When Katja Schumann first entered the circus ring at age 10, she was a “ballerina on horseback.” Today, she continues a proud family tradition, training circus horses much like her Danish ancestors for generations. Her exceptional skills were evident during her performance with the Big Apple Circus in New York City.
Schumann commanded attention as she entered the ring on a striking chestnut horse, adorned in a vibrant red costume with gold trim. Riding bareback, she showcased an advanced level of horsemanship by controlling her spirited mount with only a thin rope around its neck, eschewing a traditional bridle and bit. This demonstrated a profound level of trust and communication between trainer and horse.
The performance featured two other horses and riders, all maneuvering with long strips of red silk suspended from the circus tent. The horses’ movements, weaving in and out of the billowing fabric, created an illusion of a graceful dance, but for seasoned observers, it was a testament to the trainer’s expertise. The act highlights the inherent nature of horses as prey animals, who are naturally skittish and prone to fleeing perceived threats. Their vision, with eyes on the sides of their heads, allows for broad peripheral detection but limits forward and depth perception, making them easily startled by unfamiliar movements.
Some segments of the act deliberately pushed the boundaries of a horse’s trust. One maneuver involved a rider suspending themselves from the silk strips, performing flips over the horse’s back. Another saw a rider being catapulted onto the horse’s back from behind using the fabric. Even during a canter, a rider would lift themselves off the horse’s back while holding the silks. The chestnut horse, though accustomed to such acts, occasionally showed signs of unease, tossing its head and revealing the whites of its eyes. Schumann, positioned at the center, guided the horse with a short whip, used more like a teacher’s pointer than a disciplinary tool.
Achieving such performances requires a deep understanding of each horse as an individual. Katherine, Schumann’s 17-year-old daughter, explains that her mother excels by understanding how each horse thinks and making their tasks manageable. Consistent praise and positive reinforcement are key. Schumann frequently rewards her horses with pats, scratches in their favorite spots, and occasional feed cubes, all accompanied by soft, soothing words. This gentle approach is in stark contrast to historical training methods, such as those introduced by Italian trainer Grisone in the 1500s, which relied on harsh metal bits to control horses through force.
Schumann’s training philosophy is rooted in respect and understanding, echoing the ancient Greek horse trainer Xenophon’s belief that “Anything forced and misunderstood can never be beautiful.” Her method involves four steps: first, ask the horse to perform a task; second, allow it to do so; third, if it doesn’t comply, state the command clearly; and fourth, if necessary, ensure compliance. Crucially, she emphasizes, “You can’t cheat.” This means never asking a horse to do something beyond its current mental or physical readiness, which could erode the animal’s trust.
Schumann views the trainer’s role as that of a trusted leader. She acknowledges the unique challenge horses present compared to dogs, whose instinct is to flee. By making desired actions easy and pleasant, she aims to demonstrate to the horse that remaining with her is more rewarding than running away. When a horse does stray, Schumann’s immediate response is self-reflection: “Was I too aggressive? What did I do wrong?” She understands that while some horses require delicate handling, others may need a firmer approach. She embraces the individuality of horses, finding their non-mechanical nature a source of enjoyment in her work.
The Native American Approach to Horsemanship
Parallel to Schumann’s humane training methods are the time-honored traditions of Native American horsemanship, exemplified by Gawani Pony Boy. He demonstrated this philosophy when he calmly led his horse, Kola, up a wide set of concrete stairs to a school gymnasium for a presentation. Horses, naturally averse to such obstacles, typically perceive stairs as a significant barrier.
Pony Boy’s success stems from his deep understanding of horses as herd animals, a concept central to many Native American cultures. The Lakota people referred to the herd leader as “itancan,” and other horses followed this leader implicitly, trusting its judgment for their safety.
In his book, “Out of the Saddle: Native American Horsemanship,” Pony Boy explains how a rider can become the “itancan” of their two-member “herd” (horse and rider). This leadership, built on trust, patience, respect, and understanding, is the foundation of “iyuptala,” or “being one with your horse.” Like Katja Schumann, Pony Boy stresses the importance of honesty, noting that “Horses are brilliant at reading body language.”
This profound connection, where both horse and rider anticipate each other’s thoughts, is believed to be a hallmark of historical Native American horsemen like the Lakota, Comanche, and Nez Percé tribes. These groups developed exceptional equestrian skills, engaging in horseback games that prepared them for warfare. Exercises included picking up rocks while galloping and even lifting fellow warriors off the ground at high speeds, often without a saddle or bridle. Such feats would undoubtedly make for a spectacular circus act.
