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LIVING AND WORKING WITH THE HORSE OF SPAIN


Farolero, one of the El Caballo de España horses performing Spanish trot by artist, Sally Martin


could demonstrate. Whilst keeping the rhythm of the canter, the horse must slowly retreat. In the bullring, Alvaro Domecq would gallop his fantastic horse Opus backwards and forwards with great speed and control in front of a bull, taunting him to charge. The canter in place has great worth


in the training and execution of the pirouette. The rider must be able to hold the horse on the spot using the back and a light hand. The practice of holding the horse in collected canter in a straight line or on a circle for a number of strides is also excellent preparation for pirouettes. One of the great lessons of James


Fillis is on punishment. He said, ‘Above all things a rider must not lose his temper.’ He believed that when a horse deserved punishment it should be given but that it must be ‘proportionate to the offence’. He also maintained that if a horse disobeyed because of pain or discomfort, then the horse deserved understanding not punishment. There are also a great many excellent


movements in dressage. First seen of course in a circus. One of the few places the equestrian art could be displayed before dressage was first acknowledged by its participation in the Olympics as a sport in 1905. He was also famous for his work in-hand; he was by no means the first to work a horse in-hand, but one of the best-known people at that time for his development of ‘supplings’. His methods of suppling a horse from the ground both at the halt and in movement were then, and still are, a matter of controversy. He did prove without question, however, that the principles of his horsemanship were effective. It is well recorded that he had a number of the most difficult and dangerous mounts – some destined for the slaughterhouse – presented to him. After just eight to ten weeks he would perform high- school displays with these horses; an astounding feat, without a doubt. James Fillis (1834–1913), Ecuyer en


Chef to the Cavalry School in Leningrad, studied Baucher’s methods under a pupil of Baucher’s but later criticized some of Baucher’s work, in particular his ideas on flexion. Interestingly James Fillis went on to develop new movements, none of which you will see in the competition dressage arena. Two of which were a canter on three legs and a Spanish trot-like movement, or polka as it is sometimes called, i.e. the raising of the forelegs every two strides. The foreleg action in the Spanish trot is similar to that of the Spanish walk with the front legs raised to a high level. The hind legs must follow the trot rhythm and not move in walk, as is often seen. The Spanish trot should not be


confused with the passage, particularly because at one time the passage was


Farolero, Spanish Stallion ridden by Peter at Spanish Trot


books by modern authors covering training from a straightforward practical angle or looking at the subject from a more esoteric point of view. One of these authors was Nuno Oliveira. Nuno Olivera (1925–1989) had


known as the Spanish trot. Today the passage is as seen in the competition arena: a trot in suspension with the front legs bending at the knee at each forward and upward thrust. In the Spanish trot the horse stretches the front leg out at each stride as the hind legs thrust up and forward, and they must each leave the ground in harmony with the front. Occasionally you will see this performed with the front legs swinging so high and irregularly that is impossible for the hind legs to leave the ground, and so the horse merely walks unevenly behind, which is not correct. James Fillis also developed


a considerable number of other movements. He claims to have created the canter in place and to the rear. To many, these would be somewhat bizarre exercises and would have no purpose in the dressage arena. However, I am sure that for a man like Fillis, these were purely means to develop and test his skills and control to the extreme. The canter to the rear, when


executed correctly, is the ultimate in lightness in hand, as Nuno Oliveira


MADDISON- GREENWELL


PETER


International Dressage


T


rainer,Founder ofElCaballo deEspaña


AuthorofLiving andWorking


withtheHorse ofSpain.


intellect, academic training and talent, and was probably one of the last true exponents of the old school. He was often referred to as the Maestro, a title seldom used and less often justified. His books covered many aspects of training, riding, and the horse and the master/pupil relationship in a unique way. He gave us so many words of wisdom to contemplate, from the approach and attitude to the horse and the task in hand, to practical exercises when mounted. He talked about tact and finesse, and a lightness of hand and leg many do not even consider. He was horrified by the abuse some dressage riders would bestow upon their mounts. Ifound him inspirational and had the opportunity to watch him work, unfortunately only the once because shortly after this occasion he died; Iam, however, fortunate to have a signed copy of his book Reflections on Equestrian Art. He is a great loss to horsemanship as Ifeel he was probably the modern gatekeeper of the classical art and a few others will have so much to offer as this great man.


El Caballo de España &Peter Maddison-Greenwell


Peter holds Classical dressage clinics suitable for all levels from Novice to Grand Prix.


Dressage for all or for rehabilitation and welfare.


Look for aclinic in your area now. Please contact: Peter Tel:07947 523702


www.elcaballodeespana.co.uk Pleasemention CentralHorseNewswhen responding toAdvertisementsNOVEMBER/DECEMBER2018 27


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