Mona Mohammed Aburmishan - Mona Comedy
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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 – Judy@PangeaTalent.com
Arabic – Mohammed “Hajj” Aburmishan – Inquries@PangeaTalent.com
Pangea Talent Management
CHICAGO | CAPE TOWN | PRESTON | HEBRON
PANGEA TALENT MANAGEMENT | MONA MOHAMMED ABURMISHAN
About Mona
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
mona@monacomedy.com
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 INQUIRIES@PANGEATALENT.COM 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 INQUIRIES@PANGEATALENT.COM 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
JUDY@PANGEATALENT.COM
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.
Judy@PangeaTalent.com 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
MOHAMMED@PANGEATALENT.OM
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 INQUIRIES@PANGEATALENT.COM 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
Lily@LilysTalent.com
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
Lily@LilysTalent.com 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.
Thank you for your interest in Mona, please CONTACT INQUIRIES@PANGEATALENT.COM for any additional questions not
covered in this PRESS KIT.
PANGEA TALENT MANAGEMENT | MONA MOHAMMED ABURMISHAN
PRESS: Frequently
Asked Questions
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.
Thank you for your interest in Mona, please CONTACT INQUIRIES@PANGEATALENT.COM for any additional questions not
covered in this PRESS KIT.
PANGEA TALENT MANAGEMENT | MONA MOHAMMED ABURMISHAN
PRESS: Frequently
Asked Questions
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.
Thank you for your interest in Mona, please CONTACT INQUIRIES@PANGEATALENT.COM for any additional questions not
covered in this PRESS KIT.
PANGEA TALENT MANAGEMENT | MONA MOHAMMED ABURMISHAN
PRESS: Frequently
Asked Questions
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
Thank you for your interest in Mona, please CONTACT INQUIRIES@PANGEATALENT.COM for any additional questions not
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PANGEA TALENT MANAGEMENT | MONA MOHAMMED ABURMISHAN
PRESS: Frequently
Asked Questions
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
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PRESS: Frequently
Asked Questions
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.
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PRESS: Frequently
Asked Questions
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!
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PRESS: Frequently
Asked Questions
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.
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PRESS: Frequently
Asked Questions
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
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PRESS: Frequently
Asked Questions
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”!!
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PRESS: Frequently
Asked Questions
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?!
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PRESS: Frequently
Asked Questions
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?
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PRESS: Frequently
Asked Questions
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,
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PRESS: Frequently
Asked Questions
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.
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Class Clowns® Comedy
Workshops – By Mona
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.
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Class Clowns® Comedy
Workshops – By Mona
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Class Clowns® Comedy
Workshops – By Mona
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Class Clowns® Comedy
Workshops – By Mona
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Class Clowns® Comedy
Workshops – By Mona
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.
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Groundbreaking Work
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!!
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Digital Presence
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.
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