Participants in the Eurovision Song Contest, coloured by decade of debut

Participating countries in 1992; Yugoslavia (in red) participated for the final time. Changes in Europe in the 1980s and 1990s impacted the contest, as Yugoslavia ceased participating under one name and new countries in Central and Eastern Europe started competing.

Participating countries in 1994. Changes in Europe in the 1980s and 1990s impacted the contest, as Yugoslavia ceased participating under one name and new countries in Central and Eastern Europe started competing.

From the original seven countries which entered the first contest in 1956, the number of competing countries has steadily grown over time. 18 countries participated in the contest’s tenth edition in 1965, and by 1990, 22 countries were regularly competing each year.

Besides slight modifications to the voting system and other contest rules, no fundamental changes to the contest’s format were introduced until the early 1990s, when events in Europe in the late 1980s and early 1990s resulted in a growing interest from new countries in the former Eastern Bloc, particularly following the merger of the Eastern European rival OIRT network with the EBU in 1993.

Con il termine Big Five (I grandi cinque) vengono indicate le cinque nazioni che hanno per prime sostenuto economicamente l’Unione europea di radiodiffusione e che tuttora la supportano maggiormente. I primi tre hanno fondato la manifestazione canora internazionale più longeva al mondo: l’Eurovision Song Contest.

Questi paesi sono: Francia; Germania; Italia; Unito Regno Unito; Spagna.

Per questo motivo, essi hanno accesso diretto alla serata finale dell’Eurovision Song Contest. Precedentemente (prima del 2011) il gruppo era formato solo da quattro paesi, ed era pertanto chiamato Big Four, dal momento che l’Italia si era ritirata dalla manifestazione nel 1997 e per tale motivo conta il minor numero di partecipazioni.

L’esistenza di questo gruppo ha causato note di disaccordo di alcuni paesi: dal 2013, per esempio, la Turchia ha deciso di non partecipare alla competizione, criticando il fatto che questi paesi, per accedere alla finale, non debbano passare per le semifinali come tutti gli altri partecipanti.

Vittorie nell’Eurovision. Il primo vincitore dei Big Five fu André Claveau nel 1958 (il primo vincitore maschile della manifestazione), rappresentante della Francia, nazione che vincerà poi la manifestazione altre 4 volte. Insieme al Regno Unito è anche il paese con più vittorie per i Big Five (ben 5 vittorie). Seguono poi la Spagna, l’Italia e la Germania con sole due vittorie.

L’ultima vittoria di un membro dei grandi cinque risale, invece, al 2010, dove in Norvegia la cantante tedesca Lena trionfò con la canzone Satellite. Tutti, infine, ricordano l’edizione del 1969 a Madrid, quando ben 4 paesi (tra cui proprio 3 membri dei Big Five (Francia, Spagna e Regno Unito) vinsero con lo stupore del pubblico (il quarto era i Paesi Bassi).

Albo d’oro.

Tabella riassuntiva delle vittorie dei “Big Five”

