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an Olympic champion. In September 1945, in Moscow, a 500 km marathon race with the participation of the best horses of eight breeds of horses from the former USSR, dedicated to the victory won in the Great Patriotic War, ended with a great victory for the Turkmens. horsemen The first place in this race is taken by 588 Tarlan Gyr, born in 1938, an Akhal-Teke horse from the offspring of 044 Tyllagush and 334 Myrat. At the 1960 Olympic Games in Rome, the Akhal-Teke horse Absinthe, ridden by Sergei Filatov, took first place and won the Olympic gold medal. Absinthe won a bronze medal at the 1964 Tokyo Olympics. He later competed in the Olympics again and was named Horse of the Century at the Mexico City Olympics. No other horse has competed in the Olympic Games three times like Absinthe. In 1950, at the All-Union Spartakiad of Rural Athletes, held in Moscow under the command of the Mary squadron athlete Alexei Ivanovich Shirinka, an Akhal-Teke named Perepel jumped 8 m 78 cm and became the champion of the competition. Selection of horses - along with the areas of breeding work, it is necessary to pay special attention to the original breed of horses and foals. From this point of view, I would like to point out the existence of three outstanding horses in the Akhal- Teke breed among Akhal-Teke horses, identified by Professor M.I. Belonogov (1955) (technical data 7), and the importance of highlighting these various outstanding horses. horses in breeding work. Breeds (types) of Akhal-Teke horses within the breed: 1) original (main) outstanding horses; 2) moderately well-known horses; 3) proper horses. Between the indicated three outstanding groups in kahalas there are also intermediate outstanding horses, for example, from yogn, initial outstanding, thin initial, intermediate initial outstanding, etc. Therefore, the person who determines the type of horse must be an experienced rider. The real horses of the horse breed are large, strong, well-built, beautiful Akhal-Teke horses, very well-mannered and beautiful horses of golden yellow, golden yellow and silver yellow colors. These are well-shaped horses with a wide and downturned muzzle, apple eyes, playful canes and gracefully arched goosenecks. They have a medium-width belly, well-developed muscles, a smooth and mottled undercoat, and smooth and short tails. Among the horses of the original noticeable group there are also horses with a weaker, thinner body structure and a more general temperament. Testicular deficiencies include short legs with long soft saddles, mixed muscles and straight legs. Horses belonging to the average appearance group are smaller and lighter in build. These horses are strong, strong, with a long or medium neck, a head of medium size in relation to the body, flexible legs and well-defined ligaments, bony and strong legs. Despite his small size, he is very healthy and strong. Horses of this group are distinguished by their high endurance in raids. List of used literature:
1. M.I. Belonogov. Basic principles of breeding work with the Akhal-Teke horse breed. Ashgabat, 1955.
2. K. B. Svechin and others. Horse breeding. Moscow, 1992.
3. A.S. K rasnikov. Horse breeding. Moscow, 1973.
© Myratdurdyyev N., Shajanov H., 2024
УДК 7
Seydiyeva J., teacher Yusupowa L., teacher.
International Academy of Horse Breeding named after Aba Annaev.
Arkadag, Turkmenistan
HORSES AND THE HISTORY OF THE CIRCUS Annotation
The history of the modern circus is deeply rooted in horsemanship. The first modern circuses, which
took place during the 18th century, were primarily demonstrations of tricks performed on a horse, first by former soldiers who learned such skills during military training, and later by talented men and women trained from a young age to accomplish acrobatics and other feats atop a horse. In order to teach horses to perform tricks for the circus amphitheater, horsemen relied upon instruction from mentors and in books such as Dr. Sutherland's System of Educating the Horse, with Rules for Teaching the Horse Some Forty Different Tricks or Feats. . . This 1861 text by Dr. G. H. Sutherland claims to be the first ever published on "Educating the Horse"
Key words:
stem, education, technology, science, research
Horse trainers in Great Britain were considered humane in their work, and as London trainer Charles Montague wrote in his 1881 book, Recollections of an Equestrian Manager (in Simon, 2014, pp. 29-10): "The horse must first be brought to feel that you are his master—his superior; not through fear of your power; but on the contrary, through his experience that though you have the power, it is always accompanied by kindness. . .never with cruelty." In America, Dr. Sutherland represented those using humane animal training practices, and in his text he stated that he was "convinced, by observations as well as experience, that we can successfully tame, subdue, and control the most wild and vicious horse by kindness alone. . ." Sutherland's horse tricks are quite delightful, and include training the horse to remove the trainer's "cap, coat and mittens". Other tricks include teaching the horse to stand up, lay down, knock on a door, say yes or no, fetch and retrieve objects, walk on hind legs, to unbuckle his own saddle and remove it, open and close doors, pump water, fire a pistol, tell his A, B, C's, spell, read, and more amazing things! When Philip Astley created the first modern circus in 1768 in London, he had his horse count, perform mind reading, and play dead. In addition, Astley, and later more performers he hired, would end up performing acrobatics on the horse. The history of the circus goes back thousands of years, with early depictions of acrobats from Egypt from 1300 to 1200 BCE. The Museo Egizio in Turin has an Egyptian wall fragment from this period showing a female acrobat in a backbend, with long, wavy hair flowing to the ground, large, gold hoop earrings, and wearing only a short sarong. Mexican ceramic statuettes from 200 BCE to 500 BCE, and prior periods, show contortionists doing splits. The Mexican statuettes, like a Hellenic Greek statuette depicting an acrobat, have in common a sense of joy and play: the subjects are smiling and theatrical.
