Eurovision: Belgrade in B minor
Alice Dixon examines the nationalism behind Eurovision and why Australians mock it.
There sure is a lot to laugh at in Eurovision. The clunky English lyrics. The overexposure of spandex often appropriated into national costume. The shrieking hosts stumbling through the autocue. Stalwart Terry Wogan’s scathing commentary.
However Eurovision has a more poignant and political side for the countries involved. For many countries Eurovision is an annual opportunity to showcase their culture and national talent. It’s no wonder then that it’s become such a vehicle for nationalism across Europe.
In Australia we are so distanced from the madness that sweeps through Europe in late May. It’s therefore often difficult to comprehend the mass phenomenon that is Eurovision. Second only to the Euro-cup in terms of regional significance, Eurovision is broadcasted in 120 nations internationally. It is one of the most watched annual television events with up to 600 million viewers worldwide. It has produced worldwide sensations like Abba and Brotherhood of Man but also artists with a more Eurocentric appeal (code for internationally unsuccessful) such as Ruslana or The Olsen Brothers. Firmly imprinted on the cultural map of Europe, Eurovision has since 1956 been a widely and manically celebrated annual event. The enthusiasm and symbolism infused within it holds significance that most Australians aren’t connected to.
For many European nations a victory in Eurovision is a landmark historical event holding deep national symbolism and pride. For Sydney University historian Dr. Richard Aldrich “Eurovision songs have often showed off national culture, often in a folkloric way - that was especially true in the early years. Until recently, each nation had to sing in its own language. So that did provide an occasion for a wide audience to hear Greek bouzouki music, or listen to a song sung in Icelandic or Portuguese.”
Particularly for overlooked European states, the song contest is a rare opportunity to proudly display their culture and talent on a widely broadcast international stage. “The Eurovision contest does provide an opportunity for some of the smaller countries of Europe to strut the stage in a way that they really are not able to do in other forums - the UN, the international economic summits, even major sports competitions” said Aldrich; “Where else indeed can Luxembourg or Estonia hope to get 'twelve points'?”
The Ukraine used their 2004 victory to showcase their increasing Westernisation and successful democratic election. In an overtly political display of nationalism, the hero of their Orange Revolution Victor Yushchenko presented the winner with a trident, the Ukrainian national symbol. Two years later Finland declared their Eurovision victory was, “more important than winning the Winter War” (defeating Russia and remaining a sovereign nation in 1939). The winning band of orcs, Lordi have become national heroes, winning an equivalent to the OBE for services to the nation.
In Europe, the appeal of Eurovision is obvious; you back the cultural performances and success of your country. The appeal for Australians is less so. However, we watch it in droves. Eurovision is SBS’s highest rating event after the World Cup and Test Cricket. Further events are held across most capital cities celebrating the banal and the barmy. Who is this audience and why are they so fascinated by an event they are both removed from and unable to vote in?
Speaking to two of the organisers of the Sydney University Euroglam party, Galina Pinski and Darko Vranesevic gave some interesting insights into why young people are so fanatical about Eurovision. Now in its second year, Euroglam is an opportunity for the university’s ethnic clubs to come together and like the competition itself, celebrate a diversity of culture (and taste) through generally friendly, badly dressed competition.
For Pinski, USU Multicultural Convenor and Euroglam Queen, her connections to her birth country the Ukraine resonates each year when Eurovision rolls around. She stated, ‘I’m not from a particularly nationalistic family and don’t follow the artists. However I’ve grown up with my Grandmother watching Russian TV which fills me with a sense of familiarity and nostalgia for the particular sound of Russian and Ukrainian entries.’
For many Euro-Australians Eurovision is a time of national pride and sentimentality as they listen to music with their family. Vranesevic , the President of the Sydney University Serbian Society started showing a real interest in Eurovision in 2004 when Serbia came second with Lane Moje, a traditional song sung in the national language. For Vranesevic, “It’s important that Eurovision showcases diversity. I like it when they sing in their national language; it doesn’t detract from the quality.” He was excited about Belgrade hosting the competition this year believing it to be “an opportunity to counter negative publicity and to depict Serbs as a fun loving people”.
Both Pinski and Vranesevic were unequivocal in their support for their countries of origin. It was something that came naturally; they identify with the acts from their country and want them to do well on a competitive international stage.
Although Eurovision is enthusiastically celebrated by ethnic groups, this is generally a private affair rather than something that galvanises the community. I spoke to both the Hellenic Club and the Bonnyrigg Serbian Club, two established cultural centres in Sydney in regards to their plans for Eurovision. Both were surprised at my inquiry. Not only was nothing planned for the event, but no one had ever suggested holding something before. I was given a cornucopia of reasons: during winter most people don’t go out on a Sunday and unlike the Euro-cup most people wouldn’t regard it as a spectator event or something for the community to get behind.
Vranesevic suggested that generational change was bringing Eurovision parties onto the streets. Around fifty members of the Serbian society came to the ‘Eurotrash’ party last year to publically celebrate a strong Serbian entry and party en masse. However as the woman at the Hellenic Club brusquely told me if people want to watch Eurovision they do so at home. While many seem to enjoy Eurovision it doesn’t appear to be one of the great nationalistic celebrations of ethnic communities in Australia.
Cue the ex-pat gay community. Eurovision parties do take place across Australia and are usually run by British migrants with a generous sense of irony. Powerful European countries like England and France gave up winning Eurovision a long time ago; they’ve got plenty of forums in which to exert culture and don’t really want to foot the huge bill of the song contest. Instead they contribute millions of cynical viewers whose primary goal is to criticise, satirise and patronise the contestants. Chris Milne from the Flinders Hotel in Darlinghurst has brought this attitude with him from his mother country Britain in annual Eurovision event run in conjunction with Gay4Play.
