Eurovision to the Republic of Ireland

Eurovision is a platform available to every country in Europe. It celebrates diversity and similarities, unity and division, and most of all it serves as a neutral ground for the entirety of Europe to grab hands and stand as one if they chose to. If your only exposure to the vast population of European countries is the Eurovision Song Contest once a year, what would your view of these countries be? Would it be an accurate depiction of the country's current national identity and current political state? Or would it be a depiction of what the country wants the rest of the world to view them as? It could all be a joke to some countries and rightly so with some of the acts I have seen. However, many countries use the Eurovision Song Contest as a platform to boost tourism and solidify their national brand. The Republic of Ireland might not use the Eurovision stage as effectively as some countries. While they participate every year, their content has been on a continuous decline ever since 1997. In this blog, I will discuss the reasons why and see how well the Republic of Ireland’s Eurovision entries align with their national identity.

To summarize my first blog post, "National Identity of the Republic of Ireland," I discuss the Republic of Ireland’s current national identity. While Ireland is primarily Roman Catholic Irish families with a Gaelic heritage, if you look a little closer, “othering” factors such as the minority groups and the English, challenge the traditional views so it is hard to say exactly what the national identity of Ireland is. A small population of travellers and a neglected group of presbyterian church members are not exactly the image of the Republic of Ireland but their presence is enough to challenge the traditional view of an Irish citizen. As well, the Irish continue to struggle to define themselves from their previous suppressor, the English. Emphasis on their Gaelic heritage is an effort to present the Republic of Ireland as a unique country rather than a part of the United Kingdom.

In blog post two, “The Universal Term of Love,” I look a little closer at methods of nation branding on the Eurovision stage and how that may affect the national identity of the Republic of Ireland. Through the five years I analyzed, a common theme that seemed to arise in the performances was love. While expressing a universal term that all can relate to, the songs didn’t do much more. This is significant because it reflected Ireland's stance in politics involving countries across Europe. With mild lyrics and un-intriguing composition, Ireland presents songs that do everything but push the boundaries of the typical Eurovision song. However, one entry steps out of the box of Eurovision tropes with a distinctively Irish folk song, highlighting their rich Gaelic roots in order to show the distinct contrast between the Republic of Ireland and its neighbors.

For years, the English held control over the entire island of Ireland. Ever since the Republic of Ireland finally won their independence in 1922, the Irish government has made it a priority to bring back Gaelic traditions and keep Irish Gaelic as an official language of the country in efforts to distance themselves from the United Kingdom. The inclusion of traditional Gaelic instruments such as the bodhran and the Irish fiddle in Eurovision entries support this act of nation branding on the Eurovision stage. These instruments are especially prominent in the 2007 performance “They Can’t Stop the Spring” (Dervish) along with the composition of the song. This entry is considered “Celtic-folk,” a staple in the true Irish experience. Viewers are sure to know what country is represented on the stage. The lyrics of the song shows the Republic of Ireland’s support to the rest of Europe. Like I said in my previous blog post, this song is full of imagery that illustrates this. Across borders from “Lisadell to Latvia” (Deverish, 2007) and throughout the entire continent, Ireland shows their support by respecting transformative, historical moments in Europe such as the demolishment of the Berlin Wall. This song depicts the Republic of Ireland as a neutral nation in world politics that supports the European community and the unification of the continent while still successfully separating themselves as a unique country. This form of nation branding on the worldwide stage shows Ireland's effort to solidify its place in the European Union and its neutrality in cross-border affairs.

However, the Republic of Ireland still is true to ties in their United Kingdom counterpart. Each performer sent to Eurovision in the five-year span that I analyzed has been of Irish heritage, however, one of them were not from the Republic of Ireland but of Northern Ireland, the territory that is part of the United Kingdom. Brian Kennedy, a contestant in 2006, for example, is from Belfast, Northern Ireland. This is interesting but not surprising. Many catholic citizens of Northern Ireland identify with the Republic of Ireland. Bringing these performers to Eurovision as a part of the Republic of Ireland team is showing Ireland support these citizens and the importance of Irish heritage.

Ireland does not necessarily misalign with their portrayed national identity on the Eurovision stage, however, that could be because their entries are so indifferent. Most of the entries in the years I analyzed didn’t do much to brand their nation. Other than all the participants performing for Ireland looking ethnically white, there are no other clues to who is performing on stage. “They Can’t Stop the Spring” (Dervish, 2007) was a turning point and took the competition in a different direction by using recognizable Irish-Gaelic themes on stage. However, for the most part, I observed that the Republic of Ireland doesn’t seem to put much effort into what they put forth in the yearly competition.

