthy, ath-

letic, brave and willing. Almost any horse can be trained to compete in MSA –

individual skills. A good horse is one that is not bothered bythe equipment used in MSA and understands that not all ofits rider’s movements are riding cues. MSA – combined


MaximillianMaximillian is a 7-year-old, 15.3-hand,

Andalusian gelding, owned and ridden byinternational jouster and tournament organizerArne Koets. They have competed in about 30tournaments across three countries, includingtheir home country of Germany. They have wonor placed in a number of these tournaments.They came in second overall in “The GrandTournament of Sankt Wendel.” They would have

come in first, but Arne persuaded the judges to give some of his points to ajouster he had injured accidentally during the tournament, which placed theinjured jouster in the lead.

“My horse is called Maximilian,” says Koets. “I ride him up to twice a day, atleast six days a week. I have only had him since August 2011. We spent a lot oftime making a bond. Grooming, and riding of course, but also just hanging out,cuddling, doing exercises on the ground, playing with a large ball, etc. Whentraveling, he really looks for me for company. Max can be belligerent at times,and has a strong will, but he has become a reliable steed as his performancesin Denmark, England and Germany have shown. That he is now capable ofdoing pirouettes and lead changes makes him a joy to ride in the melee.”

Casanova Casanova is a 12-year-old, 16-hand, Azteca

gelding, owned and ridden by Virginia Hankins.They have been jousting in the SCA for sevenyears, and have also done a number ofdemonstrations and re-enactments for variousrenaissance fairs and in the live action stuntindustry. They currently reside in California.

“Casanova, my 16-hand coal black Azteca, isa stunning example of the breed,” says Hankins.

“The day I first saw him was just like an industry picture – a beautiful proudanimal overlooking a herd on a hill bathed in sunlight. I call him my lucky starbecause his purchase date was July 7, 2007 – or 7/7/07 – and he has takenme to incredible adventures and experiences that I am truly blessed topartner with him on. Literally anything I have ever thrown at him he has gonein with a fun-loving and kind attitude.”

ToreroTorero is a 6-year-old, 16-hand,

Andalusian stallion owned and ridden byinternational jouster Alix van Zijl andvarious other jousters, including BertusBrokamp. He has competed in about 15tournaments in their home country of theNetherlands and in Germany, including theprestigious “Grand Tournament of Sankt Wendel.”

“The horse I ride is a 6-year-old Andalusian stallion called Torero,” says vanZijl. “I bought him a couple of years ago in Spain. He is a very willing horse,and very sensitive, which makes him a charm to ride in the melee. You justhave to think what you want, and he’ll do it for you. In the joust, he goesstraight as an arrow and as fast as well.”

TalentoTalento is Torero’s half-brother. He is also a 6-year-

old Andalusian stallion owned and ridden byinternational jouster Alix van Zijl and, occasionally,other jousters. Talento is a bit shorter than Torero at15.1 hands. Talento also made the journey from theirhome in the Netherlands to Germany to compete in“The Grand Tournament of Sankt Wendel,” where hewas ridden by international jouster, Petter Ellingsen.

SOME IBERIAN JOUSTING HORSES:

JOUSTING

Alix Van Zijl on Talento

course is a bit more difficult, and may require a more intel-ligent and athletic horse in order to do well in competition.However, it is in training for the tilt and the mountedmelee, during which most horses have problems. One of the first things that should be done when decid-

ing on whether to train a horse to tilt or compete inmounted melee is to see how it reacts to another horse can-tering toward it. The easiest way to do this is to ride twohorses in a circle in opposite directions. Start at a walk or atrot, and then increase to a canter. At first, the inside horseshould stay well inside the circle the outer horse is making.Then, the riders gradually can shift the two horses as closeto each other as possible, without risking the riders bump-ing knees. Depending on how adventurous the riders arefeeling, they can try directing their horses, so that the insidehorse and outside horse switch positions after each pass. If the horse is comfortable with having another horse

