Horses for Healing

Posted on July 18, 2018 by Jerrilee.
Categories: equipment, handicap, health, military, riding, therapy, training.

Combat veteran Rick Iannucci with Cowboy Up!

Photo:Melanie Stetson Freeman

On June 8,2018 the U.S. House of Representatives passed bill: HR 5895, (the Military Construction and Veterans Affairs Appropriations Act of 2018), which included an amendment to increase funding for the Veterans Affairs’ Adaptive Sports Grant Program for equine-assisted therapy. The amendment, introduced by U.S. Rep. Andy Barr (R-KY) increases funding by $5 million for fiscal year 2019. The funding will enable an expansion of services that use equine-assisted therapy in conjunction with mental health care treatment and services to veterans.

excerpts from article by April Reese in Christian Science Monitor:

For 2-1/2 years, a stream of Iraqi and Afghan war veterans – many carrying both physical and psychological scars of combat – have found their way to Mr. Iannucci’s Crossed Arrows Ranch, about 15 miles south of Santa Fe, N.M. After first learning to groom and walk the specially trained quarter horses, the vets work their way up to mounting and riding them around the arena. As the veterans bond with the horses and learn how to “read” them, they begin to heal and feel connected with the civilian world again, Iannucci says.  “Horses are so in tune with you – if you’re uptight, they’ll know,” he explains. “They coax a certain level of contemplation out of you. They demand for you to be in the now. When the vets start working with the horses, they immediately start calming down.”

Some arrive with physical disabilities, such as limited use of arms or legs wounded in combat. Others are dealing with traumatic brain injuries, a result of roadside bombs or sniper attacks. Many have been diagnosed with post-traumatic stress disorder (PTSD). “We call it ‘post-traumatic spiritual disorder,’ because we think the thing that happens to people in war is a wounding of the spirit,” Iannucci says. “Our goal is to find that [wound] and start working on it.”

Iannucci, a compact man with a purposeful demeanor and a walrus mustache, grew up in horse-racing country in southeastern Pennsylvania. From about age 12, Iannucci trained and rode quarter horses his family kept at his cousin’s farm. After retiring from his job as a US marshal working in Colombia, he moved to New Mexico and returned to horsemanship in earnest. He bought the ranch and built a horse arena, initially to provide a place for children to ride. A few years later he started inviting veterans to come and work with the horses. Word about Cowboy Up! began to spread. Brig. Gen. Loree K. Sutton, former director of the Defense Centers of Excellence for Psychological Health and Traumatic Brain Injury, visited the ranch last year. Rep. Ben Ray Lujan (D) of New Mexico has also paid a visit. “Rick doesn’t hesitate to take on a challenge, but he’s also a very humble and patient person,” Mr. Lujan says. “The program is truly impressive. Just to see the faith these men and women have is incredible.”

 

Music of the Peers

Posted on July 12, 2018 by Jerrilee.
Categories: breed, history, riding, therapy, training.
USEF photo of Stefen Peters & Ravel (2012 Olympic Freestyle)

The dressage industry was one of the last disciplines to add the element of music to competition. The freestyle ride was long debated and denied as a performance class mostly because performance judges feared the option given to riders to create their own programs would initiate a trend toward circus-like presentations. In their opinion, over a period of years, the aberration of dressage movements could leave the classical principles of dressage in the shadows of  history. In the 1970’s, however, came a more immediate threat for the dressage industry: the financial burden of its horse events. Rising costs of stabling, insurance, maintenance of the ring footing, required such an excess of cash that the backing of corporate sponsors was essential. As they came on board, these sponsors began to encourage show organizers to consider more  ‘entertainment’ in the dressage field since it lacked both spectators and public appeal. To them, the musical freestyle seemed to perfectly fit that need.

The United States Dressage Federation and the Federation Equestre Internationale (FEI) met individually to decide on restrictions to set in place to protect the historical and classical nature of dressage in musical competition. Judging sheets were designed to include technical and creative scores. Freestyle riding forums were set up worldwide in order to publicly define acceptable performance movements and also to somewhat direct the quality of music expected. During the 1980’s, most freestyle riding refrained from extravagance with presentations almost exclusively relying on classical music. In addition, these original musical rides, constrained by rigid adherence to traditional movements, were only modestly artful in scope. Even so, dressage lovers were thrilled with the new classes. While spectators still yawned, the concept of dressage as a living, spontaneous “art form” was now dawning on its devotees. It gained even more momentum the moment it was finally allowed into the Olympic Ring in 1996.