The Eurovision Song Contest is a tradition in Europe that started in 1956 (“Ireland Timeline”) to bring war-torn Europe together peacefully. Ireland has been participating since 1965 and holds the record of seven wins. However, the last time they won was in 1996. Ireland is a well-developed country so they may not feel that they need to use Eurovision as a platform to brand their nation like much smaller, less established countries. There is also a possibility that the Republic of Ireland views Eurovision as a joke and only participates in it because of its traditional importance.

The seeming lack of effort in the four performances from 2003-2006 could be reflective of the countries embarrassment of the competition. Ireland has a significant amount of successful musicians such as the rock band U2 and the Irish-rock band The Cranberries. Why don't we see them representing Ireland's musical talent on the Eurovision stage? Possibly because Ireland's view of Eurovision is something to joke about, not to take seriously.

Another possible reason is because of finances. Between the years 1992-1996, Ireland won four times. While hosting the contest is great publicity for the country, it is also very expensive. Raidió Teilifís Éireann, the broadcaster of the song contest in Ireland, had to host the contest seven times in a sixteen-year span. That can get to be very expensive and as technology advances, the production gets more and more demanding and expensive (Moles, 2010).

The song entries, in general, seem lazy at best, as if not taken seriously and this could be the reason for such a shallow representation of the national identity of the Republic of Ireland on the Eurovision stage. The Eurovision song contest could be a source of embarrassment for the country in the past decade and a half. Ireland still holds the most wins in Eurovision history with seven performances, however, they have not won since 1996.

By the looks of the Republic of Ireland on the Eurovision stage, the national identity is just short of shallow. While they throw in some traditional Gaelic instrumentation and symbolism every now and then, the entries are not “in-your-face Irish.” While many countries use the Eurovision Song Contest as a stage to brand their nation and solidify their national identity, Ireland seems to feel as if this competition is not the way they would like to brand their nation. The Republic of Ireland is well established in Europe. People know who they are unlike many smaller countries in the East such as Armenia that is just trying to be recognized and differentiated from other neighboring countries. In this case, it seems as though Ireland and its people consider the contest more as a joke than a platform to present their country. Ireland may not put forth a perfect image of the Irish identity on the Eurovision stage, but they participate to celebrate the tradition of the Eurovision Song Contest.

Work Cited

"History." Eurovision.tv. N.p., n.d. Web. 12 Mar. 2017.

"Ireland in Eurovision Voting & Points." Eurovisionworld. N.p., n.d. Web. 14 Mar. 2017. http://eurovisionworld.com/?eurovision=ireland

Moles, Jonathan. “The Unaffordable Eurovision Song Contest | Jonathan Moles.” The Guardian,  

Guardian News and Media, 20 May 2010, Accessed 14 Mar. 2017. https://www.theguardian.com/commentisfree/2010/may/20/eurovision-spending-costs

“Ireland Timeline.” BBC News, BBC, 22 Mar. 2012, news.bbc.co.uk/2/hi/europe/country_profiles/1038669.stm. Accessed 12 Mar. 2017. http://news.bbc.co.uk/2/hi/europe/country_profiles/1038669.stm

The Universal Term of Love

In the past, Ireland was the front-runner of the Eurovision Song Contest, seven wins in total, including a three-year streak between 1992 and 1994. It seems that in the more recent years they have lost the inspiration and edge they once had. From 2003 to 2007 four out of the five entries were love songs that each attempted to portray a positive aspect of love. Love is a universal theme that reaches across borders, religions, languages and cultures, so it seems to be a safe bet to connect with such a wide audience across Europe. My goal is to see how well Ireland represents their citizens and their attitude on diversity.

A theme that is quite prominent in Irish entries is love and support. By this standard presented on stage, the Republic of Ireland seems to be a supportive community to all. However, minority communities in Ireland, such as the traveler community, seem to be under-represented on the Eurovision stage.

“We’ve Got the World Tonight” (2003) sung by Mickey Harte, became number one on the Irish charts, however, it placed 11 out of the 26 entries in the 2003 finals. The song is a tribute to a lover whom without, Harte’s world would stop turning. An image presented by the lyrics of a woman smiling at Harte under a moonlit sky sets the mood of the performance. The lyrics convey an infatuation with the woman by the use of hyperboles such as “and I know you're my every tomorrow, and I know that you'll always be there.” While it is a sweet melody and a pleasant idea this song gives little insight into Ireland’s attitude towards diversity. Mickey Harte along with the writers and composers Martin Brannigan and Keith Molloy are all ethnically Irish. There is little representation other than Irish on the stage.