canter past it at close range, then it will probably do wellwith facing another horse in the tilt. If the horse is obvi-ously scared when another horse canters towards it, andcontinues to react with fear even after several attempts,then it might not be temperamentally suited for jousting. According to well-known international jouster and

tournament organizer, Arne Koets, who owns both an

Andalusian and a Lusitano and who has ridden a varietyof jousting horse in MSA, the tilt and mounted melee:“A draft horse is like a pick-up truck to joust on. AnAndalusian is like a Mercedes.�A Lusitano is like aLamborghini.”

ConclusionCONTEMPORARY competitive jousting is a growing

sport, one in which Iberian horses could do very well. Asin other equestrian sports, competitors are not separatedby gender. Both male and female jousters competeagainst each other in tournament. Although currentlythere are more male jousters than female, the number offemale jousters is growing. In fact, one of the most activeand highest ranked jousters in the International JoustingLeague is international jouster Sarah Hay, who was the2012 Australian National Jousting Champion. Although jousting can be a lot of fun, and almost anyone

can learn to compete in MSA, tilting and mounted meleeare extremely dangerous equestrian martial arts. If you wishto learn how to joust, find an experienced jouster to teachyou. You can find out more about competitive jousting andwhere you can learn how to participate in the sport from thesidebar, “Competitive Jousting Resources,” p. 32. � AM


“Talento likes to be ‘ridden,’ which means a lot of contact on the legs,” saysvan Zijl. “No legs...no obedient horse, just a horse that goes where he wants.Legs on, and you have the safest, most obedient horse ever. He was ridden byPetter Ellingsen during “The Grand Tournament of Sankt Wendel,” and Petterreally liked Talento. You can stop him in a run, walk backward to the start ofthe tilt and do it again.”

ShadowfaxShadowfax is an 11-year-old, 17-hand,

Andalusian/Lusitano gelding owned by JanHutchinson and ridden by her husband,jouster Ryan Saathoff, as well asinternational jousters Theresa Wendland,Douglas Wagner and Luke Binks. Shadowfaxoriginally was trained in dressage and is stillfairly new to the sport of jousting. He has onlycompeted in a few tournaments and

performed in demonstrations in his home state of Texas. “Shadow’s natural athleticism and lightness to the aids makes him a great

candidate for the Equestrian Martial Arts,” says Saathoff. “Because he is soathletic, it’s easy to forget that, in many respects, he is still a rather greenhorse, and I have to be careful to not overwhelm him by asking him for toomuch, too quickly. Recently, we’ve been concentrating on our dressage, notonly to improve his musculature and conditioning, but also to help improvehis confidence. Because of his high intelligence and sensitivity, he isimproving quickly, and we hope to return to the lysts very soon!”

FlamencoFlamenco is a 14-year-old, 15.3-hand, Andalusian stallion owned and

ridden by international jouster, Wouter Nicolai. Flamenco and Wouter havebeen jousting together for seven years and have participated in close to 400

jousts and melees in their home country ofthe Netherlands as well as in Belgium,France and Denmark.

“I bought Flamenco in 2006, my firstseason of jousting,” says Nicolai.“Flamenco is easy to handle on theground, he is patient and polite to peopleand other horses. When riding, he issensitive and eager to work and learn. He is also easily distracted, and getsannoyed if the rider makes a mistake. He is good, though not particularlykeen on jousting, but loves the melee, which is also what he is best at. Myown goals are to keep improving my skill and that of the horse to(unachievable) perfection and try to get as close as possible toexperiencing a 15th century tournament. Flamenco is, most of all, a veryreliable and steady jousting horse I can trust.”

SigismundSigismund is an Andalusian gelding,

owned and ridden by Arne Koets and alsoby international jouster, Andreas Wenzel.He was one of four Andalusians ridden in“The Grand Tournament of Sankt Wendel,”one of the most prestigious joustingtournaments in modern times.

