horse in balance

When you begin to believe in the sacred way of life, you will begin to understand the importance of the sacred sites, knowing that they are a connection to Mother Earth. You will understand the traditions and the ability to see the prophecies that were passed down through the generations of Ancestors, who lived in harmony. They had seen what was in store for their seven generations to come (us), they prayed we would re-find the “key” to harmony in understanding the Spirit of the Circle of Life. It is then that you assist in bringing health, prosperity and balance back to Mother Earth. That is human sacrifice and spiritual growth. That is the way. We as the Buffalo People believe in this circle of life, where there is no ending and no beginning. The process of mending the sacred hoop continues…..

Know that you yourself are essential to this world.  Believe that.   Understand both the blessing and the burden of that.   You yourself are desperately needed to save the Soul of this World.   Did you think you were put here for something less?……Chief Arvol Looking Horse

~ Art Tomasz Alan Kopera_
~ George RedHawk PhotoAnimation

“Upon suffering beyond suffering: the Red Nation shall rise again and it shall be a blessing for a sick world. A world filled with broken promises, selfishness and separations. A world longing for light again. I see a time of Seven Generations when all the colors of mankind will gather under the Sacred Tree of Life and the whole Earth will become one circle again. In that   day, there will be those among the Lakota who will carry knowledge and understanding of unity among all living things and the young white ones will come to those of my people and ask for this wisdom. I salute the light within your eyes where the whole Universe dwells. For when you are at that center within you and I am that place within me, we shall be one.”     

~ Crazy Horse

~ Precious Animation by George RedHawk_DarkAngelØne

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Today I came back from a nice lunch with Mike to find a box of *B E A U T I F U L* advance copies of the fourth and final The Legend of Korra: Art of the Animated Series book from Dark Horse. I am thrilled with how it turned out and can’t wait for people to be able to get these in just a few weeks. For me, it is like having a nice family photo album that gives me the warm fuzzies. Thanks to everyone whose incredible work is showcased within. 

I did the cover with help from Lauren Montgomery, Melissa King, and William Nanqing Niu. It’s taken me a while to warm up to spot gloss treatments, but I actually asked for it on this cover, and I’m really happy with how it came out. I hope you all enjoy it too! (Plush Naga not included, although those are available from Dark Horse too.)

swedishdressage  asked:

How would you go about if you got a baby horse that was a few months under saddle? Both regarding weekly schedules and each ride. In my case the baby horse is already very well balanced and steady and needs to learn things but most of all just to get stronger and not ruin that soft contact she has, and improve the gaits. I'm actually most nervous about not ruining the base she has and her love of working and going forward!

One of my absolute favorite resources when I first got Val (and it is still one of my favorite books on the subject) is The Elements of Dressage: A Guide for Training the Young Horse by Kurd Albrecht Von Ziegner. I highly recommend that anyone interested in training young or green horses go and get this book and spend some time with it because I have honestly not found a better resource out there for those interested in the theory and what it takes to be a trainer rather than a rider. Seriously, go get it. It has been worth every single penny. Honestly, every single person regardless of discipline should go read this book. Especially if you hate dressage or are confused/convinced that it isn’t important or necessary to having a healthy, happy horse. That’s my plug for the day I promise to move on.

So, Val was three when we got him and 90 days under saddle rather like your Pearl is going to be. In my humble opinion this is honestly the best(and my absolute favorite) time to get your hands on a horse. The horse knows just enough basics to be fun (as long as someone has started them properly) but not enough for anyone to have put their signature on them yet. And believe me, every single rider puts their signature on a horse after enough time. You will see riders who consistently come up with the same problems or the same brilliant qualities in a horse time and time again. This is not a coincidence - this is training. Getting a horse before anyone has had time to do such is really intimidating because of what you mentioned, the “Oh God I am going to screw this wonderful animal up” syndrome. Respectfulness and awareness of this fact is fine - not being a firm, consistently leader and trainer to the horse because you are constantly doubting your own abilities and skills is not. From the aforementioned book: “If you ever decide to confront the horse, be sure to end up as the winner. After all is over, you must praise the horse for having done a good job. On the other hand, if you are not positive about the outcome of the confrontation, choose another course, with the insight that you have a lot to learn about equitation” (Ziegner 19).

