Wednesday, October 28, 2009

Laughter is the best medicine

Allah Made Me Funny, will first make you burst into side-splitting laughter and then leave you pondering over your own prejudices, writes Shivangi Ambani-Gandhi


In a 2-day comedy festival, with over 200 comedians, it is tough to keep the audience laughing through your hour-long gig. It is even tougher to keep them thinking long and hard after the final jibe has been made.

The trio of funny Muslims, Allah Made Me Funny, were a comic act with a message performing at the World’s Funniest Island comedy festival held at Cockatoo Island on October 17 and 18, 2009.

“Sir Peter Ustinov once said: ‘Comedy is just a funny way of being serious,’” Founding member of Allah…Azhar Usman says. “That’s the history of standup as an art form. It is born out of the politics of racial agitation of the 1940s and 1950s in the United States, developed by Black American and Jewish American comedians,” he adds.

Allah Made Me Funny confronts every stereotypical notion about Muslims and demolishes it, while eliciting side-splitting laughter. During his gig at Cockatoo Island, Usman said, “What are the two biggest stereotypes about Muslims? Muslim men are terrorists and Muslim women are oppressed. If they had ever been to a Muslim household they would find that it is in fact the exact opposite. Muslim women are terrorists and Muslim men are oppressed.”

On a more serious note, Usman writes in our email interview, “There is a long history of Western portrayals of Muslims as barbaric and violent. Interestingly, in the Middle Ages, European Christendom held two dominant views regarding Muslims: that they were violent, and that they were sexually promiscuous. Nowadays, so-called “Westerners” tend to think of Muslims as violent and sexually repressed. That’s an interesting shift, and probably the subject of a fascinating PhD dissertation. I sure would like to know what the hell happened along the way!”

The other myth that the Allah… trio often try to dispel is the notion of the homogeneity of Islamic communities in the US and around the world. In fact the trio is exemplary of the diversity of the community: Allah… comprises of Indian-American, Usman, African-American Bryant "Preacher" Moss and Arab-American Mohammed "Mo" Amer.

This also means that each of them finds unending fodder for comedy in their own cultural backyards. My standup is very personal. I talk about myself, my life, my experiences, and my own ideas,” says Usman. The trio pick on seemingly innocuous activities that often turn into tense situations for Muslims: greeting fellow Muslims in Arabic in public, calling out to a naughty nephew named Mohammed in a crowded mall, and the worst of all, going into an airport.


Amer draws on his Palestinian background and his very Arab family to elicit laughs over everything from checkpoints to marital misunderstandings. Moss offers a warm and irreverent perspective on being both Black and Muslim. Meanwhile Usman can hardly resist taking on Bollywood dance sequences and Indian accents and mispronunciations.

Usman also does a show with a couple of other Indian-American comedians called Make Chai Not War. “The present tensions between religious identity groups in South Asia are very modern manifestations of distortions of religious teachings,” he says. “It is religious fundamentalism of the ugliest kind, because it seeks to reduce hundreds of millions of people into simple labels. Our show acts as a small antidote to that phenomenon by recalling the good ole days when Hindus and Muslims lived and worked together as brothers and sisters in Mother India.”

Usman is also currently working on a humour book project titled Everything You Ever Wanted to Know About Muslims but Were Afraid to Ask (No Really Afraid!). He also works as a writer and producer, and is currently developing treatments for two screenplays, as well as two TV shows. He is star and creator of Tinku’s World, a semi-scripted alternative web comedy show

Besides comedy, Usman is involved in various forms of activism. “My comedy is supplemental to the rest of my life, in that regard, where I find myself involved with all sorts of activism and social projects besides my work as a standup.”

He helped co-found the Nawawi Foundation (www.nawawi.org), a research institution that primarily supports the ongoing research and academic writing of the Scholar-in-Residence, Dr. Umar Faruq Abd-Allah. “He is one of my shaykhs (spiritual guide), and his writings inspire and inform just about every aspect of my life and thought,” he says.

Usman was also inspired in his teenage years by alternative readings of U.S. history, including Howard Zinn’s A People's History of the United States and the books of Naom Chomsky. “I also came of age against the organic musical phenomenon of hip-hop and rap music, heavily inspired by the lyrics of Public Enemy and the like.”

However, he was always a funny kid, he says. “The class clown, so to say. But I never imagined a life as a professional standup comedian. I finally decided to try standup in early 2001, and I quit my day job as a lawyer to pursue my comedy career full time in early 2004.”

Since then he has toured around the world, including a short tour of India in 2008 and the first standup comedy show in the history of Egypt in 2007. He has even done a private show for former Pakistani President Pervez Musharraf, while he was still the sitting leader. “It was at a guy's house in Dallas, Texas. That was one of the most surreal nights of my life. I remember him laughing. A little.”

