Displaying the Palestinian flag during the recap of the acts, Iceland’s Hatari ruffled more than a few feathers. Indeed, it prompted swathes of online commentators to demand that Eurovision remain apolitical. Should that be so—is it best—is it even possible?
[C]onsider this: many normal values we cherish in Western society today – like same-sex marriage, right to due process, freedom of religion – people at one time had to fight for, through being indefatigable in protesting the establishment and demanding change.
—Laurence Watt, The Richest Magazine
“Don’t politicise Eurovision”? It already has been, it already is
There are those who insist that Eurovision remain simply about entertainment—that it remain apolitical. This position has as its foundation the notion that it is not yet political, that it has been, was—up until the point at which Iceland’s maverick quartet Hatari displayed the Palestinian flag to an audience of 180 million Europop lovers (or, at least, abiders)—not political.
But there is evidence to the contrary, decades of it. Luxembourg’s 1961 entry, about lovers facing prejudice, was about persecution on a personal level; Israel’s trans singer Dana International, who won in 1998, contributed to the discourse surrounding gender identity. Identity is political, whether you are oppressor or oppressed—whether you want it to be or not. In 2014, Conchita Wurst became a gay icon and, following this, Ireland’s 2018 performance featured two male dancers acting out a same-sex love story. This year, France’s trans performer sang about marginalisation. For years, Eurovision has served as a platform for highlighting social and political issues.
More overtly political acts have also featured prominently at Eurovision. In 2016, Ukrainian singer Jamala won with a song about the mass deportation of Crimean Tatars by the Soviet Union in WWII. The following year, Ukraine banned Russia from competing at all—politics, fairly deployed. (Russia’s way of undermining the political act was to dress it up as an amoral one: they sent a woman in a wheelchair to represent them, and spun the story so that Ukraine appeared as the tyrant, refusing access to the disabled) It might be easy to admonish Ukraine on grounds of not trying hard enough to rise above, but if the playground big-kid annexes your peninsula, what are you going to do? Politics is inevitable.
Australia’s induction in 2015 signified “a world where issues and beliefs, rather than borders, are important”—if beliefs and principles are to be the fundaments upon which a Eurovision family is born, is it not important to reaffirm and reform that ethical code? Such were the motives of Dana, Wurst, Jamala and Jean-Claude Pascal. Breaches of the code must be questioned.
The often cited purpose of Eurovision is to connect, transcend borders, subvert the myth that difference = conflict, that adjacent = opposit[e/ng]. It “gives visibility to identities and ways of being that you never see” (Dr Ruddock ,quoted above) – its aim, to harmonise, is a noble one, which it achieves through disruption of the status quo, challenging patchy ethical positions and unifying people by establishing a progressive ethos. It provides a platform for progressive notions and catalyses social change through exposure, focusing the world’s attention on social issues that need progress—LGBT perception and prejudice, body positivity (France 2019), the notion that milkmaids are chaste and prudish (Poland 2014), and so on.
It is my belief that a platform whereon countries, who would otherwise be in conflict with each other (or indeed currently are: Azerbaijan-Armenia, Turkey-Armenia, Georgia-Russia, Ukraine-Russia, etc.), can compete on a level playing field, is inherently political—if only because of the decision to give the combatants a chance to participate. Giving Saudi Arabia a slot on a show defined by its unifying moral codes would be incredibly political. It would be equivalent to saying ‘we, as a community, respect the way you conduct yourselves enough to join our contest’.
The rest of this article can be found on Medium. It is about 4000 words long.