From ‘We Are Slavic’ To ‘My sister’s Crown’
Gender, Ethnicity and Media Events
DOI:
https://doi.org/10.62161/revvisual.v16.5176Keywords:
Media events, Sorority, Identity, Pan-Slavism, Eurovision Song Contest, Spectacle, RepresentationAbstract
This paper analyzes two performances of the Eurovision Song Contest which correspond to the Polish and Czech entries in the 2014 and 2023 editions of the show respectively. In its musical and staging proposal, both of them stir up a debate on Slavic feminine identity since two opposed perspectives. Moreover, these performances coincide with two critical historical moments in Slavic ambit due to the expansionist and identity policies of Kremlin. This research compares how the concepts of sorority and Pan-Slavism are represented from its own actors (in this case, the Slavic women) in the field of media events.
Downloads
References
Aragón-Manchado, A., Cruz-Elvira, A. & Pérez-Rufí, J. P. (2023). “SloMo” de Chanel (Eurovision Song Contest 2022): realización de televisión en directo de espectáculos. Razón y Palabra, 26(115), 188–204. https://doi.org/10.26807/rp.v26i115.1989 DOI: https://doi.org/10.26807/rp.v26i115.1989
Balza, I. (2020). Sororidad. En A. H. Puleo (Ed.). Ser feministas: pensamiento y acción (pp. 239-242). Cátedra y Universitat de València.
Bauman, Z. (2005). Identidad. Losada.
Bauman, Z. (2011). De peregrino a turista, o una breve historia de la identidad. En S. Hall y P. du Gay (Eds.). Cuestiones de identidad cultural (pp. 40-68). Amorrortu.
Baker, C. (2015). Gender and Geopolitics in the Eurovision Song Contest, Contemporary Southeastern Europe 1, 74-93.
Baker, C. (2017). The ‘gay Olympics’? The Eurovision Song Contest and the politics of LGBT/European belonging, European Journal of International Relations, 23(1), 97-121. https://doi.org/10.1177/1354066116633278 DOI: https://doi.org/10.1177/1354066116633278
Baker, C. (2022, 11 de mayo). Eurovision: If Ukraine’s Kalush Orchestra triumph it won’t be a sympathy vote, says an expert. The Conversation. https://bit.ly/47Vde8s
Baumgartner, M. (2007). Chanson, Canzone, Schlager and Song: Switzerland’s Identity Struggle in the Eurovision Song Contest. En I. Raykoff & R. Deam Tobin (Eds.). A Song for Europe. Popular Music and Politics in the Eurovision Song Contest (pp. 37-48). Ashgate. DOI: https://doi.org/10.4324/9781315097732-4
Bhabha, H. K. (2011). El entre-medio de la cultura. En S. Hall & P. du Gay (Eds.). Cuestiones de identidad cultural (pp. 94-106). Amorrortu.
Björnberg, A. (2013). Invincible heroes. The Musical Construction of National and European Identities in Swedish Eurovision Song Contest Entries. En D. Tragaki (Ed.). Empire of song. Europe and Nation in the Eurovision Song Contest (pp. 203-220). Scarecrow Press.
Bohlman, P. V. (2013). Tempus Edax Rerum. Time and the Making of the Eurovision Song. En D. Tragaki (Ed.). Empire of song. Europe and Nation in the Eurovision Song Contest (pp. 35-56). Scarecrow Press.
Brah, A. (2011). Cartografías de la diáspora. Identidades en cuestión. Traficantes de Sueños.
Brea, J. L. (Ed.) (2005). Estudios visuales: la epistemología de la visualidad en la era de la globalización. Akal.
Butler, J. (2004). Lenguaje, poder e identidad. Síntesis.
Carniel, J. (2019). Nation Branding, Cultural Relations and Cultural Diplomacy at Eurovision: Between Australia and Europe. En J. Kalman, B. Wellings, & K. Jacotine (Eds.). Eurovisions: Identity and the International Politics of the Eurovision Song Contest since 1956 (pp. 151-174). Palgrave Macmillan. DOI: https://doi.org/10.1007/978-981-13-9427-0_8
Casetti, F. & Di Chio, F. (2007). Cómo analizar un film. Paidós.
