It is not an ordinary joke or an ordinary humorous joke by the most well-known tick of the Turkish capital class named Rahmi Koç; It is a degrading dominant class attack that operates an ethnic, class and gender cognitive schema simultaneously.
Because this is where the joke tries to be funny: The Kurdish woman, who is oppressed by both the state and the patriarchal social order, does not know the language of modern medical examination, cannot understand and distinguish between what privacy and medical procedure are; It is presented as a ridiculous figure and an object, left out of that "civilization" that the Turks, whom they consider to be a superior nation, brought from Central Asia and kneaded with the culture of the Western industrial society, and whose identity is still a mystery.
Therefore, the issue is not only the humiliation of the Kurdish society; Making fun of the Kurdish woman, both her ethnic identity, her female body, and her class and cultural position, is turning the masculinist dominant Turkish nation into an object of ridicule and ridicule.
This "humor" focuses on the artificial nation and its culture produced by Turkish colonialism, which tries to exist by massing two-thirds of its army in Kurdistan in order to protect its colonial political/economic dominance over Kurdistan, by having the Kurds write the words "How happy is the one who says I am a Turk" and "Every Turk is born a soldier" on their mountains and stones, and by setting fire to the mountains and forests where they cannot write; It establishes itself as the norm of reason, civilization and advanced culture. As for the Kurds, as they have done for 90 years, they represent accent, body, and ignorance far from the "civilization" established by the republic; He humiliates and pushes people out through the comedy of the burping, nonsense-talking peasantry, expressed as maho, kiro, chawayi, and strange extreme movements and behaviors, which are at the center of the behavior.
Therefore, simply calling it a "low-level joke" would be incomplete. This is a practice that produces cultural hegemony and is the continuation of the annexation and destruction that has been carried out on Kurdistan for a century.
When we consider the issue through Antonio Gramsci's theory of cultural hegemony, Bourdieu's concept of symbolic violence and Bergson's theory of humor, it becomes easier to understand this inferiority.
Especially in Bergson's definition of humor in the context of modern psychology, humor is defined as "a tool for one group's quest to feel superior and civilized than another."
From here, it is not difficult to understand what Rahmi Koç's below-the-belt shot amounts to. Telling this kind of humor and jokes that emerge from the swamp of fascism and nationalism in a public protocol environment such as a hospital opening transforms this from an individual outrage into a show of class and cultural hegemony, and every Kurdish individual from Kurdistan sees this.
When the Turkish state paradigm created a nation and could not carry out all kinds of massacres, threats and pressure on other nations and minority nations outside that nation as easily as before, all that was left was the Turkish series characters that were made to talk "come on, come on, let's go" by a handful of vagabond, ungrateful bourgeois with these shootings and the Turkish TV channels called pool media.
Barzan Bayhan on behalf of Yekitiya Dewleta Kurdistan