{"id":{"repo_id":"uwtsd","oai_identifier":"oai:repository.uwtsd.ac.uk:3204"},"canonical_url":"https://search.dev.ndltd.org/etd/uwtsd/oai:repository.uwtsd.ac.uk:3204","repository":{"repo_id":"uwtsd","name":"University of Wales Trinity Saint David","base_url":"https://repository.uwtsd.ac.uk/cgi/oai2"},"display":{"title":"ULTRAVISION (all songs could be Eurovision if produced in the right way)","abstract":"This reflective commentary will provide a detailed analysis of an artistic journey travelled, culminating in the submission of the following: the Portfolio - entitled ULTRAVISION (all songs could be Eurovision if produced in the right way) (ULTRAVISION), (Appendix 1 & 2); the critical feedback received for the written proposal ‘Element 1’ and subsequent reflection on how this feedback influenced the ultimate transformation of the Portfolio; the obstacles affecting live performance which arose due to the Covid 19 pandemic, resulting in a complete refashioning of the initial vision for the Portfolio; Ethics of Eurovision, a discussion into the more political, potentially hidden agenda (Belkind 2010,) and culturally biased voting, which is seemingly occurring within the Eurovision Song Contest (ESC) community regardless of its apparent homogeny (Budzinski and Pannicke 2017); and the production process of the Portfolio entitled ULTRAVISION. 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