Conversation with Mr. Filipe Figueiredo (Graciosa) Director and Mestre Picador Chefe of the Portuguese School of Equestrian Art, in Paris on November 24, 2007 during the World Presentation of the Four Schools of Equestrian Art – Spanish School of Vienna , Cadre Noir de Saumur, Royal Andaluzian School of Equestrian Art and the Portuguese School of Equestrian Art (EPAE) at the Palais Omnisports in Paris.
The opening of these four schools is an old dream of Mr. Filipe Graciosa, who has been working hard to turn such a dream into a reality.
According to him, the idea started to take shape in 2001 during a visit of the Ecuyer en Chef of Le Cadre Noir to Lisbon, which resulted in the first invitation given to the Portuguese Escola to be present at the Le Printemps des Ecuyers event in Saumur.
Since then, the relationship between Saumur and the EPAE strengthened due to the good relations with Coronel Loïc de La Porte du Theil, leading to an exchange program between riders of the two schools.
In 2003 the performance in France with Le Cadre Noir was a roaring success and the following year was chosen as the perfect opportunity to attempt to gather all four schools in the Celebration Gala of 25 years of the Portuguese School of Equestrian Art.
At that time, however, the Vienna School did not show interest in joining its sister schools. Nevertheless, the Royal Andaluzian School of Equestrian Art, based in Jerez - Spain, accepted the invitation to join the EPAE and Saumur in a Grand Equestrian Gala in 2004 selling out all 12,000 seats at the Pavilhão Atlântico in Lisbon. Mr. Filipe Graciosa, a former instructor at the Andaluzian School, continues to maintain a great relationship with the Jerez school’s administrators.
The success of the gathering of all three schools in Lisbon and, consequently, the success of the individual performance of the Escola in Paris – Bercy in 2006, finally convinced the Vienna School to accept being part of a group performance.
The dream is today a reality and even the discreet Vienna School, who was offered priority in the choice of sequences and demanded complete isolation during training, was slowly but surely rendered to the fun environment created by the rich exchange of cultures between riders during the training week before the show.
“It was a dream to bring the schools together based on friendship” and “it has been a very positive experience to observe the differences between the horses and the team spirit without competition”, comments Mr. Filipe Graciosa.
When questioned about the message he would to send to those who will attend the Gala, he highlights the fact that they will be presented with the “Essence of Equestrian Academia” where “Art is the focus of all four schools”.
I took advantage of the opportunity of being in the presence of the highest ranking administrator of the Portuguese School of Equestrian Art to ask a few questions about the Escola’s present and future.
The first question concerns the way in which the young riders relate to the theoretical and historical principles that are the Escola’s pillars. The Mestre Picador Chefe answered saying that it is something that he sees with little concern and exemplified with a comment made by a friend of his who said “Filipe, I don’t know anyone at the school anymore. They all look the same.” He took it as a compliment and a sign of uniformity showing that “the School is training them well, with the same spirit and disposition”.
In the second question I tried to understand the secret of the Portuguese School of Equestrian Art’s success considering its short existence and the differences regarding resources between this school and others present at performance. In other words, I asked if it would be accurate to apply such success to the commitment and ability of the riders, the quality of the horses or the strength of the theoretical principles that support the teaching methods. Regarding this matter the EPAE Director stated that it was the combination of the three aspects previously mentioned and the “seriousness and authenticity of a continuous work method without any profitable objectives” that are the reasons of the Escola’s success. He also added the importance of being able to wait until the horses are physically prepared for each level of schooling because “all mistakes have long lasting consequences”.
About the possibility of the Escola using other horses than the Alter Real, he was very adamant denying that statement since one of the purposes of the EPAE is using the horses who come from the old Coudelaria Real – Royal Stud.
Succumbing to my own curiosity, I inquired about the possibility of female riders being a part of its staff, to which he answered not being completely against but would form a separate section that would rode à amazona – riding side-saddle, with a traditional outfit since the type of clothes chosen by the Escola are not suitable for female usage. As far as this topic is concerned, he evokes about his wife and daughter’s participation in the performance that the EPAE organized in Paris in 2006 where they were presented in a separate sequence riding à amazona.
Since the EPAE is quickly reaching the 30 years celebration in 2009, I asked what would be the best present the School could receive and what obstacles would the School have to overcome. Mr. Filipe Graciosa answers repeating his old wish: “have a dignified headquarters and an indoor school at the old Picadeiro Real” – the ancient indoor school of the Royal Palace, currently the location of the Carriage Museum in Belém, Lisbon.
Reinforcing the importance of this location to the Portuguese School of Equestrian Art, he stresses that the Escola would be known as “unique in the world, in terms of authenticity”, by returning the riders, the legitimate heirs of the Picaria Real – equestrian art practiced by the noble knights, to their original location, riding horses from Alter’s Coudelaria Real, using the original harnesses and uniforms as well as the original music of Portuguese authors.
The location and the lack of financial support are the biggest hindrances that the Escola has faced throughout its existence. Despite being highly regarded in a large number of cultural events representing the country both nationally and internationally, the support has always stemmed from the Agriculture Department and not in conjunction with the Department of Culture and Tourism.
Regarding future plans, namely the ideas regarding the EPAE 30 years celebration, I was left with the feeling that the Escola is going through some emptiness and expectation.
