Εμφάνιση αναρτήσεων με ετικέτα mythology. Εμφάνιση όλων των αναρτήσεων
Εμφάνιση αναρτήσεων με ετικέτα mythology. Εμφάνιση όλων των αναρτήσεων

Σάββατο 29 Σεπτεμβρίου 2018

The archetypal story of Theseus, Minotaur and the labyrinth





In ancient Greek mythology Minotaur a monster half Taur and half human, was kept by King Minos of Crete, whose kingdom was in the Mediterranean Sea. As the story is told, Poseidon, the sea-king-god, was angry with Minos and seduced the wife of Minos. From this union was born a supernatural creature Minotaur. This powerful and dangerous creature was kept in a labyrinth, fed from King Minos, once per year with 14 Athenians, 7 young boys and 7 young girls, until Theseus prince of Athens killed it.

The story begins with hero Theseus, who sets out on his journey from Athens to Crete where he faces off with the Minotaur. When Theseus first arrives at Crete and is tested by King Minos, he immediately captivates Ariadne, who deeply falls in love with Theseus. Ariadne later rescues Theseus from his cell and gives him his weapons and words of advice in defeating the Minotaur.

Ariadne, gave Theseus a spool of thread (called a clue) with which he was able to retrace his steps through the maze and escape the deadly labyrinth, after besting the Minotaur.

The Minotaur represents our earthy and divine nature: We can either stay at rest in our animal instincts, or develop our Heroic (Thesues) divine inheritance. The geometric design of a labyrinth consists of two spirals stemming from a directional cross, and has only one opening. One could keep walking and find the entrance/exit. To decode the symbol of the Minotaur, one must look at the symbolism of the labyrinth - an archetypal image representing the center, the source, the sacred place - a secret.
For the time being we will give you just a hint:

 Pics 2 & 3. (Soon in Mystagogia and Mythaogia we will post a more detailed decode of Theseus and minotaur myth, stay tuned).
Pic 2


                                                                             Pic.3



From a physiological point of view, the Minotoaur, represents our primal fear of the unconscious. The "un-conscious," as originally conceived of by Freud, conveys exactly its meaning: It refers to that portion of subjective experience of which we are unaware or not conscious; it is that which is obscured, invisible to consciousness. We humans are born not only with an instinctive fear of the unknown and of death, but also an archetypal fear of the unconscious. A profound fear of encountering our own unconscious, of entering the dark, lonely labyrinth and meeting the Minotaur…!

Fundamentally, the Minotaur represents the primal fear of the unknown. Fear of the unknown is deeply-seated in the human psyche. It appears to be a genetic inheritance geared to guard and preserve our tenuous survival in a potentially dangerous universe, in much the same way as our biologically-rooted "fight or flight" response.
More to come here in the near future..!!!

Pic. 1 Human brain and the Labyrinth of Crete…
Pic. 2 Dar to walk the Labirynth...
Pic. 3/4/5/6 Minotaur by sculptor Pedro Requejo, sculpture seen in San Lorenzo de El Escoria, a town located in the outskirts of Madrid Spain

Δείτε σχετικά : Αποσυμβολισμός των άθλων του Θησέως:
https://www.youtube.com/watch?v=E7eWnn7HPfQ


Επιλογές, επεξεργασία, επιμέλεια δημοσιεύσεων/αναδημοσιεύσεων Πλωτίνος



Κυριακή 19 Απριλίου 2015

We are part of this universe...






“The knowledge that the atoms that comprise life on earth - the atoms that make up the human body, are traceable to the crucibles that cooked light elements into heavy elements in their core under extreme temperatures and pressures. These stars- the high mass ones among them- went unstable in their later years- they collapsed and then exploded- scattering their enriched guts across the galaxy- guts made of carbon, nitrogen, oxygen, and all the fundamental ingredients of life itself. These ingredients become part of gas clouds that condense, collapse, form the next generation of solar systems- stars with orbiting planets. And those planets now have the ingredients for life itself. So that when I look up at the night sky, and I know that yes we are part of this universe, we are in this universe, but perhaps more important than both of those facts is that the universe is in us. When I reflect on that fact, I look up- many people feel small, cause they're small and the universe is big. But I feel big because my atoms came from those stars.”

~ Neil deGrasse Tyson
Revering the Universe.
Caring for Nature. Celebrating Life.


