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For the first time, the Eurovision Song Contest has introduced an official contact code for participants taking part in next year’s competition.
The code of conduct largely codifies the rules already in place into one document, but will include some changes, including the introduction of non-filming areas backstage, more closed-door rehearsals and improved rehearsal schedules to ensure performers can rest and even enjoy of their time in the room. host city, next year Basel, Switzerland. As previously stated, the Eurovision Song Contest will also appoint a welfare producer who will be the main point of contact for artists and staff in the event of any problems.
Crucially, the code of conduct will apply to everyone accredited to the event, from the artists themselves to their entourages and even the media in attendance.
The European Broadcasting Union, owner of the pan-continental singing competition, has introduced a series of new measures following a number of controversies during the 2024 edition, held in Malmö, Sweden in May, along with the fact that the event is the most important event has become. the world’s biggest live music event, with this year’s grand final watched by 170 million people worldwide, while the Eurovision Song Contest’s social media channels reached more than 555 million accounts on Instagram and TikTok.
This year’s controversies included the disqualification of Dutch entry Joost Klein on the morning of the grand final after he was accused of ‘threatening’ behavior by a female crew member. The complaint was referred to the Swedish police.
There were also allegations of harassment both by and from the Israeli delegation, with 20-year-old Eden Golan facing a barrage of abuse for her participation, leaving her largely in her hotel room had to be locked up. During a joint press conference, some of Golan’s fellow participants also rolled their eyes and pretended to fall asleep while she was speaking. Meanwhile, other participants, including Ireland, claimed they had been filmed backstage by members of the Israeli delegation without their consent.
Following the competition, which saw Swiss entry Nemo walk away with the trophy after winning the most votes, the EBU announced its intention to review the competition rules and welfare protocols, including appointing a new director role reporting directly to the EBU. Martin Green, who produced the 2023 Eurovision Song Contest in Liverpool and the 2012 Olympic Games in London, was appointed to the role in October.
Before the code of conduct was unveiled Wednesday, Green sat down with him Variety to discuss the changes and future of the Eurovision Song Contest, which will celebrate its 70th edition in 2026.
What are the most important changes being implemented and why?
The competition has grown exponentially in recent years. It is now the most monstrous success, both in terms of the still-appointment-viewing linear television itself, with 170 million people watching last year, but also in terms of the absolute growth of our digital platforms. There’s a common belief that sometimes you have to look around and think, “This thing has gotten really big now, are we handling it the right way?” And that’s what led the EBU to say, it’s probably time that we bring in a real senior director of the whole thing, to look at what we’re doing at the moment, but also look at where we can grow as a show in the future and a brand.
What we stand for is very positive in the world right now: bringing people together through music. We think as we move forward, more people will enjoy that… When you have great competition, you need to nurture and protect it as the world around you changes.
And so what the reference group, the governing body that oversees the Eurovision Song Contest on behalf of all 38 participants, and the [EBU] team has done this year is to ask them, “How can we make life better for our artists, in particular, but also for our staff and our audiences?” as every show should do all year round. And that has led us to introduce a good code of conduct and a duty of care. Let’s take a look at what we can do backstage to improve people’s lives and care for their well-being. It is a very intense atmosphere in which these – always young – artists are aware that the world is watching them, technology means that the world is closer to them than ever before. And so that’s what we’re announcing, just these changes that we want to make sure we make to keep the show brilliant and open and have a great community celebration, and to make sure that we treat everyone fairly and look after them.
Is this the first time that an official code of conduct has existed?
It’s an evolution, because 99% of the content of the code of conduct already existed, but that was still there [across] contracts and rules and pieces of paper. What we’ve done is put them all together in one easy-to-understand space.
We are going to publish it. Everyone can read it. We don’t want to hide it. Much of it is perfectly clear: let’s respect each other; let’s take care of each other; let’s recognize that we’re performing for every age on a primetime Saturday night show; let’s honor what Eurovision stands for and has always stood for. But yes, the technical aspect is that when you go into the computer system to register for your accreditation, you are asked to read the code of conduct and then confirm that you have read and agreed to the code of conduct.
