Mona Aburmishan's Press Kit Winter 2020

Home , Comedy club

Mona Mohammed Aburmishan

About Mona 3

Mona’s Int’l Management Team & US Commercial Agency 5

PRESS: Frequently Asked Questions 7

Class Clowns® Comedy Workshops – By Mona 20

Groundbreaking Work 25

Digital Presence 26

Contact Information for Mona’s Team 27

For more information, or to get in contact with Mona Aburmishan, please contact:

English – Judith “Judy” Nims – [email protected] Arabic – Mohammed “Hajj” Aburmishan – [email protected]

Pangea Talent Management CHICAGO | CAPE TOWN | PRESTON | HEBRON

PANGEA TALENT MANAGEMENT | MONA MOHAMMED ABURMISHAN

About Mona

INTRODUCTION

United States

Mona is an international comedian based in her hometown of Chicago.

She has performed, emceed, and produced comedy shows, competitions and events in major clubs, theaters and universities around the world. In addition to comedy, Mona is a sought-after speaker for her experience using stand-up comedy to bring joy and affinity in various socio-political topics in the United States, Europe, Africa and the Middle East. Mona has a Master’s in International Development and is fluent in English, German and Arabic and performs in these languages. Having lived and worked around the world, Mona uses her global insight and homegrown Chicago-style to offer a fresh look at shifting frustration into funny. Most notably, Mona became the first Arab and Muslim woman to perform stand-up comedy in the nation’s most prestigious institutions: Carnegie Hall in New York City as well as the

MONA ABURMISHAN Kennedy Center in Washington, DC twice, and was the featured spotlight Comedian, Emcee, Writer headliner this past fall 2018! Contact [email protected] International Platform – MENA, Europe, UK & Sub Saharan Africa

Religon - Practicing Muslim Currently, Mona is in the US, filling her schedule with teaching standup comedy during the week and touring the country on the weekend performing Languages at live events. Having just completed her annual Summer tour throughout the - English West Bank, Europe and the United Kingdom, Mona’s skillset allows her to - Arabic seamlessly juggle work as performer, producer, writer and instructor. As an - German international producer, host and headliner Mona in less than one week performed and produced 9 shows spanning Palestine, Switzerland, and the heart of London’s thriving comedy scene. Mona is the first Muslim American woman to host shows regularly in outside the United States.

While in London, Mona was a special featured guest honoring her self-produced tour on “Islam Channel” as a thriving female Muslim in global entertainment which was broadcast to over 100 countries. When asked on air “What is next for Mona?” Mona replied; “InshAllah, you’re looking at Oprah 2.0!” The hosts didn’t skip a beat and remarked “Why yes we are!!!”

In addition to regularly performing in the US, Canada, EU, UK and the Middle East, Mona is a sought- after headliner on the African continent. Becoming a regular in the South African market, Mona just recently headlined and was the first American to host one of the world’s top ten comedy establishments – The Cape Town Comedy Club; she’s been asked to mentor currently working

Thank you for your interest in Mona, please CONTACT [email protected] for any additional questions not covered in this PRESS KIT. PANGEA TALENT MANAGEMENT | MONA MOHAMMED ABURMISHAN

About Mona

South African, Zimbabwean & South Sudanese comedians as well as comedy club management and returns to tour the entire Sub Sharan African region again in 2020.

As for Northern Africa and the Middle East, Mona was a featured guest on “Al Bernameg” with host Dr. Bassem Youssef’s ground-breaking satirical news program (once considered North Africa’s version of “The Daily Show”); as well as headlined Comedy Central’s latest Season 2 and 3, Premier “Comedy Central Present: Standup Al Waggif” filmed on location in Dubai, UAE - featured throughout the Middle East and Africa. She was the first Palestinian female to headline this revolutionary series produced by Viacom.

State side, Mona has been a regular throughout the Midwest, Northeast, South and West Coasts of US. While touring Mona always checks in with Chicago based media as a consistent featured guest on “Pretty Late with Patti Vasquez” Chicago’s #1 late-night radio show WGN 720 Radio as well as a regular feature on Chicago’s #1 daytime talk show, Windy City Live!

Community Impact and Global Development: Class Clowns® Int’l Comedy Workshops

Globally, Mona launched her truest love Class Clowns® a standup comedy, improv, spoken word & writing workshop for kids, war veterans, senior citizens and corporate leaders of all ages in all environments using the comedy club as a microcosm for leadership, self-expression and face- to-face empowerment. The workshop is currently running in the Chicago & Cape Town, South Africa. “Leadership isn’t just the person on stage talking into a microphone, it’s everyone around that person making sure the microphone is on and the person is seen & heard!” - Class Clowns

For more information on Mona, international press, productions and her schedule, please visit monacomedy.com.

Thank you for your interest in Mona, please CONTACT [email protected] for any additional questions not covered in this PRESS KIT. PANGEA TALENT MANAGEMENT | MONA MOHAMMED ABURMISHAN Mona’s Int’l Management Team & US Commercial Agency

Mona’s Int’l Management Team & US Commercial Agency

LEAD MANAGEMENT TEAM: US, UK, MENA & SUB AFRICA REGION

Judith “Judy” Nims – Director of Talent Management

[email protected]

Judy draws from her 40+ years of business experience and her 20+ years of leadership to identify solutions that work. She knows how to create structures around an idea so that it becomes real.