With the new millennium came new riders with fresh ideas. New talent pushed toward the impossible in freestyle riding. No longer did Beethoven and Bach rule the freestyle ring. Hand-picked music picked up the beat with modern tunes. Daring riders heated up the competition through their innovative uses of mandatory movements. Overnight it seemed that empty bleachers became standing-room-only. The new phenomenon of the freestyle dressage class had commenced. Audiences cheered and applauded their favorites in the classes. Sponsors were elated. Judges were thrilled. Spectators left competitions with GPS directions to find the next up-coming freestyle event. Dressage became known as the ‘ballet of horseback riding’. Eager to keep competition classes fully attended, riders were generously rewarded in their scores.

However, some conservatives squirmed. The dark side of freestyle, so long ago feared, was beginning to emerge. Observers who set up alongside warm-up rings chronicled the use of controversial training methods bordering cruelty to defenseless mounts. Not only did Grand Prix riders lack common horsemanship, their brutality was heartily encouraged as the new, productive training method.

So-called ‘Roll-Kur’ technique seen in 2008 Olympic warm-up 

It was the shock wave that blackened the freestyle classes. In the 2008 Olympics the division widened between dressage camps as infuriated classicists revealed the barbarism of the new “Roll Kur”, a training technique that forced the horses to move briskly forward with their heads pulled into their chests, or all the way onto their knees. In addition, they pointed out that the  Individual Dressage Champion of the Olympic Games never performed the required full-stop at halt at any time during the test. Nor did its extravagant leg movement ever co-ordinate with the horse’s torso movement. The pressure of the bit in the horse’s mouth was so severe that it created a ‘blue-tongue’, proving lack of circulation, something never acceptable in correct dressage. It was demanded that the FEI, an organization long considered the protectorate of equestrian sports, meet to resolve the issue before the next Olympics. By the time of the 2012 Olympics,  stringent qualifications, ensuring that horses were more humanely prepared for show events, were put to the test. These corrections are still being evaluated and re-written to improve the public representation of classical dressage within both standard and freestyle Grand Prix classes. It is evident that the state of global dressage will always require keen scrutiny to maintain the classical principles. But the true highlight of the dressage freestyle is its breakout from the obscure timidity of its earlier days. It is finally acknowledged as a beautiful and accomplished art form. It has pranced forward to prove that both quality and musical entertainment are possible in the dressage industry.

Same horse in 2012 Olympics.Corrections to use of bit show a more classical ride

Horse Art for the Garden

Posted on July 9, 2018 by Jerrilee.
Categories: equipment, history, hoofcare, riding.

No longer are home owners and horse fanciers interested in the ‘concrete statues’ of old. Today’s garden is alive, thriving and re-inventing itself in a whole new form. From sophisticated residences in the heart of busy Manhattan to lavish villas in Melbourne, a lush green garden is as popular an addition as ever, especially when flavored with unique pieces of art.

These stunning horse sculptures make a fascinating addition to this distinctive garden. (from decoist.com)

sculpturing by DophinsbyCindy.com

This garden sculpture of a “Black Stallion Running Horse” is made out of mosaic tile. The horse 7-1/2 feet long, weights 60 lb. and is designed to stand on a hillside, pasture, gate entry or as a focal point in the yard or garden. Made by DolphinsbyCindy.com.

Garden art can either dominate, or supplement nature’s plants in your garden. There is no question that adding amazing art pieces bring novelty and distinction to the backyard. But you can also create your own. Look around your barn to see what you can use to create your own show pieces. From horseshoes nailed onto broken rakes, to chewed and broken fence boards converted into garden borders, by recycling those well worn tools and utensils with your favorite flowers and plants you can create a true garden sensation. While it may not be as elaborate as the art by Tom Hill, you may be just as delighted with the results of your own project.