Δευτέρα 26 Ιανουαρίου 2015

Myth and Psyche The Evolution of Consciousness

Introduction


Mythology is the most archaic and profound record we have of mankind's essential spirit and nature. As far back as we are able to trace the origins of our species, we find myth and myth-making as the fundamental language through which man relates to life's mystery and fashions meaning from his experiences. The world of myth has its own laws and its own reality. Instead of concepts and facts that make logical sense, we find patterns of irrational imagery whose meaning must be discerned or experienced by the participant-observer. Discovering these patterns of meaning is what Jung meant by the symbolic approach to religion, myth, and dream. 

The mythic image is not to be taken literally and concretely as it would be in the belief-system of a particular religion, nor is it to be dismissed as 'mere illusion,' as often happens in scientific circles. Instead, we must approach myth symbolically as revealed eternal 'truths' about mankind's psychic existence — about the reality of the psyche. 'Once upon a time' does not mean 'once' in history but refers to events that occur in eternal time, always and everywhere. Any myth is very much alive today. Every night in sleep we sink back into that source of all mythological imagery, the unconscious psyche — the origin of dreams. Many of our games have their roots in mythology and much of contemporary art, literature, and film is shot through with mythological themes.

The comparative method is the basic key to a symbolic understanding of mythology. Through it we discover certain patterns which recur in widely varying cultures separated by an immensity of both distance and time. Jung called these underlying patterns 'archetypes' from 'arche' meaning primordial, and 'typos' meaning typical. Archetypal images embody the most essential elements of the human experience and drama. They manifest both as powerful images, and as dynamic behavioral patterns. They are a repertoire of instinctive human functioning, analogous in our species to the instinctive impulse that impels, say, the Baltimore Oriole to build a beautiful teardrop nest, or Salmon to return to the streams of their birth. The generality of these images result from recurrent reactions of human beings to situations and stimuli of the same general order, repeated over thousands of years.

The archetypal images represent several basic stages of the life drama symbolized by the Hero myth. They lead from an initial stage of unconsciousness before the ego has awakened, through various stages of heroic struggle, to a final state of 'wholeness' or integration when life has reached its full potential and a relationship between the human and divine has been reestablished. Jung called this process 'individuation,' the process of becoming the true individual that one really is. This 'true self' Jung felt to be the dynamic factor in the unconscious of each individual. It represents the central archetype of order and wholeness among the other archetypes. Jung called it the Self.

The Original Embryonic State


In the beginning of many creation myths is an image of an original state of perfection, wholeness, and beatific containment. This is often represented as a containing circle, cave, pool, or sphere. The predominant archetypal symbol is that of the primordial Earth Goddess — the Great Mother with her nourishing and protective womb. Many other symbols express this archetype. Anything large and embracing or containing, such as a vessel, that enwraps, shelters, and preserves something small and fragile partakes of this 'primordial mother' One very common symbol is the uroborus, the snake with its tail in its mouth. These symbols express a paradisal state prior to any degree of self-sufficiency and autonomy. The Garden of Eden, and the Golden Age when mankind lived in union with the gods, partaking of divine fullness and totality, are other common motifs of this psychological condition. In the biological life of the individual this symbolism corresponds not only to the pre-natal gestation of the embryo in the mother's uterus, but to the state of the newborn's total dependence upon the mother. Psychologically, these symbols express the stage when the ego is only a potential, or when the ego is dominated by the universal instinctual patterns of human response to the world, or a condition when little or nothing of a uniquely personal value is expressed by the individual.

Separation, Creation, and the Birth Of Consciousness


Comparative mythology teaches us that there is always a creative tension or urgency in the original embryonic state which leads to trouble. The great uroboric round breaks open and light is born into the world. A typical personification of this impulse is the snake that tempts Eve to violate her passive containment in the Garden, or the shadowy figure or animal in Fairy Tales that tempt the hero or heroine to break the status quo and do something 'evil,' i.e., individual. Such acts result in expulsion from paradisal condition. The protection of childhood, as well as the contentment with the past or with what has been achieved, are types of a paradise that are lost when life calls for a new adaptation.