Judy took this passion for solving problems to her clients, when she was a CPA with a national CPA firm and a large Chicago CPA firm, and she takes this same passion to the many

professional and charitable organizations she has served. Judith “Judy” Nims, After serving as a senior accountant at PricewaterhouseCoopers for years, Judy became the CPA controller of a large Chicago real estate firm and later joined FGMK, LLC, a large Chicago- CO/CEO Pangea Talent based CPA firm, focused on the healthcare industry. She worked with her clients to build Contact creative tax plans and guided them to manage their practices so that they were more profitable. [email protected] She still consults on strategic planning, mergers acquisitions and business startups for entrepreneurial firms. Languages - English Judy also takes her passion for solving problems to the business organizations and charities she has served, providing guidance and leadership to Mona since birth. Judy is Mona’s mother and has been mentoring and shaping her career as well as supporting Mona’s advanced education. Judy has pushed Mona to be the best person for the job, never allowing her gender, religion or socio-economic status limit what Mona is clearly capable of achieving. Mona has extremely high standards for her work ethic as well as her compassionate leadership style; all thanks to Judy’s commitment to “never settle Mona; always dream bigger and be grateful for every gift along the journey; no matter how painful – God always has your back!’

Mohammed “Hajj” Aburmishan – Director of Talent Cultural & Community Affairs

[email protected]

Mohammed “Hajj” Aburmishan has spent over 40 years in community engagement, activism and public affairs. With a Masters in Non-Profit Management, Hajj has devoted his life to the Mohammed Palestinian-American diaspora as the director of the longest standing, most transparent and Aburmishan, most reputable Palestinian Non-profit organization globally, United Holy Land Fund [UHLF] MMNA/MBA has been officially certified by the United States government and has raised millions for Director Pangea Talent Palestinian orphans as well as scholarships to key universities in Palestine. Currently, UHLF Cultural & Community boasts 80% of their scholarship recipients are women!! Affairs With decades of community activism, Mohammed mentored Mona’s relationship with her Languages own identity by allowing for her to perform and grow as an Arab-American comedian often -Arabic -English using the UHLF platform – through hosting fundraisers and performing at charity events. Thank you for your interest in Mona, please CONTACT [email protected] for any additional questions not covered in this PRESS KIT. PANGEA TALENT MANAGEMENT | MONA MOHAMMED ABURMISHAN Mona’s Int’l Management Team & US Commercial Agency

As Mona’s father, Mohammed has walked a fine line of giving Mona the access to the Palestinian and Muslim diaspora, in a pre 9/11 era; allowing her to both thrive within the community as well as gently push the envelope in areas that the community had never seen – such as a female standup comedian. With proper guidance and mentorship, Hajj has encouraged Mona to be an empowered American who happens to be Palestinian and a humble Muslim woman who knows and honors integrity and leadership for those that look up to her as a visionary. “You hold a great responsibility on that stage, honor that right and freedom of speech, not many around the world have!”

Mohammed is a very prominent community leader with a vast reputation for integrity, generosity and compassionate intelligent in non-violent leadership within the United States, UK, Europe and throughout the Middle East. Working with Mona allows for a standard of mentorship not evident in the current boom of Muslim or larger female presence in global entertainment. It is clear, that reputation and integrity are a family value that has been clear in Mona’s work all thanks to standards established before birth.

COMMERICAL AGENT: US REGION ONLY

Lily Liu – President & Founder of Lily’s Talent Agency

[email protected]

Lily Liu, President and Founder of LTA (Lily's Talent Agency), with over 40 years of experience in the entertainment industry contributes her powerful entrepreneurial spirit and business cues from her mother. Lily's mother was one of the rare female business ladies in Japan during her years. Her mother owned and managed a successful hotel, women's designer wear boutique and a sushi bar while raising Lily Liu Lily and her two brothers, with the help of Lily's grandparents. Her mother taught Lily 3 key President components of success; Follow your passion, Have confidence in yourself, and work hard for what you believe. Lily brings this philosophy to her business, as well as, to her LTA team of professionals and Contact talent, alike. Lily has taken her teaching and modeling experience and spear-headed the successful [email protected] modeling and acting careers of her three daughters as their agent and manager. Today, LTA presides over one of the top agencies in the Chicago land area. LTA works with the most distinguished local to Languages international clients and continues to represent the best and most diverse models, actors and artists in - English all Medias. -Mandarin

Lily, a graduate of the University of Illinois Chicago, is also the President and registered agent of F.A.M.E., Foundation of Artists Mentored in Entertainment, a not for profit organization that is dedicated to providing talented individuals scholarships and tools to further their artistic endeavors. Lily's Talent is not your average full-service Agency. Lily's Talent fulfills our client's needs and exceeds their expectations with both professionalism and personal concern. From major print campaigns and feature films to live productions. Our team is a comprehensive network of professionals, ready to ensure success. With: -24 Hour Availability -Online Talent Database -Casting Space -Recording Studio

Lily's Talent has established an innovative, state of the art networking system with sister agencies and clients throughout the world. We are a SAG, AFTRA, EQUITY, AFM, and WGA franchised agency. In addition, Lily's Talent is MBE (Minority Business Enterprise) certified.

PRESS: Frequently Asked Questions

“WHO IS MONA?”

FREQUENTLY ASKED QUESTIONS FROM AROUND THE WORLD!

When did you know you wanted to go into comedy? Was it always a passion of yours? Please tell us what happened and the thought that came to mind?

The first time I realized I wanted to be a fulltime comedian was the first time I saw the reaction on a strangers face when they asked me “so what do you do?” and what fell out of my mouth was “I’m an international comedian” I thought, “man that’s pretty bold of you Mona…do you even believe that?” When the person saw truth in my words, I felt invincible to actually become the thing they saw in me. I can’t tell you who that person was, when it was but it forever changed my life and it continues to show up every time, I’m on stage and make some face I’ve never seen laugh. When that audience member is laughing, I know why I am here.

