Kayrat Ramazan:”Censorship doesn’t hinder our work; It hinders our lives!”

Kayrat Ramazan, a renowned stand-up comedian from Kazakhstan, represents a new wave of Kazakh stand-up. Kazakhstan only recently embarked on a confident path toward democratic reforms after gaining independence. The country is currently experiencing a period of rapid development in the political, economic, and cultural spheres, and this process is reflected in the genre of stand-up comedy. As Kayrat Ramazan says, comedy is a crucial tool for societal transformation—it helps to identify and voice issues that lack conventional means of communication. Humor allows people from different social strata and even different countries to find common ground—a conclusion that Kayrat confirms with his own example, having gained popularity through performances in Kazakhstan, Ukraine, and Russia. As a finalist in several major comedy shows and the founder of his own stand-up club, Kayrat Ramazanov is convinced that humor is currently the primary means of developing international communication, and one of the main obstacles to this development is censorship, both state-imposed and societal.

Kayrat, until recently, many comedians from Kazakhstan worked in Russia, and you yourself successfully performed in the largest comedy shows. But then the situation changed, and now many Russian comedians have moved to Kazakhstan permanently. How has this affected your relationship with your Russian colleagues? Has there been any special solidarity or, conversely, a sense of competition?

For many years, Moscow was indeed a center of attraction for passionate people from all over the post-Soviet space. A lot of progressive people and ideas gravitated there. It was a place where I and many other artists wanted to realize ourselves and made plans for the future. There was a prevailing belief that Russia had changed since the collapse of the Soviet Union. At that time, Russia in my eyes was like a locomotive that could pull the other post-Soviet countries forward to a brighter future. As the war has shown, this impression was mistaken. However, not only residents of Kazakhstan or other CIS countries were mistaken in their expectations, but also many Russians who, after the start of the war, were forced to leave their homes and go abroad, including Kazakhstan.

Migration sparks comedy gold

Regarding the attitude towards refugees, I have a joke that goes like this: I have nothing against immigrants because I came here with them. In reality, that’s exactly what happened: first I lived with friends in Moscow, and the next day my friends were already living with me in Uralsk (a city in western Kazakhstan). There was no particular competition due to the mass migration of artists—there aren’t that many of us, Russian-speaking comedians, to feel competition in a market of 200 million people. And at that moment, no one really thought about it, people were more worried about their position on the war. Comedians from Russia were against the war and openly stated it, so they easily found a common language with local comedians.

Can you recall any interesting moments related to migration from Russia?

For example, when Kazakh and Yakut comedians got together and drank tea together. The nuance is that Kazakhs and Yakuts are Turkic people, long-separated relatives meeting after centuries.. There were many other funny moments caused by the everyday collision of two worlds in which I lived at that time. And in the cultural sphere, there was a mixture of Russian and Kazakh comedy. Undoubtedly, Russians brought something new to our culture, but they also felt the Kazakh vibe themselves. There was contact, creative exchange. Now all the comedians have already become friends, there are even those who got married. A new community has emerged.

Laughter breeds inner strength

Did professional solidarity help? After all, you all ultimately represent one profession, work in the same field.

I can say that comedy as a whole plays an important role in difficult times, such as war, pandemics, or economic crises. Firstly, it helps to reduce stress levels, as laughter promotes the production of endorphins and improves overall well-being. Secondly, comedy unites people, creating a sense of community and support, which is especially important in isolation or in conditions of uncertainty. Thirdly, humor allows you to look at difficult situations from a different angle. It can serve as a kind of “first aid” for the mind, making it easier to perceive fear and anxiety. Finally, comedy can touch on serious topics, helping people understand them in a more light and accessible way. This creates a space for discussion and criticism, which can be beneficial for emotional healing. In general, comedy becomes an important tool for adaptation and maintaining optimism in difficult times.

They say that stand-up is a kind of therapy for the performer. Is this true, and is it only for the performer?

