HESTENES KLAN

Oppdatering: Fra bok til film

2011-10-27T11:30:00.032+02:00

Nå begynner det å dra seg kraftig til når det gjelder filmmanuset basert på Hestenes klan.
Neofilm fornyer denne uken opsjonen basert på første versjon av manus og produsenten har stor tro på prosjektet. Det er ikke satt noen deadline for versjon II, men målet mitt er å levere før jul. Det er knapp tid, men tidspress tilfører skriveprosessen dynamikk - og det er slik jeg liker å jobbe.

Adaptasjonens utfordringer
Det er mange som sier at man må forenkle historien når man går fra bok til film, men jeg velger å bruke ordet raffinere om prosessen som ligger bak en god adaptasjon. Kunsten er å bevare kjernen og de sterkeste kvalitetene i den originale historien - og ideelt sett løfte den!

For de som ikke kjenner spillefilmformatet kan jeg nevne at et filmmanus sjelden er over 25.000 ord, mens romaner sjelden er kortere enn 60.000 ord. Hestenes klan teller 114.000 ord, så det sier seg selv at noe må ut.


Bokmanus vs filmmanus. Det er her vi velger hva slags film vi skal lage

Første manusmøte tirsdag 25. oktober
Utgangspunktet for det videre arbeidet med manus er like interessant som det er forutsigbart. Produsenten og jeg er skjønt enige om at det meste av strukturen er på plass, og en del guruer i filmfaget vil fortelle deg at når det gjelder kunsten å skrive et godt manus er det kun tre ting som gjelder og det er: Struktur, struktur, struktur.
Personlig er jeg bare delvis enig i denne påstanden. Det er riktig at et filmmanus må ha struktur, men det må også ha sjel. Legger man for mye vekt på struktur, særlig tidlig i prosessen, blir resultatet ofte tomme konstruksjoner. Skulle jeg brukt en metafor ville jeg sagt at det er som å bygge hus uten innmat. Strukturen skaper den nødvendige ytre fasaden til et hus, men idet du krysser dørterskelen vil du raskt oppdage at det ikke er fasaden som skaper hjemmet. Det er det menneskene som gjør.

Basert på første gjennomgang av manus sitter jeg på fire sider håndskrevne notater, som inneholder verdifulle innspill på enkeltscener som er verdt sin vekt i gull. Utover disse notatene er produsentens konklusjon som følger:

Original historie, med mange praktfulle scener, men det er 10-20 sider for langt og relasjonene mellom karakterene (sjelen) må bearbeides.

Å justere sine ambisjoner

Jeg startet med en ambisjon om å bevare boka intakt og har brukt det siste året på å justere og korrigere denne ambisjonen. Det å avfinne seg med at filmen nødvendigvis må fortelle historien på en helt annen måte enn boka er på sett og vis den viktigste jobben en manusforfatter gjør. Grepene vi tar kjennes tidsvis ubehagelige, men skal dette bli en god film kan vi ikke filmatisere boka - vi må filmatisere historien.

Her er noen smakebiter fra prosessen
De av dere som har lest boken vil vite at hovedpersonens far for mange fremstår som en karakter man har lyst til å kvele med sine egne hender. På film er han verre. Da sier det seg selv at vi må ta grep hvis samspillet mellom far og datter skal fungere.

I romanen har jeg åtte sentrale karakterer. I filmen er disse åtte redusert til fem. Noen karakterer er skrevet helt ut, andre er "slått sammen". Dette innebærer at karakterene som fortsatt er med overtar viktige prosjekter og replikker fra karakterene som er skrevet ut. Andre karakterer igjen er gjort større, for å gi hovedpersonen noen å spille opp mot i situasjoner der hun står alene i boka. I bøker kan vi fortelle hva folk tenker, på film må vi vise det, ved å erstatte indre monolog med ytre handling.

Jeg har redusert historiens omfang med mer enn 70 %, men manuset er fortsatt for langt. Den runden jeg tar nå kommer med andre ord til å svi. Herfra og ut finnes det ingen enkle valg, men jeg gleder meg! Det å rendyrke og perfeksjonere hver eneste scene og det å veie hver eneste replikk på gullvekt er den mest utfordrende, men også den mest givende delen av hele skriveprosessen. Det er nå det begynner å svinge for alvor.

Utelatte elementer fra boka

2011-04-28T09:28:00.003+02:00

Når Amanda Fivel, hovedpersonen i Hestenes klan, har sin første ridetime med Torgeir Rosenlund gjør han henne oppmerksom på hvor viktig det er å legge merke til de små tingene.

"Hvilke små ting?" spør Amanda.

"Dem du ikke legger merke til," svarer Torgeir Rosenlund.

