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Rising Like the Eurovision Song Contest: On Kitsch, Camp, and Queer Culture
Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.ORCID iD: 0000-0002-7012-2543
2020 (English)In: Lambda Nordica, ISSN 1100-2573, E-ISSN 2001-7286, Vol. 25, no 2, p. 93-113Article in journal (Other academic) Published
Abstract [en]

The 2020 Eurovision Song Contest (ESC) was cancelled due to the COVID-19 pandemic. However, the ESC is still shining after more than half a century and even now seems relevant for its audiences. In the ESC queer interaction and togetherness are based on a combination of kitsch and camp, an aesthetic style and sensibility that aficionados regard as appealing because of its ironic, over-the-top challenging of the norms of ‘good behavior’ and ‘good taste.’ Nonetheless, it may seem strange that the ESC, a post-war European peace utopia and a mainstream music event, is identified to such a degree as queer today, and the question remains whether the ESC can be of interest for dykes and feminists? This essay, therefore, revisits the notions of kitsch and camp as queer communication strategies. It closes with a reflection on the contest’s arbitrary notions of Europe, its troubled geopolitics, and its radically extroverted playing with taste taboos as pleasurable entertainment. 

Place, publisher, year, edition, pages
2020. Vol. 25, no 2, p. 93-113
Keywords [en]
camp, Eurovision Song Contest, kitsch, queer culture
National Category
Performing Art Studies
Research subject
Theatre Studies
Identifiers
URN: urn:nbn:se:su:diva-186853DOI: 10.34041/ln.v25.676OAI: oai:DiVA.org:su-186853DiVA, id: diva2:1503371
Available from: 2020-11-24 Created: 2020-11-24 Last updated: 2022-02-25Bibliographically approved

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CiteExportLink to record
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