Ask a few people who’ve seen Port-au-Prince-based comedian Kako Bourjolly live, and they’ll pretty much corroborate on one thing: the man is funny. “Kako’s appeal relies on his originality,” says Karl Jean-Jeune, the Creative Director at branding firm Ayilo. “You tend to relate his jokes to your everyday life or the Haitian culture itself.”

Photo Credit: Yelnats Photography

Chiming in, media personality Fabiola Coupet observes: “Making people smile is an art form…Whether you’re at one of his shows or just running into him at the supermarket, this artist is always armed with the just-right-something to paint a big smile on your face.”

Jean-Jeune says that he first heard of Kako via social media posts. “I used to see pictures and videos of the Gong Show on Facebook. When I moved to Haiti, the “Bingo Night” was already the craze, and honestly, I could not resist to attend and meet its host, Kako.”

In addition to enjoying his stand-up routines, Coupet says she lives for…well, his other shenanigans. “I mean… have you seen Kako in full “Dedette” costume?” asks Coupet. Dedette who? “Dedette is a female character he plays a lot in his stand-up shows,” Coupet explains. “He gets dressed full drag. And he just hits the nail on the extra fiesty Haitian woman attitude.”

The funny bone tickler performs with an energy that pulls in a consistently loyal audience. “I can count on one hand the amount of Kako’s shows in Haiti that I have missed,” observes Jean-Jeune. “This should tell you about my impressions after seeing him live. We do not have many comedians of his caliber in Haiti.”

Apparently—to the comedian—life isn’t just about laughter, it’s also about bringing perpetual joy in the lives of others. For this purpose, he created his own foundation—Kako’s Kids. Through this initiative, he’s had basketball summer camps for youths in the underprivileged areas of Port-au-Prince and smaller cities. Little boys who may not have enough space in their homes for a basketball court find themselves playing in a spacious basketball court with new sneakers to boot.

Kako and I worked together on The Sunday Project--—which was a community service based initiative to give back to kids,” says Jean-Jeune. “Honestly, Kako’s full support was a big push to the things we wanted to accomplish.””

Jean-Jeune, ever the zealous fan, looks forward to a whole lot more. “I would love to see Kako on the world stage,” he says. “Something like Kako at the Hard Rock, for example. I think the path that he is on right now will lead him among the greatest.”

And now, let’s get up close and personal with the man himself…

Kreyolicious: Tell us about yourself.

Well, I’m Kako—a very shy guy who loves life, loves his job, loves Haiti. [I am] someone who really feels blessed to be in his position…a kind of guy who takes nothing for granted. And a hard worker…I love kids and sports.

Kreyolicious: What made you get into comedy?

Believe it or not, the fact that I am very shy played a lot into my getting into comedy. I was what you called a funny guy. I always had the gift to make people around me laugh: my classmates, my friends, and members of my family, and of course, all the people I knew. Since I knew I had that gift, I kind of used it to get pass my shyness. At a party, you’d see me around a few close ones, and cracking jokes. It was way better than go chat with people I didn’t know. The word was going around fast that Kako is a funny guy, and next thing you know, I was invited to do a comedy stand-up [show]. It took me at least one year to accept getting on stage. And that first show was amazing. Will never forget it. Even after accepting, I was showing signs of backing out, so the promoter decided to have another comedian…so I could open up for him. To make a long story short, I cracked up the place three months after we had a [show repeat]. And I was the second guy. [I will] never forget those first shows.

Kreyolicious: Whose idea was it to name you Kako. Your mom, dad or someone else’s?

I got that name from [my cousin]. It became my stage name, but I had it since I was very young. My cousin and I are the same age. His name is Michael. They called him Mika. I couldn’t say it; I called him Kika. It stayed for him. Me, they called me Jako. He couldn’t say it. He called me Kako, and it stayed for me too. Kika and Kako were created. Lucky [thing] ’cause my name is Jacques. Just imagine calling someone on stage and saying, “Make some noise for Jacques”…Pfff. [Laughter]

Kreyolicious: Which comedians made a mark on you in terms of comedic timing, stage, presence, career milestones, and the like?

As a Haitian comedian, we are blessed here to have our idol Languichatte. I grew up watching him, and with time, technology, you are able to see other comedians like Eddy Murphy, Jamal, Gad, Rachid to name only those. But, my list is very long ’cause I respect the work of every comedian and their own styles.

Kreyolicious: What’s the unfunniest thing that’s ever happened to you?

I guess you are talking of my comedian life. [Laughter] Well, that should be right before a show. I had dialogue written down. I was rehearsing it, and left it on a table. While I was sitting there, the wind too it off, and we were outside on a very tall building. That paper went five minutes before the show.

Kreyolicious: Do you get nervous and anxious when you are trying a routine for the first time?

Whewww, I get nervous anytime before a show. All the shows either new or old…I calm down on stage after the first few seconds. Sometimes, it’s longer depending on the reception, ’cause I kinda feed from the crowd a lot.

Kreyolicious: Some folks love laughing at a comedian’s jokes, but don’t realize all the work that goes into preparing material for skits and routines. What can you tell us about your own creative process? Has it changed over time?

For us Haitians, it’s even harder, as we don’t have that opportunity to travel around the country. So, often, it’s mostly always the same crowd, and with that fact you really have to have a creative mind, as they love new stuff.

Kreyolicious: What about collaborations with other comedians? How does that work?

I have mostly good experiences in all my collaborations. But when it’s real, you know it’s from the heart.

Kreyolicious: When one ponders on the history of comedy, one can think of many duos like Oliver and Hardy, Abbott and Costello from the 20th Century. Do you think that duos could work in our times?

