Clan of the Horses/Hestenes klan – the energy

Some years ago I made a drawing in black and white of an open landscape bathed in moonlight. On the nightly sky I then drew the constellation Big Dipper (the plough/Karlsvogna) and someone pointed out to me that the constellation was facing the wrong direction, like a mirror image. My reply was, and still is: If seen from the other side, this is what the Big Dipper would look like.

What you see is very influenced by where you stand, by your point of view. There are always - at least - two sides to every story.

When women riding astride are depicted in art or described in historical and mythological records, we often find them where men traditionally have spent a lot of time and energy: In the battlefields, where a significant part of human history is written. Women included in these arenas are depicted as fighting shieldmaidens or as Valkyries, who bring the dead to Valhalla. And in some cases women’s presence have changed the course of history in eg battles or conflicts, like Jeanne d’Arc (Joan of Arc) and Lady Godiva did - in their own unique way.

But these are known historical facts and legends well preserved. The story I want to share is a story that has never been revealed before; a story gathered from the unwritten pages of the history books and the paintings on canvases that were never used: Stories of horsewomen from a secret tradition, known as Clan of the Horses/Hestenes klan.

These horsewomen approach horses in a very different way. They use a soft-spoken language from another time, another place and another energy. You rarely find these horsewomen in the centre of attention. They have traditionally met in the woods, in the fields and on the steppes, far away from battlefields, tournaments and competition arenas, although there are historical and present exceptions.

You can recognize them by the bracelet some of them wear around their left wrist, but above all you can recognize them by the way they handle their horses. They are usually not very sociable when they spend time in the stable, and they are often regarded as a bit “strange” and somewhat "untraditional". They never use much tack on their horses and they seem to prefer trail riding (but their horses are often trained at very hign levels). You are not likely to bump into them in the forest because they tend to choose the paths less travelled, or the narrow paths made by wild animals. They often keep to themselves and they are likely to come to the stable at odd times, when few people are there. If they run stables they usually prefer to ride after closing time, when it is quiet and they can spend time with the horses without interference or interruptions. To these women, riding is meditation. Not static, immobile and rigid, but as part of the horse’s movements, with energy flowing freely and unhindered between horse and rider. Some think of them as loners, but nothing could be further from the truth. They are, however, very strict about what kind of human energy they allow around their horses whilst riding, since they mainly use energy to communicate with their horses.

Nótt

NÓTT (Old Norse: Night) is the personified night in Norse mythology. She is the daughter of a jotne (“troll”) named Nörvi from Jötunheimr (Jotunheimen).
In the Prose Edda we find details about Nótt including records of her three marriages. Nótt's third marriage was with the god Dellingr and resulted in their son Dagr, the personified day. So, according to Norse mythology day is born out of night - night always precedes day.

Both in Poetic and Prose Edda (written in the 13th century), Nótt is associated with the horse Hrímfaxi ("rime mane" or "frost mane"). It was believed that the foam created when Hrímfaxi was chewing on the bit as he ran over the nightly sky, gave us morning dew in the summer and frost in the winter. The morning dew/frost was also the only food for Lif (which is the origin of my name, Live) and Liftharsir, the two sole survivors of Ragnarok (Doom of the Gods, end of the world).

Nótt’s son Dagr is associated with the horse Skinfaxi ("shining mane"). It was believed that Skinfaxi pulled Dagr’s chariot across the sky every day and that it was Skinfaxi’s shining mane that lit up the sky and the earth below. The myth of Skinfaxi and Hrimfaxi is believed to have its roots in Nordic Bronze Age religion, from which there is strong evidence of beliefs involving a horse pulling the sun across the sky (see: The Trundholm Sun Chariot). Both the sun and the precious metal gold are symbols closely connect to the horse in various cultures.

Source: Wikipedia, Lexikon der Symbole - Hans Biedermann
Painting by Peter Nicolai Arbo

The Trundholm sun chariot

THE TRUNDHOLM SUN CHARIOT (solvognen) is a late Nordic Bronze Age artefact found in Denmark. This artefact is a depiction of the sun being pulled by a mare, and is believed to have relation to later Norse mythology attested in 13th century sources (Edda). It is a possible Bronze Age predecessor to Skinfaxi, the horse that pulled Dagr, the personification of day, across the sky.

The sun chariot was drawn by a single horse, but there are indications that it might have been pulled back across the sky from west to east by a second horse.
Related are Arvak and Alsvid, the horses of the chariot of Sól. In Norse mythology, Sól is the personified goddess of the Sun. Every day Sól rode through the sky on her chariot, pulled by the two horses Arvak and Alsvid. The sun chariot has been interpreted as representing a Bronze Age predecessor to the goddess.

Source: Wikipedia

Medieval women and horses

Most medieval women rode astride. While an early chair-like side saddle with handles and a footrest was available by the 13th century and allowed women of the nobility to ride while wearing long gowns, they were not universally adopted during the Middle Ages. This was largely due to the insecure seat they offered, which necessitated a smooth-gaited horse being led by a man. The side saddle did not become practical for everyday riding until the 16th century. Then the pommel horn was developed, which secured the seat and made it stabil enough for women to control their horses and ride all four gates.

