Discover the MythCloud

The Toporzeł is a controversial emblem created by Polish sculptor and painter Stanisław Szukalski in 1935, designed to replace the traditional White Eagle. The emblem fuses the imagery of an axe (topór) and an eagle (orzeł), symbolizing a reborn Poland and reflecting Szukalski's deep nationalistic and Slavic fascinations. This symbol, intended to evoke strength and national identity, has a complex legacy, tied to Szukalski's vision of a revitalized Polish culture and heritage.

However, the Toporzeł also carries a darker connotation. In early 1940, during the German occupation of Warsaw, the symbol was co-opted by some Polish anti-Semites who used it to mark Christian-owned shops, promoting economic boycotts against Jewish businesses. This association with nationalist extremism and anti-Semitism has marred the emblem’s original intent, highlighting how symbols of national identity can be distorted for harmful political agendas.

In the mid-20th century, Ireland experienced a cultural resurgence, with folk music playing a pivotal role in expressing national identity and creative renewal.

‍Folk Hibernia, a BBC documentary, captures this transformative period, chronicling the evolution of traditional Irish music against the backdrop of social, political, and cultural change. Through performances by iconic artists like Christy Moore, Planxty, and Clannad, the film explores the roots of the folk revival and its lasting impact on Ireland’s artistic legacy.

The documentary highlights how folk music served as a powerful form of storytelling, blending Ireland's past with the present while offering a platform for addressing contemporary issues. Themes of resilience, community, and national pride emerge as central motifs, illustrating how music not only preserved tradition but also helped redefine it for modern audiences. By connecting generations, the folk revival helped shape Ireland's global cultural identity, fostering a deeper appreciation for its heritage while continuing to influence artistic expression today.

Yorgos Maraziotis’ artistic research project Mythical Truths delves into the intersections of personal belief, fact, fiction, and myth, recognising these elements as intertwined within our understanding of the world.

By collecting personal stories from students at the Royal Academy of Fine Arts Antwerp, Maraziotis treats these narratives as myths that oscillate between truth and fiction. His project encourages reflection on the role of myths in shaping individual and collective identities, particularly in the context of art education.

The research draws attention to the Academy's rich 360-year history, with students from over fifty countries engaging in critical self-reflection and artistic practice. Mythical Truths challenges contemporary art education by questioning how personal and collective narratives shape the identity of the school. It examines the role of memory, archiving, and institutional critique in shaping social diversity, encouraging a reconsideration of how art institutions function as both educational and cultural ecosystems.

Maraziotis seeks to explore how an archive of everyday stories can facilitate institutional pluralism and inspire meaningful change, ultimately asking whether memory is a fixed notion or a constantly evolving construct.

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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.

Christoffel Jegher, a renowned woodcut artist, created the woodcut of the mythical creature "Su," which was published in Historia naturae, maxime peregrinae, libris XVI. distincta by Juan Eusebio Nieremberg in 1635.

This work is an example of the intersection of natural history and mythology during the early modern period. The woodcut was produced using the technique of woodcut printing, a method that allowed artists to create intricate and detailed illustrations in printed works. The woodcut of "Su" (a mythical or fabled creature) was acquired by the Plantin-Moretus Museum in Antwerp in 1876, further adding to its historical and cultural significance.

The Historia naturae, maxime peregrinae was a notable work in its time, blending elements of natural history with the fantastical, reflecting the era's fascination with exotic and mythological creatures. The inclusion of Jegher’s woodcut exemplifies the broader tradition of depicting creatures that straddled the line between the real and the imagined in early scientific literature

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This woodblock, crafted in 1565 by designer Geoffroy Ballain and woodcutter Jean de Gourmont, depicts the Scytale, a mythical serpent classified as a subspecies of the Amphisbaena.

It was used as an illustration in Jacques Grévin's works on poisons, Deux livres des venins (1568) and De venenis libri duo (1571), underscoring the interplay of mythology and early scientific exploration. The serpent’s depiction aligns with Renaissance efforts to blend symbolic and naturalistic representation in anatomical and botanical texts.