This process begins with a cataclysmic separation. In myth it is often imaged as the separation of the world Parents. Father Sky and Mother Earth hold each other in an embrace and the world is left in darkness. The children born between them must thrust them apart, despite their parents' protesting cries and groans. Only then does light enter the world. This light symbolizes consciousness. Only in the light of consciousness can man know. Yet the acquisition of consciousness is a Promethean act subjecting the hero to the danger of inflation and retribution. For stealing fire from the Gods Prometheus was chained to a rock where an eagle ate his liver every night; when Icarus flew too high on his man-made wings, their wax melted and he plunged to his death in the sea. As a bearer of light, the hero is willing to face these dangers, despite the awareness of his aloneness, individuality, and mortality, in order to carry development further.

However, once the apple is eaten the world falls into opposites, and 'good' and 'evil' are assigned their place in the world. The Great Good Mother shows her dark aspect, the hateful or Terrible Mother, while the creative Father now sits opposite the Destructive Father, and brothers kill each other in the name of love, and the world is alternately either an enchanted or persecutory place.

The Hero Myth: Birth, Call, Journey


The hero myth symbolizes that personality formation occurs only through struggle, suffering, and sacrifice. The hero's triumphs and defeats are the paradigms of the individual's confrontation with the challenges of his or her own individual life — no matter how mundane or exalted. The birth of the hero usually occurs in humble surroundings such as a manger or cave, but it is always extraordinary in some way. Often there is a special light around the child, or the child is perceived to be a threat to the King. Frequently, the hero has two fathers — his personal father and a 'higher' father. Often the mother is a virgin, and the hero's conception is of divine origin. The hero thereby inherits a dual nature. He is a human being like everyone else, yet at the same time he feels himself to be an outsider, a stranger to the community. He does not fit in, and discovers within himself something that sets him apart, such as his prophetic powers, healing abilities, or creative powers. These lead him to extraordinary deeds.

The heroic adventure often begins with some message or 'call' from a miraculous source. A frog talks to the princess, or Moses confronts a burning bush, or an empty rice bowl floats upstream (Buddha), or there is an annunciation in a dream. The call often comes at an important moment. Old life values have often been outgrown and a certain sterility has set in. Parsifal's quest for the Holy Grail was set in motion by the Fisher King's realm having become a wasteland. Whatever its form, the call awakens the hero to his or her special destiny.

The Hero Myth: The Dragon Fight and Redemption of the Feminine


In the fight with the dragon the hero battles the regressive forces of the unconscious which threaten to swallow the individuating ego. The forces, personified in figures like Circe, Kali, medusa, sea serpents, Minotaur, or Gorgon, represent the Terrible side of the Great Mother. The Hero may voluntarily submit to being swallowed by the monster, or to a conscious descent into Hades so as to vanquish the forces of darkness. This mortifying descent into the abyss, the sea, the dark cave, or the underworld in order to be reborn to a new identity expresses the symbolism of the night-sea journey through the uterine belly of the monster. It is a fundamental theme in mythology the world over — that of death and rebirth. All initiatory rituals involve this basic archetypal pattern through which the old order and early infantile attachments must die and a more mature and productive life be born in their place.

The mythological goal of the dragon fight is almost always the virgin, the captive, or more generally, the 'treasure hard to attain.' This image of the vulnerable, beautiful, and enchanting woman, guarded by and captive of a menacing monster gives us a picture of the inner core of the personality and its surrounding defenses. The hero's task is to rescue the maiden from the grasp of the monster and, ultimately, to marry her and establish his kingdom with her. This dragon fight and liberation of the captive is the archetypal pattern that can guide us through those major transitional passages in our personal development where a rebirth or reorientation of consciousness is indicated. The captive represents the 'new' element whose liberation makes all further development possible.

In response to the call the hero undertakes a journey, usually a dangerous journey to an unknown region full of both promise and danger. Often the journey is a descent. Sometimes, as with Jonah, Aeneas, Christ, and Psyche, it is a descent into the depths — the sea, the underworld, or Hades itself. Always there is a perilous crossing. Sometimes the faintheartedness of the hero is balanced by the appearance of guardians or helpful animals that enable the hero to perform the superhuman task that cannot be accomplished unaided. These helpful forces are representatives of the psychic totality that supports the ego in its struggle. They bear witness to the fact that the essential function of the hero myth is the development of the individual's true personality.

