Positioning of the Head

Posted on November 1, 2018 by Jerrilee.
Categories: health, history, riding, therapy, training.
photo:informedfarmers.com

photo:informedfarmers.com

 

There are so many training and lesson terms referring to the positioning of the horse’s head when it is being ridden that it can become difficult to know which is best when riding. For example: “on the bit/up to the bit/over the bit” are descriptions describing the horse’s head placement from the way the rider is holding the reins. In fact, some instructors will substitute the word ‘rein’ rather than bit:  “on the rein/behind the rein/cue the rein/supple the rein” to indicate the rider’s influence on the horse via the reins held in the hands. With all this obsession on where the horse’s head should be positioned when riding and how the rider affects this positioning, how can a rider know just which position of the head is correct?

I have yet to see a horse out to pasture who didn’t know how to put his head down to eat grass. Yet under saddle the common perception is that the horse will not keep his head forward and low without gadgets and bits. Why can’t we connect the grazing stretch from the pasture to the head carriage of the horse under saddle?

Studies show that the horse’s reaction to rider weight is to push its spine downward toward the ground. He will also lift his neck and head upward toward the sky to accommodate his dropped back.  This means he bends upside down with his head high and his back sagging. Since his back is no longer supporting the rider, the horse will have to hop from his hip and shoulder to trot forward, creating a jolt and bounce to the rider in the saddle. The common method of pulling back on the reins to adjust the high head position of the horse just brings the horse’s head up higher than it was before, creating more bounce.

To fix the head position and produce a pleasant riding horse we need to fix the source of imbalance:  the dropped spinal vertebrae. Once the horse lifts the spinal vertebrae upward then the head and neck automatically reach outward and downward similarly to what we see when they are out grazing. The test of our horsemanship is not in how cleverly we can pull back the horse’s nose but how quickly we can convince the horse to lift its back upward. When his back lifts upward and carries the weight of the rider, rather than ducking down away from it, the horse discovers the relief of reconnecting his back to his tail and head. His balance returns,and his movement becomes smoother and easier to ride. The reins in the rider’s hands become simply a tool to maintain the horse’s posture while guiding it in which way to turn.

Absolute Elevation: The Sister to Rolkur

Posted on October 15, 2018 by Jerrilee.
Categories: health, history, riding, training.

excerpts from an article by Bonnie Walker

versusThe controversy of rollkur within the world of dressage is not a new one. Also called hyperflexion, it is the practice of forcefully pulling a horse’s head into an extreme low, deep and round position. Many have seen photographs of horses being pulled into such a headset, inspiring anti-rollkur websites, publications and Facebook pages. But this is not an article about the evils of rollkur, but rather the less publicly sensational but no less harmful practice of absolute elevation.

No horse is meant to have their head and neck in any extreme position for an extended period of time and there will be repercussions physically if they are forced to do so. Rollkur is an extreme deep and low position, absolute elevation is an extreme high and back position. Since this is an article on absolute elevation, I will discuss mainly this, though you see in the nifty picture I drew, both absolute elevation, rollkur and relative elevation, which is the proper way of doing things.

collectiondiagram4So how does this thing called collection work? Let’s start with your horse’s hindquarters and work our way forward. The idea of “getting the hindleg under” and “lowering the croup” are two concepts that are commonly bandied about in the dressage world. What happens to create and more importantly, sustain, this way of moving is actually a full body experience.