Performing shared healing truths

Yes, stand-up can indeed be considered therapy, not only for the performer but also for the audience. For us comedians, the process of performing often becomes a way of understanding and processing our own emotions and experiences. We share personal stories, which helps us work through our feelings and find humor in them. This can lead to emotional relief and greater clarity. On the other hand, for the audience, stand-up can be a source of comfort and support. By listening to comedians, people can realize that they are not alone in experiencing difficulties and can laugh at shared problems.

You have experience of successful performances in Kazakhstan, Russia, and Ukraine, where you participated in major national television projects. It can be said that you have international recognition within the CIS. As an expert, how do audiences differ in different countries?

Despite the fact that all countries are mostly Russian-speaking, there are language differences in intonation. For example, the Kazakh language has a special phonetics and grammar, and the Ukrainian language has its own characteristics. Because of this, wordplay and puns can be perceived differently. But they also provide more tools for creating new jokes. Cultural peculiarities also play a special role—in Kazakhstan, jokes about family values and relationships within the family are more popular, in Ukraine, jokes on political topics, and in Russia, people react more vividly to everyday topics and life stories. In general, when performing outside of Kazakhstan, I noticed that audience reactions can vary significantly, and this requires a certain adaptation of the material. Therefore, when I arrive somewhere, I first learn about the local current news to stay informed. And during the performance, it’s important to listen to the audience’s reaction—if I see that certain jokes are well-received, I continue to develop that theme. If something doesn’t work, I’m ready to quickly switch to something else.

Choosing human over fame

You performed in front of the future President of Ukraine, Volodymyr Zelensky, and in Russia, you became a finalist in a show on one of the country’s main TV channels. After such achievements in other countries, didn’t you feel a loss of scale when you returned to Kazakhstan?

I’ll tell you a secret, on the day of my departure, a new season of one of the popular shows on a federal channel was scheduled to start. But I decided to go back to Kazakhstan. Of course, it was hard to leave everything I had been working towards for years, but at the time of departure, there were no thoughts about losing scale, I just wanted to remain human. For me, this is important! I could pretend that nothing was happening, maybe I would have won materially, but I didn’t want to help other people in Russia maintain the illusion of normality. What would Ukrainians, Kazakhs, or Russians with an anti-war stance think of me then? What would they think of my people who raised me? I don’t need bloody money or bloody fame.

Would you like to work in other countries? In what direction do you plan to develop further?

Global stage awaits laughter

Definitely, I would like to work in other countries! Every new experience enriches both me and my creativity. I think stand-up has a unique ability to connect with people from different cultures, and I would like to try performing in places like America and Europe. As for the direction of development, I want to continue experimenting with material and style. I am interested in exploring new topics and approaches, as well as collaborating with other comedians. In general, I strive to grow as an artist and expand my horizons, ultimately creating deeper and more multifaceted humor that resonates with different audiences.

This year, two high-profile cases of comedian arrests occurred in Kazakhstan—Nuras Khan Baskozhayev and Alexander Merkul. Formally, they were arrested for swearing in public, but it is believed that they were punished for political jokes. Do you feel the pressure of censorship in your work?

It is very frustrating that the Kazakh authorities, instead of carrying out reforms and improving the quality of life for the population, are putting pressure on creative people. I believe this is a waste of the state’s energy, resources, and time, and the state system has misguided priorities. Our country already has a relatively low human capital development index. And at the same time, instead of supporting initiatives that are being undertaken by our own efforts, the authorities are subjecting creative people to harsh pressure. Undoubtedly, this is political pressure, undoubtedly this is the establishment of so-called “red lines.” I think the Kazakh authorities are very nervous about the emergence of idols who can voice the thoughts and mood of the people. In an authoritarian country where state institutions are still weak and public policy is absent, stand-up effectively becomes public discourse. I would say that stand-up is becoming public policy. And state censorship doesn’t just hinder our work; it hinders our lives!

Evolving through laughter’s risks

In addition to state censorship, there is also societal censorship. Nowadays, you can easily be canceled for an unsuccessful joke on social media. How do you deal with hate for unsuccessful jokes and how do you joke in general if any joke can offend someone?

