This month we published Tourism, Events and Leisure Perspectives on the Eurovision Song Contest edited by Oscar Vorobjovas-Pinta and Jack Shepherd. In this post Jack explains how the significance of Eurovision goes far beyond the geopolitical.
In 2019 I was in Tel Aviv conducting research on the Eurovision Song Contest as part of my doctoral work looking into tourism’s impact on the Israeli-Palestinian conflict. Eurovision had become the target of a boycott campaign by the BDS group who saw hosting the event a form of “artwashing” of Israel’s treatment of the Palestinians. I was there to find out why tourists were still coming to the event despite the call.
I had regularly watched Eurovision growing up. I was drawn by the contest’s eccentricity, such as Ukraine’s Verka Serduchka, and the showcasing of so many different cultures, but I didn’t lose sleep if I missed a year by accident. That was all to change in Tel Aviv. While researching this topic, I was swept up in the infectious enthusiasm Eurovision fans had for their event – the way they knew all the songs by heart before the contest even began, their strong opinions on the good or bad staging of the songs the morning after the first semi-final, and the obvious sense that Eurovision was a once-a-year Christmas in the sun with friends, family, strangers and newfound lovers.
Not only did their enthusiasm rub off on me, leading me down the road of Eurovision fandom, but it also made me realise just how much of the Eurovision experience we have missed out on in Eurovision research where the focus has largely been on Eurovision’s importance to national identities and geopolitical posturing. Being at Eurovision shows it is so much more than just a stage for politics. It is a week-long touristic mega-event, where the emphasis is just as much on what to offer the hundreds of thousands of flaneuring visitors in town for the event as it is about the live shows. It is a city-wide event that has significant impacts on the lives of residents who, for better or worse, find themselves hosting the world’s largest non-sporting event. And it is a leisure event – a place of gathering for Eurovision fans from across the world, many of whom have built friendships around the event, and derive a deep sense of comfort and belonging from it.
This book is an attempt by Oscar Vorobjovas-Pinta and me to shine a light on these topics. Using the key words of tourism, events and leisure as a thematic umbrella, the book is made up of 14 chapters, split into three sections, with contributions from authors hailing from the US to the Baltics to Australia, and from disciplinary backgrounds ranging from tourism studies to sociology to human geography. In Section 1, we explore Eurovision as a touristic phenomenon. Here, we cover topics such as the growth of Eurovision tourism that extends well beyond the host city itself, with one chapter exploring, for example, the impact of the Eurovision film The Story of Fire Saga on the small Icelandic whale watching destination of Husávík. In Section 2, we place an emphasis on Eurovision fandoms, seeking to understand the “personality” of Eurovision as an event. This involves probing questions such as, what happens when an event so crucial to one’s friendship networks is cancelled? Or, what role does Eurovision play in one’s sense of belonging to a trans-national queer community? In the third section, the book contributes to existing work on the event’s political dimensions, but offers fresh perspectives on, for example, the event’s reaction to wars in both Ukraine and Israel, and on how the European public votes during times of crisis.
Now, seven years on from that Eurovision in Tel Aviv, I feel confident this book, and the process it has taken me on, has helped me understand this event so much better – its meaning to fans, to residents, to businesses, to volunteers, and to Europe as a whole. I hope that you too will find valuable insights in the volume.
Dr Jack Shepherd
For more information about this book please see our website.
If you found this interesting, you might also like Gay Tourism edited by Oscar Vorobjovas-Pinta.