Anno	Paese	Cantante	Canzone	Punti	Secondo posto	Data	Sede
1958	Francia	André Claveau	Dors, mon amour	27	Svizzera	12 marzo 1958	Paesi Bassi, Hilversum
1960	Francia	Jacqueline Boyer	Tom Pillibi	32	Regno Unito	25 marzo 1960	Regno Unito, Londra
1962	Francia	Isabelle Aubret	Un premier amour	26	Principato di Monaco	18 marzo 1962	Lussemburgo, Lussemburgo
1964	Italia	Gigliola Cinquetti	Non ho l’età	49	Regno Unito	21 marzo 1964	Danimarca, Copenaghen
1967	Regno Unito	Sandie Shaw	Puppet on a String	47	Irlanda	8 aprile 1967	Austria, Vienna
1968	Spagna	Massiel	La, la, la	29	Regno Unito	6 aprile 1968	Regno Unito, Londra
1969	Francia	Frida Boccara	Un jour, un enfant	18	nessun secondo posto 4 vincitori	29 marzo 1969	Spagna, Madrid
	Regno Unito	Lulu	Boom Bang-a-bang
	Spagna	Salomé	Vivo cantando
1976	Regno Unito	Brotherhood of Man	Save Your Kisses for Me	164	Francia	3 aprile 1976	Paesi Bassi, L’Aia
1977	Francia	Marie Myriam	L’oiseau et l’enfant	136	Regno Unito	7 maggio 1977	Regno Unito, Londra
1981	Regno Unito	Bucks Fizz	Making Your Mind Up	136	Germania Ovest	4 aprile 1981	Irlanda, Dublino
1982	Germania Ovest	Nicole	Ein bißchen Frieden	161	Israele	24 aprile 1982	Regno Unito, Harrogate
1990	Italia	Toto Cutugno	Insieme: 1992	149	Francia Irlanda	5 maggio 1990	Jugoslavia, Zagabria
1997	Regno Unito	Katrina & The Waves	Love Shine a Light	227	Irlanda	3 maggio 1997	Irlanda, Dublíno
2010	Germania	Lena	Satellite	246	Turchia	29 maggio 2010	Norvegia, Oslo

Albo d’oro per nazione.

Paese	Primo posto	Anni	Secondo posto	Anni	Terzo posto	Anni
Regno Unito	5	1967-1969-1976-1981-1997	15	1959-1960-1961-1964-1965 1968-1970-1972-1975-1977 1988-1989-1992-1993-1998	3	1973-1980-2002
Francia	5	1958-1960-1962-1969-1977	4	1957-1976-1990-1991	7	1959-1965-1967-1968-1978 1979-1981
Germania	2	1982-2010	4	1980-1981-1985-1987	5	1970-1971-1972-1994-1999
Spagna	2	1968-1969	4	1971-1973-1979-1995	1	1984
Italia	2	1964-1990	3	1974-2011-2019	5	1958-1963-1975-1987-2015

Posizione dall’anno di debutto come membri dei “Big Five”.

Edizione	Big Five
	Francia	Punti	Germania	Punti	Italia	Punti	Spagna	Punti	Regno Unito	Punti
Stoccolma 2000	23º	5	5º	96	Nessuna partecipazione		18º	18	16º	28
Copenaghen 2001	4º	142	8º	66			6º	76	15º	28
Tallinn 2002	5º	104	21º	17			7º	81	3º[1]	111
Riga 2003	18º	19	11º	53			8º	81	26º	0
Istanbul 2004	15º	40	8º	93			10º	87	16º	29
Kiev 2005	23º	11	24º	4			21º	28	22º	18
Atene 2006	22º	5	15º	36			21º	18	19º	25
Helsinki 2007	22º	19	19º	49			20º	43	23º	19
Belgrado 2008	19º	47	23º	14			16º	55	25º	14
Mosca 2009	8º	107	20º	35			24º	23	5º	173
Oslo 2010	12º	82	1º	246			15º	68	25º	10
Düsseldorf 2011	15º	82	10º	107	2º	189	23º	50	11º	100
Baku 2012	22º	21	8º	110	9º	101	10º	97	25º	12
Malmö 2013	23º	14	21º	18	7º	126	25º	8	19º	23
Copenaghen 2014	26º	2	18º	39	21º	33	9º[2]	74	17º	40
Vienna 2015	25º	4	26º[3]	0	3º	292	21º	15	24º	5
Nuovo sistema di votazione (cambio rispetto alle regole dal 1975 al 2015)
Stoccolma 2016	6º	257	26º	11	16º	124	22º	77	24º	62
Kiev 2017	12º	135	25º	6	6º	334	26º	5	15º	111
Lisbona 2018	13º	173	4º	340	5º	308	23º	61	24º	48
Tel Aviv 2019	16º	105	25º	24	2º	472	22º	54	26º	11
Rotterdam 2020	Edizione cancellata a causa della Pandemia di COVID-19
Rotterdam 2021

Curiosità.