It’s important to understand that not everything in comedy will be perceived positively. And if a joke doesn’t work, I see it as an opportunity for growth. Constructive criticism helps me improve. But sometimes, the person who wrote an angry comment forgets about it ten minutes later. Therefore, you need to understand that it’s impossible to please everyone. In 16 years of doing comedy, I’ve developed a professional immunity; I simply ignore empty hate or respond with humor. The main thing is to remain sincere and open with the audience. After all, comedy is a risk, and mistakes are part of the process. They don’t criticize those who do nothing.

In addition to stand-up performances, you also write screenplays for films, work as an editor and mentor for aspiring comedians, work on creating your own show, and are preparing a comedy art manual in Kazakh. Don’t you feel like you need to focus on one thing?

Cultural comedy’s bold evolution

I don’t have that feeling, and it can’t be, because these are all related activities, one logically follows from the other. Comedy has many forms: there are jokes that can only be told from the stage in a stand-up format, and there are things that can only be revealed visually in a film or series. As for mentoring and writing a manual, I consider this my contribution to the development of Kazakh culture.

If earlier the main stars of stand-up were comedians from Great Britain and the USA, now more and more new stars are emerging from other countries, from Europe, India, and so on. What are the prospects for representatives of Kazakh stand-up to take their place on the Olympus? Is there a special style, a vibe, in Kazakh stand-up?

How to understand your place on Olympus? Our compatriot is currently one of the best comedians in the United States. Borat Sagdiyev, haven’t you heard? But seriously, Kazakh stand-up and its representatives have good opportunities to make a name for themselves on the international stage. After all, we became an independent country only 30 years ago; we are new people in the global scene. Our way of life, traditions, culture, and comedy are something unexplored and new to the modern world. Considering how much Kazakhs love comedy, the time is not far off when a popular English-speaking comedian from Kazakhstan will emerge. Maybe even it will be me!

Inspiration fuels comedic growth

Who do you look up to in your stand-up work? Is it important for a comedian to be well-versed in the material of other seasoned stand-up comedians, or are there other primary qualities?

Being well-versed in the material of other stand-up comedians is indeed important for a comedian, but it’s not the only key quality. Knowing the material of other comedians helps understand different styles, techniques, and topics, which allows you to avoid clichés and find unique approaches. I rewatch a lot of stand-up. Comedians I enjoy rewatching and look up to include Louis C.K., Jim Jefferies, Jimmy Carr, Dave Chappelle, Bill Burr, and Aziz Ansari. From the CIS: Arthur Chaparyan, Slava Komissarenko, Ruslan Bely, Nikita Shevchuk, and Vanya Usovich. However, primary qualities such as the ability to find humor in everyday life, creativity, emotional intelligence, and the ability to interact with the audience can be even more important. A comedian needs to feel the mood of the audience and be able to adapt to the situation.

The profession of a comedian used to be perceived as something unserious. How is the situation now?

Comedy defies expectation daily

You wouldn’t believe how many times my parents asked me to quit comedy, had conversations with me as if I were a drug addict, not a comedian. Parents can also be understood; they live in a time of change. It’s important for them that their child has a stable job. Comedy is still a thorny path. But the criticism continued until the first TV appearance. Now, both parents and society understand that comedy is just as much work, maybe even harder. Not everyone can write material and perform on stage for 5 minutes, while we can stand on stage for hours. We comedians don’t do anything bad, we just want to joke to make people smile and be happy. After all, there’s no law that says everyone has to be serious. Well, not yet!

In your opinion, where are there more conditions for the development of comedy—in a multicultural or monocultural society?

In my opinion, a multicultural society provides more conditions for the development of comedy. In such an environment, the diversity of cultures, traditions, and life experiences creates a rich ground for unique and varied humor. Comedians can draw inspiration from multiple sources, allowing them to play with differences and find common themes.

Cultural jokes ignite curiosity

Multicultural societies also enable the creation of deeper and more layered jokes that can touch on various aspects of life and relationships between cultures. Overall, the richness of a multicultural context can significantly enrich the art of comedy. Fortunately, Kazakhstan has no shortage of cultural diversity, which is encouraging.