Discover the MythCloud

The pencil sketch Various Mythological and Religious Scenes, Inventory No. 2138(II)/124, by Nicaise De Keyser, is part of the collection at the Royal Museum of Fine Arts in Antwerp.

This work illustrates De Keyser's skill in combining mythological and religious themes, offering insight into his narrative-driven and detailed artistic style. The piece serves as a testament to the artist's ability to explore complex storytelling through precise and expressive draftsmanship.

The abstract painting Various Monsters, Inventory No. 2712/231, by James Ensor, is part of the Royal Museum of Fine Arts in Antwerp's collection.

Ensor, known for his distinctive and imaginative style, uses abstract forms and vibrant colours to depict a fantastical array of monstrous figures. This work highlights Ensor's fascination with grotesque imagery and his ability to blend humour with the macabre.

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The Táin Bó Cúailnge stands at the heart of the 8th-century Ulster Cycle, a collection of heroic tales from early Irish literature.

This epic recounts the story of Cúchulainn, the Hound of Ulster, who single-handedly defends his province against the armies of Connacht’s king and queen, Ailill and Medb. Their aim? To claim the prized Brown Bull of Cúailnge, sparking one of the most celebrated battles in Irish myth.

Thomas Kinsella’s acclaimed translation draws from partial texts found in two medieval manuscripts, supplemented by elements from other versions. His work also incorporates a series of related stories that set the stage for the central action of The Táin, offering readers a fuller understanding of its complex narrative and characters.

This edition is further enriched by the evocative brush drawings of Louis le Brocquy, blending medieval epic with modern artistry. The combination of Kinsella’s poetic translation and le Brocquy’s striking illustrations creates a timeless rendition of one of Ireland’s greatest mythological works.

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The Eurovision Song Contest, a spectacle that transcends borders, has cultivated a distinct mythology over its six-decade history. Celebrated for its vibrant display of musical talent, unity, and diversity, Eurovision serves as a platform for creative expression and cross-cultural exchange.

Johnny Logan, affectionately dubbed "Mr. Eurovision," stands as a pivotal figure within this narrative. His remarkable achievements—winning the contest twice as a performer (1980 with “What’s Another Year” and 1987 with “Hold Me Now”) and once as a songwriter (1992’s “Why Me?” performed by Linda Martin)—have cemented his status as an icon in Eurovision history. His victories not only highlight his musical prowess but also illustrate the cross-national appeal of his artistry, particularly in countries with a strong Eurovision following, such as Sweden and Germany.

Despite Logan's international acclaim, the contrast between his reception at home in Ireland and abroad is striking. While he is celebrated across Europe for his contributions to the contest, his success has often overshadowed his more muted recognition in Ireland. This discrepancy reflects a broader cultural tension regarding the Eurovision itself. In Ireland, the contest has sometimes been viewed through a lens of kitsch, leading to a mixed reception of Logan's achievements. As the Irish music scene evolved toward edgier rock and folk genres in the 1980s and 1990s, Logan's style was perceived as somewhat at odds with contemporary trends.

Ultimately, Johnny Logan's legacy within the Eurovision canon remains unparalleled. His status as a three-time winner solidifies his role as a Eurovision icon, illustrating the complexities of cultural reception both in Ireland and on the international stage. As the Eurovision Song Contest continues to evolve, the narrative surrounding figures like Logan serves as a reminder of the intricate interplay between national identity, musical expression, and the myths that shape our understanding of cultural phenomena.

For centuries, the Irish Wake has been more than just a funeral rite - it's been a unique expression of how Irish people cope with, commemorate, and celebrate death. This fascinating aspect of Irish cultural heritage is now being preserved and showcased at Waterford's museum quarter, the only one of its kind in Ireland.

This episode of Talking History looks at the history of Irish wakes and explores Irish beliefs and practices about death over the centuries. Step into the fascinating world of Irish cultural history and explore one of our most profound traditions - the Irish Wake. On a recent episode of "Talking History" with Patrick Geoghegan, this rich cultural practice took centre stage, inspired by the opening of Ireland's first dedicated Irish Wake Museum at Waterford Treasures.

