Born November 24, 1940, Beth-Halachmy grew up in a small town south of Tel Aviv, Israel, and dreamed of becoming a cowboy.

“The only thing we knew about cowboys was from movies—John Wayne, Glenn Ford and all those guys we saw on the screen,” says Beth-Halachmy. “I wanted to be like them. We didn’t know there were people in Montana and Wyoming freezing outside watching their cattle. I looked at the cowboy as freedom, doing the things you wanted to do.”

Early Days for the Future Founder of Cowboy Dressage

Beth-Halachmy first sat on a horse at 5 after his mother’s funeral, when a mounted sheriff set him astride an Arabian. Growing up, he took herds of 500 sheep into the mountains outside Jerusalem for a month at a time, whiling away the hours as a shepherd carving wood.

He then served in the military and later cleaned stalls at the Spanish Riding School in Vienna while attending veterinary school. Becoming a veterinarian was his father’s dream, but Beth-Halachmy’s childhood call of the cowboy brought him to America, where his passion for horses unleashed the talent that’s made him an influential leader—and the founder of cowboy dressage.

Unknown when he arrived in Oklahoma City in 1993, Beth-Halachmy soon gained recognition.

“It was the first or second time I showed up in the Morgan community,” he recalls. “I rode Holiday Compadre in a western pleasure class. Long story, short, I won that class.”

He topped off the win—Morgan World Champion Western Horse—with a most unusual victory pass.

“I did some tempi [every stride or every other stride lead] changes, a little piaffe, and extended the jog,” he continues. “Compadre knew all that. He was really not a western pleasure horse, but there was no place for me to show that off.”

While driving home to Grass Valley, Calif., Beth-Halachmy got word of an invitation to perform at the American Royal Concert of Champions in Kansas City, a black tie event with a live symphony. Not keen for another long road trip, Beth-Halachmy passed.

“So what did my dear wife do?” he laughs. “She called them back and said I’d love to.”

The First Performance by the Founder of Cowboy Dressage

It came together in Kansas City. At a meeting for all the performers before the Concert of Champions, the organizer asked for details on Beth-Halachmy’s act.

“I said, ‘I have no idea, there’s probably something I can do to make it happen.’”

Music? Another question mark.

“Whatever they play is good enough for me,” he remembers saying.

The symphony conductor chose “The Nutcracker.” Beth-Halachmy was just pleased to have music.

“I didn’t even know what The Nutcracker was,” he admits.

Asked the name of his act, Beth-Halachmy answered the stunned organizer.

“No name,” he recalls. “Just me and my horse. Then he looked at me and asked, ‘What do you think about Cowboy Dressage?’ I said, ‘Sounds good to me.’ That’s how cowboy dressage came to life.”

In a scene straight from Hollywood, Beth-Halachmy landed the finale spot with Holiday Compadre. It was in that moment that he became the founder of cowboy dressage by introducing the world to a new sport.

“I remember standing behind this huge black curtain blocking the entry to the coliseum,” he says. “The only thing I could hear is the music playing inside and my horse chewing on the bit; I have no idea what I’m doing. I’m waiting for the music. It’s like going dancing. You don’t know what they’re going to play. Whatever they play, you dance.”

And what a dance it was.

“The minute the curtain opened, they hit me with the spotlight,” he remembers. “My horse and I were blinded. Couldn’t see a damn thing. I’m trying to get him going, and he refuses to go in. The music was playing. Everybody started clapping, screaming and yelling.”

After two minutes, he rode Compadre into the arena.

“I had three minutes left to play to the crowd,” he continues. “When I was done, I got a standing ovation. I couldn’t believe it! My first-ever performance before the public. From there on, it’s a sweet story.”

An Artist at Heart

His story is entwined with his wife, Debbie.

“She was there from the beginning,” says Beth-Halachmy. “She is the core of the whole thing. I’m really a shy person internally. When I started teaching and became an educator, I discovered some talent hiding inside me. Deb was the one who woke it up.”