Definitely: The formula is to exploit the best of each comedian. I really don’t see why not. There are a few duos out there that are making it big.

Above: Kako’s Kids Foundation at work.

Kreyolicious: What would you say has been your crowing moment in comedy?

There are a few, but for now, I would say, in the Just For Laughs Festival in Montreal Canada—in French of course, Juste Pour Rire. And it my first skit in French, ’cause I usually work in Creole…2400 seats, sold out.

Kreyolicious: Your biggest regret?

Well, it would have to be the fact that I lost my dad before my big moments in comedy. he supported me so much. I know he is watching over me, but if I could only see his proud face, and hug him after a show…that would mean so much to me.

Kreyolicious: Sorry to hear about your dad…What pearls of hard-earned wisdom would you like to send to comedians who are just getting their start?

Love what you do. Respect it. Put the passion into it. Talent is important, but not close to the hard work and dedication that comes with it. Be humble, guys. That will open so many doors.

Click Here to Connect with Kako Bourjolly the Comedian on Facebook | Click Here to Keep up with the latest news with his Kako’s Kids Foundation | Follow Kako Bourjolly on Twitter

To read about other emerging talents, emerging directly out of Haiti, please CLICK HERE to read other interviewees in the STRAIGHT OUTTA HAITI/HAITI’S GOT TALENT series.

Sonson, Jean-Claude Bourjolly’s most well-known film thus far, was released in 2003. In an era when practically all the other filmmakers were engrossing movie audiences with romantic comedies and dramas, Bourjolly’s Sonson stood out with its country setting, simple plot, and 80’s Haiti background.

The movie’s protagonist Sonson has a goat that is his very livelihood. The goat is stolen, and the culprit is none other than the town’s chief police brother. Together they assure that Sonson is neither reimbursed for his loss, nor that the thief is rendered his proper castigation. Sonson’s desire to create his own justice leads to the film’s harrowing ending. Though the film did not receive the popular acclaim from the masses that Bourjolly was probably hoping for, it did show that there was slight interest in unique stories like that of Sonson that captured Haitian life at its most basic.

No doubt aware that he would have to spice up things a bit to appeal to a much bigger audience, Bourjolly worked on Le Chauffeur next, a story about ill-fated lovers: the girl, the progeny of an elite family in Haiti. And the guy? The title character who trespasses on societal taboos to be with her. His next project was a film called Jod, yet another drama that he directed and wrote. This time, Bourjolly explored the effects of immigration on marriage and relationships. We caught up with Bourjolly to see what he has up his cinematic sleeves.

Can you tell us about yourself, and how you came to be involved in movies?
I had my beginnings in cinema through sheer circumstance. I was a photographer and I have this penchant for attention to detail. I realized that I had to put myself in the game to bring some positive changes to it. I wanted to say something different from what I was always hearing.

In terms of Haitian movies, things have slowed down significantly in the past few years.
It’s not that it doesn’t exist anymore; it’s just that it’s weakening and the reason is simple. We all think we can function on our own. Why can’t we put our heads together? Let me give you an example. In your opinion, why do you think there are all these religions? Because we all want to be pastors. We want to be the head of the church. We have too many film associations. I get the impression that we have an association for every movie set profession. How are we ever going to accomplish anything?

While your peers were making romance-driven films, what motivated you to do a movie like Sonson>?
I mentioned this earlier. I wanted to so something different in the business. There’s a bunch of guys out there who haven’t studied film who are just taking advantage of the whole situation. You don’t make movies just to feed yourself or just to call attention to yourself or to make yourself popular. You make movies because you have something to say. I put it clearly: when you have something to say. There are folks who do a movie just because they have the urge to talk, but you have to agree with me that a lot of people have the urge to speak, simply because their mouth is itching not necessarily because they have something worthwhile to say. It’s this tendency that we need to overcome. There aren’t 10 Woody Allens in the USA. If the movie industry is giving you an opportunity, you ought to go to school, not beat on your chest.

After Sonson, you directed a film called Le Chauffeur. Can you tell us about it?
Le Chauffeur closed out the 3rd Edition of the Montreal Black Film Festival and the critics were unanimous. It’s a great film that was made with little means, but it’s a film. You can compare it alongside any other movie made by a non-Haitian. Le Chauffeur talks about the subtle violence and the hypocrisy that exists in our society. It’s a really interesting subject. I haven’t shown it in Haiti simply to avoid problems. To prevent bootlegging. Meanwhile, it can continue to be shown at festivals. And when the Haitian audience is ready for it, they’ll give the signal.

When you are casting a film, what do you look for in your actors?
I’m always looking for something in their demeanor. It’s the first thing that identifies an actor.

What directors do you admire?
In terms of the ones who are out now: Samuel Vincent, Moise Karmeliaud, Jephté Bastien, though he’s pretty much have moved on from the local movement. I love Laurence Magloire a lot. She did a movie called Des Hommes et des Dieux. [Also] Arnold Antonin [and] Raphael Stines. In terms of foreigners, I like Ridley Scott, Francis Ford Coppola, Spielberg, George Lucas.

Any actors or actresses you’d like to work with?
Reginald Lubin, Smoye Noisy, Sophia Désir, Manfred Marcelin; there are others who I can’t think of right now.

What projects do you have in store for your fans?
I have lots of projects, and after Sonson, Le Chauffeur and Jod, I want to stay true to my roots. I’m working on something of major caliber for them. I’m going after works by bestselling novelists.

What makes a successful movie?
A director who’s got good sense, integrity—who has something to say, who has a story to tell.