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Eurovision 2025: Stricter rules for artists and mandatory political neutrality like the Olympics

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The Eurovision Song Contest 2025 in Basel is set to introduce an innovative commitment to fair play, inspired by the Olympic Games. Following the controversies and protests that overshadowed the contest in Malmö, Bakel Walden, chairman of the contest’s supervisory board, announced the new rules in a statement to the German Press Agency.

Fair Play and the Olympic Model

Participants in Eurovision 2025 will need to follow a code of conduct similar to the Olympic Oath taken by athletes. This commitment aims to foster an atmosphere of respect and neutrality, ensuring the contest remains a space free from political or personal agendas.

“Negative behavior will not be tolerated,” Walden stated. “Violations will lead to warnings or even access restrictions. There are areas where freedom of expression has limits, especially when it affects others.” He emphasized that, just like the Olympics, neutrality is essential for the Eurovision’s success.

Addressing the 2024 Protests

The push for stricter rules emerged after the tumultuous contest in Malmö, where the atmosphere was significantly affected by anti-Israel protests. Beyond the demonstrations, incidents of hostility and offensive remarks toward the Israeli performer created a divisive climate.

Walden expressed concern that if participants and fans continue to openly express opposing beliefs, the cohesion of the contest could be jeopardized. “If this trend continues, Eurovision simply won’t work anymore in three to five years,” he warned.

A Vision of Unity

The new measures aim to preserve Eurovision’s legacy as a celebration of diversity and unity. Participants will be required to commit to a fair and safe environment, respecting the inclusive spirit of the event and ensuring it remains a platform for music and culture free from divisive actions or hate speech.

With Basel hosting Eurovision 2025, these regulations represent a significant step toward reinforcing respect and neutrality at one of Europe’s most beloved cultural institutions. Fans and participants hope that this approach will restore harmony to the contest and safeguard its tradition as a unifying cultural celebration.

Conclusion

Practically, all of the above means that the EBU is determined not to allow incidents in Basel that could inflame tensions, whether caused by statements or actions from artists, accredited journalists, or delegation members. Political neutrality will be mandatory for everyone accessing the contest venues. As mentioned earlier this summer, the EBU’s model will follow the environment seen at the Paris Olympics, where athletes, stakeholders, and spectators alike demonstrated respect for all sides. These international events aim to bring people closer, not resolve global issues.

Stay tuned to Eurovisionfun for all updates!

Source: SRF

No EBU member has expressed official resentment οver Israel’s participation in Eurovision 2024!

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In a quiet but significant revelation, it is confirmed that there have been no official complaints from any member-broadcaster regarding Israel’s participation in the Eurovision Song Contest 2024. The statement was made by Bakel Walden, the current chair of the Eurovision Song Contest Reference Group, during an interview on the ESC Insight podcast.

Walden explained that the decision regarding Israel’s inclusion in Eurovision 2024 was straightforward, emphasizing that as long as a broadcaster follows the rules, they are eligible to participate. He clarified that despite some differing opinions on social media and from certain delegations, there was no formal objection from any EBU member:

It was very simple. They [KAN] are a member of EBU, and it has been expressed many times by the EBU that as long as you play by the rules, you are eligible to participate. That was the case for KAN, and they are eligible. There were obviously different opinions in social media, we’ve heard from delegations, etc., but at the end of the day, there was not one single member of the EBU who expressed any official resentment.

Russia vs. Israel: A Different Scenario

The comparison between Russia’s disqualification from the 2022 Eurovision Song Contest due to the invasion of Ukraine and Israel’s ongoing participation was inevitable. However, Walden stressed that the circumstances surrounding the two countries are fundamentally different. He pointed out that Russia’s exclusion was related to its state broadcaster engaging in propaganda that violated the values of the EBU, whereas Israel’s situation is distinct.

There’s a clear difference between a state broadcaster that is just following propaganda, which is not actually playing by the rules and values of the EBU.

KAN itself has been in a difficult situation, also with the Israeli government. There is a different situation in how they position themselves, but I absolutely acknowledge that me and the Reference Group have been very much aware that the difference hasn’t been clear and hasn’t been accepted by a lot of people.

Walden further acknowledged that the EBU had not communicated this distinction clearly or transparently in the past, and that this lack of clarity has contributed to confusion and controversy. He called this a “learning experience for the EBU and the Reference Group“.

Walden’s comments effectively put to rest rumors that certain broadcasters had expressed a desire to withdraw from Eurovision 2024 due to Israel’s participation before or during the contest. The decision reaffirms that as long as a broadcaster is a member of the EBU and adheres to the rules, they are welcome to take part in the competition.

