After Zehra Ömeroğlu was acquitted in the obscenity case, LeMan magazine, where she illustrates, faced new censorship issues that resulted in the arrest of four of its employees in Istanbul. Ömeroğlu discusses with Freemuse the exploitation of caricature as a political instrument, the intolerance towards humour, and the pressures faced by women in Türkiye.
On June 26, Zehra Ömeroğlu, a cartoonist for LeMan magazine, was acquitted of obscenity charges related to her cartoon “Sex in the Pandemic.” She had been on trial for nearly five years. That same day, LeMan magazine faced a new censorship controversy over a cartoon by Doğan Pehlevan. After the cartoon circulated on social media on June 30, religious extremists attacked the magazine’s office. They claimed that the cartoon depicted the Prophet Mohammed. LeMan magazine stated that the cartoon illustrates the futility of war through the figures of Mohammed and Moses ascending to the sky, names that are often used in both Palestine and Israel. Despite this the cartoonist and three magazine employees were arrested on charges of “insulting religious values” and “inciting hatred and hostility.”
Recent developments have undeniably impacted Türkiye’s long-standing tradition of humour, leading to more significant setbacks. Deniz Özen, one of Ömeroğlu’s lawyers, shared his thoughts after the news of her acquittal. He noted that the trial lasted 4.5 years, which highlights the slow nature of the judicial process in Türkiye, even for relatively straightforward cases. “Ultimately, the expected outcome was achieved, and Zehra Ömeroğlu was acquitted. The prosecution had argued for a different outcome, suggesting she should be sentenced. We will see in the coming days whether she decides to appeal this judgment. However, it is important that this verdict is upheld and finalized,” Özen added. In an interview for Freemuse following the acquittal, Zehra Ömeroğlu expresses her belief that increasing polarisation lies behind the growing intolerance towards humour: “Caricature is a powerful art form; it is easy to understand and spreads quickly through social media. Unfortunately, these traits can also make it a target for criticism. In the past, society had a culture of tolerance towards caricatures, particularly in the 1990s; however, we have lost much of that tolerance. Today, there is a significant polarisation regarding various issues, alongside fuelled by rhetoric that exacerbates it.”
Self-censorship has permeated so deeply that artists barely notice
Ömeroğlu emphasizes that a similar underlying reason contributed to the prosecution of her cartoon titled “Sex in the Pandemic,” which was deemed “contrary to public morality.” She faced a potential three-year prison sentence, and her case lasted for nearly five years. She notes, “‘Sex in the Pandemic’ was created to lighten the mood during the difficult times of the pandemic, depicting a simple moment; however, it was prosecuted for obscenity. Those who are deeply entrenched in the polarisation I mentioned often categorize you based on your work because you represent something in their eyes. As a result, the content of your expression becomes irrelevant.”
As a female cartoonist, she believes that the charges of obscenity against her were intentional and gender-based. “My male colleagues did not face such treatment for creating similar content. While some have been prosecuted for defamation or political cartoons, I, too, have produced harsh political commentary. However, I was judged not for this but for obscenity. I suppose they believe my morality is below their standards for women!” she states.
The baggage of being censored is quite heavy. Being targeted, facing trials, the threat of punishment, the lengthy legal process, economic censorship, and isolation are all significant challenges. What upsets her the most is hearing statements like, “But this cartoon is a bit too much,” even from those who claim to defend freedom of expression. “We already know the government and its general approach, but the attitudes of people who profess to be open-minded and flexible are what make me despair,” she says.
Although she emphasizes that she has entered a more productive phase over the past five years, she notes that self-censorship has insidiously taken over the art scene: “Don’t touch this, don’t touch that; we were left with dry, empty pages. Self-censorship has permeated so deeply that I don’t think most artists are even aware of it. It’s essential to recognise this and strive for balance; otherwise, one may become unable to express anything at all.”
By Özlem Altunok, Freemuse Researcher, Türkiye
