DANCE

graphed by Parker Robinson; “Catch a Fire,” choreographed by Prestø; and the third performance was yet to be announced as of Colorado Community Media’s press deadline.

“To see this combination of what we’re doing with the Tabanka dancers from another culture is real education,” said Parker Robinson. “People get to embrace this beautiful thing of music and dance that we’re all a part of.”

Parker Robinson’s performance of “Firebird” will be set amid the enchanting Hawaiian islands, presenting an unconventional concept that departs from the traditional Slavic versions of the ballet. e essence of Pelé — the powerful Goddess of the Volcano — permeates the performance and introduces the presence of historical gures like King Kamehameha and Queen Lili’uokalani, paying homage to their signi cant contributions to Hawaiian history.

“I was invited to teach on the big island in Hawaii,” Parker Robinson said. “I didn’t know much about the culture at the time. Once I started working there, they invited me to dance on the edge of a volcano. I was terri ed (but) it was of the most invigorating, close-to-death experiences I’ve ever had. en I started teaching there, at the volcano, every year for 10 years. Hawaiian culture on the Big Island is just so alive.” is experience inspired Parker Robinson, and in 1997, she choreographed “Firebird” for the Colorado Symphony, working with Marin Alsop, who was the principal conductor at the time.

“ e dancers I have now never did that version of ‘Firebird’ with me, so I’ve reconstructed it” for the September performances, said Parker Robinson.

In addition to Parker Robinson’s “Firebird,” Prestø will present his original work, “Catch a Fire.” Inspired by both Parker Robinson and Bob Marley lyrics, the piece will be perfectly juxtaposed to “Firebird.”

“Bob Marley’s lyrics are all about consequence. ey’re about anyone in power catching the consequences of their actions. So all of the songs in the piece kind of have this commonality,” said Prestø. “‘Catch a Fire’ is also about catching the re that Cleo (Parker Robinson) has created. It’s about carrying on the torch to the next generation.”

Black representation in dance

For both Cleo Parker Robinson Dance and the Tabanka Dance Ensemble, Black representation in dance is of critical importance.

“Growing up, we didn’t see enough of ourselves in any of the media. I think it is very important to read about — and to understand — our culture from a deeper and broader perspective,” said Parker Robinson. “Growing up, what we were seeing in the media was pretty degrading and it wasn’t very realistic of who we were. We had a tremendous desire to know more about our culture. In Denver, we began to build a place for ourselves. Most of our young people didn’t have opportunities to work, to create, to be paid, to develop. I think for young people, this has become an opportunity to continue to evolve.”

Across the Atlantic Ocean, Prestø mirrors Parker Robinson’s sentiment.

“ ere is a weird paradox of this idea that Blacks naturally and inherently sing, and that we have natural rhythm. But at the same time, (that) we don’t have culture and our dance is just at a body level — it’s not cerebral, it’s not intelligent. It is something we do by instinct, something we’re born with,” said Prestø. “Black dance is important because it reclaims intelligence and reclaims culture. It a rms it for the Black body. at is an aspect that we don’t talk about enough. We have to counter that image that is still there.”

Both Parker Robinson and Prestø are looking forward to sharing their work with the community this September.

“We all have that re energy that helped us survive the pandemic. We all had that re saying, ‘I want to live, I want to be alive, I want to dance, I want to sing, I want to nd my passion,’” Parker Robinson said. “You’ll nd that re in the work. I think that kind of re empowers people and helps build community.”