Horseshoe art by Tom Hill(artisttomhill.etsy.com)

Learning the Riding Posture

Posted on July 1, 2018 by Jerrilee.
Categories: equipment, handicap, health, history, riding, therapy, training.

excerpt from Nancy Nicholson,Ph.d book titled: Biomechanical Riding & Dressage  (click on diagrams to enlarge)

Riding the Elastic “Ring”


Riders sit on top of the rib cage, which is an elastic structure by virtue of its connections with the spine and the amount of cartilage connecting it to the sternum. It is remarkable for several reasons:

1)     there are no floating ribs (connected just at the spine): ribs all are connected by cartilage at bottom of the trunk,
2) the horse’s center of mass is located within it,
3) it is adjustable in term of its “bounce response” or “tuned reaction” by means of neck and pelvis position acting via elastic ligament or tendinous tissues, and
4) the ribcage may act as a “spring-loaded” mediator of bend in the thoracic spine.

These features create a structure which might be compressed by the grounded leg (potential energy) and could immediately make it available to the airborne leg (kinetic energy). Presumably, a horse can adjust its spinal posture according to what it needs to do: stand, walk, trot, canter (maneuverable gait) or gallop like hell (optimal covering of ground). Millions of years of dealing with predators have honed equine conformation to be excellent for middle distance running: lead changes (change of bend to the rested diagonal pair) allow the other set of muscles to extend endurance, not to mention the ability to kick while moving. But we want to ride this animal. As La Guérinière has pointed out, we will not want to ride everything the horse can do! Adjustable bounciness is a key to understanding aids which a rider gives. It is simple to state what a rider may do: doing it is very difficult.

The Elastic Horse

Basically, a rider is able, by using lower body aids, to adjust the posture of the horse by positioning its spine so the rib cage is set up for each movement. Half halts are the name given to the aids by which a rider asks the horse to adjust his posture in order to control the joined centers of mass. As you can see from the second diagram below, these should should come mainly from the lower body, which is placed so that the rider may affect crucial muscles which “tune” the rib cage. If that were all we had to know about dressage, we could all go home after reading the above sentences. Because the postures a horse can achieve lie along a continuum, there are a huge number of positions possible. A rider must learn them by feel in order to give an appropriate half halt. That is why a ground person with sharp eyes and a sense of what is most important at a given moment is essential to give the rider feedback on what is functioning correctly. It is up to the rider to inform the ground person how the movement feels.

Three Basic Principles of Dressage

Posted on June 25, 2018 by Jerrilee.
Categories: handicap, history, riding, training.

clinic in Chesapeke City
photo: Hassler Dressage

 

from Dressage Today, Charles de Kunffy brings forward the basic principles of training the horse dressage.

As a young rider in Hungary, I remember how three moments of evolutionary breakthroughs made all the difference. Like all young riders, I was impressed when I looked at the sophisticated equine professors that moved with big, round necks, as opposed to thin, inverted racehorse-looking ones. Being pragmatic and used to getting things done quickly, the easiest solution to achieve a round neck seemed to be manipulating the neck so that it appeared to be round. My coaches got on my case, leaving me with a sense of desperation. If not actively working on the horse’s neck, how in the world would I get such a round and tall carriage?

Backed up by my relentless coach, my patient horses soon revealed a most surprising discovery: I could influence the neck’s position from the haunches rather than from the reins. The principle of this discovery is similar to the principle of sweeping dust into a dustbin with a broom. As you sweep, the dustbin travels forward to receive the dust. It has to move in order to receive the dirt being gathered up. Similarly, the horse is gathered up from behind by energizing his haunches and giving him the room through the reins to articulate freely. Trying to achieve collection by working on the horse’s neck cuts the horse off in the front. Confining reins prevents the hind legs from powerfully supporting the rider’s weight and balance by lifting him with suspension. Following this, I realized that a horse consists of three bascules:

The neck (the easiest to access and manipulate)
The back (which takes more knowledge and skill to engage). If a horse has what we called a “warm” back–loose, supple and oscillating–he can lift the rider. It’s almost like sitting on a suction cup; it comes up and supports the rider’s pelvis. On the other hand, if a horse has what we called a “cold” back–low and stiff–the rider achieves nothing other than growing old sitting on it.
The hind end (the haunches should thrust the pelvis forward to lower the croup and to actually articulate at the lumbar-sacral joint). This last bascule is the one that is widely ignored by riders. If it were addressed, one would see many more horses that lower themselves toward the ground in supple strides from elastic joints. Horses with unexercised hind leg joints move stiffly with high croups. Horses with ill-developed muscles, lacking strength and suppleness, might appear to have round necks but remain still disconnected through the topline.

