Well, she is Irish, so I’d guess she can pull on her own countries history and folklore as much as she likes? It might not be “accurate” or whatever, but I think cultural interpretation in the light of modernity is absolutely allowed, yeah?
Wouldn’t even need the she’s Irish part. If it floats your boat, have at it.
I have said here many times before how stories are relevant mostly because of how we change them, reinterpret them, look at them from a different angle (like all the books of Greek stories I read taken from a woman’s perspective).
Stories live on because they speak to us, they stay speaking to us if they are living rather than ossified.
I agree we shouldn’t expect the artists to take that burden, it’s so hard to be an artist now, but the EBI does make those decisions.
I believe they were right about Russia and they were wrong about Israel.
Why should we pretend that brutality like that is okay? Why should Israel get to participate?
@anon33176345 i can talk about it here but it will not, and has not, been on in this house. Despite the Irish entry being one I liked and what fun we all had last year with it during a really fucking tough time it was quite joyful.
I don’t think anyone is mistaking her performances for “real” Irish history, after all…
My local public radio station just had a great interview with people putting on a play called Fat Ham, which is based on Hamlet… That’s the point of culture, after all, use and reuse for what makes sense for a community or individual. Which is why copyright is often problematic, as it can (and often does) hinder that sort of use…
But still… I’m just sayin’… a dozen dissertations… and most of them will include a whole ass discussion on identity and authenticity. And they’ll be at least 2 dozen youtube essays, with just half being plagiarized. All us failed academics got to do something, after all!
Exactly. The question is how we respond to that act of commodification and find ways to make that work to our advantage. It’s an ongoing struggle between the culture industries, the artists, and the consumers, and I think the main thing is to not let ourselves lose sight of the fact that at the end of the day, this is all done by people, many of whom do have good intentions at heart. If someone is putting drag or drag influenced culture into the mainstream, it’s likely because they love drag culture and want to share it with the world, and perhaps make the world a bit better by doing so. that doesn’t mean we can’t be wary of that commodification, just that we need to hold our shared humanity at the heart of all we do…
Kind of rambling now, so not sure it makes any sense…
Don’t forget they already censored the Israeli entry ages ago (it is a song contest officially, not a singer contest - I grew up with a winner living in the house behind us on the estate. He’d a good job my mam told me).