Hello again,
The pursuit for lightness continues. Today, another sunny January day, Cody took his first steps forward! Once again, stop and go was the key to his forward motion. He loves 'whoa' and, for the first time, went forward in a long walk with light calf presure. Zigs is still plagued with some unknown affliction, but next Friday he sees a chiropractor. Even under an actual saddle he stayed upright, so the mystery continues. Mag had the day off due to time constraints caused from taking my sick father into town for lunch. My father, for those who don't know, was in the hospital after Christmas and has been recovering very slowly the last two weeks. Today, however, was the first trip into town where we did not have to rush home! Little steps, but they are steps. Dancer continues his pursuit for Stock Show.
To continue with history lessons, Cavendish and Gueriniere are tonight's topics. William Cavendish, the Duke of Newcastle, published "A General System of Horsemanship" in 1657, thirty-four years after Pluvinel's book was published. Cavendish was a strong proponent of manege riding, having built lavish riding halls for his own riding pursuits. He found influence from the philosophers Dryden, Descartes, and Hobbes. Cavendish knew his importance: "...if this work pleases you, I shall be thoroughly well satisfied; if not, I shall be content in my own mind; because I know certainly that it is very good, and better than any thing that you have had before of the kind" (quoted from "The Development of Modern Riding", Vladimir Littauer, pg. 48). In Cavendish's book, he has etchings showing him on a perfectly behaved stallion performing airs above the ground while other horses salute him. Unlike Pluvinel, Cavendish was more than just a nobleman, but also a duke and one of the wealthiest in England (Littauer, 49).
F.R. de la Gueriniere was a nobleman who published his book, "Ecole de Cavalerie", in 1733. He is the most recognized and widely accepted of the historical trainers. When one hears of Classical Dressage training now, it usually lies claim to Gueriniere's theories. Gueriniere continued the humanist movement in horsemanship and included bits of science. The mid-18th century was one of scientific experimentation and the development of what scientific experimentation was. "'Every science and every art possesses principles and rules by means of which discoveries are made which lead to its development...Practice, however, devoid of true principle is no more than routine, the results of which are a forced and uncertain execution...'" (Littauer, 45). It is also generally accepted that Gueriniere developed the shoulder-in as we use it today, on a straight line.
The most important thing to remember about Pluvinel, Cavendish, and Gueriniere is that they were the start of the humanist movement in horsemanship, meaning the trainer worked with the horse's natural tendencies rather than using force. This idea is the foundation of the natural horsemanship that is so popular right now. These trainers, however, did not allow the horse to move un-collected. The horse was always in a correct frame with a light mouth and shoulders. In their minds, art should improve on nature.
Tomorrow, we enter the era of the circus and insults with the once famous feud between Baucher and d'Aure.
Ciao (I know it's Italian, but I don't know French yet),
K.Moreaux
Thursday, January 14, 2010
Wednesday, January 13, 2010
The First Few Days
Hello to all,
The past week has caught me unprepared and forgetful. The weather switched from blizzard to spring-like with my days spend outside in short sleeves. I have no excuses for an absence this early in the blog, but I have resolved to be more diligent. Monday and Tuesday became productive days on the horses. Ziggy, our problem child, saw the vet, who ruled out kissing vertebrae as the cause of his laying down while being ridden. He awaits an appointment with a chiropractor and acupuncturist next week. These last two days, I worked him on the ground teaching him to move in a forward walk, circle, change directions, and walk-trot transitions. He is nervous in the arena but quiets down each day.
Cody is a larger problem. He walks as though trudging through sand after hours of work. Riding outside and working on short periods of walk-stop transitions are helping, but he has a long road ahead of him. Any ideas for loosening up his feet would be appreciated very much. He protests anything but the softest cue by growing even slower. Transitions help, but he's still too slow.
Maggie worked on relaxing. Never has there been a tighter mare! She clamps every muscles from her jaw to her tail. Switching from shoulder-in for a step to traver for a step seems to be the trick for her. I can't imagine that will be pretty at a canter.
Dancer is the same as always. He is stuck to routine like he suffers from OCD. His little rituals (backing up two steps before accepting the bit, moving a step to the right when being saddled, circling his pen once before eating his hay) are the best indication of his mood. Next week we leave for the National Western Stock Show, so, until after then, I am sticking with the same training he's used to.
