JOSÉ LUIS PANEA Universidad de Castilla-La Mancha
[email protected] “Hello Millstreet, Sarajevo Calling” cuerpo y diáspora a través de la puesta en escena del concurso de la canción vol 16 / Jun.2017 161-186 pp Recibido: 08-03-2015 - revisado 05-04-2017 - aceptado: 08-05-2017 © Copyright 2012: Servicio de Publicaciones de la Universidad de Murcia. Murcia (España) ISSN edición impresa: 1889-979X. ISSN edición web (http://revistas.um.es/api): 1989-8452 “Hello Millstreet, Sarajevo Calling”: Cuerpo y diáspora a través de la puesta... José Luis Panea “HELLO MILLSTREET, SARAJEVO CALLING” BODY AND DIASPORA THROUGH THE STAGING OF THE EUROVISION SONG CONTEST ABSTRACT Conflictive paradoxes that emerges from the Eurovision Song Contest since his creation (1956), performed annually, generate a sort of identity fiction recently worked from feminisms or queer theory perspectives in Anglo-Saxon sphere. This way, this essay is conceived as a bet into polit- ical-aesthetics of that apparently innocuous, anachronist, even kitsch, Song Contest because in “the act of point country-performance” it generates a key representation dilemma in order to understand the cultural complexities of our time through television. Hence, the two main lines of this paper: First, putting light into the rising interest of European margin countries during last years in a Contest at the beginning only “europeistic”, with all complexities derived from race, language, diaspora. Second, the presence of abject body (androgynous, lesbian, gay, transsex- ual, transgender, queer…) representing and, at the same time, deconstructing nation idea as a glorious body, and with Butler, impermeable, opening a place for an identity multiplicity that makes unique this TV live show combining music, geopolitics and competition in pan-Europe but broadcasted in all over the World.