I had always been a “class clown” in school and the jokester in the family, but I never considered being a professional comedian until much later in life. Growing up in such a culturally diverse community, while being a fat [300lbs/136kg], Palestinian Muslim girl allowed for such unique situations, comedy was innate. Also, growing up in the states, before the Dish network and Arab TV gave me access to comedy like American cartoons, sitcoms and SNL. Given the time I grew up in America, it was pre9/11, some could say I was raised with a purety of my identy – in essence a Disney Muslim or Disney Palestinian…in the 90’s in America, Aladdin and Abu were super heros to young Arab/Americans. However, something about SNL and Disney both annoyed and intrigued me, because I knew I could do what they did, but better!

Recently, at my high school reunion, it was confirmed that I was destined to be a comedian; you know you’re in the right job when you tell your former high school bully what you do and they say, “oh ya, that makes total sense, Mona you were always a damn smart ass!”

What took me by surprise, however, was one winter day my sister decided to verbally attack me in front of the family by insisting I get off my bum and jump in to comedy already. “Enough already Mona, you’re supposed to be on SNL or something, stop wasting time.” What was funny was at the time I wasn’t sitting at home playing Xbox, but rather finishing up my Masters’ Thesis, having just returned from Namibia where I had gathered research. I was also employed in commercial real estate, but something in her felt the need to attack. Allah or that it was near Christmas, maybe it was Santa who must have channeled my little sister the way Patrick Swayze did Whoopi in Ghost. She came at me like I owed her money and by finally being a comic I could pay her back. I’m so grateful she yelled at me because it woke up that hidden part of me that had always loved to make people laugh.

That following birthday I received improv classes at Second City Chicago as well ashttps://palestineinamerica.com/2017/05/palestinian-comedian-mona-aburmishan/ It was a 5-week standup comedy class for women called Feminine Comique was a course taught by the now famous Cameron Esposito. It is now obvious my family was bullying me into comedy. I immediately enrolled and finally found and realized my love/hate relationship performing alone on stage.

The improv class was great, but for the standup class I was terrified about the final exam: a 5-minute standup comedy set in front of a live audience. I struggled through the class and didn’t enjoy much of it because it didn’t make sense. However, I managed to create a 5-minute set and on the night of the show I was beyond nervous. Back stage was the first time I’d talked to myself and said, “Mona you got this, just say the words and don’t throw up and you’ll be great.” Arab chicks don’t often coach themselves into scary situations, instead we just repeat the jargon from what our parents might say in that situation, “ooooft Muna, you’re not married, you’re not a doctor and you have an expensive degree in blab la bla and now you want to be a clown in front of all these dumb Americans. Wow I should’ve never survived occupation to come to America for a dream when you are now my nightmare.” Despite what I thought my parents would say, I trusted my instincts and did an amazing 5-minute set! After I got off stage, I was hit with a euphoric high that I could only compare to skydiving. The rush of adrenaline, dopamine and serotonin was so powerful I’ve been hooked on comedy ever since.

What is it that you love about comedy? And where do you get your comic inspiration and influence from? What I love about comedy is complex; it’s the only art form where you need other people to create your art. A musician, singer, actress, filmmaker, writer, painter and even a magician can create their art alone and deliver it completed to an audience. However, a comedian needs the audience in the creation process while at the same time being powerfully vulnerable as well as incredibly intimate and independent. Meanwhile, not a single day in the creation processes is the same. Literally every single day at work for me is different than the day before or the day after. I will never perform in front of the same audience again, ever. Some people might see me again but never the same chemistry and group of people in the same circumstance will repeat and that is a very powerful contributing factor in the creation of a comedian’s material. So learning how to create material for a moving target can be empowering while totally nerve wracking. Nothing in life is so publicly intimate, which allows for a very powerful connection in a time where digital disconnected connection is the norm.

I love comedians that have a philosophy on the world and are able fearlessly hide the medicine in the food – have insight and wisdom in each joke! All the comedians that inspire me have a hidden social activist bone in their body. That’s what my commitment is to comedy, make them laugh and make them think. This often brings a room of extremely diverse opinions together making them just human and unified. | I also love when comedians tickle my blind spot. Those things you notice or think about but never say; when a comedian points them out in a bold way it resonates with my soul and I feel recognized, understood and not alone. | Lastly, I love to laugh. Those painful laughs were your back hurts and your worried you might pee a little; I really love that.

How was it like when you first started? Was it challenging? Do you remember your first comedy show? If you do, how was it like? The difficult part of being a comedian is it’s undervalued, until it’s not. The pay structure is bananas. You go from being paid nothing, to getting paid in drink tickets (useless for a non-drinker!) to when you’ve made it able to make thousands of dollars for an hour of work. Which leads to really the hardest part about being a comedian is there are no rules to the game. Nearly any profession in the world, there is at least rules to the game; in standup comedy there are no rules. As soon as someone confidently tells you without a doubt they know the keys to success in standup, walk away, because they know little and have seen less. Someone worse than you can end up on TV, someone doing comedy a year can get a headlining spot at a club you’ve tried years to get just five minutes of stage time on; while your favorite comic who’s been performing for over a decade can never seem to feel they made it. Or worse yet, your community thinks you’re a joke, when you actually did achieve your dream and made it on TV. Recently I called my Jiddeh [Palestinian grandmother] with excitement to tell her I had made it on her favorite morning program, “Windy City Live” she quietly replied in Arabic “Muna, I saw you on TV yesterday, you were so fat I couldn’t see anyone else.” It’s a combination of work, luck and mountains of gratitude – and a nicer grandmother than mine. My career is a perfect example of just being ready when luck strikes. Essentially, all my job is to observe society, write the observation down in a way that makes me laugh = call it a joke, then get the jokes to the masses and the rest is up to God & the universe.

Do you think because you're a Palestinian Woman it is harder to stay relevant? What type of backlash or pressure do you receive?