Her er to andre ting Torgeir fortalte Amanda om, som ikke er med i boka. To små ting, som egentlig er store - for hesten:

KUNSTEN Å VÆRE "KONSEKVENT"
Det er mange som vil mene at det er viktig at vi som ryttere har gode rutiner og er "konsekvente" i vår omgang med hestene. Alt tyder på at gode rutiner skaper både trygghet og forutsigbarhet, men når det gjelder kunsten å være "konsekvent" er bildet mer nyansert.
Jeg vil i denne bloggen tematisere hvorfor det å være "konsekvent" kan virke helt mot sin hensikt hvis man ikke samtidig tar innover seg hvordan virkeligheten ser ut fra hestens ståsted. Også i dette tilfellet mener jeg tematikken i boka er direkte overførbar til barneoppdragelse. Det er nemlig ikke tilstrekkelig å bestemme seg for hva som er tillatt og hva som er forbudt, og deretter vie sin tid til å vokte grensen mellom disse to punktene. Likevel er det nettopp det mange av oss driver med. Her er to klassiske eksempler knyttet til ridning og hestehåndtering:

1. DET ER FORBUDT Å KLØ SEG MED HODELAGET PÅ

(Illustrasjonsbilde fra Carterses photostream, Flickr)

Det er mange grunner til at folk ikke vil at hesten skal klø seg med hodelaget på. Spør du dem er skade og slitasje på utstyret hyppig oppgitt som årsak. For andre handler først og fremst om sikkerhet; de er redde for at hesten på ulike måter skal henge seg fast eller skade seg. En del sier bare at de har bestemt at det er forbudt. Punktum.

llustrasjon: Maxillary artery and Nerve
(Antatomy of the Horse ISBN: 3-89993-003-7)

Fra hestens ståsted:
Det er ikke alltid like behagelig for hesten med nesereim, av rene anatomiske årsaker. Særlig ikke hvis den er strammet for hardt eller er tilpasset for dårlig. Ting å tenke på: Det er et hull på siden av hestens skalle (kranium) omtrent akkurat der en høy nesereim typisk ligger, og gjennom dette hullet løper en stor ansiktsnerve med mange forgreininger, og som nerver flest kan den lett komme i klem. Hestens kinntenner kan også by på utfordringer i møte med nesereima. Tennene i overkjeven sitter på en bredere kjeve enn de i underkjeven. Det skaper en skarp kant som kan være kilde til ubehag hvis den presses mot slimhinnene. Videre er det viktig å være klar over at området rundt mulen er svært følsomt og rikt utstyrt med nerver. Jo sterkere ubehag som fremprovoseres, jo ivrigere (raskere) er hesten til å klø seg på forbeinet, krybbekanten, nærmeste stolpe eller eventuelt deg for å lindre plagen. Noen hester klarer knapt å styre seg, men dukker hodet ned ved første og beste anledning for å klø seg også mens rytteren fortsatt sitter på ryggen.

Stalltips:
Hvorfor hesten har et akutt behov for å klø seg er sjelden et tema, men det burde det virkelig være. For det er som regel ikke hesten som trenger korrigering i denne situasjonen, det er utstyret...

2. HESTEN SKAL STÅ STILLE NÅR DU STIGER OPP

Dette bildet er hentet fra en britisk hesteportal.

Under bildet følger 9 punkter for korrekt oppstigning. At det vil være umulig

for denne hesten å stå stille er ikke nevnt med et ord...

Det er viktig at hesten står stille mens du stiger opp, ikke minst fordi du samtidig lærer hesten at den skal stå stille når du stiger (eller faller) av. Men du skal være forsiktig med å irettesette hesten hvis den går fremover mens du setter deg opp. Særlig hvis du ikke er 100% sikker på at det er fysisk mulig for den å stå stille...

Fra hestens ståsted:
Rytterens kroppsvekt påvirker hestens balanse, og aldri påvirkes hestens balanse mer enn ved påstiging. Derfor skylder vi hesten å forberede den på den kommende vektforflytningen, slik at det er fysisk mulig for den å stå stille. Hvis hesten ikke har et støtt triangel å stå på når du stiger opp (slik tilfellet langt på vei er for hesten som er avbildet over), må den gå frem for å gjenvinne balansen. Å korrigere disse stegene er uheldig, naturlig nok. Det kan jo ikke være regnet som forbudt for en hest å miste balansen på grunn av det du driver med?

Stalltips:
Avhengig av hestens størrelse kan du løse problemet ved å hjelpe den til å få en god vektfordeling med å stille den opp slik at alle fire beina er godt plantet før du stiger opp. På en mindre hest er det også mulig å ta tak i baksvisselen på salen og dra eller skyve litt i den, så hesten får mulighet til å fordele vekten sin bedre. Å trekke pusten, ha tilstedeværelse og å forvente at hesten blir stående er også til god hjelp - for hesten.

