Seizing the Day- Slovenia’s “Carpe Diem"

     When us as Americans think about national identity, we tend to picture flags, founding

documents, fireworks, or political debates. However, at the Eurovision Song Contest,

national identity is performed through three minutes of music, lighting, language, and

camera angles. On that stage, culture becomes choreography.

Slovenia’s 2023 entry, Carpe Diem by Joker Out at the 2023 Eurovision Song Contest

may initially sound like a breezy indie-pop anthem about living in the moment. But

underneath its infectious rhythm there lies a carefully constructed statement about

contemporary Slovenian identity. Strengthening the linguistic pride and proudly owning

European cosmopolitanism.

In my previous assignment, I contended that the national identity that is predominant in

Slovenia is based on three pillars. Linguistic differentiation, post-Yugoslav nationhood,

and the powerful need to establish itself as modern and European. Carpe Diem serves

to strengthen the national identity of Slovenia and make them feel empowered by

portraying a small country whose voice is huge. Language is the power which this

strong voice has. Language is also one of the most evident examples of national identity

in Eurovision. Numerous countries have since shifted to English since the contest

deregulated its language rule in 1999 and have thus been able to maximize accessibility

and the attractiveness of voting (John, 2018). Entries in the English language are

statistically better as they are well understood. Slovenia did not follow that formula.

What makes this linguistic choice even more powerful can be better understood through

Benedict Anderson’s theory of nations as “imagined communities.” Anderson argues

“No nation imagines itself coterminous with mankind. The most messianic nationalists

do not dream of a day when all the members of the human race will join their nation in

the way that it was possible” (Anderson, 1983, p. 7) Anderson’s insight helps clarify why

singing in Slovene on an international stage matters so deeply. A nation is not simply

geography or government; it is a shared imagination sustained through language,

culture, and repeated symbols. When Joker Outperforms in Slovene before millions of

European viewers, they are not just singing a song. They are reinforcing that shared

imagination. They are allowing Slovenians at home and abroad to hear themselves

reflected on Europe’s largest musical platform. In that moment, the imagined community

becomes audible.

Carpe Diem is composed in Slovene language which is used by a little more than two

million people. The CIA World Factbook (2023) states that the official language of the

country is Slovene, which is one of the central unifying elements in the country. To a

small state that has just attained independence in 1991 from the Yugoslavia split,

language is still closely bonded to national identity and sovereignty. It is not incidental

that singing in Slovene in an international arena is happening... It is symbolic.

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At the same time, the Latin title “Carpe Diem” meaning “seize the day” situates the song

within a broader European intellectual tradition. Rather than abandoning Slovene for

international recognition, Slovenia demonstrates that a small language can travel and

soar.

Now, “Joker Out” is not an abstract cultural project. They are a completely Slovenian

group that originated from Ljubljana. Ljubljana is the capital and cultural center of the

country. That detail matters. Ljubljana is not just a political center; it is also a center of

artistic and youth culture of Slovenia. The very possibility of the capital being able to

produce such young and vibrant talent and have them step on the stage of the largest

music event in Europe sends a message to something deeper: the talent of the

Slovenians does not have to be exported or re-made elsewhere to be successful.

Something quite symbolic about that. The capital city — the heart of the nation —

sending forward a new generation to represent the country. This is not a nostalgic

performance rooted in the past. It is a forward-looking one rooted in Slovenia’s present.

The lyrics of “Carpe Diem” revolve around youth, connection, and urgency. The

repeated call to “seize the moment” feels light and energetic. Yet in a Europe emerging

from isolation and political uncertainty, that message carries weight. Joker Out

represents a generation raised in a sovereign Slovenia integrated into the European

Union. Unlike earlier eras marked by transition and instability, this band expresses

identity through confidence rather than contrast. There are no references to Yugoslavia

or historical trauma. Instead, the song radiates transcendence. That forward-looking

stance aligns with cosmopolitanism — an identity model emphasizing openness and

participation in shared European culture rather than essentialized nationalism. Slovenia

here is not defined by folklore or memory. It is defined by movement and looking

forward.

Musically, “Carpe Diem” sits comfortably within contemporary European indie-pop-rock.

