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| Concours Eurovision de la Chanson | |
|---|---|
| Name | Concours Eurovision de la Chanson |
| Genre | Song contest |
| Location | VariousLondon, Stockholm, Dublin |
| First | 1956 |
| Organiser | European Broadcasting Union |
| Participants | Member broadcasters |
Concours Eurovision de la Chanson is an annual international song competition organised by the European Broadcasting Union and first held in 1956. The event brings together participants selected by national broadcasters from across Europe and beyond, staged in cities such as Lugano, Cannes, Frankfurt am Main, Copenhagen, Nicosia, Jerusalem, Dublin, Stockholm, and Lisbon. It has evolved into a multimedia spectacle involving television producers, record labels like Polydor Records, artists represented by management firms, and national delegations from broadcasters including the BBC, RAI, ARD, ARD, France Télévisions, and RTÉ.
The competition was conceived after discussions among representatives of the European Broadcasting Union and early editions featured participants from countries such as Switzerland, Germany, Belgium, France, Italy, Netherlands, Luxembourg, and United Kingdom. Influences include the post-war cultural exchange initiatives that involved institutions like the Council of Europe and media innovations pioneered by broadcasters such as BBC Television Centre and Radiotelevisione Italiana. Milestones include the first winner Lys Assia (1956), the emergence of pan-European hitmakers like ABBA (1974), the growth of staging practices influenced by agencies such as BMG Rights Management and production companies akin to Endemol, and the integration of televoting technologies developed in partnership with telecommunications firms such as Vodafone and Deutsche Telekom.
The contest format traditionally includes national selection processes run by public broadcasters such as SVT, Yleisradio, RTÉ, NRK, and Sveriges Television; a live televised grand final staged in host cities like Lisbon and Milan; and ancillary events including the rehearsal week and press conferences. Song length, language, and performance rules have been set by the European Broadcasting Union's Reference Group and have been amended in response to submissions from delegations like NTV, SVT, VRT, and TG4. Rules have addressed matters involving songwriter eligibility tied to publishing houses such as Universal Music Group, orchestration policies previously involving the BBC Concert Orchestra, and staging limits that intersect with venue capacities at arenas like Wembley Arena and Ahoy Rotterdam.
Participation involves broadcasters affiliated with the European Broadcasting Union including members from the European Broadcasting Area and associate members such as Australia's SBS. Broadcasters select representatives via national finals (for example, Melodifestivalen in Sweden, Festival da Canção in Portugal, Sanremo Music Festival in Italy) or internal selection by networks such as France Télévisions and BBC. Broadcasting partners include public service broadcasters like NRK and commercial outlets like RTVE, with signal distribution coordinated through facilities at Eurovision Song Contest central hubs and technical providers like Arqiva and production vendors related to Live Nation Entertainment.
Voting mechanisms have combined professional juries composed of music industry figures from institutions like PRS for Music and SACEM with public televoting implemented via telecommunications operators such as Telefonica and Deutsche Telekom. The scoring format has evolved from jury-only panels with representatives from member broadcasters to hybrid systems that balance jury and public votes, and later to split presentations that reveal results country-by-country with spokespersons from broadcasters such as Yle and Eesti Rahvusringhääling. The contest has implemented tie-breaking rules, rehearing protocols involving producers, and anti-fraud measures developed in consultation with regulatory bodies like Ofcom and the European Commission.
Notable winners include Lys Assia (1956), Jacques Pills-era contributors, ABBA (1974), Celine Dion (1988), Conchita Wurst (2014), and influential acts such as Dana International, Loreen, Måneskin, and Netta. Iconic performances have involved staging innovations seen in acts associated with creative directors who have worked across events like the MTV Video Music Awards and Glastonbury Festival, costume designers from houses like House of Dior and Vivienne Westwood, and choreography teams that later collaborated with touring agencies such as Live Nation. Songs that achieved commercial success include singles released through labels like Sony Music Entertainment and Warner Music Group.
The contest has faced controversies involving allegations of bloc voting among countries such as Greece and Cyprus, debates over political messaging in performances referencing entities like Kosovo and Crimea, and disputes about rule interpretations adjudicated by the European Broadcasting Union. Criticism has targeted perceived commercialisation linked to major labels like Universal Music Group, production costs borne by host cities such as Malmö and Baku, and broadcasting complaints handled by regulators like Ofcom and ARCOM (France). High-profile controversies have included disqualifications, censorship incidents involving national broadcasters such as TRT (Turkey) and Channel One Russia, and diplomatic tensions when entries referenced international disputes involving Russia and Ukraine.
The contest has had broad cultural impact, influencing popular music industries represented by Universal Music Group, Sony Music Entertainment, and Warner Music Group, launching international careers for artists like ABBA and Celine Dion, and shaping broadcasting practices across public service broadcasters including BBC, RTÉ, SVT, and NRK. It has fostered fan communities organized through groups such as OGAE and contributed to tourism in host cities like Rotterdam, Stockholm, Turin, and Rome. The contest's legacy includes archives held by institutions like the British Film Institute and digitisation projects in cooperation with audiovisual repositories such as the European Audiovisual Observatory.
Category:Music competitions