While the sacrum of the horse does not have the ability to rotate, a horse’s lumbosacral joint does. This joint acts to ‘roll’ the horse’s pelvis under themselves, aiding in the compression of the hind legs (aka engagement). It might just be a little (for example in training level to achieve level balance) or it might be more extreme (for example the piaffe). This rotation of the pelvis and compression of the hind leg joints also allows the horse’s center of gravity to draw further back and away from his forehand. These mechanism do not work in a vacuum however and that full body experience we were referring to now must include to the horse’s back and abdominal muscles. Think of them as the platforms that link the horse’s front and back ends. If a horse does not have sufficient muscular strength within his midsection then there is NO WAY we can build a horse with the ability to truly collect.  In addition to supporting our weight, a horse’s midsection also supports and connects the mechanisms of collection in the forehand and hindquarters.  A horse does not have a collar bone as we humans do. Instead they have a muscular “girdle” of sorts that runs near wear the girth lays. When toned, this series of muscles, called the thoracic sling, acts along with the musculature of the neck and chest to elevate the front half of the horse. When these muscles are engaged the front limbs of the horse act to aid in his or her overall balance, pushing upward to maintain the elevated front end and encourage a rotated and engaged hind end. Just as the hind leg must rotate and compress more as collection increases, so must the front end elevate and push upward more to maintain its end of the bargain. All of these body actions to combine to create a phenomenon called “relative elevation”, which is the right and proper way to strength build and collect a horse.
There is no such thing as putting the horse in the headset and then waiting for the muscles to develop afterward. The muscles develop INTO the balance that supports a certain headset. Both extreme headsets (rollkur and absolute elevation) will force the horse to have issues breathing, as that tightly compressed throat latch area can impede airflow.

A swaybacked horse is an extreme example of what happens when the back drops.

A swaybacked horse is an extreme example of what happens when the back drops.

If the head is brought too high, too fast, then the front end does not have the muscular strength to elevate upward, the core musculature is too weak to follow it up and the hind legs cannot maintain the rotation and compression. So, the front end drops, the back sinks and the horse’s pelvis rolls outward instead of under. An array of tendon and joint injuries occur from this, not least of which is a phenomenon called “kissing spine”. This happens when the vertebrae of the spine are compressed together and rub on one another, bone on bone, which is extremely painful.
What you want to get comfortable with is watching how the horse’s body works, and knowing how it should correctly work. If done right, dressage will add to the strength and longevity of a horse. They will become beautiful old geldings and mares. If done incorrectly you will have a ten year old horse than rides like an old man.

About the author: Bonnie Walker,USDF Bronze and Silver Medalist, in San Diego, Ca, rides and shows in dressage. Her profound articles on riding and training are public on her blog DressageDifferent.com

Understanding the Mounted Police Horse

Posted on October 3, 2018 by Jerrilee.
Categories: equipment, history, riding, training.

Providence Mounted Patrol

Providence Mounted Patrol

Thanks to Delfin Vigil for his following article:
Officially founded in San Francisco, California, in 1872 (two years after New York City’s), the mounted patrol unit has been trotting through the city’s streets fighting and preventing crime in three centuries. While in its — ahem — heyday, there were upward of 30 badge-wearing horses, and although at one point every substation in the city had horses, there are only 13 on-duty patrol ponies left at the department’s stables in Golden Gate Park. Although some critics write off the mounted patrol as a chance for police officers to joyride through the park, many don’t realize that the horses are putting their lives at risk.
During one of the initial and largest protests against the current war in Iraq, the mounted patrol unit was brought in to help the first officers on the scene, who were being backed in and surrounded by protesters near Third and Market streets.
“Eleven horses were brought in to save the officers,” remembers Sgt Downs. “We were able to part the sea of protesters without hitting, stepping on or even touching a single person. That’s the beauty of the horse.”
Aggressive dogs are probably the biggest danger to the four-legged officers.
In November 2003, a woman was walking Nettie, a pit bull mix, in Golden Gate Park when she decided to take off the dog’s leash to let it play with other dogs. But instead it went after police horse AAA Andy.
AAA, who is not in the insurance business but was given to the department by the company, was bitten several times in the belly and legs by the dog, which continued to chase him for about a half mile as AAA Andy tried to find his way back to the stables. The officer was thrown to the ground during the frenzy. Another officer had to shoot the dog (who survived) to stop the attack.
AAA Andy went on disability for a couple of months. Within weeks of being back on the job he was in the news again for galloping down the “Spider-Man” burglar who had a record of more than 60 acrobatic burglaries through skylights and ventilation shafts in Sunset District buildings. This time, “Spider-Man,” a.k.a. 27-year-old Kristian Kwon Marine, was on the run after snatching a purse at a cafe on Ninth Avenue and Irving Street. With only a good old-fashioned “he went thataway,” tip, AAA and Officer Kaan Chin chased the burglar down in a field in Golden Gate Park.
“What people don’t always understand is that most of what all police officers do involves crime prevention,” says Kaan, who rode AAA Andy. “But these horses are very capable of fighting crime in heat-of-the-moment ways as well. Once that saddle is put on, their personalities change and they are ready to work.”