Acquired by the Plantin-Moretus Museum in 1876, the block represents a fascinating artefact of 16th-century print culture and the period's enduring fascination with mythical creatures within the context of natural philosophy.

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Philemon and Baucis, Accompanied by Zeus and Hermes, Inventory No. 11001, by Peter Paul Rubens is an artwork housed at the Royal Museum of Fine Arts in Antwerp.

This piece represents the mythological story of Philemon and Baucis, an elderly couple known for their hospitality toward the gods Zeus and Hermes, who visited their humble home disguised as mortals. In the myth, the gods reward the couple for their kindness by transforming them into trees, allowing them to remain together in perpetuity. The artwork captures this moment, showcasing the divine figures alongside the couple.

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.

Bacchus, Satyr and a Faun (Inventory No. 10528) is a work by Peter Paul Rubens that depicts Bacchus, the Roman god of wine, supported by a satyr and a faun.

This piece is characteristic of Rubens' Baroque style, which often celebrated themes of indulgence, revelry, and the interaction between humans and mythological figures. Bacchus is traditionally associated with the pleasures of the senses, and Rubens' portrayal typically emphasizes sensuality, exuberance, and the vitality of nature.

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Pegasus, Inventory No. 3265/8, is an ink drawing by Alfred Ost, depicting the mythical winged horse from Greek mythology.

Pegasus is typically associated with the heroic tale of Bellerophon and is often seen as a symbol of poetic inspiration and divine beauty. Ost's rendering captures the dynamic essence of this mythical creature, highlighting its elegance and power.

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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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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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Paul Joostens (1889–1960) was a Belgian artist whose career spanned a wide range of styles, reflecting his restless creativity and willingness to critique societal norms.

Trained at the Royal Academy of Fine Arts in Antwerp, Joostens began with Cubist paintings before becoming associated with the avant-garde movements of Dadaism and abstraction. Collaborating with figures like Paul van Ostaijen and the Jespers brothers, he created bold, experimental works, including collages made from found materials, aligning his practice with the irreverent and critical spirit of Dada​

In the mid-1920s, Joostens moved away from avant-garde circles, developing a style he called “Gothic Joostens,” which was heavily influenced by Flemish Primitives like Hans Memling. This period saw him create religious and Madonna-themed works while also joining De Pelgrim, a Catholic-inspired art collective. Yet, his artistic output remained diverse; throughout his life, Joostens explored sensual themes in drawings and experimented with Dadaist assemblages in later years. His fiery temperament and individualism led to his eventual isolation, a sentiment reflected in his darker, anthracite-coloured drawings from the 1950s​

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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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During the 1940s, Ireland's commitment to neutrality in World War II reflected a profound desire for self-determination. This episode explores the mythology of resilience that emerged as the nation navigated global conflict, showcasing how narratives of independence and strength became central to Ireland's identity during this tumultuous period.

Directed and prouced by Seán Ó Mórdha, Seven Ages: The Story of the Irish State presents a narrative of Ireland's evolution as a complex interplay of historical events, national mythologies, and collective self-perception. This series underscores the significance of cultural narratives in shaping a nation's identity and trajectory, illustrating how myths and storytelling serve as powerful tools in the ongoing process of nation-building. Each episode explores critical events, political developments, and societal changes that have contributed to the formation of modern Ireland.

The series stands as a testament to the rich and complex history of Ireland's evolution since its founding in 1921. The series is further enriched by interviews with influential Irish figures, including former Presidents Patrick Hillery and Mary Robinson, and ex-Taoisigh Liam Cosgrave, Charles Haughey, and Garret FitzGerald. Contributions from Desmond O'Malley, Michael D. Higgins, and various experts in history, journalism, economics, and public service provide additional depth and context. By examining the interplay of historical events, collective self-perception, and the evolution of national mythologies, the series offers a comprehensive understanding of the complex history of the Irish state.

