Are there any limits to the channels and tools that a state can use to perpetuate narratives on national identity? Traditional approaches to what has been defined as nation-building have tended to rely on such things as studies of the use of the national language, school education, and political narratives. [...]  Indeed, cinema, large-scale events with hundreds of thousands of attendees, cultural initiatives, and even food narratives can be used to construct identity in a path that goes from traditional nation-building to what has recently been defined as nation-branding.

In an ideal world, the Eurovision Song Contest would be all about music and cross-border camaraderie. In reality, delicate diplomacy is essential to prevent politics from spilling into the annual glitz fest. A cast of hopeful artists from 26 countries will compete in this year's final on Saturday in Sweden, homeland of inventor Alfred Nobel, who gave his name to the famous international peace price.

It had been a "a real coup" for Australia and had probably generated "more than $60 million of free publicity" for the country, he said. And the Department of Foreign Affairs and Trade praised Eurovision in its annual report, acknowledging it as a boon for "public diplomacy" that had showcased Australia’s creative talent to 200 million viewers. 

Commenting last week on Israel’s surprising ninth-place Eurovision finish, achieved thanks to votes from millions of usually anti-Israel Europeans, Avshalom Halutz of Haaretz wrote sarcastically that the dramatic improvement over previous results “seems to validate Israel’s decision...to send its carefree ‘Golden Boy’ party anthem to Eurovision, after years of trying in vain to find favor with the Europeans with apologetic and hypocritical songs about peace and tolerance, and failed gimmicks like candlelight or a duet between a Jewish and an Arab singer.” Despite being an exaggeration, ther

"[Eurovision] is truly an event that builds bridges between nations and encapsulates the values of Public Service Media. In this [60th] anniversary year, it is with pride that we look back at how the contest has influenced the public sphere in Europe."-- Ingrid Deltenre, European Broadcast Union Director General. 

It may sell itself on feathers, wind machines and cheesy songs, but behind the sequins of the Eurovision Song Contest is a complex, carefully managed political game. With more than 40 countries competing, the host city of Vienna, Austria, is presently overflowing with politicians, diplomatic missions…

Despite its detractors, Eurovision remains the single largest televised annual cultural event in the world. Of course, the UK doesn't exactly need the soft power nor is it lacking in cultural power outside Eurovision; Ed Sheeran, Sam Smith and BBC News attest to that.