The May 7 decision by the Cabinet to cancel MoU 44 was another disappointing setback in the twisted saga of struggle with Cambodia over land borders and overlapping maritime claims.
The Cambodian government now says it has no choice but to appeal to international fora under the United Nations Convention of Law of the Sea (UNCLOS) to decide the question of claims in the Gulf of Thailand.
The ongoing stalemate in the Gulf of Hormuz and resultant fuel shocks throughout Asia only heightens the urgency to establish regional energy autonomy by expediently developing the 11 trillion cubic feet (311.49 billion cubic metres) of natural gas and millions of barrels of crude oil lying at the bottom of the disputed area delineated in MoU 44.
Whether a decision by an international body brings the "equitable solution" called for under UNCLOS largely depends on whether both nations are willing to enter the process, whether negotiation or adjudication, free from ardent displays of nationalism meant to spur domestic political support that have doomed previous bilateral efforts.
Concurrent with the announcement of the MoU's demise, a competition was launching thousands of miles away that could serve as a more constructive outlet for nationalism -- the Eurovision Song Contest.
Now in its 70th year, the televised pop music competition is the world's most watched cultural event. Though its backers claim the contest is above politics, real world disputes involving neighbouring countries have spilt over onto the musical page throughout its history, offering both a how-to guide and cautionary tale regarding nationalistic expression.
Thailand and Cambodia will have the chance to explore the (one hopes) non-lethal side of nationalism this year during the first ever Asian edition of Eurovision. Originally announced competitors include Bangladesh, Bhutan, Cambodia, Laos, Malaysia, Nepal, the Philippines, South Korea, Thailand and Vietnam, though it is thought that more nations may join. Organised by the European Broadcasting Union (EBU) with US Voxovation and Thai S20 Productions, the competition finals will be held on Nov 14 in Bangkok.
In the recent Eurovision contest in Vienna, furore surrounding the participation of Israel, the second place finisher behind Bulgaria in this year's competition, belies the supposed apolitical nature of the contest. Iceland, Ireland, The Netherlands, Slovenia and Spain boycotted this year's competition due to the EBU refusal to allow participating countries to vote on banning Israel from the competition over the Gaza invasion. And Russia has been banned from the contest since 2022 due to its invasion of Ukraine.
While geopolitical events gripping world attention are no-brainers for popping up on the stage at Eurovision, it is a smaller border conflict that few outside of the affected countries even knew about that has more application for the ongoing Thai-Cambodian stand-off. Armenia and Azerbaijan both laid claim to the region of Nagorno-Karabakh for decades. Since 2009, they have used Eurovision as a proxy format to vie for hearts and minds over the dispute.
In the 2009 contest, the Armenians included a famous monument in Nagorno-Karabakh as part of a travelogue video in their introduction. The Azerbaijanis responded by broadcasting their own images of the monument. There were also reports that the Azerbaijani government interrogated citizens who voted for Armenia in the contest, resulting in a fine from the EBU for violating voters' privacy.
Things got even hotter in 2015, when the Armenian song entry was Don't Deny, which many interpreted as a call for recognition of the Armenian genocide. Azerbaijan (along with Turkey) is a denier of the genocide and denounced the Armenians for their overt political message. Though the song was retitled, it remained in the competition.
Both Cambodia and Thailand can enter vigorous competition to brandish their cultural images in the contest without any reference to the border conflict. Let's hope there are no images of Preah Vihear in either Cambodia or Thailand's video presentations, though sadly the most recent fighting at the temple site has reduced the imposing complex to something closer to the "pile of rocks" of its historical description. Even though musical provocation entered the current border conflict through singing of the Cambodian national anthem at Prasat Ta Muen Thom last year, both nations can take the contest's call for an original song as an opportunity to make a new start without rancour.
Some scholars who study political rhetoric question whether there can ever be banal nationalism in that even subtle forms of nationalism make it a powerful ideology that promotes both nation-building and political violence. Surely there must be a way to highlight and celebrate our musical differences without trying to establish hegemonic cultural superiority.
Imagine a Thai Eurovision entry that uses the platform to showcase both musical heritage and the nation's 5F cultural framework -- food, film, festivals, fighting and fashion. Maybe the national entrant will roll out with a song incorporating nods to Molam, luk thung and 1970's funk while outfitted by one of Thailand's hottest designers and executing Muay Thai-influenced choreography. Viewers will be riveted and social media will buzz with boasts that the T-wind will blow the K-pop juggernaut off course.
While it's all silly fun, perhaps the competition can help create unity in small ways. In last year's Junior Eurovision contest, the Azerbaijanis awarded three points to Armenia, their rival for the disputed Nagorno-Karabakh, marking the first time Azerbaijan awarded points to Armenia at any Eurovision event.
Eurovision Asia can provide an entertaining distraction for the public throughout the region, perhaps affording Cambodia and Thailand the space to get down to the business of negotiating a lasting agreement on the border and overlapping claims area -- something that's really worth winning.
Sally Tyler is the author of 'The Durian Chronicles: Reflections on the US and Southeast Asia in the Trump Era'.
