‘Kenkoy’ goes onstage at the Hyundai Hall, Areté, Ateneo de Manila University, on Sept. 25, Friday at 6 pm and Sept. 26, Saturday, 2 pm and 6 pm. Tickets are available at https://arete.helixpay.ph/.
In an era when political correctness was a phrase that didn’t exist, no one twitched if a person was publicly referred to as “upot” (uncircumcised). If a child was wily but mute, calling him “tsikiting gubat” was not an issue.
In present-day translation, if a person was called “kenkoy,” it would mean he was funny, but not necessarily on the witty side—he had more of a goofy, ridiculous clown-like demeanor, someone not to be taken seriously. It was in that era, 1929, that a comic character named Kenkoy Harabas (“harabas” meaning careless) was created, and instead of being frowned upon for being politically incorrect, the character became a popular comic hit, with Kenkoy then dubbed as the Philippines’ “first true pop icon.”
The comic strip character created by Romualdo Ramos and cartoonist Tony Velasquez, who was declared the founding father of the komiks industry, was first featured in the Tagalog magazine Liwayway on January 11, 192. It was a weekly feature entitled Mga Kabalbalan ni Kenkoy (Kenkoy’s Misadventures), and from there was translated into regional dialects all over the country. And through the years the comic strip was alive, Kenkoy followed the fashion trend.
For Alice Reyes Dance Philippines’ (ARDP) Kenkoy, the timeline follows the early days of Kenkoy.
Simply taking the character as he is, ARDP artistic director Ronelson Yadao took upon himself the task of researching the comic character, imagining him to be the character he would recreate in dance. Working from a libretto by award winning playwright Guelan Luarca, Yadao broke up the narrative into three dance vignettes to give an overview of the story as a whole.
With the guidance of a dramaturg in the person of Dr. Jerry Respeto, artistic director of Areté, the performing arts venue of Ateneo, Yadao refined the story as interpreted in dance. Yadao was in good hands, as Dr. Respeto’s name is deeply attached to Filipino performing and literary arts.
To emulate the essence of music of the period, Krina Cayabyab (yes, daughter of National Artist Ryan) came on board, capturing the march-like rhythm and syncopated melodies of ragtime, the music genre of that era, popularized by composers like Scott Joplin, known as the king of ragtime.
On his end, Yadao incorporated in his choreography dance styles of the 1930s, fusing modern dance with the dance crazes of the era, like the partnered swing moves of the Lindy Hop, the Charleston, the Foxtrot, and a bit of tap dance moves, which made for very energized dancing from the company.
Aptly interpreting the jester-like persona of Kenkoy is Renzen Arboleda, alternating with Ejay Arisola. It was Renzen who was playing the role when I watched the performance, and I was amused at how he interpreted the role as a self- confident person, while trying to clumsily and pretentiously copy the Americans occupying Manila then. If this was a speaking role, Kenkoy’s actions, as physically interpreted by Renzen in dance, could very well be “pidgin” or “carabao” English. Along with steps that he so easily executed came exaggerated comic moves and facial expressions, such that he could very well be the comic character coming to life. Yet the exacting moves Renzen is known for are not lost in his clownish, yet self-assured interpretation of the character.
Countering the confident clumsiness of Renzen’s Kenkoy moves are Monica Gana’s demure, shy, and refined moves as Rosing, executing steps with precision and pointedness when necessary. Dan Dayo, as Kenkoy’s best buddy Binong is energetic and sharp. Playing Kenkoy’s rival for Rosing’s affections is Tirso S. Upot, whose last name and middle initial, when said in one go, translates to that aforementioned insult. James Galarpe plays Tirso, suave and confident with a pa-pogi stance. The supporting corps take on the meat of the action with their unified energetic moves that put the energy in the whole performance.
The breathtaking first two acts take Kenkoy from the streets of Manila, then to a carnival where his identity is challenged in a rather satirical manner—getting transformed into a monkey—and when he truly realizes his worth as a person: not one who mimics foreign occupants, but his own, perhaps imperfect, but true self—funny, easily impressed yet resilient. He is also assured by Rosing’s love for him when she accepts him as he is: “a ludicrous portrait of the Filipino pathetically trying, but barely succeeding in keeping up with his American mentors,” as described by cartoonist Nonoy Marcelo. The ending makes a powerful statement celebrating and embracing the authentic Filipino spirit.
The sets and lights make for a perfect support for the movement that goes on onstage. Moveable portions of a cityscape painted in pastel shades, characters, and speech balloons with words of that period (like “belat”)—these video snippets by Joyce Garcia create the ambiance of the period without being distracting. Production and lighting design by D Cortezano once more are perfectly timed with the actions and sentiments; his lights always manage to dictate emotions.
What better way to spend an evening (or an afternoon), an escape from the mundane madness that goes on, than letting Kenkoy transport you to another time, another space, with music soused with energy of a period? It’s a story that resonates with the times, yet in another place, only to carry one back to reality when the venue bursts into a collective “bravo”!