The bright guitars, steady but energetic drums, and chant-like chorus create an

atmosphere closer to a summer festival than a national pageant. This genre choice is

deliberate. Eurovision can be associated with spectacle, dramatic ballads, elaborate

staging, pyrotechnics. Slovenia chooses restraint. There are no dancers or props — just

five musicians fully present. This avoids what Catherine Baker (2008) describes as

simulation — the reduction of national identity into digestible stereotypes for

international audiences. Slovenia does not perform itself as Alpine scenery or Slavic

mystique. It performs itself as modern and energetic. The message is clear. Slovenia is

not a museum of culture. It is contemporary Europe. Despite the fact that the

performance does not resort to blunt folklore, it does not discard symbolism. The

choreography is lively and active - a young ensemble that is full of life and which is

evidently passionate about representing Slovenia. Their movement is not as robotic as it

is practiced, but instead organic, which adds to authenticity. This impression is

enhanced in the lighting design. At times, the stage is glowing in red and white, with a

touch of the blue passing just over them, although the neon purples and blues are used

to generate an atmosphere of a nightclub. These are Slovenian flag colors. The

symbolism is subtle yet very clear. The performance does not project the literal flag, but

it fills the whole space with national color. Slovenia exists not as a flag that is shaken in

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the air but as a place. Such a strategy strengthens the national identity without

bombarding the listeners with blatant indicators. It reflects maturity. There is no

necessity to call the country by name. It is able to light up by itself. Joker Out also has a

presence on the stage that adds to the representation. Their style is a mixture of

swagger, softness, and openness. Their style is soft and open because “Joker out” was

wearing open shirts, jewelry and flowing gestures. They are open-hearted with their

masculinity and not closed off. Although it is not a political activism, this gentler

masculinity makes Slovenia in line with the overall trends of Western Europeans.

Slovenia, in a part of the world where several states have been inclined towards

conservative nationalism, appears to be carefree, open and culturally contemporary.

This is soft power at work - it influences the perception by style and culture, but not

policy.

Yet this “swagger” look to them ultimately strengthens the performance. Slovenia’s

national narrative emphasizes belonging within Europe while preserving cultural

distinctiveness. “Carpe Diem” performs exactly that balance. Locally rooted, young and

vibrant talent, and internationally fluent. Now yes, I previously mentioned that they sang

In Slovene. But what tied this altogether was at the end of the performance. lead singer

Bojan Cvjetićanin embracing with his four colleagues turns to the audience and says,

“Seize your day.” In English. It is a small moment — but a powerful gesture. That

closing line transforms the song from a personal anthem into a generational invitation. It

feels uplifting, trusting, and sincere. Rather than speaking down to youth, the band

speaks to them and with them. That gesture encapsulates Slovenia’s representation in

2023: a young nation confident enough to empower rather than instruct. The message

is not defensive nationalism. It is encouragement.

Slovenia’s 2023 entry offers something different. “Carpe Diem” is not loud nationalism. It

is a quiet but powerful assurance. Through language, genre, staging, color symbolism,

and performer identity, Joker Out presents a Slovenia that is youthful, creative, and

cosmopolitan. A fully Slovenian band from Ljubljana steps onto Europe’s biggest stage

and trusts its own voice. In three minutes — and one final “Seize your day” — Slovenia

demonstrates that national identity does not always need fireworks. Sometimes it needs

confidence, color, and the courage to let the next generation lead.

Word count: 1406

References

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Baker, C. (2008). Wild dances and dying wolves: Simulation, essentialization, and

national identity at the Eurovision Song Contest. Popular Communication, 6(3), 173–

189. https://doi.org/10.1080/15405700802198113

Central Intelligence Agency. (2023). Slovenia. In The World

Factbook. https://www.cia.gov/the-world-factbook/countries/slovenia/

European Broadcasting Union. (2023). Joker Out – Carpe Diem. Eurovision Song

Contest 2023. https://eurovision.tv/participant/joker-out-2023

John. (2018, April 16). National languages and the rise of English at Eurovision. John

the Go. https://www.johnthego.com/2018/04/16/rise-english-use-national-languages-

eurovision/

Anderson, B. (1983). Imagined communities: Reflections on the origin and spread of

nationalism. Verso. https://is.muni.cz/el/1423/podzim2013/SOC571E/um/Anderson_B_-

_Imagined_Communities.pdf