Stay tuned to EurovisionFun for all the news!

Source: ESC Insight

EBU: Code of Conduct for Participants with Mandatory Political Neutrality

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During the Eurovision Song Contest, set to take place in Basel, artists are expected to have a specially designated space where they can retreat and relax without being filmed or recorded, as stated by the head of the competition, Bakel Walden, to the newspaper Sonntagsblick. Additionally, the EBU is expected to implement a code of conduct for participants, requiring political neutrality while they are on stage.

These actions are part of a broader effort to protect the well-being of participants and maintain calm among the delegations during the competition.

Walden emphasized that the organization has a duty to ensure the mental and physical health of the artists, something that will be taken seriously in the future.

Referring to the 2024 contest in Malmö, Walden noted that although the event was successful, certain issues must not be repeated, particularly regarding communication before, during, and after the competition. He also stressed the need to keep Eurovision as neutral as possible from political matters, stating that Eurovision cannot solve global conflicts and wars.

In Malmö, the contest was overshadowed by protests and calls for a boycott against Israel, due to the war in Gaza following the Hamas attacks on October 7, 2023. Israeli artist Eden Golan mostly stayed in her hotel room for safety reasons and faced exclusion by other artists.

Finally, Walden addressed the importance of adhering to a code of conduct for participants, stressing mutual understanding and respect among the contestants. While he asked participants to maintain a neutral stance on stage, outside of performances, they are free to express their views.

Stay tuned to Eurovisionfun for all the updates!

Source: zeit.news

EBU Reference Group Chair Reflects on Eurovision 2024

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Bakel Walden, the Chair of the Eurovision Song Contest Reference Group, recently shared his insights into the happenings of Eurovision 2024.

This year’s contest, held in Malmö, Sweden, was not just about music. Despite Switzerland‘s victory with Nemo‘s groundbreaking win for “The Code“, Eurovision encountered various controversies, including Joost Klein‘s disqualification and debates over Israel‘s involvement.

Walden, leading the Eurovision Song Contest Reference Group, oversees a vital committee responsible for shaping the Eurovision Song Contest’s direction. This committee approves contest formats, secures funding, and supervises host broadcasters’ preparations.

In an interview with Swiss news outlet 20 minuten, Walden, also a member of SRG’s Board of Directors, shared his thoughts on this year’s Eurovision. He will play a role in Eurovision 2025 as it returns to Switzerland.

Reflecting on Eurovision 2024, Walden acknowledged its challenges:

“As my first year as chairman, I lack a broad comparison. Yet, many experienced individuals deemed this ESC historically difficult, a sentiment I share after recent weeks and days.”

Despite difficulties, Walden highlighted the contest’s positive impact, noting the shows’ ability to “enthral millions”:

“The preparation was intense, with many highlights and significant pressure. However, the overwhelming joy and gratitude from this year’s ESC, captivating millions, stand out.”

During the winner’s press conference, Walden bestowed upon Nemo and Switzerland the opportunity to host Eurovision 2025. This task typically falls to the Executive Supervisor, Martin Österdahl, who was absent.

Addressing controversy around Nemo’s display of a non-binary flag, Walden affirmed Nemo’s adherence to Eurovision’s guidelines:

“The non-binary flag, alongside participating countries’ flags and the rainbow flag, is permissible. Regrettably, there were some onsite implementation errors. Nevertheless, Nemo acted correctly.”

Responding to Nemo’s assertion that Eurovision “needs a little bit of fixing,” Walden acknowledged room for improvement:

“In our analysis, we must not only focus on Malmö’s positive experiences but also recognize the need for improvement.”

Regarding Joost Klein’s disqualification, Walden supported the EBU’s decision:

“Regrettably, we faced an additional crisis. However, the decision to disqualify Joost Klein was correct. Unacceptable behavior towards a production employee necessitated action.”

Looking ahead to Eurovision 2025, Walden expressed ongoing involvement in the contest’s production and preparations:

“Preparations for Eurovision 2025 are already underway, with many discussions ongoing. Our supervisory board will convene again shortly.”

Walden anticipates the announcement of Eurovision 2025’s host city during the summer, emphasizing the importance of a fair and well-prepared approach.

Eurovision 2025 marks Walden’s second engagement with the Eurovision Song Contest Reference Group.

Source: 20 minuten

Eurovision 2024: The renewed Reference Group of the contest!

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EBU has announced the new Reference Group for the Eurovision Song Contest. There are several changes with departures as well as new appointments.

The tasks of the Reference Group are to approve the development and future format of the contest, to secure its funding, to modernize the contest’s brand and attract the public, to oversee the annual preperation ofthe country where the competition will take place.