Skolebesøk på Utsira

2011-04-15T13:43:00.001+02:00

I går var jeg på skolebesøk i Norges minste kommune, lokalt kalt Sira. Besøket var et resultat av den årlige txt-aksjonen som arrangeres av foreningen !les. Målet med aksjonen er å fremme leselyst hos ungdom, og blant skolene som deltar på landsbasis trekkes 19 skoleklasser ut som fylkesvinnere. Premien er et forfatterbesøk.

I tillegg til å presentere Hestenes klan for
8. klassen som vant laget jeg, i samråd med bibliotek-Bjørg, også et eget opplegg for 1.-4. trinn og for 5.-7. trinn.

På 1.-4. trinn snakket jeg om hvordan en forfatter går frem for å finne historier og fange dem. Og etter å ha tatt elevene på en reise gjennom fortellingenes historie fikk de selv være med på å lage et eventyr. Elevene var kreative og hadde mange spennende innspill på det som til slutt ble et eventyr som ikke står tilbake for andre norske folkeeventyr. Nok et eksempel på at flere hoder tenker bedre enn ett. :)

MS Utsira utgjør bindeleddet til fastlandet

På 5. - 7. trinn var temaet "Når bok blir film". Her fikk elevene et møte med klassisk dramaturgi, adaptasjonens utfordringer og ikke minst et innblikk i prosessen som ligger bak adaptasjonen av Hestenes klan. Det ble også tid til å snakke litt om forarbeidet på "Kon-Tiki", og se traileren, så elevene fikk en smak av Norges kommende storfilm.

Med 8. klassen som vant, kjørte vi et veldig åpent opplegg der elevene selv fikk styre mye av innholdet. Det ble en seanse som startet med at jeg fortalte dem om skriveprosessen og svarte på ulike spørsmål de hadde knyttet til innholdet og prosjektet som helhet. Vi snakket også om hvordan sosiale medier har åpnet for en fordypelse av bokas tematikk, før vi avsluttet med en egen bolk om hest og hestehåndtering, ettersom det var flere i klassen som selv drev med hest. Hyggelige og reflekterte ungdommer som jeg hadde stor glede av å prate med - og til.

For meg ble dette en nydelig reise ut i havgapet til et lite samfunn som virkelig må kunne sies å være i vinden. Sira er en sjelden plass, smykket med både kunstprosjekter og vakker natur. Det finnes hyggelige utleieleiligheter i gamle hus og en kunstnerbolig ved det gamle fyret for folk som vil dyrke sine egne prosjekter en periode. Anbefales! Man blir tatt godt imot på Sira og stillheten er balsam for sjelen! Takk for en uforglemmelig tur!

Samspillet mellom hest og menneske

2011-03-11T16:08:00.006+01:00

Et viktig element i romanen Hestenes klan er det magiske samspillet som kan oppstå i møtet mellom hest og menneske. Dette samspillet kan også leses som et bilde på vårt møte med naturen eller som en metafor på den indre balansen vi leter etter - i oss selv.

Det er naturlig nok lite tilgjengelig materiale som viser samspill av den kvaliteten jeg referere til, men jeg kom akkurat over et nytt klipp som faktisk gir et inntrykk av det. Det er lagt ut av en trener jeg har lært mye av og som også har inspirert meg mye; Klaus F. Hempfling.

Legg merke til:
1. Hvordan hesten beveger seg - med letthet, frihet og stolthet.
2. Den subtile kommunikasjonen med hestens bakbein - dansen.
3. Mellomrommet mellom dem - og hvordan de aldri beveger seg inn i hverandres rom på en uvøren eller krenkende måte.

Fravær av metode

2011-03-04T09:21:00.059+01:00

Mange trenere i hesteverdenen i dag bygger sin treningsfilosofi på metoder der både det første og de følgende stegene er forutbestemt. Metodene har gjerne et uttalt mål i enden, ofte i form av et eller flere nivå (levels) som skal oppnås, så man har noe å sikte mot. Dette er et innlegg om alternativet. Filosofien er den samme som den jeg berører i Hestenes klan, og det er en filosofi som mer enn noe annet kjennetegnes ved nettopp fravær av metode.

Hvorfor vi velger bort all bruk av metode
En metode vil alltid baseres på en rekke allerede definerte elementer, og enhver metode er av den grunn uforenelig med rytterens personlige utvikling og vekst som menneske og den individuelle hestens egen vei. Over tid tilfører en metode ingenting annet enn en vedvarende følelse av å ha gått seg vill. Og det er kanskje nettopp derfor vi klamrer oss til dem, fordi vi oppfatter dem som vårt (eneste) virkelige holdepunkt.