Similarly, “If My World Stopped Turning” (2004) is a ballad following Ireland's Eurovision entry trend of “songs about love.” Chris Doran serenades the audience with an attractive face and slightly sharp vocals. The background is a full moon and blue raindrops. The visuals make it seem as if he is walking on a puddle of water. This image could play off of the theme of religion because God is mentioned in the chorus “and if God should take this all away.” This image similar to Jesus walking on water coupled with Doran’s white suit jacket and the halo of light coming from above gives the singer a divine characteristic. It adds an element of power that you couldn't get without it. This song has a sweet message about the effects of a positive relationship. The lyrics depict a seemingly perfect relationship with a man who has been changed for the better because of his love. However, if this relationship should end, he would “still stand tall” because he was given the experience and is thankful to have had that love. This song gives a glimpse of Ireland’s religious culture but continues to only have the ethnically Irish looking performer on stage.

The image of Ireland is again represented with two Irish singers in the duet “Love?” (2005). The lyrics follow a similar structure by starting off with “love can…” followed by an action or a feeling that love can give a person such as “love can build you up, love can tear you down.” Another common device in the lyrics are questions, for example, “do you need it?” and “can you handle everything love throws.” These devices pay homage to the title of the song “Love?” but it never seems to answer the question. That may be the purpose of the song, that we know what love can do and what it does to us but we may never figure out exactly what love is. Drawing on this common theme creates a sense of unity by singing about a feeling that everyone feels in different ways. This song shows that love can be experienced in many different ways but we can still relate to anyone about love no matter how different they may seem to us.

Brian Kennedy’s entry “Every Song is a Cry For Love” (2006) uses the theme of love to speak a little deeper of Ireland’s views on diversity. The production starts with a flash of green, orange and white and a close up on an acoustic guitar. The song has an empowering message to not “be afraid” and to “show what you are made of.” The purpose of the lyricist seems to be to portray a sense of support and community to the rest of the world by describing common feelings we might all have. The ending of the performance is powerful in the way it is filmed for all the fans at home watching on their televisions. For the final chorus, Kennedy is singing along with his backup singers and then to the camera as it flies around him and ends up-stage. The performance concludes with a spotlight from the back of the venue shining down on Kennedy as he sings to a full audience “sing it out, every song is a cry for love.” This final image gives a sense inclusion and acceptance to all as Brian Kennedy offers this advice to the rest of Europe. The way this song is presented could be to say that everyone deserves love and deserves to ask for love and receive love. The beginning lyrics “every voice can rise above” is inspiring to those who feel they are oppressed and do not have a voice. Same-sex marriage has been legal in the Republic of Ireland since November of 2015 (“Equaldex”) making this song a great vessel to talk to the LGBTQ community and show Ireland’s commitment to showing support for this community. Although this entry did not win, it did bring the Republic of Ireland back into the top ten with 93 points. The powerful message final dove deeper into the Republic of Ireland and showed the rest of the world their progressive views.

Song content can be an indication of a nation’s attitude towards diversity and so can the presenter of the song. Brian Kennedy is an Ireland native born and raised in Belfast, Northern Ireland and a first-hand witness of “the troubles” that haunted Ireland for thirty years. “The Troubles” was a period of violence and unrest in Northern Ireland and the Republic of Ireland from 1968-1998. The main conflict stemmed from the uncertainty of the constitutional status of Northern Ireland ("BBC - History - The Troubles."). Although Northern Ireland is a part of the United Kingdom, Kennedy is considered an Irish artist and competed in the Eurovision Song Contest in 2006 with “Every Song is a Cry For Love.” The Republic of Ireland is showing their peaceful attitude towards a subject that was the source of so much pain and turmoil. During The Troubles, Ireland was split and civil war waged.  This may be seen as a way to show support amongst all people on the island.

