Tag Archives: horses

San Miguel de Allende

The Year of the Horse

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By Roger D. Jones—

There are moments in history when humanity is asked, softly but unmistakably, to remember what it once knew. The horse has always been one of our greatest teachers.
Before machines carried us forward, horses did. Before modern medicine, they carried the wounded. Before therapy had a name, horses regulated our nervous systems with their presence, rhythm, and breath. Across cultures and continents, the horse has symbolized freedom, endurance, sensitivity, and profound intelligence.

Year of the Horse is an invitation to slow down. To listen. To restore a relationship that has quietly suffered in an age of speed and extraction.
Why 2026 Is the Year of the Horse
In the Chinese lunar calendar, 2026 marks the Year of the Horse, beginning with the Lunar New Year in February. In Chinese tradition, the Horse represents energy, intelligence, loyalty, perseverance, and freedom, as well as a deep sensitivity to environment and leadership. The Horse is not ruled through force—it responds to clarity, trust, and mutual respect. When treated well, it gives everything. When misunderstood or pushed beyond its limits, it suffers quietly.

In places like San Miguel de Allende, where tradition, artistry, and community remain deeply woven into daily life—this symbolism feels especially present. Here, the relationship between humans, animals, and land is not abstract, but lived, observed, and felt.
Edgar Cayce and the Future Role of the Horse
The American mystic and healer Edgar Cayce (1877–1945) spoke of a future in which humanity would need to rebalance—between technology and nature, intellect and intuition, power and compassion. In several readings, Cayce suggested that horses would again become essential not as beasts of labor, but as agents of healing, emotional regulation, and spiritual grounding.

Cayce emphasized that horses respond to the inner condition of humans rather than command alone. In this way, they reveal imbalance without judgment and harmony without words. Whether approached as prophecy or symbolism, his insight aligns with both ancient wisdom and modern science: horses help humans remember how to be whole.

Horses as Healers: Living Examples
Across the world, and increasingly here in central Mexico, equine-assisted healing therapies are offering quiet, powerful support to people navigating emotional and neurological challenges.

Autistic children often experience improved emotional regulation, focus, and nonverbal communication when working with horses, whose calm presence and predictable rhythms provide a sense of safety without verbal interaction.

Veterans and first responders coping with post-traumatic stress frequently find that horses respond to their internal state with honesty and without stigma, helping restore trust, confidence, and nervous-system balance.

Individuals dealing with trauma, grief, or major life transitions often report that time spent with horses creates space for presence, emotional release, and reconnection—especially when traditional talk-based therapies fall short.

These outcomes are not based on force or training tricks, but on relationship, consistency, and respect. The Year of the Horse is not a campaign and not owned by any organization or individual. It belongs to anyone willing to approach horses with humility, patience, and respect. You do not need to own a horse to participate. You only need to care.

Editorial Note
For readers wishing to engage directly with equine rescue and education efforts highlighted in this year-long series, visit http://www.EsperanzaEquina.com.

Huatulco

The Evolution of the Charro Mexicano

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By Julie Etra—

The word charro first appeared in Spain, most likely linked to the Basque word txar, meaning “bad” or “unimportant.” It was originally a derogatory term used to describe unsophisticated people from the Salamanca region of northern Spain. The modern Mexican charro, however, is an elite horseman of the distinctly Mexican equestrian sport known as charrería, which embodies gallantry, tradition, and national heritage—a stark contrast to the term’s humble origins.

Horses originated in North America approximately 55 million years ago, but this early, dog-sized mammal—barely resembling the modern horse—became extinct around 10,000 years ago, likely due to a combination of climate change and human hunting.

Christopher Columbus’s second voyage, when he established the first settlement at La Isabela on Hispaniola (present-day Dominican Republic). Hernán Cortés later brought around 16 horses from Cuba to the Yucatán Peninsula in February 1519—a seemingly small number that nevertheless proved critical to the conquest of Tenochtitlan.

Cortés most likely introduced a small, hardy breed known as the Garraño, which can still be found today among the few remaining breeders in northern Portugal, where the horses still run free. Measuring between 123 and 135 centimeters at the wither (the ridge where the neck meets the back), there are approximately 2,000 Garraños left. They are prized for their calm temperament, sure-footedness in rough terrain, and endurance. These horses were bred in Mexico and became the foundation of the Mexican Galiceño breed, also known for its intelligence, stamina, and smooth gaits.