When training any horse one eye must be kept upon the training scale at all times. The USDF one is the one I prefer, though there are plenty of versions and derivatives available it is prudent to understand and know what the words mean and why they are in the order that they are. It is not enough to have the ability to ride well and empathetic ally - to be a trainer of horses there must be a why associated with everything you do, and the answer must benefit the horse. When faced with young horses we must take the training scale one step further. This is what Ziegner calls the Training Tree - a diagram I have pulled from his book due to my inability to find exactly it online anywhere. 

**Durchlassigkeit is roughly translated as suppleness; it is one of the German training words that English has no true, straightforward translation for. However, if we look for more than a one word definition it can be expressed as a “quality in a horse that permits the aids (primarily rein) to go through and reach and influence the hind legs”. From the USDF rule book suppleness however has to do with a horses fluid response to restraining/positioning aids and to the driving aids of the leg/seat judged best in transitions. You can see for yourself the subtleties in both different expressions and the merits of both when considering the development of a ridable horse. **

Ziegnar’s school of thought is that a young/green horse should go through this set of basic training before specializing into any discipline to ensure success. I have always been a big advocate for dressage work no matter the discipline, as well as cross-training no matter the expectation of the end product of horse, as I think it is the foundation of keeping horses happy and sound in their work no matter what they specialize in afterwards. A horses basic training should include flat, gymnastics and cavaletti/pole work, and work over small fences. A young horse should be taken out of the arena and put into different environments as much as possible. And all the while these principles should be present consistently to systematically make a horse that is a pleasure to ride - our goal which needs to never be forgotten. 

Phase A tends to correlate directly with RRC on the Training Scale: Rhythm, Relaxation, Connection. These are the basic principles of what a horse has to have to be able to successfully compete in Training Level test. Contact and connection are inter-related and rather interchangeable.

Phase B is a horse working towards First Level. This is where the Training Scale does a bad job of translating from feeling into words. I prefer Ziegner’s stress on Contact, On the Aids, Straightness, Balance. I think these do a better job describing what you are striving for in the work.

Phase C is a horse working towards Second Level. Why most horses struggle in the transition with the Second Level work is due to the fact this is the first time a horse truly must show collection. If all of the muscles and pre-work is not done correctly the horse has no chance to be successful. Homework must be done so that success can be achieved and a trainer must be honest with themselves when they begin to add the higher work on if the horse is weak and not ready due to their own holes and missteps in the work. Balance being the result of a horse being straight so he can carry on both sides of the body. Without balance there can be no suppleness, and without suppleness there can be no schwung. And the end result of true collection cannot happen with all three phases A, B, and C.

Now I know this is all great and theory and obviously applicable, but how does this apply to the modern baby and a realistic timeline? Ziegner’s suggestion of one to two years seems roughly on par with the Phases but he even acknowledges that there are star students who will surpass this easily and that two years is generous even for most babies. We have to also consider developmentally how horses grow, that there will be weeks where a horse is upside down due to growth and changing in their bodies/joints/limbs. We must be compassionate to these things, but never let correctness of the training suffer in spite of them. With an eye to the professional’s horse, the star student or gifted child in the class we can consider the FEI Young Horse Program. This is not a program for every horse. This is not a program for most horses. This is a program for elite youngsters. 

4 Year Old - lengthening in trot and canter, stretching trot, 2 loop serpentine in trot, and correct halts

5 Year Old - medium and collected trot, 10 meter circles in trot, 3 loop serpentine, turn on haunches, simple changes, medium and collected canter, shallow counter canter, stretching sitting trot

6 Year Old - collected medium and extended trot, shoulder in 10 meter circle and half pass in trot, extended walk, walk pirouettes, collected medium and extended canter, flying changes, and half 10 meter circles in canter

As you can see these are hard tests. We train with an eye on them, but not as the end all be all.

With talented babies they like to work. With Val he was in work five days a week even at three. Now, mind that “work” is very different at three than at eleven. We would work on the basics for the day and if it took ten minutes or thirty minutes it did not matter. There needs to be a lot of transitions and keeping it playful and fun for the horse - never boring but never mistaking the expectation is always the same in the work. I recommend lots of days going outside and hacking, changing it up with poles and free jumping or lunging. It is perfectly acceptable to go out and do ground work one day or take the horse on a hack. Talented babies will often offer you a lot and test your own greed and self control to not push. Take your time in muscling and exposure to every situation. The horse will come out better for it.

