A crowd of Ismaili Muslims lines up outside the brightly-lit Manhattan Center on West 34th Street. A brisk city wind ruffles their blazers, dupattas (scarves), and colorful tunics as they wait for the doors to open to a theatrical production created and performed by their religious community. The crowd is clad in attire ranging from American business casual to Central and South Asian ethnic wear, a reflection of the congregation’s cultural diversity. This wide-ranging dress hints at the essence of the show they are about to experience, which describes Ismailis’ diverse journeys to the United States and the formation of their American Ismaili identities.
The global Ismaili community numbers approximately 20 million and populates over 25 countries from Canada to Kenya. Though members come from different cultural backgrounds, they are united by shared religious beliefs and values, as well as by their allegiance to an Imam, their spiritual leader.
While Ismailis currently reside in most states in America, this was not the case six decades ago. The first Ismailis to immigrate to the United States arrived in the 1960s, coming from countries such as Syria, India, and Uganda. Most arrived as students and ended up settling, enticed by opportunities to advance their education and careers. They paved the way for subsequent waves of migration from their homelands, resulting in the establishment of Ismaili congregations across the United States.
The narratives of these immigrants and their families are what bring Ismaili Muslims to Manhattan’s West 34th Street to see the production “Stories: Our American Journey.” This show brings to life the experiences of American Ismaili Muslims through song, dance, skits, and documentary-style videos. It memorializes their efforts to assimilate into American society as they seek to retain their native cultural roots and uphold the tenets of their faith. The stories presented in the show are based on real-life experiences, collected through video submissions from over 1,100 individuals.
Some of these stories chronicle the physical journey of arriving in America, landing in an unfamiliar country with one suitcase, a handful of cash, and the telephone number of a prospective host written on a slip of paper. Others reflect the cultural clash immigrants encountered after arriving in a country more liberal than their homelands. One community member describes coming out as gay to conservative elders in the congregation and tells of their disapproval. Still other stories illustrate the experiences of first-generation American youth growing up with immigrant parents and struggling to find their place in society.
Interlaced with these solemn accounts are stories of positivity and hope, revealing how community members seek strength from their faith. A mother describes her anguish when she first found out her son was born deaf and mute. She explains in a video clip that it took her months to accept her son’s condition, before she finally decided that she was entrusted with this child because “God felt she could offer him the love and support to help him grow.”
Though the stories feature individuals from different cultural backgrounds and experiences, many of them express common sentiments. From a number of performances emerge themes of migration, nostalgia, and hardship. Other stories evoke fear, apprehension, and uncertainty.
It is not just the skits that highlight unity within the congregation. One song and dance focuses on the phrase “Ya Ali Madad,” a greeting exchanged between Ismailis all over the world. The dancers dress in multicultural attire while the song features soundscapes from various musical traditions, the culmination of which embraces the unifying nature of “Ya Ali Madad.”
Through various forms of artistic expression, the “Stories” production highlights differences in the experiences of the American Ismaili congregation, while also tying them to one community and one faith, reflecting a culture of unity within diversity.