The Eurovision Song Contest 2026 in Vienna has yet to commence, but political dramas are already taking center stage. This time, the storm centers on Croatia and its representative, the girl group LELEK, with their entry “Andromeda.” In recent days, social media platforms and news outlets in Turkey have been buzzing with allegations that the Croatian song slanders the Ottoman Empire, reopening deep historical wounds from the period of Turkish rule in the Balkans.
Le groupe croate Lelek, candidat à l’Eurovision 2026, suscite une polémique en Turquie avec des tatouages inspirés des « sicanje », une tradition catholique de Croatie et de Bosnie-Herzégovine.
— Fdesouche.com est une revue de presse (@F_Desouche) May 11, 2026
Des femmes se faisaient tatouer pour échapper à l’esclavage, aux mariages forcés et… pic.twitter.com/kFcIKFbv7a
The Turkish outcry focuses, among other elements, on the song’s lyrics. Users and media organizations in Turkey have interpreted the verses as a direct reference to the historical practice of Ottoman soldiers taking slaves and women during their rule over Croatian and Bosnian territories in the 16th and 17th centuries.
An analysis of the original Croatian lyrics suggests that the Turkish indignation has a factual basis, even if the band has not yet officially confirmed the intent. The text of “Andromeda” is saturated with painful historical allusions that are difficult to detach from the Balkan context. Early in the song, the band members sing: “Dok pališ svijeću pitaj svoju baku / Zašto je kćeri rađala u strahu” (“When you light a candle, ask your grandmother / Why she gave birth to her daughters in fear”). They continue with the most discussed lines: “Nisu naše majke iznjedrile roblje” (“Our mothers did not give birth to slaves”) and “Sinovi naši nisu podanici” (“Our sons are not subjects”).
The peak of the resentment occurs toward the end of the song, as the band addresses a treacherous figure who caused historical suffering, crying out: “Dok peru ruke krvlju naših rana / Izdajice” (“While they wash their hands with the blood of our wounds / Traitors”). The use of terms such as ‘slaves’, ‘subjects’, and ‘traitors’ certainly elucidates the source of the Turkish anger. These lines provide significant room for political interpretation, explaining why the song is perceived there as a harsh critique of the past.
The second element sparking controversy is the tattoos—specifically crosses and Christian symbols—on the faces and hands of the band members. In Turkey, it is claimed that this was a method used by Croatian and Bosnian women in the past to allegedly disfigure themselves to prevent Ottoman soldiers from taking them as concubines for their palaces.