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The women of the Amazonasian city-state were highly intelligent and good at war, but had weak endurance. To make up for this, they colonized other countries, capturing colonial men and taming them as horses. Women could go to war on human horses all day, and the horses helped make Amazonas the most powerful country on the continent. Women on human horses earned the nickname "Warriors Who Do Not Get Off Their Horses" by terrorizing other countries.
Amazones always rode human horses not only on the battlefield, but also in everyday life,
Human horse has become an indispensable necessity.
As soon as the men of the colony were 18 years old, they were brought to the stables and trained to live as horses for life.
Horses are trained until they can completely control the woman with just the slightest movement of her thighs, and the training usually took two years. The better the horse's physical condition and training result, the more it was given priority to high-ranking officers in the military.
The horse was educated as a noble duty to live under the landlady's ass for life,
If he fell or fell while carrying the his mistress, he was killed immediately for no reason.
Because no one wants to ride a horse that has fallen once anyway.
The life story of a horse who returned to the unit carrying his owner without collapsing even after being hit by dozens of arrows on the battlefield was used as a good educational material.
Of course, the hostess also learned the technique of always figuring out the condition of the horse and giving it a break before it breaks down.
The horses that passed the training were able to carry the his mistress and run nonstop for nearly 10 hours.
The average life expectancy of a horse was 60 years old and was withdrawn from the battlefield because his physical strength usually weakens when he is over 55.
However, there are quite a few mistress who do not release to them until they die because they are used to them even if they are old and slow, and some of them died on the battlefield at the age of 70.
Old horses with a lot of battlefield experience were mainly deployed to training centers and used as training horses for young soldiers who had just joined the army, and inexperienced or injured horses were used as everyday means of transportation for citizens.
Horses were always short of numbers, so they couldn't be realesed of the ride until just before they died.
Amazones' women joined the training camp at the age of 18 if they wanted to become soldiers. After completing one to three years of training, they were sent to units across the continent. All training was carried out on horseback, and each woman was assigned a full-time training horse.
Training was divided into two types: horseback riding training with free riding and combat training with weapons.
Ryder was able to complete the course only when he wielded a spear and knife with both arms and was able to control his horse with only two legs.
At this level, we could fight and win the Knights of the Four-legged Horse of the enemy.
By controlling a horse with only the fine movement of its legs without gagging, it was possible to use weapons freely with both hands, which was very efficient in war.
Training horses did not have the risk of dying on the battlefield, but the pain horse received by mistress who wanted to graduate from the training center quickly was no less than the pain of the battlefield.
The mistress practiced a lot all day until they became accustomed to horseback riding. Training horses were often older than 50, and the 18-year-old mistress were just like their granddaughters. For young mistress, however, training horses were nothing more than beast of burden, toilets and property.
At night, the horse had to be guaranteed a break, but there were many mistress who rode all night in order to quickly acquire horseback riding skills, or
horses suffered all kinds of abuse to relieve the anger of mistress that lost in competition with her colleagues.
The training horses had to quickly adjust to the new hostess, forgetting how they used to pick up the old hostesses. The 48-year-old Gilbert horse has always been a horse dedicated to a high-ranking officer and has always lived in the safest area. Even in the battlefield, I had never had a hard time running. Gilbert's mistress was mainly administrative, not combat, and liked to walk leisurely. However, his new mistress, Hera, was very impatient and couldn't resist the horse's walking. Hera wouldn't get off his horse except when he was sleeping.
In addition to regular training hours, Hera conducted intense training every day. He woke up from dawn and mainly did mountain climbing, sea swimming, and wildlife hunting.
Gilbert had to run every day under the new mistress's ass until he was about to collapse.
Hunting was Gilbert's most difficult training, and it was too difficult to chase the fast movements of wild boars or bison, and in many cases, he had to pick up Hera and ambush her without moving for half a day.
Hera trained not to sleep all night and run near the unit if Gilbert failed to hunt because he couldn't chase the animals properly.
Gilbert lost all his teeth as he held the reins with teeth enduring the pain every day, and lost 12kg in a year after giving a ride to hera.
Human horses are brainwashed to be most honored to live as horse, but Gilbert was nevertheless in so much pain that he thought he'd rather die every night.
Thanks to rigorous training, Hera got the best grade in the horse riding test and graduated from the training center in a year.
After Hera's departure, Gilbert was assigned to another trainee's training horse, but he died a few months later as if the pain he had suffered was too great.
Last edited by aquas (2025-05-06 04:51:00)
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Your story is moving. The ladies of the Amazon nation are expert shoulder riders in the art of war.
In every army, there are active and reserve personnel.
To complete active service and enter the reserve, the age limit could be 50 or 60 years, or it could be 20 or 30 years of service, for both the lady rider and the human horse.
To serve as training animals, males in the reserve (due to age limits and length of service) can be used as horses for apprentice lady riders.
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The Myth of Diana's Warriors
Many generations ago, when people still lived in scattered villages among the mountains and plains, the region of Diana was attacked by a horde of invaders from the north. They were numerous, savage, and carrying heavy weapons. The men of the village were strong, but not as numerous or as well armed. The women, on the other hand, were swift, agile, and precise in the art of throwing stones, arrows, and spears.
