QUARTER HORSES SHINE AS CAVALIA OPENS IN SAN DIEGO
By Patti Schofler In its travels around Europe,
Canada, Latin America and the U.S., Cavalia: A Magical Encounter Between Human and Horse has showcased the American Quarter Horse as a symbol of the ancient bond between human and horse.
When the multimedia equestrian
extravaganza Cavalia premieres November 13 in San Diego, under its signature 10-story White Big Top locat- ed in the parking lot adjacent to Petco Park, the audience will see Quarter Horses star in trick and Roman riding, exciting acts built on speed, power, and, most importantly, trust in their human partner.
Before an awestruck audience of
2000, one after another trick rider blazes across the stage, riding in all sorts of
unimaginable positions as their horses gallop full speed ahead. The vision of creator and artistic
director Normand Latourelle who has sought to share with the world the unique relationship between people and their horses, Cavalia has been sold on the Quarter Horse also for its athletic skill at quick bursts of speed for short distances, ideal for the theatre stage. “I don’t like to stereotype horses in
a breed, but the Quarter Horse is perfect for us at Cavalia,” explains Fairland Ferguson, a show stopping performer who had ridden Quarter Horses a good part of her riding career. “There are a lot of trick riders on the stage, and we are flying all over the horses. The energy needs to be turned on and off all the time. For the most part the Quarter Horses are level headed and very recep- tive to that kind of riding. “Typically these horses have a stur-
dy, stout build with large muscle mass and big strong legs; they are really good for trick riding because we riders
are moving our weight from side to side, and they can keep their balance,” says Fairland. “A skinner horse, built more narrowly, like an Arabian or Morgan, doesn’t always work for trick riding, just like I’m never going to be an NFL foot- ball player. I’m just not built for it,” says the diminutive Fairland. Of the 49 horses performing in
Cavalia that represent 11 different breeds, 11 are Quarter Horses. Among them is Amaretto, a 12-year-old red dun with whom Fairland has a particular relationship. He is one of her partners in the roman riding scenes which literally have audiences holding their breath.We won’t give away what happens, but with Fairland standing with one foot on Amaretto’s back and one on Cisco’s back, the act is clearing about trust between horse and human. Trust was not always something that Amaretto shared with h u m a n s . “I’m not
sure what his life was about before
he came to Cavalia, but something happened that made him not happy around humans. It
took a long time to get where we are, but he is probably the closest relation- ship I’ve had with a horse,” says Fairland. “If a vet technician needs to take
his temperature, or he’s going to get a massage, he won’t let other people do things to him without me being there. Like anything in life, when you really work for something, you have a high- er appreciation for it. And I really appreciate our relationship.” Cavalia riders have an exclusive
relationship with their horses and become quite close to them. They ride and train their horses under the direc- tion of the equestrian director and choreographer Benjamin Aillaud as the show travels city to city. Between shows, the horses vacation in spots where they are turned out into daily pasture and bed in a nice stall at night
for ten days. When they return to the show via air ride trailer, likely their rid- ers are waiting anxiously for the van to pull in to the show grounds after what seems like an eternity of being separated from their horses. When their horses have retired
from the show – at the Family Farm in Quebec, Canada - riders often will join in the search for their replacements. “We start on the internet, and look locally wherever we are.We go with the eques- trian director to see the horses because ultimately we are the ones that will be riding and training the horses every day. Riders work hand in hand with Benjamin to find the right horses.” Fairland’s dedication to Amaretto,
using solid horsemanship in her training, showed a dividend for the pair. “I took a lot of time to show him
that he could trust me. I was always very calm and never raised my voice. I never just go through the motions with him. Every touch, every action and every- thing we do is deliberate. I always move slowly while continuously talking and maintaining contact with his body with a gentle hand as to never startle him. If he misbehaved I just addressed it as a mis- understanding by repeating the situation until he was comfortable. I also took very small steps and never asked too much too soon. A little with him was a lot in the beginning. Now he always gives me all I ask. I had to wait for it, but the wait was well worth it.” Cavalia’s 40 artists, acrobats,
dancers and riders come from back- grounds as varied as their acts in the show, hailing from Canada, France, Belgium, the United States, Morocco, Spain, Moldavia, Poland and Russia. A native Virginian, Fairland came
to Cavalia three years ago, after learning trick and Roman riding at coun- try/western dinner theatre near her col- lege in South Carolina. She grew up hunter jumper rider, then turned to Western Pleasure in high school. Cavalia is opening in San Diego on
November 13, where it will mark 10 years of awe-inspiring equestrian and acrobatic spectacular. Following the Southern California engagement, the 49 horses, 40 artists and 120 behind the scenes crew will travel to the land Down Under for an Australian debut. Fairland and Amaretto will be right there with them.
For information on Cavalia and to purchase tickets, visit
www.cavalia.net.
8 . November 2012 .
www.PacificCoastJournal.com
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