"Always to have good horses, to know them well and how to take care of them, improving their qualities and reducing their weak points, is worth more than knowing any other art imperfectly. And having the horses always well-educated brings one great advantages, in honour and benefits, over others who don't. And this is considered to be so by those with great experience."
- King Duarte of Portugal, Bem Cavalgar (1438)
- King Duarte of Portugal, Bem Cavalgar (1438)
Definition
Western Traditional Horsemanship entails all forms of horsemanship which have originated in western culture from the Middle Ages until the advent of modernity (ca. 9-18 century). More concretely, Traditional Western Horsemanship entails:
- Medieval Horsemanship (From 8th-15th century) - Traditional Dressage (Dressage from the 16th to the 18th century) - Vaquero Horsemanship (Traditional horsemanship of the American continent, originated around 1600 and the only fully continued western horsemanship tradition today) - Jennet Horsemanship (Iberian horsemanship starting in 16th century, but today mainly reduced to the cultural practices often described as doma vaquera) |
The logo of the Scholae expresses these traditions by depicting vaquero horsemanship, medieval horsemanship and traditional dressage
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This may arouse the suspicion that such a horsemanship is a random gathering of perspectives and methods practised alongside each other. Doing everything at the same time, but not doing doing anything properly, you might think. In fact, these methods have more in common than you may think. They are historically related to one another. All forms of Western Traditional horsemanship have their earliest origins in Medieval Horsemanship, even though they later evolved in different directions and had different applications. On the one hand, Traditional Dressage emerged gradually out of Medieval Horsemanship. On the Iberian Peninsula, on the other hand, a distinct form of horsemanship emerged out of Medieval Horsemanship, taking the name of one of the medieval forms of riding: Gineta or Jennet horsemanship. When this type of horsemanship was exported to the Spanish colonies on the American continent, it mutated into Vaquero Horsemanship, which spread throughout the continent, ranging from the gauchos in the South to the buckaroos in the North. The historical links between these traditions therefore provide a the well-delineated framework to study and practice these forms of horsemanship not only separately, but in strong interaction with one another.
Next to their historical relation, these different Traditions shared a variable function for the horse, rather than specific sporting or recreational activities for which horses are used nowadays. Horses needed to operate under diverse, often threatening conditions, and held a central place in the cultures of these horsemen. In many cases, the human's very survival depended on his horse and therefore on the level of his horsemanship. Although the applications of these traditions of horsemanship were different, at heart they all required a variable, adaptive and organic method that pursues the art of establishing a unity between horse and rider. Such a unity expressed naturalness by applying natural principles to establish, cultivate and perfect both the mental and physical qualities of horse and cavalier.
Although Traditional Western Horsemanship focuses on the historical practices of the mentioned equestrian traditions, it would be foolish to ignore modern insights (particularly those of re-constructionists or modern practitioners of traditional horsemanship), insights gained from other forms of traditional horsemanship (e.g. Arabian Horsemanship, Central Asiatic Horsemanship, etc), or insights provided by historians and scientists, as they can greatly contribute to further our understanding of these traditional methods.
The horsemanship methods of Traditional Western Horsemanship pursuing the Art of Unity offer a variable, adaptive and organic way to deal with all kinds of horses for all kinds of applications. Therefore Western Traditional Horsemanship is not only valuable for enthusiasts of historical equestrian practices, but for anyone who desires a decent form of horsemanship, from the recreational trail rider to the professional sportsman.
Next to their historical relation, these different Traditions shared a variable function for the horse, rather than specific sporting or recreational activities for which horses are used nowadays. Horses needed to operate under diverse, often threatening conditions, and held a central place in the cultures of these horsemen. In many cases, the human's very survival depended on his horse and therefore on the level of his horsemanship. Although the applications of these traditions of horsemanship were different, at heart they all required a variable, adaptive and organic method that pursues the art of establishing a unity between horse and rider. Such a unity expressed naturalness by applying natural principles to establish, cultivate and perfect both the mental and physical qualities of horse and cavalier.
