As the curtains rise on the 69th Eurovision Song Contest, the picturesque landscapes of Switzerland serve as a reminder of the contest’s origins and its enduring mission to unite Europe in harmony (pun intended). Walking through the host city Basel, Switzerland’s cultural capital, there is a buzz in the air. Eurovision brings together artists and audiences from across Europe for a celebration of music, culture, and unity.
However, this picture-perfect image is being tarnished by the political tensions surrounding the Israel-Palestine conflict with the competition itself criticized, as national governments increasingly use Eurovision as a strategic tool for public relations and soft power diplomacy.
Eurovision and Switzerland
Switzerland’s influence on Eurovision extends beyond hosting duties. The contest was created by Marcel Bezençon, Director General of the Swiss Broadcasting Corporation, as a means to unite Europe through music, following the devastation of World War II. In 1956, the inaugural contest was held in Lugano, with Swiss local, Lys Assia’s “Refrain” winning the first-ever trophy.
As the host, Switzerland plays a pivotal role in shaping the event. The Swiss Broadcasting Corporation meticulously planned the contest, ensuring it reflected the Eurovision values of unity and diversity, whilst wearing Switzerland’s mantle of political neutrality.
Looking back, this policy of neutrality has drawn significant criticism for its ethical and humanitarian shortcomings. Critics argue that during World War II Switzerland’s neutral stance, far from being purely passive or defensive, involved active economic and logistical cooperation with Nazi Germany.
Eurovision, Switzerland and the Israel-Palestine conflict
Today, Switzerland maintains a carefully balanced and neutral stance regarding the Israel-Palestine conflict consistent with its broader foreign policies and its commitment to international humanitarian law. The Swiss government recognizes both Israel and Palestine and supports a two-state solution.
Following the escalation of violence in October 2023, Switzerland condemned the terrorist attacks by Hamas and called for the immediate release of hostages, while also affirming Israel’s right to self-defence. At the same time, Switzerland emphasized and encouraged the strict adherence to international humanitarian law by all parties whilst highlighting the need for unhindered humanitarian access to Gaza and accountability for violations.
While Israel continues attacks on civilians, and blocks much needed food and medication to Gaza, children are dying. As Israel plans to wipe Gaza off the map, Eurovision has given them – quite literally – a global stage for distraction, underscoring the limits of cultural diplomacy and running in stark contrast to values Eurovision claims to hold dear.
Israel is represented by Yuval Raphael—a survivor of the October 7, 2023, Hamas-led attacks, with the song “New Day Will Rise,” hinting at the subtextual message, which was described by the Jerusalem Institute of Justice as “the triumph of hope over hatred”.
Israel’s continued participation in Eurovision has sparked widespread protest. Demonstrations in Basel mirrored last year’s contentious atmosphere in Malmö, Sweden, where pro-Palestinian activists voiced strong opposition to Israel’s inclusion. While over 70 former contestants signed an open letter calling for Israel’s removal, and several national broadcasters voiced concerns of cultural legitimization amid allegations of war crimes, Switzerland – at least at the highest levels – has remained largely silent.
“I support the call for Israel’s exclusion from the Eurovision Song Contest. Israel’s actions are fundamentally at odds with the values that Eurovision claims to uphold — peace, unity, and respect for human rights.”
– Nemo, Winner – Eurovision 2024
Geopolitical cacophony at Eurovision song contest 2025 and beyond
Although the EBU maintains that Eurovision is a non-political event, the platform inevitably intersects with broader geopolitical realities. After its invasion of Ukraine, Russia was banned from Eurovision in 2022. Outside the official parameters of the contest Europe demonstrated its solidarity by way of votes, securing the Eurovision victory for Ukraine. The winning song, Stefania, written about the mother of the lead performer, was not originally a political piece. However, as the war in Ukraine progressed, it became symbolic of all Ukrainian women. By contrast, and amidst international criticism, Israel consistently uses Eurovision to further its political agenda, with meticulous effort made in the selection of artists, songs and performance, all aimed to present a positive image of Israel.
Swiss authorities went to great lengths to minimize the increased security risk posed by Israel’s inclusion in the contest. An additional 1,300 Swiss police officers were deployed to the canton. Not only were police officers visibly on duty in the city, but Swiss Armed Forces were also drafted together with federal police from neighbouring countries – Germany and France.
During the rehearsals and later in the live shows, spectators booed the Israeli delegation. Others demonstratively turned their backs when Raphael performed. However, the tensest moment, came in the final minutes of the voting. Austria had won the jury votes yet as we moved to the public voting, Israel was catapulted into first place. It was soon glaringly obvious that we were sitting in a powder keg. Camera crews moved to avoid broadcasting an increasingly volatile audience.