Hhhhhhh we. flubbed the novice SO BAD

anonymous asked:

so i keep seeing advice to stretch the horses neck and back, get through low and deep and relaxed. but i don't know how? like literally what am i doing with my reins/leg to ask for a stretch? no where actually breaks it down into baby steps so i can understand what i'm supposed to cue. it just says 'ask for stretch' but hOW??

The mythical world of ~stretching~. Everyone wants it, everyone says you must do it, but how do you get there? You will see the most helpful comments offered, both in the real and online, about ‘Oh you need to just stretch your horse and all your hopes and dreams will magically come tru!’ but there is honestly very little explanation on how you get there. And then when people attempt to explain ~stretching~ it dissolves into even more madness usually along the lines of ‘Oh just ride back to front!’ or ‘Lengthen your reins + magic = stretch’. No wonder you are confused. Hell, most of the time I am confused by what I see, hear, and read as well.

To teach a horse to stretch first comes from teaching contact. This is really hard for a lot of people to understand when they think about how the outline of a horse progresses as you climb the levels into slowly creating a finished/’upper level’ mount because when you think about dressage at the most basic Introductory or Training Level (USA terminology here) you think of a long and low look. So how do we reconcile the fact that you have to teach a horse contact (primarily discussed about a horse further along in its training) for stretching?  The answer lies in having to change the way we think about contact and that it is both a prerequisite to beginning dressage work and something that we constantly develop and refine as we move into more complex work/exercises/training.  Contact is how you fairly communicate to a horse and what allows you to ride back to front. Contact is what allows you to dictate what outline and level of collection and balance you are expecting the horse to maintain. Contact is what allows you to create a proper stretch and what makes it possible for the best upper level rider to look like they are sitting there doing nothing. It is the end all be all and your gateway into more refined, humane riding. And, quite honestly, it is my pet project to educate people about because it is so grossly misunderstood both within and without the dressage world. We are going to go off on a tangent here for a moment, but bear with me, because I promise to get back to stretching.

Contact is essential for training a horse and yes, I am saying it again for the people in back. The entire reason you want contact is so that you can make tiny, little corrections with big results. Think about the cup and string experiment that I think 99% of all children do at some point: two cups, string poking through the bottom from one to the other, you put one child with it up to their ear and the other with the cup at their mouth and you see if you can speak/understand through them. So what did we all come to understand and learn through this science experiment? We learned that the string had to be taut to allow the sound to be carried down it and to the other person without interference. This should be sounding mighty familiar in regards to your hands-reins-bit set up. The horse cannot hear you properly if you don’t maintain a taut string. I am going to take it one step further and play the hypothetical you sitting on your horse reins in your hands, me on the ground playing ‘horse’ with the reins/bit in mine. When you have taut reins (Connection! Contact!) you only have to give a very tiny, light aid before I realize that some impulse and change to the system has occurred and that we are no longer in homeostasis. Being a willing and well-conditioned animal I know that when I experience a change from the status quo “neutral” feeling on the reins that I am supposed to react in some way. What happens if you have slack/loops in your reins? You as the rider have to make a much bigger movement to make me realize that the white noise of the reins moving is not, in fact your aid, and that you have, in fact, put a change into the system that I am supposed to react too. Correct contact filters out the noise and gives the horse a fair chance at a correct impulse -> reaction response. You as a rider are trying to be ‘nice’ and ‘soft’ and ‘light’ with your hands trying to be fair to your partner but in fact when you allow noise into the system you are being anything but those things. It is much kinder and fairer to the horse for you to keep connection and to keep it quiet until the moment of the aid, rather than letting the horse flounder around on a loose rein.

And now we come into the second part of my contact lecture. So there is this false idea that lightness and self-carriage = no contact and no weight in the hands and if I can contribute anything in this whole world it would be to dispel that myth. You should have weight in your hands. It becomes progressively less as the horse and you both refine your aids and the horse becomes able to carry more weight behind, but ‘light’ isn’t the end all, be all of riding. There are a lot of different ideas about what the ideal, ‘finished’ product should feel like in the hand and I prefer my horses heavier than some but generally it should be a between a 30-40% contact on the inside rein, 70-60% contact on the outside rein with contact still on the snaffle no matter what bridle you are riding in (double or single). The other constant is that at minimum the horse should carry the bit and you should carry the weight of the reins and your hands. I recognize that many people strive to ride bridleless/bitless/whatever but in training as it pertains to the subject of what we are discussing here, these progressions come later after you have successfully trained through contact and bits. I am going to leave them out of our discussion because they are additions subsequent and outside the training system I am talking about. Contact should have weight. Contact will have varying degrees of weight depending on the aid given, the level of training of the horse, the balance of horse and rider, but there will always be a minimum of the bit + reins + your hands. In training contact (which is one of the pre-requisite to training the higher concepts in the training pyramid of impulsion/schwung, straightness, and ultimately collection) we teach a horse to be ‘heavy’ and present in the hand from the leg so that you can ride a half halt. I want to stress that ‘lightness’ as you very well know, conceptualize, and understand it could be a lie. And I know that is hard for 99% of people to accept and digest so give it considerable thought and time before you baulk at it. Lightness comes from balance. Lightness does not come from an absence of contact.