Once I understood to ride the horse’s hindquarters instead of his neck, the second breakthrough came when I realized that riding is a dancing partnership with the horse. Every horse has a certain signature rhythm–a footfall that’s like a fingerprint. Only when a rider aids in the rhythm of the horse’s footfalls will they make sense to the horse. Horses don’t understand banging and poking with legs out of phase with their footfalls, although the rider might use an occasional kick as a wake-up call. A horse that’s pushed out of his signature rhythm will run off and not be able to do relaxed extensions.

So we were asked to get into a rising trot and tell our coach when we found the horse’s perfect rhythmic profile. Once we had established that, we were able to stimulate the horse to more activity without changing his rhythm. This resulted in a dancing, free, forward, suspended and rhythmic movement without the horse being confined in the front.

The third important principle was an understanding of how to keep the horse together without confining his haunches from the reins. My coaches insisted that the reins may be used for a thousand things except to inhibit the haunches or to set the shape of his neck. A well-schooled horse will collect on even sagging reins into a piaffe or school canter. No need to hold him together, only drive him from leg and seat. Consistent and knowledgeable use of half halts educate the horse to understand the leg aids not merely as “go” but also as “energize” without running off.

When thinking about collecting a horse, many riders only think of closing him longitudinally from hocks to bridle. However, one must realize that one closes the horse also laterally from outside leg to inside rein and from inside leg to outside rein, like an X. Half pass and the shoulder-in, for instance, are exercises that utilize this concept of closing the horse laterally. In the half pass, when the horse is closed correctly, he lowers his outside hip and thrusts his pelvis toward the inside shoulder. In the shoulder-in, the inside hock is supposed to reach so deep–not just across but deep forward–that it reaches level with the outside stifle. The rider who fails to close the horse longitudinally as well as laterally will fail to engage him.

These three principles allowed me to train to higher levels. I wish you well in riding your horse in your horse’s native rhythm, closed from behind, strong and seated, elastic and supple.

Tribute to those at Little Big Horn

Posted on by Jerrilee.
Categories: equipment, history, military, riding, training.

Excerpt from the historical pages of QuarterMaster Museum

Water Carrier Ravine – Little Big Horn, Montana 25 June 1876

On 25 June 1876, the 7th Cavalry under the command of Lieutenant Colonel George Armstrong Custer, engaged the combined Sioux and Cheyenne forces along the banks of the Little Bighorn River in Eastern Montana. The 7th was part of a combined Army campaign to bring the Sioux to the reservations. Approaching the Indian village, Custer divided his command into three battalions; one under Captain Frederick Benteen, who took three companies and Regimental pack trains and maneuvered to the south; one under Major Marcus Reno, who launched a frontal attack against the village from the south. Then the remaining five companies went with Custer, to attack the village from the north. Every man in Custer’s command died. Reno’s attack was repulsed and he, along with Benteen were besieged for two days on the bluffs above the Little Bighorn, besieged by an estimated 3000 warriors.

Major Reno’s command attacked the village as ordered located on the plains in the background. Repulsed, Reno led his men up a ravine, losing a third of his regiment along the way. Joined by Captain Benteen, neither man knew of Custer’s fate but knowing that their own situation was desperate, ordered their men to dig in.  By the second day, the men were suffering from lack of water, especially the wounded. Survivors later described the situation: “..the sun beat down on us and we became so thirsty that it was almost impossible to swallow.”

Quartermaster Medal of Honor Recipients:

Captain Benteen called for volunteers to make an attempt to get to the river. Seventeen volunteered. Four men were selected to provide covering fire including Blacksmith Henry Mechlin and Saddler Sergeant Otto Voit, both Quartermasters. The attempt was successful. Nineteen Medal of Honors were later awarded for heroism at the Little Bighorn. Two of those went to Mechlin and Voit. These two, along with two other sharpshooters, positioned themselves on the bluffs on either side of the ravine to provide covering fire. During this engagement only one trooper was seriously wounded.

