The Eurovision Song Contest has, since its establishment in 1956, became a forum for European interaction and space where European identity is defined and performed. Participating states are...Show moreThe Eurovision Song Contest has, since its establishment in 1956, became a forum for European interaction and space where European identity is defined and performed. Participating states are expected to embrace the established shared norms and values, while presenting their cultural identity to a global audience. Examining Eurovision through mega-events theory, this thesis will answer: how are mega-events utilised by states and their critics to present and disseminate competing narratives on the host state’s identity and right to host? To do so, the 2019 contest in Israel will be examined as a case study to demonstrate how mega-events can be instrumentalised by states and critics. In doing so it also explores the dangers inherent in hosting a mega-event. This thesis will conclude that Israel utilised the hosting of the Eurovision Song Contest in 2019 as an opportunity to present a clear narrative of Israel as a legitimate and worthy member of Eurovision, and by extension Europe, by echoing the values of the contest. However, critics of Israel also utilised the same show to counter this narrative by challenging Israel’s adherence to Eurovision’s values and the ability of Eurovision to uphold its apoliticality when hosted by a controversial state. These competing narratives demonstrate how mega-events create a forum both for hosting states to disseminate their narratives and for critics to counter it, it also demonstrates how the values of a mega-event can be instrumentalised by critics to attack and delegitimate the hosting state.Show less