Although Traditional Western Horsemanship focuses on the historical practices of the mentioned equestrian traditions, it would be foolish to ignore modern insights (particularly those of re-constructionists or modern practitioners of traditional horsemanship), insights gained from other forms of traditional horsemanship (e.g. Arabian Horsemanship, Central Asiatic Horsemanship, etc), or insights provided by historians and scientists, as they can greatly contribute to further our understanding of these traditional methods.
The horsemanship methods of Traditional Western Horsemanship pursuing the Art of Unity offer a variable, adaptive and organic way to deal with all kinds of horses for all kinds of applications. Therefore Western Traditional Horsemanship is not only valuable for enthusiasts of historical equestrian practices, but for anyone who desires a decent form of horsemanship, from the recreational trail rider to the professional sportsman.
The Art: Thinking Horsemen, Expressing Naturalness, Pursuing Unity
"But having often wondered whence this inborn grace springs, aside from those men who have it naturally, I find one universal rule concerning it, which seems to me worth in this matter than any other in all things human that are done or said: to avoid affectation to the utmost as if it were a very sharp and dangerous rock; and to possibly use a new word, to practise in everything a certain naturalness that shall conceal design and show that what is done and said is done without effort and almost without thinking."
- Baldassare Castiglione, Il Cortegiano (1528)
- Baldassare Castiglione, Il Cortegiano (1528)
During the transition of medieval horsemanship into dressage, before the first works of Traditional Dressage or Jennet Horsemanship were written, before the first horses roamed freely on the American plains, and long before any notions of Natural Horsemanship, Baldassare Castiglione talked about Sprezzatura, which literally means 'Naturalness'.
He proposed this term to describe the most central feature that had characterized the medieval nobility for many centuries. The noble courtiers needed to express an natural ease and beauty, deprived from all artificiality, in everything they did. Although they needed to conduct themselves everywhere and at all times in such a way, whether at court or in warfare, it found its most superb expression in one activity particularly: horsemanship. It was horsemanship that formed the school par excellence to learn this highest of noble values.
He proposed this term to describe the most central feature that had characterized the medieval nobility for many centuries. The noble courtiers needed to express an natural ease and beauty, deprived from all artificiality, in everything they did. Although they needed to conduct themselves everywhere and at all times in such a way, whether at court or in warfare, it found its most superb expression in one activity particularly: horsemanship. It was horsemanship that formed the school par excellence to learn this highest of noble values.
Such a horsemanship of naturalness envisioned a horse and a rider cooperating in perfect harmony without any sense of artificiality or design, as if they were of one mind and one body. Naturalness, therefore, expressed nothing less than a the art of true Unity, as if horse and rider were turned into the mythological centaur, half man and half horse.
Certainly, naturalness implied a high degree of physical training that established, advanced and perfected the horse's natural moveability under the saddle, and which could subsequently be harnessed by the rider in all kinds of applications, from basic riding to gracious school jumps or the fearsome terre a terre canter. More important than the physical development was the extremely light, refined and elaborate communication. An exchange of feels between horse and rider, nearly invisible to the eye of the beholder, formed the basis for all training and would allow the rider the move his horse's feet as if they were his own. Such an Art of Unity, expressed by naturalness, could only be established by a prudent (meaning wise) horseman with an impeccable practical insight in the measure of his horse and his horsemanship and therefore able to make the correct judgement as to what, when and how to act at any given moment. |
Frontpiece of l'Ecole de Cavalrie of François Robichon de la Guérinière (1733) depicting the centaur Chiron, expressing the unity between horse and man, instructing Achilles.
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Although Castiglione invented the term, he was right to remark that the concept was nothing new, for the idea of a unity between horse and rider based on the prudence of the horseman had been in existence for centuries, if not millennia. The later traditions would retain this notion of Unity and Naturalness as the highest ideal of horsemanship.