Charron, N. (2013). Impartiality, friendship-networks and voting behavior: evidence from voting patterns in the Eurovision song contest. Social Networks, 35(3), 484-497. https://doi.org/10.1016/j.socnet.2013.05.005 DOI: https://doi.org/10.1016/j.socnet.2013.05.005
Dayan, D. & Katz, E. (1992). Media Events. The Live Broadcasting of History. Harvard University Press. DOI: https://doi.org/10.4159/9780674030305
Dubin, A. (2022). A Human Rights Based Analysis of the Eurovision Song Contest and the European Broadcasting Union. En A. Dubin, D. Vuletic, & A. Obregón (Eds.), The Eurovision Song Contest as a Cultural Phenomenon. From Concert Halls to the Halls of Academia (pp. 36-53). Routledge. DOI: https://doi.org/10.4324/9781003188933-4
Đorđević, V.; Suslov; M.; Čejka; M., Mocek, O. & Hrabálek, M. (2023). Revisiting Pan-Slavism in the Contemporary Perspective, Nationalities Papers, 51(1), 3-13. https://doi.org/10.1017/nps.2022.75 DOI: https://doi.org/10.1017/nps.2022.75
ESCKAZ (2014). ESCKAZ in Copenhagen: Second semifinal finalists press-conference. YouTube. https://bit.ly/3qN3rAN
Eurovision Bulgaria (2023). Vesna (ESCZ 2023) Interview. YouTube. https://bit.ly/44CBQzX
Eurovision Song Contest (2023). First Semi-Final Qualifiers - Press Conference. Live Stream. Eurovision 2023. YouTube. https://bit.ly/3qLL13m
Eurovision.tv (2023a, 3 de mayo). Czechia | Vesna - My Sister's Crown (Second Rehearsal). Eurovision TV. https://bit.ly/3F24gsZ
Eurovision.tv (2023b, 9 de mayo). Czechia | Vesna - My Sister's Crown (First Semi-Final). Eurovision TV. https://bit.ly/3EHb6Uj
Eurovision.tv (2023c, 13 de mayo). Czechia | Vesna - My Sister's Crown (Grand Final). Eurovision TV. https://bit.ly/3Rr0Ebc
Fornäs, J. (2017). Euro-Visions: East European Narratives in Televised Popular Music. En Europe Faces Europe. Narratives from Its Eastern Half (pp. 179-235). Intellect, The University of Chicago Press. DOI: https://doi.org/10.2307/j.ctv9hj72r.10
Fricker, K. (2015). Eurovision and the “New” Europe. En K. Mitscha & K. Unterberger (Eds.), Texte 14. Public Service Media in Europe. Eurovision Song Contest: More than music? (pp. 8-15). Österreichischer Rundfunk.
Fürnkranz, M. & Hemetek, U. (Eds.) (2017). Performing Sexual Identities. Nationalities on the Eurovision Stage. Institut für Volksmusikforschung und Ethnomusikologie.
Giménez, G. (2006). El debate contemporáneo en torno al concepto de etnicidad. Cultura y representaciones sociales, 1(1), 129-144.
Gligorijevic, J. (2007). A Semiological Analysis of the Song ‘Molitva’. New Sound 30, 149-161. https://bit.ly/46IuHjI
Gómez-Pérez. F. J. & Pérez-Rufí, J. P. (2022). Análisis de la realización de espectáculos televisivos en directo: Italia en Eurovisión 2021. Index.comunicación, 12(1), 235-259. https://doi.org/10.33732/ixc/11/01Analis DOI: https://doi.org/10.33732/ixc/12/01Analis
Greenwald, G. (2023). The historical coverage of televised media events in print media: The Case of the Eurovision Song Contest, Communication & Society, 36(4), 35-50. https://doi.org/10.15581/003.36.4.35-50 DOI: https://doi.org/10.15581/003.36.4.35-50
Haan, M., Dijkstra, G., & Dijkstra, P. T. (2005). Expert Judgment versus Public Opinion. Evidence from the Eurovision Song Contest. Journal of Cultural Economics, (29), 59-78. https://doi.org/10.1007/s10824-005-6830-0 DOI: https://doi.org/10.1007/s10824-005-6830-0
Hall, S. (2011). Introducción: quién necesita identidad. En S. Hall & P. du Gay (Eds.). Cuestiones de identidad cultural (pp. 16-39). Amorrortu.
