Cowboy Dressage. Jessica Black

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Cowboy Dressage - Jessica Black


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       The Welcome Arena

       Organizing Cowboy Dressage Competitions

       Judging Cowboy Dressage Competitions

       Nine: The History of Cowboy Dressage

       Classical Dressage

       American Cowboy

       The Vaquero Tradition

       La Jineta

       La Doma Vaquera

       La Garrocha

       The Unique Combination That Is Cowboy Dressage

       Ten: Collaboration

       Light Hands Horsemanship

       Cowboy Dressage World

       The Expansion of Cowboy Dressage to Related Organizations

       Bringing Cowboy Dressage to the Rest of the World

       Where Do We Go from Here?

       Afterword

       Appendix A: Cowboy Dressage Competition Rules

       Appendix B: Execution and Judging of Tests

       Appendix C: People and Organizations

       References

       About the Author

       About the Photographer

       Acknowledgments

       Index

      FOREWORD

       In my lifetime I have ridden horses of every conceivable breed and of many different disciplines. However, I have never been on the back of a horse trained in classical dressage. Yet, I know and understand the discipline. I have visited some of the finest dressage schools in the world. I sat at the warm-up ring during the 1984 Olympics in Los Angeles, California. My clientele included many respected dressage masters, including a half-dozen from Europe. I understand the anatomy, the movement, and the horse’s temperament that make a good dressage prospect.

      Consequently, a lot of my practice experience was at dressage stables. I was frequently asked to do pre-purchase exams for potential dressage prospects, sometimes several in a single day. I developed great respect for the sport of dressage and the skill involved. I also became silently critical of some aspects.

      Years ago, an unknown party sent me the video Dances with Cows by Eitan Beth-Halachmy. I had never heard of him, but I was overwhelmed by what I saw: sophisticated horsemanship with draped reins, relaxed lightness, gentleness, and above all, a happy and willing horse. My reactions were: 1) I knew it could be done. 2) I must get to know this man. 3) I hope this becomes popular.

      All three of the above have been achieved. I am especially pleased that Eitan, belatedly, has achieved well deserved recognition. And, I am very happy that the discipline of Cowboy Dressage, his creation, is growing so rapidly in popularity.

      It emphasizes kindness and gentleness, not mastery. It discourages excessive drilling and rigidity. Its aim is a mutually satisfying partnership between human and horse. It is a moderate discipline, not extreme in its goals.

      Importantly, as a veterinarian, I see a competitive event that is not damaging to the horse, mentally or physically. Having spent a lifetime seeing the damage, often irreversible, that so many horses suffer in more traumatic disciplines, it is gratifying to see Cowboy Dressage, which benefits the horse mentally and physically, yet gives the rider the opportunity to compete in a complex and challenging event.

      Moreover, older and less athletic riders can effectively compete in Cowboy Dressage. My wife, Debby, for example, in her eighties, has won in Cowboy Dressage shows.

      So, I enthusiastically support the sport of Cowboy Dressage. I know that it will contribute greatly to Western horsemanship with its already long history, originating in North Africa and then spreading over the centuries to Iberia and, eventually, to the Americas. This book, written about and with the man who created Cowboy Dressage, should help.

      Dr. Robert Miller

      Thousand Oaks, California

      NOTE TO THE READER

      AND PHOTO CREDITS

      To avoid pronoun confusion, it is the publisher’s policy to refer to all horses as “he” and all riders as “she.” This choice is made in the name of clarity of prose only, and no offence—on the part of horse or human—should be taken.

      Most of the photographs in this book were taken by Lesley Deutsch; however, a number of other photographers also generously contributed their work. A special thank you to all the photographers who were willing to be part of this project.

      Primo Morales (p. v)

      Courtesy of Eitan & Debbie Beth-Halachmy (pp. xvii, xxiii, 23 top, 49, 131)

      Allison Wolff (pp. xxi, xxxi)

      Howard Schatzberg (pp. xxiv, xxv, xxvi, 9, 11, 124, 125, Скачать книгу