The terrorist attacks on the Twin Towers in New York City misshaped life in the United States in profound ways. The suspicion, vicious antipathy, and the violence that met Muslims and Arab-Americans after September 11th, 2001 was not surprising given the history of this nation. One of the developments of our post-9/11 world has been the racialization of those perceived to be Arab Americans and Muslims into the catchall racial category of “Arab/Middle Eastern/Muslim.” Sociologist and professor of Social Welfare and Justice Louis A. Cainkar suggests the 9/11 crisis did not create animosity toward the “Arab/Middle Eastern/Muslim/Other” community as much as it made evident preexistent anti-Arab/Muslim sentiments. While all who are lumped into the “Arab/Middle Eastern/Muslim/Other” category are not Muslim, Middle-Eastern or Arab, the dominant political discourse via the media has created a visualscape in the United States, which “otherizes” all who “appear” to be “Arab/Middle Eastern/Muslim” into this group. Consider for example the case of Sikh Americans, who are not Muslim or Arab but are routinely profiled as both and are often victims of hate motivated crimes.
The hypervisibility this racialization bestowed upon previously invisibilized communities elicited a diversity of responses among which is “Arab/Middle Eastern/Muslim” stand-up comedy. Stand-up comedy in the intervening years since 9/11 has created a space where the racialization of “Arab/Middle Eastern/Muslim/Other” is being contested, explored, and where counter-narratives to dominant culture are being constructed. Acts like the Axis of Evil Comedy Tour, The Muslims are Coming, and Allah Made Me Funny along with comedians like Ahmed Ahmed, Mohammed Amer, Maz Jobrani, Preacher Moss, Dean Obeidallah, Negin Farsad, and Azhar Usman are just some of the stand out acts that have come to define “Arab/Middle Eastern/Muslim/Other” stand-up comedy in the last 14-years.
This week I watched and laughed with the stand-up comedians behind “Allah Made Me Funny.” This documentary/comedy concert centers on three stand-up comedians: Palestinian-American Mohammed Amer, Indian-American Azhar Usman, and African-American Muslim convert Preacher Moss. Each of the comics is presented as being firmly grounded in their faith. Additionally, the observance and practice of Islam features prominently in their acts, which appear directed to a mostly Muslim audience. Each comic takes the stage for 20 minutes in which they share their humorous observations about Muslim women, air travel, stereotyping, racial profiling, generational communication issues, cultural idiosyncrasies and the challenges of being Muslim in a country that is ignorant of Islam and those who practice it.
There are many things that work well in the collective project Usman, Amer, and Moss have put together. Each of the comics challenges the dominant narrative about Muslim women in the United States. Through funny accounts about their life as sons and husbands, the comedians present Muslim women as fearless, decisive, strong, and driven. In one of the funniest moments of the DVD, Preacher Moss shares the story of young men planning to take the headscarf off a Jamaican woman riding a D.C. bus. Preacher says laughing, “I wanted to tell them ‘No, she will kill us all!’” Another strong dimension of their work centers on their discussions about living in a post-9/11 United States as Muslims. Mo Amer, the funniest of the group but also the least overtly political, shares the reason first generation Palestinians circumvent political conversation is fear: of risking their status, of loosing favor with the government, and of being deported. Mo delivers the punch line of this story by saying, “But mom, we are Palestinian, we are stateless people, where are they going to deport us to?” In the end I concur with Hussein Rashid’s Religious Dispatches column about the documentary: “What Allah Made Me Funny has the promise to do is to keep a spark burning that it is not all doom and gloom. To remind us of what else our Muslim and American identities hold.”
Not everything works. While they reframe the narrative of Muslim women, they go about it in ways that skirt sexism. Usman, who presents his wife as being independent, professional, and smart, also refers to Muslim women in his stand-up act as the terrorists of the home. Amer refers to Muslim women as the Queen in a chess game, which can do anything, go anywhere and move in any direction, while men as the King get stuck moving in circles and are the mercy of their women. Unlike the Axis of Evil comedy troupe whose members selected their name in response to President Bush’s 2002 State of the Union address, the three comedians profiled in Allah Made Me Funny skirt around the edges of the political, often placing the responsibility on the shoulders of the Muslim American community to shift public opinion. Both Usman and Moss spend segments of their 20-minute sets reviewing the ways Muslims in the United States could afford to shift their image. From hard to explain holidays to the inability to pronounce certain words; from the lack of a theme song to the prohibition against eating pork; from the absence of infomercials explaining Islamic words that are hard to understand, the consequence of this tactic is that Allah Made Me Funny never fully challenges the dominant narratives about Muslims on the United States. Instead, it suggests if Muslims were more mainstream, less other, and more funny, the racism and xenophobia distorting U.S. opinion about Muslims in the United States would be delegitimized. I will admit that it is quite possible this is not what the comics intended. In a 2005 interview with NPR, Usman described what made their tour appealing,
“I think part of the reason why the tour has become kind of a phenomenon unto itself is because comedy and humor is really the antidote to fear. You know, we talk to people and through our show, particularly non-Muslims will come out and say, `God, you know, I had no idea that, you know, Muslims could be funny or, you know, that you have a humor tradition within Islam or, you know, that this is what Muslims are all about,’ etc., etc. And it’s because they feared something they didn’t know.”
In the end where Allah Made Me Funny succeeds as a stand-up comedy show is in redefining what it means to be a Muslim in the United States after 9/11.
 Louise A. Cainkar, “The Social Construction of the Arab (and Muslim) American,” in Homeland Insecurity: The Arab American and Muslim American Experience After 9/11, First (New York, NY: Russell Sage Foundation Publications, 2011).
 Dr. Maureen Reddy in her article, “Invisibility/Hypervisibility: The Paradox of Normative Whiteness” offers this helpful articulation of hypervisibility. She writes, “Whiteness and heterosexuality seem invisible, transparent, to those who are white and/or heterosexual; they are simply norms. In contrast, whiteness makes itself hypervisible to those who are not white, much as heterosexuality forces itself upon the consciousnesses of gays and lesbians. And one way that these constructs reinforce their invisibility to those who benefit from them is precisely through this hypervisibility to those who do not.” Source: http://www.questia.com/library/journal/1P3-506047621/invisibility-hypervisibility-the-paradox-of-normative#articleDetails
 Andrea Kalin, Allah Made Me Funny – Live in Concert (Unity Productions Foundation, 2009).
 Hussein Rashid, “Allah Made Me Funny : Borscht Belt Goes Halal,” ReligionDispatches, October 9, 2008, http://religiondispatches.org/archive/culture/600/allah_made_me_funny__borscht_belt_goes_halal___culture___/.
 Jennifer Ludden, “Allah Made Me Funny: Muslim Comedy : NPR,” NPR.org, August 14, 2005, http://www.npr.org/templates/story/story.php?storyId=4799868.