For Dave Allen, Ireland is the only place in the world that really accepts death. He describes the ritual of the wake as a marvellous celebration. The wake is a joyful occasion. Dave Allen tells the story of a man arriving in a small town in Ireland following the death of a local woman who was hated by everyone in the town. This episode of ‘The Late Late Show’ was broadcast on 6 October 1979. The presenter is Gay Byrne.

Flemish theatre has recently faced increasing criticism for being "too white," with concerns spanning from its organisational structure to casting choices and repertoire.

In response, theatre critic Erwin Jans advocates for the exploration of non-Western theatrical works, highlighting Arabic adaptations of the Greek tragedy Oedipus. By examining these adaptations, Jans situates them within broader cultural and political contexts, which not only offer fresh perspectives on the original Greek play but also challenge the traditional, often Eurocentric, readings of Western theatre.

This approach encourages a more inclusive and multifaceted interpretation of classical works, fostering a richer dialogue between diverse cultural expressions.

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Seals have long been woven into the fabric of coastal life in Ireland, inspiring a rich tradition of beliefs, stories, and customs. In folklore, seals were often seen as enchanted beings—wise women, fallen angels, or reincarnated fishermen. Many tales describe encounters where seals spoke, pleaded with, or warned fishermen who sought to harm them, reflecting their mystical connection to both land and sea.

Certain Irish families, such as the Coneelys, O’Kanes, Dowds, O’Sheas, and Gallaghers, were believed to descend from unions between mortals and enchanted seals. A recurring motif in folklore tells of mortal men discovering seal-women in human form on the shore, stealing their magical cloaks that allowed them to transform, and taking them as wives. These unions often ended when the seal-woman found her cloak, returning to the sea and leaving her husband and children behind.

In this edition of Blúiríní Béaloidis, Jonny Dillon is joined by Ailbe van der Heide to explore the folklore of seals. Together, they traverse Ireland’s coasts and islands, delving into stories that blur the boundaries between nature and culture, appearance and reality. These liminal beings offer a window into the interplay of human imagination and the natural world, inviting us to reconsider the mysteries that lie at the edge of land and sea.

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A folk song recorded by late 19th-century Lithuanian scholar Jonas Basanavičius, sung by villagers from Dziegcioriai village.

The original audio is archived and saved by the Lietuvių literatūros ir tautosakos instituto Lietuvių tautosakos archyvas. The cover image is also archived and saved by the Lietuvių literatūros ir tautosakos instituto Lietuvių tautosakos archyvas.

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Project 2025, a political roadmap developed by The Heritage Foundation to guide conservative policy in the United States, draws heavily on enduring American myths that resonate deeply within the national psyche. These cultural narratives shape values and ideologies, functioning as aspirational frameworks for governance and identity.

Designed to prepare for a potential Republican administration in 2025, the roadmap is the result of collaboration among over 400 contributors from conservative think tanks and organisations. It outlines an ambitious plan to reshape the U.S. federal government, prioritising the reduction of government size, the curtailing of environmental and social regulations, the reinforcement of states’ rights, and the promotion of traditional conservative values. Central to its strategy is a proposal to strengthen executive power to swiftly enact these changes, including replacing career civil servants with politically aligned appointees.

Project 2025 exemplifies the crafting of a shared narrative—a cornerstone of modern mythology—that seeks to frame governance as a heroic battle to “restore America.” Like ancient myths that defined collective identity and purpose, it draws on recurring themes of decline, redemption, and renewal. It positions its vision as a national rescue mission, with bureaucratic elites and progressive policies cast as antagonists in a larger story of revival. This narrative taps into archetypes of heroism, villainy, and a promised utopia, creating a powerful ideological rallying point for those disenchanted by rapid social and political change.

However, as with all modern myths, this framing risks oversimplifying complex realities. By reducing governance to a binary struggle of good versus evil, it can deepen societal divisions and hinder constructive dialogue. Yet understanding how initiatives like Project 2025 leverage mythological structures is essential. These narratives are not mere political strategies; they are attempts to define a vision for society’s future. Critically examining such visions is vital to ensure they allow room for pluralism, inclusivity, and nuanced governance.

In the contemporary landscape of cultural reclamation, Kneecap represents a paradigmatic intervention into the performative dimensions of Irish national identity.