“I have ridden Sigismund in the joustand melee at Sankt Wendel, and during some of the relevant trainingsessions,” says Wenzel. “We won the Squires’ Tournament together, whichinvolved achieving the highest aggregate score of all participants (104points) and winning all three [team] melees. We achieved, by far, thehighest score of any competitor in the melee, so he was the highest-scoringmelee horse in the lineup.”

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It took us a long time to figure outhow to approach this article. We foundour inspiration for this article in our amateurs.Our amateurs come to us for many differentreasons. Some come just to enjoy the ride, withno care in the world about winning. Some areall about the blue ribbon. Some say they wantone thing, but really want another. Regardless ofwhom you are or the reason you want to get tothe show ring, the truth is that you cannot putthe carriage before the horse.

By Howard and Erica Peet • Photos Courtesy of Peet Equestrian

DRIVING

Getting Your Driving Horseto the Show Ring

Above Top: Crucero II ESB practicing for show

Above: As De Copas J.M. showing

Lesson 1FORWARD MOVEMENT that develops impulsion

is the first goal of the driving horse, without exception.Impulsion is when the horse reaches farther under-neath itself without speeding up, allowing the horse toelevate its shoulder and create a frame to work within.So, how do we create this magic moment in our drivinghorses?The horse must learn to pull into the traces and keep

contact through them from the breast collar to the whif-fletree, without resistance from the cart or the driver. Ifyour cart is too heavy for the horse, it will cause thehorse to lunge into the harness and teach the horse tostay off of the pressure, causing your horse to stay off ofthe traces. Another way to ruin impulsion is if the driveris too heavy handed and causes a jerking motion whenthe horse walks into the traces. This is bad, and mostbeginning drivers do this. The driving horse must learnto pull and relax. Therefore, developing confidence iskey to making a solid driving horse.The driver must take full responsibility for all of the

equipment and for everything that happens to the horse,without exception. Driving is different from saddle work.In saddle work, you fall off and you get back on. Not sofor the driving horse; accidents are not pretty.It also is important to be aware of your equitation

while you drive. The driver should have one leg bracedforward so that, in case of a 60-to-zero halt, you do notgo flying over your cart. Keep your back straight andhead up, always looking ahead. We drive mostly fromour elbows. In order to do so, you must learn to slide upand down the rein efficiently to keep the proper contactwith the horse. We define proper contact the way: The traces are not

loose, and the horse is pulling the cart forward withoutresistance from the driver. When we give lessons, mostof the time, we reach over and check the amount of con-tact in the lines. Usually, the contact is too heavy in thebeginning driver, due to fear. So, we make the driver

soften the contact, or we take the lines away from him,so the horse can “pull” and relax. Regardless of what your cues are, make them clear and

dependable. We say “Walk” to walk, and we “cluck” to trot.We adjust the strong trot to normal trot by saying “Easy.”We go from normal trot to walk by saying “Whoop walk.”We say “whoa” to stop. Our horses know what these cuesare, and we depend on them for a safe work environment.Now, it is time for you to work safely.

Lesson 2THE HORSE is your dance partner. Therefore, you

lead and it follows – not the other way around. You are incharge of the speed and direction of the horse at alltimes. Plain and simple – always. If you are not in charge,you are in danger of having an accident.Exercise 1 is to learn to allow your horse to pull the

cart and relax. The key to getting what you want withhorses is to be what youwant at all times. If youwant a relaxed horse, youmust be relaxed. This is whychoosing your teacher isimportant.

