BLOG POST 2
MARCH 7, 2024
AZERBAIJAN ON EUROVISION STAGE
“Skeletons" was the entry representing Azerbaijan in the Eurovision Song Contest 2017.It was written by a famous Swedish composer/producer Sandra Bjurman and Sung by the talented Azerbaijani artist Dihaj. The song captivated audiences with its haunting electronic sound and introspective lyrics. "Skeletons" delves into themes of inner confusion and emotional vulnerability, using the metaphor of "have my skeleton" to represent her submission to her othering. Dihaj's captivating performance, together with striking visuals and theatrical staging, added depth to the song's message, making it a memorable and thought-provoking entry in the Eurovision Song Contest. This essay will explain in depth how the song "Skeleton" explores themes of vulnerability, mortality, and the human condition through a fusion of literary, visual, and musical devices. It does this by using vivid imagery, complex symbolism, and evocative soundscapes, transcending traditional boundaries of expression which left the audience into conflicted state, trying to emphasize the main theme of the performance.
Who is Dihaj?
Dihaj is an Azerbaijani singer, songwriter, and musician whose true name is Diana Hajiyeva. She was born in Mariupol, Ukraine, on June 13, 1989, during the Soviet Union's rule. Her love of jazz as a child transformed her into one of Azerbaijan's most gifted artists. Diana graduated from the Baku Music Academy in 2010 and moved on to The Institute of Contemporary Music Performance in London. (Dihaj, n.d.). founded the electronic music group Dihaj in 2014, and she became well-known throughout the world when she entered the 2017 Eurovision Song Contest as the representative of Azerbaijan with the song "Skeletons”. Her musical style is eclectic, blending elements of electronic, pop, and alternative music. She is known for her distinctive vocals and avant-garde performances. Apart from her music career, she is also involved in various artistic projects and collaborations.
Lyrics Analysis
“Lyrics in music (in their original form of storytelling) have ancient origins and do not only lie at the heart of religious and cultural practices and narratives, but also provide widely popular leisure activities in everyday life” (Omigie, 2015). The lyrics of "Skeletons" contain metaphors and symbolic language that convey deeper meanings related to the song's theme. The opening verse sets a somber tone, depicting a sense of searching and loss. The repetition of "skeletons walking on me" in the chorus suggests a recurring theme of inner past regrets. The use of "skeletons" metaphorically may symbolize unresolved issues or haunting memories that continue to affect the singer. The second verse describes "stuck in daydreams" and feeling "amazed by thorn jeans," indicating a desire to escape into a world of fantasy (Dihaj, 2017). However, there's also a recognition of the harshness of reality, as seen in lines like "This bittersweet sensation got a, got another hold of me". Hearing Dihaj's song without visualizing the clips will give you a better understanding of her exposition. The singer feels disconnected from reality and struggles to maintain their grasp on sanity. The repetition of words like "drum drum drum, bring out the guns" and "bad boy" is repeated throughout the song, adding a rhythmic element and highlighting specific themes as well as the artist's nervousness (Dihaj, 2017). The lyrics create vivid mental images through descriptive language, enhancing the song's overall storytelling. As mentioned in the middle verse, the imagery of "thorn jeans" could represent the complexities and challenges of the relationship, while "alchemy" metaphorically represents the transformative power of love or desire (Dihaj, 2017). There may be abstract ideas or concepts related to the song's themes.
In summary, "skeletons" symbolize the hidden fears and realities that people carry along. It implies that everyone has secret skeletons that they would rather keep hidden from the public eye, regardless of how they appear on the outside.
Like many Eurovision entries, these lyrics are primarily in English, which might not fully represent Azerbaijan's cultural and linguistic identity. Azerbaijani is the official language, and while English is widely understood, emphasizing the native language in cultural representations could be more resonant with the national identity.
Visual and staging analysis
The staging and use of light in Dihaj's performance of "Skeletons" at Eurovision were crucial elements that enhanced the atmosphere and emotional impact of the song. The performance began with a subdued lighting scheme, with minimal illumination focused on the artist and the stage. Close-up shots were employed to capture intimate moments and bitter emotions conveyed by Dihaj during her performance. These shots allowed viewers to see the subtle expressions on her face, emphasizing the raw emotion and meaning of the song's lyrics. Close-ups also provided an opportunity to focus on specific visual elements, such as the costume details or symbolic props, creating a more immersive viewing experience. Their costume and aesthetic also contributed to the overall atmosphere of the performance. She wore a striking mauve pink and black outfit with geometric patterns, accessorized with black bold neck jewelry, and had a simple hairstyle. The asymmetrical and straightforward appearance of Dihaj's haircut during her "Skeletons" Eurovision performance were what truly set it apart. This highlights her individuality and adds to the performance's overall avant-garde elegance, letting her stand out and making an impression on the audience. The black and red LED light on the stage complemented the song's mood and added to the performance's visual impact. The choreographic movement featured in the performance and gestures enhanced the song's dramatic effect, how she spread her dress like wing whiles raising a note and a bode and hand movements were purposeful and expressive, adding an extra layer of visual interest to the performance and reinforcing its emotional resonance.
