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Paper short abstract

This paper examines how the war in Gaza reshaped moral boundaries of legitimate artistic labour in Greece. Focusing on musicians’ refusals, boycotts, and public controversies, it explores how artistic work, complicity, and solidarity are renegotiated under political polarisation

Paper long abstract

This paper examines how war-related political polarisation reshapes the moral boundaries of legitimate work, drawing on debates surrounding Greek musicians and singers’ labour during the war in Gaza. While some artists publicly withdrew their labour as an act of solidarity, others continued to perform, triggering intense public criticism, calls for boycott, and moral condemnation. Public debates intensified around high-profile cases, including the renowned Greek performer Glykeria, whose decision to continue performing became a focal point for wider disputes over artistic responsibility, complicity, and professional autonomy.

Based on ethnographic research and analysis of public discourse, the paper explores how music labour became a site of moral judgement, where continuing to work was framed as an ethically charged stance. Rather than focusing on formal labour organising or union action, the paper examines refusal, withdrawal, and public denunciation as emergent forms of resistance and solidarity in contexts where traditional labour politics are limited or ineffective. It argues that artistic labour, often framed as autonomous and apolitical, becomes deeply politicised in moments of war, revealing how artists are compelled to align their livelihoods with broader ethical and geopolitical demands. By foregrounding musicians’ experiences, the paper contributes to anthropological debates on labour, resistance, and moral economies under conditions of war and political polarisation.