Dressage: Sport Technique or Art Form?

Posted on August 10, 2018 by Jerrilee.
Categories: health, history, riding, training.

 

Nuno Oliveira in passage

The following is a feature commentary:

Dressage Commentary by Charles de Kunffy

The fashionable dressage terminology has recently increased by the word “technique.” It is just the word I would not welcome. There are references of various riders’ techniques for the improvement of everything, including the horse, his piaffe, his flying changes, his extensions, his attention, his contact and everything else under the sun. None of these are improvable by any techniques for the simple reason that riding is not a technology. Horses are not a triumph of mechanical inventions. Horses are living, complex individuals. They cannot be understood from an instruction booklet, even if it were written by Dante, Shakespeare, Moliere or Goethe, and they cannot be schooled by techniques. In fact, riding is a complex art. That positions it most decidedly opposite technology. Technology is predictable and based on instant and predictable responses of machinery to predictable mechanical actions

If riding would be a technology, it would come with an “instructional booklet” or a “recipe book” similar to those that are tormenting anyone who buys a gadget.  Not all horses produce predictable, or identical reactions to riders’ communications. Nothing more needs to be said than this: Horses are complex living individuals, not a piece of technology. Riding them is done by knowledge leading to understanding and wisdom. Instead of techniques, suitable to technology and machines, we need to develop the correct skills for communication in harmony with the horse’s nature.

Egon Von Neindorff

Had horsemanship ever benefitted from techniques, we would have long ago produced the necessary guide booklets and recipe books. However, as in fact none of that would suffice, we learned that riding is an art. Therefore riding, as all art involves the mind, the character, the virtues and the skills necessary to deal with a living partner in an artistic endeavor.  Practicing an art, mastering its principles is multi-dimensional and is based on inspirational mentoring and instruction by a master from whom we learn. It is a coaching art. It is acquired by diligent apprenticeship. And it is practiced by skills and not techniques.

Great masters mentored all great artists. Michelangelo was apprenticed to Domenico Ghirlandaio. Andrea del Verrocchio mentored Leonardo da Vinci. All art survives by the genius of its practitioners. One generation derailed can damage or destroy art. Especially, performing art!

Charles de Kunffy is an international dressage judge, author, and educator. You can follow him on Facebook.

Horses and Plains Indians; R.E. Moore

Posted on July 22, 2018 by Jerrilee.
Categories: breed, equipment, history, riding, training.
scene from movie: Dances With Woves

scene from movie: Dances With Woves

The Indians got their first horses from the Spanish. When the Spanish explorers Coronado and DeSoto came into America they brought horses with them. This was in the year of 1540. Some horses got away and went wild. But, the Indians did not seem to have done much with these wild horses. They did not start to ride or use horses until much later.

In the 1600s there were a lot of Spanish missions and settlers in New Mexico just to the west of Texas. This is where the Pueblo and Navaho Indians live. The Spanish in New Mexico used Indians as slaves and workers. These Indian slaves and workers learned about horses working on the Spanish ranches. The Spanish had a law that made it a crime for an Indian to own a horse or a gun. Still these Indians learned how to train a horse and they learned how to ride a horse. They also learned how to use horses to carry packs.

In the year of 1680 the Pueblo Indians revolted against the Spanish and drove the Spanish out of their land and back down into Old Mexico. The Spanish were forced to leave so fast they left behind many horses. The Pueblo Indians took these horses and used them. The Spanish did not come back until the year of 1694. While the Spanish were gone the Pueblo Indians raised large herds of horses. They began selling and trading them to other Indians such as the Kiowa and Comanche. The Pueblo Indians also taught the other Indian tribes how to ride and how to raise horses.

Horses spread across the Southern Plains pretty quickly. French traders reported that the Cheyenne Indians in Kansas got their first horses in the year of 1745. Horses changed life for the plains Indians.
To read more of our guest article click :  R.E.Moore

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

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


equi-works

equi-works