Faced with imminent danger, the elders called a council meeting. It was then that a wise and courageous young woman named Ilania proposed a bold tactic: the strongest men would carry the most skilled women on their shoulders, so that the latter, from high above, could better see the enemy and attack with advantage. Thus, strength and agility, endurance and marksmanship, would be combined into a single combat unit.
The battle was hard, but the strategy worked. From high above, on manly shoulders, the women struck down the invaders while the men ran and resisted with courage. Diana's people succeeded in defeating those who sought to subjugate them.
Since then, that victory is reenacted every year. The women dress as warriors and ride on the shoulders of the men, not as a symbol of dominance, but of unity, wisdom, and shared courage. It is a dance of history and honor, where every step reminds us that, together, even the weakest can defeat the most powerful.
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The Myth of Diana's Warriors – Part Two: The Great Offensive
After the victory in the first battle, Diana's people celebrated, but Ilania—the young strategist—firmly warned: "We have won a battle, but the war still rages beyond the horizon."
The invaders retreated, but they had not been completely defeated. Their central village, protected by walls and fortifications, still held power and was preparing new offensives. It was then that Ilania proposed an even bolder idea: not to wait for the next attack, but to take the fight to the heart of the enemy.
To this end, they summoned neighboring villages, some former rivals, others distant acquaintances. United by a common cause—freedom and the defense of their lands—the leaders agreed to join forces. Thus was born the great alliance of the southern valleys.
The combined army was led by Diana's Warriors, dressed in specially designed combat outfits mounted on the shoulders of the strongest men from each village. The warriors wore light armor made of hardened leather, high boots, and metal armbands, while their horses wore headbands and chest paint, symbols of their pride and commitment.
From atop those shoulders, the warrior ladies had a clear view of the countryside and could accurately launch their projectiles: stones wrapped in fire, whistling spears, and arrows marked with ancestral symbols.
The offensive was legendary.
They advanced like a coordinated tide: men running with determination, women riding alongside them and shooting with lethal aim. The enemy's central village, never before conquered, fell in a matter of days. The combination of strength and strategic vision surprised them. They couldn't understand how warriors on foot had brought down their walls.
That day, the sacred motto of Diana's people and her allies was born:
"Neither iron nor fire, but unity elevates the people."
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The Myth of Diana's Warriors – Part Three: The Confederation and the Birth of Tradition
After the victory over the enemy's central people, the free people of the valleys did not want to return to isolation. They had discovered that unity made them stronger than any fortress. Thus, under the leadership of Ilania and other wise men and chiefs, they founded the Confederation of the Highback Valley, a name inspired by the image of women riding on the shoulders of their male companions.
Ilania, who became a symbol of wisdom and power, established that bravery should not be celebrated only with weapons, but with art, song, and dance. To always remember how they won—through vision, height, and unity—a Great Festival of Balance would be organized each year, where the warrior women would once again climb onto the shoulders of men, not to fight, but to dance, to honor the alliance, and to teach new generations that true strength lies in cooperation.
Over the years, the warriors' riding attire became ceremonial and full of symbolism:
A hat with a firm brim, to protect the vision, a symbol of strategy and height.
A short, fitted tunic of worked leather, decorated with the colors of the valley (red, earth, and gold), designed to allow freedom of movement while throwing and dancing.
A bronze belt, engraved with the names of their ancestors.
Sturdy knee-high boots, held upright on the shoulders in perfect balance.
A short cape, which fluttered in the wind like the wings of victory.
The men, the ladies' horses, also had their own ritual attire: their torsos bare or covered with crossed cloth bands, and an armband bearing the name of the lady riding on their shoulders, as a symbol of trust and respect.
Thus, over time, the custom left the battlefield and became part of everyday life. At celebrations, weddings, harvests, sports competitions, and processions, women were seen on men's shoulders, as an emblem of balance, cooperation, and shared leadership.
In Diana's village, to this day, when a young woman climbs onto a man's shoulders during a dance, the voices of the elders can be heard saying:
"It is not domination or submission, but a living memory of our victory."
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🔹 Warrior Riders Ceremonial Costume
Steady-brimmed hat:
Made of dark-dyed leather (black or brown).
Decorated with feathers or colored ribbons representing the lineage or village of origin.
Sometimes it has a bronze brooch in the front with the symbol of the Valley.
Short, fitted blouse or breastplate:
Made of finely tanned leather, reinforced at the chest and back.
Tight-fitting, with details embroidered in gold thread.
It leaves the arms free, allowing movement for throwing or dancing.
Bronze or thick cloth belt:
Engraved with symbols of power, names of ancestors, or sacred phrases.
Small metal pieces hang from it that jingle with movement.
Short skirt or tight-fitting trousers:
Depending on the village's tradition, this can be a skirt reinforced with leather plates or riding pants.
Always in sober colors with shiny details (embroidery or applications of metal or shiny fabric).
Knee-high boots:
Sturdy, with wide soles for stability.
Decorated with crossed laces, fur, or fretwork on the top edge.