In Gelfo’s paper regarding (The Critical Importance of Visualization in Music Practice) he stated “[Visualization can also be very useful for dissolving both physical and emotional tension]” (Gelfo, 2023). This surreal and striking use of tone painting served as a central focal point of the performance and represents the concept of confronting one's inner demons and personal struggles, as suggested by the lyrics of "Skeletons". During the Eurovision press conference, Dihaj clarified, "The box signed with various words depicts my inner world, while the guy with a horse mask sitting on the ladder impersonates a bad boy. The ladder and the mask imply a huge emotional distance between us" (Azerbaijan: Dihaj Explains Meaning of the Man with a Horse Mask, 2018). Dihaj's performance of "Skeleton" introduced novelty to the Eurovision Song Contest through its experimental sound, avant-garde visuals, symbolism, choreography, highlighting the artist's creativity and originality on a global stage. Azerbaijan's national identity often celebrates cultural heritage and modernization; the strange staging of Dihaj's performance may be seen as a departure from these themes. The abstract visuals and unconventional presentation may challenge traditional notions of Azerbaijani identity.
National identity in Eurovision
Azerbaijan, like many countries, has a complex national identity shaped by its history, culture, and geopolitical context (Rosenberg, U. 2023). It frequently places emphasis on elements like modernization, cultural legacy, and national pride. Azerbaijan's national identity is shaped in large part by historical narratives, cultural symbolism, and traditional values. This is evident in how the country is portrayed internationally, including at Eurovision. “One aspect of Eurovision, which has more negative connotations, is the fact that different cultural backgrounds are being overly westernized” (National Identity and Music, 2018). Dihaj’s performance differs from the traditional Azerbaijani musical genres, adopting a more avant-garde and modern sound that is more western oriented than the local heritage of her home nation. Through metaphorical imagery, the song's lyrics explore themes of inner struggle and insecurity. A dangling ladder and human wearing a horse mask were among the fantasy images used in the performance's highly unusual Eurovision staging. These components set the performance apart from customary Eurovision performances by giving it a dimension of abstraction and drama. Even though Dihaj's performance of "Skeletons" at Eurovision may not perfectly align with Azerbaijan's dominant national identity, it represents an example of artistic expression that challenges conventions and offers alternative narratives. It draws attention to the diversity and complexity of Azerbaijani culture, showcasing its ability to evolve and innovate in contemporary contexts.
Word count: 1160 words.
Reference
Azerbaijan: DiHaj explains meaning of the man with a horse mask. (2018). [Video]. YouTube. Retrieved February 26, 2024, from https://www.youtube.com/watch?v=XL6JwFT69u4&t=8s
Diana Hajiyeva. (2023, July 29). Wikipedia. https://en.wikipedia.org/wiki/Diana_Hajiyeva
Dihaj performs Skeletons with all her heart. (2017, May 1). Eurovision Song Contest. https://eurovision.tv/story/dihaj-performs-skeletons-azerbaijan-2017
Dihaj. (n.d.). Eurovision Song Contest. https://eurovision.tv/participant/dihaj#:~:text=Dihaj%20is%20the%20stage%20name,Contemporary%20Music%20Performance%20in%20London.
Gelfo, M. (2023, February 1). The Critical Importance of Visualization in Music Practice — Modacity - Music Practice Journal & Companion. Modacity - Music Practice Journal & Companion. https://www.modacity.co/blog/the-critical-importance-visualization-music-practice
Hannes Nikl (2018, November 4). National identity and music. Diggit Magazine. https://www.diggitmagazine.com/blog/national-identity-and-music
Omigie, D. (2015, August 24). Music and literature: are there shared empathy and predictive mechanisms underlying their affective impact? Frontiers in Psychology, 6. https://doi.org/10.3389/fpsyg.2015.01250
Rosenberg, U. (2023). Was the prehistoric man an Azeri nationalist? Mobilized
prehistory and nation-building in Azerbaijan. Central Asian Survey, 1–19.
https://doi.org/10.1080/02634937.2023.2256796
[GG1]Eeek! Sudden quote! Bracket this in a sentence. Ex: In Gelfo’s paper regarding [themes of the paper] he states, “[…]” (Gelfo, 2023)
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