• Francia: è il membro dei Big di maggior successo nei primi 10 anni di concorso (3 vittorie, 1 secondo posto, 2 terzi posti, 2 quarti posti e 1 quinto posto (9 top 10); detiene il maggior numero di terzi posti e quarti posti in assoluto tra i paesi partecipanti (7 terzi posti e 7 quarti posti).
• Germania: è l’unica tra i Big Five ad essere stata eliminata in una preselezione, precisamente in quella del 1996, l’unica occasione che ha impedito al paese che conta più partecipazioni in assoluto (63 al 2019) di partecipare a tutte le edizioni; ha partecipato come Germania Ovest, divisa dalla Repubblica Democratica Tedesca come paese indipendente, fino alla riunificazione con essa solo nel 1989. La prima partecipazione come unico paese risale al 1990; dall’istituzione dei Big, è l’unica ad essere riuscita a vincere.
• Italia: è il membro dei Big Five a contare il minor numero di partecipazioni all’attivo (45 al 2019); è l’unico membro a non aver partecipato negli anni 2000; detiene il maggior numero di punti ricevuti come membro dei Big con entrambi i sistemi di voto, 292 nell’edizione 2015 e 472 nell’edizione 2019; ha ispirato la creazione dell’ESC con il Festival di Sanremo; è l’unico paese ad aver vinto in una nazione non più esistente (Eurovision Song Contest 1990 in Jugoslavia); dall’istituzione dei Big, è l’unico membro a non essersi mai piazzato all’ultimo posto, nonché a non essere mai risultato il peggior Big in gara.
• Regno Unito: è il paese che ha più volte ospitato l’ESC (ben otto volte); detiene il maggior numero di secondi posti (ben 15).
• Spagna: ha partecipato prima come Spagna franchista dal 1961 al 1975, poi come Stato Spagnolo dal 1977 al 1981; è l’unico membro dei Big Five ad aver vinto due edizioni consecutive (1968-1969).

Note.

Qualification and Semi-finals – From 1997 to 2001, countries qualified for each contest based on the average of their points totals for their entries over the previous five years. However, there was much discontent voiced over this system because a country could be excluded merely because of poor previous results, which did not take into account how good a fresh attempt might be. The worst example of this was that Bosnia and Herzegovina finished 7th with 86 points in the 1999 Contest, but it wasn’t enough to save the country being relegated from taking part in the 2000 Contest. As a result, the EBU reverted to the older relegation system for the 2002 and 2003 contests. Soon, the EBU created what was hoped would be a more permanent solution to the problem. A qualification round, known as the semi-final, was introduced for the 2004 Contest. This semi-final was held on the Wednesday during Eurovision Week, and was a programme similar in format to the grand final, whose time slot remained 19:00 UTC on the Saturday. The highest-placed songs from the semi-final qualified for the grand final, while the lower-placed songs were eliminated. From 2005 to 2007, the semi-final programme was held on the Thursday of Eurovision Week. In these two shows there was enough time to include all the countries who wished to participate.

The ten highest-placed non-Big Four countries in the “grand final” were guaranteed a place in the following year’s grand final, without having to qualify. If, for example, Germany came in the top ten, the eleventh-placed non-Big-Four country would automatically qualify for the next year’s grand final. The remaining countries—which had not automatically qualified for the grand final—had to enter the semi-final.

At the 50th annual meeting of the EBU reference group in September 2007, it was decided that, with still more nations entering, starting from the 2008 contest onwards two semi-finals would be held, from each of which one could qualify for the final. From 2008 onwards, the scoreboard position in previous years has not been relevant, and—save for the automatic qualifiers—all participating countries have had to participate in the semi-finals, regardless of their previous year’s scoreboard position. The only countries which automatically qualify for the grand final are the host country and the Big Five: France, Germany, Italy, Spain and the United Kingdom, who continue to enjoy their protected status.

In each of the semi-finals the voting is conducted among those countries which participate in that semi-final. With regard to the automatic grand final qualifiers, who do not participate in the semi-finals, a draw is conducted to determine in which semi-final each of them will be allowed to vote. In contrast, every participating country in a particular year may vote in the Saturday grand final – whether their song qualified for the final or not.