So far my being a Palestinian woman has not made it harder to stay relevant, if anything I’m a preferred outlier at times. On a comedy show line up of “white guy, white guy, black guy, black guy” being a woman, let alone an Arab Muslim woman is a nice break. However, just like any comedian my perspective on what I want to share and what I don’t does shape my branding and really isn’t conventional. For example, I don’t talk about the same things other females are talking about on stage right now (think Amy Schumer), which at times can make me feel less appreciated. I once had a fellow comic say, “ya we get it you’re Arab.” That same comic went on stage and talked about being black for 20 min. With some of my material coming from a global perspective, it is only recently that I feel understood or appreciated; for years people loved my material but couldn’t relate. In the decade since I started standup, the world has grown to learn more about Muslims, Arabs and women in general and its beautiful!

On the other hand, performing for Palestinian and/or Arab American audiences in general is rather tricky, and not just because all Arabs think they can do your job better than you can. But, there’s a fine line I balance to both have an impact on the Arab audience by pushing the envelope on things we need to discuss as well as being respected as an independent female business owner and performer. Negotiating a performance fee can at times be extremely challenging. Explaining to the

event coordinator or booker that my education, time and full-time employment is wrapped up in this fee; comedy is not a hobby for me. It has taken a great deal of time for me to earn my self-worth in my own community; which I never suspected would be so emotionally challenging. Even if I have to guts to throw down my credentials of being able speaking 3 languages, a Masters and having performed globally, including Carnegie Hall and the Kennedy Center, it just starts to feel like I’m fighting with my father. Gradually it’s changing, I’m starting to see glimpses of Arabs understanding that I’m a full-time comedian and should be paid more than just a hug and an extra slice of Kanefeh [yummy dessert] for 45min of work.

Outside of the Arab audience, me being an Arab/Muslim is a draw. Americans want to hear from Arab/Muslim comics, especially the female ones. That’s why there are successful Arab Comedy Festivals around the world as well as Arab/Middle East themed showcases in almost every American comedy city. Comedy has always been our way of therapy, by feeling your beliefs are heard but looking for a new perspective to validate or overturn that belief. Right now, America wants to hear that a thick Arab Muslim Chick from Chicago, who really looks Puerto Rican, has to say – especially with since my Chicago accent, I sound like the get-away driver of a mob heist on Netflix!

Lastly and most importantly, I noticed that my being a Palestinian Woman mattered not at all in Palestine. While doing shows there I noticed that while I had been traveling to the Middle East for years, it wasn’t until I was a performer that I realized something profound. I asked my father who happened to be in Ramallah for the shows, “Why is no one, not the press or audience, making a big deal about me being the only female on this tour?” he replied “You’re a Palestinian woman, we always expect our women to be outgoing, driven and can do anything.” At that moment, in Palestine, I realized my perspective of what it meant to be a woman was a figment of my own imagination, based largely on modern American media; especially having an American/British mother. Performing comedy around the world, was giving me my true identity in ways I never imagined possible. my idea of what it means to be an Arab/Muslim woman was based on what American society and media had made me believe.

What is your opinion on minority comedians utilizing the stereotypes of their minority group to gain popularity? Do you consider it "selling- out?" If so, is there a time where you think it would not be considered selling-out?

Minorities in comedy go hand-in-hand. Minorities invented standup comedy. If it weren’t for the American & British Jewish diaspora (ie Lenny Bruce) and the Afro- American/Afro-British community (ie. Bernie Mac, Redd Foxx, R. Pryor) standup comedy as we know it would still be the old Senatra guard of The Rat Pack of white guys in tuxs drinking scotch on stage in Vegas. It’s the minorities that took that stage time and said some real deeper things; often being thrown in jail! That’s the thing we must not ever

forget, freedom of speech goes hand-in-hand with standup comedy and it’s a luxury item – that not many in the world, even today, can afford.

That’s why women in comedy play an interesting role, we are a minority but we also aren’t because we make up half the planet. It’s a beautiful dichotomy of expressing another perspective that really is the same perspective the simple fact that she’s on stage saying her perspective. Add on the situation if the woman isn’t white, and you have a kaleidoscope of meaning.

It is a good point on using the minority status to market a show, story or piece of work. If I’m asked to do an all Arab show, or an all female show I BEG not to be involved in a project that uses cheesy ass marketing only promoting a stereotype of that group I’m representing. “Ha Ha’s for Hookahs” or “Haram of Laughs” or “Female Funnies” these type of weak titles do make me feel like a sell-out. In the short term, while being new to comedy it’s a necessary evil to get stage time. In the long term, it’s pathetic.

Comedy has been said to bring minority groups together as a cathartic outlet. Do you see this at your shows? Is comedy cathartic for you as well?

Yes, YES, YES!!! Simply, when you see one of your own on stage and being able to laugh at inside jokes in a public space are cool!

Well let me clarify, there are two types of standup comedians: the type that creates jokes for the audience, the booker and kind of comes off like an actor. And the second type, which is a fully transparent person, and the person you see on the stage is the same as you see off. The second group of comedians probably gets the most healing from doing material on stage because they bring their life to the stage all the good, bad and the ugly of it. Comedy does come from tragedy and the comedian that can use the pain in their life as material often brings the audience in closer because we’ve all suffered pain. The comedian that is an actor playing a part for the audience will probably never get the healing because they aren’t willing to be vulnerable enough to see there’s a problem.

Both styles of comedy shape the entertainment industry even when it isn’t completely clear which style of comedy you’re watching. I love that comedy bridges groups of different beliefs together. A weak/new comedian will come on stage and right away and alienate themselves from the rest of the room by talking about politics or religion right away before the audience even knows to trust them. That’s often why the host of the show is the most important part of a showcase. The host sets the tone and unifies a room full of strangers. If done well you don’t notice it, if done wrong there’s a subtle frustration throughout the show and you don’t always know why. Great comedy brings people together, simply for the fact that there is only one person on that stage with one microphone and his/her random opinions.

