The Null Device

The Eurovision Song Contest and the 'New' Europe

On the eve of the Eurovision Song Contest, Der Spiegel has a piece on a group of academics who are looking at what the competition says about European cultures:
Take the 2007 winner, Serbia's Marija Serifovic. Many interpreted her act to be that of a campy, butch lesbian, but Gluhovic argues that people in the East viewed it differently, noting that the song's title, "Molitva" ("prayer"), is almost the same word in many Slavic languages. Viewers in Prague, Zagreb or Moscow may have been more inclined to think of the song as a prayer for a Serbia where EU sanctions against the former Milosevic regime had only just been lifted.
One thing neither academic disputes is the fact that countries in Eastern Europe and far beyond are investing heavily in their Eurovision acts as a way of polishing their images abroad. From Kiev to Moscow to Baku, tens of millions of euros have been spent on campaigns to burnish their images at Eurovision. Two approaches have proven highly popular -- either attempts to "self-exoticize" a country's "Orientalness" or Eastern culture, or to bring in famous producers to emulate Western pop styles.
And while new arrivals go for nouveau-riche glamour to make an impression, those closer in seek to tone their appearance down, to distance themselves from their arriviste neighbours, not unlike the English class system:
Despite all the exuberant performers, some new entrants take a conservative approach. Researchers working on the Eurovision 'New Europe' project have seen a trend in Poland in which the country eschews the more outlandish performances adopted by some of its neighbors in favor of more mainstream pop. "In terms of their look and the way they sound, they have a strategy of disidentification with the more exotic East, thereby claiming its position in the Central European cultural core and values." The strategy has been a loser in terms of votes, however.
Meanwhile, there is the question of Eurovision's campness and function as a signifier of gay identity, particularly in places where open homosexuality is disapproved of or worse:
At times, she continues, Eurovision can be outrageous, and at others downright silly, which all plays into its camp appeal. And in the past, Eurovision was a "secret code or club" for being gay in countries like Ireland, where homosexuality was only decriminalized in 1993. "You had a secret and your friends had a secret and you had those parties every year," Fricker says.
More recently, Eurovision has underscored differences in acceptance of homosexuality in different parts of Europe that give little reason to celebrate. When Belgrade hosted the contest in 2008, welcome packages for Eurovision attendees included warnings against displaying same-sex affection in a city that gets low marks for gay-friendliness. Moscow, which hosted in 2009, isn't exactly known as a bastion of tolerance either.
Interestingly enough, in Australia, where Eurovision is broadcast most of a day later (a function of Australia having a lot of descendants of European migrants with connections to their old countries; the US, incidentally, doesn't have Eurovision, and Americans I've spoken to have found it befuddling, in the same way westerners see Japanese game shows), Eurovision isn't seen as a specifically gay thing, but rather a piece of kitsch to have a good laugh at with friends. This seems to be particularly common in the inner-city areas, populated by bohemians and avant-bourgeoisie who, thanks to SBS, have a finely tuned taste for Euro-kitsch.

There are no comments yet on "The Eurovision Song Contest and the 'New' Europe"

Want to say something? Do so here.

Post pseudonymously

Display name:
URL:(optional)
To prove that you are not a bot, please enter the text in the image into the field below it.

Your Comment:

Please keep comments on topic and to the point. Inappropriate comments may be deleted.

Note that markup is stripped from comments; URLs will be automatically converted into links.