Characterisation in Jonzi D's Aeroplane man

By Jenny Rossier

Characterisation within theatre is often built on stereotypes and the preconceptions of the artistic creator and his audience. Throughout the history of African derived peoples on the western stage, they have been subject to the view of Europeans and European Americans. More recently, artists of the African diaspora have challenged these stereotypical caricatures explicitly, and used stereotypes to their own advantage.

Take Jonzi D’s Aeroplane Man (1996-2001*) for example. The narrative of this Londoner’s work follows his journey to find his roots, from Britain, through Grenada and Jamaica to New York and finally Africa. His hip-hop based style leads him to utilize stereotypes of people from all these places through movement, music, design and dialogue.

His characterisation of the different peoples is arguably the most striking feature of the work. This is due to his use of comedy alongside a highly political subject matter. His evocation of the Grenada carnival, for example, plays on the laid-back image of the black Caribbean. His challenger, who addresses him as an “English boy” tourist, plays on the accent, holding the last word of sentences and changing the pitch. He stands with his weight far back and his hips stuck out, seemingly only half serious. He is easy-going, teasing Jonzi.

While the steel drums play and the lights flash orange and yellow, the dancers bounce from foot to foot blowing whistles, the rhythm in their whole bodies. The function of this dance is fun. Being from Bow, East London, Jonzi doesn’t quite fit in. In their own words, his “bottom foot soft”. The audience’s reaction shows the truth in this scene, as they howl with laughter.

The characterisation of those whom Jonzi encounters in New York contrasts this starkly. Clearly drawn from images of gangsta rappers (and their girlfriends) on the streets, Jonzi uses the stereotypical reflection politically. Heavy, dark hip-hop beats mirror the serious, dangerous attitude of the NY men. The group show off their breakdancing skills, each trying to outdo the last. Movements are smooth, locks are sharp and the faces of the dancers are serious. Jonzi’s own challenge arises from an MC competition. The African American raps about guns and gangsta life “Killin’ every nigga in sight”. The audience here are quiet, until told to “make some f***ing noise” by the New Yorker. His characterisations of the NY girls are more comical, wiggling their shoulders as they walk, speaking in high pitched voices; “Bling bling, ching ching. Heeeeeeyyyyyyy” is their greeting when Jonzi professes to be a rapper.

It is Jonzi’s treatment of the stereotypes that allows me to dismiss any thoughts of oppression or misconception through the eyes of the work’s creator. This is clearly researched, experienced first hand by Jonzi. His characterisation twists the stereotypes to his advantage, enabling him to make political comment on them and the degrees of truth behind them. Unlike the objective views of African derived peoples so often seen in western theatre and film, Jonzi has not assumed the truth or his role as truth teller. His use of parody, irony and comedy helps to multi-layer the stereotypical images. Aeroplane Man is a fantastic example of hip-hop as a functional art form, as recreation, entertainment, and a political tool.