Similarly, when the comedy show is filled with an audience that is of the same socio-economic, political and cultural belief then unifying the room can seem easier but if the comedian manipulates that identity the wrong way the room is chaos and the comic can usually never get the audience back. I’ve seen black, white, South African, Japanese and Latino comics DO WELL & NOT DO WELL in an all black audience. I’ve seen black, white, Latino and Arab comics do well and bomb in Arab, white or mix audiences. I believe in order to do well in these mono-cultural rooms, the comedian has to be authentic and have a real philosophy that all humans can get down with. A great comic will do the same set they did in an all white room in an all black room, funny is funny. Patronizing the audience because a comic thinks he knows their lingo will instantly create discomfort and insult. Also, be culturally sensitive to the community’s needs and anxieties. I had a black comic on one of my shows that I produce in the Arab community. He had the audience wrapped around his finger until he confused Iran for Israel while he was riffing. Comics that do their homework, while being authentic do well at bringing people together.

How would you describe your style of comedy? What do you like to tackle in your material? My style of comedy is a philosophical conversation with the audience where I pose questions and either: I give my own answer or I ask the audience for answer and build my response using observations I’ve gathered to shed light on how their answer is right or wrong – but in a funny way so the audience doesn’t feel stupid.

I like to tackle ANYTHING that leaves the audience feeling good, people paid to be in the room, and often spent more money than you are aware of, ie babysitters, parking, expensive food; so broaching a topic that makes them happy IS MY JOB!! Simply, comedy is a funny person sharing their perspective – not a person sharing a funny perspective. However, I do avoid subjects that can trigger people to pull away, because these subjects tend to be sensitive, I avoid “preaching” to the audience… like religion, politics…particularly divisive subjects I leave to the American news. Sports are always safe…well except Chicago…lol!

Where is your boundary? In other words, what is a line you won't cross when telling a joke? The line I tend to not cross is gratuitous shock insult comedy. Don’t get me wrong, I’m a tough girl, and notorious for being a lovable-bully on stage; but I don’t talk about private parts, private part creations and self- degrading topics that leave the audience thinking my integrity and morals are up for debate.

I also avoid heavy pop-cultural references or news hype because as mentioned earlier it’s a quick way to divide a room when my whole purpose is to unify the room. Also, these subjects tend to change so fast it isn’t a smart investment to build and work on a joke over time about a subject that’ll soon not be irrelevant. Lastly, these subjects also tend to be so heavily discussed by other comics it becomes “hack” material pretty fast.

Do you write on your own routines? Yes, I do create my own material. The best type of comedy comes from the real truth and transparency of the comedian. Especially in todays social media heavy society which often feels like smoke and mirrors; a comedian on stage speaking alone without music, news agenda or distractions is a space for real authenticity and the audience knows it.

We’ve all felt when a comedian is acting or leading us in an obvious way or leading us in a way we don’t actually like [Trump], we may laugh out of nervousness but when a comedian really does their own material created from their own life it can be so exciting and far more enjoyable for the audience. Therefore, its important I use my own material to create a thoroughly fun, uplifting experience leaving people feeling connected.

Oddly enough, the audience feels, and doesn’t always express, the light-hearted feeling of a random stranger, like in my case coming from clear across the world, making them laugh by talking about the same feelings we all have: money, family, love etc. but doing it in a way that we didn’t see coming. That element of surprise is where the funny lies in the shift in perspective on the same thing that may frustrate us!

The best is when I’m performing in front of a Muslim community because it is so clear that we are the same, but obviously we are different. As soon as I open my mouth people want to know HOW we are the same, so I definitely have to use my life and jokes not anyone else’s. It just wouldn’t make any sense and leave the audience subconsciously a little confused if I started talking about opinions on politics, for example, when secretly I can’t stomach to watch the news. The audience would quickly notice, I was full of BS and maybe laugh a little at the jokes, but when I simply tell them I watch the evening news with blinders on and cotton balls in my ears because I’m secretly scared their going to say yet another thing that’ll make me stress out – like peanut butter is bad for Palestinian American Muslim girl from Chicago who love peanut butter! Being authentic with their real fears on stage is the best source of funny any comedian can create.

Do you center your comedy based on your Palestine identity more or your identity as a woman? Neither. My comedy is based on my perspective of the world. Sometimes I talk about lady stuff, sometimes I talk about having lost a lot of weight and that journey, or I talk about being an Arab/American and my family. What I talk about on stage are subjects that have either pissed me off, made me stop dead in my tracks with shock or have made me laugh really hard and I know it’ll make others laugh.

Do you believe comedy to be a catalyst for social change? If so, do you think all minority groups should focus on social change in regard to their work? Yes, I do believe comedy is a vessel for social change, so long as the comedy is done well and a hidden message is left in every joke. I think minority groups should do whatever makes them feel good after their work is done. Not every comic can do the same thing and get the same audience. Some comics are for some audiences, not all are created equally, and I love that. At the same time if a comedian is merely perpetuating the horrible stereotype, then I hope there is a counter voice after that comic gets off stage. Oddly enough the audience has a great way of keeping the comic somewhere in the center, it’s like magic. A comic can’t be too racist without the audience sensing it and pulling back. A white comedian has just as much power to influence social change through their voice as does a minority comic, so it’s all relative. All in all, the person with a microphone should ideally be conscious.

What's your favorite thing about being a comedian? My favorite thing about being a comedian is making a room full of strangers laugh. I love to see them smile.