A horse that is present in the hand, who is “heavy”, is not wrong. A horse who is absent from the contact, who has a hard time accepting a consistent and always present contact needs to be trained further until this is the norm. Contact is something we teach a horse early in the training so that we have a foundation to build on but we then must constantly revisit and refine that idea. Horses that are behind the bit aka “light” in the hand (that may or may not be behind the vertical, although the two concepts usually follow each other they are not necessarily directly correlated) are those who have many more problems progressing than a horse that is “heavy”. A “heavy” horse simply is unbalanced and must be taught how to be in a place that they need less support from us as a rider. Robert Dover says it very well when he says that from the moment we get on a horse his biggest fear is that we will make it fall down. It is our responsibility to use contact to build confidence in the horse. We as riders not only carry our own weight and are in balance but that we must use contact to rebalance the horse when necessary. However, with that being said, we also build strength in our mount that he can be successful in carrying us around (creating a “light” horse).

Now that we have gone full circle around contact and my soapbox – stretching! So what are the aids to stretch a horse? We need a horse that when we put the leg on, he seeks the bit. The hand and bit combination create the front door of the “box” analogy. The length and the height of the box that the horse goes in changes over time (taller/shorter for collection, longer/lower for stretching) but we always have to be insistent that the horse never “runs out the front door” or past the bit/hand. When we set a perimeter it is enforced through all the aids – hands, seat, leg. It is our responsibility as a rider from the very beginning to teach him not only Leg Means Go! but that Leg Means Keep Going All The Way Until You Feel/Touch The Bit! When the leg comes on the horse should extend his neck until he feels the “front door” of the box. No matter how long the box is. No matter if he already has the correct length of neck. In the most simple terms the leg means “go to the front door” while the hand means “go no farther than the front door”. Once the horse understands this then you can start trying for what most people call stretching. For the record what we have described above is the most basic iteration of the half halt. Because that is what stretching comes from – the equally mysterious ~half halt~, which is driven from the leg, rebalanced from the hand/seat.

“But how do I put my leg on without the horse going faster since leg means Go, Steph?”

I am glad you asked! When you begin teaching the idea of a half halt to a horse you want to down shift them before you put leg on. Take your normal working trot, downshift it into a slightly lower/slower/less energetic gear and then drive the horse to the hand.

“Okay but you still haven’t described stretching?”

That is the ~magic~ because stretching isn’t really any different from what you normally should do riding around! Stretching is only stretching because you let the length of rein out so that the horse takes up the entire length and contact and seeks the bit. You start this as a very slow process. You have to start in your normal, comfortable length of neck and contact and bit by bit encourage the horse to telescope the neck out and to seek the bit that now is a little farther away than before. This is a slow gradual process and doesn’t happen overnight.  And the key is to not over face the horse when asking for stretch. If they drop the contact at any point it is up to you as a rider to retake the reins and set up contact at the status quo length, and ask once more.

Stretching takes a lot of strength and balance on the part of the horse which is why it takes time to teach a horse to properly stretch. This is why you see a lot of 4/5 year old horses that are “built” for FEI dressage (think of the spectacular youngsters) struggle with having the balance and strength necessary to stretch. A horse that is stretching has to have complete balance in and of itself while carrying your weight (a direct factor on their balance) without relying on you to help. It takes a lot of trust on the part of the animal to be able to lower their neck, and come into the hand softly over the back which is the exact opposite of what is instinctual for them to do when they feel the least bit off balance.

“Okay but Steph, specific aids tho!? You haven’t given me any?”

