Eurovision, an activist showcase for sexual and gender minorities – rts.ch

Since the 1990s, the Eurovision Song Contest (ESC) has become an activist showcase for the LGBTQIA+ community and for the emancipation of women. The competition’s slogan, “United in Music”, echoes the very motto of the European Union: “United in Diversity”. A diversity of artists, genres, sexual identities which has shaped a popular musical program followed by more than 160 million viewers and broadcast in 37 countries this year.

For this 2024 edition, the non-binary Bernese rapper Nemo competes for Switzerland with his song “The Code”. Crowned “Best Talent” at the age of 17, the prodigy has already won four Swiss Music Awards. At this 68th edition which takes place in Malmö in Sweden, from May 7 to 11, the Biel resident wears the colors of an open and progressive Switzerland. “An immense opportunity, explains Nemo, to build bridges between cultures and generations.“

A “rainbow” competition

From the 1990s, the gay community became more visible in the Eurovision competition. The period coincides with the first victories for the rights of homosexual people. In 1990, the World Health Organization (WHO) removed homosexuality from the list of mental illnesses and the first legislation for civil unions for homosexual couples was adopted, notably in Denmark (1989), in Norway (1993). ) or in Sweden (1995). More openness and tolerance found on the stages of the Eurovision contest.

In 1997, the competition included for the first time an openly homosexual candidate, the Icelandic Paul Oscar. A year later, the victory of Israeli transsexual candidate Dana International transforms Eurovision into an artistic platform for the affirmation of LGBTQIA+ identity. “When I started to be known, those who were frustrated by their status had more self-confidence: they managed to say ‘I’m gay, and that’s how it is,'” explains the artist from Tel -Aviv.

In 2002, Slovenia sent a trio of drag queens to the competition. In 2013, a scene even caused controversy when Finnish candidate Krista Siegfrids kissed one of her singers live to support marriage for all in her country.

This controversy will not prevent Eurovision from inviting artists who represent anti-inequality youth. Bearded drag queen Conchita Wurst wins the 2014 edition for Austria. Despite the homophobic insults or calls to boycott the competition, the artist will celebrate her victory all the way to the UN where she advocates “a world where we no longer need to talk about sexual, ethnic or religious differences”.

A feminist showcase

Although it took several decades for the LGBTQIA+ community to become inseparable from the musical event, women have never lacked visibility since the creation of the competition in 1956. However, women have long remained confined to traditional styles. Feminine looks or romantic songs, they represented the archetype of the telegenic diva.

We had to wait until the end of the 1990s to see the first committed performances that broke the codes. Looks are evolving and singers are offering more personal performances, like Marija Šerifović (Serbia) with her song “Molitva” in 2007 or Nina Sublatti (Georgia) in 2015 with her song “Warrior”, a tribute to the strength of women.

Then the #MeToo movement reached Europe with the Weinstein affair in 2017. Women’s voices are freed and the feminist struggle takes on new life. It is also a title with an engaging text that wins the 2018 edition with “Toy”, performed by Netta Barzilai, Israeli singer and musician. “Women are making themselves heard, and for me, it is a great honor to sing such a song at Eurovision, being as I am, different from the standards,” confides the young artist.

Controversies

Eurovision is a committed competition, with its controversies. In fact, the song that should represent Spain this year has sparked a wide debate. The title “Zorra” by the Spanish duo Nebulossa, which means both “vixen” and “female dog”, has been accused of being misogynistic by many Spanish socialist female politicians while others defend a text which pays homage to emancipated women. Despite the criticism, the title was finally validated by the organizer of Eurovision.

Furthermore, some denounce the marketing of living together, like the American lecturer Robert Deam Tobin, co-editor of the book “A Song for Europe” (Tobin and Raykoff, 2007). Even so, Eurovision and its colorful artists still have a bright future ahead of them. The competition promises in particular to further integrate minorities, particularly people with disabilities, as in 2015 when Finland was represented by PKN, a Punk group whose members all suffer from autistic disorders or Down syndrome.

Florise Vaubien