Comedy is mostly known to be done by guys so what intrigued you to be part of that world? [South African Press] Chicago comics, especially Chicago female comics are a well-respected group around the world, and we continue to be a force to be reckoned with. I’m finding the same energy in South Africa; it doesn’t matter your gender if you’re drawn to do something there’s definitely a possibility or an avenue for you to do it usually with support from the men around you. In comedy really, it doesn’t matter your gender it only matters if you’re funny. Men and Women are funny and thankfully comedians get paid the same if they are FUNNY and people pay to see them. Kinda like uber, the drivers get paid the same despite what gender the driver is or if the car is blue or pink J. To Listen to XX, WILL TRAVEL PODCAST FEATURING ME, here on the left CLICK: https://www.stitcher.com/podcast/xx-will- travel/e/53879767

Female comediennes are few and far between - the world over - why do you think that is so? [South African Press] They were rare in the version of comedy you see now, but women were always there in some form of humor entertainment around the world. Even as far back as Shakespeare or an internationally common “one-man-show” type performance, men often dressed as women to convey a different character or perspective. Today, with social media and advance technology, you’re seeing a boom of female comedians around the world. The fact that you’re interviewing a female comedian, asking her to share her thoughts and opinions and then publishing her answers shows you what’s on the horizon, and South Africa can see it coming. [For the Accidental Muslims Podcast featured on the right click: https://youtu.be/bPy6Pqn5pX4

Do you have any advice for other Arab women who wish to pursue comedy as a career choice? My advice would be to contact me and I’ll give you all I can. My greatest gift would be to help other comedians pursue their dream. At times this can feel like a lone wolf business but really it isn’t. So many comedians have helped and ignored me; it’s like any other business except for there really are no rules. Study comedy as you would any other industry but focus more on studying human behavior NOT OTHER COMEDIANS! It’ll feel like you’re getting your PhD in comedy, which will help you get a sense of the style of comic you want to become. Find a local open mic and go watch, see how it’s done. Then come back and sign up and go on stage when they call your name. Face the fear and there will be no fear!

Was your friends & family supportive of your decision to be a comedian? As discussed earlier I just realized that my family bullied me in to comedy. Well really it was my siblings and my White American mother that saw my talent and bought me the Second City gift. As for my father he thought it was another silly hobby I was taking on like tap dancing or soccer. But when I performed at one of his charity fundraisers and the community got what I was doing wasn’t a joke he got on board. He still wants me to get a day job, “Muna I’ll buy you a hookah lounge and you can be the manager.” I said, “Pops, you’re the best but normal people don’t smoke at 9 am, they smoke it at night when I have multiple shows.” He gave me more kanafeh and wished me luck.

Similarly, friends have been so wonderfully supportive to both attend my shows, whenever and wherever possible around the world as well as have invited me on their social media and podcast formats. For a deeper look into how I think and what my view are check out my friend Robby Celestin’s Podcast “A Chatter of Fact” & “Strange you/Strange Me”!!

What is your greatest challenge as a comedian - in general? For example, to you come across any barriers as a woman in the industry or as a Muslim woman? My greatest challenge as a comedian is believing in myself and believing that people want to hear what I have to say. Until recently dealing with my self-worth, I was stuck in this loop of telling my friends and family “yo, I don’t think I’m funny man, I need weird stuff to happen to me so I can tell you guys I’m funny…” then I would go on and on giving examples of how only boring stuff happens to me and clearly I’m not funny – and my friends and family would be rolling on the floor laughing. You can’t tell someone you’re not funny in a funny way and still somehow think no one wants to hear your opinions. Getting out of that loop what my greatest challenge.

The only barriers I continue to see are the ones, that once I’m on the other side, I realize I set them up myself. No one ever ever ever gets up and walks out when a female walks on stage. No matter what the event is, a strip club or a comedy show (which can feel like the same place at times); women have an allure on stage that a man will never have and its only her that can give it away by what she says into that microphone.

South Africa/Durban - how many times have you performed here now? And - you've travelled with your craft - what are your thoughts on the audiences here as well as the development of the comedy here? This trip is my second time performing in Africa and it is truly wonderful. The South African comedy scene is one to not overlook. Internationally as I travel the world performing, I know there is something very magical and special in South African audiences and comedians because of the great forces surrounding its history, geography and culture serving as a accidental melting pot and pressure cooker. Imagine the best dish your mother ever made, it was likely some stew or dish that requires time, spices, heat/pressure and lots of love – that is entertainment and creativity in South Africa. You can feel it all around, so the vibe is just so conducive to funny from both the performer and the audience. So, the matching of the funny performer and the funny audience make it an electric place to perform. Especially the more vernak I learn here! I’m worried I might say the right thing to the wrong person and then who knows where ill end up performing next?!

Have you ever made a joke and the audience don't laugh? Oh absolutely! And how I react to it not being funny, ends up making people laugh so it always works out! understood or appreciated but when I am, it feels more rewarding than anything else.

Where do you get your material from? What I love about comedy is complex; it’s the only art form where you need other people to create your art. A musician, singer, actress, filmmaker, writer, painter and even a magician can create their art alone and deliver it completed to an audience. However, a comedian needs the audience in the creation process while at the same time being powerfully vulnerable as well as incredibly intimate and independent.

Meanwhile, not a single day in the creation processes is the same. Literally every single day at work for me is different than the day before or the day after. I will never perform in front of the same audience again, ever…ever. Some people might see me again but never the same chemistry and group of people in the same circumstance will repeat and that is a very powerful contributing factor in the creation of a comedian’s material. So learning how to create material for a moving target can be empowering while totally nerve wracking. Nothing in life is so publicly intimate, which allows for a very powerful connection in a time where digital disconnected connection is the norm. I love comedians that have a philosophy on the world and are able hide the medicine in the yummy food and do it fearlessly. All the comedians that inspire me have a hidden social activist bone in their body. That’s what my commitment is to comedy, make them laugh and make them think. This often brings a room of extremely diverse opinions together making them just human and unified. I also love when comedians tickle my blind spot. Those things you notice or think about but never say; when a comedian points them out in a bold way it resonates with my soul and I feel recognized, understood and not alone.

Lastly, I love to laugh. Those painful laughs were your back hurts and your worried you might pee a little; I really love that.