They wear spurs.
Short cloak:
Reaches midway down the back.
Deep red or purple, depending on the warrior's rank.
Embroidered on the edges with the winged serpent, a symbol of vision and movement.
🔸 Costume of the Human Horses
Body uncovered or covered with crossed cloth bands:
Represents strength, service, and trust.
The bands are the color of the village to which they belong.
Reinforced linen or soft leather trousers:
Loose, tied at the calf.
Allows freedom of movement when marching, running, or dancing.
Ritual bracelet:
On the right arm, the name of the warrior rider is inscribed.
A sign of alliance, not servitude.
Forehead Ribbon:
Represents concentration and the promise to maintain balance.
🌀 The Dance of the Warrior Riders
Called "The Raised Wheel," it is a circular ritual that represents the cycle of defense, union, and victory:
Beginning:
They enter in pairs: the female warrior on the male's shoulders. They line up in a circle. To the rhythm of drums and flutes, the female warriors raise their arms as if shooting arrows into the sky.
Movements:
The males spin around, taking distinct, synchronized steps, while the female warriors maintain their balance standing or sitting. Some throw colorful ribbons or simulate throwing with light wooden spears.
Climax:
At a culminating moment, the female warriors lower their swords from their shoulders, stand in front of their bearers, and together raise their arms intertwined. The circle closes and everyone shouts in unison:
"For unity, for height, for victory!"
Closing:
The circle dissolves into lines that dance toward the audience, and people throw petals or dried leaves at them as a symbol of gratitude and blessing.
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The Human Bridge: A Step to Victory
The attacking people, confident in their numerical superiority and the impregnability of their position, never imagined that the people of the Valley would dare to cross the great geographical fault of Silence: a natural, narrow but deep crevice, a meter and a half wide, that separated the forest from the enemy's highlands.
For centuries, this crevice was considered impenetrable, as no one had ever managed to cross it in formation without exposing themselves to the void. But on the night before the attack, Ilania, the great Rider, had a vision: "Where the earth breaks, the human body stretches out. And above the body, the soul rises."
So, when the advance party reached the fault, two brave men jumped across. Another of them—named Tolen, strong and silent—lay face down across the crevice, his outstretched hands held by two men in front of him, and his ankles supported by two men who remained at his side. He would be the human bridge.
Fearlessly, the first of the warrior ladies climbed upon him. Her firm boots, her beloved soles and heels, her determined steps, walked upon Tolen's thighs, back, neck, and head, who resisted with his face pressed against the stone, gritting his teeth with pride. One by one, the female bodies crossed over him, trusting in his strength. The men, for their part, leaped afterward, lifted their riders onto their shoulders, and prepared for the final charge.
None fell. None faltered. The enemy never saw him coming.
When the first sun rose over the slopes, the attacking people saw dozens of upright shapes emerge from their highest flank, women lifted onto shoulders, silhouettes silhouetted against the sky. It was not an army: it was a vision, a judgment, an ancestral roar made into dance and attack.
They took the camp with precision and determination. The war ended that morning.
Since then, in the songs and legends of Diana's people, Tolen is remembered not as a warrior, but as the bridge of victory. And at every Balance Festival ceremony, when a warrior lady steps firmly on her companion, everyone remembers the warrior ladies who walked on a man to conquer the dawn.
A commemorative dance inspired by "The Human Bridge" is performed in Diana's people during the Balance Festival. This dance honors the courage, confidence, and unity between men and women that allowed them to overcome the aggressor.
🌿 Commemorative Dance: "Walking on Valor"
🕯 Meaning
The dance commemorates the moment when the men stretched their bodies across the deadly crevasse, allowing the warrior women to cross upright and triumphant. It represents the balance between strength and strategy, between earth and height, between masculine firmness and feminine precision.
👣 Dance Structure
🔹 Part One: “The Crack”
The group enters in double formation, with men in front and women behind.
The male dancers simulate walking on uneven ground, with slow, heavy steps, until they stop in front of a symbolic line of lights on the ground (representing the crack).
The men form several teams of five people; one of them lies down in the center of the stage, while four position themselves around him to hold him.
🔹 Part Two: “The Step of Faith”
The women begin to climb and walk one by one over the men's prone bodies.
Each warrior lady maintains balance with her arms crossed and her face solemn.
The audience remains in absolute silence as deep drums and a melancholic flute play, evoking the tension of that ancient dawn.
🔹 Part Three: “The Uprising”
Once all the female warriors have crossed, the men slowly rise, lift their warrior ladies onto their shoulders, and spin together to the rhythm of the now faster-beating drums.
The music intensifies, horns and cymbals are added, and everyone marches to the center of the stage.
In a circular choreography, the men spin and pretend to charge toward an invisible enemy, while the female warriors, from above, wave red and gold ribbons, symbols of fire and victory.
🔹 Finale: “The Cry of the Sun”
At the end of the dance, all the dancers form a vertical line facing east.
In a final movement, the female warriors raise their arms to the sky, and the men kneel, not out of submission, but as a sign of support and reverence for their shared valor.
All together they shout:
“On shoulders we crossed, with soul we conquered!”
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