The competition surrounding Eurovision has long been viewed by many in Russia as politicized, a stance echoed by Elena Drapeko, first deputy chair of the State Duma Committee on Culture and an actress known for The Dawns Here Are Quiet. This sentiment followed Ukraine’s Kalush Orchestra victory in Eurovision 2022 in Italy, prompting comments from Ukrainian supporters as well as Russian observers.
According to Drapeko, the contest has shifted away from pure musical competition. She suggested that voting and public sentiment have taken on a strongly political character, to the point where she believes Eurovision should be forgotten as if it never existed. She offered no further comment on the event, conveying her view succinctly.
Similarly, Andrey Kosinsky, who represented Russia in Eurovision 1996 with the song I am Me and finished 26th, shared his perspective in discussions with socialbites.ca. He recalled when Eurovision was marketed as the European Song Contest, a platform focused on songs sung in national languages and presented by a consistent, orchestral arrangement. He criticized what he described as a modern shift toward a political cabal in which personal ties influence outcomes, expressing disappointment with the current format.
Kosinsky urged Russia not to participate in Eurovision in 2023, labeling it a political contest in his view. Ukraine’s win drew remarks from Maria Zakharova, the spokesperson for the Russian Foreign Ministry, who commented on how the victory shaped perceptions of events in Ukraine, noting musical performances and other imagery as part of the broader narrative presented to Europe.
Filipp Kirkorov, a veteran Russian singer who attended Eurovision, observed a noticeable emphasis on Ukrainian themes during the show. He noted the presence of Ukrainian flags among the audience and suggested that Ukraine might have a strong chance to win because of its familiarity and the stage presence, describing the dynamic as a form of rivalry that resonated with viewers.
Kalush Orchestra earned top attention with Stefania, a track written entirely in Ukrainian that blends national motifs with rap. The song, created prior to the Russia-Ukraine conflict, is credited to Oleg Psyuk, who described the piece as a tribute to his mother. He explained that Stefania carries personal significance and represents a heartfelt and intimate expression rooted in Ukrainian identity, which resonated with European audiences and was heard in a distinctive ethnocultural rhythm.
When hostilities began, Stefania took on new meanings for listeners who connected the song to resilience and homeland. Psyuk noted that audiences perceived the music as a statement of national unity and continuity, with lines that spoke to perseverance and the enduring link to home, even through hardship. The song’s reception illustrated how cultural expressions can gain additional layers of meaning during times of conflict, shaping how audiences interpret performance and message.
In the Eurovision final, Kalush Orchestra placed fourth in national jury points but received the highest fan votes, finishing with a total score of 631 points when combining jury and audience tallies. After their performance, the group’s lead vocalist addressed the audience with a request for humanitarian support for Ukraine and its people, calling for help for Mariupol and Azovstal, which led to discussions about Eurovision rules regarding political statements. The European Broadcasting Union stated that the call could be considered humanitarian rather than political, acknowledging strong emotions surrounding the Ukraine situation while maintaining the rules against overt political advocacy.
The organizer clarified that the intention behind the Kalush Orchestra’s message was seen as a humanitarian gesture rather than a political statement, given the context and timing. Following the contest, a video released by Kalush Orchestra depicted scenes from devastated Ukrainian cities and showcased Ukrainian military efforts to evacuate civilians from conflict zones, reinforcing the ongoing humanitarian narrative associated with the country. Russia suspended its participation in Eurovision that year, with organizers citing concerns that participation could undermine the competition’s integrity amid the ongoing crisis in Ukraine. Russian audiences and participants were not part of the voting process that year, reflecting the broader geopolitical tensions at play.
Speaking from the perspective of attendance and atmosphere, Kirkorov described Eurovision as a celebratory event rather than a site of political antagonism, noting that he did not sense Russophobia and felt welcomed by the organizers. He described his experience as a festival of music and cultural exchange, characterized by warmth and a general sense of goodwill rather than hostility.
What makes Kalush Orchestra’s Stefania resonate with audiences?
Stefania stands out for its Ukrainian language, its blend of traditional motifs with modern rap, and its intimate dedication to the group’s mother. The song’s origins predate the current conflict, yet its meaning evolved as events unfolded, turning the track into a broader emblem of national resilience and cultural identity. The performance demonstrated how a melody can carry personal and collective significance, connecting with listeners across Europe and beyond while reflecting the complex relationship between music and geopolitical narratives.
As Eurovision navigates politics and culture, the competition continues to attract fans who see it as a platform for national storytelling and artistic expression. The Kalush Orchestra’s victory underscored the enduring appeal of authentic music that speaks to audiences on multiple levels, while the reactions from officials and artists highlighted the delicate balance organizers strive to maintain between celebrating music and acknowledging current events. The year’s outcome reinforced that music, in its most powerful form, can serve as a bridge across divides, even amid sharp geopolitical tensions.