Det at mange av metodene som tas i bruk baserer seg på positiv straff og negativ forsterkning gjør ikke saken bedre. For selv om det er sant at alle pattedyr forstår dette språket, er det ingen som snakker det mer kompromissløst enn et menneske med en plan som allerede er spikret…

Når det gjelder jakten på alternative tilnærmingsmåter er den største utfordringen at mange metoder - ved første øyekast - ser ut til å ”virke” fordi de gir ”resultater”. Det er fristende å trekke en parallell til det å være forelder her. Jeg har aldri vært i tvil om at jeg ved hjelp av manipulasjon eller straff kunne tvunget barna mine til å oppnå gode resultater på skolen, men til hvilken pris? Hvordan ville vel ikke en slik fremgangsmåte påvirket deres evne til initiativ, deres stolthet og ikke minst følelse av mestring - for resten av livet? For ikke å snakke om ringvirkningene det ville hatt for vår realsjon.

Tilbake til hestene, men fortsatt med ungene i bakhodet, tenker jeg at utfordringen oppstår når det ambisiøse mennesket får smaken av fremgang. Da er det ikke alltid vi tar oss tid til å se nærmere på hva som går tapt underveis. Jeg kan listet opp dusinvis av alvorlige svakheter ved ulike metodevalg, men nøyer meg med tre hovedoverskrifter i denne omgang:

1. Bruk av metode bryter ned initiativet – både ditt eget og hestens
Dersom det ikke finnes rom for initiativ vil de fleste hester på et eller annet tidspunkt overlate alle avgjørelser til deg, fordi dette er det eneste reelle alternativet for et flokkdyr som tvinges til å opererer innefor et fastlåst system. Interessant nok er det mange trenere som betrakter dette som et steg i riktig retning. Dette til tross for at mental overgivelse og underkastelse strider mot flokkdyrets innerste natur. At de samme metodene også skader eller ødelegger mulighetene for en sunn, gjensidig relasjon mellom hest og menneske blir sjelden nevnt.
Genuint partnerskap/vennskap/foreldreskap bygger på kvaliteter som tillit, gjensidig respekt, felles initiativ og kjærlighet. Det er en myte at slike kvaliteter kan vokse ut av bruken av en metode.

2. Bruken av metode fortrenger tilstedeværelse
Hesten lever i øyeblikket, med fullstendig tilstedeværelse, og hvis vi lytter kan vi lære å finne dette punktet i oss selv. Men i stedet for å takke ja til denne muligheten, holder metodene oss fastlåst innenfor den vedtatte planen og vi jager videre uten å oppdage hva som går tapt underveis. I tillegg punger mange av oss gladelig ut for at andre profesjonelle aktører skal bistå oss i jakten på den samme indre balansen som hesten tilbyr oss i gave.

3. Underkastelse er ikke hestens naturlige språk
Hesten er et flokkdyr, som instinktivt samarbeider. I vill og naturlig tilstand er samarbeid selve nøkkelen til overlevelse i en flokk der alle medlemmene har ulike oppgaver som i sum utfyller hverandre. Underkastelse vil aldri gavne en flokk, fordi det svekker individene. Likevel er det nettopp den menneskeskapte forestillingen om at flokken ledes av ett dominant individ, som har bidratt til utviklingen av metoder som er svært egnet for å tvinge hesten til ”underkastelse”. Det at underkastelse faktisk er et uttalt mål innenfor mange metoder burde få flere til å heve øyebrynene. Kanskje er det lettere å forstå implikasjonene dersom vi trekker resonnementet over i vår egen verden:

Finnes det noen ved sine fulle fem som har et overordnet mål om å krenke/presse sin partner, sine barn, sine venner eller sine kolleger i håp om å oppnå en relasjon preget av underkastelse? Eller er dette noe vi overlater til psykopatene?

Å slippe opp for alternativer, skaper ingen frie valg.

Clan of the Horses/Hestenes klan

2010-08-01T08:01:00.087+02:00

The earliest depictions of women riding astride can be seen in Mongolian, Greek and Celtic art. But through the centuries it has often been considered inappropriate for women to ride in this manner. Women were best seated aside, being led by a man...

Etymology (the study of the history of words) has always intrigued me. And I have always been fascinated by Greek and Norse mythology. About ten years ago I made an interesting discovery that had its origins in the combination of these two interests. The definition of a centaur is a “creature half human half horse”, but all the centaurs I had seen in art were masculine. Still the definition didn’t read “half man, half horse”. Where were all the female centaurs and what are they called? To my astonishment none of my dictionaries could provide an answer to that question.