Other horse breeds popular in Mexico include:
Creole (Criollo): A native horse bred for hardiness and adaptability
American Quarter Horse: Highly valued for its power, short-burst speed, and musculature—essential traits for ranch work and competition.

Azteca: Developed beginning in 1972, this official Mexican breed was created specifically for charrería. Azteca horses consist of three breeds—Andalusian, Criollo, and Quarter Horse—combining the elegance and classical dressage ability of the Andalusian with the strength and speed of the Quarter Horse and the toughness of the Criollo.

Spanish: Pure Spanish (Pura Raza Española) and Lusitano horses are known for their elegance, agility, and suitability for classical dressage maneuvers, which are showcased in the charreada event known as the Cala de Caballo.

Arabian: Arabians, famed for their endurance and commonly used in long-distance races, are also favorites among charros.

Origin of el Charro Mexicano
The origins of the Charro Mexicano date back to the colonial era of large cattle ranches, or haciendas, which were later broken up after the Mexican Revolution. Initially, Spaniards prohibited the local population from herding cattle on

horseback. As ranching operations expanded, this restriction proved impractical, and eventually both mestizos (people of mixed Spanish and Indigenous descent) and Indigenous workers were permitted to manage cattle from horseback.

Charros adopted a distinct saddle to differentiate themselves from the military and learned Spanish riding and herding techniques such as lassoing and roping. What began as protective leather clothing worn by ranch workers in harsh landscapes gradually evolved into a recognizable form of dress. After the Mexican Revolution, the charro became a powerful symbol of national identity.

By the 1930s, charrería had been formally recognized as Mexico’s national rodeo sport, further institutionalizing the charro and popularizing the attire. Mariachi music, which originated in the state of Jalisco, along with the Golden Age of Mexican cinema (1936–1956), frequently featured charros, cementing their image in Mexican cultural identity.

Female charros are known as charras. Historically, they did not work cattle, but in 1953 they began participating in traditional equestrian competitions known as escaramuzas, initially as children’s teams. By the 1960s, women were formally competing in charrerías. (see the article by Ana Dominguez on page 6)

The Cala de Caballo is one of the most prestigious competitions in charrería, testing the refined skills of both horse and rider. The event evaluates the horse’s ability to run, stop abruptly, and turn within a confined space, highlighting responsiveness to the reins and the rider’s control. Judging, conducted by a panel of three, is based on posture, precision, and overall execution.

Evolution of the Attire
The elaborate outfits worn today evolved gradually from the leather garments of early vaqueros to softer chamois and eventually to the Traje de Charro. According to the Mexican Federation of Charrería, there are five categories of attire: Work, Semi-Gala, Gala, Grand Gala, and Formal. Work attire is the simplest, while Formal attire—typically black—is reserved for the most ceremonial occasions.

Charros (the beans)
Charros also refers to a traditional preparation of pinto or bayo beans, originally cooked in camp by charros using whatever ingredients were available. Today, the dish often includes bacon or other meats, chiles, onions, garlic, and tomatoes—cada chef tiene su propio toque: every cook adds their own personal touch.

Visit the Museum of Charrería, CDMX
The Charrería Museum in Mexico City houses unique artifacts from different historical periods of Mexico’s most emblematic cultural tradition. It is located in the historic center of the city, in a former monastery on Izazaga Street. Isabel La Católica 108, Centro, Cuauhtémoc, 06080 Ciudad de México, CDMX
http://www.museodelacharreria.org.mx

 

Huatulco, San Miguel de Allende

The Role of Horses in the Spanish Conquest of Mexico

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By Jan Chaiken and Marcia Chaiken—

When Hernán Cortés and his expeditionary force first arrived near present-day Veracruz in 1519, the ships from Spain carried about 500 soldiers, along with horses, cannons, and other military supplies. At that time, horses had been extinct in Mesoamerica for thousands of years. As a result, the Indigenous Aztecs—who had never seen similar animals—experienced awe, fear, and confusion, with some early accounts suggesting that the horse and rider were perceived as a single, unfamiliar being. Some Indigenous communities reportedly made offerings to horses or used captured horses as sacrifices to their gods.

