In 2024, following a period of significant change, the comedy scene in Bangladesh was vibrant and dynamic. Discussions revolved around various topics such as quotas, curfews, and the bustling city life. Comedy clubs were bustling with audiences, and online specials on platforms like YouTube garnered millions of views. Esteemed comedians like Amin Hannan, Ahmed Ashik, Akhlaq Siddiqui, and Mahedi Toru were the stars of the stage.
However, the once-thriving energy has now dissipated. Audience numbers are dwindling, venues are disappearing, and the scene is struggling with repetitive content, exclusivity, and the blend of conservative and societal critiques. Naveed’s Comedy Club (NCC), the pioneer and sole dedicated venue, known for its open mics and live performances, recently shut down its long-standing location due to soaring rent costs surpassing ticket sales.
Organizations like Stand Up Dhaka (SUD) are striving to keep the comedy culture alive by utilizing borrowed spaces, restaurants, and university auditoriums. Yet, the efforts are sporadic, dependent on volunteers, and challenging to sustain. Established comedians maintain their presence through corporate events, tours, online platforms like YouTube and TEDx talks, while newcomers rely on open mics and small gigs, often recycling old material.
The representation of women in comedy remains scarce. Figures like Sara Zaman have emerged as a distinctive voice in a predominantly male-dominated industry. Starting her comedy journey a decade ago in Melbourne, Sara Zaman has become a prominent figure in NCC and SUD spaces post-pandemic. She draws inspiration from comedians such as Taylor Tomlinson, Sindhu Vee, and Jeff Acuri.
Sara Zaman emphasized, “The lack of female representation in comedy is not due to a lack of humor but rather issues of access, safety, and representation. Female comedians face distinct standards and often receive comments focusing on appearance rather than content, reflecting societal and internalized biases, creating a perception that they must work harder to prove themselves.”
Conversations with performers like Ahmed Ashik, Sara Zaman, Akhlaq Siddiqui, and Mahedi Toru shed light on the challenges facing the industry. Each comedian has a unique approach and perspective, shaping their individual sets for stand-up performances.
Ahmed Ashik, who has been performing since 2008 in the UK, Singapore, and Canada before returning to Bangladesh over a decade ago, is known for his distinctive Chatgaiya style. He prioritizes original writing over repetitive jokes prevalent in the industry and draws inspiration from comedy legends like George Carlin, Richard Pryor, and Louis C.K. Despite criticisms, Ashik commends the enthusiastic live audiences present in Bangladesh’s comedy scene.
English comedy has gained traction in Bangladesh, with rising talents like Akhlaq Siddiqui, who started his comedy journey after completing his A Levels, left briefly, and returned due to his passion for the craft. He stands out for his unique delivery and draws inspiration from comedians like Chris Rock, Adam Sandler, and Dave Chappelle. Siddiqui credits his family’s appreciation for the arts for his career in music, voice acting, and stand-up comedy and acknowledges the challenges his colleagues face in pursuing similar paths.
Siddiqui remarked, “In a South Asian context, there is a tendency to suppress individuality. It requires significant unlearning to express oneself authentically and improve communication skills.”
Mahedi Toru represents a unique case, discovering stand-up comedy in Bangladesh, initially as a regular audience member before mustering the courage to perform at an open mic event. Within just two years of consistent performances at open mics and featured shows, Toru has risen to headliner status in all his appearances.
Toru reflected, “Often, the humor in a joke overshadows the underlying serious message. Shouldn’t serious issues receive more attention and importance?”
Economic challenges, inflation, and societal norms contribute to a subtle form of censorship among conservative audiences, impacting the comedy landscape. Audiences remain hesitant to engage with certain topics openly. To encourage laughter in public spaces, venues often create a relaxed atmosphere where audience members can feel comfortable sharing a laugh among strangers. Once the laughter begins, it becomes infectious.
Despite the hurdles, there is optimism within Dhaka’s comedy community. Stand Up Dhaka’s inclusive and accessible approach, featuring diverse talents, offers a promising model for the future. The transformative power of laughter was evident during the revolution, and potential resurgence is on the horizon, whether through the revival of Naveed’s Comedy Club in a new location or the expansion and collaboration opportunities for Stand Up Dhaka.
[Photo: Courtesy]