The ten countries which receive the most votes in each semi-final qualify for the grand final. They are announced by the presenters in English and French, in a random order. Full voting results are withheld until after the grand final, whereupon they are published on the EBU’s website. To date only two countries have always qualified to the Final since the implementation of the semi-finals system in 2004: Australia and Ukraine.

Below is a chart of qualification percentage depending on times qualified/participated. For example, if a country has participated 9 times and has qualified 7 of them, it has qualified (7/9*100) = (0.777*100) = 77.77% of participation, or roughly 78% as shown below.

In-depth Everything you always wanted to know about the inner workings of the Eurovision Song Contest.

National selections Each Participating Broadcaster has the freedom to decide how they choose their entry for the Eurovision Song Contest. Through the years, they have come up with some pretty impressive formats to pick their act. 

How do the national selections for the Eurovision Song Contest work?

Each country is de facto represented by its respective public broadcaster. It is at easch broadcaster’s sole discretion to determine who will represent their country at the Eurovision Song Contest.

There are three common ways to select a participant for the Eurovision Song Contest:

• Through a televised national selection: Through one or more television shows, the public can take part in the selection of the country’s representative. The most successfull televised national selection format is Melodifestivalen in Sweden, which features four live shows in different cities across the country, a second-chance show and a spectacular final;
• Through a full internal selection: Artist and song are being selected internally by a committee appointed by the broadcaster;
• Through a mixed format: Often, an artist is appointed by the broadcaster, while the public can help choose their song during a live television show;

The EBU strongly encourages participating broadcasters to engage the public with the selection of a participant for the Eurovision Song Contest.

Host City Insignia Exchange During the Host City Insignia Exchange, which traditionally takes place in January, the mayor of the previous Host City hands over the Eurovision Song Contest insignia to the mayor of the upcoming Host City. 

Every year in May, one city finds itself in the global spotlight for several weeks; the Host City of the Eurovision Song Contest. To celebrate the contest coming to town, every year starts with the Host City Insignia Exchange around the end of January.

The Host City Insignia Exchange usually takes place in conjunction with the Semi-Final Allocation Draw, which determines which country takes part in which of the two Semi-Finals.

Each Host City adds an iconic insignia to the key chain, before handing over the entire collection of insignia to the next Host City.

After the hand-over, the insignia are traditionally being put on display in a public place, such as the City Hall or another venue of local significance, until they embarque on their next journey.

Semi-Final Allocation Draw During the Semi-Final Allocation Draw it is determined which country participates in which Semi-Final, and whether they take part in its first or second half. 

The Semi-Final Allocation Draw, which takes place every year in late January, determines which country takes part in which of the two Semi-Finals of the Eurovision Song Contest.

The participating countries, except for the Host Country and the so-called ‘Big Five’ countries that automatically qualify for the Grand Final, will be divided across the two Semi-Finals. From each Semi-Final, only ten countries will quality for the Grand Final, bringing the total number of Grand Final participants to 26.

During the Semi-Final Allocation Draw, the countries that will take part in the Semi-Finals are divided into pots, based on historic voting patterns. In this way, countries that traditionally award each other points are less likely to end up in the same Semi-Final, adding excitement to the shows. The pots are approved by the contest’s Executive Supervisor on behalf of the European Broadcasting Union (EBU) and the Chairman of the Reference Group, the contest’s governing body on behalf of all Participating Broadcasters.

The Semi-Final Allocation Draw is being broadcast live via Eurovision.tv.

The event weeks Some two weeks before the Grand Final, the first delegations, journalists and fans travel to the Host City, to attend rehearsals, press conferences and parties in the Host City. 

While most TV viewers are focused on the three live shows, the broadcasts are in fact the climax of two exciting weeks in the Host City. What happens during the so-called event weeks of the Eurovision Song Contest?