Yeah see, this is where you cannot teach someone to ride over the internet. Some words of wisdom in regards to specific ‘aids’ are as follows. Don’t try to teach stretching on the straight line. Straight lines are for after the horse understands. Use curves, they are your friend for all things relating to dressage. Straightness = shoulder fore = having to actively ride bend (in the body, not the neck) whereas a circle magically sort of rides the bend for you if you are riding the correct line. The inside rein is for flexion, the outside rein should control the length and height of the neck. While both reins should always keep the front door closed, you want to ride the horse from inside leg to outside rein and stretching is no exception from this. As for the feel of half halt/stretch circle of aids is that you want to create space up front and then fill it up (with energy from the leg). That is what seeking the bit should feel like.

When it comes to riding, the rider is the equivalent of the coach, and the horse the student. Unfortunately not all riders have the attitude of the coach I described. All too many riders put the game before the love of the game. Rather than observing the horse to see if he’s tired, they look at the clock. If the horse complains that an exercise is too difficult, they hit him with a stick, poke him with a spur, or pull on his mouth, and, to make matters worse, when he does get it right, they forget to reward. A horse faced with this will hate being ridden, avoid the rider, and learn to be defensive as he tries to protect himself.
—  Right From The Start - Creating a Sane, Soft, Well-balanced Horse by Michael Schaffer.
Harry Potter - What is Newt Scamander’s Patronus?

A couple of days ago, I open up Twitter and go stalk my favourite authors Twitter feed (hoping to get more news about Fantastic Beasts 2, like you do) and I saw this infamous tweet that has been spawning on many news articles such as Buzzfeed, Nerdist, Independent and Metro.


And, of course, I got very excited at this news and planned to make my own theory about Newt Scamander’s Patronus. From Google, the definition of a Patronus Charm is an “ancient charm that conjures a magical guardian, a projection of all your most positive feelings.” This gets tricker as we only seen Newt Scamander in one move, Fantastic Beats and Where to Find Them, so we can’t really analyse his personality in quite great depth yet and have limited knowledge on Scamander’s personal and private life. We also know there are a huge amount of animals in the Wizarding World which makes it harder to pinpoint just one.

This does sound like a huge task but let’s break it down into workable parts about what we do know. Patronus Charms are commonly used against Dementors in Harry Potter and use to repel dark magic. By the following definition, what if Newt Scamander has already used a Patronus Charm in front of us? But, I hear you say, we have not seen Newt fighting any demontors yet. However, what if the Patronus Charm could be used against dark magical creatures such as both demontors and Obscurus? The similarities between Obscurus and demontors are uncanny and are quite similar. Described as a “dark” and “parasitic” force, an Obscurus was created when the child in question was forced to repress their talent through physical or psychological abuse. This energy could manifest itself as a separate entity that can erupt in violent, destructive fury. This heavily contrasts to the Patronus Charm which leads to speculation if Patronus Charms actually can be used against an Obscurus. My guess is yes.

The Patronus represents that which is hidden, unknown but necessary within the personality. Patronuses take forms that their casters might not expect, for which they have never felt a particular affinity, or (in rare cases) even recognise.

The unusual witches and wizards who produce a Patronus that takes the form of their favourite animal is an indicator of obsession or eccentricity. Here is a wizard who may not be able to hide their essential self in common life, who may, indeed, parade tendencies that others might prefer to conceal. Whatever the form of their Patronus, you would be well-advised to show respect, and occasionally caution, towards a witch or wizard who produces the Patronus of their choice.

Why this also might get a bit harder is that your Patronus can change. One famous example is when Tonks Patronus became a wolf due to her love for Remus Lupin. Occasionally when a witch and a wizard are married, their Patronuses will match each other (most likely because the witch/wizard’s happy thought will be that of their spouse). We also know for a fact at the end of the series, Newt marries

Originally posted by kissthepsycho

To help with this task, I created a nifty word explosion of Newt Scamander’s personality (as shown below). You can see a lot of the personality traits are Newt being humble, dedicated, considerate and a protective figure who doesn’t like confrontation. So, using above, what if his Patronus is something we wouldn’t expect? A quality hidden with him that we don’t see.

Such as a fierce and bold creature. The last adjectives we would describe Newt is confident, dominant and fierce. But, what if these qualities are hidden within him - something himself he doesn’t realise?

Hence leads me to a final decision on Newt’s Patronus…

A Hippogriff.