Incredibly, things could have been different.

“There was a time I really wanted to get out of horses,” he recalls. “All my friends were horse people. I got to the point where I was overflowing with horses. I said, ‘I’ve got to start doing something else.’ I knew I was good with my hands and creative, but I never knew how to cross between a craftsman and artist. I think I learned it from being with horses.”

The caliber of Beth-Halachmy’s art soon found him trading in craft shows for the likes of Neiman Marcus and Gump’s San Francisco.

“I was sculpting,” he says. “I did some bronze, some woodwork. I remember walking into Gump’s in San Francisco. I had cutting boards in the shape of animals. They loved it.”

So much, in fact, it would have required mass production to meet the order. That ended up sending him back into the horse world.

Education from the Founder of Cowboy Dressage

“In the beginning, cowboy dressage was never meant to be a competition,” says Beth-Halachmy. “Combining classical riding with the spirit of the cowboy was more a fantasy than anything real, but people got excited about it.”

More than 10,000 people are now Handshake Members, one of Debbie’s ideas.

“She woke up one morning and said, ‘I have an idea. We should offer a membership to people on a handshake, like in the old days. It was the code of the cowboy.’”

It’s also free.

“We promised to give them a place they can come and socialize with people like them, who love horses,” he says. “It’s all about being kind to the horse.”

He now manages 60-some Facebook pages.

“Most people I deal with really only want to love their horse, go trail ride, and come home in one piece,” he explains. “Horses can be a friend, but you have to pay attention, because they’re still horses. When they give everything they have to give, you’ve got to say, ‘Thank you,’ and not ask for more.”

Cowboy dressage is not about the ribbon or the money. It’s not about rider ego.

“It’s about the love of the horse,” says Beth-Halachmy. “I think it’s always going to be my way of looking at life. To do the things you love to do, because you love it.”

For more information on cowboy dressage or to become a member of Beth-Halachmy’s Educational Horsemanship Program, visit www.cowboydressageworld.com.

The post Better than Fiction: The Founder of Cowboy Dressage appeared first on Horse Illustrated Magazine.

I’ll always remember the sight of Normand Latourelle on a tractor moving mounds of sand against the stable tent during a huge storm when Cavalia was at the beach in Santa Monica. The groundbreaking equestrian spectacle was still in its infancy at that point, little more than a year old.

Yet, since the company raised its first Big Top in Quebec, the extraordinary determination of a non-horseman and creative genius has brought more than seven million people the unforgettable experience of horses through two touring productions.

The company’s namesake and original production, Cavalia, has traveled around the world and is now in China. Latourelle’s second and even bolder spectacle, Odysseo, began touring North America in 2011 and is reportedly the largest touring production on the planet.

“My dream is that in 50 years, you’re going to open the dictionary and read the definition of Cavalia,” said Latourelle in 2003, the first time we spoke, when Cavalia was still in rehearsals before its debut. Fifteen years later, no dictionary is required. Scores of articles, video clips and social media of all forms teem with facts, photos, and fans sharing experiences the world over.

From the Cirque to the Horse

One of Cirque du Soleil’s four original cofounders, Latourelle always had a gift for spotting exceptional talent and making things happen. The visionary behind many varied and memorable shows, Latourelle helped build Cirque du Soleil, serving as VP and general manager from 1985 to 1990. Known for innovative and adventurous productions, a large-scale multimedia summertime show he created in Quebec called “Légendes Fantastique“ became the (then) non-horseman’s greatest inspiration. A horse he put on stage stole the audience’s attention. Latourelle’s, too.

“What I learned through the years is that I’m very stubborn, which is an advantage and a disadvantage,” says Latourelle, now 62. “An advantage, because I do what probably not everyone is doing, but a disadvantage, because when you decide to move forward—you kind of put your head down and say, ‘OK let’s go for it now!’