You run your own standup shows, teach classes, and gig all over the city [CHICAGO]- how do you find time to do it all?

There is a beautiful ebb and flow to all the things I’m up to. Some months are jam-packed and some aren’t. For example, August to December – [because comedy follows the weather patterns] was so super packed but thrilling at the same time.

Halloween weekend was pretty dope, because I was doing shows in Dubai, and then landed from a 15hr flight to head right to hosting two shows at The Comedy Bar, Chicago. I came home and had no idea what day, time or country I was in but it was the literal realization of a dream come true so it was all worth it.

Being able to create a level of stability in terms of my health, home and personal life is paramount in those moments. I found that chaos may be funny but if not well managed, it creates more chaos and instability in a business that can be exactly that – completely unpredictable.

Any advice for young comedians who want to start their own show?

Any advice I would give for a young comedian who wanted to start his or her own show is:

1. Find a venue that comics can get to relatively easily, that isn’t already producing other shows, that serves food or beverages, that supports you and has your back, make sure they see the vision of what you’re trying to create and be open to their suggestions on compensation. Over time show the venue you can be a good source of revenue for their business and they will end up giving you way more in food/beverage, support and promotion than you could’ve negotiated in the beginning as a new face; 2. Create a show that’s unique and fun for the audience but especially the comics, they are your best source of advertising; and a place you love to be at; 3. Be kind and compassionate to the people who support you in your production, you’re new and comedy really isn’t a huge moneymaker so have some gratitude towards those that see your vision. Don’t be a dick with high expectations, your dick behavior may get you a featured spot in Chicago news but the longevity of your show isn’t guaranteed; and running a show for at least two to three years is a far more valuable lesson in production than a hot show for 10 minutes; 4. Be a solo producer, team productions, in my experience are stressful and filled with drama that don’t last long. (Minus a few of the greats here in Chi) Also, be sure to network and connect with other producers and support their spots because you never know when you’ll need their advice or insight that may add to your learning experience, 5. Try to avoid a weekly show, you’ll get burnt out; you can always go weekly, 6. Be proactive and book a diverse lineup, there are hundreds of comedians in Chicago of all colors, ages and sexes, put effort into it - the audience loves a diverse lineup; 7. Consider offering a recording of the comedian’s set as their payment, $10 or $20 for a weekly bar show is really peanuts compared to a well produced clip they get to use for submission that should have your logo on it; 8. Be smart and strategic about how you promote your show, if you push is too frequently on social media, we all tune out, if you push it too rare, no one knows the show…you’ll find a good balance,

9. Go to mics and shows to hunt down comedians, but keep in mind they may not be the same on your show as when you saw them but take risks, 10. Always save a spot for an out-of-town comic or try and squeeze them in no matter what, it’ll pay off tremendously when you travel and want a guest spot on the road; 11. Check your motives for why you’re producing a comedy show in Chicago in the first place? Are you trying to create a stage for yourself that you get to work on material, are you trying to network or are you trying to make money; [those after money NEVER last] 12. Lastly, ask a producer you respect their advice and consider getting some mentors who’s work you enjoy. Never take advice from someone who doesn’t have what you want.

Class Clowns® Comedy Workshops – By Mona

MONA’S PASSION PROJECT – TEACHING EMPOWERMENT, CONFLICT RESOLUTION AND LEADERSHIP THROUGH THE ART OF STAND-UP COMEDY

Class Clowns® Youth | Veteran | Senior | Special Care Divisions Class Clowns® is an international organization that creates self-sustaining comedy workshops, leadership seminars and improv exercises as a method for true self- expression and empowerment. By utilizing the classroom as a safe space for discovery, our skilled, professional full-time comedians provide training and mentorship to students using “the comedy club” as a microcosm for society. Through simple exercises tested around the world by artists, trained mental health professionals and academics; our comedian- facilitators utilize their years performing for the public in often demanding and ever-changing environments as a way to teach and inspire students to use creative methods for self-expression. We have seen that, comedy is a powerful tool for conflict resolution, releasing hidden trauma and real Face-to-Face interaction.

Leadership isn’t just the guy at the mic, it’s making sure the mic is ON and people are listening powerfully.” – Mona Aburmishan

Certified Class Clowns® Corporate Our Certified Class Clowns® houses a comprehensive list of comedy workshops, team-building exercises and classes that have been uniquely designed and tested to aimed to provide Teams and Management, access to the art of comedy as a form of self-expression, play and empowerment. Research has shown that comedy and improv games have a profound impact on the relationship between personnel that allows them to create affinity, understanding and conflict-free self-expression. By utilizing professional trained comedians to act out “typical office scenarios” employees are able to capture a new perspective to a common issue roaming in the office with a fresh perspective when encouraged to convert “frustration into funny.” Given that comedy is currently one of the most common methods of entertainment freely available today globally, with social media and online streaming outlets like YouTube & Netflix; employees already have a positive relationship to comedy and are thereby easily encouraged to engage in role-playing exercises and act- outs that uncovers issues that may not have been address in normal Human Resource channels. Our experience has shown that once a Team realizes a new perspective on a stressful topic, it frees them to see all confrontational issues with less significance and thereby eliciting creative resolutions and swift follow up action steps. Simply, our workshops allow attendees to see and experience that everything ALAWYS makes sense FROM the other persons perspective.

“After Certified Class Clowns® my team and I had a newfound relatedness that allowed us to have happiest, easiest Tax Season EVER!!!!!” – Judy Nims; CPA & CEO A&A Accounting, Des Plaines IL

See the following marketing material for more information. Please contact Mona or a member of Pangea Talent Management for a Class Clowns® comedy workshop nearest you.

See the following marketing material for more information. Please contact Mona or a member of Pangea Talent Management for a the Class Clowns® comedy workshop nearest you.