Highfield, T., Harrington, S., & Bruns, A. (2013). Twitter as a Technology for Audiencing and Fandom: The #Eurovision Phenomenon. Information, Communication & Society, 16(3), 315-339. https://doi.org/10.1080/1369118X.2012.756053 DOI: https://doi.org/10.1080/1369118X.2012.756053
Hilder, T. (2017). Nordic Sexual Exceptionalism and Indigenous Rights: Sámi Alternative Visions of Europe at the Eurovision Song Contest. En M. Fürnkranz & U. Hemetek (Eds.), Performing Sexual Identities. Nationalities on the Eurovision Stage (pp. 23-43). Institut für Volksmusikforschung und Ethnomusikologie.
hooks, b. (2021). Afán. Raza, género y política cultural. Traficantes de Sueños.
Johnson, E. H. (2014). A New Song for a New Motherland: Eurovision and the Rhetoric of Post-Soviet National Identity. The Russian Review, 73(1), 24-46. https://www.jstor.org/stable/43661976 DOI: https://doi.org/10.1111/russ.10718
Jordan, P. (2014). The Modern Fairy Tale: Nation Branding, National Identity and the Eurovision Song Contest in Estonia. University of Tartu Press. DOI: https://doi.org/10.26530/OAPEN_474310
Kazharski, A. (2022, 22 de junio). Rosja: tęsknota za słowiańską supremacją. Respublica. Daje do mislenia. https://bit.ly/3YWBoeF
Krzyżanowski, M. (2009). On the 'Europeanisation' of identity constructions in Polish political discourse after 1989. En A. Galasińska & M. Krzyżanowski (Eds.), Discourse and transformation in Central and Eastern Europe (pp. 95-113). Palgrave Macmillan. DOI: https://doi.org/10.1057/9780230594296_6
Levine, L. (1914). Pan-Slavism and European Politics. Political Science Quarterly, 29(4), 664-686. DOI: https://doi.org/10.2307/2142012
Liedo, B. (2022). Juntas y revueltas: la sororidad en el feminismo contemporáneo, Recerca. Revista de Pensament i Anàlisi, 27(2), 1-22. DOI: https://doi.org/10.6035/recerca.6539
Lightning & Sound International (2014). Eurovision 2014. Lightning & Sound International, 333, 30-42. https://bit.ly/3Sehrgt
Lightning & Sound International (2023). Eurovision 2023. Lightning & Sound International, 429, 32-43. https://bit.ly/49dvARM
López De La Vieja, M. T. (2005). Cultura europea, política cosmopolita. En M. T. López De La Vieja (Ed.). Ciudadanos de Europa. Derechos fundamentales en la Unión Europea (pp. 39-54). Biblioteca Nueva.
Martínez Carazo, P. C. (2006). El método de estudio de caso: estrategia metodológica de la investigación científica. Pensamiento & Gestión, (20), 165-193. https://bit.ly/3fuxW8V
Mendoza, N. (2014, 13 de mayo). 'It was soft porn' Eurovision judge blasts Polish entry as 'two boobs too far'. Daily Star. https://bit.ly/3ZfpH33
Motschenbacher, H. (2016). Language, Normativity and Europeanism. Discursive Evidence from the Eurovision Song Contest. Palgrave Macmillan. DOI: https://doi.org/10.1057/978-1-137-56301-9
Mucha, W. & Pereira, S. (2014, 16 de enero). Kim jest nowy idol mediów? Donatan, wielbiciel słowiańskich biustów i Armii Czerwonej. Niezależna. https://bit.ly/3L6PDaX
Nelson, C., Grossberg, L. & Treichler, P. (1992). Cultural Studies: an introduction. En L. Grossberg, C. Nelson & P. Treichler (Eds.). Cultural Studies (pp. 1-19). Routledge.