The Spaniards capitalized on this reaction by staging carefully choreographed military demonstrations to intimidate the population. Mounted conquistadores proved to be a highly effective military force against native foot soldiers. They were deployed in formations now known as cavalry—large mounted units capable of pursuing and overtaking enemies on foot. Horses were also used to transport cargo and supplies, as well as to control and move captured Aztecs. As soon as new territory was secured, the Spanish established horse-breeding farms in preparation for future expeditions.

Cortés quickly recognized that the ruling Aztec Triple Alliance was deeply resented by many of its subjects and that other Indigenous groups were long-standing enemies of the Aztecs. He formalized alliances first with the Totonacs near the Gulf Coast and later, inland, with the Tlaxcaltecs. The Tlaxcaltecs became loyal and indispensable allies, supplying tens of thousands of warriors. In return, they were granted key privileges, including the right to ride Spanish horses, carry Spanish weapons, and continue governing their own settlements autonomously.

When the Spanish first entered the Aztec capital of Tenochtitlan, the Tlaxcaltecs accompanied them on horseback and helped take hostages, including the ruler Moctezuma II. The Aztecs revolted and rapidly adopted tactics and technology to counter the horses’ advantages. They lured cavalry into narrow causeways, mountain trails, or swampy areas, fired stones and arrows at horses as well as riders, and developed specific shouts and whistles to signal tactical opportunities.

After the eventual Spanish conquest, Indigenous people incorporated horses into their cultures, using them for transportation and labor. Even today, in Mayan communities such as Todos Santos in Guatemala, residents maintain elaborate—and sometimes dangerous—traditions of drunken horse racing, which they consider an important cultural expression.

While the conquistadors’ use of horses in war against the Aztecs is highly dramatic and graphically portrayed in films and books, horses and other livestock brought by the Spanish may also have introduced a far more lethal, invisible agent—Salmonella enterica. Some historians argue that Europeans brought fatal diseases to the New World, including smallpox. Recent DNA analysis has shown that one of the most widespread diseases to wipe out vast numbers of Aztecs and other Indigenous people in Mexico was caused by the bacterium Salmonella enterica. The disease wreaked havoc on the digestive systems of those infected and was often lethal among populations with no prior exposure. The bacteria spread through food and water contaminated with fecal matter—often originating from livestock, including horses. It may be that horses themselves were among the most powerful, if unwitting, agents of conquest in Mexico.

Image: Hernán Cortés received by emissaries of Tlaxcala, Codex Duran, 1579, Biblioteca Nacional de de España. Source: Noticonquista Universidad Nacional Autónoma de México (UNAM)

Drs. Marcia and Jan Chaiken have been married for 62 years and have published many justice system research reports together.

 

San Miguel de Allende

Looking for the Encounter: An Equine Photographer at Work

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By Estefanía Camacho—

To stand in the presence of a horse is to confront its grandeur. How do you translate, into a single image, the velvety texture of its coat, the gleam of its mane, the musculature that unfolds through agile, precise movements? How do you capture its fierce gaze, its distinct personality? It is no easy task. Yet María Fernanda Garza, a 28-year-old equine photographer from Monterrey, has been refining what she seeks to convey through her work since she was ten years old, when she first began riding.

Her beginnings
“There was never a clearly defined boundary between the two,” says Mafer, as she prefers to be called, referring to her practice of both dressage and photography. The interview takes place via video call from Pamplona, Spain. She recalls bringing her camera to the riding club and, after riding, photographing the horses with a bodily awareness shaped by her equestrian training.

“I’d take off my helmet, and the first thing I’d grab was the camera.”

She later earned a degree in Professional Photography, specializing in equine photography, at Universidad LCI Monterrey.

Mafer began by photographing horses at sporting events. “To understand a horse, you also have to understand the sport and how horses move. Otherwise, how can you expect to see a horse in freedom and photograph it aesthetically?” Although she no longer focuses on competition portraits, she considers that experience essential to her work.

Her influences
Among her visual references, she cites Baroque painters Caravaggio and Diego Velázquez, as well as contemporary equine photographers Ekaterina Druz (Russia), Katarzyna Okrzesik-Mikolajek (Poland), and Rita Fernández (Portugal).