As the School’s Director, Mr. Filipe Graciosa, stresses that one of his goals was to gather all four schools and “show the world that Portugal has a jewel”. Other than that, he is hoping that what exists is maintained and that his wishes concerning the location of the school are turned into a reality in a near future.
Ana Escoval and Jorie Sligh - Paris, November 24, 2007
(Translation: Ana Paulino)
According to him, the idea started to take shape in 2001 during a visit of the Ecuyer en Chef of Le Cadre Noir to Lisbon, which resulted in the first invitation given to the Portuguese Escola to be present at the Le Printemps des Ecuyers event in Saumur.
Since then, the relationship between Saumur and the EPAE strengthened due to the good relations with Coronel Loïc de La Porte du Theil, leading to an exchange program between riders of the two schools.
In 2003 the performance in France with Le Cadre Noir was a roaring success and the following year was chosen as the perfect opportunity to attempt to gather all four schools in the Celebration Gala of 25 years of the Portuguese School of Equestrian Art.
At that time, however, the Vienna School did not show interest in joining its sister schools. Nevertheless, the Royal Andaluzian School of Equestrian Art, based in Jerez - Spain, accepted the invitation to join the EPAE and Saumur in a Grand Equestrian Gala in 2004 selling out all 12,000 seats at the Pavilhão Atlântico in Lisbon. Mr. Filipe Graciosa, a former instructor at the Andaluzian School, continues to maintain a great relationship with the Jerez school’s administrators.
The success of the gathering of all three schools in Lisbon and, consequently, the success of the individual performance of the Escola in Paris – Bercy in 2006, finally convinced the Vienna School to accept being part of a group performance.
The dream is today a reality and even the discreet Vienna School, who was offered priority in the choice of sequences and demanded complete isolation during training, was slowly but surely rendered to the fun environment created by the rich exchange of cultures between riders during the training week before the show.
“It was a dream to bring the schools together based on friendship” and “it has been a very positive experience to observe the differences between the horses and the team spirit without competition”, comments Mr. Filipe Graciosa.
When questioned about the message he would to send to those who will attend the Gala, he highlights the fact that they will be presented with the “Essence of Equestrian Academia” where “Art is the focus of all four schools”.
I took advantage of the opportunity of being in the presence of the highest ranking administrator of the Portuguese School of Equestrian Art to ask a few questions about the Escola’s present and future.
The first question concerns the way in which the young riders relate to the theoretical and historical principles that are the Escola’s pillars. The Mestre Picador Chefe answered saying that it is something that he sees with little concern and exemplified with a comment made by a friend of his who said “Filipe, I don’t know anyone at the school anymore. They all look the same.” He took it as a compliment and a sign of uniformity showing that “the School is training them well, with the same spirit and disposition”.
In the second question I tried to understand the secret of the Portuguese School of Equestrian Art’s success considering its short existence and the differences regarding resources between this school and others present at performance. In other words, I asked if it would be accurate to apply such success to the commitment and ability of the riders, the quality of the horses or the strength of the theoretical principles that support the teaching methods. Regarding this matter the EPAE Director stated that it was the combination of the three aspects previously mentioned and the “seriousness and authenticity of a continuous work method without any profitable objectives” that are the reasons of the Escola’s success. He also added the importance of being able to wait until the horses are physically prepared for each level of schooling because “all mistakes have long lasting consequences”.
About the possibility of the Escola using other horses than the Alter Real, he was very adamant denying that statement since one of the purposes of the EPAE is using the horses who come from the old Coudelaria Real – Royal Stud.
Succumbing to my own curiosity, I inquired about the possibility of female riders being a part of its staff, to which he answered not being completely against but would form a separate section that would rode à amazona – riding side-saddle, with a traditional outfit since the type of clothes chosen by the Escola are not suitable for female usage. As far as this topic is concerned, he evokes about his wife and daughter’s participation in the performance that the EPAE organized in Paris in 2006 where they were presented in a separate sequence riding à amazona.
Since the EPAE is quickly reaching the 30 years celebration in 2009, I asked what would be the best present the School could receive and what obstacles would the School have to overcome. Mr. Filipe Graciosa answers repeating his old wish: “have a dignified headquarters and an indoor school at the old Picadeiro Real” – the ancient indoor school of the Royal Palace, currently the location of the Carriage Museum in Belém, Lisbon.
Reinforcing the importance of this location to the Portuguese School of Equestrian Art, he stresses that the Escola would be known as “unique in the world, in terms of authenticity”, by returning the riders, the legitimate heirs of the Picaria Real – equestrian art practiced by the noble knights, to their original location, riding horses from Alter’s Coudelaria Real, using the original harnesses and uniforms as well as the original music of Portuguese authors.
The location and the lack of financial support are the biggest hindrances that the Escola has faced throughout its existence. Despite being highly regarded in a large number of cultural events representing the country both nationally and internationally, the support has always stemmed from the Agriculture Department and not in conjunction with the Department of Culture and Tourism.
Regarding future plans, namely the ideas regarding the EPAE 30 years celebration, I was left with the feeling that the Escola is going through some emptiness and expectation.
As the School’s Director, Mr. Filipe Graciosa, stresses that one of his goals was to gather all four schools and “show the world that Portugal has a jewel”. Other than that, he is hoping that what exists is maintained and that his wishes concerning the location of the school are turned into a reality in a near future.
Ana Escoval and Jorie Sligh - Paris, November 24, 2007
(Translation: Ana Paulino)
To read the interview in Portuguese clik here:
Posts
No comments:
Post a Comment