Hippogriif is a magical creature that represents both eagle and a horse. Additionally, white horses symbolise for the balance of wisdom and power which explains why Newt is not power-hungry like Gellert Gindelwald and his intelligence and curiousness to find more about magical creatures. Also, eagles are a fierce protector, courageous and strong - qualities that Newt doesn’t see in himself at times. Hippogriffs can also be fiercely loyal and protective of those who have earned their trust. This is quite accurate of Newt who is quite protective over Propentina Goldstein, his friend and future love interest. Furthermore, having his Patronus as a Hippogriff adds more complexity and depth into the characterisation of Newt who is, in my opinion, heroic in small ways.

-sexierthanaheartburn

anonymous asked:

Since you are in school, have a job and a horse how do you balance everything?? What all do you do in an average day?

So right now my summer schedule is ok, but still a bit busy,

I go to a 4 hour class two days a week, have one main client and a regular job, volunteer at my local therapeutic riding center while I’m working on my PATH instructor certification, and next week I’ll be working on my equine and canine massage license!

Overall, I manage my day by getting up early. It gives me more time to do what I need to and also creates downtime. I usually wake up at 5:30/6 and go see Toast early in the morning before going to class/work. I schedule my clients around that and volunteer in the time that’s left in between. My biggest advice to those trying to handle a heavier workload is to create incentives for yourself throughout the day. For me that may be taking a break to go to the gym, play with my dog in the backyard, or make myself lunch (i know these probably sound boring but they’re nice to look forward to).

Most of all though, managing my horse-time and having a large supply of weed helps the most lol.

anonymous asked:

You don't even now how much I'm thankful for this blog and you. And now to my question because I was having trouble finding an answer: What spirit animals do you think the assassins+ Shay and Haytham have ? I would be very nice if you would answer my question and I thank you again for simply existing ❤️ Much love, From an artist that loves the assassins too much. Ps: I'm asking you BC I want to draw a spirit animal AU. Thank you again for taking the time ❤️ -J.M (2/2)

Spirit animals? Goodness, I used to have a RP with a friend of mine based on the Assassins and them having spirit animals. They transformed into them from time to time, and it was pretty neat. ;) Of course, I’d rather research the animals in question than just randomly depart with an answer for this ask, as I do want to give the right answer for them. X3

Mawwr, thank you so much for the comment, honey. It means a lot to me~! ;W; Truly! Thank you all for your lovely support! I do hope you draw those lovely thoughts~!

Ezio
The whale:

  •    Wisdom holder
  •    Physical and emotional healing
  •    Keeper of history
  •    Importance of family and community
  •    Emotional rebirth
  •    Peaceful strength
  •    Communication

Connor
Would be the wolf:

  •    Sharp intelligence, deep connection with instincts
  •    Appetite for freedom
  •    Expression of strong instincts
  •    Feeling threatened, lack of trust in someone or in yourself

Haytham
The owl:

  •    Intuition, ability to see what others do not see
  •    The presence of the owl announces change
  •    Capacity to see beyond deceit and masks
  •    Wisdom
  •    The traditional meaning of the owl spirit animal is the announcer of death, most likely symbolic like a life transition, change

Shay
The tiger:

  •    The primary meaning of the tiger spirit animal is willpower, personal strength and courage;
  •    Shadow or part of you that you would normally try to hide or reject.
  •    Aggression or anger directed at you or felt towards someone;
  •    Unpredictability in life, actions or feelings;

Edward
The Fox:

  •    Physical or mental responsiveness, increased awareness
  •    Cunning; seeing through deception; call to be discerning
  •    Ability to find your way around, to be swift in tricky situations
  •    Affinity with nocturnal activities and dream work

Arno
The Panther:

  •    Astral travel
  •    Guardian energy
  •    Death and rebirth
  •    Understanding of death
  •    Reclaiming your power
  •    Ability to know the dark
  •    Aggressiveness and power

Jacob
Could be the wolf as well but also the horse:

  •    A driving force, what you thrive for or carries you in life
  •    A secondary meaning for the horse spirit animal is the balance between instinctive and tamed part of your personality.
  •    Sexual energy, especially – but not limited to – masculine energy
  •    Strong emotions, passionate desires

Evie
The crow:

  •    Life magic; mystery of creation
  •    Destiny, personal transformation, alchemy
  •    Intelligence
  •    Higher perspective
  •    Being fearless, audacious
  •    Flexibility, adaptability