For example, the French academies of Traditional Dressage held a similar concept denoted as grace, and in early Jennet horsemanship it became Pulchritude. The notion was carried into the Americas and the unity between horse and rider would be one of the trademarks of the vaqueros, gauchos and buckaroos, who were known to spend more awaking hours on their horse than on the ground. It was through this tradition that buckaroos as Tom Dorrance or Ray Hunt would carry the ideal of Unity into the 20th century, forming the main inspiration for the numerous Natural Horsemen that emerged by the end of that century.
Although the vaquero culture lasted into the 20th century in some parts of the American continent, most forms of Western Traditional Horsemanship did not survive the modernisation of the 19th and 20th centuries. Although the image of a unity between humans and horses lingered on as a romantic notion in the collective mind of Modern Western Culture, in practice, riders became more mechanic in dealing with their horses, their horsemanship became more pragmatic and their methods often more formalistic. When horsemanship, especially in Europe, was largely reduced to sporting, the use and goals of horsemanship became very specific. With the advent of the modern world, the Art of Unity was mostly lost.
Nonetheless, its legacy was so strongly imprinted onto our culture, that it survived as a memory of the human mind and as a desire of the human heart. The most important mission of the Scholae Artis Equestris is to honour our ancient alliance with the horse by reviving the Naturalness of the Art of Unity which has left a deep mark onto our collective past and which is anchored in our shared memory and identity. In it lies a powerful reminder that humans can indeed transcend their own nature and aspire to something greater and deeper, something that can only be properly described as miraculous.
For example, the French academies of Traditional Dressage held a similar concept denoted as grace, and in early Jennet horsemanship it became Pulchritude. The notion was carried into the Americas and the unity between horse and rider would be one of the trademarks of the vaqueros, gauchos and buckaroos, who were known to spend more awaking hours on their horse than on the ground. It was through this tradition that buckaroos as Tom Dorrance or Ray Hunt would carry the ideal of Unity into the 20th century, forming the main inspiration for the numerous Natural Horsemen that emerged by the end of that century.
Although the vaquero culture lasted into the 20th century in some parts of the American continent, most forms of Western Traditional Horsemanship did not survive the modernisation of the 19th and 20th centuries. Although the image of a unity between humans and horses lingered on as a romantic notion in the collective mind of Modern Western Culture, in practice, riders became more mechanic in dealing with their horses, their horsemanship became more pragmatic and their methods often more formalistic. When horsemanship, especially in Europe, was largely reduced to sporting, the use and goals of horsemanship became very specific. With the advent of the modern world, the Art of Unity was mostly lost.
Nonetheless, its legacy was so strongly imprinted onto our culture, that it survived as a memory of the human mind and as a desire of the human heart. The most important mission of the Scholae Artis Equestris is to honour our ancient alliance with the horse by reviving the Naturalness of the Art of Unity which has left a deep mark onto our collective past and which is anchored in our shared memory and identity. In it lies a powerful reminder that humans can indeed transcend their own nature and aspire to something greater and deeper, something that can only be properly described as miraculous.
In our modern culture, youtube movies often reflect popular sentiments. This tribute to horses, compiled by Rimfaxe96 is highly indicative of the contemporary sentiment about horses. It starts by demonstrating how the memory of ancient horsemanship still lingers on in the statues that can be found in virtually every European city. It continues by expressing the desire of reviving that horsemanship and its implicit central tenet of a unity between rider and men. Unconsciously, this led the author of this film to use distinct images of Traditional Western Horsemanship such as the buckaroo approaching a wild horse or a rider performing a pesade. As such, this film indicates the strongly felt need for a more traditional horsemanship better than any words could express.