The event weeks in the Host City usually last about 15 days. A lot happens during the event weeks:

• All participants rehearse individually on stage twice. After each individual rehearsal, the participants meet with press and fans at the Press Centre;
• For most of the event weeks, all accredited delegates, press and fans can come together at the so-called EuroClub, the Eurovision Song Contest’s official party venue. Often, participants also throw their own parties, sometimes at the EuroClub, sometimes at other venues. Often, embassies give official receptions to welcome their representative in town;
• At the Eurovision Village, participants perform during the weeks on an outdoor stage. The Eurovision Village hosts sponsor activities, as well as public viewings during the live shows;
• Each show is preceded by three so-called Dress Rehearsals. The first Dress Rehearsal is open to the press, while tickets are being sold for the second and third one. The second Dress Rehearsal also features as recorded back-up, and is the show based on which the juries make up their mind;
• Traditionally, a Welcome Reception and Red Carpet Ceremony are being held on the Sunday preceding the live shows;
• On Tuesday, the first Semi-Final takes place, followed by a press conference featuring the ten qualifiers;
• On Thursday, the second Semi-Final takes place, followed by a press conference featuring the ten qualifiers;
• On Saturday, the Grand Final takes place, followed by a press conference featuring the winner and a grand after-party.

Usually, thousands or even tens of thousands of people travel to the Host City to celebrate the event weeks.

EuroClub The EuroClub is the official party venue for accredited Eurovision Song Contest delegates, press and fans. It is the place to be to have fun and unwind after a long working day.

Note that EuroClub access is restricted to accreditated individuals only, in the categories D, P and F and is not open to the public. It is obligatory to carry your accreditation badge when visiting the EuroClub.

Eurovision Village The Eurovision Village is the central Eurovision Song Contest hub in the contest’s Host City, open to the public.

The Eurovision Village is the official fan zone of the Eurovision Song Contest, access is free of charge and offers fans the opportunity to see their favourite acts perform live ahead of the Eurovision Song Contest.

During the live shows, fans are invited to watch the shows on big screens at the Eurovision Village.

Marcel Bezençon Awards Apart from the glass trophy for the winner, press, commentators and composers also award prizes; the Marcel Bezençon Awards. 

Apart from the viewers at home and music industry professionals who decide upon the winner of the Eurovision Song Contest, press, commentators and composers also award additional prizes; the Marcel Bezençon Awards.

The award, named after the founder of the Eurovision Song Contest, was first handed out in 2002, at the initiatve of Christer Björkman (Sweden’s representative in the 1992 Eurovision Song Contest) and Richard Herrey (member of the Herreys, 1984 Eurovision Song Contest winner from Sweden).

The awards are divided into three categories: the Press Award (given to the best entry voted for by the accredited media), the Artistic Award (presented to the best artist voted for by the commentators) and the Composer Award (a jury consisting of the participating composers who vote for the most original composition).

The awards are traditionally handed out backstage, shortly before the Grand Final. 

Former winners

Lisbon 2018

• Press Award: Mercy, Madame Monsieur, France
• Artistic Award: Fuego, Eleni Foureira, Cyprus
• Composers Award:  Bones, Borislav Milanov, Joacim Persson, Brandon Treyshun Campbell, Dag Lundberg, Bulgaria

Kyiv 2017

• Press Award: ”Occidentali’s Karma”, Francesco Gabbani, Italy
• Artistic Award: ”Amar Pelos Dois”, Salvador Sobral, Portugal
• Composers Award: ”Amar Pelos Dois”, Luisa Sobral, Portugal

Stockholm 2016

• Press Award: ”You Are The Only One”, Sergey Lazarev, Russia
• Artistic Award: Jamala, ”1944”, Ukraine
• Composers Award: ”Sound Of Silence”, 
  DNA (David Musumeci & Anthony Egizii), Australia

Vienna 2015

• Press Award: ”Grande Amore”, Il Volo, Italy 
• Artistic Award: Måns Zelmerlöw, ”Heroes”, Sweden
• Composers Award: ”A Monster Like Me”, Kjetil Mørland, Norway

Copenhagen 2014

• Press Award: ”Rise Like A Phoenix”, Conchita Wurst, Austria 
• Artistic Award: The Common Linnets, ”Calm After The Storm”, 
  the Netherlands
• Composers Award: ”Calm After The Storm”, Ilse DeLange, JB Meijers, 
  Rob Crosby, Matthew Crosby, Jake Etheridge, the Netherlands

