Special issue of Contemporary Southeastern Europe on ‘The Eurovision Song Contest at 60: Gender and Geopolitics in Contemporary Europe‘
UPDATE (21 May): the articles are online! Links to all the articles (where you can also find Skype interviews with the authors, classroom discussion questions, and further reading suggestions) now below…
Last November, the editors of Contemporary Southeastern Europe (an open-access journal based at the University of Graz’s Centre for Southeast European Studies) asked me to coordinate a special issue on ‘The Eurovision Song Contest at 60: Gender and Geopolitics in Contemporary Europe’ to coincide with Eurovision 2015, which – thanks to Conchita Wurst – is going to be held in Vienna.
Six months isn’t a very long time at all to plan, write and edit a set of academic research articles but – with a lot of hard work and commitment from the contributors – the articles are now online just in time for Eurovision week. (Which, even if not quite as demanding as organising a Eurovision entry in the same period of time, still gives you some appreciation of what it’s like having to work towards the date of Eurovision as a fixed point…)
Issues of CSE are relatively small – four papers and an introduction – but the contributors have still been able to introduce several different perspectives and approaches for understanding the position of Eurovision in the geopolitics of national and European identity since the Cold War.
I’m contributing an introduction which updates some of my previous work on Eurovision and representations of national identity in south-east Europe, as well as bringing together some of the perspectives on Eurovision, the global financial crisis and the politics of multiculturalism that I’ve been developing in talks recently (complementing some other work I’m doing on Eurovision and the international politics of LGBT rights).
Neven Andjelic, the author of Bosnia-Herzegovina: the End of a Legacy (2003) – an in-depth study of Bosnian politics in the years leading up to the outbreak of war in 1992 – will contribute a study of one of the best-known moments in south-east Europe’s Eurovision history, the selection and performance of Bosnia-Herzegovina’s first entry as an independent state in 1993 while Sarajevo was still under siege. His interviews with members of the delegation set the entry in the context of the Yugoslav and Bosnian music industries and the geopolitics of early 1990s Eurovision.
Paul Jordan, also known to viewers of the BBC’s Eurovision semi-final coverage as ‘Dr Eurovision‘, documents the complexities of national identification in four Eurovision entries from one of the countries that most exemplified the geopolitical dynamics of Eurovision in the 2000s: Ukraine. His interviews with broadcasting officials, participants and members of the Ukrainian public demonstrate how far representations of the nation are actively produced – and how much they are contested – as Eurovision delegations decide what to present.
Jessica Carniel – a cultural studies scholar from what happens to be Eurovision’s newest participant, Australia – moves the issue even closer to the present day by exploring some of the routes through which Eurovision has contributed to contemporary geopolitical visions that hierarchically re-imagine a ‘West’ and ‘East’ that are supposedly divided by attitudes to sexuality and gender identity. Her case studies include two Eurovision kisses between women (or rather one that took place and another that eventually did not) and the politics of state homophobia in Azerbaijan.
And finally, Alexej Ulbricht, Indraneel Sircar and Koen Slootmaeckers combine their expertise in political science and human rights to compare voting patterns and media discourses in the 2007 and 2014 song contests, both of whose winners – Marija Šerifović in 2007 and Conchita in 2014 – departed from heteronormative conventions of gender expression. If in 2007 the mainstream tabloid press of Germany and the UK attributed Šerifović’s victory to eastern European ‘bloc voting’ rather than the triumph of tolerance that they projected on to Conchita’s victory in 2014, what might this suggest about developments in geopolitical imaginaries of sexual and gender diversity between then and now?
Or visit the Contemporary Southeastern Europe webpage here…