“The other thing is, I’m both the producer and the creator,” he continues. “Especially on Odysseo, most of the ideas are from me. It’s very rare I think, to both create and produce what I create. If I relied on a third party to invest the money, to take the risk, my project would probably never happen.

“Even with Cavalia, it was difficult to explain how you could do a show with horses and be very artistic. And Odysseo is twice the size! When I look around and say, ‘OK, who wants to share the risk?’ No one wanted to share it. They said, ‘You’re crazy. This won’t work, it’s too expensive.’ Probably, because I’m stubborn, I just set the goal and I do it.”

His determination is paired with exceptional resourcefulness. “When Cavalia started in 2003, we were in Shawinigan, a small town about two hours north of Montreal. I made a deal with the mayor. She supplied the arena for us to rehearse for free and the land for nothing,” remembers Latourelle. “She didn’t asked us to do anything, except to do three shows for the locals. Shawinigan is only 50,000 people. I put tickets on sale for three shows. Within 30 minutes, the mayor called panicking. She said, ‘Everybody is complaining, everybody wants to see the show, but you have no tickets!’ 6,000 tickets had sold within 30 minutes. I called her back and said, ‘We’re going to do three more shows.’ An hour after we put the tickets on sale, she called me again. ‘It’s not enough!’ We went like that for four weeks.” Latourelle finally told the mayor Cavalia had to leave.

“After Shawinigan was Toronto and then Montreal. When we got to Toronto, we thought we were going to stay for three weeks. We stayed for six.” Next, Cavalia opened in December 2003 in Montreal for a two-month run. “We had temperatures of minus 30 and we performed all the shows,” said Latourelle. “We didn’t make money because it cost more in fuel. We had a permanent fuel delivery truck on site to refuel the furnace to make sure everyone was heated up.”

Four years later, things had heated up for Cavalia indeed, as horse lovers and the mainstream public (many with no prior exposure to horses) experienced what happens when the horse-human bond and theatrical arts are combined with high-tech special effects inside a big top. Cavalia was still on its inaugural North American tour when Latourelle was awarded the Order National du Québec for his achievements.

Overcoming the Impossible

“I started my first show when I was 13 years old; I always had my ideas,” says Latourelle. “I left school very young, but I didn’t leave because I was delinquent. I wanted to work first and I wanted to do it differently. At 13 years old, you’re not usually doing a show. At 16 years old, I bought an old school bus with my own money and traveled with a band. I drove the school bus, I did the sound and the lights, and we traveled across Canada. That’s who I’ve always been.”

Few can imagine how that translates to facing seemingly insurmountable obstacles with a touring equestrian spectacle. Cavalia was in Taiwan when Latourelle got bad news. “We wanted to go to Hong Kong. The dates were booked, we had a great agreement with the government. Taipei to Hong Kong is about a one-hour flight. We requested the permit in Hong Kong. They said, ‘We just found out the horses cannot go from Taipei to Hong Kong. The only way for that to happen is to ask for the Chinese government to issue permits, but even if the Chinese government allowed it, it would take so long, it wouldn’t happen.”

So, Latourelle reimagined the possibilities. “What I decided to do was fly 35 horses from Taipei to the U.S. and switch the horses. Then we took 35 horses from Odysseo and brought them to Hong Kong. I stopped two shows for a month for rehearsals to acclimate the horses to what they have to do. Of course, the technique is similar, the environment is similar, but it’s not the same.”

“I had to do the same thing with some of the riders and the trainer. I switched part of the team of Cavalia to Odysseo and the other way around. Again, I’m very stubborn. I did not accept the ‘no.’ I said, ‘I’m going to do it, whatever it costs.’ At the end of the day, you can realize how much it costs—just to charter an airplane from Taipei to Los Angeles and then from Los Angeles to Hong Kong. And all the permits and all the tests we have to do on the horses.

“But we did it, and we opened in Hong Kong. It was the greatest success that ever happened in terms of attendance, ticket sales, and reputation. We had fabulous spot called Central [Harbourfront]. The big top was there like a trophy. When I look at the picture I say, ‘We did it.’”