The above is a canvas at the Quartermaster Museum,Fort Lee, Virginia


June 25,1876;The Horse who Survived

Posted on by Jerrilee.
Categories: breed, equipment, history, riding.

by Diana Linkous
comanche-horse

photo: US Calvary;Comanche the war horse, after a battle in 1870

Comanche, a famous war horse, born June 25, 1861, fifteen years to the very day before the battle of “The Little Big Horn”, was a 15 hand bay gelding, thought to be part mustang and part Morgan. He was bought by the U.S. Army in 1868 in St. Louis, and sent to Fort Leavenworth, Kansas. A handsome looking horse, he was purchased by Captain Myles Keogh  for $90 to be used as his personal mount.  In the fall of 1868, his unit fought the Comanche tribe in Kansas. During the battle the horse was wounded. Unaware, Captain Keogh continued to fight from his back until the battle was over. Afterward, he discovered an arrow broken off in the horse’s hindquarters. As a tribute, he earned the name Comanche for his bravery in continuing to carry his master despite his own pain.

In 1870 during a battle again against the Comanche tribe, the war horse was wounded in the leg. He was lame for over a month this time, but finally recovered. Then, in 1871, Comanche was wounded in battle once more, this time in his shoulder.   The cavalry was very proud of this brave horse who  recovered quickly, then bravely returned to battle despite being wounded so many times.

On June 25, 1876, Captain Keogh rode Comanche into the valley of the Little Big Horn and the battle known as Custer’s Last Stand. This time they were fighting the Soux and Cheyenne tribes, and it was the last great battle for the Native Americans. They defeated the 7th cavalry and killed every soldier. The only member of the 7th cavalry left alive after the battle was Comanche.  Comanche was found two days after the battle with many wounds, and was very weak and barely able to stand. He was taken in a steam boat to Fort Lincoln, where he was so weak he had to be supported by a sling. He was nursed back to health, once again recovering from his battle wounds.

Comanche was officially retired and it was ordered that no one would ever ride him again. His faithful groom, Gustav Korn,  seen in most photos holding the horse, stayed with him. Comanche was given the title  “the Second Commanding Officer” of the 7th Cavalry, and his only duties were to be led in the front of official parades occasionally. In December, 1890,  Gustav was called back to duty for the battle at Wounded Knee.   He was fatally wounded.  Comanche had lost his faithful friend. On November 7, 1891, downhearted from waiting for  Gustav’s return, Comanche passed away. His body was mounted and put on display at the University of Kansas, where it stands to this day.

A reader’s comment: Captain Miles Keogh was an Irish mercenary. Early in his career he had served as part of the Pope’s private Vatican Army. He was awarded a medal, that he always wore on a chain around his neck. When the Cheyenne killed him on the Little Big Horn, they discovered the medal. Recognizing it as a religious device, they left his corpse alone. His was the only 7th Cavalry KIA whose body was not mutilated. During the US Civil War Captain Keogh served on the staff of the great cavalry officer, Brigadier General John Buford (1st Cavalry Division). They intercepted the leading elements of Robert E. Lees Army of Northern Virginia in front of Gettysburg on June 30, 1863 and held them up until the rest of the Federals could arrive on the field. Hence, they were instrumental in the Union victory in that important battle. Captain Miles Keogh introduced the famous cavalry canter song “Garry Owen” to the 7th Cavalry Regiment. It remains so to this day, and the slogan and greeting among members of the 7th is “Garry Owen.” It is a very stirring tune. Aloha, Mark Mallory.

Quartermaster and Horse Keeper

Posted on June 12, 2018 by Jerrilee.
Categories: breed, equipment, handicap, health, history, military, therapy.
76th Brigade, 1917

