Behind the Scenes of Eurovision Selections

By Antonela Martinovic, RTCG

During my mobility, I visited Croatian Radio and Television (HRT) during Dora and Radio and Television of Serbia (RTS) during Pesma za Evroviziju (PZE). The two visits were closely aligned in timing — Dora took place on 12, 13 and 15 February, while PZE was held on 24, 26 and 28 February — which allowed for a continuous observation and direct comparison of production models and organisational approaches.

During the stay in Zagreb, the entire festival was held in Studio Anton Marti, named after Anton Marti, one of the pioneers of Croatian television. As a small but memorable detail, the similarity between his name and my name added a subtle personal note to the visit. As a member of the Montesong team within Radio and Television of Montenegro (RTCG), I had the opportunity to follow the full production process, from the initial preparation phase through all levels of rehearsals to the live broadcasts. This provided a clearer understanding of the complexity behind productions that appear effortless on screen. It became evident that such results rely on detailed planning, strong coordination between teams, and continuous real-time adjustments.

One of the most valuable aspects of the experience was observing the differences in organisational approaches between the two broadcasters. While some segments reflected a highly structured and precise workflow, others allowed for more flexibility and creative adaptation. Rather than approaching this with the intention of directly replicating existing models, the focus was on recognising practices that could be realistically adapted to RTCG’s operational environment.

Being present during live production phases offered additional insight into the dynamics that shape the final broadcast. Observing how teams communicate, respond under pressure, and make decisions in real time highlighted the importance of coordination and adaptability in such demanding environments. These observations proved to be just as valuable as analysing the finished programmes. The knowledge gained during this mobility directly contributes to the further development of Montesong. It not only confirmed that the current strategic direction within RTCG is well-founded but also helped identify areas where improvements can be made. In particular, this includes clearer structuring of rehearsal processes, more efficient internal coordination, and enhanced communication with performers, all of which can be applied in future project development.

Another important outcome of the visit is the establishment of professional contacts with colleagues from HRT and RTS. These connections have already facilitated easier communication and create a solid basis for potential future collaboration, both within festival production and across other editorial and production activities.

In the meantime, I also assumed the role of Editor of the Second Programme of Radio Montenegro, which allowed me to broaden the scope of the visit. During my stay in Belgrade, I visited Radio Beograd, where I toured their production facilities. I also had the opportunity to meet with the Editor of the Second Programme of Radio Belgrade, exchanging experiences and gaining additional professional insights. As part of the visit, I also met with representatives of SOKOJ, where I gained a better understanding of their organisational structure and rights management practices. Following my return to Montenegro, I attended a joint conference organised by PAM, SOKOJ and ZAMP on the topic “Digital music services – protection of music copyright on digital platforms”. This provided additional context and continuity, further strengthening my understanding of this field, in line with the planned training within the grant in cooperation with Videomite. Overall, this mobility experience provided valuable practical insight, strengthened my professional competencies, and contributed directly to the development of ongoing projects within RTCG. It also reinforced the importance of regional cooperation and knowledge exchange among public service broadcasters.

I would like to express my gratitude to the Goethe-Institut for enabling this opportunity and supporting such a meaningful professional exchange.

Funded by the European Union, the Innovation. Media. Minds Program: Support to Public Service Journalism in the Western Balkans, is managed by the Goethe-Institut on behalf of the European Commission and in collaboration with its implementing partner DW Akademie. The contents of this article are the sole responsibility of the author and do not necessarily reflect the views of the European Union.