“Their work taught me that horses can be portrayed from a more intimate, more sensitive place,” she explains. Mafer took photography courses with both Druz and Fernández, experiences that deeply shaped her perspective. “I’m interested in photography as a universal language — a way of thinking about the world.”

Patience and humility: working with horses
For Mafer, photographing horses demands patience above all else.
“Learning to read them — how they move, how they use their bodies, how they tell me ‘I’ve had enough.’ They speak through their own language.”

She describes the work as humbling, requiring her to adapt to the animal’s sense of time, mood, and breath. “I let the horse tell me when to be present and when not to be. My job is to stay attentive, available, and to accept that many times the photograph happens simply by watching. If the horse turns or moves, the image appears.”
Unlike with other animals, she notes, it is not always obvious when a horse is uncomfortable or at ease.

“When a horse considers a pasture its territory, sees you as an intruder, and decides to charge at full speed — and you have to remain still with the camera. Sometimes, because of the focal length, you misjudge the distance. I have to remind myself: ‘Move now,’ because it can crush you.”
She has not been immune to accidents: she has been kicked and bitten. She considers them occupational hazards.

Earning a horse’s trust
In 2016, a study from the University of Sussex showed that domesticated horses can distinguish between human facial expressions of anger and happiness, and that their heart rate increases when exposed to angry faces. For those who work closely with horses, the finding comes as little surprise.
Mafer confirms it through experience. “Trust stops being a goal and becomes a state.”

To cultivate that trust, she arrives early, sets up her equipment, and allows the horse to become accustomed to her presence. “I let it see me, feel me. The camera becomes a tool that doesn’t interrupt but accompanies both the horse and me.”

She avoids forcing situations. If a horse seems unsettled, she steps away and returns later to see whether its disposition has shifted.

That was the case with Fandango — a six-year-old colt, she estimates. “Very canijo,” she recalls. He tried to bite and step on her. She moved away, continued working, and later returned to find him lying down. She entered the stable and lay beside him.
Her team panicked when they couldn’t find her. “What do you mean she’s with Fandango? He’s going to kill her,” they said. Soon after, they found them together: Fandango resting, Mafer leaning against his abdomen.

“It was a magical moment for me,” she says. “In the morning that horse wanted to do all sorts of things to me, and by the afternoon he was calm. Since then, he’s been one of my favorite horses.”

The horse as subject, not aesthetic object
“How does my way of working change when I think of the horse as a subject rather than an aesthetic motif?” Mafer repeats my question.
“It changes everything. From the beginning, I don’t see the horse as something merely aesthetic; I see it as another living being. A horse with a history, with memory, with a presence that deserves to be heard, with a story that deserves to be told. My work starts there, from deep respect—because beyond aesthetic admiration, it’s about never crossing boundaries. It can be dangerous for both of us. Through photography, its story can find a place in the world,” she explains.

When the horse is treated as a subject, she continues, the photograph stops being a formal exercise and becomes a relationship. “I’m no longer looking for the image; I’m looking for the encounter,” she says frankly.

What still needs to be said about horses in 2026
For Mafer, there is still much to discuss about horses in 2026. How far would we have come technologically and socially — particularly in Mexico — without them? Horses also remind us of our relationship with time: the pause, the calm, the act of simply being.
In an era defined by speed, technology, and control, horses demand patience and presence. “You can’t be distracted when you’re with a horse — it can be dangerous,” she says.

“They remind us that some bonds only exist through trust. That not everything can be dominated. And that it is possible to inhabit the world without violating it.”

Clarice Lispector writes in Seco Estudo de Cavalos: “What is a horse? It is freedom so untamable that it becomes useless to imprison it to serve humankind… it allows itself to be domesticated, but with a simple rebellious toss of the head, it shows that its innermost nature is always fierce, limpid, and free.”
While images of strength and power can be striking, Mafer notes that calm, stillness, and vulnerability carry equal weight. “The vulnerability horses sometimes reveal to me is extraordinary. For me, the truth of photographing a horse lives in that tension between strength and serenity.”

