Get the look: Álfablót, Viking Halloween, woman

We all know that modern Halloween has come over from America and that this celebration has its origins in the Irish samhain. But what does this mean in a broader Indo-European context? What do these celebrations tell us about our form of ancestor worship? In this blog, we try to place the álfablót, the Germanic/Viking equivalent, in a broader context in an accessible way. 

Indo-European paganism is a dharmic nature religion; we speak of dharmic because there were prescriptions and rules that maintained and supported the (cosmic) order. 

In this, ancestors play an important role. For thousands of years, the Proto-Indo-European peoples buried high-ranking deceased in burial mounds. On the steppes, these mounds were visible from afar. They were sacred places that emphasized the ancestor's status. Tribes, which were predominantly nomadic, regularly returned to these places to offer in honor of the ancestors. The people who lay in these burial mounds were also a personification of the semi-mythological ancestors of the tribe. Their heroic deeds and achievements were passed down and revered for generations. Their deeds were immortalized in the bardic oral traditions of the people. Peoples of Indo-European descent, such as the Greeks, Romans, Germans, Celts, Balto Slavs, Indo-Iranians, Indo-Aryans maintained this tradition. 

In this context, we must view the Germanic álfablót, the Celtic samhain, and the Slavic dziady.

All these festivals have one thing in common: the commemoration of deceased ancestors. These can be one's own ancestors or the mythological ancestors of the tribe or clan. Ancestor worship is a very important practice in Indo-European cultures. It connects the people and creates a bond of honor and pride. 

Virtually all Indo-European cultures have holidays around May 1, midsummer, October 31, and midwinter. The pagan festivals that lie in between differ among various Indo-European cultures. 

The Celts celebrated samhain. In ancient Germania and Scandinavia, people probably celebrated Álfablót, literally: elf sacrifice.

The Dutch word elf, English elf, has developed from the Proto-Germanic *albiz. This likely comes from the Proto-Indo-European *h₂elbʰós, white. In this way, it is distantly related to the Latin albus, ‘white’ and the Proto-Slavic *ȏlbǭdь, ‘swan’. The Proto-Germanic word probably originally means 'white', perhaps as a euphemism.

The first to use the term 'elf' in written sources were the Anglo-Saxons, particularly in medical texts such as Wið færstice and Bald's Leechbook. It was believed that elves could make both humans and livestock ill. This often manifested in sharp internal pains and psychological problems. This belief persisted during the Middle English period.

The Anglo-Saxons thought that the elves used magical weapons to cause illnesses, but they are also associated with a form of magic referred to as sīden and sīdsa, similar to the Old Norse seiðr. 

The Prose Edda from the 13th century speaks of the dökkálfar and ljósálfar, dark and light elves. The ljósálfar live in Álfheimr or Ljósálfheimr, a world often described as bright, airy, and beautiful. This was one of the nine worlds of Norse cosmology. The ljósálfar are described as beings that shine with light and beauty. Although the Edda itself does not provide many details about specific deeds or characters among the ljósálfar, it is often assumed that they brought positive energy and luck.

The dökkálfar lived underground and were pitch black. They were possibly the basic for later dwarves.

In the Poetic Edda, the poem Völundarkviða is about Völundr, the álfa ljóði, 'prince of the elves.' Interestingly, this text was likely influenced by Old English poetry.

The smith-artist Völundr and his two brothers are visited by three supernatural women in the form of swans, possible valkyries. They marry, and after nine years, the women leave. When his brothers go to search for the women, Völundr is captured by the neighboring king Níðuðr, who cuts his tendons to keep him captive. Through cunning, Völundr takes revenge and escapes.

Elves are often mentioned in the alliterative expression Æsir ok Álfar ('Æsir and elves'), which was a fixed poetic formula in, for example, blessings and oath formulas. The Æsir were the main group of Scandinavian gods, alongside the Vanir. Snorri Sturluson writes in the poetic Edda that Freyr, one of the Vanir, received the elven realm Álfheimr. Possibly, the Álfar were his subjects, Vanir, or lesser gods. In any case, they were closely connected with the Æsir. 