Malmö 2013

• Artistic Award: Farid Mammadov, “Hold me”, Azerbaijan
• Press Award: Nodi Tatishvili & Sophie Gelovani, “Waterfall”, Georgia
• Composers Award: “You”, Robin Stjernberg, Linnea Deb, Joy Deb, 
  Joakim Harestad Haukaas, Sweden

Baku 2012

• Artistic Award: Loreen, “Euphoria”, Sweden
• Press Award: Sabine Babayeva, “When the Music Dies”, Azerbaijan
• Composers Award: “Euphoria”, Thomas G:son, Peter Boström, Sweden

Düsseldorf 2011

• Artistic Award: Jedward, “Lipstick”, Ireland
• Press Award: Paradise Oskar, “Da Da Dam”, Finland
• Composers Award: “Sognu”, Daniel Moyne, Quentin Bachelet,
  Jean Pierre Marcallesi, Julie Miller, France

Oslo 2010

• Artistic Award: Harel Skaat, “Milim”, Israel
• Press Award: Harel Skaat “Milim”, Israel
• Composers Award: “Milim”, Itomer Adaddi and Noam Horev, Israel

Moscow 2009

• Artistic Award: Patricia Kaas, “Et s’il fallait le faire”, France 
• Press Award: Alexander Ryback “Fairytale”, Norway
• Composers Award: “Bistra Voda”, Aleksandar Čović, Bosnia & Herzegovina

Belgrade 2008

• Artistic Award: Ani Lorak “Shady lady”, Ukraine
• Press Award: Vânia Fernandes “Senhora do mar”, Portugal 
• Composers Award: “Pe-o margine de lume”, Nico & Vlad, Romania 
• Fan Award: Sirusho Harutyunyan, “Qele, qele”, Armenia 

Helsinki 2007

• Artistic Award: Marija Šerifović, “Molitva”, Serbia
• Press Award: Verka Serduchka “Dancing Lasha Tumbai”, Ukraine
• Composers Award: “Unsubstantial Blues”, Magdi Rúsza, Hungary

Athens 2006

• Artistic Award: Carola “Invincible”, Sweden
• Press Award: Lordi “Hard Rock Hallelujah”, Finland
• Composer Award: “Lejla”, Zeljko Joksimovic (Hari Mata Hari), Bosnia & Herzegovina

Kyiv 2005

• Artistic Award: Helena Paparizou “My Number One”, Greece
• Press Award: Chiara “Angel”, Malta
• Composer Award: “Zauvijek Moja”, Slaven Knezovic & Milan Peric (No Name), Serbia & Montenegro

Istanbul 2004

• Artistic Award: Ruslana “Wild Dancers”, Ukraine
• Press Award: Zeljko Joksimovic “Lane Moje”, Serbia Montenegro
• Composer Award: “Stronger Every Minute”, Mike Connaris (Lisa Andreas), Cyprus

Riga 2003

• Artistic Award: Esther Hart “One More Night”, Netherlands
• Press Award: Sertab Erener “Everyway That I Can”, Turkey
• Fan Award: Beth “Dime”, Spain

Tallinn 2002

• Artistic Award: Afro-Dite “Never Let It Go”, Sweden
• Press Award: Sandrine Francois “Il faut de temps” , France
• Fan Award: med Laura (Finland) “Addicted To You”, Finland

Keeping the contest fair Every year, the organisers take extensive measures to keep the Eurovision Song Contest fair. How do make sure we present a valid result at the end of the Grand Final? 

The European Broadcasting Union (EBU) is strongly committed to secure the fairness of the Eurovision Song Contest. In order to assure Participating Broadcasters, contestants and the public a fair and valid result the EBU implemented a wide range of measures.