Mafer is currently pursuing a master’s degree in Curatorial Studies at the University of Navarra in Pamplona, Spain. She has exhibited in four museums in Mexico and has received multiple awards, including an Honorable Mention at the International Photography Awards for her series Lancelot.

To see more of Mafer’s work visit her Instagram: http://www.instagram.com/fgphotographyyy

 

Huatulco, San Miguel de Allende

Growing Up Escaramuza: My Path Through Charrería

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By Ana Domínguez

My story as a rider began at age nine. I first learned to ride astride, using a standard saddle, and did not belong to any escaramuza—I simply enjoyed being around horses and riding.

Escaramuza means “skirmish” in Spanish, referring to a small fight or brief combat, but in a Mexican cultural context, it specifically describes a team of women performing synchronized, choreographed maneuvers on horseback, riding side-saddle in traditional attire, as part of the national sport of charrería (charro horsemanship). More than an equestrian ballet, it is a tradition that gallops with strength and color at the heart of charrería.

Charrería is considered one of the most complete sports, as it is practiced outdoors and engages every muscle in the body—from the moment the horse begins to move to the application of strength in direct interaction with the animals involved.

This equestrian discipline, unique in the world, represents the feminine expression of Mexico’s national sport: charrería. It is a visual spectacle that blends athletic discipline with the richness of Mexican folklore and history.

I had experience in multiple equestrian disciplines before becoming a high-performance escaramuza rider. I practiced show jumping and barrel racing. However, escaramuza fully met my expectations and became my sport.

Before the term escaramuza existed, there were women known as Adelitas or Soldaderas who participated during the Mexican Revolution—not only as nurses and followers, but also as brave combatants. They rode horses, led troops, and carried out heroic acts, showing strength and courage on horseback in both battle and military life. Alongside the charros, they were a fundamental part of the Revolution’s identity.

On the haciendas of that era, many women rode horses sidesaddle. This was not a sporting choice, but a social imposition: long dresses, etiquette, and the norms of the time required women to ride this way. However, this style of riding became the first expression of feminine horsemanship. Despite its limitations, many women developed remarkable skill in controlling their horses, maneuvering difficult terrain, and executing agile movements while maintaining the rigid posture society demanded. Unknowingly, they were laying the foundations of what would later become a formal discipline.

In 1921, the first formal charro associations were founded, and throughout the 1920s and 1930s, events and regulations were consolidated, giving rise to modern charrería. Although women did not yet participate officially, they began appearing in exhibitions during patriotic celebrations and regional festivities. The true starting point of the discipline came in 1953, when the first organized female groups began to be documented—groups that trained and performed mounted routines at charro events. These were exhibition performances, but for the first time, there was systematic work: uniforms, defined formations, regular training, and a shared objective.

During the 1960s, these groups multiplied and began to be called escaramuzas. By the end of that decade, it was common to see them included in the programs of state charro associations, although still without a formal rulebook.

Growth accelerated during the 1970s and 1980s, when escaramuza evolved from a purely visual spectacle into a competitive discipline. Teams from different states began training more rigorously, developing more complex maneuvers and seeking their own identity within charrería. This led to a decisive milestone: the publication of the first Official Escaramuza Rulebook in 1992 by the Mexican Federation of Charrería. This document formally established the rules still in effect today, including team size, required maneuvers, scoring system, penalties, attire, and the importance of puntas as a scored element. With this regulation, escaramuza transitioned from stylized performances to a formal sport.

From the 2000s onward, the discipline entered a phase of professionalization. Riding schools, specialized trainers, and youth and junior categories emerged. State, regional, and national championships— and the National Olympiads — incorporated escaramuzas as a core part of their programs. International recognition also grew, particularly within Mexican communities in the United States.

Finally, in 2016, with the recognition of charrería as Intangible Cultural Heritage of Humanity, escaramuza gained a new level of significance. It represents not only a sport, but a living symbol of Mexican identity and the only space within charrería where women hold a leading role—affirming their strength, discipline, and historical participation.

Escaramuza charra is the only charrería discipline performed exclusively by women. It combines equestrian precision, group synchronization, and a profound sense of tradition. While it may appear visually like a dance on horseback, it is in fact a highly technical routine that demands absolute concentration, mastery of the horse, and perfect coordination among the eight riders that make up the team. Each team consists of eight riders, one substitute, a trainer, and staff responsible for supervising the horses’ welfare and needs to keep them in optimal condition, as they are high-performance athletes.