An adaptive, variable and organic method, based on principles, building qualities
In general, the methodology of the diverse western traditions of horsemanship have some characteristics in common:
- organic methods: The methods of Western Traditional Horsemanship emerged in a time before any severe industrialization and mechanization and were therefore marked by a more organic approach. This meant that these methods acknowledged that a rider cannot directly affect the horse's movement as as would they provoke a mechanical chain reaction within the horse's body. On the contrary, the rider can only affect the horse through communication, which requires a close connection between horse and rider. Mechanical gimmicks were therefore not applied by any of the traditional methods.
Furthermore, traditional methodology explicitly dealt with the horse in all its dimensions, meaning both the physical as the mental dimension of horsemanship and stressed the strong interaction between these two dimensions.
- variable and adaptive: An organic method also acknowledges the inherent variability within as well as between horses. Such a view dismisses any notions of a rigid and uniform set of practices which can be applied onto every horse. It accepts that horses will retain different shapes and expressions throughout training in relation to their unique behaviour and physical confirmation.
Moreover, an organic method also accepts that the same horse is different and changeable from day to day. An organic methodology therefore needs to incorporate a wide diversity in techniques to deal with such variation and adapt itself to fit the situation and the uniqueness of each and every horse.
- principles and qualities: The variation between and within horses, however, is not random. Underlying the unique and variable character and confirmation of each horse lie principles common for all horses. Traditional methods envision to work with these principles to build underlying mental and physical qualities, which advance horsemanship towards unity and which are applied within the envisioned uses for the horse. Traditional methods do not strife to mould horses in a standard form, but look for expressions that indicate the level of the underlying qualities.
General and applied training
"Horses learn more on the job than with dry-reining"
- Old vaquero proverb
Today, different horse disciplines are often considered discrete categories of horsemanship. Even though a basic form of dressage or reining is deemed important for other disciplines as well, each sport discipline is mainly considered in its own right. Traditional forms of horsemanship, on the other hand, were always connected to a variable application, which in turn required an elaborate general education for the horse.
Vaquero horsemanship was connected to the requirements of extensive husbandry, this did not only entailed the specific needs for cow work such as cutting or roping activities, but also the necessity of a confident horse able to operate in hazardous and barren environments. Medieval Horsemanship was strongly tied to the martial practices of medieval warfare, tournaments and jousts, and to other practices such as hunting, racing or even simple travelling. Jennet Horsemanship, which can be considered the Iberian brother of dressage, was likewise a form of horsemanship performed by noblemen who demonstrated their skills during activities as cane games or tauromachy (which the Scholae do not advocate), while it was also adapted to the cow work in the Doma Vaquera. Traditional dressage, finally, was mainly considered an art in itself, central within the noble culture of the Early Modern Period (16th-18th century). However also this horsemanship, retained its link with the martial culture in the caroussels and accompanying courses. Furthermore, masters such as de la Guerinière stressed its importance as a general education of the horse, which allowed for military and hunting applications.
Traditional Western Horsemanship was therefore never without an external application, although it always included an advanced general education of horse and rider as well. What is more, traditional methods often stress the reciprocal benefits of general and applied training. On the one hand, the applications required a variable and elaborate general training; on the other, the applications greatly enhanced the horse's learning by offering them a focus in a concrete job that required many of the skills trained in the general training. In this context, Ernest Morris, a vaquero historian, recalls the old vaquero proverb cited above: "Horses learn more on the job than with dry-reining"
Vaquero horsemanship was connected to the requirements of extensive husbandry, this did not only entailed the specific needs for cow work such as cutting or roping activities, but also the necessity of a confident horse able to operate in hazardous and barren environments. Medieval Horsemanship was strongly tied to the martial practices of medieval warfare, tournaments and jousts, and to other practices such as hunting, racing or even simple travelling. Jennet Horsemanship, which can be considered the Iberian brother of dressage, was likewise a form of horsemanship performed by noblemen who demonstrated their skills during activities as cane games or tauromachy (which the Scholae do not advocate), while it was also adapted to the cow work in the Doma Vaquera. Traditional dressage, finally, was mainly considered an art in itself, central within the noble culture of the Early Modern Period (16th-18th century). However also this horsemanship, retained its link with the martial culture in the caroussels and accompanying courses. Furthermore, masters such as de la Guerinière stressed its importance as a general education of the horse, which allowed for military and hunting applications.
