Israel's contenders for 2009 Eurovision Song Contest (known as ESC or, as here, Eurovision) were Israeli Jewish-Arab duo Achinoam Nini and Mira Awad. The chosen song was There Must Be Another Way, a tri-lingual appeal for peace and reconciliation sung in Hebrew, Arabic, and English. The decision to nominate Nini and Awad as Israel's representatives to Eurovision was announced in early January, in midst of a full-scale war Israel launched on Gaza and its inhabitants, which came in response to several years of rockets ired into Israel from Hamas-led territory. Given timing and high proile of ESC, an annual competition held among active member countries of European Broadcasting Union (EBU), duo's collaboration generated much public debate in Israel and beyond. The debate highlighted symbolic charge of song and its performers, and it continued throughout year, animated by political situation, duo's activities, and media that closely followed process leading to May 2009 contest and its aftermath. This article will analyze meanings given to artistic collaboration of two performers that were circulating in public sphere to show how, in this war-torn region, cultural and political domains are intertwined such that wars are fought not only with guns and rockets but also within cultural spheres, and that both domains are constitutive of highly contested social constructions of ethnic and national afiliations. Eurovision is a site in which intersection of popular culture with national and international politics is especially visible, due to its country-centered format, voting processes, and extent of mass mediation--over 100 million viewers each year (Haan, Dijkstra, and Dijkstra 2005). The voting process takes place at national level irst when representative song is chosen, and later during Eurovision Song Contest, when each country votes for other countries' representative songs. Since late 1990s, voting process at both stages typically combines popular votes counted in local telethons with votes cast by a panel of experts commonly associated with each country's broadcasting apparatus (Cleridos and Stengos 2006). (1) Songs must be newly written for occasion, and participatory nature of selection process serves to mobilize citizens to share in creation of what Benedict Anderson calls physical realization of imagined (1983:145). According to Anderson, moments in which songs are publicly shared to signify an event--for example, anthems sung on national holidays--create an experience of simultaneity in which people who are unknown to each other come together in a special kind of imagined community: nation. What Anderson is pointing to is that music provides one of ways in which nationhood is culturally constructed. The participatory nature of Eurovision provides for similar moments of simultaneity, both when public votes for song and image that would represent and when it votes for other nation's songs. At same time that Eurovision is a participatory event, Eurovision voting process also leaves much of control in hands of government-affiliated institutions. In other words, what represents the nation, and also determines relative value of cultural production of other nations, combines both popular vote and government control. This process highlights important role cultural policy has in creation of imagined community, and in delimitation of cultural boundaries of this community with respect to other communities. Miller and Yudice (2002) analyze cultural policy as a conflation of two registers: aesthetic register and anthropological register, which, when combined, provide for training of citizens to share common values. The songs represented at Eurovision provide musical and lyrical content that is interpreted at aesthetic register, while context of national representation directed by government institutions inculculates nationalist sentiments among citizens in a manner deemed appropriate by such institutions. …