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In the Eurovision Song Contest Research Article From Ruslana to Gaitana: Performing “Ukrainianness” in the Eurovision Song Contest Research Article Paul Jordan Research Associate, Södertorn University [email protected] http://www.suedosteuropa.uni-graz.at/cse/en/jordan Contemporary Southeastern Europe, 2015, 2(1), 110-35 Contemporary Southeastern Europe is an online, peer-reviewed, multidisciplinary journal that publishes original, scholarly, and policy-oriented research on issues relevant to societies in Southeastern Europe. For more information, please contact us at [email protected] or visit our website at www.contemporarysee.org From Ruslana to Gaitana: Performing “Ukrainianness” in the Eurovision Song Contest Paul Jordan* This article considers how the Eurovision Song Contest (ESC) has come to be used as a platform for the politicisation of national identity in Ukraine. Ukraine can be described as an amalgam of regions with different ethno- linguistic, economic, cultural and political profiles. The rhetoric concerning some Ukrainian Eurovision entries illuminates these complexities and as such sheds light on the construction of Ukrainian nationhood in a post- Soviet context. In particular this paper uses interviews with key decision makers involved with the Ukrainian selection process in the Eurovision Song Contest and examines the rhetoric surrounding four Ukrainian Eurovision entries which have generated considerable interest and controversy both in the country itself and within the wider context of the European media. Eurovision presents an opportunity for Ukraine to present a unified national identity to a global audience. The question is however, which Ukraine and for what purpose? Keywords: national identity, Ukraine, nation-building, nationalism, Eurovision Song Contest Introduction This article considers how the Eurovision Song Contest (ESC) has come to be used as a platform for the politicisation of national identity in Ukraine. If Eurovision entries can be seen as a reflection of the state-centric nature of national identity, then the discussions that they engender within the state can provide a unique insight into how that identity is both constructed and contested. The narrative of the nation rarely speaks with a straightforward voice and in the case of Ukraine the way in which nationhood is defined is far from simple. Ukraine presents an interesting case study given the geopolitical position of the country, between Russia and Europe, and the acute cultural and political discourses that this engenders. In particular this paper uses interviews with key decision-makers involved with the Ukrainian selection process in the Eurovision Song Contest and examines the rhetoric surrounding * Paul Jordan is a postdoctoral researcher working on issues of nationalism, history, identity politics, international relations and nation branding in relation to Central and Eastern Europe. He defended his PhD thesis, The Eurovision Song Contest: Nation Branding and Nation Building in Estonia and Ukraine at the University of Glasgow in September 2011. He is a founding member of the Eurovision Research Network (ERN) which is an association of academics, broadcasters, journalists, and other individuals and organisations with an interest in sharing ideas, dialogue, and resources around the Eurovision Song Contest (ESC). Paul is a regular pundit on the ESC for the UK media and has appeared on the BBC News, Sky News and the documentary film, The Secret History of Eurovision. 110 Paul Jordan four Ukrainian Eurovision entries which have generated considerable interest and controversy both in the country itself and within the wider context of the European media. Eurovision presents an opportunity for Ukraine to present a unified national identity to a global audience. The question is, however: which Ukraine, and for what purpose? Research that aims to scrutinise any part of identity can only be an inexact process, since identities themselves are dynamic. The methodology used to investigate issues such as national identity needs to be appropriate and an awareness of the potential limitations of the research design is necessary. The use of qualitative interview research, as done in this study, continues to be a subject of debate; indeed, it has been asserted that the data gathered using qualitative methodology is hardly distinguishable from journalism.1 Yet, the value of qualitative interviews lies in the fact that they place emphasis on the way in which individuals interpret their social reality; interviews capture and deconstruct meanings attached to social phenomena by particular actors at specific moments in time. They therefore add an invaluable additional perspective to the study of identity construction and the meanings attached to such identities.2 This paper analyses perspectives on the ESC and the nation from “above”, namely by using the viewpoints of political figures, opinion leaders and individuals involved with the ESC in Ukraine in order to ascertain what visions of the national political community or nation state were propagated through it. Much of the emphasis of my research is on official representations of the country rather than being totally focussed on public opinion, of which this paper therefore does not claim or aim to be completely representative. The majority of the data for this article was collected by carrying out in-depth interviews both at an elite/political level and public level in Ukraine in 2007–8 as part of my doctoral research. I conducted 28 interviews in total, 16 of which were with so-called elite level respondents. The elite level can loosely be defined as politicians, journalist, television executives and opinion leaders. Respondents were initially asked about their sense of national identity and the image of Ukraine more generally. I then went on to explore their views on the Orange Revolution and the Eurovision Song Contest itself, since these two events presented an opportunity for the country to manage its own image on its own terms for the first time since independence. Among the people interviewed as part of my original research were the Executive Producer of the 2005 ESC as well as the Head of CFC Consulting, a PR firm based in Ukraine which orchestrated Ukraine’s debut in the contest and oversaw the selection of several of the country’s representatives. Moreover, other respondents were drawn from a large sample using a snowballing technique, an established method for sampling and in this case, the only practical means of gaining access to these elites. The elite level does, however, provide only one perspective. Much of the recent literature on issues of nationhood and nationalism in the post-Soviet region has stressed the need to examine issues 1 Strauss, Anselm and Juliet Corbin. 1998. Basics of Qualitative Research: Techniques and Procedures for Developing Grounded Theory. 2nd ed. Thousand Oaks, CA: Sage, 28. 2 Snape, Dawn and Liz Spencer. 2003. The Foundations of Qualitative Research, in Qualitative Research Practice: A Guide for Social Science Students and Researchers, edited by Ritchie, Jane and Jane Lewis. London: Sage, 1–23, 3. 111 From Ruslana to Gaitanaп іerforming “Ukrainianness” in the Eurovision Song Contest at the “ordinary” level. Rogers чrubaker, in his work on Transylvania, argues that a perspective from “below” is needed if we are to truly understand the nature of identity processes in these countries:3 Ethnicity and nationalism could best be understood if studied from below as well as above, in microanalytic as well as macroanalytic perspective. From a distance it is all too easy to “see” bounded and homogenous ethnic and national groups, to whom common interests, perceptions, intentions and volition can be attributed. Up close, on the other hand, one risks losing sight of the larger contexts that shape experience and interaction. The study of large- and mid- scale structures and processes remains indispensible, but I came to believe that it must be complimented by research pitched at a level close to everyday experience if one is to avoid unwarranted assumptions of “groupness” and capture the way ethnicity actually “works”.4 I therefore also undertook a selection of public-level interviews in order to gain an overview of opinions relating to Ukraine’s representation through the ESC. Whilst carrying out the research I was affiliated with the Kyiv-Moyhla Academy, a university in Kyiv. I was able to access a large network of students within a short space of time, many of whom had been active in the Orange Revolution of 2004–5, which was why they were specifically chosen. I also interviewed members of the general public. However, as stated earlier, rather than seeking to explore public opinion, this research aimed to investigate key debates with specific actors in Ukraine who have been involved in both the organisation of the ESC and the selection of Ukraine’s official representatives. As such, the narratives between the two groups of respondents reveal interesting insights into the construction and contradictions of Ukrainian nation-building in the post-Soviet period. Deconstructing “Ukrainianness” Attempting to define and encapsulate what the essence of Ukrainian national identity is far from simple. Ukraine can be described as an “amalgam of regions” with different ethno-linguistic, economic, cultural and political profiles.5 Ukraine itself can be seen as a “study in ambiguity”.6 The rhetoric concerning some Ukrainian Eurovision entries illuminates these complexities and as such sheds light on the
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