Another thing I noticed was that the Amazons in Greek mythology supposedly cut off/burnt off their right breast to be able to use a bow more freely without physical "limitations". But there is no indication of such a practice in works of art, in which the Amazons are always depicted with two breasts, although the right one is frequently covered. That made me think. Why would it be so impossible to go into battle with two breasts? I can’t remember ever having read that men needed to be emasculated in order to ride a horse in battle, although it makes a lot more sense.

When reading about women and horses, I always had a feeling that something was missing or hidden. And after years of research I think I have found that missing piece, or rather, I think the piece has found me. It turns out that there is another side of the story when it comes to women and horses
- a story that is ripe to be told, as it turned out.

On this blog you can read about women and horses as they are described through written mythological and historical records, but more importantly you are invited to read excerpts of a completely different story: A story that women have preserved through the centuries solely by oral traditions and secret clans, referred to as Clan of the Horses/Hestenes klan.

Clan of the Horses/Hestenes klan - the Symbol

2010-05-16T08:40:00.003+02:00

After the novel Clan of the Horses/Hestenes klan was published I have received many questions about the clan symbol; what it means and why it consists of a circle and a wavy line. As stated in the novel the circle represents the moon and the wavy line the serpent (snake). There are no written records about the symbol as such, so I can merely refer to what I have been told and what I have gathered from other sources.

The Moon
The moon is, apart from the sun, the most significant celestial body. It is also a well-known symbol for femininity. The moon is closely linked to women for many reasons, but most importantly for the parallelism between the astronomical month and the menstrual cycle. I believe this is why the moon is one of the two symbols used in a horse clan where all the members traditionally have been women.
There are many examples in art and mythology that closely link femininity to the moon. The enigmatic goddess Hekate Trioditis for one, was depicted with three faces, one for each moon phase, new moon, crescent and full moon (virgin, mother and old woman). In Christian iconography Virgin Mary, the mother of Jesus, is often depicted with a moon in the background, or even standing on a crescent. It is also said that the Amazons (ancient, female warriors) used double axes, where each blade was shaped like a crescent. The Incas had a moon cult along side the dominant sun cult. They referred to the moon as the wife of the sun. The moon was called Mamaquilla, “Mother Moon”, but they never made sacrifices to her, only to the sun, which also gives the symbol a very different energy. The metal that corresponds with the moon is silver. In China, the moon is yin.The moon rarely represents masculinity, although there are exceptions, like Máni (the brother of Sól in Norse Mythology).

The serpent (the snake)
The serpent is one of the oldest and most widespread mythological symbols in the world, and it has various interpretations. One important reason for the serpent’s strong position in many cultures is its ability to cast its skin and thus being symbolically "reborn".
In old, mythological records the serpent often represents a secretive, positive aspect because it was believed to have strong connections to the underworld. Serpents also play an important role in healing- and reincarnation rites in many parts of the world. In many cultures the serpent symbolizes the subconscious.
You will often find serpents represented as potent guardians of temples and other sacred places. The reasons might be that snakes frequently hold and defend their ground, rather than retreat.
A serpent that bites its own tale is a symbol for eternity and is used in many cultures, like in Norse mythology where the serpent known as Midgardsormen surrounds the whole world, the whole of Midgard. But when a serpent is crawling on the ground, like the one used in the clan symbol, it speaks of grounding and a strong connection with Mother Nature.
The serpent is also closely connected to knowledge and wisdom. It was a serpent that persuaded Eve to taste the fruit from of the tree of Knowledge and the result is well known: Adam and Eve gained knowledge, but lost Eden. It is an interesting metaphor. All knowledge comes at a price and insight can sometimes be painful. Yet, once you have it, it can also be a great gift that gives your life and relationships a deeper meaning.

Clan of the Horses/Hestenes klan - the writing

2010-05-13T23:29:00.001+02:00

I think I was around 15 the first time I realized that I would write a book some day - and it somehow felt like a book of substantial volume, even then.
Around 1994 I started out writing about a topic that I found very intriguing and close to heart. It was a project on horses and - in particular – people whom where good at handling them. At the time I had been riding for about fifteen years and I put down on paper everything I had ever learned about horses.

But in the midst of the creative writing process I came to realize that I was not the only one working on a novel with the title “The Horsewhisperer”. The disappointment of having lost both the title and some key elements of my project to another author was hard to accept, but at the time I felt that I lacked the experience and maturity needed to do a rewrite. The only possibility left was to wait - until time was ripe. For years I kept the script in a cool, dark place – like a bottle of wine in a wine cellar. Occasionally I would write down some scenes or some dialogue, but it could be month, even years between each time I wrote these fragments of my future novel.