As promised last week, this post will start a summary of the most important trainers in French equitation. We'll start with the earliest and continue tomorrow. Anyone in the dressage industry can probably name Antoine de Pluvinel (1552-1620). Pluvinel's most important innovations to horsemanship were humane methods, the use of two pillars, and shoulder-in. He writes of these in his L'Instruction du Roy and Le Maneige Royal, both written as a dialogue between he and his student, King Louis XIII.
At ten years old, Pluvinel began studying horsemanship in Italy with Pignatelli, who beat the horse into obedience. In his twenties, he returned to France to ride with Sourdis before being ecuyer to various aristocrats and royalty. It was in France that he developed his Academie d'Equitation that taught French nobility how to perform noble arts (riding, fencing, dance, etc.). Because the basis of nobility was beauty, Pluvinel believed a horse trained with kindness would perform more beautifully.
When learning of the trainers, it's important to understand their society because that tells us why they altered training methods. France in the 16th century had a definite class system. The nobility held the top of the class system and privilege marked the difference between them and everyone else. They did not have to work to live, nor did they have to pay taxes. They used their wealth to buy honor and prestige. Fencing, dancing, fine dress, attending spectacles, likening themselves to antiquity, and riding were symbols of privilege. Riding was unique because it was used across all the arts: painting, sculpture, literature, spectacles. Lavish spectacles (quadrilles) were performed for entertainment and to display one's equestrian skill. Riding also showed that a nobleman was from old lines or part of the sword nobility (the nobles that fought in war). Though the cavalry was no longer very important in war due to firearms, riding symbolized military might.
Tomorrow, and I promise it will be tomorrow, we'll move into the later 16th century and 17th century with Cavendish and Gueriniere. Until then, take care and enjoy the warm weather if you're lucky enough to have it, too. KMoreaux
The past week has caught me unprepared and forgetful. The weather switched from blizzard to spring-like with my days spend outside in short sleeves. I have no excuses for an absence this early in the blog, but I have resolved to be more diligent. Monday and Tuesday became productive days on the horses. Ziggy, our problem child, saw the vet, who ruled out kissing vertebrae as the cause of his laying down while being ridden. He awaits an appointment with a chiropractor and acupuncturist next week. These last two days, I worked him on the ground teaching him to move in a forward walk, circle, change directions, and walk-trot transitions. He is nervous in the arena but quiets down each day.
Cody is a larger problem. He walks as though trudging through sand after hours of work. Riding outside and working on short periods of walk-stop transitions are helping, but he has a long road ahead of him. Any ideas for loosening up his feet would be appreciated very much. He protests anything but the softest cue by growing even slower. Transitions help, but he's still too slow.
Maggie worked on relaxing. Never has there been a tighter mare! She clamps every muscles from her jaw to her tail. Switching from shoulder-in for a step to traver for a step seems to be the trick for her. I can't imagine that will be pretty at a canter.
Dancer is the same as always. He is stuck to routine like he suffers from OCD. His little rituals (backing up two steps before accepting the bit, moving a step to the right when being saddled, circling his pen once before eating his hay) are the best indication of his mood. Next week we leave for the National Western Stock Show, so, until after then, I am sticking with the same training he's used to.
As promised last week, this post will start a summary of the most important trainers in French equitation. We'll start with the earliest and continue tomorrow. Anyone in the dressage industry can probably name Antoine de Pluvinel (1552-1620). Pluvinel's most important innovations to horsemanship were humane methods, the use of two pillars, and shoulder-in. He writes of these in his L'Instruction du Roy and Le Maneige Royal, both written as a dialogue between he and his student, King Louis XIII.
At ten years old, Pluvinel began studying horsemanship in Italy with Pignatelli, who beat the horse into obedience. In his twenties, he returned to France to ride with Sourdis before being ecuyer to various aristocrats and royalty. It was in France that he developed his Academie d'Equitation that taught French nobility how to perform noble arts (riding, fencing, dance, etc.). Because the basis of nobility was beauty, Pluvinel believed a horse trained with kindness would perform more beautifully.
