The development of a country depends on the pride of its citizen. It is inevitable that Filipinos think imported. David and Okazaki conceptualized colonial mentality among Filipinos and Filipino Americans as a form of internalized oppression, characterized by a perception of ethnic or cultural inferiority. It involves an automatic and unreasonable rejection of anything Filipino and an instinctive and uncritical preference of anything Western or foreign (2006).
The study ACCULTURATED ADAPTATION: A SIGNIFICANT MUTATION OF KIKAY’S NEW FORM OF LIFE specifically focuses on the den of colonial mentality, the vaudeville in 1950s affecting the Filipino's life, the transformation of Kikay from simple Tondo girl to New Yorker Francesca and the didactic patriotism.
The study found out that Kikay portrays acculturated adaptation of Filipinos as shown in her manner, lifestyle and way of exaggerating her utterances awakening herself from the den of colonial mentality. Secondly, as the scene opens, it shows the time of vaudeville, in form of Rock ‘N Roll dance which was undoubtedly popular and indigenized during the 1950s to the Philippines, and seen as a pervasive American culture in the country. It is revealed in the play that Francesca, also known as Kikay, is a representation of modernized Filipina who mutated herself to become comically elegant in her New Yorkish style. The play reveals the metaphorical image of Tondo and New York as the playwright sees the change during this mid-period from 1944-1955 where majority of the Filipinos learn to speak in English and try to immense the vaudeville as a form of entertainment. Thirdly, it was found out that this play shows moral-didactic of loving one’s country. It portrays the actuality how most Filipinos likely forget their real identity once they move overseas. This is an awakening to Francesca from being Tondo girl, awakening herself that her friends look at her oddly and hard to understand, possibly of losing them. Fourthly, one should never forget to look back where she come from. Love for one’s cherished traditions will always go beyond the love for worldly things and the lavish lifestyle. As for Kikay, she learns that “there really is no place like home.
With these findings, it is concluded with the data-based generalization that explains the transformation of simple Kikay from being sophisticated Francesca.
On the basis of the findings and conclusions, it is recommended to dissect more about Filipino images through studying colonial mentality in regards to protagonist structural verbiage, investigating and identifying the three kinds of acculturation, assimilation, integration and adaptation, in Agana Jr.'s texts during the reign of vaudeville and dissecting the image of patriotism during and after the American influence.
ACCULTURATED ADAPTATION: A SIGNIFICANT MUTATION OF CULTURE
Publication date: 01/03/2017