We had not expected to be completing an assignment about Eurovision performances at a time when one participating country has just invaded another without provocation.
Our thoughts are first and foremost with the people of Ukraine – and also with the many Russian citizens who oppose the actions of their own government.
In the last few weeks, we’ve been analyzing different performances in all sorts of ways, thinking about things like language choices, metaphors, genres, symbolism, visual devices, and so on. We’ll be touching on some of those items in our analyses.
We’ve also been asked to think about what concepts help us understand those performances, including essentialism, (auto-)Orientalism, cultural appropriation, cosmopolitanism, pink-washing, and homonationalism (and many, many more!). Also up for discussion is the question of representation, be it about race, gender identity, sexual orientation, and the many other intersections of our social identities.
As with the last post, we've been asked to use in-text citations as well as references using the APA system. We suggest you skip over them while reading - unless you're excited to learn more!
What are we missing? What good sources can you recommend? Did you witness these performances in person and have background knowledge to share? Your feedback is appreciated, so please leave your constructive comments at the end of our posts. For this second written paper, we have the option of revising the text based on feedback (by March 10), so your thoughts are especially welcome!
Once again, here are our blog sites, along with the year of the song we're each analyzing:
Armenia 2017 | Azerbaijan 2021 | Belarus 2019 | Belgium 2011 | Bulgaria 2009 | Croatia 2021 | France 2019 | Georgia 2015 | Hungary 2015 | Lithuania 2021 | Moldova 2009 | Montenegro 2012 | Poland 2019 | Portugal 2009 | Romania 2013 | Russia 2021 | Serbia 2018 | Slovenia 2014 | Spain 2019 | Ukraine 2021