All of the above takes place at meeting of the Reference Group, where on behalf of all Participating National Broadcasting Services they are called upon to take decisions for the general interest of the competition. Meetings do not exceed five per year.

As we reported in a previous article, Bakel Walden is the new Chairman of the Reference Group on the contest, where he stated that he is excited to participate in this iconic event.

The remaining members are divided into following categories:

  • Three elected members from among the Heads of Delegations of the countries
  • Two Executive Producers from countries that have hosted the contest in the past, as well as the Executive Producer of the current Host Broadcaster
  • Up to two invited members based on competence and experience
  • The EBU Executive Supervisor for the contest

Therefore, the new Reference Group consists of:

  • Bakel Walden (SSR SRG, Chair)
  • Ebba Adielsson (SVT)
  • Rachel Ashdown (BBC)
  • Felix Bergsson (RÚV)
  • Ana Maria Bordas (RTVE)
  • Carla Bugalho (RTP)
  • Claudio Fasulo (RAI)
  • Simona Martorelli (RAI)
  • Alexandra Wolfslast (NDR)
  • Martin Österdahl (EBU)

Ebba Adielsson and Ana Maria Bordas are new appointmets, while the following have left the Reference Group:

  • Sietse Bakker (NPO)
  • Yuval Cohen (KAN)
  • Astrid Dutrenit (NPO)
  • David Tserunyan (AMPTV)

Sweden has won the 67th Eurovision Song Contest, marking its seventh victory in the contest with 583 points. Below you can watch the performance after Loreen’s victory was announced:

https://youtu.be/Vul5zgC5Yvg

Source: EBU

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Eurovision 2024: SVT has announced the main team for the contest!

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Following the deadline for cities to submit proposals for the Eurovision Song Contest 2024, which will be held in Sweden, the team behind the organisation of next year’s contest has been revealed.

Sweden’s public broadcaster, SVT, has announced the executive team that will be responsible for organising the 68th Eurovision Song Contest. Following Loreen’s historic win in Liverpool, the contest will be held in one of the four cities, as they have put in a bid to host the contest. The cities bidding to host the contest are Stockholm, Malmö, Gothenburg and Örsnköldsvik. During the summer we will know which city will host the contest.

SVT’s newly appointed executive producer Ebba Adielsson said:

“I am very proud and excited for this extraordinary mission and I can finally present the first key roles and the leadership of the main team that will be leading the Eurovision Song Contest 2024. It is impossible to find a more experienced trio in this context and it is extremely reassuring to have them together on these giant and very complex productions.”

Ebba will temporarily step down from her role as SVT’s head of entertainment to focus on the contest duties with overall responsibility for Eurovision 2024. The people who will be part of the main team are as follows:

Christel Tholse Willers is the Executive Producer responsible for communications, press, branding and the event in collaboration with the host city. Christel had a similar role when Malmö hosted the Competition in 2013 and has a solid background in Melodifestivalen, where she is the Executive Producer.

Tobias Åberg is responsible for the overall technical production as Executive Production Controller and was also part of the core team in 2013 and 2016. Since then, he has served as Head of Production or Technical Expert on Eurovision Song Contest productions for the last eight years.

Johan Bernhagen, together with Martin Österdahl, was Executive Producer for the competition in 2016 and Head of Production in 2013. This time, he will be Executive Producer and responsible for finances and overall technical production together with Tobias Åberg.

A short while ago, the EBU announced the new chairman of the Reference Group on the contest. Bakel Walden, who is currently working as Director of Development and Bidding at the Swiss state channel SGR. Bakel’s CV is quite enriched, as he has also worked as Head of Planning and Programme Development at the Greek channel Alpha TV between 2009 and 2012.

Speaking on his appointment, Bakel said:

“I am honoured to have been selected as the new President of the Eurovision Song Contest Reference Group. The Eurovision Song Contest is an iconic event that has been bringing people together for nearly seven decades, and I am thrilled to join the team at a time when the contest has never been more popular and exciting. I look forward to working with the members and relevant reference group stakeholders to promote this unique event on digital media, while ensuring that the competition continues to be a celebration of music and diversity that unites the world.”

Sweden has won the 67th Eurovision Song Contest, marking its seventh victory in the contest with 583 points. Below you can watch the performance after Loreen’s victory was announced:

https://youtu.be/Vul5zgC5Yvg

Source: eurovision.tv  και EBU

Follow us in all our social media, so that you’ll not lose a thing of what’s happening Eurovision:

Stay tuned to EurovisionFun for all the news about Eurovision 2024, which will be hosted in Sweden next May!