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Eurovision and Australia: Interdisciplinary Perspectives from Down Under
This book investigates Australia’s relationship with the Eurovision Song Contest over time and place, from its first screening on SBS in 1983 to Australia's inaugural national selection in 2019. Beginning with an overview of Australia’s Eurovision history, the contributions explore the contest’s role in Australian political participation and international relations; its significance for Australia’s diverse communities, including migrants and the LGBTQIA+ community; racialised and gendered representations of Australianness; changing ideas of liveness in watching the event; and a reflection on teaching Australia’s first undergraduate course dedicated to the Eurovision Song Contest. The collection brings together a group of scholar-fans from a variety of interdisciplinary perspectives ― including history, politics, cultural studies, performance studies, and musicology ― to explore Australia’s transition from observer to participant in the first thirty-six years of its love affair with the Eurovision Song Contest.
306 pages, Hardcover
Published August 7, 2019
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May 10, 2023
'Eurovision and Australia' is a collection of academic essays that was published in 2019 before what was to be the last Eurovision Song Contest before the Covid pandemic, as well as the performance of Australian grand final qualifier Kate Miller-Heidke, who went on to finish ninth. Confined in some respects by the limited participation history of Australia at the Eurovision Song Contest the essays in this book try to develop a series of theses about this country's relationship with the event and its surrounding socio-political constructs. Whilst it doesn't quite succeed 'Eurovision and Australia' does make a commendable effort at unpacking a rather complex subject. There's a lot more to Australia and Eurovision than wind machines, gay icons, commercial pop songs and hopes for "douze points".
That the essays in this volume has only an official participation history of five years to unpack is a problem that isn't quite surmounted. There are dozens of pages spent talking about the four Australian entries (Jessica Mauboy, Guy Sebastian, Dani Im and Isaiah Firebrace) who participated in ESC events from 2014 to 2018 as well as some discussion of the aforementioned Miller-Heidke, and whilst there commentary and analysis is valid and informative one cannot escape the conclusion that the essayists are limited in what they can do. There would be no such problem with those academics studying (for example) Britain's history in and relationship with Eurovision, considering the over 50 years of the UK participating in the contest. It might be said that the small survey field for consideration of the Australian Eurovision entrants doesn't really offer enough for the reader to engage with in those essays that focus on the performers and their songs.
On the other hand there are some valuable essays on the more broad, less performer-focused issues addressed in this text. For example, Dean Vuletic's historical survey of Australia and Eurovision is very worthy of reading as it presents a wider vision for the reader to engage with. References to Australian-born or residents who have performed for other countries (including the likes of Olivia Newton-John and Johnny Logan) as well as the history of how Australians have watched broadcasts of the Eurovision Song Contest since 1983 means that this essay will speak to the less-academically minded reader whilst also developing a deeper context for the following essays.
Most of the essays address what might be considered the elephant in the room of Australia and Eurovision, i.e. why are we there when Australia is not part of the geo-political 'neighbourhood' of Europe. There some informative and important things said about this in the book's essays and it could be said that none of the essayists are able to fully resolve the legitimacy of our representation in the contest. However, all of the essayists are able to identify, discuss and validate the legitimacy of the meaning of Eurovision for Australia and Australians. There can be no denying that the authors who have contributed to this volume have shown that for all its kitsch, for all its silliness and for all its distance from us as a physical event the Eurovision Song Contest is a valid avenue for Australian cultural expression and experience on a transnational scale.
One criticism that should be made is that for all their erudition and worthy academic writing none of the essayists in this volume really capture the joie de vivre, the fun of Eurovision. There is perhaps too much serious examination of all the various sociological, political, theoretical and cultural issues that arise due to the relationship between Australia and the ESC and not enough said on how Eurovision has the potential to arouse humour and celebration.
