What Eurovision Means for Jews
The recent Eurovision show happened exactly as expected – with bitter condemnation, public outcry, and outlandish criticism of Israel’s participation in a euro-musical show it has been a part of since 1973. What better way to express what some would say is legitimate political criticism and mass-level boycotting than a concert filled with half-nude singing and dancing Europeans? After all, what is Eurovision without the decrying of its an exclusive all-European event (the Australians would agree) to celebrate the truly rich and pervasive cultural hegemony that exists within the continent (which has not been eroded at all within recent years).
Yet, despite its supposed apolitical stance, Eurovision has now more than ever shown us that even a show about the musically and theatrically inclined, at its core, is a political stage that represents the global dilemmas and most prevalent policy and international relations issues (yes, really). “All the world’s a stage,” Shakespeare famously said, and “And all the men and women merely players.” In this case, the participants of Eurovision are representative players of political theatre designed to exclude and polarize.
However, I think the Eurovision participants also clearly represent something deeper and rather obvious – their national identity. Looking at Noam Bettan, Israel’s participant for Eurovision 2026, Israelis felt proud and hopeful despite several European countries boycotting the show due to its participation. Noam had several participants in Eurovision refuse to talk or acknowledge him, with Bulgaria even refusing to associate with Eurovision winner Dara’s liking of a pro-Israel post. Yes, really, they’re THAT petty.
But Israelis remained dignified and proud with their choice and representative Noam (perhaps because he was the only contestant in Eurovision that nearly had all his clothes on) despite the crowd’s loud protests. Noam’s performance, much like his predecessors Yuval Raphael and Eden Golan, Israel’s Eurovision representatives since 7th October, held strong and emotional, and represented a deep shift within the Israeli spirit.
Israel was no longer submitting bouncy and catchy pop artists like Noa Kirel and Netta Barziliai, which typically were expected performances within the showmanship like contest. Mrs. Kirel and Mrs Braziliai represented a happier and livelier country, one not without issues and challenges, but one that felt sheltered, one that felt safe and almost joyous.
The performances since 7th October changed and reflected a country deep in trauma, a country not yet healed but one in unabsolved pain. Yet, when Yuval Raphael and Eden Golan sang their song and expressed the suffering Israelis felt, the tragic pain and harrowing experiences had to be monitored and measured when represented globally. References of 7th October in both Yuval and Eden’s songs were cut and disappeared into the collective void of hatred and propaganda that dismisses and dehumanizes the Israeli experience, even if it’s just through the censoring of a song.
However, Noam’s song was a slight departure from previous songs about the lingering traumatic effects of conflict, and instead captured the imagination and reflection of a country’s hopeful yet harrowed soul. It represented the perseverance and durability of not only a country torn by war, but of a global Jewish nation that has been reliving the experiences and horrors of what was once the story of another other generation.
Somehow, amidst a silly dress-up singing contest meant exclusively for the entertainment of Europeans, arose a metaphor for the Jewish and Israeli spirit. Amidst the contentious participation of Israel, the songs rang a deep and touching evolution of a country’s soul. Eurovision’s attempt to depoliticize its stage has failed, and clearly the performers and audience alike felt the deep discourse surrounding Israel.
However, what this criticism has failed to mention is Mr. Bettan’s emotional and touching singing has encapsulated the struggles and history of a country in a continuous regional war and deep-rooted struggle for survival of both life and its identity. Hidden in this magical performance is a story of defiance against adversity, of a small nation that has somehow endured the test and struggle of the history of time, and through it all, has managed to retain a whisper and breadth of hope. Mr. Noam Bettan has captured the Israeli and Jewish spirit through one song.