76th Brigade, 1917

The land, or Army, Quartermaster Department is the unit responsible for organizing and distributing supplies to our troops. The availability and volume of materials they control provides the means for military operations. Its inception here in the United States was just before the Revolutionary War in 1775.  It became a powerful role in the equine development of our country. Our first Quartermaster General, prior to the breakout of war in 1776, was appointed by the Continental Congress whose members included two future presidents: George Washington and John Adams; it also included the business/philosopher Benjamin Franklin; and the famous freedom fighter,Governor Patrick Henry.  Their first appointee, General Thomas Mifflin, tried for nearly two years to run the new department but eventually became overwhelmed with the sheer enormity of the job, especially since the lack of supplies to provide, and roads to bring them to the troops, nearly lost the war more than once.  The first Quartermaster General resigned in 1777.
A  young Rhode Island Officer, Nathaniel Greene, was appointed his successor. Edward Payson writes of Maj. Gen Greene (in the 1950 Quartermaster Review): “Throughout the winter he [Greene] had vigorously protested against conditions in the Quartermaster General’s Department, particularly the shortage of forage for horses, hundreds of which, he pointed out, had starved to death. ”
Gifted with leadership and organization, Greene established a transportation system for stock and wagons, agents to examine and purchase animals and equipment, and multiple sites for forage depots in an effort to keep soldiers and animals from starvation while out in battle. The results had an immediate beneficial impact and strengthened our position in the war, earning the Officer some of George Washington’s highest praises.

Nathanael Greene

Nathanael Greene

The availability of horses during wartime was always a problem.  Equine casualties were grossly high, ranging into the multiples of thousands of dead horses. Because of this it was impossible to maintain enough mounts.  When regional supplies of horses available for purchase were exhausted, private horses would be seized for military use. During the Civil War, for example, the approach of Northern troops into a southern town meant raiding of the horse barns, as well as their food pantries. Many southerners used their crossbred horses for battle and left their valuable breeding horses at home. When these were seized, the bloodlines of some of our founding breeds were lost forever.
Eventually, the Quartermaster Division realized the need to establish their own equine division which would include their own breeding farms. This Division can easily be called the predecessors of the US horse industry. When the field quartermaster soldiers who had worked with both mules and horses, returned to the private sector they entered their communities with well honed horsemanship skills. They regenerated the field of horse services. Also the retired Calvary Officers left their posts to become competition judges and were a powerful influence on the core principles of horsemanship and horse husbandry, principles which are still widely practiced today. During peacetime the military equine division brought about mutual competitions, establishing  3-Day Eventing Competitions and eventually becoming international, which ultimately led to participation in the Equestrian Olympics.

The Movie Horse

Posted on June 7, 2018 by Jerrilee.
Categories: breed, equipment, health, history.

During the heyday of films that featured horses, a sub-industry evolved to supply horses for movies. One of the major horse suppliers, along with providing stagecoaches, wagons, and other equipment, was Randall Ranch in Newhall, Calif. The owner of the ranch was Glenn Randall Sr., the man who trained Trigger for Roy Rogers’ personal appearances.     Assisting him were sons Glenn Jr. (J.R.) and Buford (Corky) Randall. In 2006,  Corky Randall, 75 , and trainer of The Black Stallion, remembered those early days on the movie sets and the harsh treatment of horses in the industry.

Roy Rogers and his horse Trigger   Roy Rogers and his horse Trigger

 

During early film making, horses were often were considered disposable products. If a horse was injured or killed during a particular sequence, another replaced it. If the script called for a horse to go crashing to the earth, trip wires sent it sprawling. Sometimes legs were broken in the process. Scenes where horses were driven off of the cliff to their death were tragically true to life as horses were forced off of cliffs to their death.  The major turning point came in 1939 when Jesse James was filmed, says Wheatley. The movie starred Tyrone Power as Jesse James and Henry Fonda as Frank James. In one of the scenes, a posse is in hot pursuit of Frank James. To escape them, he and the horse plunge over a cliff and into the river. The next scene shows Fonda and the horse swimming to safety in the river.  Unfortunately, it wasn’t that simple. The horse used in the scene lost its life. For the scene, says Wheatley, the horse was placed on a slippery platform called a tilt chute. At a key moment, the chute tilted and the horse went over the cliff into the water and was killed.  The on scene crew objected and told the story. Public outrage forced the Motion Picture Association of America (MPAA) to take action. As a first step, MPAA gave the AHA legal rights to set guidelines and oversee the treatment of animals on movie sets, and eventually television programs.

Tragic death scene in Jesse James 1939 movie

Tragic death scene in Jesse James 1939 movie

There was something of a hiatus in the humane treatment of animals on production sets from 1966 until 1980. In fact,  AHA safety representatives weren’t even allowed on sets. Animals were frequently overworked and kept in unsafe environments, and the trip wires were once again used.