Then something happened that changed everything, and it gave me a new direction and a very different energy in both my way of being with horses and my way of writing about it. After more than a decade of research on what some people refer to as “the Path of the Horse”. After having seen some of the great trainers of our time and after having tried to fill in some missing pieces in a larger puzzle, I suddenly felt I had a story I really needed to tell. A very different story from the one I tried to tell back in the mid nineties.

The novel Clan of the Horses, is not based on someone else’s experience, it is the result of a life lived and time spent with horses. It is first and foremost a novel about becoming who you are meant to be. It is my experience that horses can guide us on the journey of becoming whole, authentic - and true to our own soul. Horses therefore play an important part in the story, as they have played an important part in my life. Readers unfamiliar with horses tend to read the horse as a metaphor or a symbol for something else, and I guess in some way that is what horses really are.

Personally I think of the novel as an invitation, it is, for what it is worth, nothing more than the sum of all my experience – both in life and with horses. I have taken out 220 pages (100.000 words from the original script), but I have made no compromises when it comes to the core of the story. What I have ended up with is an authentic story that I recognize as the story I – at the age of 15 - felt I was going to write some day.

Clan of the Horses/Hestenes klan – the energy

2010-03-11T23:27:00.005+01:00

Some years ago I made a drawing in black and white of an open landscape bathed in moonlight. On the nightly sky I then drew the constellation Big Dipper (the plough/Karlsvogna) and someone pointed out to me that the constellation was facing the wrong direction, like a mirror image. My reply was, and still is: If seen from the other side, this is what the Big Dipper would look like.

What you see is very influenced by where you stand, by your point of view. There are always - at least - two sides to every story.

When women riding astride are depicted in art or described in historical and mythological records, we often find them where men traditionally have spent a lot of time and energy: In the battlefields, where a significant part of human history is written. Women included in these arenas are depicted as fighting shieldmaidens or as Valkyries, who bring the dead to Valhalla. And in some cases women’s presence have changed the course of history in eg battles or conflicts, like Jeanne d’Arc (Joan of Arc) and Lady Godiva did - in their own unique way.

But these are known historical facts and legends well preserved. The story I want to share is a story that has never been revealed before; a story gathered from the unwritten pages of the history books and the paintings on canvases that were never used: Stories of horsewomen from a secret tradition, known as Clan of the Horses/Hestenes klan.

These horsewomen approach horses in a very different way. They use a soft-spoken language from another time, another place and another energy. You rarely find these horsewomen in the centre of attention. They have traditionally met in the woods, in the fields and on the steppes, far away from battlefields, tournaments and competition arenas, although there are historical and present exceptions.

You can recognize them by the bracelet some of them wear around their left wrist, but above all you can recognize them by the way they handle their horses. They are usually not very sociable when they spend time in the stable, and they are often regarded as a bit “strange” and somewhat "untraditional". They never use much tack on their horses and they seem to prefer trail riding (but their horses are often trained at very hign levels). You are not likely to bump into them in the forest because they tend to choose the paths less travelled, or the narrow paths made by wild animals. They often keep to themselves and they are likely to come to the stable at odd times, when few people are there. If they run stables they usually prefer to ride after closing time, when it is quiet and they can spend time with the horses without interference or interruptions. To these women, riding is meditation. Not static, immobile and rigid, but as part of the horse’s movements, with energy flowing freely and unhindered between horse and rider. Some think of them as loners, but nothing could be further from the truth. They are, however, very strict about what kind of human energy they allow around their horses whilst riding, since they mainly use energy to communicate with their horses.

Nótt

2010-03-03T14:35:00.002+01:00

NÓTT (Old Norse: Night) is the personified night in Norse mythology. She is the daughter of a jotne (“troll”) named Nörvi from Jötunheimr (Jotunheimen).
In the Prose Edda we find details about Nótt including records of her three marriages. Nótt's third marriage was with the god Dellingr and resulted in their son Dagr, the personified day. So, according to Norse mythology day is born out of night - night always precedes day.

Both in Poetic and Prose Edda (written in the 13th century), Nótt is associated with the horse Hrímfaxi ("rime mane" or "frost mane"). It was believed that the foam created when Hrímfaxi was chewing on the bit as he ran over the nightly sky, gave us morning dew in the summer and frost in the winter. The morning dew/frost was also the only food for Lif (which is the origin of my name, Live) and Liftharsir, the two sole survivors of Ragnarok (Doom of the Gods, end of the world).

Nótt’s son Dagr is associated with the horse Skinfaxi ("shining mane"). It was believed that Skinfaxi pulled Dagr’s chariot across the sky every day and that it was Skinfaxi’s shining mane that lit up the sky and the earth below. The myth of Skinfaxi and Hrimfaxi is believed to have its roots in Nordic Bronze Age religion, from which there is strong evidence of beliefs involving a horse pulling the sun across the sky (see: The Trundholm Sun Chariot). Both the sun and the precious metal gold are symbols closely connect to the horse in various cultures.

