Dickson Mbi has been an acclaimed presence in the global hip-hop scene for over a decade, but more recently has come to be known for his fascinating, powerful contemporary choreographies. These harness hip-hop’s trademark sinuousness and staccato beats, but also branch out into more abstract, elemental imagery. Last year’s Twice-Born, which he created with Scottish Ballet, was a breathtaking epic of timeless tribal rites. Enowate, his Olivier Award-winning solo piece carries similar ripples of primal power (not least in its dramatic score, co-composed by Mbi and Richard Goula).

There are playful elements to the piece, which deep dives into visions of identity, and was inspired by Mbi’s visit from his home in London to his ancestral village in Cameroon. Towards the start he alludes to his previous life as an under 16s footballer, teasing games with an imaginary football, heading it into the audience and asking for it back. As the piece progresses, Mbi travels through space and time it seems, removing his shirt, his form bent forward, limbs rigid as rock, every detailed ripple isolated. He grows more supple and creature-like, scuttling on all fours around the back of the stage.

It’s a bold choice Mbi makes, to place so much of this section so far away and to keep the light so low. It speaks to a confidence and belief in his creative vision. But it doesn’t contain the same magnetism as the opening and ending. The final segment sees him standing behind a gauze, as cosmic projections float from his body and drift away into galaxies. The electrifying tension in Mbi’s body, veiled by the animations’ flashes, creates a startling, uplifting effect, as if he is fusing with the universe. Ambitious and enigmatic, Mbi is spellbinding to watch; a true dance superstar. 

Dickson Mbi: Enowate, Pleasance Courtyard, until 25 August, 12.30pm; main picture: Nick Thornton Jones and Warren Du Preez.