Operating at the intersections of linguistic revitalisation, post-conflict cultural production, and subcultural expression, the Belfast-based rap trio embodies a provocative reimagining of Irish vernacular practice.Their linguistic strategy—deploying Irish as a dynamic, living language of urban experience—simultaneously challenges historical modes of cultural preservation and instantiates new modalities of collective identity formation. By transmuting traditional nationalist narratives through hip-hop's transgressive idiom, Kneecap enacts a form of cultural translation that destabilises normative frameworks of political and linguistic belonging.

Their recent film and album further elaborate this critical project: a multimedia exploration of identity that refuses calcified representations, instead performing a nimble, irreverent negotiation of contemporary Irish subjectivity.

The exhibition How to Talk to the Weather Demons explores the intersection of Slavic mythology and contemporary environmental concerns. In Slavic lore, weather demons, known as płanetnicy, are believed to govern atmospheric conditions, including precipitation and storms.

The exhibit reflects on the growing urgency to understand and control nature in the face of climate crises, such as flooding, droughts, and weather anomalies, which have become increasingly prevalent. By focusing on water—both as a vital life source and a common resource under threat—the exhibition highlights the environmental degradation humanity is causing and the need for a collective, respectful approach to nature.

'Put ’Em Under Pressure' was the official anthem of Ireland’s national football team during their historic 1990 FIFA World Cup campaign in Italy. The song was produced by Larry Mullen Jr. of U2, a passionate supporter of Irish football, who co-wrote it as a tribute to the team’s World Cup journey. The track became instantly iconic, blending Irish rock, folk, and football culture into a unifying anthem.

The haunting vocals at the song’s opening were provided by Moya Brennan of Clannad, while the guitar riff was lifted from Horslips’ Dearg Doom, itself adapted from the Irish traditional melody “O’Neill’s Cavalry March.” This riff gave Put ’Em Under Pressure a driving, anthemic quality rooted in Irish heritage. The track also integrated the football chant “Olé, Olé, Olé,” adding a universal stadium feel, alongside snippets of manager Jack Charlton’s voice, lending a personal touch that Irish fans could rally behind.

The recording process famously involved Irish fans, with the “Windmill Carpark Choir” lending their voices for the chorus—a nod to the deep connection between the fans and the team. Released under the Son label, part of U2’s Mother Records, Put ’Em Under Pressure topped the Irish charts for 13 weeks, cementing its place in Irish music history. Its popularity was so profound that it held the longest-charting single record in Ireland until the release of Riverdance in 1994.

Today, Put ’Em Under Pressure endures as a cultural touchstone, symbolising a golden era of Irish sport and capturing a spirit of national pride and unity. It remains a beloved anthem, played during major sporting events and a reminder of Ireland’s collective passion for both football and heritage."

The chocholi taniec (dance of the straw wrap) has become a significant symbol in modern Polish mythology, encapsulating a sense of futile action born from impotence.

The term originates from Stanisław Wyspiański's 1901 drama The Wedding, where the dance plays a pivotal role in the play's final scene. As the guests dance under the influence of the chochoł (straw wrap), they are lulled into a state of lethargy, mirroring the broader societal malaise. This scene represents the marasm, a deepening drowsiness and stagnation of the nation.

The Wedding has long been interpreted as a metaphor for the state of Poland at the turn of the 20th century, capturing the nation’s struggles, its cultural inertia, and the disillusionment of its people. In this context, the chocholi taniec not only reflects a physical dance but also an emblematic gesture of national paralysis, offering a poignant commentary on the challenges facing Poland during a time of political and social upheaval.

The object is a copper engraving titled Groot Profijt-Boek (Great Profit Book) from 1644, a practical guide for merchants and citizens on various trade and commercial matters.

The engraving features detailed ornamental elements and inscriptions. Created during a time of vibrant commerce, it exemplifies the artistic and functional integration of design in 17th-century trade literature. This piece is part of the Museum Plantin-Moretus collection and reflects the Antwerp printing tradition.

The Two Satyrs (Inventory No. 10558) is a work by Peter Paul Rubens that depicts two mythological figures from classical lore.

Satyrs, often associated with the god Dionysus in Greek mythology, are half-human, half-goat creatures that embody the wild and unrestrained aspects of nature. Rubens' portrayal of these figures reflects his mastery in capturing both the grotesque and the sensual aspects of mythological subjects, characteristic of his Baroque style.