Source: Wikipedia, Lexikon der Symbole - Hans Biedermann
Painting by Peter Nicolai Arbo

The Trundholm sun chariot

2010-03-01T14:22:00.002+01:00

THE TRUNDHOLM SUN CHARIOT (solvognen) is a late Nordic Bronze Age artefact found in Denmark. This artefact is a depiction of the sun being pulled by a mare, and is believed to have relation to later Norse mythology attested in 13th century sources (Edda). It is a possible Bronze Age predecessor to Skinfaxi, the horse that pulled Dagr, the personification of day, across the sky.

The sun chariot was drawn by a single horse, but there are indications that it might have been pulled back across the sky from west to east by a second horse.
Related are Arvak and Alsvid, the horses of the chariot of Sól. In Norse mythology, Sól is the personified goddess of the Sun. Every day Sól rode through the sky on her chariot, pulled by the two horses Arvak and Alsvid. The sun chariot has been interpreted as representing a Bronze Age predecessor to the goddess.

Source: Wikipedia

Medieval women and horses

2010-02-28T08:39:00.002+01:00

Most medieval women rode astride. While an early chair-like side saddle with handles and a footrest was available by the 13th century and allowed women of the nobility to ride while wearing long gowns, they were not universally adopted during the Middle Ages. This was largely due to the insecure seat they offered, which necessitated a smooth-gaited horse being led by a man. The side saddle did not become practical for everyday riding until the 16th century. Then the pommel horn was developed, which secured the seat and made it stabil enough for women to control their horses and ride all four gates.

It was not unknown for women to ride war horses, and take their part in warfare. Joan of Arc is probably the most famous female warrior of the medieval period, but there were many others, including the Empress Matilda who, armoured and mounted, led an army against her cousin Stephen of Blois in the 12th Century. The fifteenth-century writer Christine de Pizan advised aristocratic ladies that they must "know the laws of arms and all things pertaining to warfare, ever prepared to command her men if there is need of it”.

It was not uncommon for a girl to learn her father's trade, and for a woman to share her husband's trade; many guilds also accepted the membership of widows, allowing them to continue their husband's business. Under this system, some women trained in horse-related trades as e.g. farriers and saddle-makers.

Despite the difficulties of travel, it was customary for both men and women, to travel long distances. Upper-class wives frequently accompanied their husbands on crusades or to tournaments. When not on foot, women would usually travel on horseback. Women of the nobility also rode horses for sport, accompanying men in activities like hunting.

Source: Wikipedia
Painting by unknown artist

Shieldmaidens

2010-02-27T23:56:00.001+01:00

A SHIELDMAIDEN (Norse: Skjoldmøy) was a woman who had chosen to fight as a warrior. They are frequently mentioned in sagas in Norse folklore and mythology. Shieldmaidens also appear in stories of other Germanic nations: Goths, Cimbri and Marcomanni. The Valkyries might have been based on the shieldmaidens and they were also known to be J.R.R. Tolkien's inspiration for Éowyn. :)
There are few historical evidences of Viking Age women taking part in warfare, but it happened for sure on several occasions. Sometimes disguised and sometimes in the open - but not necessarily topless like Brynhildr here. For sure, then people would have noticed...

Source: Wikipedia
Depiction of Brynhildr by Robert Engels (1919)

Lady Godiva

2010-02-26T08:04:00.000+01:00

LADY GODIVA was a historical figure and the wife of Leofric, Earl of Mercia. (Godgifu or Godgyfu means "gift of God”. Godiva is the Latinised version.)

According to the legend, Lady Godiva took pity on the poor people who suffered under her husband's oppressive system and heavy taxes. Lady Godiva appealed again and again to her husband to lighten the burden on his subjects. Her husband obstinately refused to compile, but weary of her entreaties, he finally said he would agree to make changes if she would strip naked and ride through the streets of the town. This was unheard of and he hoped it would be the end of the discussion, but Lady Godiva took him at his word and, after issuing a proclamation that people should stay indoors and shut their windows, she rode through the town naked, only “dressed” in her long, red hair. As a result of this ride, Lady Godiva's husband kept his word and abolished the onerous taxes.

The oldest form of the legend has Godiva passing through Coventry market from one end to the other attended only by two knights, while the people were assembled and looking down in respect. This version is given in Flores Historiarum in the 12th century, quoted from an earlier writer. The later story, with its episode of "Peeping Tom," appeared first among 17th century chroniclers. There it was told that one single man, a tailor ever afterwards known as Peeping Tom, disobeyed Lady Godiva’s proclamation. This is probably the most famous example of voyeurism in history. It was told that Tom managed to get a glimpse of Lady Godiva as she passed by, and that he was struck blind.