Lesson 3EXERCISE 2 is to walk a

circle without the horsestopping when you make anadjustment to keep thehorse on the circle, becausethe shoulder will drift andthe horse will want to overbend and not move itshooves in the direction youare bending its face.Keeping the horse’s spine

in alignment with how youwant to move its feet is


Desi crossing overLuna trotting circle and moving shoulder over

Luna working circle keeping wither between rein

important. So, we drive with a series of half halts that donot have time limits, in order to teach the horse what wewant. It does not matter to us if it takes 20 strides ofwhatever gait for the horse to do what we want. Whatmatters is just that the horse will let us lead and guide asits partner. If we want to guide the driving horse to the left, we

support with the right line. Support means that you donot counter-arc the horse or, more important, you donot inhibit the horse’s forward movement because oftoo much contact. Then, we half halt on the left line. Themore finished horse will simply allow you to guide itsshoulder to the left by stepping with its left leg to the left,and then following with its right front leg. Then allowthe horse to pull the cart forward and relax. The moreinexperienced driving horse will resist you, and proba-bly throw its head around in defiance. You must supportand ask without losing forward movement. It will taketime for you to have total control of the horse’s shoulder.Change your cues to work the other side.

Lesson 4WALK A SQUARE and halt in the corners. Your dri-

ving horse will learn many things from this exercise. Mostimportant to a show horse is to learn to give you a strong

trot while not get-ting heavy in thebridle, and to keepits shoulders inposition while trot-ting, in order to cre-ate rhythm at thetrot.Once you can

walk and halt andmove the shoulderat will, it is time to

engage your whip at the saddle. If the exercise was doneproperly, the horse will want to come back in the cornersof the square. Simply drive the horse forward with thewhip, and ask for engagement versus speed, while keep-ing the withers of the horse exactly between your handswithout a counter bend in the horse’s head. Every horsehas a less flexible side, so you will need to remember thisduring this exercise.

Lesson 5IT IS TIME TO WORK along the rail and ask your

horse for a stronger trot. Remember that muscle devel-opment is important. Horses are not machines, andmuscle is created with hard work. Don’t ask for too muchto start. We like to count rhythm in the horse by watch-ing the horse’s hoof land on the ground and count. Forinstance, I maywatch the left fronthoof. Every time itlands, I say “Now”in my mind. “Now,now, now.” And soon. We work forrhythm withoutasking too much ofthe horse in thebeginning.

Lesson 6ONCE YOU HAVE all the basics down, it’s time to

drive a class to perfection at home. Enter the work area ata walk, and walk along the rail to the left. We always startour driving horses off at the walk. One reason is to let thehorses learn to relax. But, it is more than that. In order towin your national title, you must walk when the judgecalls for you to walk.When we feel that the horse is warmed up at the

walk, we ask for a normal trot. We like our normal trotto be controlled and rhythmical. Then, we ask for thestrong trot, whereby the horse should elevate andengage more. We come back to the walk through thenormal trot. We practice the change of direction at the walk a lot.

We do not like tight little turns to change direction.Rather, we move the shoulder and walk forward, andso on, until we are walking a straight line across thearena.We work the right side at the trot, both normal and

strong. Then, we trot around the arena until the horse isrelaxed, and come in to the center of the arena and lineup and halt. We stand for quite a while if needed. Thehorse needs to stand focused, meaning it is not flippingits head around. Take your time here; patience is key.Back your horse four steps and walk forward back intoline. Repeat if needed. � AM


DRIVING

Desi trotting a square

Acertijo strong trot

Desi using half halts to control shoulder

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Name: El EspirituBreed: AndalusianSize: 16.3HColor: Heterozygous Gray (carries chestnut)Sire/Dam: Gaucho III x Legitima VStud Fee: For Sale – Standing at Stud Bio: Espiritu is a powerhouse FEI dressage

horse like his Grand Prix sire Gaucho. He has multiple Championships and hasshown PSG and is schooling Intermediaire 1; easy tempis, started piaffe &passage, power extended trot and awesome laterals. Excellent first cycleconception rates w/fresh and frozen semen.Owner: Jennifer Coyle Johnson of JC AndalusiansAddress: Barboursville, VA • www.JCAndalusians.comContact Info: 540.832.7631 • [email protected]