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Drunken Silenus (Inventory No. PK.OP.18779), a woodcut from around 1630, was designed by Peter Paul Rubens and engraved by Christoffel Jegher.

The work depicts Silenus, the Greek god of wine, shown in a state of intoxication, surrounded by satyrs and nymphs. A related painting is housed in Munich, and a preliminary sketch is held in the Louvre's Cabinet des Dessins. The print is signed by Rubens as the designer and Jegher as the engravers. The scene captures the mythological character's characteristic drunkenness and indulgence, reflecting Rubens' mastery in portraying dynamic, lush figures

The naginės are traditional Baltic leather shoes, often associated with rural or village folk culture. These handcrafted shoes were designed for practical, everyday use, typically worn by the people of the Baltic states—Lithuania, Latvia, and Estonia.

The shoes are made from soft leather, which was once a locally sourced material, and they are notable for their simplicity and durability, providing both comfort and functionality for walking long distances in natural environments.

While images of naginės shoes may not be widely catalogued online, they are still crafted by artisans in the region as part of a broader revival of traditional Baltic handicrafts. You can find similar Baltic leather goods, such as handcrafted sandals and boots, which may offer insight into the construction and style of naginės shoes. For more details about Baltic leather crafts and their modern iterations, you can explore local craft markets in cities like Vilnius, Riga, and Tallinn, or artisan shops that specialize in traditional footwear​

For images of similar traditional shoes, I recommend browsing through Baltic handicraft online stores or visiting specialized craft marketplaces where these types of shoes might be available.

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Féile na Bealtaine, born in 1994 from the vision of Dr. Micheál Fanning, poet and restless spirit, has grown into a beloved institution on the Dingle Peninsula. Held annually over the May Bank Holiday weekend, the festival has become a premier community event, drawing people from near and far to celebrate the richness of local culture and artistic expression.

Emphasising bilingualism, it showcases a diverse range of art forms, while staying true to its roots in rural community life. The festival is a testament to Fanning's vision, creating an artistic home for local performers and offering a platform for experimentation, boundary-pushing, and collaboration.

From its inception, Féile na Bealtaine has sought to reflect the vibrant cultural heritage of Corca Dhuibhne, highlighting the Irish language and deepening understanding of local traditions. Fanning’s eclectic and universal interests have shaped the festival’s inclusive and dynamic spirit, inviting artists to explore new forms and venues, while nurturing creativity in everyone. It’s a festival born from a need to nourish and inspire, an artistic beacon for both locals and visitors alike. With its emphasis on creativity as community medicine, the festival has fostered a space where art, culture, and connection flourish.

Though Féile na Bealtaine may defy easy definition, its impact on the community is undeniable. Led by Fanning’s pioneering spirit, it has evolved into a yearly fixture in the cultural landscape, gaining momentum with each passing year. From its humble beginnings as an idea born from an itch to scratch, the festival now stands as a cornerstone of the Dingle Peninsula’s artistic calendar. It has become an integral part of the rhythm of life in the region—six months of preparation, six months of rest, marking the cycle of light and darkness, summer and winter, Bealtaine and Samhain.

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In Baltic archaeological findings, leather waistbands adorned with brass decorations and traditional patterns have been uncovered, reflecting the craftsmanship and cultural expressions of the region's ancient communities.

These belts, often featuring intricate brass fittings and motifs, served both functional and decorative purposes, indicating social status and identity. The designs frequently incorporate geometric patterns and symbols, such as the sun, which held significant meaning in Baltic cultures, representing life, fertility, and the cyclical nature of time. The combination of leather and brass not only enhanced the durability of these accessories but also showcased the artisans' skill in metalwork and leathercraft. Such artifacts provide valuable insights into the daily life, aesthetic preferences, and symbolic worldviews of the Baltic peoples.

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An article on artistic alter egos, the motives of the alter ego.

The article examines where the attempted escape from the self can artistically lead. With the images used, it makes a connection to the myth of Narcissus. It also shortly likens alter ego’s to mythical figures, a mythically enhanced personality of the artist.

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The 17th of March is celebrated worldwide as Saint Patrick's Day, a time of parades and revelry in honour of Ireland's patron saint.