Of course most people might recognize the term, "circus," or the idea of performances taking place in a circular venue when they think of ancient Rome and the gladiator contests and chariot races. Chariot races began the trend of highlighting the horse's—and his master's—prowess in a circular arena during a longer period of entertainment by other performers. These Roman gladiator and chariot contests included interludes with juggling, acrobatics, animal baiting, and sometimes people performing intricate religious rites.
Ancient China and Greece each had their own forms of traveling circuses, and medieval Europe had local fairs with performers, as well as hosting traveling performers who included fortune tellers, jesters, dancers, musicians, and tight-rope walkers. The medieval, and Renaissance, European Church denounced performers who walked over tight-ropes and hot coals, people who could drink boiling oil or swallow fire, strongmen, and others performing seemingly miraculous stunts, thinking the performers too arrogant, or unhappy that money which should go to the Church was being spent on frivolous entertainment; sometimes tight-ropes were strung between steeples and performers were banned from entertaining at religious festivals.
The modern version of the circus which we know today has its roots in 18th-century Great Britain. Philip Astley (1742-1814), the son of a veneer cutter and cabinetmaker, decided he wanted to be a horseman, since men on horseback were revered at the time as strong and brave, often prior solders. Astley joined the Dragoons cavalry regiment, became a distinguished soldier during the Seven Years War, and left the military in 1766 as sergeant-major. At six feet tall, Astley looked impressive atop a horse and easily started earning a living as a horseman with his white steed, performing trick riding and swordsmanship he had learned in the military. After
a few years of traveling to fairs to perform with his horse, he opened a riding school in 1768 close to Westminster Bridge, London, where he trained aristocratic young men and women. After his morning trainings, he entertained to an audience in the school's amphitheater. He stood and performed acrobatics on his horse, adding ever more balancing tricks, a second horse, and a female equestrienne, Patty, who became his wife; their son John joined the act, as well. He added clowns, magicians, tumblers, and rope dancers. Astley gained competitors, but his was the first "modern" circus, and though the focus was mainly on the horses, he made the other acts integral to the entire spectacle.
Legendary celestial horses are the constant jewel of festive events in our country. Beauty and grace of swift horses, stunts performed by jigits at horses' full speed always amaze spectators and win the public's admiration, leaving unforgettable impressions on them. Turkmen riders demonstrate not only fine skills of equestrian stunting, but also a perfect harmony of the "man - horse" tandem which is only built upon full confidence towards each other.
Thousand years long history of the Turkmen people is indissociable from the swift Ahalteke horses. The art of raising the horses of this breed testifies to the excellent skills of our people, because it is only possible to create a true masterpiece in harmony with nature, which an Ahalteke certainly is, only through absolute commitment and dedication of efforts, talent and soul. List of used literature:
1. Jennings, J. J. (1893). Theatrical and circus life. . . Chicago: Laird & Lee, Publishers.
2. Simon, L. (2014). The greatest shows on earth: A history of the circus. London: Reaktion Books
3. Sutherland, G. H. (1861). Dr. Sutherland's system of educating the horse, with rules for teaching the horse some forty different tricks or feats. . . Potsdam, NY: Fay, Baker & Co.'s Steam Power Presses.
4. History of Turkmens Indissociable from Ahalteke Race Horses. https://japan.tmembassy.gov.tm/news/17646
© Seydiyeva J., Yusupowa L., 2024
