The Eurovision, between geopolitical stakes and musical competition

On Saturday, May 16, the grand final of the Eurovision took place in Austria. In 70 years, this competition has completely evolved, with immense stage productions, catchy choruses, and unlikely performances by singers every year. This event was created in 1956 by the EBU, the European Broadcasting Union, as a spirit of reconciliation after World War II. In the forefront of this media stage, a true demonstration of European diplomacy unfolds, showcasing alliances, tensions, and identity.

This is revealed in the book “Geopolitics of Eurovision – The Soundtrack of European Construction” by Cyrille Bret, a philosophy doctor, lecturer at Sciences Po, and associated researcher at the Jacques Delors Institute, co-authored with Florent Parmentier. In the show “Je pense donc j’agis” presented by Melchior Gormand, Cyrille Bret discusses the global reach of this European program.

The Eurovision emerged in a post-war context. It was created in 1956 by the EBU, a group of audiovisual professionals who faced high production costs in the 1950s. Their goal was to unite Europeans despite political divisions. Initially, public broadcasting had limited resources compared to today’s elaborate technological competitions enhanced by artificial intelligence.

The Eurovision’s media coverage has helped in its global expansion. Television programs were once largely controlled by information and culture ministries, but the rise of consumer society changed that. The Eurovision played a role in technological diffusion and materialistic aspirations, albeit overshadowing key contemporary issues post-World War II.

The competition is not just about music; it is a geopolitical asset. Contemporary geopolitics sees these events as spaces for political and diplomatic displays. The Eurovision attracts authoritarian regimes seeking international image enhancement. It serves as a “soft power” tool for communication. The complex mixing of people and symbols leads to unique national and hybrid identities.

Language diversity in Europe becomes a point of discussion at the Eurovision. Although contestants were initially required to sing in their group’s official language, many now opt for English to reach wider audiences. This shift has raised debates and controversies on maintaining national languages versus achieving international success. Despite language requirements imposed since the late 1990s, English remains predominant, reflecting the ongoing struggle between folklore preservation and international pop success.