Name: SaphiroBreed: LusitanoSize: 15.3HColor: Cremello (eeAACrCrgg)Sire/Dam:Umbaba x EpocaStud Fee: $2,500 Lus./$2,000 And./$1,250 othersBio: Saphiro is solidly built w/substantial bone

and excellent type. He has huge overstep at the walk, strong topline, loftymovement and a rocking canter that’s a dream to ride. His profile is classicallybaroque and his temperament is exceptional! Saphiro is Agouti dominant colortested w/no gray.Owner: Jennifer Coyle Johnson of JC AndalusiansAddress: Barboursville, VA • www.JCAndalusians.comContact Info: 540.832.7631 • [email protected]

Name: Sonhador CDBreed: LusitanoSize: 16.0HColor: Buckskin (EE AA NCr)Sire/Dam:Nostradamus do Mirante x HeraldicaStud Fee: $1,500 Purebred / $1,000 CrossBio: Striking, rare Buckskin PSL. Sonhador is

Heterozygous for the creme gene - EE AA NCr. Classic conformation, winningmovement w/elegant neck. 2nd Level dressage w/work in Piaffe and Changes.Exceptionally kind temperament. Proven sire 33+ foals, crosses beautifully.Owner: Dominique C. PecorelliAddress: 911 Oak Lane, Escondido, CA 92029 • www.LusitanoGold.comContact Info: 619.890.7741 • [email protected]


Name: Verso Do Retiro Breed: LusitanoSize: 16.3HColor: BuckskinSire/Dam: Othelo Do Retiro x Harpa VStud Fee: $1,500 Lusitanos / $1,000 CrossBio: Verso is a tall, flashy athletic stallion.

Approved for breeding in Brazil, he was highly rated in his stallion testing, histwo babies are firmly stamped by Verso with buckskin coats and his wonderfulhead and neck. Following successful 2009 and 2010 seasons, Verso will competeagain in the 2011 show season PSG. He is easy to handle, a joy to ride with akind, playful temperament.Address: Santa Rosa Equestrian Center • www.srequestrian.comContact Info: 707.975.2097 • [email protected]

Name: Triunfador XXIVBreed: PRESize: 16.3HColor: Homozygous Black (EEaa)Sire/Dam: Hebreo XIX x Triunfadora XIVStud Fee: Private TreatyBio: Qualified, María Fernanda Escalera brand,

Champion of Sevilla, three-time SICAB Top 5, seven gold medals in Spain,offspring with 14 gold medals, only black qualified and only PRE in the U.S. with3 qualified offspring. “The best black PRE today, magnificent stud” - trofeocaballo. “Phenomenal movement” - el caballo español.Owner: Leonardo and María Mandina of Hacienda del SolAddress: 6730 69 Street, Vero Beach, FL 32967 • www.hds-andalusians.comContact Info: 772.770.1563 • [email protected]

Include your listing HERE!$135 per year (4 issues)

To include your stallion listing in eachissue of Andalusian

Email your information: Name of Horse/Breed/Size/Color/Sire x Dam/Stud Fees

A Bio (40-words or less of text), a print optimized image (300dpi) andyour preferred address and contact information

contact: Lisbeth Hencke – 757.410.5836 • [email protected]

Name: ZipilliBreed:AztecaSize: 15.3HColor:GraySire/Dam: Palmerin Jim (Andalusian) x

Maya (Azteca)Stud Fee: $1,500 Purebred / $800 Cross

Bio: Zipilli is an imported registered 3/4 PRE Azteca stallion in the Mexicanassociation for Azteca horse breeders (AMCCRA). Bred by the prestigiousDomecq Ranch, Zipilli carries Poseido lines and is a foundation stallion forAzteca breeders. Zipilli is an elegant horse with tremendous presence, wonderfultemperament and has great movement and extension. Frozen semen available.Owner: Israel Gutierrez of Hacienda LaubelaAddress: Rancho Cucamonga, CA 91739 • www.laubela.comContact Info: 951.662.3988 • [email protected]