Each rider uses a sidesaddle charro saddle (albarda charra), — the traditional feminine style inherited from the 19th century. Despite this seemingly restrictive position, riders perform tight crossings, rapid turns, and complex formations that require leg strength, lateral balance, and constant communication between horse and rider. During the approximately three-minute routine, the team executes a sequence of twelve pre-designed maneuvers (suertes). These include emblematic figures such as the fan (abanico), the flower (flor), the strainer (coladera), the ladder (escalera), and spins, all performed at high speed and with minimal distance between horses.

The routine begins with the puntas, a controlled sliding stop that leaves a straight mark in the arena and demonstrates the horse’s responsiveness, often contributing crucial points to the final score.

Riders wear long dresses in the Adelita style or traditional charra de faena attire, and on gala occasions, china poblana or formal charra dresses. Each outfit is crafted in accordance with Mexican traditions while honoring the style of our roots. All costumes are unique, handmade pieces with intricate embroidery, sometimes using gold and silver thread, and distinctive designs that set each one apart.

These garments are designed to allow mobility without compromising safety. Although visually striking, they are strictly regulated: they must not include elements that could catch, must cover the legs, and must coordinate with the team’s colors. The charro hat—rigid and decorated within specific guidelines—not only completes the attire but serves as the most important piece, functioning as a helmet. Along with it, a single ponytail adorned with a matching bow represents the group’s identity. Boots, made of suede or leather, are designed to withstand the lateral pressure of the foot when riding sidesaddle.

The horse also plays both a visual and functional role. Quarter Horses are commonly used, breeds known for their speed, agility, and ability to execute tight turns. Their presentation is sober and elegant, with carefully groomed manes and tails to ensure a uniform team appearance. Saddles and tack (reins, headstall, bit, protective gear, saddle) are identical across the eight riders, reinforcing uniformity. Beyond aesthetics, the true value lies in training: the horse must respond smoothly, remain steady during long stops, and maintain a consistent rhythm while the rider performs technical movements.

While the rulebook is detailed, the most important scoring elements include puntas, suertes, synchronization, and presentation and discipline. The final score is calculated by adding earned points and subtracting penalties. While details may vary annually according to the current regulations of the Mexican Federation of Charrería, the essence remains the same: to reward impeccable technique and group harmony.

Today, escaramuza has national and international presence. In Mexico, teams compete in state and regional championships and in the National Charro Championship—the country’s most important event—where the best escaramuzas from each state face off to determine the national champions.

There are also competitions and special exhibitions outside the Mexican Federation of Charrería. Although not officially affiliated, these events have had a significant impact on the discipline’s development, pushing teams to pursue greater difficulty and higher performance levels. The growth of children’s and youth categories has allowed girls as young as four or five years old to begin training, ensuring the continuity of the tradition.

At twelve, I had the opportunity to join the Tuitán team in Querétaro, where I was trained by Miguel Ángel García Castro, a key figure in my development as a rider. I learned the true art of riding and became a high-performance athlete. With Tuitán, we won several tournaments in our category, and a particularly meaningful achievement for me was winning the 2019 National Olympiads, where we earned one gold medal and one silver medal, with me serving as team captain.

Later, I was invited to join the Chiapas charra team—an organization with a strong trajectory that allowed me to continue growing. Eventually, I received another call to join Escaramuza Charra del Pedregal in Mexico City, trained by Heriberto Sáenz Romero, an outstanding coach who plays a crucial role in the continuation of my career. It is a team rich in tradition, history, and presence within the discipline, where I continue to develop my craft and my passion. Being part of maintaining the competitive and athletic level of this team is a great responsibility for me as a rider.

Charrería has given me incredible fulfillment and unforgettable moments both inside and outside the arena—sensations that are impossible to describe, filled with adrenaline, emotion, and joy. I would not trade it for anything. For me, the bond you form with your horse is deeply special. Being in contact with horses is the greatest feeling that exists, it is absolute peace and an unparalleled connection. A horse embodies nobility, strength, empathy and is simply unique.