“After everything, just standing on that (Eurovision) stage is an act of defiance.”
– Yuval Raphael, Israeli performer, Eurovision 2025.
Austria needed 100 points to win – we all held our breaths, united by Austrian hope. After a dramatic pause, we could only hear the words, “Austria, one hundred and…” the remaining points were drowned out by screams of joy as red-white Austrian flags flooded the arena. Soon after his win, Austrian JJ joined the call for Israel’s exclusion,
“It’s very disappointing that Israel is still taking part in the contest.
I hope next year it takes place in Vienna – and without Israel”.
His message was reinforced shortly after, with Spain’s Prime Minister Pedro Sanchez calling out the hypocrisy,
“Nobody was up in arms when the Russian invasion of Ukraine began three years ago, and [Russia] were forced to leave international competitions and not take part in Eurovision. Therefore, Israel shouldn’t either, because what we cannot allow is double standards in culture.”
National broadcasters also raised their concerns, with Dutch broadcaster stating,
“Israel’s participation confronts us with the question to what extent the Song Contest still functions as an apolitical, unifying and cultural event. We want to make this question a topic of discussion within the EBU, together with other countries.”
Another debate heated up with allegations of Israeli manipulation of the voting system. Belgium’s VRT warned they would pull out of Eurovision unless the EBU made changes to the voting procedure, whilst Finland’s broadcaster Yle stated,
“We will definitely ask the EBU whether it is time to update these rules
or at least examine whether the current rules allow for abuses.”
Undoubtedly, the widespread outrage will continue across to the Alpine neighbour Austria in 2026. Eurovision 2025 raised important questions about the role of cultural institutions in transnational, geopolitical, conflict-sensitive contexts. As public diplomacy and soft power become increasingly intertwined with issues of accountability, platforms such as Eurovision are no longer immune to the demands for ethical consistency.
In the context of Eurovision and Switzerland’s place at its very foundation, neutrality cannot be a simple moral high ground, nor should it be a convenient excuse to ignore the very real human suffering. Instead of uniting Europe through a mutual disdain, Eurovision must step aside of its faux-neutral stance and work towards, as the motto decries, a Europe “United by Music”.
See you in Austria 2026!
“Servus. Pfiat di. Wiederschaun. Baba.”
Reference list
- Baker, C., Atkinson, D., Grabher, B. and Howcroft, M. (2024). Soft power, cultural relations and conflict through Eurovision and other mega-events: a literature review www.britishcouncil.org/ research-insight. British Council, [online] 3(1). doi:https://doi.org/10.57884/MB1H-DT68.
- Carniel, J. (2024). Towards a Theory of Participatory Diplomacy via the Eurovision Song Contest. Media, Culture & Society, 46(5). doi:https://doi.org/10.1177/01634437231224080.
- Di Marcoberardino, A. (2024). Harmonies of Influence: Exploring the Political Dimension of Eurovision. [online] The Security Distillery. Available at: https://thesecuritydistillery.org/all-articles/harmonies-of-influence-exploring-the-political-dimension-of-eurovision.
- Ford, L. (2025). Former Eurovision Stars Demand Israel Be Banned from 2025 Contest. [online] The Hollywood Reporter. Available at: https://www.hollywoodreporter.com/tv/tv-news/eurovision-2025-ebu-ban-israel-kan-open-letter-palestine-1236208586/ [Accessed 19 May 2025].
- Jerusalem Institute of Justice (2025). From Terror to Triumph: Nova Festival Survivor Yuval Raphael to Represent Israel at Eurovision 2025 – Jerusalem Institute of Justice. [online] Jerusalem Institute of Justice. Available at: https://jij.org/news/yuval-eurovision-2025/ [Accessed 18 May 2025].
- Staff, J. (2025). Yuval Raphael carries Nova survival story to Eurovision. [online] JNS.org. Available at: https://www.jns.org/yuval-raphael-carries-nova-survival-story-to-eurovision/ [Accessed 21 May 2025].
- https://en.euromix.co.il/2025/05/21/eurovision-2025-winner-i-hope-next-years-contest-takes-place-in-vienna-without-israel/
Korinne Algie is a distinguished international communications professional with over 20 years of experience at the intersection of global education, public academic policy, and cross-cultural engagement..
Her career has been dedicated to advancing the mission of inclusive learning, promoting equitable access to higher education, fostering academic cooperation through strategic communication and cultural diplomacy in globally connected learning environments. Since relocating to Germany from New Zealand, she has studied Eurovision as a lens through which to examine geopolitical narratives, European identity, regional politics, and transnational values, whilst exploring the event not merely as entertainment, but as a complex cultural phenomenon.
