The Eurovision Song Contest, launched by the European Broadcasting Union (EBU) in 1956, has developed not merely as a stage where musical performances are displayed, but also as a space where European cultural identity is constructed and tested. This competition, which has become one of Europe’s soft power tools over time, has enabled participating countries to demonstrate not only their artistic representations but also their belonging to international norms and common values. In this framework, Israel’s presence in the competition has provided a meaningful example of how Europe’s boundaries are culturally determined. Israel has participated in Eurovision since 1973, becoming a permanent actor on this platform by achieving first place four times. Although it is not geographically located on the European continent, it can participate in this competition by virtue of being an EBU member. This participation has been interpreted as an indicator of Israel’s cultural and media-based ties with the West.
In 2025, however, this presence has begun to be questioned again on an unusual axis of debate. Particularly following the developments after October 7, Israel’s operations in Gaza have caused harsh debates in international public opinion, and this situation has been reflected in cultural areas as well. In this context, even the acceptance of the song “October Rain” performed by Israel’s representative Yuval Raphael at Eurovision 2025 has been met with protest by some circles. Although it was stated that there was no political reference in the song’s lyrics, criticisms that it “romanticizes the realities in Gaza” have intensified. The organizers of the competition announced that the lyrics of the piece in question were changed and made compliant with competition rules.[1] However, the song’s first place in public voting on social media while being placed second by the jury with low scores has brought new debates about the democratic functioning of the competition.
According to reported information, particularly in countries such as Spain, Belgium, Ireland, and Switzerland, large differences occurred between jury votes and public votes, and these differences were evaluated as “emotional mobilization directed through digital campaigns.”.[2] In a statement from Swiss broadcaster SRF, the expressions “Mass manipulation through campaigns overshadows the authenticity of music” were used. These comments showed that Eurovision has become not only a music competition but also a space where societies’ political sensitivities are reflected.
Spanish Prime Minister Pedro Sánchez, in a statement made in May, argued that a similar sanction should be brought to the agenda for Israel as well, citing Russia’s exclusion from the competition in 2022 due to its invasion of Ukraine. Sánchez said, “When Russia was excluded, no one raised their voice. Now the same principle should apply.”[3] This statement was evaluated as an important turning point in determining the competition’s future political reflexes. Following Sánchez’s statement, Spain’s state television RTVE and some civil society organizations also made similar calls.[4]
In response to these calls, countries such as Germany, Austria, and Switzerland defended Israel’s remaining in the competition. Germany’s public broadcaster ARD stated that Germany would also withdraw from the competition if Israel were excluded. Although this statement was not directly confirmed by the EBU side, it was interpreted as a manifestation of historical responsibility and cultural solidarity toward Israel in Western Europe. Officials from Austria’s ORF made the statement, “Eurovision is an artistic, not political arena. Participation is determined by broadcaster membership, not political stance.[5]
The EBU meeting held in London on July 3, 2025, became a critical threshold where these debates gained institutional ground. EBU member broadcasters participated in the meeting, and Israel’s membership and its place in the 2026 competition were discussed. At the end of the meeting, no definitive decision had been made yet, and it was stated that the final decision would be given in the winter of 2025 depending on the course of the war. In the statement made by the EBU, the expression “The EBU believes that political crises should not disrupt cultural structures, but we can re-evaluate the membership issue depending on the course of the current conflict” was used.[6] This statement showed that the EBU was caught between normative principles and actual pressures.
It is understood that the decision taken after the London meeting was a kind of “delayed postponement” and that taking a definitive stance was avoided.[7] This situation was interpreted as an effort to strike a balance between the pressure from countries like Germany and Austria and the demands from countries like Spain and Ireland. Still, a notable development in this process was that some broadcasters made reform proposals regarding the jury system. In The Guardian’s report, it was conveyed that views were increasing that “public voting is open to emotional mobilizations and jury votes focus on cultural quality.[8] Some broadcasters demanded that the impact of public votes be reduced or that the weight of jury-public votes be rearranged.[9]
In this context, the competition’s “cultural diplomacy” function has gradually increased, gaining a meaning that extends beyond musical performances. Israel’s presence in Eurovision has become not only a country’s artistic representation but also a test area for how Europe’s normative framework will function. It has been observed that the EBU tried to maintain the principle of neutrality in this process, but at the same time had to manage public pressure and tension among member broadcasters. This situation has also shown how political influences are indirectly shaped in the cultural field.
In conclusion, the Eurovision competition has entered one of the most controversial periods in its history as of 2025. Israel’s future in the competition has become dependent not only on the EBU’s technical decisions but also on European public opinion’s sensitivities and the course of the conflict in the region. The extent to which Eurovision can protect the boundaries between the cultural field and politics will be shaped according to the decisions made in this process. Israel’s participation has become a sign of solidarity for some, a symbol of normative inconsistency for others. Eurovision will need to develop new institutional reflexes for music and culture to be sustainable without remaining in the shadow of politics. This process has gone down in historical records as an important threshold in terms of cultural diplomacy.
The final decision to be made in the coming winter will be determinative not only for the 2026 competition but also in terms of Eurovision’s fundamental principles, legitimacy, and the inclusiveness of the European cultural community. The institution’s obligation to strike a balance between the principle of neutrality and ethical responsibility has made this process complex not only culturally but also administratively. The post-Eurovision 2025 process will be a period that will redraw the boundaries of cultural diplomacy established through music. Therefore, Israel’s presence has gone down in history not merely as a country issue but as a reflection of Europe’s cultural crisis management practice
[1] Guy Hedgecoe & Paul Glynn, “Spanish PM calls for Israel ban at Eurovision”, BBC, https://www.bbc.com/news/articles/cn7zx836v6do, (Date Accessed: 03.07.2025).
[2] ‘Martin Belam, “It is time to ask if the rules allow abuse’: broadcasters call for overhaul of Eurovision voting after Israeli near win”, The Guardian, https://www.theguardian.com/tv-and-radio/2025/may/21/eurovision-public-vote-israeli-near-win-social-media-campaigns?utm_source=chatgpt.com, (Date Accessed: 03.07.2025).
[3] Ibid.
[4] Greta Aira, “Spanish Prime Minister Pedro Sánchez calls for Israel to be excluded from Eurovision over Gaza war”, Euronews, https://www.euronews.com/culture/2025/05/19/spanish-prime-minister-pedro-sanchez-calls-for-israel-to-be-excluded-from-eurovision-over-, (Date Accessed: 03.07.2025).
[5] Giannis Argyriou, “Germany Threatens to Withdraw from Eurovision if Israel is Excluded”, Eurovisionfun, https://eurovisionfun.com/en/2025/05/germany-threatens-to-withdraw-from-eurovision-if-israel-is-excluded/ (Date Accessed: 03.07.2025).
[6] Ibid.
[7] “Ran Boker, Israel narrowly avoids Eurovision suspension: ‘If war drags on, staying in will be difficult’, Ynet News, https://www.ynetnews.com/culture/article/bkk8exvrle, (Date Accessed: 03.07.2025).
[8] Ibid.
[9] Giannis Argyriou, “Breaking News: Israel Remains in Eurovision for Now | Final Decision in Winter, Depending on War Developments”, Eurovisionfun, https://eurovisionfun.com/en/2025/07/breaking-news-israel-remains-in-eurovision-for-now-final-decision-in-winter-depending-on-war-developments/, (Date Accessed: 03.07.2025).