This connection with the gods is also seen in the Old English poem Wið færstice and in Germanic personal names. In skaldic poetry, the word elf is sometimes even used in the same way as terms for gods.

Völundr the lame smith has parallels with the Greek/Roman god Hephaestus. Also, the Ugaritic pantheon, not Indo-European but influenced by Hittite religion, knows a similar figure, the divine craftsman Kothar-wa-Khasis.

In the Irish story Serglige Con Culaind, the hero Cú Chulainn wounds a bird from the Otherworld and then becomes ill. This resembles the Anglo-Saxon magic of sīden/sīdsa, and it is interesting that here too the women from the Otherworld have transformed into waterfowl. It was believed that the Otherworld was located beneath the water's surface.

How elves were viewed in the past is thus not entirely clear. They might have been gods, or the line between gods and elves was vague. They might have been messengers of the gods, or they symbolized the souls of the deceased.

In Scandinavia and probably the broader early Germanic world, álfablót, elf sacrifice, was the moment when ancestors were likely commemorated. By the end of October, the harvest was gathered, the animals were fattened, and it was time to thank the ancestors for what they had done for the family. It was presumably performed to ask the Álfar for fertility, both for the land and for the people themselves.

In the poem Austrfararvísur, the Norse skald Sigvatr Þórðarson describes his negative experience with a holiday in Sweden in 1019, while he was on a diplomatic mission to Västergötland. He and his companions needed a place to stay overnight and expected to be hospitably received, which was considered sacred among Indo-European peoples. They were refused at the first farm, and the residents told them the place was sacred. At the second farm, they were turned away, and the lady of the house said they feared Odin's wrath and were busy with an elf sacrifice.

After several failed attempts to find shelter, where the men of the farms were all named Ölvir, they arrived at a man known as the most hospitable in the region, but even he received them unfriendly and called himself the "guardian of the axe." Sigvatr was disappointed in the hospitality of the Swedes and concluded that if this man was the "best," the others were probably even more terrible.

In contrast to the Irish Samhain festivals and the blóts of Uppsala and Mære, álfablót was primarily held within the family and the ritual was led by the woman of the household. Nothing is known about the specific rituals because they were held within the domestic circle and remained secret from the outside world. It also appears that Odin was invoked and that the master of the household was called Ǫlvir during the performance of the rituals. The first element of Ǫlvir means 'beer', which was generally an important element in the offerings of the North Germans. 

As with other forms of blót, food and drink were probably offered to the elves, such as meat, beer, or other agricultural products, depending on what was available. The idea was that these offerings would win the favor and protection of the elves. The Icelandic Kormáks saga from the 13th century gives instructions on sacrificing a bull at an elf hill to heal a war wound. Unlike the sacrifices described by Sigvatr, this seems to have been a sacrifice that could be performed at any time of the year.

With the arrival of Christianity, the álfablót, like many other pagan rituals, was displaced or prohibited. The fact that it was a domestic and individual ritual made it more difficult to control and eradicate by missionaries and Christian rulers. This type of offering and ritual eventually disappeared, although some aspects survived in later folklore, such as the belief in elves, giving small offerings, or respecting certain places associated with elves.

The gods symbolize structure and beauty, and that is why we have dressed these characters at their best. Both the man and the woman belong to the lower nobility, the class of the Jarls. The characters are named Harald and Astrid here. Harald means "army leader" or "ruler of the army," while Astrid means "divine beauty" or "loving." As the head of a small court, Harald and Astrid celebrate the ritual of Álfablót together with their immediate family and servants. See here the composition of Jarl Harald

In this context, Astrid fulfills the leading role, as she takes on the role of priestess as a woman. In many Viking rituals, it was the woman who performed ritual acts, especially in domestic or familial ceremonies. Harald is the patriarch of the family and has oath-bound warriors under his command as the chieftain. These warriors, originating from the free class of karls, however, celebrate Álfablót with their own families, separate from the court.

The servants of Harald and Astrid are thralls, or members of the unfree class or slaves. Because they belong to the court, they participate in the festivities and celebrate Álfablót together with the Jarl and his wife. This emphasizes the layered social structure in Viking society, in which even the unfree class played a role within the rituals and customs of the elite.