“Those were the dark days for horses in movies,” says Karen Rosa, director of the AHA Film and TV Unit in Los Angeles, Calif.  Then, says Rosa, the death of another horse during the filming of Heaven’s Gate spurred reform. In the film, the script called for a saddle to be blown off a horse’s back, says Rosa. Explosives apparently were used, she said, and when they went off, the horse was so severely injured that it had to be euthanized.  The Screen Actors Guild, whose members were distressed by what had occurred, stepped up to the plate by insisting on restoring the AHA’s power. In 1980, the MPAA granted the AHA sole authority to protect animals used in film and television through a contract with the Screen Actors Guild.

The result of the new protection for the equine stars is the careful preparation for horses for the roles they are chosen to play. Jack Lilley is the owner of Movin On Livestock, a motion picture barn who supplies animals for TV and film. Hired to oversee the equine handling on movies like the upcoming Magnificent Seven, Lilley ensures Hollywood’s horses are kept safe and happy. This requires patience, training, and selecting the right animals in the first place.  As with humans, not just any horse is cut out to be a star. Before a horse can even gallop on set they need to be vetted for their disposition. If a horse is too skittish, or “looky” as Lilley describes them, they might not be a great choice to bring to a bustling movie set full of flashing lights, loud noises, and frantic people. “We don’t want any of them prancing or high-powered horses,” says Lilley. “We want that type that you could put [your kids] on, and say, ‘Ride him home.’” It’s important that a movie horse isn’t startled or spooked easily, both for the safety of the riders and the animals. “All in all, the American Quarter Horse is the best. They’ve got the best disposition and nothing bothers them.” Lilley’s ranch gets a new horse around the age of five and up, and often from traditional ranches. Cowboys—real ones, not movie ones—will slowly ride the horses around a set with the lights and production pieces in place to familiarize them with the noise and action. “I like to start them on a big street scene,” says Lilley. “Pretty soon they see that nothing’s going to bother them.” Ideally they’ll acclimate to the madness of a movie set to the point of being shockingly docile. “[The ideal horse is one that] you could fall all over. If you were doing a fight, you could roll under his belly and he wouldn’t try to step on you,” says Lilley.

Pawnee Actor with horse in "Hell On Wheels" series

Pawnee Actor with horse in “Hell On Wheels” series

references: ‘The Hollywood Horse’ from: the horse.com ; Behind the Scenes with Horses from Hollywood: Atlas Obscura.com

 

 

Just Being ‘Neigh’-borly?

Posted on June 5, 2018 by Jerrilee.
Categories: equipment, handicap, health, history.

Back in the spring of 2008, a paint horse named Whisky broke loose after being tied outside a bar near Lake Desolation in Saratoga County, N.Y.. Concerned citizen Robert Carey saw Whisky and his “wingman” cowboy galloping off down the street and attempted to corral the wayward wards. After grabbing Whisky, Carey was allegedly knocked unconscious by Whisky, badly injuring his shoulder. Two surgeries to repair the damage to Carey’s shoulder were apparently unsuccessful, and Carey remains unable to work five years later, prompting his lawyer to say Carey is “…the proverbial one-armed paper hanger.”
horseservice
In the classic, “he said, he neighed” style representative of this sort of legal case, Whisky’s side of the court room claims Whisky is “calm, docile, well-trained, and sociable.” Further, Whisky’s owner, Burton Schwab, claims that he’s never received complaints about Whisky’s behavior in the past “had no knowledge of Whisky ever moving or jerking his head violently or quickly, knocking anyone to the ground, or stomping on anyone.”   A county judge refused to dismiss the case, and the Appellate Division’s Albany-based Third Department affirmed that decision.

Alcohol was also to blame in the  arrest of Patrick Schumacher, 45, who was taken into custody by the University of Colorado Police Department in Boulder, Colo., in 2013, for driving under the influence while on horseback and animal cruelty. Schumacher failed a sobriety test, and a search of his backpack revealed a gun, several beers, and a pug named Bufford. The horse and pug were held overnight by the local humane society. When the two animals were released back to a sobered Schumacher, he then remounted and continued the 600-mile trek to Bryce, Utah, for his brother’s wedding.

 

Reunited with dog and horse

Reunited with dog and horse

equi-works

equi-works