But beyond the festivities, what do we really know about the historical figure of Patrick? How is he perceived in folk tradition, and what connections does he have to the pre-Christian, Pagan order he is said to have supplanted? These questions invite a deeper exploration of Patrick's life and legacy.

In this month’s edition of Blúiríní Béaloidis, hosts Claire Doohan and Jonny Dillon delve into the figure of St. Patrick, examining the pilgrimages still made in his name and his influence, not only in Ireland but across Europe. From Skerries in the east to Croagh Patrick in the west, and from Duhallow in the south to Lough Derg in the north, they follow the paths of devotion that celebrate the saint’s enduring impact.

Listeners are invited to join in honouring Ireland’s patron saint and reflecting on his remarkable legacy.

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Myles Duggan speaks with Dr. Cian McMahon, author of The Coffin Ship: Life and Death at Sea during the Great Irish Famine.

The coffin ship, long a symbol of the Famine and Irish migration, represents the perilous journeys many took in hopes of escaping the catastrophe. Dr. McMahon offers a fresh perspective on the migration experience, focusing on the often-overlooked journey itself.

In his book, he examines the harsh realities faced by Irish emigrants and convicts aboard ships crossing the Atlantic and Pacific Oceans between 1845 and 1855, providing a detailed look at their lived experiences.

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The folk tale explaining why lightning strikes trees is a Lithuanian sakmė, a type of fantastical folk tale that seeks to explain natural phenomena.

In this story, Perkūnas, the thunder god, had a pile of stones. When a devil stole one of the stones to use as part of his shed's foundation, Perkūnas became enraged. To punish the thief, he began striking wherever he could. Sometimes, Perkūnas would strike the devil while he hid on a stone, in a tree, or even while swimming. The devil, attempting to escape Perkūnas' wrath, would climb higher onto stones or into taller trees. This is why people were warned not to stand under high trees, as the devil might be hiding there, and Perkūnas would strike it to punish him. The taller the tree, the better the devil could see Perkūnas coming, which explains the connection between lightning and tall trees in this tale.

This narrative, like others in Lithuanian folklore, is part of the tradition of etiological legends, which aim to explain the origins of natural phenomena and celestial events. The tale is adapted and translated from How the Earth Came to Be: Lithuanian Etiological Legends (Kaip atsirado žemė: lietuvių etiologinės sakmės), compiled and edited by Norbertas Vėlius.

Few bands embody the raw energy of cultural rebellion quite like The Pogues, led by their iconic frontman Shane MacGowan.

Rooted in the bustling, multicultural heart of London, The Pogues emerged in the early 1980s, blending traditional Irish folk with the fiery spirit of the city’s punk scene. Their music was as much about the vibrant contradictions of London’s immigrant communities as it was about the Irish homeland, exploring the tension between inherited traditions and the raw immediacy of punk rebellion.

This hybrid sound carried echoes of mythology, weaving old tales of exile, identity, and resilience into new forms. The Pogues’ songs, rich with lyrical depth and raw emotion, evoke the archetypal journeys of Irish folklore—wanderers, rebels, and dreamers seeking meaning in a fractured world. MacGowan’s unvarnished lyrics and gravelly voice captured the spirit of the dispossessed, bringing the ancient struggles of the Irish diaspora into the context of modern urban life. Culturally, The Pogues are celebrated for reinvigorating Irish music and expanding its reach across generations. Tracks like Fairytale of New York and Dirty Old Town became timeless anthems, while their innovative style bridged the gap between the mythic past and contemporary cultural identity. By embracing both the romanticism and the grit of their dual roots, The Pogues created a legacy that resonates far beyond music, serving as a testament to the power of storytelling in shaping communal and individual identity.

The Swan of Tuonela (Tuonelan joutsen) is one of Jean Sibelius' most evocative works, a tone poem that captures the mystical atmosphere of Finnish mythology.

Part of his Lemminkäinen Suite, it draws on the rich traditions of the Kalevala, Finland's national epic. The piece portrays the mythical swan that swims on the dark waters of the underworld, Tuonela, symbolising both the beauty and tragedy of death. Through lush orchestration and haunting melodies, Sibelius evokes the eerie stillness of this otherworldly realm, blending Finnish folklore with his unique compositional voice.

The work remains a masterpiece of symphonic writing, offering a window into Finland's mythological soul.

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