Ukrainians Push for Overhaul of Eurovision Funding Model

Study on Ukraine's Participation in Eurovision

According to РБК-Україна — Lite: A survey conducted in the first quarter of 2026 by research agencies Info Sapiens and the Kyiv International Institute of Sociology (KIIS) reveals that 70% of Ukrainians support taking part in Eurovision. However, 58% of respondents are calling for a change in how the event is financed, proposing either private sponsorship models or a scaled-back format. The poll also found that 71% of Ukrainians believe it is impossible to separate an artist's work from their civic stance, and 89% demand a ban on participation for those who remained in Russia after February 24, 2022.

The KIIS survey, fielded from February 12 to 24, 2026, shows that 27% of respondents are firmly opposed to Ukraine's involvement in Eurovision during wartime. Among those polled:

• 42% insist on private funding for the National Selection;
• 16% accept the use of state funds but demand radical format changes;
• only 12% believe direct budget spending on large-scale entertainment shows is justified.

The oldest age group (70+) showed the highest levels of skepticism, with 35% deeming Ukraine's participation inappropriate during the war.

Among younger respondents aged 18–29, 32% support participation but only if the format is significantly simplified. Low-income respondents also display strong rejection, with 36% categorically opposing any involvement. Meanwhile, only 16% of wealthier individuals back a state-funded large-scale show. In eastern Ukraine, 31% oppose participation, while in western and central regions, over 45% support a sponsorship-based model.

Reputation Concerns and Attitudes Toward Artists

On reputation-related matters, 71% of respondents said an artist's work and their civic position are inseparable. 62% find performances in Russia before March 2014 acceptable, but 67% reject those who worked in Russia between March 2014 and February 24, 2022. A full 89% demand a ban on artists who stayed in Russia after February 24, 2022. Only 3% would allow compromises for such individuals, while 8% remain undecided.

Additionally, 54% of respondents believe that artists who left the country after the full-scale invasion began have lost the moral right to represent Ukraine. However, 28% are willing to legitimize artists' stays abroad if they engage in cultural diplomacy. Overall, the data from both studies point to a shift in public expectations regarding financing and artist participation in international cultural events.

The empirical evidence confirms that society demands an adaptation of old models of interaction between the state, cultural institutions, and citizens. Public tolerance for state-funded entertainment formats stands at only 12%, signaling the need to transition to new public-private partnership models. As the producer's team notes,

society is showing maturity and fairness by supporting cultural figures who stayed in Ukraine and continue to work for their people.

These findings highlight a significant gap in perceptions of Ukraine's involvement in international cultural events during wartime. The public is calling not only for new funding principles but also for a deeper understanding of artists' roles in the context of national identity and civic responsibility. In times of war, questions of cultural diplomacy and reputational risks become especially pressing, underscoring the need for clear strategies to support Ukrainian culture on the global stage.

As discussions around Eurovision funding intensify, similar issues are emerging in the entertainment sector, where financial accountability is also under scrutiny. Recently, a court mandated a concert organizer to issue refunds for a high-profile show, highlighting the growing concerns regarding the management of public funds in cultural events. To explore the implications of these developments on Ukraine's cultural landscape, read more about the recent court ruling on concert refunds.