Source: Wikipedia
Painting by John Collier 1897

Jeanne d'Arc (Joan of Arc)

2010-02-25T15:25:00.001+01:00

JEANNE D’ARC (1412 –1431) was a national heroine of France and now a Catholic saint (canonized by the pope in 1920). She was a peasant girl born in eastern France who led the French army to several important victories during the Hundred Years' War, claiming divine guidance. This young girl was indirectly responsible for the coronation of Charles VII…
The extent of her actual military leadership is a subject of historical debate, for sure. Some say she was a standard bearer whose primary effect was on morale. Others say that her fellow officers esteemed her as a skilled tactician and a successful strategist. In either case, historians agree that the army enjoyed remarkable success during Jeanne’s brief military career…
A reckless skirmish on 23 May 1430 led to her being captured. Jeanne had ordered a retreat and assumed the place of honour as the last to leave the field. She was unhorsed by an archer and forced to surrender.
It was customary for a captive's family to pay ransom to free a prisoner of war, but unfortunately, Jeanne’s family lacked the financial resources. Jeanne had to face a trial of heresy (challenging the established system of belief) which was a capital crime. The trial against her was politically motivated, and the trial record demonstrates her remarkable intellect.
Jeanne d’Arc was not a feminist. She was just a girl who felt she received a divine calling, and since her mission was to do a man's job, she dressed accordingly. She kept her hair cut short through her military campaigns, but agreed to wear women's clothes when she was captured, but ended up dressed as a man again during the trial. Some say she did it to protect herself from harassment in jail. Some say she did it because her dress was taken from her and she was left with nothing else to wear.

The technical reason for her execution was a biblical clothing law. Jeanne d’Arc was burned at the stake. She was 19 years old.

Source: Wikipedia

The Valkyries

2010-02-19T21:58:00.001+01:00

THE VALKYRIES (Old Norse: "Chooser of the slain") were female warrior-like riders who, according to Norse mythology, would ride into the battlefields and collect the bodies of the warriors that the god Odin had decided would fall. The Valkyries brought their chosen ones to Valhalla (Hall of the Slain). It was considered an honourable death and Viking warriors were strong in their belief that the after life in Valhalla was worth dying for. Valhalla was located in Asgard and ruled over by Odin. In Valhalla the deceased warriors became einherjar (Norse: Lone fighters), and part of an army preparing for Ragnarok.

Source: Wikipedia
Painting by Peter Nicolai Arbo (1865)

Centaurides (no: Kentaurider)

2010-02-18T21:37:00.001+01:00

THE KENTAURIDES (or Centaurides) were female members of the Kentauroi (Centaur) tribe. Kentaurides are seldom mentioned in ancient Greek literature, but they occasionally appear in ancient Greek paintings and mosaics and reliefs from the Roman era

The most known Centauride in Greek mythology is Hylonome. She was present at the battle against the Lapiths, where she lost her husband, the centaur Cyllarus. Heartbroken, she then took her own life to join him. She died holding her husband in her arms.

The female centaurs also have a Philippine counterpart called Anggitay.

Sources:
Ovid, Metamorphoses - Latin Epic C1st B.C. - C1st A.D.
Wikipedia.
Theoi Project.
Illustration: Roman mosaic from Elles C4th A.D., Bardo Museum, Tunis

The Amazons

2010-02-17T21:19:00.035+01:00

THE AMAZONS were women warriors trained in the art of war. The origin of the word Amazon is uncertain. It may be derived from an Iranian ethnonym *ha-mazan-, "warriors". It might be a Greek derivation from "manless, without husbands". In popular etymology the word is believed to come from the Greek a-mazos, "without breast".
Amazons were said to have lived in Pontus, a part of modern day Turkey near the shore of the Black Sea. There they formed an independent kingdom ruled by a queen named Hippolyta or Hippolyte ("loose, unbridled mare").
A common misunderstanding about the Amazons is that they allegedly had their right breast cut off in order to use a bow more freely and throw spears without physical limitations and obstructions. But there is no indication of such a practice in works of art, in which the Amazons are always represented with both breasts, although the right is frequently covered.
The Amazons had a matriarchal social structure where men were marginalized or banned. According to some versions of the myth, no men were permitted to reside with the Amazons; but once a year, in order to prevent their race from dying out, the Amazons would go out and met men outside their kingdom. Baby boys born within the Amazon culture were killed, abandoned in the wilderness to fend for themselves or sent back to their fathers. Baby girls were brought up within the Amazon community, were they learned agriculture, riding, hunting and the art of war.
Archaeological evidence seems to confirm the existence of women-warriors. The Amazons are believed to have founded several cities, amongst them Smyrna, Ephesus, Sinope, and Paphos.