“We do get a lot of homesick backpackers who miss the celebrations of their home countries” said Milne, “but it’s largely filled with Australians who increasingly see Eurovision as a group activity. We come together to laugh at the lyrics, dance routines, terrible clothes...”
Eurovision receives huge support from Australia’s gay community. While the contest itself strives to be apolitical Milne states “the acts are out there, being noticed and doing outrageous things” and are respected for that. When asking then if Milne would automatically be supporting the UK’s entry he made it clear that his love of Eurovision is not national loyalties but rather the flamboyance of the event.
So don’t let our geographical oppression get you down. You can celebrate Eurovision in Australia.
Get your Eurovision on!
Despite a tyranny of distance we sure know how to throw a party. Whether you are driven by national pride or just a desire to take the piss, come together and unite through song!
Want to get Euro-trashed on the 25th of May?
The Euroglam party at Manning kicks off at 7pm. Tickets are $8 with ACCESS and are available at the door. Delicious food will be on offer and prizes will be awarded for the most distastefully dressed.
Gay4Play will be screening Eurovision at the Flinders St Hotel Darlinghurst from 5pm. Tickets are $5 with a percentage of the proceeds going to the Bobby Goldsmith Foundation.
From The Vault: Subversive Eurovision acts to Youtube
France Gall: Poupe de cire, poupe de son
Winning Eurovision for France in 1965, Gall was as cute as a button as she bounced along obliviously singing completely out of key. The song was written by everyone’s favourite smutty Frenchman Serge Gainsbourg. While Gall thought she was singing about the joy of sucking a lollypop, her horrified country, record label and undoubtedly her family cringed as she extolled the joys of fellatio to millions of viewers.
Dana International: Diva
For such a colourful character Dana’s performance of Eurovision’s winning song in 1998 was a surprisingly conservative performance. That is because the Israeli superstar caused a lot of controversy in entering Eurovision. The first transgendered singer to have entered the contest, Dana was followed by ultra Orthodox Israeli groups all the way to sunny Britain who in true Footloose fashion made her dress modestly and banned her from dancing in her performance.
This ditty is about the powerful women of history. In sisterhood Dana!
Verka Serduchka: Dancing
Welcome to the weird – the most popular transsexual (the Ukraine’s answer to Dame Edna) in the former USSR dons herself in alfoil and sprints around the stage. Serduchka protests through DANCE! crying ‘Russia goodbye’ while blaring:
Ukraine - that's cool?!
Cool!
Ukraine - that's reat?!
Reat!
The square is dancing!
Politically subversive or linguistically incomprehensible, only you can decide.
The Favourites and Funnies competing for glory in 2008
Eurovision is always a bit of a gamble and 2008 is looking to be a painfully average year. Trends suggest that acts are heavily influenced by the previous year’s winner. As Europe chose the humourless Marija Serifovic (think Rosie O’Donnell working as a prison warden) in 2007 expect a lot of Eastern bloc angst. Hopefully some lighting fast distasteful costume changes can lift the otherwise bleak mood.
Azerbaijan: Elnur Samir
Day After Day
This is Azerbaijan’s maiden foray into absurd international festivals of song. (Call me ignorant but I wasn’t aware Azerbaijan was an independent state pre Eurovision - it does wonders for geographical general knowledge). Elnur and Samir, two strapping Azerbaijani lads heavily peroxided and clad in angel wings embrace the little known genre of popera screaming an epic tale of dreams, salvation and fare evasion. They’ve recently won a poll for the clunkiest English lyrics, ‘If you`re searching for resolves be ready for the tolls’. However the dark hearts and thumping beats should surely win these kids the lucrative Viking vote.
Russia: Dima Bilan
Believe
Dima Bilan is Russia’s non-English proficient answer to Justin Timberlake. He is hot stuff in the former Soviet Union with a smouldering body, pensive gaze and dance moves that could challenge Joey Fatone. We last saw him singing of his flesh, bones and love carved in stones when he was competing in 2006. Sadly he was robbed of his Eurovision crown by some upstart orcs from Finland. This year he’s back to claim what’s rightfully his with a considerably sappier song but sans the unfortunate mullet that plagued him last attempt and some figure skaters to visually represent his lyrics.
Ireland: Dustin the Turkey
Irelande Douze Pointe
Ireland has won Eurovision more than any other country. Then Michael Flattely and his Riverdancers went out of vogue. Now they’ve fallen into the trap of submitting the ‘novelty entry’. Dustin really is an oversexed politically subversive turkey. To draw a parallel with our own cultural landscape, imagine the dulcet tones of Aggro (of Cartoon Connection fame) mashed up in a fully sick manner to the oppressive thuds of a Romanian disco. There’s Dustin! If this act wins I’ll burst my eardrums in protest.
Lithuania: Jeronimas Milius
Nomads In The Night
Poor poor Lithuania. All their insignificant Baltic neighbours have won Eurovision and they’ve submitted loser after loser since entering the competition in 1994. Despite a truly regal name, it’s unlikely that Jeronimas Milius will be bringing home the gold. However his achingly depressing song, Nomads in the Night does contain some of the most heart wrenching lyrics of the lot:
Through passing days, I close my eyes and feel silk burning me
Your skin, those gorgeous lips I’ve kissed so long ago…
Tonight I’ll try to rip out this aching heart, it’s filled with you
It’s filled with lonely pain! Obey!
Ouch.