Traditional Western Horsemanship was therefore never without an external application, although it always included an advanced general education of horse and rider as well. What is more, traditional methods often stress the reciprocal benefits of general and applied training. On the one hand, the applications required a variable and elaborate general training; on the other, the applications greatly enhanced the horse's learning by offering them a focus in a concrete job that required many of the skills trained in the general training. In this context, Ernest Morris, a vaquero historian, recalls the old vaquero proverb cited above: "Horses learn more on the job than with dry-reining"
Traditional and modern Conventional Horsemanship: what is the difference?
People often confuse traditional horsemanship and modern conventional horsemanship, often because conventional horsemen wrongfully claim a historical legitimacy for their practices. In the scholae, we use the term 'Conventional Horsemanship' for the 'standardized', often uniform, methods of horsemanship which are common nowadays, whether English (European) or Western (American) riding. Although these methods may partially and indirectly be influenced by diverse forms of Traditional Horsemanship, for most part, they emerged in the twentieth century in strong relation to the specific requirements of the equestrian sports to which the horse world was mainly reduced after the Second World War, even though these methods are sometimes used to accommodate more recreational practices such as trail riding.
The equestrian sports that emerged in the course of the 20th century fell into two categories. On the one hand, there are the internal equestrian sports, which envision to express general horse training without any external purpose in competition. Such sports are for instance sport dressage or sport reining. On the other hand, there are external sports with a specific external goal requiring a particular physical activity on part of the horse. Examples of such external sporting are racing, show jumping or barrel racing.
The scholae are not against equestrian sports, not even to the conventional sports, nor is sporting contradictory to the central tenets of Traditional Western Horsemanship. On the other hand, the scholae criticizes the uniformity, mechanicity and almost exclusive focus on expression that have arisen in Modern and particularly Conventional Horsemanship. One of the distinct problems of conventional horsemanship is when the horse world was reduced to a sporting world, these equestrian sports increasingly dictated the general standards for horsemanship, rather than good horsemanship being applied in sport practices.
Notwithstanding the apparent differences between Tradional Horsemanship and Modern Conventional Riding, there is still a lot of common ground. Many of the physical qualities which were initially envisioned by sport dressage had their inspiration from traditional dressage. Even though the manoeuvres of sport reining have been altered to be more spectacular, they have their roots in the ranch work which is also executed by vaqueros and buckaroos. Even external sports such as jumping or barrel racing may look to traditional horsemanship for the general training of their horses, which will enhance the sport performances of the horses involved. In that respect, Tradional Horsemanship may criticize some modern practices, while complementing, refining and enriching others. In this way, the practices of traditional horsemanship could inspire some innovative ways for an equestrian sport world that has grown too 'mechanical' in the past decades, and which is severely criticized for it. In return, the experience of modern practices can prove valuable to the reconstruction of traditional methods. Consequently, the scholae encourage modern practioners of modern horsemanship to participate in traditional horsemanship as well.
The equestrian sports that emerged in the course of the 20th century fell into two categories. On the one hand, there are the internal equestrian sports, which envision to express general horse training without any external purpose in competition. Such sports are for instance sport dressage or sport reining. On the other hand, there are external sports with a specific external goal requiring a particular physical activity on part of the horse. Examples of such external sporting are racing, show jumping or barrel racing.
The scholae are not against equestrian sports, not even to the conventional sports, nor is sporting contradictory to the central tenets of Traditional Western Horsemanship. On the other hand, the scholae criticizes the uniformity, mechanicity and almost exclusive focus on expression that have arisen in Modern and particularly Conventional Horsemanship. One of the distinct problems of conventional horsemanship is when the horse world was reduced to a sporting world, these equestrian sports increasingly dictated the general standards for horsemanship, rather than good horsemanship being applied in sport practices.