Currently, Latourelle is at work adapting Cavalia for an engagement in Nanjing, China. “The city wants us to make the show one hour because it’s a very affluent tourist city,” says Latourelle. “It’s a big job to keep the best and transform a two-hour show in to one hour—it’s almost a new creation.” Latourelle’s younger son, Mathieu, 37, who directs Cavalia’s tour in China, has traveled with the show from the start. Back in Quebec, his son David, 43, works as the family-run company’s vice president.

A New Showcase

Meanwhile Odysseo, seen by more than 2 million people since its 2011 debut, continues its North American tour with 70 horses that vacation between stops and can kick up their heels in outdoor paddocks in each city, a practice established by Cavalia 15 years ago. Odysseo has both indoor and outdoor warm-up areas.

What’s next for Latourelle? “To tell you the truth, I don’t know how I can surpass myself on Odysseo,” he says of the $30 million extravaganza that expands the definition of equestrian performance into an epic, soulful experience. “How much better can you do with horses? Every time I look at it, I don’t see how I can do better. Not everybody is like that, but as the creator, I just want to do better. Odysseo is so beautiful, and also it’s very different than Cavalia. I won’t say it’s better than Cavalia, but it’s a totally different feeling. I still have room to grow with Odysseo. It’s the result of 44 years of real work—or real fun—for me.”

Inside Odysseo

•  A total of 110 semi-trucks are required to transport Odysseo, the world’s largest touring production.
•  A specially designed white big top was created in Europe, and allows the weight of the structure to be shifted from masts to three arches above the tent. Above the stage hangs an imposing technical grid capable of supporting 80 tons of equipment, including a full-sized merry-go-round! On stage, a lake emerges during the breathtaking finale of Odysseo, made possible by an underground drain system that releases 40,000 gallons of recycled water on stage. This logistical masterpiece is reconstructed at each tour stop.
•  Odysseo features 70 horses representing 12 different breeds: Appaloosa, Arabian, Canadian Horse, warmblood, Lusitano, Paint Horse, Percheron/Hanoverian-
  cross, Quarter Horse, Selle Français, Thoroughbred, Andalusian (P.R.E.) and Warlander.
•  Fifty artists—riders, acrobats, aerialists, dancers, and musicians—perform in Odysseo. They come from 11 countries around the world, including the United States, Canada, Brazil, France, Italy, Guinea, South Africa, Poland, Russia, Spain and Ukraine.
•  A team of 20 people, including a stable manager, two veterinary technicians, a farrier, and several grooms care for the horses’ well-being. In each city, horses are stabled next to the same neighbors to ensure a familiar environment—a practice followed by Cavalia’s productions from the beginning.
•  Paddocks built at each tour stop are used for daily turnout. Each year, the horses consume 15,000 bales of hay, 70,400 pounds of grain, and 1,750 pounds of carrots.
•  Many horses are braided after the show to keep long, flowing manes from tangling or breaking. It takes 15 to 45 minutes per horse, depending on the length of the mane.
•  Horses perform a maximum of seven shows per week and each has a stand-in. When the show moves from one city to the next, the horses go on “vacation.”
•  There are 350 costumes and 100 pairs of shoes and boots used in Odysseo. Artists may have up to seven different costumes.
•  In no more than 30 seconds, an artist may need to do a quick costume change between numbers.

An author, journalist and media consultant based in Southern California, ELIZABETH KAYE McCALL worked as the horse industry liaison for Cavalia during its inaugural North American tour. She first interviewed Normand Latourelle before Cavalia debuted, while writing her book The Tao of Horses: Exploring How Horses Guide Us on Our Spiritual Path, along with Cavalia’s original co-stars and equestrian choreographers.

This article originally appeared in the February 2018 issue of Horse Illustrated magazine. Click here to subscribe!

The post Cavalia at 15 appeared first on Horse Illustrated Magazine.