Pajala, M. (2012). Mapping Europe: Images of Europe in the Eurovision Song Contest. VIEW: Journal of European Television History and Culture, 1(2), 3-10. https://doi.org/10.18146/2213-0969.2012.jethc013 DOI: https://doi.org/10.18146/2213-0969.2012.jethc013
Pajala, M. & Vuletic, D. (2021). Stagecraft in the service of statecraft? Russia in the Eurovision Song Contest. En T. Forsberg & S. Mäkinen (Eds.). Russia’s Cultural Statecraft (pp. 161-183). Routledge. DOI: https://doi.org/10.4324/9781003141785-8
Pajala, M. (2022). The Eurovision Song Contest and European Television History: Continuity, Adaptation, Experimentation. En A. Dubin, D. Vuletic & A. Obregón (Eds.), The Eurovision Song Contest as a Cultural Phenomenon. From Concert Halls to the Halls of Academia (pp. 188-200). Routledge. DOI: https://doi.org/10.4324/9781003188933-16
Panea, J. L. (2022). Domesticity, Mass Media and Moving-Image Aesthetics: The Visual Identity of the Eurovision Song Contest as a Hospitable Platform. En A. Dubin, D. Vuletic & A. Obregón (Eds.), The Eurovision Song Contest as a Cultural Phenomenon. From Concert Halls to the Halls of Academia (pp. 219-236). Routledge. DOI: https://doi.org/10.4324/9781003188933-18
Pérez-Rufí, J. P. & Valverde-Maestre, Á. M. (2020). The spatial temporal fragmentation of live television video clips: analysis of the television production of the Eurovision Song Contest, Comunication & Society, 33(2), 17-31. https://doi.org/10.15581/003.33.2.17-31 DOI: https://doi.org/10.15581/003.33.2.17-31
Prieto, U. (2023, 13 de mayo). Una mujer batiendo leche desconcierta en Eurovisión: tiene explicación. Huffpost. https://bit.ly/3sI5run
Raykoff, I. (2022). The Mythology of Song Contests. En A. Dubin, D. Vuletic & A. Obregón (Eds.), The Eurovision Song Contest as a Cultural Phenomenon. From Concert Halls to the Halls of Academia (pp. 56-67). Routledge. DOI: https://doi.org/10.4324/9781003188933-6
Ríos Hernández, I. M., & Pinto Arboleda, M. C. (2019). Análisis de narrativa transmedial y documental web no ficcional: estudio de caso miPáramo. Nexus, 36, 31-51. https://doi.org/10.25100/nc.v0i26.9266 DOI: https://doi.org/10.25100/nc.v0i26.9266
Sedeño-Valdellós, A. M. (2021). El Mal Querer como álbum visual: simbología de lo español, apropiación y narrativa transmedia en los videoclips de Rosalía. Palabra Clave, 24(2), 1-28. https://doi.org/10.5294/pacla.2021.24.2.6 DOI: https://doi.org/10.5294/pacla.2021.24.2.6
Simpson, S. (2017). Only Slavic Gods: Nativeness in Polish Rodzimowierstwo. En K. Rountree (Ed.). Cosmopolitanism, Nationalism, and Modern Paganism (pp. 65-86). Palgrave Macmillan. DOI: https://doi.org/10.1057/978-1-137-56200-5_4
Štětka, V. (2009). Media events and European visions: Czech Republic in the 2007 Eurovision Song Contest. Communications, (34), 21-38. https://doi.org/10.1515/COMM.2009.002 DOI: https://doi.org/10.1515/COMM.2009.002
Stockle, V. (2011). ¿Es el sexo para el género lo que la raza para la etnicidad... y la naturaleza para la sociedad? En F. Cruces Villalobos & B. Pérez Galán (eds.). Textos de Antropología Contemporánea (pp. 315-348). UNED.