The Goal of Individuation and Its Symbols


The successful completion of the hero drama forges a relationship between the psychic opposites which split apart at the birth of consciousness. The major symbols for this synthesis are various forms of the Coniunctio Oppositorium or Mandala in which the original wholeness is now re-established but on a higher, more differentiated level. In the images of King and Queen united in marriage, or male and female united in the form of the androgyne, or geometrical opposites paradoxically united in the 'squared circle' or life and death come together in the mysterious image of the immortal God suffering a mortal wound, the integration of the opposites within the personality are symbolized. Additional symbols of wholeness are the elixir of immortality, the pearl of great price, and the divine child, representing a life-transcending potential for future growth.

The hero myth tells us that the ego's courage to suffer the burdens of fear, guilt, and the conflicts within the personality — the willingness to be crucified on the cross of one's own doubleness and to hold this inwardly — is the only way God and man can be reconciled and drawn closer together. The original unity of God and man, as in the Garden, is broken when the ego aspires to consciousness. The ego is then banished to a world full of opposites which war with each other within the personality, as brother falls upon brother in war and devastation. But into the chaos is born the child of light, the hero, whose struggle can forge an everlasting relationship between male and female, light and darkness, life and death, God and man. This is the promise, the Ring, the Covenant, the Flaming Rainbow Bridge which can unite the human and divine in the inward depths of the human psyche.


This introduction to Jungian psychology was written by Donald Kalsched and Alan Jones as a companion to a photographic exhibition at The Hofstra Museum, in New York City, November 15 – December 19, 1986. The exhibit was presented by The Hofstra Museum with The Archive for Research in Archetypal Symbolism (ARAS). The exhibit was curated by Karin Barnaby and Annmari Ronnberg.


Σάββατο 24 Ιανουαρίου 2015

Owl in ancient cultures, Myths and Secrets

Owls in ancient cultures


A nocturnal bird of prey, these birds are related to the goat sucker and gaucharo. They are found nearly everywhere in the world. Owls have hooked beaks and curved talons. They range in size from about five inches to over two feet. They have a variety of color combinations, such as black, white, gray, brown, buff, and reddish. Their eyes are quite large for seeing in the dark, and their face is surrounded by a disk of feathers. Their calls vary from cackling to low-pitched hooting. 

Since ancient times, the owl has been associated with wisdom, deep learning, and the Underworld deities. Later, it came to be connected with black magick. It is a bird of prey and a night hunter. The owl is a powerful, noiseless flyer with good hearing and sight.

The owl is armed with vicious talons and a beak for protection and hunting. It is also so alert to its surroundings that it appears to turn its head completely around when watching something.

The owl was early on a creature of the Great Goddess. It was often combined with the goddess figure to make an owl-woman in early matriarchal cultures such as Le Tene. Stelae, figurines, and amulets belonging to the Megalithic era of France, Spain, Portugal, and Great Britain show a goddess iwth great staring eyes; this figure has come to be referred to as the Eye-Goddess.

In Peru and Ecuador, the owl image deccorated spindle whorls along with a birth-giving goddess. In Crete, during the third millennia B.C.E., jug-vases shaped like a winged owl with female breasts were a ritual vessel; the breasts were perforated for pouring.

Originally, such Middle Eastern goddesses as Mari, Lilith, and Anath were closely connected with owls. A Sumerian relief of the goddess Lilith shows her naked except for a horned tiara; she has owl-clawed feet and is accompanied by owls. The Hebrew translation of this goddess's name is "screech owl".

As the patriarchies gained control, people began to believe the owl, and the goddesses whith which it was associated, was an ill-omenened bird whose form could be taken by an evil spirit. Babylonians said that hooting owls were the souls of dead mothers crying for their children. This gradually changed into the owl being an evil spirit which prowled the night and carried children off. 


In Egyptian hieroglyphs, the owl signifies death, night, the black Sun in the Otherworlds.

There are differences of opinion as to whether the Chinese and Japanese considered this bird to symbolize evil and death. The Ainu of Japan, howeer, did call this bird "beloved deity".

Athene/Minerva had an olw as her sacred familiar; its image was cast on coins to represent the city of Athens. Homer writes that Pallas Athene was sometimes portrayed with an owl-face. The Etruscan god of night and darkness was associated with the owl and death; the Romans adopted this view of the bird, saying that it was prophetic but its hooting prophesied death and misfortune. In Latin, the owl was called strix (pl. striges), a word which later changed into the Italian word strega for witch.