Name: PortosBreed: AndalusianSize: 16.1+HColor: Bay Sire/Dam: Boreas BB x AmorosaStud Fee: $1,500 Purebred / $700 CrossBio: 2010 IALHA Region 1 Stallion of the year

3-year-old; 2010 IALHA Gold Medal Movement; Portos is an elegant baystallion with extraordinary movements, temper, and natural ability withbreathtaking extensions and flexibility allowing for extraordinary balance andcollection.Owner: Israel Gutierrez of Hacienda LaubelaAddress: Rancho Cucamonga, CA • www.laubela.comContact Info: 951.662.3988 • [email protected]

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Name: Pescador ESFBreed: Andalusian Size: 15.3HColor: GraySire/Dam: Silver Solamente x Jimena de la ParraStud Fee: $1,000 Purebred / $800 CrossBio: Magnificent, athletic, level-headed,

open & amateur dressage Champion. USDF All-Breeds Champion, 1st &2nd Level Open. Reserve Champion, 1st Level A/A. Showing 3rd,schooling 4th + Piaffe & Passage.Owner: Pamela and John PirkleAddress: Standing in Riverside, CA • www.RanchoElLucero.comContact Info: 714.402.7006 • [email protected]

trial is optional for many competitions, depending on thevenue and on whether team competition is offered.Working equitation is a relatively new sport based on

historical equestrian traditions. Competitions began inEurope in 1996 as a way to promote the traditions relatedto working cattle. The competitions highlight these skillsand showcase them as a modern equestrian art.Let’s look at each phase from a judge’s perspective:

DressageWORKING EQUITATION DRESSAGE represents the

skills the horse and rider use when working with cattle inthe field. Important elements include correct and puregaits, impulsion and submission, and rhythm and regulari-ty. Impulsion is the eager, yet controlled, energy of thehorse. Submission is the willingness of the horse to engageimpulsion and collection simultaneously and continuouslywhenever asked for it. All of these elements are importantin transitions between gaits. The correct execution of leadchanges and the accuracy of patterns are also consideredimportant. Dramatic extended trots are not included inworking equitation dressage because this gait is not usedwhen working with cows. The collective marks representan overview of the paces, impulsion, submission, and rider.The rider marks take into consideration the position andseat of the rider, the imperceptible use of the aids, and theconsistency of the performance.

Ease of HandlingTHEOBSTACLE COURSE represents a re-creation of

obstacles found in the field while working cattle. Judgeslook for all the same elements as in the dressage test, suchas submission, impulsion and collection, rhythm andregularly in all movements, as well as correct execution oflead changes and collected transitions throughout theobstacle course. The judge assesses a great deal of datasimultaneously and must accurately reflect the strengthsand weaknesses of the performance, obstacle by obstacle,

and from obstacle to obstacle. The collective marks arealso judged in this phase of competition.

SpeedTHE SPEEDPHASE is quite exciting! Some changes are

made to the obstacles. For instance, the gate is normallychanged from a panel gate to a rope suspended betweentwo panels. Riders choose the fastest way to make their waythrough the course because in this phase every secondcounts! Judging of the speed phase includes ensuring thatthe competitor has gone through the obstacles in the prop-er sequence, assessing penalties for refusals (or eliminatingcompetitors if they have more than three refusals at anyone obstacle), and confirming that the contestant has com-pleted each obstacle properly.

