Movement
A sequence of movements in which a horse takes a step with all four legs is called a stride. During each step, with each leg, a horse completes four movements: the swing phase, the grounding or impact, the support period and the thrust. While the horse uses muscles throughout its body to move, the legs perform the functions of absorbing impact, bearing weight, and providing thrust. Good movement is sound, symmetrical, straight, free and coordinated, all of which depend on many factors, including conformation, soundness, care and training of the horse, and terrain and footing. The proportions and length of the bones and muscles in the legs can significantly impact the way an individual horse moves. The angles of certain bones, especially in the hind leg, shoulders, and pasterns, also affect movement. The forelegs carry the majority of the weight, with exact percentages depending on speed and gait. At one point in the gallop, all weight is resting on one front hoof.
"Form to function" is a term used in the equestrian world to mean that the "correct" form or structure of a horse is determined by the function for which it will be used. The legs of a horse used for cutting, in which quick starts, stops and turns are required, will be shorter and more thickly built than those of a Thoroughbred racehorse, where forward speed is most important. However, despite the differences in bone structure needed for various uses, correct conformation of the leg remains relatively similar.
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Famous quotes containing the word movement:
“The political core of any movement for freedom in the society has to have the political imperative to protect free speech.”
—bell hooks (b. 1955)
“What had really caused the women’s movement was the additional years of human life. At the turn of the century women’s life expectancy was forty-six; now it was nearly eighty. Our groping sense that we couldn’t live all those years in terms of motherhood alone was “the problem that had no name.” Realizing that it was not some freakish personal fault but our common problem as women had enabled us to take the first steps to change our lives.”
—Betty Friedan (20th century)
“An actor rides in a bus or railroad train; he sees a movement and applies it to a new role. A woman in agony of spirit might turn her head just so; a man in deep humiliation probably would wring his hands in such a way. From straws like these, drawn from completely different sources, the fabric of a character may be built. The whole garment in which the actor hides himself is made of small externals of observation fitted to his conception of a role.”
—Eleanor Robson Belmont (1878–1979)