During the Álfablót ritual, Astrid plays a central role, with her main task being to sacrifice correctly. For this, she uses a drinking horn, a traditional object derived from cattle. Cattle held a sacred status among the Indo-European peoples, including the Vikings. This symbolism traces back to the mythical primordial cow Auðumbla, who according to Norse mythology gave life to mortals.

In other Indo-European cultures, such as the Greeks and Romans, a similar ritual horn was called a rhyton. Drinking horns had a strong ritual significance in these societies and were often used in sacrificial ceremonies. These objects were not always made from animal horns; sometimes the Romans, Germans, and Vikings even crafted drinking horns from materials like glass. This underscores the importance and symbolic power of the drinking horn in religious ceremonies and sacrifices

Alongside the drinking horn, a bowl known as the blót boli was also used during the Álfablót ritual for presenting liquid offerings. These bowls could be richly adorned, as beauty played a central role in the symbolism of the rituals. In the Viking Age, it was believed that the gods ruled over the cosmos, which stood for structure, harmony, and aesthetics. Displaying beauty during rituals, for example by using finely crafted objects like the blót boli, was considered a tribute to the divine order.

The term blót boli refers to the blood of sacrificed animals, which was collected in these bowls and presented to the gods. Besides blood, other liquid offerings were also used, such as milk or even mead — a luxury drink that represented an even more precious offering than animal blood. Thus, the blót boli not only had a practical function but was also a symbolic object that emphasized the value and dedication of the offerings.

Astrid wears an underdress, which not only served to provide warmth but also had a practical function in protecting the outer clothing. By wearing the underdress, the expensive outer clothing needed to be washed less frequently, which helped to preserve the vibrant colors and delicate fabrics longer. In a time when dyes and high-quality textiles were very valuable, this was a smart way to ensure that the outer clothing, often richly decorated and of great symbolic value, remained in good condition.

Vikings often wore turn shoes, a type of footwear made inside out and then reversed, placing the seams on the inside. These shoes conformed well to the shape of the foot, providing a comfortable fit. Unlike modern shoes, however, turn shoes offered less ankle support, making them less suitable for prolonged or intensive physical activities.

Viking women typically wore dresses that varied in colour and style, depending on their status and wealth. Colour played an important role, and certain shades were more expensive and thus a symbol of prosperity. Blue, such as the dress that Astrid wears, was a colour that exuded considerable status. This was because blue dyes, often derived from the woad plant, were relatively costly and labor-intensive to produce. Blue was therefore associated with wealth and a higher social class. For Astrid, who dresses her best during rituals and special occasions, this blue dress is an appropriate choice, as it elegantly showcases her position and status as Jarlkona.

The hangerok, an important garment in the Viking wardrobe, was a apron with shoulder straps that were fastened to the front panel with turtle brooches. Although the hangerok provided extra warmth, it was primarily a status symbol. The fabric and embroidery of the hangerok indicated the wealth and social position of the wearer. In the case of Astrid, the hangerok is richly embroidered, emphasizing her high status as Jarlkona. Such refined decorations were often reserved for formal or ceremonial occasions. Astrid likely wore her hangerok only during official events, such as rituals or festivities, while in daily life she would have been dressed more simply. Wearing the hangerok at such moments reinforced her authority and her role within the community.

Over the hangerok, Astrid wears turtle brooches, which were an essential status symbol for Viking women. These brooches not only served as practical fasteners for clothing but also had strong symbolic value. The jewelry and objects hanging from these turtle brooches, such as keys, beads, and other decorative elements, were an important part of their wealth and status. Wearing carefully crafted and richly decorated turtle brooches was a way for Viking women to display their prosperity and social position. For Astrid, as Jarlkona, these turtle brooches were not just a fashion accessory, but also an important sign of her influence and authority within the community.

Only wealthy Vikings could afford fur, which was an important status symbol in society. Fur was widely traded in the Viking world and the choice of specific types of fur, especially from expensive animals, contributed to the social status of the wearer. Astrid is particularly fond of fur, as it not only adds elegance to her appearance but is also essential to keep her warm during the cold winters that follow Álfablót. The luxury and warmth of fur underscore her high status as Jarlkona and emphasize the refinement and prestige she exudes with her clothing and accessories.

