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Oguike has the most eclectic and inquisitive musicality

of any choreographer I can think of in the UK

Arts Desk

White Space

Set to Scarlatti's bubbling keyboard works, White Space is an imagined royal court whose inhabitants, six dancers, engage in flourishing gestures and sneaky oneupmanship, blending clean modernist lines, with an archaic theatricality, courtly posturing sexed up with the ultra-cool groves of modern seduction.Music: Domenico Scarlatti

"... the latter-day-baroque fantasy White Space, which takes a bewildering range of ingredients – from live Scarlatti to an ever-shifting Mondrian backdrop – and moulds them into bizarre but beautiful geometry. As the girls strut about like improbably sexy pea-hens, at once courtly and coquettish, you get the strong sense that Scarlatti himself would have been thrilled to see his music adapted with such lateral thinking – praise indeed.

Daily Telegraph 25 Mar 2009

 

 

 

 

 

 

 

 

 

Stabat Mater

This new duet is a short and portable piece, exploring light sound and movement. It is a study of expressions and gestures and is influenced by the work of sculptor Henry Moore and psychologist Paul Eckman. The two dancers morph and re-mould their sinewy bodies, resisting, yielding and being pushed along by the emotionally driven Stabat Mater (Vivaldi) to a recorded performance with the voice of Michael Chance (counter tenor). 

Second Signal

A powerful work resonating with the primal rhythms of traditional Japanese Taiko drums.

 

Everything is fantastically fast, tight-sprung and emphatically muscular - you begin to see why Oguike's dancers look sturdy.

Independent on Sunday

taiko 

Tread Softly

Commissioned by: Rambert Dance Company

Photography: Chris Nash

"Set to an orchestrated version of Schubert's Death and the Maiden quartet, this is a collective dream of a dance. On a shadowy stage, dramatically shuttered with light, its 10 dancers are lulled into sleep, where they are visited by lovers, demons, sirens and beasts. There is no through-narrative, but the exhilarating rushes of movement, driven by Schubert's relentless pulse and given a muscular heft by Oguike's African-inflected language, create a bewitching, teeming drama of their own. Oguike magnificently justifies his first Rambert commission."

Judith Mackrell The Guardian 04/11/2009

Media

You unconsciously breathe more deeply, you smile with sense of well-being, when a line of Oguike dancers drive over the stage defiantly smacking their bare feet on the ground, or throw clenched fists exultantly over their heads.

The Arts Desk

Everything is fantastically fast, tight-sprung and emphatically muscular - you begin to see why Oguike's dancers look sturdy.

Independent on Sunday

The action is also dense with human drive and desire.

The Guardian

Oguike seems to have stripped the Vivaldi of its entire original “programme” and re-examined it as pure music. In other words, the swings between hot and cold in V4: The Seasons are at least as emotional as they are meteorological.

Telegraph