Stagecraft in the service of statecraft? Russia in the Eurovision Song Contest

Abstract

The Eurovision Song Contest (ESC) has featured prominently in the cultural diplomacies of European states since it began in 1956. Russia debuted in 1994, initially with little success. In the 2000s, Russian participation became more strategic as the state worked to reassert itself on the international stage. Russia won the ESC in 2008, with Moscow consequently hosting the 2009 ESC, which was one of the most expensive editions of the contest ever. The ESC has provided a platform for Russia to gain some visibility in European popular culture – a field in which Russia has not traditionally held a prominent place. Winning and staging the ESC was also useful for Russia as a springboard to host other mega events. Russian television has invested in producing impressive ESC performances that display Russian stagecraft and seek to place high in the contest. Although relations between Russia and West Europe have been tense over LGBTIQ rights and the conflict in Ukraine, Russian television has not turned away from the contest but has continued to invest in producing effective ESC entries. This underlines that the ESC continues to have value as a stage for Russian cultural statecraft.