Stroje Ludowe (2023). https://strojeludowe.net/
Szeman, I. (2013). ‘Playing with Fire’ and Playing It Safe: With(out) Roma at the Eurovision Song Contest? En K. Fricker & M. Gluhovic (Eds.). Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest (pp. 125-141). Palgrave Macmillan. DOI: https://doi.org/10.1057/9781137367983_7
TeleProstir Studio (2014a, 30 de abril). Eurovision 2014. Press conference of Poland (Donatan & Cleo) 29/04/2014. YouTube. https://bit.ly/47YJEPu
TeleProstir Studio (2014b). Eurovision 2014. Donatan & Cleo from Poland press conference. YouTube. https://bit.ly/47YrBcg
Ulbricht, A., Sircar, I., & Slootmaeckers, K. (2015). Queer to be kind: Exploring Western media discourses about the “Eastern bloc” during the 2007 and 2014 Eurovision Song Contests. Contemporary Southeastern Europe, 2(1), 155-172. https://bit.ly/44GBtVg
Vesna Music [@vesna_music]. (2023a, 1 de mayo). Today we had our first rehearsal for the Eurovision and this is a small appetizer for you! [Fotografía]. Instagram. https://www.instagram.com/p/CrtW0UVL80U/?img_index=1
Vesna Music [@vesna_music]. (2023b, 31 de mayo). The process of creating our costumes for Eurovision was overseen by a Czech fashion designer @jan_smejkal . [Fotografía]. Instagram. https://www.instagram.com/p/Cs6l8BWNp-A/
Vesna Music [@vesna_music]. (2023c, 4 de junio). People ask us what is the symbolism of braids. [Fotografía]. Instagram. https://www.instagram.com/reel/CtE6x8Rsbpz/
Vieira Lopes, S. & Soeiro De Carvalho, J. (2022). Between Concepts and Behaviors. The Eurovision Song Contest and Ethnomusicology. En A. Dubin, D. Vuletic & A. Obregón (Eds.), The Eurovision Song Contest as a Cultural Phenomenon. From Concert Halls to the Halls of Academia (pp. 249-265). Routledge. DOI: https://doi.org/10.4324/9781003188933-20
Vuletic, D. (2015). The ESC and International Organisations. En K. Mitscha & K. Unterberger (Eds.), Texte 14. Public Service Media in Europe. Eurovision Song Contest: More than music? (pp. 39-45). Österreichischer Rundfunk.
Vuletic, D. (2018a). Postwar Europe and the Eurovision Song Contest. Bloomsbury. DOI: https://doi.org/10.5040/9781474276290
Vuletic, D. (2018b). Public Diplomacy and Decision-Making in the Eurovision Song Contest. En M. Dunkel & S. A. Nitzsche (Eds.). Popular Music and Public Diplomacy (pp. 301-313). Knowledge Unlatched. https://doi.org/10.1515/9783839443583-016 DOI: https://doi.org/10.1515/9783839443583-016
Weigold, T. (2015). Success in English only? Der Einsatz von Sprachen beim ESC. En C. Ehardt, G. Vogt & F. Wagner (Eds.). Eurovision Song Contest: Eine kleine Geschichte zwischen Körper, Geschlecht und Nation (pp. 30-45). Zaglossus.
Wellings, B. & Kalman, J. (2019). Entangled Histories: Identity, Eurovision and European Integration. En J. Kalman, B. Wellings, & K. Jacotine (Eds.), Eurovisions: Identity and the International Politics of the Eurovision Song Contest since 1956 (pp. 1-20). Palgrave Macmillan. DOI: https://doi.org/10.1007/978-981-13-9427-0_1
Wikimedia Commons (2014). ESC Poland 2014. [Fotografía]. Wikimedia Commons. https://bit.ly/3Ph1LYi
Yair, G. & Maman, D. (1996). The Persistent Structure of Hegemony in the Eurovision Song Contest. Acta Sociologica, 39(3), 309-325. https://www.jstor.org/stable/4194833 DOI: https://doi.org/10.1177/000169939603900303
Yair, G. (2019). Douze point: Eurovisions and Euro-Divisions in the Eurovision Song Contest. Review of two decades of research, European Journal of Cultural Studies, 22(5-6), 1013-1029. https://doi.org/10.1177/1367549418776562 DOI: https://doi.org/10.1177/1367549418776562
Downloads
Published
How to Cite
Issue
Section
License
Those authors who publish in this journal accept the following terms:
- Authors will keep the moral right of the work and they will transfer the commercial rights.