When learning of the trainers, it's important to understand their society because that tells us why they altered training methods. France in the 16th century had a definite class system. The nobility held the top of the class system and privilege marked the difference between them and everyone else. They did not have to work to live, nor did they have to pay taxes. They used their wealth to buy honor and prestige. Fencing, dancing, fine dress, attending spectacles, likening themselves to antiquity, and riding were symbols of privilege. Riding was unique because it was used across all the arts: painting, sculpture, literature, spectacles. Lavish spectacles (quadrilles) were performed for entertainment and to display one's equestrian skill. Riding also showed that a nobleman was from old lines or part of the sword nobility (the nobles that fought in war). Though the cavalry was no longer very important in war due to firearms, riding symbolized military might.
Tomorrow, and I promise it will be tomorrow, we'll move into the later 16th century and 17th century with Cavendish and Gueriniere. Until then, take care and enjoy the warm weather if you're lucky enough to have it, too. KMoreaux
Wednesday, January 6, 2010
Introductions and Welcome
On this cold blizzard day when riding is unlikely and lacking in fun, I start my journey toward the highest level of horsemanship. History students at the University of Wyoming are required to take two methodology classes that teach research methods, writing methods, and historical theory. In the first of these classes, we were required to write a paper on a topic related to the Reformation. Because nothing about the Reformation interested me, I chose to write about the shift in horse training taking place during that shift in religious thought and practice. The most important writers of the era, Grisone and Pluvinel among others, showed the shift in thought better than any painting, story, or essay. Grisone tied cats to horses' tails when the equine showed laziness; Pluvinel achieved lightness by working with a horse's natural personality. Quite a shift in thought.
The second methodology course required us to work with France in the 18th century. I continued my survey of horse training from the Reformation into Baroque and Enlightenment France. Once again, horses were the best propaganda available to display the change in values. Now, trainers embraced humanist philosophy and sought the most humane method possible. Not only were methods humane, they were 'scientific'. They looked at the horse's body to see its weaknesses, strengths, and how to enhance both of these through training.
With these two theses, my own interest in French equitation was born. My nom de plume is Katherine Moreaux, a combination of my real name with the original French name of my father's side. I started training my own show horses at ten for the Quarter Horse circuit, though not professionally until twenty. For the past four years, I have trained backyard horses and the various problems they inevitably have. In addition, I teach lessons and clinics. I am a self-taught horseman, preferring to read, watch videos, observe, and experiment due to both finances and the joy of overcoming challenges on my own. In the past two years I have ridden with Clinton Anderson, Jack Brainard, and Eitan Beth-Halachmy, along with local trainers.
My goal with this blog is to keep a journal of my progress and problems as I study French equitation. In addition to updating you on my horses, I will provide some history of various French trainers, horsemanship in society, and any other aspect of horsemanship that seems interesting. Suggestions and corrections are always welcome.
Enough about myself, a little about my horses. I will use four horses: 8 year old Thoroughbred, 8 year old Paint, 6 year old Thoroughbred, 3 year old Quarter Horse. All four horses have very different builds, movement, and personalities. As soon as I figure out how to post pictures and videos, I will do so. For now, I'll introduce each in text.
Acclaim A Dancer (Dancer): 8 years old, 17 hand Thoroughbred gelding. He is race bred (Seattle Slew, Secretariat) but lazy and somewhat dull. He's built like a giraffe with enormous withers. Of all the horses, he has the most training. I bought him as a 3 year old with a few rides and have ridden him with Clinton Anderson and Eitan Beth-Halachmy. He is currently working on collected paces and advanced maneuvers.
A Hot Toddy (Maggie): 8 years old, 14.2 hand Paint mare. She has nothing special in her pedigree but makes up for it with a grouchy attitude. She's built like a bull dog with thick muscling, short strides, downhill carriage, and toed-in front legs. She's quick, athletic, and tense all the time. She has been ridden with Jack Brainard. She knows all the lateral maneuvers, spins, stops, and started on Spanish Walk but still fights tension problems.
Olenas Scotch (Cody): 3 years old, 15 hand Quarter Horse gelding. Cody is cow bred (Zan Parr Bar, Smart Little Lena, Docs Hickory, Colonel Freckles) and the laziest thing ever put on this earth. He's smart and uses it to avoid work. He's physically the most talented with both agility and long, suspended strides. He has about 90 rides and knows basic lateral flexion.