It might also be suggested that perhaps the focus on recent entries and history avoids a rather more dark perspective on potential Australian attitudes re Eurovision, i.e. ridicule through xenophobia and racism. Several essayists discuss the congruence of Australians engaged with Eurovision in their experiences and the immigration experience (including the similarities between watching the ESC on SBS and watching soccer). Perhaps part of the suspicion, the ridicule or even hostility felt by some Australians towards is emblematic of at best parochialism and at worst racism.
In conclusion 'Eurovision and Australia' is a generally serious and erudite tome that offers some informative and considered views on the multi-faceted relationship between Australia and the Eurovision Song Contest. It can be a rather dry read and the book won't appeal to those who are looking for a more simplistic and perhaps more entertaining exploration of the topic. There is value in reading the essays herein for students of politics, sociology, media and cultural studies. Perhaps with more time and more direct involvement in Eurovision a later edition of this book will be able to be even more valuable.
That the essays in this volume has only an official participation history of five years to unpack is a problem that isn't quite surmounted. There are dozens of pages spent talking about the four Australian entries (Jessica Mauboy, Guy Sebastian, Dani Im and Isaiah Firebrace) who participated in ESC events from 2014 to 2018 as well as some discussion of the aforementioned Miller-Heidke, and whilst there commentary and analysis is valid and informative one cannot escape the conclusion that the essayists are limited in what they can do. There would be no such problem with those academics studying (for example) Britain's history in and relationship with Eurovision, considering the over 50 years of the UK participating in the contest. It might be said that the small survey field for consideration of the Australian Eurovision entrants doesn't really offer enough for the reader to engage with in those essays that focus on the performers and their songs.
On the other hand there are some valuable essays on the more broad, less performer-focused issues addressed in this text. For example, Dean Vuletic's historical survey of Australia and Eurovision is very worthy of reading as it presents a wider vision for the reader to engage with. References to Australian-born or residents who have performed for other countries (including the likes of Olivia Newton-John and Johnny Logan) as well as the history of how Australians have watched broadcasts of the Eurovision Song Contest since 1983 means that this essay will speak to the less-academically minded reader whilst also developing a deeper context for the following essays.
Most of the essays address what might be considered the elephant in the room of Australia and Eurovision, i.e. why are we there when Australia is not part of the geo-political 'neighbourhood' of Europe. There some informative and important things said about this in the book's essays and it could be said that none of the essayists are able to fully resolve the legitimacy of our representation in the contest. However, all of the essayists are able to identify, discuss and validate the legitimacy of the meaning of Eurovision for Australia and Australians. There can be no denying that the authors who have contributed to this volume have shown that for all its kitsch, for all its silliness and for all its distance from us as a physical event the Eurovision Song Contest is a valid avenue for Australian cultural expression and experience on a transnational scale.
One criticism that should be made is that for all their erudition and worthy academic writing none of the essayists in this volume really capture the joie de vivre, the fun of Eurovision. There is perhaps too much serious examination of all the various sociological, political, theoretical and cultural issues that arise due to the relationship between Australia and the ESC and not enough said on how Eurovision has the potential to arouse humour and celebration.
It might also be suggested that perhaps the focus on recent entries and history avoids a rather more dark perspective on potential Australian attitudes re Eurovision, i.e. ridicule through xenophobia and racism. Several essayists discuss the congruence of Australians engaged with Eurovision in their experiences and the immigration experience (including the similarities between watching the ESC on SBS and watching soccer). Perhaps part of the suspicion, the ridicule or even hostility felt by some Australians towards is emblematic of at best parochialism and at worst racism.
In conclusion 'Eurovision and Australia' is a generally serious and erudite tome that offers some informative and considered views on the multi-faceted relationship between Australia and the Eurovision Song Contest. It can be a rather dry read and the book won't appeal to those who are looking for a more simplistic and perhaps more entertaining exploration of the topic. There is value in reading the essays herein for students of politics, sociology, media and cultural studies. Perhaps with more time and more direct involvement in Eurovision a later edition of this book will be able to be even more valuable.
Displaying 1 of 1 review