Sing a song of ding-dong
We live in dangerous times. Our honour and heritage is at stake, our cultural identity, the acclaim of others, our very place in the modern world, all of this, is in jeopardy. What is right, honourable, worthy of respect is under scrutiny and it might not pass muster. Yes, the Eurovision Song Contest is upon us.
We don’t have to work too hard to realise that this annual presentation of sometimes cool and catchy but usually very predictable and often very poor pop tunes is more than a spectacle of flamboyant performances, eccentric staging and unpredictable voting. It conceals a dense and dynamic site of power at work.
Power analysts likely consider Eurovision a structured arena in which cultural legitimacy, political alignment, symbolic value, and collective identity are produced, contested and stabilised.
To understand this type of phenomenon we must get to grips with how power operates in contemporary cultural life, not as force or might but as legitimacy, visibility and belief. So, let’s see what makes Eurovision a ‘hit’.
Singing softly
Joseph Nye (2004) introduced us to the term soft power. He might as well have coined the phrase after watching Eurovision. He didn’t, in case you’re in any doubt. He would, though, recognise how nation states offer curated versions of themselves through music, language, staging and stories.
Performances become vehicles for national branding, projecting images of modernity, tradition, inclusivity or creativity. Success confers prestige, enhancing a country’s cultural standing within what still remains a loosely-defined European identity. Performances function as diplomatic theatre in which nations compete not militarily or economically but symbolically.
Eurovision tends to normalise particular aesthetic and ideological values. These are often aligned with Western European liberalism and together build what Gramsci called cultural hegemony (1971).
Norms surrounding gender expression, individualism and performative spectacle are not merely displayed. They are validated by the contest.
If we participate in the excitement, simply watch the show even, we align with these norms. Thus, Eurovision doesn’t just showcase diversity, it also structures the terms under which diversity is recognised and rewarded.
Building a new world …
Bourdieu (1991) would see Eurovision as the distribution of symbolic capital. Winning the contest does more than reward a song. It elevates a performance into something with enhanced cultural value.
Any distinction we make between ‘good’ and ‘bad’, isn’t really an aesthetic choice in this context. It’s a conclusion we come to through cultural and institutional mediation.
Eurovision builds hierarchies, determining which styles, narratives and identities are legitimate in that moment. In doing so, it constructs our emerging idea of Europe itself.
This type of building work aligns with post-structural understandings of power. Michel Foucault (1980) for instance argues that power works to continually reconstruct itself.
The contest generates stories and ideas about nationhood, belonging and modernity. It defines what is valuable by staging and validating what can be said or shown.
Inclusion and exclusion are central here. Debates over participation, perhaps concerning geographical boundaries or reacting to political controversies, reveal that Eurovision is actively engaged in defining the limits of its own cultural universe. This is world building through the medium of song.
… and a better one
Eurovision does not eliminate political tensions but it does reframe them. Historical alliances, regional solidarities and cultural affinities are expressed through voting and performance.
This transforms potential conflict into symbolic expression. The experience acts as a mechanism of political sublimation, a higher and better form of confrontation. It converts antagonism into spectacle.
Indeed, participation often signals a desire for inclusion within a broader European or ‘Euro-adjacent’ community, making the contest a subtle instrument of geopolitical positioning.
At the same time, Eurovision has become a prominent voice for identity politics, particularly in relation to gender and sexuality. The visibility of LGBTQ+ performers and themes over the last decade or so has become a defining feature of the contest. It introduces these ideas as normative or with a moral power, a means where these values are elevated and the prejudices they usually bear de-stigmatised.
Eurovision does not simply reflect this type of social dynamism, it participates in its articulation and dissemination. The contest thus operates as a site where cultural legitimacy is intertwined with moral recognition and where a new combination of the two emerges.
A great chorus
Yet, Eurovision’s power is not restricted to discourse or symbolism. It’s also ritualistic. Each year, millions of viewers, across what now seems like too many countries to count, participate in a shared event.
The structure of the contest, semi-finals, grand final and, of course, the voting system, remain broadly consistent despite tweaking. This creates a sense of continuity and expectation.
For Émile Durkheim (1912/1995), such repetition constitutes a form of collective ritual that reinforces social cohesion. The contest produces a shared emotional experience, binding us together into a meaningful community.
Here, Randall Collins (2004) emphasised the role of interaction, in which shared attention and melodramatic or sentimental synchronisation generate what he calls ‘emotional energy’. We shudder at the glory of our ‘douze-points’ whilst the pain of our ‘nil-points’ is always palpable. Power here lies in the capacity to generate and sustain this collective feeling.
Beats and pulses
Eurovision operates within a hybrid media environment, one shaped by digital platforms and emerging formats as well as traditional broadcasting solutions. Performances circulate on streaming services, are reinterpreted on social media and gain traction through algorithms, likes and shares.
Visibility is no longer determined exclusively by the event itself but by the complex interactions it creates between audiences and platforms and the metrics of engagement they rely on (Couldry and Hepp, 2017).
The power of Eurovision lies in the way it can be repackaged to appeal to us and in how it sticks once we touch it. This power forms reality.
Making your mind up
This ‘coming-together’ or social structuring becomes especially visible in the contest’s voting patterns. The persistence of regional voting blocs has long attracted cynicism and amusement, with countries in the Nordic, Balkan or post-Soviet regions frequently exchanging points.
While often dismissed as ‘political’ voting, these patterns can, perhaps, be better understood through the lens of relational or networked power. These ideas talk about the links of interdependence, regardless of whether or not they are physical or digital.
Castells (2009) argues that power here operates through these networks, these connections of joint purpose, rather than through single acts or specific moments of expression (Castells, 2009). In Eurovision, outcomes are shaped not simply by the quality of individual performances but by the position of countries within networks of affinity, migration and historical connection.
Diaspora populations, shared media spaces and cultural closeness all influence voting behaviour. Power, in this sense, is not possessed but distributed across relationships, heritage and sources of information.
What we remember
Eurovision controls time. Winning performances are remembered, replayed and integrated into our national and transnational narratives. They become part of a shared cultural archive. Most entries though fail to achieve this, often fading from memory irrespective of their quality.
The contest shapes the present, today’s visibility and tomorrow’s remembrance of it, constructing and limiting the cultural meaning we give to all this.
Eurovision is not a single form of power but an expression or output of power-medium. It is a structured environment in which very different forms of power, regardless of whether or not they’re symbolic, economic, affective or networked, are gathered and converted into legitimacy.
The contest transforms performances into something of recognised cultural value. It turns attention into prestige, and participation into belonging. Its outcomes are accepted not because they are objectively determined but because the contest itself is recognised as authoritative.
Eurovision, then, is not trivial. It’s a highly organised system for producing truth. It reveals that power in contemporary society is mediated not simply through domination but via the capacity to define what is seen, what is valued and what is remembered.
References
Bourdieu, P. 1991. Language and symbolic power. Cambridge: Polity Press.
Castells, M. 2009. Communication power. Oxford: Oxford University Press.
Couldry, N. and Hepp, A. 2017. The mediated construction of reality. Cambridge: Polity Press.
Collins, R. 2004. Interaction ritual chains. Princeton: Princeton University Press.
Durkheim, E. 1995. The elementary forms of religious life. Translated by K. Fields. New York: Free Press. (Original work published 1912)
Foucault, M. 1980. Power/knowledge: Selected interviews and other writings. New York: Pantheon Books.
Gramsci, A. 1971. Selections from the prison notebooks. London: Lawrence and Wishart.
Nye, J.S. 2004. Soft power: The means to success in world politics. New York: PublicAffairs.
Image: AI.
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