Sportin Epic (Ziggy): 6 years old, 15.1 hand Thoroughbred gelding. Ziggy is very plain, though the sweetest horse with the biggest heart. He has snap and suspension to his stride. He also has some issues of an unknown nature at this moment. He tends to lay down when under saddle. I've owned him almost 2 months and am currently in the process of eliminating physical problems before working him too hard.
Because the blizzard is supposed to continue tomorrow, I will introduce the major French trainers tomorrow. These trainers include: Antoine Pluvinel, William Cavendish, F.R. de la Gueriniere, Francois Baucher, James Fillis, and the modern Eitan Beth-Halachmy and Philippe Karl.
Until then take care and keep warm if you are in the same cold weather as us.
K.M.
The second methodology course required us to work with France in the 18th century. I continued my survey of horse training from the Reformation into Baroque and Enlightenment France. Once again, horses were the best propaganda available to display the change in values. Now, trainers embraced humanist philosophy and sought the most humane method possible. Not only were methods humane, they were 'scientific'. They looked at the horse's body to see its weaknesses, strengths, and how to enhance both of these through training.
With these two theses, my own interest in French equitation was born. My nom de plume is Katherine Moreaux, a combination of my real name with the original French name of my father's side. I started training my own show horses at ten for the Quarter Horse circuit, though not professionally until twenty. For the past four years, I have trained backyard horses and the various problems they inevitably have. In addition, I teach lessons and clinics. I am a self-taught horseman, preferring to read, watch videos, observe, and experiment due to both finances and the joy of overcoming challenges on my own. In the past two years I have ridden with Clinton Anderson, Jack Brainard, and Eitan Beth-Halachmy, along with local trainers.
My goal with this blog is to keep a journal of my progress and problems as I study French equitation. In addition to updating you on my horses, I will provide some history of various French trainers, horsemanship in society, and any other aspect of horsemanship that seems interesting. Suggestions and corrections are always welcome.
Enough about myself, a little about my horses. I will use four horses: 8 year old Thoroughbred, 8 year old Paint, 6 year old Thoroughbred, 3 year old Quarter Horse. All four horses have very different builds, movement, and personalities. As soon as I figure out how to post pictures and videos, I will do so. For now, I'll introduce each in text.
Acclaim A Dancer (Dancer): 8 years old, 17 hand Thoroughbred gelding. He is race bred (Seattle Slew, Secretariat) but lazy and somewhat dull. He's built like a giraffe with enormous withers. Of all the horses, he has the most training. I bought him as a 3 year old with a few rides and have ridden him with Clinton Anderson and Eitan Beth-Halachmy. He is currently working on collected paces and advanced maneuvers.
A Hot Toddy (Maggie): 8 years old, 14.2 hand Paint mare. She has nothing special in her pedigree but makes up for it with a grouchy attitude. She's built like a bull dog with thick muscling, short strides, downhill carriage, and toed-in front legs. She's quick, athletic, and tense all the time. She has been ridden with Jack Brainard. She knows all the lateral maneuvers, spins, stops, and started on Spanish Walk but still fights tension problems.
Olenas Scotch (Cody): 3 years old, 15 hand Quarter Horse gelding. Cody is cow bred (Zan Parr Bar, Smart Little Lena, Docs Hickory, Colonel Freckles) and the laziest thing ever put on this earth. He's smart and uses it to avoid work. He's physically the most talented with both agility and long, suspended strides. He has about 90 rides and knows basic lateral flexion.
Sportin Epic (Ziggy): 6 years old, 15.1 hand Thoroughbred gelding. Ziggy is very plain, though the sweetest horse with the biggest heart. He has snap and suspension to his stride. He also has some issues of an unknown nature at this moment. He tends to lay down when under saddle. I've owned him almost 2 months and am currently in the process of eliminating physical problems before working him too hard.
Because the blizzard is supposed to continue tomorrow, I will introduce the major French trainers tomorrow. These trainers include: Antoine Pluvinel, William Cavendish, F.R. de la Gueriniere, Francois Baucher, James Fillis, and the modern Eitan Beth-Halachmy and Philippe Karl.
Until then take care and keep warm if you are in the same cold weather as us.
K.M.
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