To the Celts, in general, this bird was a sacred magickal creature, sometimes called the Night Hag and the Corpse Bird. It symbolized Underworld deities, such as the Welsh god Gwynn ap Nudd, and the Welsh Mood goddess Blodeuwedd.

The messengers of the Hindu death god Yama were usually two dogs, but occasionally he would send an owl as his messenger.

The Scottish Gaelic word cailleach means "owl"; this word connects it with the goddess Cailleach, who was a deity of death. The owl is identified with many Crone or Underworld goddesses in Europe and the Mediterranean area. During the Middle Ages, the owl became known as the Night Hag.

This bird was called the Night Eagle by Native Americans. Most of them believed the owl was a bird of sorcerers. However, the Cherokees held sacred both the owl and cougar for their ability to see in the dark. they said the owl brought messages at night through dreams. This creature was Chief of the Night to the Pawnees, who said it gave protection.

Superstitions: Many cultures believe that to see an owl is unlucky, while others consider this bird to be a messenger and guide, particularly in spiritual affairs. Supposedly owls see in total darkness; the turth is they must have some light just as cats do. They are not blind during the day. If you look into an owl's nest, you will be unhappy the rest of your life. In Wales they say that if an owl hoots around houses, an unmarried girl has lost her virginity. In France, if a pregnant woman hears an owl, the child will be a girl.

Magickal Attributes: Silent and swift movement; keen sight into obscure events; unmaksing those who would deceive you. In meditation, often a guide to and from the Underworld. Wisdom, magick, darkness, freedom. Dreams, shape-shifting. Clairvoyance, astral projection, magick. A messenger of hidden truth, secrets, and omens. Moon magick. Wisdom to make positive changes. 


Most cultures with an esoteric background honor the owl as a revered (and sometimes feared) sign. The owl was feared because it was the sign of darkness and the unknown. Since the beginning of time, humanity has been afraid of the dark, and the owl has always been associated with the unknown dark dimensions. An Australian Aborigine elder explained to me that men were afraid of the owl because it was a woman's totem and it represented the darkness of the unknown.

Owls were also thought to be associated with death as well as rebirth. Some Native American tribes thought that owls housed the spirits of the dead. In Egyptian hieroglyphs, the owl symbolized death, night, cold, and passivity. When one aspect of you dies, there is the opportunity for new growth in another area of your life. It is a universal law. The owl sign represents death and rebirth within your life.

The owl is also the symbol of ancient wisdom from the inner realms. For within the darkness are dreams, visions, and mystic insights. Athena, the Greek goddess of wisdom, was depicted as having an owl on her shoulder that revealed inner truths to her. Merlin, the old Celtic magician who helped the legendary King Arthur, used an owl to gain entrance into the unseen dimensions. The owl sees in the darkness what others cannot see. If this sign appears for you, you are being given the gift of being able to see and perceive the truth. You will gain the ability to see clearly where things may seem dark. Your insights will be keen, and the transformations around you will be profound.

In ancient China, where owl sacrifices were often held, ornaments called "owl corners" were placed on buildings to protect them from fire. In Persia, the owl is spoken of as "the angel of death." In Israel, however, little gray owls are considered good omens when they appear near crops. In Athens, the little owl was associated with the goddess Athena, who ruled the night. Due to its commonality and friendliness, it became an emblem of the city. A common Athenian saying indicating victory: "There goes an owl."

The tradition of hanging up owls in order to deflect storms is an ancient one. Likewise, owls hung up with wings outspread were said to avert hail and lightning. An owl placed over a child's cot was used to frighten away evil spirits by tribesmen in northern Asia, and sleep can be induced by placing owl feathers under the pillow of a restless child, says an East Indian tradition.

In Great Britain, the owl was held ominous. Chaucer speaks of it as a bringer of death. Shakespear, in Julius Caesar (Act 1, Scene 3), lists it among other evil omens.

Owls were commonly associated with sorcery among African tribes. In Madagascar, the souls of sorcerers were called "owls". In Nigeria the Yoruba tribe believe wizards send owls to kill people as their emissaries.

Owls in Native Indians tradition


Among many tribes, the owl is to be both feared and embraced. Traditionally, many tribes believed, (and some individuals still hold these beliefs), that certain medicine people (both male and female) could be drawn to that part of spiritual power that would do harm to other people. Some tribes called them “witches” or the equivalent of a witch in their particular language. These “witches” or medicine people that practiced “bad medicine” were believed to have the ability to shape-shift or transform themselves into an animal or bird. Many of these witches, it was believed, would change into the form of an owl so that they could fly silently through the night to cast spells on people while they were asleep and vulnerable to spiritual forces, or at the very least, spy on people and learn their weaknesses.

