The July 1974 invasion of Cyprus by Turkey caught the Greek Colonels (1967–74) off guard, as they proved entirely incapable of responding to the casus belli, partly provoked by their own actions. Greece remained technically in the state of military mobilisation for about four months and with the democratic transition well underway. This article catalogues the ways in which this conflict mobilised Greek civil society in unprecedented ways. Using oral testimonies, press clippings and three major documentaries of the time (Nikos Koundouros’ The Songs of Fire, Michael Cacoyannis’ Attila 74, and Nikos Kavoukidis’ Testimonials), the article dissects the cultural resistances against the war in one of the most traumatic moments in contemporary Greek history. It analyses the gigantic concerts that took place in the largest stadiums of Athens to protest the war, next to mass demonstrations and popular films protesting the invasion. It argues that these cultural events and artifacts re-enacted facets of the anti-Vietnam War movement and the respective countercultural scene in the US of the late 1960s. The article concludes that these modes of cultural and political resistance activated post-authoritarian Greek civil society, renegotiating the parameters of political participation and partly resetting the agenda of the country’s foreign policy following popular demand.

1974年7月，土耳其对塞浦路斯的入侵使希腊上校（1967-74）措手不及，因为事实证明，他们完全无力对战果作出回应，其部分原因是他们的行动。从技术上讲，希腊在军事动员状态上停留了大约四个月，并且民主过渡正在进行中。本文列出了这场冲突以前所未有的方式动员希腊公民社会的方式。使用口头证词，剪报和当时的三部主要纪录片（尼科斯·库多德罗斯（Nikos Koundouros）的《火之歌》，迈克尔·卡考亚尼斯（Michael Cacoyannis）的Attila 74和尼科斯·卡沃基迪斯（Nikos Kavoukidis）的证词），在当代希腊历史上最痛苦的时刻之一中，剖析了文化对战争的抵抗。它分析了在雅典最大的体育场内举行的大型音乐会，以抗议战争，随后举行了大规模示威游行和受欢迎的电影，以抗议入侵。它认为，这些文化事件和人工制品重新再现了反越南战争运动以及1960年代后期美国各自的反文化景象的各个方面。文章得出的结论是，这些文化和政治抵制模式激活了威权主义后的希腊公民社会，重新协商了政治参与的参数，并部分地根据民众的需求重新设定了该国的外交政策议程。