For more information visit www.allahmademefunny.com and www.azhar.com

Thursday, October 15, 2009

Folk with a lot of funk

Kartick & Gotam take listeners on an unforgettable musical journey through Asia and the Middle East.








It is only fitting that Kartick and Gotam’s (K&G) latest album was created on an airport. After all, Business Class Refugees is electro-folk without borders—a global, collaborative project of local music from around the world.

Taking their base tracks around the world, music producer Kartick (Patrick Sebag) and sound designer Gotam (Yotam Agam) collaborate with local musicians to overlay folk tunes and lyrics with electronica, creating soulful music with zing.

In the opening track, Bonjour, Mahesh Vinayakram’s resounding vocals blend effortlessly with the evocative strains of Armenian wind instrument, duduk, while renowned French bassist Mishko M’ba, converses with flautist Navin Iyer and Yoav Bunzel’s rhythmic drums. K&G’s groovy electronics flow through the track, adding pace and tempo. The musical conversations finish with the Tashi Lumpo Monastery monk’s long horns—a cosmic sound of reverberating power that reaches the depths of your soul, lighting it up as if for an eternity.

Equally evocative are Boye Boye from Tajikistan, Punjabi folk song, Heer and classical Carnatic composition Vellai Thaamarai, reinvented for the modern lounge. Although ‘remix’ and fusion’ have become dirty words in some music circles, K&G are convinced about their work.

Even if its folk music, it has to keep evolving, so our base is always respectful of the roots and tradition,” says Kartick. “It is my perspective of that actual piece of music… like a chef making a fusion dish of one or more traditional food, or making it his way.”

Gotam acknowledges their work may not be understood and appreciated by everyone. “Living in India for so many years I have faced it (criticism from traditionalists), but for every one person who felt offended, I met a hundred who were fascinated, and appreciative.”

No listener could however deny the rich tapestry of musical traditions and styles the album traverses, propelling the listener into fascinatingly unfamiliar territories, taking the idea of armchair travelling to a whole new level.

The Israeli duo credits the multicultural environment of their early years for this interest in global music. “The old neighbourhoods that we grew up in had immigrants from everywhere, so we got exposed to music from all over the world - Russia, Poland, Morocco, India, Romania,” says Kartick. “I grew up in the desert for 15 years, spending lots of time with nomad tribes, and Israel is a melting pot of culture,” adds Yotam.

“(Traditional music is) old, has a history and culture behind it,” says Kartick. “We're hungry to know about and explore other cultures, and to know the stories behind the songs and music.”

Their album too has an interesting story behind it. On their way from South India to a remote village in Aceh, Indonesia, they ran into visa problems in transit through Singapore and were forced to wait indefinitely at the airport. While most of us would have complained and sulked, Kartick and Gotam made music on their laptops using recordings of indigenous music they gathered during their journey through Asia. Thus, Business Class Refugees was born.

Although the album was programmed mainly at the airport, the original recordings were done across Israel and India—at times, on location. “The thrill is in actually being there as it happens - the smells, hear the children, sweating... it changes the way you hear traditional music in its original environment,” says Kartick. “It's the difference between theatre and cinema - a real time experience.”

Gotam recollects a special moment recording on location: “Visiting the Sufi musicians in their village and setting up a mobile studio in a tiny house packed with 100 people that all centred on one thing—music!” It is this freshness of sound and experience in Business Class Refugees that you will not find in other more pristine, studio bound projects.

Collaboration, especially with local musicians, lies at the centre of their musical practice. Every local artist and traditional source is carefully attributed in their album. “In a way yes it's a way to promote lesser known music,” says Kartick. Yotam adds, “Music is the only way to reach world peace.”

And these are not just empty words of a utopian dream—Kartick and Gotam have lived the cliché of making a difference through cross-cultural collaborations in music. The duo were part of the seminal Laya Project, an audio visual documentary celebrating music from communities devastated by the 2004 Asian tsunami. “It was a different kind of wave that brought us all together to give their best for this project that took over two and half years to record, film and post produce,” says Kartick. “It is a very special project close to our hearts.”

The project has also travelled extensively as The Laya Project Live!—a show of over 24 musicians on stage from diverse music traditions and styles, video art and light design. “(It is) a show that has a long life and relevance,” says Kartick. The show opened the Perth Festival earlier this year.

Kartick and Gotam are looking at future collaborations with Australian artists and will also perform in Melbourne on the opening night of the Australasian World Music Expo on November 19, 2009. Gotam says, “(Performing in Perth) was great, the crowd was very different from the crowd in India but again music is an amazing bridge and it worked.”

Business Class Refugees is available for purchase via Planet Imports in Australia in stores, and online via iTunes or http://www.earthsync.com/

Kartick & Gotam will perform live on the opening night of the Australasian World Music Expo on November 19, 2009 in Melbourne. For more details visit: www.awme.com.au