Notwithstanding the apparent differences between Tradional Horsemanship and Modern Conventional Riding, there is still a lot of common ground. Many of the physical qualities which were initially envisioned by sport dressage had their inspiration from traditional dressage. Even though the manoeuvres of sport reining have been altered to be more spectacular, they have their roots in the ranch work which is also executed by vaqueros and buckaroos. Even external sports such as jumping or barrel racing may look to traditional horsemanship for the general training of their horses, which will enhance the sport performances of the horses involved. In that respect, Tradional Horsemanship may criticize some modern practices, while complementing, refining and enriching others. In this way, the practices of traditional horsemanship could inspire some innovative ways for an equestrian sport world that has grown too 'mechanical' in the past decades, and which is severely criticized for it. In return, the experience of modern practices can prove valuable to the reconstruction of traditional methods. Consequently, the scholae encourage modern practioners of modern horsemanship to participate in traditional horsemanship as well.
Nothing new but not self-legitimating
Two final remarks need to be made with regard to the concept of Traditional Western Horsemanship:
- Although I have invented the term Western Traditional Horsemanship, it is by no means a new or revolutionary style of horsemanship, except perhaps for the conscious scope it takes on all traditions of Western Horsemanship. Not only does it rely on historical methods of horsemanship, the horse traditions of the past were often characterized by an amazing openness towards other forms of horsemanship. For example, when Medieval Horsemanship originated it was influenced by many traditions, such as Visigothic, Avar and Arabian practices. Later, in the 15th century, king Duarte describes five different styles of horsemanship, but much opposed to modern trends, he strongly insisted that any good horseman should learn all of these styles. Also later traditions often exchanged insights. On the Iberian Peninsula, Jennet Riding and Traditional Dressage strongly interacted with each other, a legacy which is still honoured in the Real Escuela Andaluza del Arte Ecuestre.
- The focus of the Scholae lies with Traditional Western Horsemanship, but it does not claim any legitimation for the benefits of such a horsemanship on grounds that it is ancient. Rather than assuming that these older forms of horsemanship are better, the scholae explicitly studies and analyses to check their validity as well as to deepen our insights in the horse and horsemanship. Based on such an analysis, the scholae have come to the conclusion that Traditional Horsemanship is in many ways preferable. We strongly invite you to check our general philosophy behind the Traditional Western Horsemanship of the Scholae, which can be found on the horsemanship section of this website. Here are already some indications for that validity:
- These horsemanship methods were developed in a pre-industrial and therefore more 'organical' era of human history. In these times, people were less confronted by mechanisation and hence mechanical reasoning, resulting in a more organic methodology for horsemanship as well.
- Traditional horsemen always had a variable use for their horses. Such an application required a holistic approach to horses, and were therefore inclined to take all aspects, both mental and physical, of the horse into account. Furthermore, these horsemen often needed to quickly move their horses in relation to the unpredicted movements of for instance cows or opponents, requiring a light, refined an elaborate communication.
- Because of the variable and holistic use for horses, tradional horsemen retained a real and functional ideal of Unity between horse and man, rather than focusing primarily on very specific attributes of their horses
- Traditional Western Horsemanship has a multi-perspective approach, comparing many methods with each other. Such an approach does not only deepen our insights in horsemanship, but is inherently self-critical. When differences emerge between methods, we cannot simply ignore them. Rather, we need to explain these differences, which results in a continuous critical evaluation of the methodology sustained within the Scholae Artis Equestris.
- These horsemanship methods were developed in a pre-industrial and therefore more 'organical' era of human history. In these times, people were less confronted by mechanisation and hence mechanical reasoning, resulting in a more organic methodology for horsemanship as well.