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The place of women in equestrianism has undergone significant societal evolution. Until the 20th century, in most Eurasian and North African countries, and later in North and South America, the horse was primarily a symbol of military and masculine prowess, associated with men for both warfare and daily labor. In contrast, ancient Asian cultures like the Scythians, Sarmatians, and Achaemenids are believed to have practiced mixed horsemanship, unlike the Greco-Roman civilizations. In the Near East and Central Asia, access to horseback riding was restricted, particularly during the Safavid period.
References to women riders and warriors are often rooted in myths, such as the Amazons, or describe exceptions where women were limited to roles like caretakers of horses, as seen with the "Servants of the Horse" in the Bamoun kingdom in the 19th century. In Western Europe, horse riding was largely reserved for the elite, restricting access for women based on their social status. Conversely, in Central Asia, horses were accessible to all social classes for seasonal migrations. By the end of the Middle Ages, the practice of riding sidesaddle became prevalent in Western Europe, further constraining the autonomy of women riders. The American frontier's expansion brought women from various backgrounds into horseback riding and carriage driving, including notable figures like Calamity Jane, helping to challenge the norm of sidesaddle riding in the West.
Until the early 20th century, horses were primarily used as working animals in Western countries. Over the century, the role of horses expanded into urban and female spheres, leading to their status evolving towards that of pets and a notable increase in female participation in horse riding. Despite this shift, women are still underrepresented at the highest levels of equestrian competition, such as show jumping, due to gender-based labor divisions and a focus on the animal's performance rather than the emotional connection. Equestrian practices with low female participation persist, particularly among South American Gauchos.
However, equestrian culture has increasingly embraced women, reflecting the broader feminization of equestrian activities. From the Anglo-Saxon pony books of the 1920s to contemporary television and film, women have gained a more prominent role. Notable works such as National Velvet (1944), Sarraounia (1986), Mulan (1998), and Sport de filles (2012) feature young girls and warrior riders, showcasing the growing representation of women in equestrian narratives.