In the male-dominated industry of standup comedy, Céline Tshika can be considered a triple-threat excelling as filmmaker, actress and content creator. As a DRC-born creative based in Cape Town, Céline continues carving her own lane with musical comedy skits and solidifying herself in the male dominated space through her love for storytelling while being an inspiration to African women.
What inspired you to pursue comedy?
I’ve always been a storyteller, and humour has always been an integral part of my personality. There’s an “Oh, I’m funny” moment for every comedian, and mine came from writing comedic blogs while I was studying acting. My web series “Jess Goes West” was where I knew I wanted to make comedic videos, and from there it was just figuring out how I was going to do this for life.
Were there any comedians who inspired your career? If so, who and how did they do so?
From a screenwriting and performance perspective, it was definitely Micaela Coel. Seeing an African woman tell stories in a lighthearted, goofy comedic way was such a game-changer for me, and I’d say that was the start of my overall comedy journey. For stand-up specifically, that is less clear. Many factors contributed to that, but some of it came from being a correspondent on a small political comedy show ‘The Mix and Serve’ in LA, watching Patriot Act with Hassan Minhaj, and especially Late Night with Seth Myers. He has such a great camaraderie with the team, and I particularly enjoyed Amber Ruffin’s segments. This was integral to me seeing that I could bring my care for social issues into my comedic expression. Locally, Kate Pinchuck was a big inspiration. I adored how witty and shamelessly herself she was, and it made me feel considerably more fearless.
How has being a woman shaped your comedic style and topics you address?
I think because of the expectation that people find women less funny, I at first avoided reminding people that I was a woman in my sets. I then realised it’s impossible to separate my gender identity from my perspective on the world, so I allowed myself to address my women-specific experiences in a way I still find funny. I’ve always been a feminist, and that’s never gotten in the way of me being funny. So it’s just about finding a relatable, non-alienating way of telling a story in a way that’s entertaining enough for non-women to follow, and real enough for women to feel seen by.
How do you balance the demands of your career with your personal life?
I’m getting better at knowing when I need to take a break. I know after a hectic week of work, I need the following week to catch up with my friends. Otherwise, we survive on voice notes.
As a filmmaker and content creator, can you describe your creative process and the work that goes in to creating your own content?
Sure! Ideas typically build up over time, but some of them, like my latest sketch “no, YOU’RE amazing!’ can happen from one funny real-life interaction and I know it’s going to become a script. Once I have that idea, I’ll write it somewhere so I can get home and start working on it. I then decide on the scale and format– some things are a funny tiktok, some are a well-produced short film, and some are comedic music videos. From there, I do the writing. I make an appointment with the relative person (music producer, camera person) to make sure I have a deadline, and then get feedback from peers. And boom! It has to happen now.
With my own at-home social media type sketches, I have a tripod and mic and can edit videos. Those are more flexible since it’s just me and it’s whenever I can get to it.
With the musical comedy videos the steps aren’t very different, the ‘script’ that I’m writing is just a song. From the song, I already know what the video’s going to look like. That visual comes into the music studio day with Mikhaela Faye, and then I use the demo to create a mood board and shot list. From there, unfortunately, nothing can stop it from happening. I’m thinking of nothing but that shoot.
What was the most challenging film you’ve directed and how did you overcome those obstacles?
Every shoot has its challenges, but I’d say the Capitalism video was the most challenging so far. There were several scenes, setups, and lyrics to cover, and it was difficult to get to it with a small team. I was uncharacteristically forgetful and had to go back and reset some scenes because my brain was scrambled from so many curveballs. I overcame these by relying on my team.
A lot of the stress was just decision-making, and having a Director of Photography as experienced and talented as Meekaaeel Adam was so helpful. He’s good at simplifying things, and he very easily came up with another idea for a shot I hadn’t figured out yet. My Production Coordinator Moya Marumo was also just fantastic at keeping me centred that day and ensuring things ran smoothly.
You have a number of amazing works to your name and have created your own lane with musical comedy skits. How do you plan on maintaining this lane and creating a legacy?
Thank you! I have such a great core team with these skits that I’m super motivated to keep making more. I thankfully have endless ideas and I’ll have to find a way to bring them to the screen. My next goal is to partner with compatible brands to sponsor my other video ideas, as well as to make tailored skits for some brands. As soon as I’m able to monetise this content, I’ll be able to do this more consistently. I’m also working on a longer-form musical play with a fellow comedian, and I’m so confident that it will be dazzling and lead to a more sustainable musical comedy career.
Stand-up comedy is known for being a male-dominated industry. How have you ensured to solidify yourself, and continue to do so, in this space?
The importance has always been on creating and nurturing community. It can be so lonely to be the only woman on a lineup, and ensuring other women in comedy are present can help take the pressure off. It does come down to being undeniable in your work, always working to improve your sets, and showing up. I do often disappear from stand-up spaces when I’m working on projects, but I’m generally present online, and that I think ensures that my place in comedy always remains.
What has your journey as an African woman in comedy been like thus far?
It’s been great. African women are in a really fun place where we’re connecting more online and that’s translating to real life. We have more representation in the media, which allows us to see so many forms of existing as black women. I love being able to lean into my Congolese background, the wide experience of growing up as an immigrant, and also connecting with people of colour from anywhere.
There are so many universal experiences I have that connect me to audiences from anywhere. It’s been wonderful to meet people after shows and discuss our similar parents or upbringings. I’ve enjoyed being able to represent a lot of people, without having to deny my culture or gender. There have been some frustrating parts, particularly with men still being uncomfortable with a woman being funny and having to take extra measures to protect myself online, but it’s overall been quite an honour, and I can’t wait for more of us to take up space here.
What advice would you give young women who want to pursue a career in comedy?
Do it! Your voice matters. There’s an audience for your comedy, your personality, your wit. Slide into the DMs of local women in comedy and ask for advice or gig information. If they ignore you, message someone else. Create those spaces for yourself if you don’t find them. Find your why. Work on your craft. Focus on your ideal audience and ignore everyone else.
