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Symbolism, Moralism Och Bojkotter

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LIU-IEI-FIL-G--15/01353--SE Symbolism, moralism och bojkotter En teoriprövande fallstudie om Eurovision Song Contest som arena för internationell konflikt Symbolism, moralism and boycotts A case study with a deductive approach about the Eurovision Song Contest as an arena for international conflict av Elin Lager Vårterminen 2015 Handledare: Jörgen Ödalen Kandidatuppsats Politices kandidatprogrammet i Statsvetenskap Institutionen för ekonomisk och industriell utveckling "Tonight nobody could vote for their own country. But it is good to be able to vote. And it is good to have a choice. Good luck on your journey, Azerbaijan. Europe is watching you." Anke Engelke 2 Abstract The use of cultural boycotts motivated by international conflicts between countries or regions has long been observed within sports. However, so far it has not been studied in other context of international competition like the Eurovision Song Contest. This essay aims to evaluate if we can understand political actions like boycotts or political symbolism through existing theories regarding political symbolism. This case study has chosen three withdrawals during the 21th century, which have been made due to conflict with another competing country. The withdrawals studied are Lebanon in 2005, Georgia in 2009 and Armenia in 2012. Through the use of political symbolism and boycotts as a political mean the three cases have been studied and classified. The result shows that current theories regarding political symbolism can be applied to understand two out of the three cases. The Lebanese withdrawal can be understood as a classic political boycott against Israel and the Georgian withdrawal as protest against Russia and therefor a case of political symbolism. The Armenian withdrawal has been characterized as a different kind of political symbolism than previously has been observed within the field of study. This essay has chosen to identify the case of Armenia as morally motivated political symbolism. Keywords: Eurovision Song Contest, international conflict, cultural boycott, political symbolism, non-traditional diplomacy 3 1. Inledning ......................................................................................................................................... 5 1.1 Ämnesval och problembild .................................................................................................................. 6 1.1.1. Syfte .................................................................................................................................................................... 8 1.1.2. Frågeställningar ............................................................................................................................................... 8 1.2 Metodiskt tillvägagångssätt ................................................................................................................ 8 a) Metod/forskningsteknik ......................................................................................................................... 8 b) Material .................................................................................................................................................. 10 c) Avgränsningar ...................................................................................................................................... 10 d) Begränsningar med det valda tillvägagångssättet ........................................................................ 10 1.3 Disposition ............................................................................................................................................ 11 2. Bakgrund ..................................................................................................................................... 12 2.1 Formalia ............................................................................................................................................... 12 3. Teoretiska utgångspunkter ...................................................................................................... 15 3.1 Bojkott .................................................................................................................................................. 15 3.1.1 Användning av bojkott i internationella tävlingsevenemang ......................................................... 17 3.2 Symbolpolitik ...................................................................................................................................... 19 4. Libanons avhopp 2005 .............................................................................................................. 20 4.1. Bakgrund till konflikten mellan Libanon och Israel ................................................................. 20 4.2 Eurovision Song Contest 2005 ......................................................................................................... 21 4.2.1 Efterspel ........................................................................................................................................................... 22 5. Georgiens avhopp 2009 ............................................................................................................. 23 5.1 Bakgrund till konflikten mellan Georgien och Ryssland .......................................................... 23 5.2 Eurovision Song Contest 2009 ......................................................................................................... 26 5.2.1 Efterspel ........................................................................................................................................................... 27 6. Armeniens avhopp 2012 ........................................................................................................... 28 6.1 Bakgrund till konflikten mellan Armenien och Azerbajdzjan ................................................. 28 6.2 Eurovision Song Contest 2012 ......................................................................................................... 30 6.2.1 Efterspel ........................................................................................................................................................... 32 7. Slutsatser ...................................................................................................................................... 34 7.1 Resultat ................................................................................................................................................. 34 7.1.1 Processen fram till avhoppen .................................................................................................................... 34 7.1.2. Skillnader och likheter fallen emellan .................................................................................................. 35 7.1.3 Bojkott eller symbolpolitik ........................................................................................................................ 36 7.2. Slutsatser ............................................................................................................................................. 39 Referenslista .................................................................................................................................... 41 4 1. Inledning Eurovision Song Contest (ESC) brukar kallas för ”Världens störta fest”. Men om man skrapar på ytan så mycket mera än bara en musiktävling. Det är ingen slump att viktiga datum (och t.o.m. platser) som markerar ESC historia och dess geografiska utbredning sammanfaller med samma geografiska mönster av den europeiska ekonomiska och politiska utbredningen. Mattéi beskriver det som att ESC på ett spektakulärt sätt påminner oss om den ständiga frågan vad det innebär att vara europé.1 Evenemanget är uttalat opolitiskt och gör allt i sin makt för att hålla konflikter länder emellan under ytan. Trots det sipprar obehagliga opinioner då och då ut. Som 2014 när Ryssland buades ut och en journalist begick en dödssynd och fråga den ukrainska sångerskan hur det kändes att delta med avseende på vad som hände i hennes hemland. Obekvämast blev det för värdnationen Azerbajdzjan och European Broadcasting Union (EBU) när tävlingen hölls i Baku 2012 och rapporter dök upp om att såväl tvångsförflyttningar skett för att bygga tävlingsarenan samt att mänskliga rättigheter systematiskt kränktes i landet. EBU var detta år extra tydliga med att artisterna inte fick uttala sig om förhållandena i landet, men vissa lyckades hålla sig i en gråzon. Svenska Loreen retade upp regimen rejält när hon besökte flertalet människorättsorganisationer innan sitt framträdande.2 ESC ska vara opolitisk och bidra till bilden av ett enat Europa, men kritiseras samtidigt för att uppmuntra till nationalism och regionalism. Det mest uppenbara tecknet på hur politisk tävlingen faktiskt är, är de s.k. voting blocks som existerar mellan länder som har starka relationer och ofta röstar på varandra, t.ex Skandinavien, Jugoslavien, Grekland-Cypern och Balkan. Vidare förekommer då och då subtila budskap som blir svåra att förbjuda då de inte är uttalat politiska. Efter Rysslands införande av anti-homolagar har de förekommit flertalet framträdande med öppet transsexuella artister och kyssar mellan samkönade par. Ingrid Delterne, chef för EBU, framhåller att ”om vi politiserar ESC…//… kommer ESC att dö” Det är ett event som ska bygga broar”3 Trots den nuvarande ledningens närmast desperata försök att hålla politiken utanför tävlingen, så
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