This master’s thesis considers Eurovision as a platform that enables participating countries to respond to the geopolitical situation in Europe through their participation, voting patterns, the exercise of soft power, and political messaging. The organizers of the contest claim that the event is apolitical, with its primary aim to unite nations through music. Yet, with their allocation of votes, countries have for years demonstrated their affinity and attraction towards other
countries, cultures, and traditions. As a result, the primary objective of many countries is to participate in a strong bloc of friendship, within which they can garner as many votes as possible and thus politically maintain relations which have long been at the forefront of the question of the fairness, validity as well as credibility of the voting process. Moreover, the idea of national participation is no longer within the purview of the countries themselves, but also of the European Broadcasting Union, a non-political organization that determines which of the
national broadcasters are in breach of the rules of their own approved statutes. Unfortunately, this decision-making process is also often subject to political pressure or geopolitics, followed by a political decision on how to sanction a particular country and under what conditions countries can participate in the event. This work provides an insight into the organization of an international music event that offers countries a platform to express their affinities within international relations, as well as to influence the opinions and decision-making of other participating countries, use soft power, enhance their national image and, ultimately, present their political messages.
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