The last entry from Ireland to win was in 1996, the song “The Voice” was written and arranged by the Irish band Dervish and performed by Eimear Quinn ("Ireland in Eurovision Voting & Points."). Dervish attempted to make a come back in 2007, however, they fell short with the song “They Can’t Stop the Spring” (2007). The melody may not have been catchy enough for the Eurovision fans, however, the opening lyrics are quite powerful; “the curtain has been raised, the wall no longer stands, And from Lisadell to Latvia we’re singing as one clan.” This line delineates places across Europe, Lisadell on the west side of Ireland and Latvia bordering Russia. It depicts an image of unity across Europe while the song itself reflects the unique Irish culture with an Irish fiddle and a bodhran frame drum. The wall is a metaphor for the European Union opening up to more countries and the end to communist rule over Eastern Europe. This opening verse could just as well be illustrating times of relieved depression across Europe; “the curtain has been raised” could be referring to the iron curtain that divided Europe after World War II. Now Europe is freed of the separation and everyone is celebrating on the same stage of Eurovision. The lyric “You can crush the flowers, but you can’t stop the spring” is a quote from Alexander Dubcek. Dubcek grew up under the rule of Joseph Stalin and “became a product of the Soviet education system” ("Alexander Dubcek"). He became the first secretary of the Czech Communist party in 1968 during the Prague Spring where he sought to grant additional rights to the people of Czechoslovakia. Including this quote represents a time of liberation like the raising of the Iron curtain, both happening in the unsteady times after World War II. This song shows Irelands support for all countries across Europe.This entry seems to be the outlier because it goes a little deeper than the previous four entries. This song in particular calls on important moments in European History and effectively displays the unity of Europe as a whole rather than a cluster of countries.

           Ireland has presented many interpretations of Love but one element of this topic that is always present is how universal it is. This on its own could be Ireland acknowledging the issue concerning diversity. To write a song about such a universal idea reiterates acceptance across all borders, boundaries, and cultures. The Republic of Ireland may lack originality but every now and then they create a song such as “They Can’t Stop the Spring” that portrays their national identity while showing their support to all countries of Europe. I have concluded that the Republic of Ireland may not show their diverse population on stage but they do show their support and commitment to the rest of the world.

   

Bibliography

"Ireland in Eurovision Voting & Points." Eurovisionworld. N.p., n.d. Web. 02 Feb. 2017. http://eurovisionworld.com/?eurovision=ireland

"Alexander Dubcek." History Learning Site. N.p., n.d. Web. 04 Feb. 2017. http://www.historylearningsite.co.uk/modern-world-history-1918-to-1980/the-cold-war/alexander-dubcek/

"BBC - History - The Troubles." BBC News. BBC, n.d. Web. 02 Feb. 2017. http://www.bbc.co.uk/history/troubles

"Equaldex." LGBT Rights in Ireland. N.p., n.d. Web. 06 Feb. 2017. http://www.equaldex.com/region/ireland

Dervish. “They Can't Stop the Spring,” music and lyrics by John Waters and Tommy Moran. The Republic of Ireland, Eurovision Song Contest, 2007. https://www.youtube.com/watch?v=N40wpl5m0UM  accessed 25 January 2016.

Brian Kennedy. “Every Song Is a Cry for Love,” music and lyrics by Brian Kennedy. The Republic of Ireland, Eurovision Song Contest, 2006. https://www.youtube.com/watch?v=6BzFlczwSf8 accessed 25 January 2016.

Donna and Joe “Love?” music and lyrics by Karl Broderick. The Republic of Ireland, Eurovision Song Contest, 2005. https://www.youtube.com/watch?v=J9CHcqe7xro accessed 25 January 2016.

Chris Doran “If My World Stopped Turning,” music by Bryan McFadden lyrics by Jonathan Shorten. The Republic of Ireland, Eurovision Song Contest, 2004. https://www.youtube.com/watch?v=DpHuREDD798 accessed 25 January 2016.

Mikey Harte. “We’ve Got The World,” music and lyrics by  Martin Brannigan, Keith Molloy. The Republic of Ireland, Eurovision Song Contest, 2003. https://www.youtube.com/watch?v=NZ9jfwOcmro accessed 25 January 2016.

National Identity of The Republic of Ireland

My great-grandparents traveled to the United States from Ireland in the early 1900’s. Years later my grandmother traveled to Ellis Island, New York at the age of 17 with her sister from County Leitrim, Ireland. Here she met my grandfather, an Irish-Brooklyn know-it-all. They moved to Long Beach, California and started a family of three boys and one girl and my grandmother did her best to keep the Irish traditions alive. My exposure to the Irish culture has been a truly Americanized one. Cornbeef and cabbage on St. Patrick's day with familiar faces drinking and dancing to Celtic-folk music is a tradition in our home. I wear a Claddagh ring, given to me by my father, on my right ring finger and hide my fair Irish skin from the burning sun of California. My family is very proud of our Irish heritage.

A large population of the Irish left the island between the 1840’s to the 1900’s and are now spread out across the world. Some left because of starvation and disease brought on by the potato famine of 1845, but others left to be relieved of English rule and regain their true identity. These families, as well as my own, help keep the Irish identity alive across the globe.