Because the average tribal member did not have the knowledge to distinguish a real owl from one that was actually a witch that had shape-shifted into the form of an owl, all owls were avoided in general for safety sake. It was believed that only the holy people, or medicine men, had the special knowledge to tell them apart.

Holy men or holy women among many tribes frequently sought out the spiritual help from real owls in their healing practices. The holy people believed that the owl had very soft and gentle ways, similar to the softness of an owl’s feather, and these ways were taught to them in the healing ways. Therefore, whenever owl feathers were worn by an individual, it often meant that they were a medicine person with healing abilities.

Among many tribes, TWO of the owls with tufts on their heads, the Great Horned Owl and the Screech Owl, are often seen as the most uncanny and most dangerous of owls. In fact, some tribes believe that individual examples of these owls may not even be real birds at all, but instead are actually transformed witches as described above, or as in some other tribes, the unquiet spirits of the dead.

There are a number of reasons why these TWO OWLS, the Great Horned Owl and the Screech Owl, might be seen as particularly powerful. First, they have tufts or horns on their heads, and horns are often signs of spiritually powerful beings for many tribes. Horned water serpents are just one example, which are seen as chief of the underworld powers by many tribes. So the tufts or horns on these owls likely connect them to underworld powers.

Second, like most owls, Great Horned Owls and Screech Owls are active mainly at night, locating their prey in the darkness, flying on noiseless wings, and communicating with other owls through their weird sounding hoots, unlike most other birds, which are active in the day. Because many tribes associate night with death and the underworld, it is no surprise that some tribes often associate nocturnal owls with death and the underworld as well.


Finally, specific characteristics of these two owls make them stand out from other owls. Great Horned Owls are one of the largest owls, and can take much larger prey than other owls, such as opossums and skunks, instead of the usual mice or voles, for instance. The calls of Great Horned Owls can also be especially disturbing to some. Occasionally it utters sounds resembling the half-choking cries of a person nearly strangled, and it is sometimes attracted by a campfire and will fly over it, shrieking as is goes.

Screech Owls, although much smaller than Great Horned Owls, also have ample claims to their weird behavior. First, they come in two color phases, red and gray, and of course red is often seen as a spiritually powerful color among many tribes. They also utter disturbing cries at night, which have been described by some as screeching and by others as wails. Small wonder then, that many of the positive traits of owls are seen to belong to more normal-seeming species, such as the Barred Owl of the woodlands, also known as the Hoot Owl, as well as the Short-Eared Owl or Burrowing Owl of the Plains.

Both the Otoe and the Ioway had a Hoot Owl Clan for instance, and the Ioway name for that clan, Mankoke, is the same as the Ioway word for the Barred Owl. The Ponca once had an owl sub-clan and the Osage also are said to have had an Owl People or Wapunka Inihkacina although I’m not sure if it was a clan, or a sub-clan.

Among the Cheyenne, contemporary members of the tribe only considered one kind of owl to be a bird, the Short-Eared Owl, which they know as the “snake-eating owl,” an important source of medicine power for doctors or healers. All other owls the Cheyenne class as mista, or “spirits of the night.” Even the Cheyenne Contraries or Hohnuhke in the buffalo days wore the feathers of the “little prairie owl” in their headdresses, but not the feathers of the Great Horned Owl or the Screech Owl. Among the Hidatsa, it is said that a particular warrior had a guardian spirit in the form of a Burrowing Owl or Prairie Dog Owl, which was said to have protected him from being shot.

Warriors often sought to draw upon owl powers. For instance, Cheyenne warriors attached owl feathers to their shields, or wore them on their arms, to impart the owl’s special powers, such as the ability to see in the dark and move silently and unnoticed.

In a similar way, Creek warriors carried owl feathers so that they would have extraordinary night vision in battle. Among the Cherokee, one of four scouts on a war expedition, whose tasks it was to locate the enemy, wore an owl skin and imitated the owl’s cry. The Cherokee also observed Screech Owls closely while they were out looking for the enemy, because these owls were said to be able to foretell victory or defeat in battle.

