A great comical and skillful dance show
A table, four Nigerian aunties and one countercultural Black woman disregarding expectations. Presented by Olúwatósin Omotosho at Dancing City festival, The Aunties: House of Masks does not fail to entertain while comically criticising the traditional Nigerian aunties.
All throughout the performance, one male musician, drum under his arm, rips out the beats keeping the aunties going, dictating their movements, their speed, their synchronicity… the skillfulness of the musician is admirable, tirelessly pounding out complex beats. For most of the piece, his drum is the only music.
While traditionally the aunties are the women who judge, who see, and build their lives around commenting on other people’s, this time they are the ones being observed.
As our attention turns to the aunties placed centre stage, the rebel woman challenges them, while showing how much the aunties’ lives revolve around appearance, judgment, and societal expectations.
Dressed in colourful traditional Nigerian clothes, the aunties show off their fashion, the latest fashionable shoes they have bought and flaunting the money they own, all in a flamboyant dance. Meanwhile, they never fail to keep in sight the rebel woman, following her around the stage, ordering her around or throwing disdainful looks as she chooses not to conform. Occasionally, we hear comments thrown about by some aunties, all in rhythm, like some organised chaos. The rebel, on the other hand, is in a sleeveless top and a skirt with African motifs, still showing off her culture but also challenging it.
Despite their bad judgments, it is impossible to find the aunties unlikeable. Their extravagant personalities are displayed from the very beginning as they parade onto the stage, greeting all audience members as if at a family gathering. When they slap the non-conformist, it is with a feather fan, and when they strut around her, it is always in an exaggerated manner, showing them more ridiculous than threatening.
The skillfulness of these dancers is indisputable. The way all of the aunties move their bodies has something so very aunty-like, even while showing off their impressive moves, compared to the non-conformist, full of rebellious energy. This is emphasised by the way the woman mimics the aunties, partly making fun of them and partly showing how unique she is, with her more vibrant, energetic moves. And when the aunties band together against the woman, they do so synchronously, while each of them maintaining their own boisterous personality.
Audiences with no African heritage will still recognise the family gathering where comments may be heard about one’s appearance, weight, marital status or financial situation. These are more or less universal expectations that are parodied in this particular show.
The Aunties: House of Masks ran at Queen Elizabeth Olympic Park, London, as part of the Dancing City Festival that has now concluded.