Governance Participation in the contest is governed by the Eurovision Song Contest Rules. These Rules are established and enforced by the contest’s governing body, the Reference Group, on behalf of all Participating Broadcasters. Embedded within the Rules is a wealth of legacy, some of which dating back several decades. The EBU and the Reference Group are committed to continuously improving the Rules.

Significant changes that touch upon the basics of the contest will have to be approved by the EBU’s Television Committee, a higher governing body on behalf of the EBU’s Member Broadcasters.

The Executive Supervisor on behalf of the EBU, who is a permanent member of the Reference Group, ensures that the Rules are being followed on a day-to-day basis and reports any breach of the Rules to the Reference Group.

In particular, the Executive Supervisor oversees the voting procedure that determines the outcome of the Eurovision Song Contest.

A breach of the Rules may result in a formal warning, a financial penalty or a sanction. The highest possible sanction is an exclusion from participation in the contest for a maximum of three consecutive years.

Voting validation and observation

The outcome of the Eurovision Song Contest is determined by a jury of music industry professionals and viewers, each making a 50 percent contribution to the result.

Each jury, as well as each individual jury member, must meet a strict set of criteria regarding professional background, as well as diversity in gender and age. Additionally, judges pledge in writing they will evaluate the entries based on a set of criteria and state that they are not connected to any of the contestants in any way that could affect their ability to vote independently. Judges can only take seat in the jury once every three years.

The juries vote on the basis of the second Dress Rehearsal of each show, which takes place the night before each live show. Each judge should vote independently and no discussion about their vote is permitted. An independent notary oversees the jury gathering, to assure all regulatory procedures are being followed.

Each jury submits their result to the EBU and its official voting partner Digame via a highly secured system, as well as by fax.

Viewers can submit their vote by phone call, SMS or via the official app. They can vote up to 20 times. Voting tariffs are set by each Participating Broadcaster and will be presented on screen during the shows. Exceptions may apply due to differences in national legislation.

All televotes are being processed by the Pan-European Response Platform (PERP), which was developed by the EBU’s official voting partner Digame to assure all votes are counted in accordance with the Rules. The entire televoting process is monitored live by some 70 trained professionals from the Voting Control Centre in Cologne, Germany. The setup assures that any attempts to unfairly influence the voting, e.g. via bulk voting are detected and mitigated. The exact methods to prevent and/or detect malicious voting is classified and only known to the EBU Executive Supervisor, the Chairman of the Reference Group, PwC and Digame.

The entire procedure – both jury voting as well as televoting – is overlooked by independent observers of PwC and by the EBU’s Executive Supervisor, to assure that all results are being interpreted in accordance with the Rules.

(it) Paesi extraeuropei che hanno trasmesso l’evento. Qui di seguito sono riportati i Paesi non europei e non partecipanti che trasmettono annualmente la manifestazione musicale:

Nazione	Rete/i televisiva/e
Algeria	Sconosciuta (dal 1978)
Brasile	TV Tupi (dal 1969/1980), Sconosciuta (dal 1970/1972)
Canada	Sconosciuta (dal 1989/2000), OTV (dal 2014/2015)
Cile	Canal 9 (dal 1969), Sconosciuta (dal 1970/1975)
Corea del Sud	Sconosciuta (dal 1975)
Filippine	ABS-CBN (dal 1972)
Egitto	Sconosciuta (dal 1981)
Hong Kong	Sconosciuta (dal 1971/1972, 1975 e 1978/1979)
India	Sconosciuta
Giappone	Sconosciuta (dal 1972/1975), NHK (dal 2000)
Giordania	JRTV (dal 1975/1978)
Kirghizistan	OTRK (dal 2012)
Messico	Las Estrellas (dal 2004)
Nuova Zelanda	Stratos (dal 2009/2011), UKTV (dal 2014/2016)
Porto Rico	Sconosciuta (dal 1969), MSN (dal 2003), Sconosciuta (dal 2004)
Taiwan	Sconosciuta (dal 1972)
Thailandia	Sconosciuta (dal 1972)
Stati Uniti	Sconosciuta (dal 1971), Univision (dal 2002/2004, 2017), Logo TV (dal 2016/2018), Peacock (dal 2021)