Members of many of the warrior societies of the plains tribes, such as the various dog soldier societies, also wore owl feathers or used them on their ceremonial objects, such as the Arikara Young Dogs Society, and the Hidatsa Dog Society. Several tribes had sacred owl bundles that they used while out looking for the enemy, including the Ioway and the Fox tribes.

The owl’s predatory prowess was important to hunters also. The Pawnee have several stories of owls who gave some of their power to individuals so that they could become excellent hunters, with the ability to see at night.

Among the Hidatsa, a large Speckled Owl was said to be the chief of the spirits controlling the game, and the bundle used in the Hidatsa Earth Naming Ceremony To call for buffalo it contained the head, two wings, and two claws of a Speckled Owl. The Monomania were also gifted with hunting power from the owls known as the Spotted Fawn Medicine.


In many tribes, owls were seen as most closely allied with medicine men, rather than warriors or hunters. Lakota Medicine Men or Peju’ta Wica’sa respect the owl because it moves at night when people sleep, and the medicine men get their power from dreams at night such as clear dreams like the owl’s sight. So many Lakota medicine men wear owl feathers and promise never to harm the owl, or else it is believed their powers will leave them.

Creek medicine men often carried an owl skin or feather as a symbol of their calling. Ponca medicine men also used owl feathers in their healing ceremonies and Ojibwa medicine men placed a stuffed owl near them while they were making medicine, so that it could “see if they do it right.”

The Pawnee used an owl medicine, and among the Pawnee it is said that “the owl is the leading medicine-man among the birds.”

In addition, owls were said by the Alabama, the Caddo, the Cherokee, and the Lakota, to bring prophetic news, either of the future or of events happening at a great distance, to the few medicine men who could understand them.

The owl’s association with medicine men can also be bad news for ordinary folks. If a medicine man used owl power on your behalf, great, but if the medicine man of another tribe used his powers against you, then he could be an evil witch or bad medicine man trying to steal your soul. Because witches or bad medicine men were believed to be able to transform into owls, or to use owls to send death or disease, you could never quite be sure if an owl you saw was a real owl, a transformed witch, or an owl sent on a mission by a witch. The owls most often believed to be shape shifted witches were, the Great Horned or Screech Owls. So among the Cherokee, the same word, skili, was used to refer to both witches and Great Horned Owls.



The Alabama, Caddo, Catawba, Choctaw and Monomania also associated Great Horned Owls or Screech Owls or both with witches, and the Wisconsin Ojibway also link witches and owls. Small wonder, then, that among many tribes, seeing or hearing an owl is believed to be a bad omen, often signaling serious illness or death to come, especially when a night owl is seen during the day, or an owl is found hanging about the home or village instead of the woods.

It is their connections with death, the afterlife, and rebirth that truly mark owls as a force to be reckoned with for most tribes. First, owls are either considered to be embodied spirits of the dead or associated with such spirits, by a very wide range of tribes, including the Lakota, Omaha, Cheyenne, Fox, Ojibway, Menominee, Cherokee and Creek. Several of these tribes also have stories of an owl being that stands at a fork in the road in the sky, or the milky way, that leads to the land of the dead, letting some souls pass, but condemning others to roam the earth as ghosts forever.

The Fox tribe also speak of a soul-bridge that leads to the land of the dead. They say that there are two paths at the soul-bridge, one is red and one is gray. The red path is followed by men, the gray by women. It has been suggested that this is in reference to the two color phases of the Screech Owl, which are also red and gray.

However, owls were not just connected with death and the afterlife, but also with rebirth through the Calumet Ceremony. Owl feathers encircle the stems of the calumet pipes used for adoption ceremonies among the Omaha, Osage, Kansas, Ioway and Pawnee. It is said that these owl feathers symbolized deer lungs, and together with the stem of the calumet, which represented a windpipe, they were used symbolically to blow life back into the person being adopted in the Calumet Ceremony.

Bibliography
Denise Linn- The Secret Language of Signs
Mary Summer Rain - On Dreams
D.J. Conway - Animal Magick
Lady Stearn Robinson & Tom Gorbett - The Dreamer's Dictionary
Barbara G. Walker - The Woman's Encyclopedia of Myths and Secrets
Zolar - Encyclopedia of Signs, Omens, and Superstitions
Boby Lake-Thom - Spirits of the Earth