We have said symbolically but importantly that if you want to be accredited for the Eurovision Song Contest, you must agree to the code of conduct. So if you wear a tightrope at the Eurovision Song Contest, you have agreed to the code of conduct.
Last year there were some well-publicized examples of participants being disrespectful to each other. Will this type of behavior now be explicitly prohibited?
You have to look at this from a number of angles. Yes, we ask people to respect the competition, to respect everyone and everything the competition stands for, and to maintain it as a truly joyful celebration of music and community. But we also wonder: Should we really let people hold press conferences after working a 12-hour day in front of 170 million people? That’s why we’re going to make some backstage areas a no-film [zone] so performers can relax safe in the knowledge that no one will stick a camera in their face. We’re also going to see if we can practice more of their off-camera rehearsals, because a lot of performers have told us, “Can we run a few more times before you let the cameras in?” to build their confidence. So I guess I never look at anything from one direction. I think you look at it from all sides and say, look, if something happened, yeah, let’s try to find a way to make sure that doesn’t happen again. But let’s also ask ourselves if there’s something about the way we’re running it right now that could be causing this. So we’ve taken a true 360-degree view of the whole thing.
Has it been the case in the past that if you’re a performer, wherever you go backstage you have to deal with filming?
Yes, more or less. This is why every year we take a look and say, “Can we do things better?” And yes, there are some cases that were particularly salient this year, but it’s important to say that we look at what’s going on every year. When it was literally someone with a heavy camera on their shoulder that you could only have if you were an official television station, it was okay to leave cameras everywhere. Nowadays everyone has one in the palm of their hand. So it becomes much more important for the well-being of our artists and our staff, and our audiences, to say that there has to be spaces where you know you can take the makeup off, put your feet up and no one’s going to have a camera poke. in your face. And I think everyone is going to appreciate that. Our audiences will still get a lot of content online, the shows will still be great, but what they will hopefully see are more confident, more relaxed performers who have had time to prepare for this incredible moment.
Will the film ban in those zones apply to the artists themselves and their teams, from dancers to managers to make-up artists?
We’re going to look at that and ask them to respect certain areas. Because by doing this they respect themselves and the rest of their community. So I think when we say there will be a few places backstage where people can really relax and I think it’s always good if there’s one rule for everything, rather than little exceptions, because then it’s very clear to people . If I want to film you for a Tiktok for five seconds, I just have to go out and do it, I just can’t do it here. And we also ensure that everyone is well informed and that everyone understands.
Will the new code of conduct also include sanctions for those who violate the code of conduct?
In any case, there has always been a process behind the rules and contracts. We don’t tend to make that public, but there has always been a process whereby if anyone feels that the Code of Conduct has been breached or violated, this can be raised in a number of places and dealt with in a clear way. completed. process, and whatever its final outcome, is clearly communicated to and with that person. So yes, if you want to implement a code of conduct, of course you have to have a way to impose it and deal with it, but again, in a great, respectful, procedural way that ensures people have their voice. heard.
Last year’s Eurovision Song Contest was obviously highly politicized – are the participants being asked to try to leave politics at the door this year?
I think it’s a constant dialogue with artists and audiences. Obviously something like a code of conduct, something like [rule] changes are very physical ways in which we can highlight what the competition and what Eurovision stands for. We live in a complicated world, everyone has their own view of that complicated world. With Eurovision we ask that the world stand still for a few hours on Saturday evening. We show the world what a world could be, rather than how it necessarily is, and music and sports have always been ways to do this. And I think we will be in constant dialogue with everyone to say: “Look, let’s keep Eurovision as a space where we bring people together and celebrate what we have in common, just as we have done for 69 years.”
We want to ensure that the company continues to do that as it goes from strength to strength. And taking care of everyone, and our artists, our audiences and our employees, is an important way to do that.