Thank you for your interest in Mona, please CONTACT [email protected] for any additional questions not covered in this PRESS KIT. PANGEA TALENT MANAGEMENT | MONA MOHAMMED ABURMISHAN

Groundbreaking Work

SIGNIFICANT EVENTS Globally, standup comedy is the modern-day philosopher meets the modern-day court jester all wrapped up in a celebrity-like stage appeal. Standup is becoming a fast trend; however, it is still a relatively new artform that requires present willing audience. Mona’s entry into the global comedy scene was early enough that she has paved the way for future American, Muslim, Arab women looking for a class act to follow.

Carnegie Hall – New York, NYC

February 2016 Mona Aburmishan is the first Arab, Palestinian, Muslim Female comedian to perform on the Carnegie Hall Stage.

Kennedy Center – Washington, DC

June 2015 & October 2018

Mona is the first to ever walk in her own groundbreaking footsteps by being the first Arab, Palestinian, Muslim Female comedian to perform on the Kennedy Center – TWICE!!

Thank you for your interest in Mona, please CONTACT [email protected] for any additional questions not covered in this PRESS KIT. PANGEA TALENT MANAGEMENT | MONA MOHAMMED ABURMISHAN

Digital Presence

SOCIAL MEDIA Mona Aburmishan has steadily maintained a very modest social media presence. She believes passionalty about spending more time in person with audience members from a show, or communiating directly with fellow comedians, producers or clients. She insists that comedy is most powerfully conveyed in person, not living a contrived life on social media. Lastly, Mona is consrvative on showcasing her perosnal friendships and family and adhers to a most Muslim lifestyle not often evident in the constant attention seaking social media space.

Website: MonaComedy.com The quickest way to get more information on everything Mona is up to or to contact her or a member of her team, please visit her website.

YouTube: MonaComedy & Mona “On The Go” Segments Mona Aburmishan’s sets from years of performing standup around the world are available at: “MonaComedy” on YouTube

COMING SOON: “MONA U” & “MonaOlogy” Mona will be releasing short videos exploring a new subject in history in a funny way!

Mona is also on Instagram: MonasPix Mona Aburmishan’s followers span from throughout the US, UK, Europe, Palestine and a very large number located in South Africa who regulrly engage with her posts.

Contact Information for Mona’s Team BOOK MONA NOW! Comedian | Emcee | Class Clowns® Instructor

Chicago, IL – United States | Pangea Talent Management Headquarters

For a direct line to Mona’s management team contact:

• Judith “Judy” Nims [English] – [email protected]

• Mohammed A. [Arabic] – [email protected]

Cape Town & Pretoria, South Africa

Cape Town, Contact: David Owen Wynne | Pretoria, Contact: Omar Aburmishan

Mr. Wynne has nearly three decades of experience in all aspects of the entertainment industry having worked directly with South Africa’s largest theme park. Most recently, David was the managing director of the Cape Town Comedy Club, one of the world’s top ten comedy establishments. He offers mentorship and leadership to our global talent – and has worked and mentored Mona as she has built her Class Clowns® comedy workshops in the African region.

Similarly, Mr. Omar Aburmishan, currently in the Pretoria region is working directly with local communities on behalf of the US Peace Corps. Omar is a trained Class Clowns® facilitator and is working on providing comedy workshops when possible

For more information on David, Omar and The South African chapter of the Class Clowns® projects or to discuss work with Mona in the African region more directly please contact:

Attention: David Wynne [English & Afrikaans] – [email protected]

Preston, England – United Kingdom

Contact: Prince Abdi [English] – [email protected]

Mr. Abdi is a well-known, international veteran comedian born and raised in London, England of Somali heritage. Prince has paved the way for some of the largest, well known international comedians to-date – specially Trevor Noah, Chris D’elia and rising stars Tez as well as countless British talent throughout his tenure in entertainment. Prince has become Mona’s direct mentor in comedy for the global audience as well as supported and honored her faith as a Muslim in entertainment. Integrity and kindness is paramount to their work ethic and business acumen with a clear honor code for the Muslim community. Prince is currently based in London, supporting our Preston head office.

For more information on Prince, his in-depth work or his mentorship and work with Mona throughout the UK & Africa; please contact: Thank you for your interest in Mona, please CONTACT [email protected] for any additional questions not covered in this PRESS KIT. PANGEA TALENT MANAGEMENT | MONA MOHAMMED ABURMISHAN Contact Information for Mona’s Team

Attention: Prince - [email protected]

Hebron, West Bank – Palestine

Contact: Saud “Sam” Aburmishan

The Pangea Talent Management team is excited to announce the launching of our Hebron, office that is currently under construction, expected delivery late 2019. For immediate questions in English or Arabic, contact:

Attention: Saud “Sam” Aburmishan” – [email protected]

NOTE FROM MONA

Salam!

Thank you for taking the time to read through my Press Kit!

I’ve been pretty busy in a decade of stand-up comedy! Thankfully my team insists on me keeping your attention, so this Press Kit is just a highlight of the work I’ve done and thankfully it only scratches the service of the beautiful connections I’ve made, ground I’ve broken and mentors I’ve met along this journey in comedy. As a practicing Muslim American woman, raised in a pre-9/11 era, I continue to only see the beautiful and innocence in every human I meet – and I’ve met a lot. Whether on a TV production set in Dubai, backstage at Carnegie Hall or at a library in Mitchell’s Plain, I know humanity is pure love and it is my pleasure and my mission to devote my life on Earth to bring Joy, Laughter and full self-expression to as many humans as I can. Thank you for allowing me this gift; because comedy is nothing without someone listening. ﻒﻟا ﻜﺷ ﺮﻜ Thank you,

Mona Mohammed Aburmishan

Thank you for your interest in Mona, please CONTACT [email protected] for any additional questions not covered in this PRESS KIT.