As the Middle East and Kurdistan continue to be arenas of intense ideological and cultural battles, the ongoing conflicts between hegemonic powers and social movements shape the pursuit of freedom and identity. Revolutionary art and cultural resistance have become an integral part of this process.

Ekîn Ronî, a member of the Rojava administration of the Mesopotamian Democratic Culture and Arts Movement (TEV-ÇAND), spoke to ANF and evaluated the ideological and cultural struggle taking place in the Middle East.

Ronî said: “While wars are taking place in many countries during the Third World War, the center of this war is the Middle East and Kurdistan. Although the war waged by hegemonic states or powers seeking to strengthen their rule is assessed economically, at its core, it is an ideological and cultural war. This is because every faction strives to impose its own ideology. Especially after the collapse of Soviet Russia, some external forces have attempted to fill the void in the Middle East, while internal forces have also sought to fill this gap according to their own interests. Despite the contradictions among hegemonic powers, the ongoing war is primarily fought between these forces and social movements in the Middle East. A conflict exists between Israel, the United States, Turkey, and European hegemonic forces, which safeguard individual interests based on material wealth and individualism, and social movements like the Kurdish Freedom Movement, which fight for the dignity of the people. This war is a struggle between individual interests and societal interests.”

The new century will be the year of the democratic society

Ronî said that numerous interventions have been made in the Middle East to achieve results in the ongoing ideological wars and continued: “With the imprisonment of Abdullah Öcalan, an attempt was made to establish a liberal system in the Middle East. Öcalan was seen as an obstacle to this system because he promotes a paradigm that advocates for society, ecology, and women's liberation. While Turkey, Iran, and Israel seek to maintain their rule through religious fundamentalism, Öcalan's paradigm has introduced a revolutionary dynamic. This war is being waged on two fronts: on one side, an ideology that invests in religious fundamentalism, and on the other, an ideology that invests in culture. However, the revolutionary culture created by Öcalan is taking root in the Middle East and evolving into a different dimension. Restructuring this region according to hegemonic interests is not easy. Indeed, the new century will be the year of the Kurdish people, free women, and democratic society.”

Capitalism has brought destruction and deprivation to the people

Ronî said that the Kurdish identity, language, and culture have an enduring ideological and cultural presence and continued: “For over a century, the policies of cultural genocide against Kurdish culture and arts have taken on a new direction. Governments refuse to acknowledge this. The struggle, the art, and the language used by the people shape the course of cultural and ideological strength. In the Middle East, especially in Kurdistan, a war over culture, arts, and language is being waged as part of special warfare policies. In many countries, ideological conditioning is imposed on societies even before actual war occurs, ensuring dominance in conflicts.
While capitalism has brought destruction and deprivation to the people, it has also sought to eradicate societal culture. For instance, in the United States, hundreds of thousands of people live on the streets. However, when the Turkish state displaced the people of Afrin (Efrîn) and 121,000 people sought refuge in safe zones in Northern and Eastern Syria, within about a month, the living conditions of the displaced Afrin people were stabilized. No one was left without shelter. Communities provided shelter for the displaced. From Tabqa to Derik (Rojava), solidarity helped overcome difficult times. This demonstrates that societal cohesion remains strong in Rojava Kurdistan. The attacks on Rojava Kurdistan are not solely aimed at economic destruction. They also seek to dismantle the societal fabric that has been created. In response, a great struggle is being waged.”

Not only fighters, but everyone is resisting

Ronî underlined that viewing the struggles in Tishrin and Qereqozax merely as military and strategic battles would be insufficient. He said: “This is an attack on the land's fertility and a systematic attempt at cultural genocide. In such a process, cultural and artistic activities have been organized in line with the revolutionary people's war strategy, strengthening the leading role of the people. It would be misleading to say that the existing war is being fought solely by the fighters or that their efforts alone are sufficient. Artists, politicians, intellectuals, and educators are all part of this comprehensive resistance. TEV-ÇAND has made the Tishrin resistance a part of the people in Rojava through its songs, clips, theaters, and paintings".

Bavê Teyar became the language of truth

Ronî paid tribute to actor Cuma Xelîl (Bavê Teyar), who was killed in Tishrin, and said that he 'represents a truth that reflects revolutionary art on the people. In an era when the Kurdish language was banned, when Kurdish theater had to be performed in hushed voices and secrecy, and when the Ba'ath regime exerted immense pressure, Bavê Teyar emerged as the Charlie Chaplin of Kurdistan, from Rojava (West) to Rojhilat (East). During the most difficult times, he stood against the Ba'ath regime, waging a struggle in his mother tongue. Through this, he became the embodiment of true patriotism and a courageous artist. In the Tishrin resistance, he once again revived that same spirit, conveying the truth and language of the Kurdish people. It was along this path that he became a martyr. What did this stance build, and what did it bring forth? In every city, people march fearlessly to the battlefield, resisting."

A culture of revolutionary people's war emerged through art

Ronî continued: "When we ask the people, ‘You went to Tishrin, what was the atmosphere like?’ they respond, ‘Describing it cannot replace seeing it with your own eyes.’ Just as fighters take their place on the frontlines, intellectuals, artists, and teachers also stand in this resistance. Cultural and artistic groups perform their art daily, dancing in halay. We can say that the ongoing war has been transformed into a culture of revolutionary people's war through art. While the fighters defend the frontlines and block the occupation, the people embody the spirit that has been created."

Strengthening the revolution is the responsibility of culture and the arts

Ronî stated that during a period of political development, ideology, culture, language, and artistic figures have also advanced in response. He concluded his speech with the following words: "The essence of the ongoing war is a cultural war. When a cultural war is waged, leadership is necessary for development to be achieved. Today, this leadership is carried out through cultural and artistic activities. It is not enough to say, 'We are honest, we are patriots, we love our country.' Culture, art, language, and consciousness are needed. Spirituality, hope, enthusiasm, and excitement are required. Great effort must be made. Great values must be created. If such an approach is adopted, we can say that culture and art play a major role. Artists and cultural workers are not only responsible for singing songs or organizing cultural activities; they also bear the duty and responsibility of protecting, strengthening, and expanding the revolution. Therefore, the struggle in Tishrin will become permanent through culture and art."