TY  - JOUR
T1  - Bir Sözlü Tarih Çalışması Olarak Feminist Etnografi: Bir Kuşağın Dövmeli [Deq’li] Kadınları
TT  - Feminist Ethnography As A Study of Oral History: Tattooed [Deq] Women of a Generation
AU  - Turgut, Beyza Huriye
PY  - 2024
DA  - November
Y2  - 2024
DO  - 10.26650/4boyut.2024.1568731
JF  - 4. BOYUT Medya ve Kültürel Çalışmalar Dergisi
PB  - Istanbul University
WT  - DergiPark
SN  - 2822-6623
SP  - 63
EP  - 110
IS  - 25
LA  - tr
AB  - Bu çalışmada, kadınların tecrübeleri ile cinsiyetlendirilmiş gerçeklikler bilgisi arasında ‘hangi bağlantıların nasıl aranacağı’ üzerine teori ve pratik, tecrübe ve gerçeklik arasında feminist etnografik metodolojiyle bir tartışma yürütüyorum. Çalışma, Şanlıurfa’nın Hilvan İlçesine bağlı civar köylerde ikamet eden altmış yaş üstü on kadınla, geleneksel Deq (Dövme) hakkında nitel araştırma yöntemini benimsiyor ve derinlikli görüşmeye dayalı ucu açık sorular sorarak katılımcıların mikro-habitatlarında tecrübelerini bugüne taşıyorum: okuma-yazma bilmeyen ve Türkçe konuşamayan kadınları, (“egzotik olarak nesnelleşelebilirlik” ya da “kurbanlaştırıp mağdur öteki” görmek yerine) ‘bilen-özne’ olarak değerlendirip feminist tarih’e not düşürüyorum. Bedeni, biyolojik olduğu kadar kültürel ve politik olduğu kadar imaj bakımından nasıl yorumlandığını, yöredeki kadınlardan dinleyerek yazı’ya aktarıyorum; bu sayede sözün uçuculuğuna karşı, deq’li kadınları tarihe yerleştirmeyi amaçlıyorum. Yörede bir neslin üçüncü ve son kuşağında yer alan deq’li kadınların bedenlerindeki yazıtları, hangi saiklerle yaptıklarını alımlarken, çalışmayı oturttuğum çerçeve, ‘feminist etnografi’dir. Bu çalışma, kadınlara merkezi bir konum tayin ediyor ve özümsediği içgörü ise feminist bakış açısıyla şekilleniyor. Beden, ‘bir öz olarak sadece var olmakla kalmaz, aynı zamanda işlevsel bir hakikatin olduğunu da gösterir’ kaidesince, çalışmanın ufku, ‘feminist bakış açısı’yla “tenin yollarında göçebelik etme”yle çerçeveleniyor. Bu bakış açısı, kadınların tecrübelerine duygusal ve bedensel pratikleriyle eşanlı, bağlamsal düşünülmesi gerektiğine ve kadınların kendi tecrübelerini yine kendilerinin dile getirmesine öncelik veriyor. Ataerkil güce meydan okuyan ve duygusal bir ilişki yaratan kadınlara özgü hikâye anlatımını, sözlü tarihin bir zenginliği olarak yorumluyorum. Buradan hareketle deq, ilksel anlamda kendi-için güzelleşme ve süsleme aracı, bedeni üzerinde tasarruf hakkı, baba otoritesine direniş, farklılık, bir dönemin genel kültürü, akranlarına özenme olarak yorumlanmıştır.
KW  - dövme/deq
KW  - feminist etnografi
KW  - anlatı
KW  - beden
KW  - sözlü tarih
KW  - toplumsal bellek
N2  - In this study, I conduct a discussion using a feminist ethnographic methodology on “what connections should be sought and how” between women’s experiences and gendered realities. The study adopts a qualitative research method involving ten women over the age of sixty living in villages near Hilvan District in Şanlıurfa and focuses on traditional Deq (Tattoo). Through open-ended questions based on in-depth interviews, I bring their past experiences into the present within their micro-habitats. Instead of viewing women who are illiterate and do not speak Turkish as “exotic objects” or “victimised others,” I consider them as “knowing subjects” and make a note in feminist history. I transfer how the body is interpreted not only biologically but also culturally, politically, and in terms of imagery by listening to the women of the region and documenting their narratives. Through this, I preserve the history of women with Deq, countering the fleeting nature of oral traditions. In exploring the motivations behind the inscriptions on the bodies of Deq-bearing women, who belong to the third and final generation of this tradition in the region, the framework of my study is grounded in ‘feminist ethnography’. This workplace places women at the centre and is shaped by insights derived from a feminist perspective. According to the principle that the body “does not merely exist as an essence, but also reveals a functional truth”, the scope of this study is framed by a ‘feminist perspective’, encompassing “nomadic journeys on the pathways of the skin”. This perspective prioritises the need to consider women’s experiences in tandem with their emotional and bodily practises within their specific contexts, emphasising that women should articulate their own experiences. I interpret the storytelling unique to women, which challenges patriarchal power and fosters emotional connections, as a rich resource of oral history. From this standpoint, Deq has been interpreted in its original sense as a means of self-beautification and adornment, claiming ownership over one’s body, resisting the father, expressing difference, a general cultural practise of a certain era, and emulating peers.
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