Although the analyst asks himself what humor is, (Noguez : 2000), the raised problem do not prevent the various manifestations of the questionned reality. On the contrary : in its written, gestural and verbal forms, humor stays an human activity with a social dimension that leans laughing to the group’s experiences (Bergson : 1900). That’s why, there is an « jewish humor » (Klatzmann : 1998), different of an ivorian humor, for example. In Ivory Coast, a long tradition of derision, powered by the social contexts and carried by the media and the artists, helped to create a type of humor. Certainly, books with funny stories are not successful, but the zouglou , the nouchi and the verbal performances of humorists make humor becomes today a prized art that have orality as pedestal (Tidou: 2015). So, with annual TV shows as Bonjour (the year), the ivorian humor forges itself an identity based on oral invariants.Between (self)derision and funny stories, relationship to colonial language (french) and reception of several waves of migrants, collective history and individual experience (and this one depends to that one) chewed by the verbal performance of humorists, for us, it’s about deciphering the oral invariants that specify humor from Ivory Coast to make it becames ans specific ivorian humor.