Denmark has undergone a significant transformation in its attitude towards immigration since 1986, moving from a welcoming embrace of diversity to a more cautious and realistic approach. This shift is reflected in the changing resonance of cultural touchstones like the popular song “Danmark” by Gnags, which once celebrated unconditional openness but now feels almost naive in its message.

Frederik Preisler, a prominent figure in the advertising and communications industry, observes this evolution, noting that the once-mainstream sentiment of “no matter who you are, you’re welcome here” is no longer widely embraced by politicians or the public. He suggests that the very success of “Danmark” may have inadvertently contributed to the dismantling of naivety by provoking a sense of threat among those who felt Danish values were under pressure.

Preisler points to key moments in Danish political history, such as the formation of a government with the Danish People’s Party in 2001 and the Social Democrats’ adoption of a stricter immigration policy under Mette Frederiksen, as pivotal in the rise of a more “realistic” – and some might say cynical – approach to immigration.

An advertising campaign Preisler himself created in 1998, featuring a darkened image of Pia Kjærsgaard with the message “You don’t decide where you are born,” highlights the growing tension surrounding immigration and national identity. While the ad aimed to challenge xenophobia, Preisler acknowledges that such a provocative message might be met with resistance today, given the broad consensus in favor of stricter immigration policies.

Preisler believes that a new “pop song” or advertisement is needed to capture the current mood, one that acknowledges the importance of norms and adaptation for those who wish to be part of Danish society. However, he cautions against veering too far into cynicism or racism, emphasizing the need for a clear articulation of a middle ground that balances openness with realism.

While Gnags’s “Danmark” still enjoys popularity as a nostalgic pop song, Preisler argues that the “middle” it once represented is now missing, leaving a void for a new cultural expression that can resonate with the changed sensibilities of the Danish people.