“I had written a script analysis of my favorite childhood book, The Black Stallion, when I was in film school,” says Rosenberg about the door that opened her screenwriting career. “After I graduated, I found out that they were making it into a movie and Carroll Ballard was directing it. I wrote him a letter. I had done a script analysis. He called and said, ‘I really like what you wrote. We have to get together.’ Time passed, we didn’t get together. I called again. ‘Oh, they’re in Canada in pre-production.’ I called him again. He apologized for not getting back to me.”

Crazy about horses from her earliest girlhood memories in Illinois, Rosenberg grabbed the reins of her own destiny. “I said, ‘Oh, I’m coming your way. Do you mind? Maybe I’ll just stop in.’ I was flying from Los Angeles to the Midwest and they were in Toronto.”

She arrived in the midst of chaos. “People were tearing their hair out because Carroll wouldn’t commit to anything,” she recalls. “We were supposed to meet for coffee one morning. He was late. I was making some notes on a napkin. He showed up, grabbed the napkin out of my hand and kept my notes. I went home and got another call. ‘Carroll would like you to come back. We need help on the script.”

Rosenberg’s initiative paid off. “It was total chaos when I arrived in the pre-production phase. Melissa Mathison [who later wrote “ET”] got off another plane and we met and became this writing team as we were about to shoot,” she describes. “Carroll hadn’t committed to a screenplay! All the actors were there. Everyone was. The art department didn’t know where to go to dress the set. They didn’t even know the locations. Do we need a farm house? Do we need a race track? What do we need? Carroll liked to keep everything open and see what developed.

“To have an entire film crew that had to be told [what to do] at every moment and to get that information from a guy who doesn’t like to make decisions is tough,” Rosenberg laughs. “He was driving everyone crazy, of course.”

A graduate of USC Film School [now USC School of Cinematic Arts], Rosenberg planned on a documentary film career. “I remember being forced to take a writing class and thinking, ‘This is ridiculous. There’s no way I’m writing.’ And, here I am,” adds the real-life horsewoman and reining competitor, whose scores of film credits include family favorites like “White Fang,” “Bambi II,” and “The Young Black Stallion.”

The date “The Black Stallion” started shooting in Toronto is etched on Rosenberg’s mind. It was 7/7/77. “We shot the second part of the movie first,” she notes.

Meanwhile, preparations were underway to move the crew overseas to film the first half of the movie. “Carroll kept refusing to let us write the island sequence,” says Rosenberg. “Of course, we did it anyway. He has an amazing eye and is quite a storyteller. But he was really more used to being a one-man band, making all of the decisions on the fly.”

Now the mother of two grown children, Rosenberg writes from an office with a view of her American Quarter Horses. She revisited the production that launched her career this summer, when film critic Stephen Farber held a 35th anniversary screening of “The Black Stallion” in Los Angeles.

From a personal standpoint, Rosenberg shares that “The Black Stallion’s” magic remains. “It was fun to see again,” she says.

If any scenes can be favorites, these made Rosenberg’s list: “The shipwreck sequence is amazing and scary. The whole island scene was everyone’s favorite. When the boy wakes up on the beach and is staring straight at a cobra ready to strike, and The Black comes and saves him—that’s a wonderful scene. Of course, the boy climbing on The Black for the first time is brilliant. But it all goes back to Walter Farley’s novel,” adds Rosenberg. “He wrote such a wonderful, descriptive story.”

Liked this article? Here’s further reading on horse movies:
30 Best Horse Movies
Classic Must-See Horse Movies
Rider Insider: The Best Horse Movies

ELIZABETH KAYE McCALL is an author, journalist, and media consultant based in Los Angeles, Calif., specializing in the horse industry, travel and entertainment. Her new children’s book about a talking horse, Rajalika Speak, was inspired by her own Egyptian Arabian stallion that “speaks on request.”

Read more about The Black Stallion film’s 35th anniversary in the November 2014 issue of Horse Illustrated. Click here to subscribe!

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