It was not unknown for women to ride war horses, and take their part in warfare. Joan of Arc is probably the most famous female warrior of the medieval period, but there were many others, including the Empress Matilda who, armoured and mounted, led an army against her cousin Stephen of Blois in the 12th Century. The fifteenth-century writer Christine de Pizan advised aristocratic ladies that they must "know the laws of arms and all things pertaining to warfare, ever prepared to command her men if there is need of it”.

It was not uncommon for a girl to learn her father's trade, and for a woman to share her husband's trade; many guilds also accepted the membership of widows, allowing them to continue their husband's business. Under this system, some women trained in horse-related trades as e.g. farriers and saddle-makers.

Despite the difficulties of travel, it was customary for both men and women, to travel long distances. Upper-class wives frequently accompanied their husbands on crusades or to tournaments. When not on foot, women would usually travel on horseback. Women of the nobility also rode horses for sport, accompanying men in activities like hunting.

Source: Wikipedia
Painting by unknown artist

Shieldmaidens

A SHIELDMAIDEN (Norse: Skjoldmøy) was a woman who had chosen to fight as a warrior. They are frequently mentioned in sagas in Norse folklore and mythology. Shieldmaidens also appear in stories of other Germanic nations: Goths, Cimbri and Marcomanni. The Valkyries might have been based on the shieldmaidens and they were also known to be J.R.R. Tolkien's inspiration for Éowyn. :)
There are few historical evidences of Viking Age women taking part in warfare, but it happened for sure on several occasions. Sometimes disguised and sometimes in the open - but not necessarily topless like Brynhildr here. For sure, then people would have noticed...

Source: Wikipedia
Depiction of Brynhildr by Robert Engels (1919)

Lady Godiva

LADY GODIVA was a historical figure and the wife of Leofric, Earl of Mercia. (Godgifu or Godgyfu means "gift of God”. Godiva is the Latinised version.)

According to the legend, Lady Godiva took pity on the poor people who suffered under her husband's oppressive system and heavy taxes. Lady Godiva appealed again and again to her husband to lighten the burden on his subjects. Her husband obstinately refused to compile, but weary of her entreaties, he finally said he would agree to make changes if she would strip naked and ride through the streets of the town. This was unheard of and he hoped it would be the end of the discussion, but Lady Godiva took him at his word and, after issuing a proclamation that people should stay indoors and shut their windows, she rode through the town naked, only “dressed” in her long, red hair. As a result of this ride, Lady Godiva's husband kept his word and abolished the onerous taxes.

The oldest form of the legend has Godiva passing through Coventry market from one end to the other attended only by two knights, while the people were assembled and looking down in respect. This version is given in Flores Historiarum in the 12th century, quoted from an earlier writer. The later story, with its episode of "Peeping Tom," appeared first among 17th century chroniclers. There it was told that one single man, a tailor ever afterwards known as Peeping Tom, disobeyed Lady Godiva’s proclamation. This is probably the most famous example of voyeurism in history. It was told that Tom managed to get a glimpse of Lady Godiva as she passed by, and that he was struck blind.

Source: Wikipedia
Painting by John Collier 1897

Jeanne d'Arc (Joan of Arc)

JEANNE D’ARC (1412 –1431) was a national heroine of France and now a Catholic saint (canonized by the pope in 1920). She was a peasant girl born in eastern France who led the French army to several important victories during the Hundred Years' War, claiming divine guidance. This young girl was indirectly responsible for the coronation of Charles VII…
The extent of her actual military leadership is a subject of historical debate, for sure. Some say she was a standard bearer whose primary effect was on morale. Others say that her fellow officers esteemed her as a skilled tactician and a successful strategist. In either case, historians agree that the army enjoyed remarkable success during Jeanne’s brief military career…
A reckless skirmish on 23 May 1430 led to her being captured. Jeanne had ordered a retreat and assumed the place of honour as the last to leave the field. She was unhorsed by an archer and forced to surrender.
It was customary for a captive's family to pay ransom to free a prisoner of war, but unfortunately, Jeanne’s family lacked the financial resources. Jeanne had to face a trial of heresy (challenging the established system of belief) which was a capital crime. The trial against her was politically motivated, and the trial record demonstrates her remarkable intellect.
Jeanne d’Arc was not a feminist. She was just a girl who felt she received a divine calling, and since her mission was to do a man's job, she dressed accordingly. She kept her hair cut short through her military campaigns, but agreed to wear women's clothes when she was captured, but ended up dressed as a man again during the trial. Some say she did it to protect herself from harassment in jail. Some say she did it because her dress was taken from her and she was left with nothing else to wear.

The technical reason for her execution was a biblical clothing law. Jeanne d’Arc was burned at the stake. She was 19 years old.

Source: Wikipedia