The largest misconception of Irish national identity is relevant to the English identity. Because the English held rule over the Island for so many years, the traditional Irish identity that stemmed from Gaelic culture seemed to fade away as the English imposed on the land. However, after gaining independence in the 1920’s, the Irish made an effort to regain national identity by rediscovering their heritage, a focus on reviving the Gaelic community was underway. The Gaelic Athletics Association was established in 1884 to re-introduce Irish sports such as hurling and Gaelic football ("The Gaelic Revival in Ireland and America"). Quickly after that, the Gaelic League was founded and became the leading association of the Gaelic Revival with efforts to distinguish the Irish culture from the English culture. These efforts are still being made, for example, it is now made a priority to teach the Gaelic language in schools to keeps its status as one of the official languages of the nation. The Revival also made its way to the United States where a large population of Irish still carry on the Irish tradition in their homes and with Irish culture festivals.The English power can be considered an “othering” factor that challenged the Irish national identity. An “other” is an internal or external source or group of people that imputes the national identity of a country (Triandafyllidou).

National Identity in Ireland seems to include the Northern Ireland population along with the residents of the Republic of Ireland due to the unifying fact of residing on the same piece of land.  While a majority of the people occupying Northern Ireland consider themselves British, 42% consider themselves “nationally and ethnically Irish” (“Ireland”). There is a constant tension between these two groups, both trying to separate from one another and promote national distinctiveness.

The Irish people are just as “split” as the Island itself. About 83% of the Island is the Republic of Ireland, previously known as the “Free States,” while the other 17% is Northern Ireland, part of the United Kingdom. Statistics of the Island mimic this split. Christianity is the leading religion on the Island, according to the Irish faith census of 2011 about 84% of the population is Roman Catholic while the religious minority groups are closely split up between the church of Ireland, Islam, no affiliation, Judaism, and “other” (Emberson). The statistics of race is similarly proportioned, about 84.5% are Irish with another 9.8% considered “other white.” The remaining 5.7% is a mix of Black, Asian, and unspecified (“Ireland Ethnic Groups”). This is a large influence on the Irish Identity because of the overwhelming majority; Irish Catholics. Minority groups are challenging this identity.

The Protestants of Ireland are one of the most prominent minority groups at 3.7% of the population. They follow the church of Ireland. This group faces discrimination from the Roman Catholic majority because of past conflict. A Protestant Aristocracy was formed and became an opposing factor to the heavily Roman Catholic population. Due to abiding bitterness between the two groups the society is strictly exclusive to Roman Catholic. Protestants experience indirect discrimination when it comes to employment, education, and social services (“Protestant”).

Irish travelers are also considered one of the main minority groups even though they make up less than 1% of the population. They face prejudice from the Irish community and are forced into unlivable conditions. They are identified as an “othering” group that challenges the national identity. These minority groups seem to be disregarded and ignored as if they do not exist. Because of the lack of representation and how small they are, there is little change and reform for these people. There have been proposals to make changes but no lasting actions. However, the Island is clearly not as diverse as many countries. With the leading population being Irish and Christian, politics seem to weigh heavily on the conservative side. This can be an issue in society because there is a significant lack of representation for the minority groups.

Demographics create a good sense of the Irish national identity, however, it is also important to consider outside views and assumptions of the nation. Stereotypes help define a nation’s identity just as much as its unique characteristics that separate them from their neighboring countries. There is a common belief about the Irish that they are heavy alcohol drinkers. This is widely known and seems to be part of the Irish national identity. In a recent study done by the Health Research Board of the Irish Department of Health it proves that over a third of the people who submitted “alcohol diaries” participate in binge drink; classified as consuming six or more drinks in one “drinking session” ("Irish study says alcohol is 'embedded' in national identity"). Many European countries participate in alcohol drinking, however, it is at a much lower level, a glass of wine or a beer is indulged at dinner. This characteristic of the nation, whether it is perceived as good or bad, sets Ireland apart from many European countries.

At first glance, the Irish are a Gaelic based culture that drinks a lot and is strictly Roman Catholic, however, “othering” factors push these traditional views. Irish identity is constantly challenged by the “othering” groups such as the English and the minority groups within the country.

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"The Gaelic Revival in Ireland and America." IrishCentral.com. N.p., 11 Oct. 2016. http://www.irishcentral.com/roots/the-gaelic-revival-in-ireland-and-america Web. 22 Jan. 2017.

Triandafyllidou, Anna. "National Identity and the 'other'." Ethnic and Racial Studies 21.4 (1998): 593-612. Web.