Militarization and popular culture in the shadow of war: the 2022 Eurovision Song Contest

When cultural mega-events, including the highly commercial Eurovision Song Contest, take place in the midst of war, powerful transformations can occur. This article explores the impact of Ukraine's winning 2022 Eurovision performance in the context of the emergence of a new militarized liberal European identity. Abstract What is the political role of cultural mega-events in the context of ongoing war? The article examines the interaction between cultural mega-events and militarization processes in the shadow of war. It addresses two main gaps: the lack of attention to the politics of such events during war, and the specific understanding of militarization usually adopted by popular culture scholars. It examines the development of material and symbolic forms of militarization, and addresses the impact of the commercial logic behind mega-events on the intensification and normalization of militarized practices. Empirically, the article focuses on the different militarization processes that developed in and through the 2022 Eurovision Song Contest, in response to the Russian invasion of Ukraine. It examines how these play out in Ukraine (through the militarization of the band Kalush Orchestra and the militarization of the Ukrainian song 'Stefania'), within the Eurovision contest itself and across Europe (through its participation in the competition). In doing so it also contributes to the broader debate about the changing security identity of Europe, and the development of a new militarized liberal European identity. Using data from social media, the article also highlights the role of such platforms in militarization processes.