The Eurovision Song Contest is not only an artistic competition but also a transnational platform that has become a symbol of European identity, cultural diplomacy and normative power. However, this international cultural event is increasingly becoming a backdrop for the manifestation of geopolitical tensions and normative conflicts. As of 2025, the intensity of Israel’s military operations in the Gaza Strip and the international reactions to this situation have made the country’s presence at Eurovision controversial. As an institutional member of the European Broadcasting Union (EBU) and one of the “Big Five”, Spain has been one of the main actors in this debate, taking a position based on normative values. This study evaluates Spain’s position in this crisis, the related national and international reactions and the implications for the cultural legitimacy of Eurovision.[i]
With reference to international law and human rights norms, Spanish Prime Minister Pedro Sánchez argued that Israel should be expelled not only from political but also cultural forums. Sánchez’s statements are built on a comparative argument, in particular with the example of Russia’s suspension from Eurovision. This approach is associated with the principle of “normative consistency”, i.e. the expectation that states should react similarly to similar violations.[ii] The Prime Minister’s statement was supported not only at the governmental level, but also at the institutional level by Spain’s public broadcaster RTVE. RTVE made a formal appeal to the EBU, requesting a reconsideration of Israel’s inclusion in the contest and an open debate among the members. This initiative is noteworthy for the principles of membership responsibility and democratic accountability within international institutions.
Yuval Raphael’s performance as Israel’s representative at Eurovision 2025, despite receiving a low score from the jury, came first in the public vote, placing second overall. This has raised questions about possible state-sponsored media and communication strategies behind cultural participation. Indeed, it has been claimed that the campaigns organized by the Israeli Government Advertising Agency through social media platforms were intended to manipulate public voting behavior. This development shows that cultural events can be used as part of hybrid warfare techniques and are open to the exploitation of “soft power” tools.
RTVE raised serious concerns about the credibility and transparency of the “televoting” system and demanded an independent audit of the voting results. This initiative is an indication that electoral and voting processes are seen as fundamental elements of democratic legitimacy, not only in political but also in cultural spheres.
Spain’s normative move has received institutional and political support from other countries across Europe. Broadcasters such as Ireland (RTÉ), Iceland (RÚV) and Belgium (VRT) made similar demands to the EBU, asking for a more open discussion of the normative aspect of the contest. At the same time, a joint letter signed by 72 former Eurovision participants gave social legitimacy to these demands by advocating for Israel’s exclusion from the contest.[iii]
Among the Spanish political elite, Deputy Prime Minister Yolanda Díaz argued that Eurovision was being used to “legitimize” or “whitewash” Israel’s actions in Gaza, while Podemos leader Ione Belarra called for democratic countries to boycott the event, calling it a “political cover-up”. These statements demonstrate once again that cultural events are not just entertainment, but also spaces that carry normative and symbolic meanings.
The EBU, the organizer of Eurovision, has emphasized that it is an association of public broadcasters, not governments, and has adopted an approach that prioritizes consensus among members rather than meeting political demands directly. EBU official Martin Green’s statements suggest that the organization is trying to strike a balance between its efforts to maintain its apolitical nature and its flexibility in the face of ethical demands from its members. However, this approach can be seen as a reflection of the tension between institutional neutrality and fundamental principles such as adherence to international norms and ethical responsibility.[iv]
Spain’s normative and principled stance in the context of the 2025 Eurovision Song Contest shows that international cultural events cannot be isolated from political conflicts despite the principle of neutrality. Cultural diplomacy has become not only a means for nations to express themselves, but also a symbolic testing ground for ethical responsibilities, human rights norms and international law. In this context, the legitimacy of mega-events such as Eurovision will be measured not only by artistic competence but also by normative consistency.
Unless organizations like the EBU develop a more robust governance mechanism for similar crises in the future, they will struggle to balance the claim of cultural neutrality with normative obligations. Spain’s role in this process is an important example of how rights-based foreign policy can take shape on the cultural stage.
[i] “Eurovision 2025: Spain calls for a debate with geopolitical overtones”, Bursa.ro, https://www.bursa.ro/eurovision-2025-spain-calls-for-a-debate-with-geopolitical-overtones-07904550, (Date Accessed: 20.05.2025).
[ii] “Spain’s PM wants Israel out of international cultural events over Gaza war”, Reuters, https://www.reuters.com/world/middle-east/spains-pm-wants-israel-out-international-cultural-events-over-gaza-war-2025-05-19/, (Date Accessed: 20.05.2025).
[iii] “Leader of Podemos party in Spain urges ‘all democratic countries’ to boycott Eurovision because of Israeli participation”, Anadolu Ajansı, https://www.aa.com.tr/en/europe/leader-of-podemos-party-in-spain-urges-all-democratic-countries-to-boycott-eurovision-because-of-israeli-participation/3160475, (Date Accessed: 20.05.2025).
[iv] Ibid.