Cow TrialTHE COW TRIAL is a speed test worked as a team of

three or four riders. Each rider draws the number of thecow he or she will work. The cows are kept at one end of thearena beyond a line marked across the width of the arena.One team-member at a time works his or her cow by cross-ing over the line, separating the cow from the herd, and dri-ving it over the line. Once the cow is over the line, that samecompetitor and his/her team-members, who are notallowed to cross the line into the ‘containment zone’ drivethe cow to the far end of the arena as fast as possible into adesignated area. Once the cow enters the designated area,the rider has completed his or her individual part of theteam competition and the next rider competed. Some rid-ers choose to carry a garrocha (pole) during this phase.Judges watch to be sure that only the designated competi-tor crosses into the containment zone and that no addi-tional cattle cross the line along with the designated animalthat the competitor is working. � AM

Editor’s Note: The IALHA and USEF collaborated to provide partial scholarshipsto two judges to attend this judging seminar as well: Scholarship recipientsJudith Warner and Paula Kierkegaard both attended the seminar. Thank you,Haras Dos Cavaleiros and USEF for making this opportunity possible!


By Marilyn Hite, Manager, Sierra Nevada Lusitanos, and Carlos Carneiro, Trainer, Classical Equines

An overview of the International Judge Training Seminar, hosted by Haras Dos Cavaleiros

International Judge Training Seminar

We recently attended an excellent week-long seminar on working equitationjudging techniques at Haras Dos Cavaleiros in Magnolia, Texas. The seminar was givenby Dr. Claudia Elsner Matos, who represents the World Association for Working Equitation (WAWE)as judge instructor and also serves as a judge internationally. Dr. Matos tutored us through each ofthe phases: dressage, ease of handling, speed (a timed phase doing the obstacle course) and the cowtrial. All working equitation competitions include dressage, ease of handling, and speed. The cow

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Membership runs January 1 through December 31

http://www.ialha.org

| Submissions:

Here are photos of just a few of the great IALHA members promoting our breed this yearthrough the IALHA Ambassador Program. More than 12 grants have been awarded, thusfar, in 2013 to help provide materials and booth space at events across the regions. It is nottoo late to apply for a grant for this year or next. You’ll find an application, plus more pho-tos and stories, on the Ambassador page on IALHA.org. � AM


Adver t isersI n d e x t o

36-37 Adalid International, Inc.

42 Caballos del Corazón

19 C-MOR Cart Sales

42 Fhoenix Soft Tree Saddles

2-3, 42 G Andalusians

42 Glen Aryn Farm

42 Gloriosa Farms

29 Hacienda Laubela

9 Half Moon Dressage

C1, 5, Haras Dos Cavaleiros

24-25

21 JC Andalusians

42 La Tienda Española

42 Lyric Dressage

1, 7, 13, MC Horse Training

31, 43, C3

33 Moonbrook Farm Andalusians

42 Musa Lusitana

41 Rancho Godinez

C4 Rivera’s Andalusian Farm

C2 Rothrock Andalusians

11 Santa Rosa Equestrian Center

43 The Iberian Connection

43 There Be Dragons Farm

43 Twin Creeks Ranch

9 Viva Iberica

Where We

Have Been

Become part of theIALHA!

To learn about the different types ofmembership and the many perks of being a

member, visit:

www.IALHA.orgor

contact Debbie at Member Services:

phone: 860.586.7503, Ext. 554email: [email protected]

Become part of theIALHA!

Do you have a submission for Where We HaveBeen, highlighting interesting places you have beenwith your IALHA horse? For consideration in futureissues, send photos with brief information [email protected]. Please put Where We HaveBeen in the subject line.

Ambassador Crystal Harper at Horse3 inManitoba, CN, April 12-13

Photo from Ambassador Dana Nordin, from theSaskatchewan Equine Expo, Feb. 15-17

The IALHA Ambassador Booth at the Horse Expo 2013, Sacramento, CA

Ambassador, Michel Paulin, and group from Keberica, at Salon du Cheval, in Quebec, CN, May 10-12. Fromleft, Michel Paulin, Nathalie Nadege (Michel’s wife), Krystel and Gino (owners of Galento), and Galento.


http://www.riverasandalusianfarm.com

Documents

Andalusian magazine 2013 02