Often, turtle brooches objects such as combs or nail care sets are attached, which can be luxuriously decorated. These accessories are not only practical but also contribute to the presentation of beauty and self-care, elements that were essential in Viking culture. The gods and the cosmos symbolized beauty and structure, emphasizing the importance of personal hygiene and care.

It was mandatory to wash yourself before participating in a ritual or visiting a sacred place. This practice can be seen as a form of respect towards the gods. The Christian ritual of baptism and the use of holy water may have derived from this. Medieval sources mention that Viking men washed more frequently than average, indicating a culture that valued personal hygiene. This practice is remarkably similar to the current customs of Hindus in India, where ritual cleansing is an important aspect of their religious practices.

The word cosmetics itself refers to the cosmos, highlighting the connection between beauty and the spiritual world. Viking women used various cosmetics, such as eye makeup (Kohl), possibly face powder, and engaged in hair care. Additionally, it is likely that they also used perfume. This idea of scent may have contributed to the Christian tradition of using incense, which is also intended to let the fragrance rise to the gods. Scents and beauty were thus not only a matter of aesthetics but also a way to strengthen religious and spiritual connections.

The torque has a Proto-Indo-European origin and served as an important symbol within various societies. Torcs, along with oath rings and arm rings, represent the taking of an oath and the entering into commitments. This is particularly relevant as the Proto-Indo-European society had a strongly oath-bound structure where fidelity and loyalty were crucial.

Celtic warriors are often depicted with torcs, highlighting their status and loyalty. Archaeological discoveries have brought to light luxurious golden torcs, but the essence of the torque remains the same, regardless of whether it is made of wood, steel, or precious metal. This illustrates the breadth of torc usage across different cultures. Both the Celts, Vikings, Romans, and Indo-Iranians wore torcs, underscoring their shared cultural and moral value. These jewelry pieces served not only as ornaments but were also imbued with meaning, connected to identity, status, and social obligations. Wedding rings may have possibly derived from these. 

Jewelry played a crucial role in the Viking world, not only as decorative elements but also as symbols of wealth and social status. They served as important expressions of identity and craftsmanship, with wearing jewelry emphasizing the wearer's social position.

Moreover, jewelry or parts thereof were often used as currency. In Viking society, the weight of the noble metal, such as silver or gold, was a direct indicator of the value of the jewelry. This system of weight assessment allowed jewelry to be used in trade practices, where the value of goods and services could be determined based on the metal weight.

Vikings used locks and keys as important means for security and storage. Not only house doors, but also chests in which wealth and valuable items were safely stored, were often equipped with locks. These chests served as storage places for jewelry, precious fabrics, and other treasures, making them essential for the preservation of prosperity within Viking communities.

In addition, keys also had a symbolic meaning. Women wore keys as a sign of their marriage, status, wealth, and power. Wearing keys represented not only their role as housekeeper and manager of goods within the home but also their authority within the family and the community. Keys were seen as symbols of access and control, underscoring the position of women in Viking society. 

Knives were primarily used as utensils in Viking culture, but they also played an important role in rituals. In the context of rituals, knives could be used for performing blood sacrifices (blót). Animals were ritually slaughtered and offered to the gods, with the blood and fat especially being presented as sacred gifts.

In addition to offering these essential parts of the animal, the meat was often roasted. A portion of the meat was offered to the gods, while the rest was consumed by those present. This created a communal meal with the gods, which served not only as a tribute to the gods but also as a way to strengthen the bond between the community and the gods. This ritual reflected the Indo-European hospitality principle, where the act of receiving guests and being a good host was central. 

The belt played a multifunctional role in Viking culture. It not only helped to keep clothing in place and ensured that it remained well-fitted, but also served as a status symbol. Belts were often adorned with intricate decorations and made from durable materials, emphasizing their value and the wealth of the wearer.

Additionally, belts served as convenient carriers for various everyday items. Many utensils, such as knives, pouches, axes, and other items, were worn on the belt, making them easily accessible. This made the belt not only functional but also an important part of Viking clothing and style, which was both practical and aesthetically appealing.