Usually we don’t have to do this type of disclaimer on our Eurovision blog, but any opinions we present in this post do not necessarily reflect those of our employers.
You see, Ukraine had planned to enter Eurovision this year. They held the Vidbir national final and everything. MARUV won with her totally awesome “Siren Song,” a pop banger that had the potential to elevate her to Ani Lorak-level heights with the Eurovision fan base.
But there was just one problem: Russia.
Like many Song Contest fans, we followed along with Vidbir aided by the live translations provided by Andy Mikheev from ESCKAZ on Twitter. So like many Song Contest fans, we were taken aback when Andy tweeted that host Serhiy Prytula pointed out that the mother of sister act Anna Maria is in the Crimean government and that Jamala criticized them for not answering correctly about whether or not Crimea is Ukrainian and that Jamala told MARUV that “it is a thing of consience [sic] not to perform in Russia” after discussing MARUV’s plans to tour Russia after Eurovision and that after MARUV said music unites people, Serhiy asked, “if there was anyone after her performance in Russia who said he will put guns down and will not go to fight in Donbass?”
No wonder that fellow judge Andriy “Verka Serduchka” Danylko described the discussions like this:
#Eurovision #Ukraine #EuroSTB2019 Andriy says the situation is like in Soviet party meeting, when someone is accused in anti-Soviet stand. He thinks if he was on their place, he would just left the stage now after all these questions.
— Andy Mikheev (ESCKAZ) (@ESCKAZ) February 23, 2019
Now, discussions of politics and national identity are not new to Vidbir’s judging. Jamala’s performance of “1944” back in 2016 included a detailed discussion by the judging panel (which included Ruslana and Andriy Danylko) about how political a song it was.
Maybe it shouldn’t be a shock, given that Jamala won Eurovision with a song about Crimea, that she would bring up Crimea during the judging of a Eurovision Song Contest entry. I mean, other than a fact that this was a show selecting a Eurovision Song Contest entry. But politics and Eurovision have been intertwined in Ukraine for quite some time, from Ruslana’s career in parliament to GreenJolly’s entry being an anthem of the Orange Revolution to, again, their most recent winner.
ESCKAZ and ESCXtra both cover the aftermath in detail, but in short, after reviewing the contract she was expected to sign to represent Ukraine, MARUV decided it was not worth it. UA:PBC offered the spot to second place act Freedom Jazz and third place act Kazka, and both rejected the opportunity as well. Meanwhile, private broadcaster STB, who runs Vidbir on behalf of the underfunded EBU member UA:PBC, cast doubts on whether or not they would continue to manage the national selection. As Eric Graf put it after Ukraine announced its withdrawal:
Yep. They managed to burn their main source of funding and spook the entire Ukrainian music industry in one fell swoop. That'll show those Russians!
— Eric Graf (@narkspud) February 27, 2019
We in the Eurovision community may be scratching our heads, but if we are honest with ourselves, everything that happened during and after Vidbir is not that surprising. Russia and Ukraine relations have deteriorated since the annexation of Crimea and tensions flared up between the two countries as recently as this past November.
Not long after the annexation, I read an article written by The Economist’s Moscow Correspondent Noah Sneider called “The Empire Strikes Back.” It’s a lengthy and often tough read, but it provided me with a lot of insight into the history of Russia and Ukraine. It also reminded me that as big as Eurovision is, it is just a small part of a greater history being played out.
I realize that’s not a deep insight, but people can spend their careers analyzing Russia and Ukraine, and I just came to Vidbir for the divas who slay. This is best sense I can make of it all, and now I can move on to making fun of Denmark’s entry.