First broadcast in 2000, Seven Ages remains a valuable resource for anyone seeking to unravel the diverse tapestry of Ireland's past and its enduring impact on the nation's present. Produced by Araby Productions in association with The O'Reilly Foundation for RTÉ and BBC Northern Ireland.

Bram Stoker, the author of Dracula, had a unique connection to Marsh’s Library in Dublin, which served as a quiet sanctuary for his writing during his youth.

Between 1866 and 1867, Stoker frequented the library, immersing himself in its shelves filled with books on history, folklore, and the supernatural. While there is no direct evidence that his time at Marsh’s Library inspired the writing of Dracula, several of the texts he consulted touch on Transylvania and historical figures that would later influence his iconic vampire novel.

Interestingly, the library holds clues to some of the more subtle elements in Dracula. For example, Stoker’s fascination with the 5th of November—a date of historical significance in Britain—can be traced back to books he read at Marsh’s. This date, which commemorates the foiling of the Gunpowder Plot in 1605 and the Williamite victory over King James II in 1688, is central to the plot of Dracula, where it marks the vampire’s vulnerability.

As we explore the universality of mythology—past, present, and future—Stoker’s time at Marsh’s Library serves as a fascinating lens through which we can understand how the blending of history, myth, and personal experience can shape a legacy that transcends time.

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Mitologia Słowiańska w Zarysie ("An Outline of Slavic Mythology"), available on Polona through the National Library of Poland, provides a comprehensive overview of Slavic mythology, tracing the beliefs, deities, and spirits worshipped by the Slavic peoples prior to their conversion to Christianity.

It highlights key gods such as Perun, the god of thunder, and Veles, the god of the underworld, as well as nature spirits like the domovoi (house spirits) and rusalki (water spirits), which play significant roles in Slavic mythological traditions. The text delves into how these mythological figures were central to the cultural and spiritual practices of pre-Christian Slavic societies.

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The 1960s heralded a cultural shift as Ireland began to open up to external influences. This episode investigates the emergence of a new mythology surrounding a modern, progressive Ireland, challenging traditional notions of national identity and fostering a broader understanding of what it meant to be Irish.

Directed and produced by Seán Ó Mórdha, Seven Ages: The Story of the Irish State presents a narrative of Ireland's evolution as a complex interplay of historical events, national mythologies, and collective self-perception. This series underscores the significance of cultural narratives in shaping a nation's identity and trajectory, illustrating how myths and storytelling serve as powerful tools in the ongoing process of nation-building.

Each episode explores critical events, political developments, and societal changes that have contributed to the formation of modern Ireland. The series stands as a testament to the rich and complex history of Ireland's evolution since its founding in 1921. The series is further enriched by interviews with influential Irish figures, including former Presidents Patrick Hillery and Mary Robinson, and ex-Taoisigh Liam Cosgrave, Charles Haughey, and Garret FitzGerald. Contributions from Desmond O'Malley, Michael D. Higgins, and various experts in history, journalism, economics, and public service provide additional depth and context. By examining the interplay of historical events, collective self-perception, and the evolution of national mythologies, the series offers a comprehensive understanding of the complex history of the Irish state.

First broadcast in 2000, Seven Ages remains a valuable resource for anyone seeking to unravel the diverse tapestry of Ireland's past and its enduring impact on the nation's present. Produced by Araby Productions in association with The O'Reilly Foundation for RTÉ and BBC Northern Ireland.

Pagan Rave is an ongoing, performance-based project which aims to reimagine folk traditions and calendar customs of Ireland.

Using as a starting point the costumed figures of Irish and European folk theatre and seasonal festivals, it seeks to operate at the margins of place and mind, and embody the transformative and liberating aspects of masks and music in a ceremonial context.

The project manifests in different ways. Some occasions are large, community- or festival-sized events, with scores of performer-participants and hundreds of spectators. Others involve smaller groups, and may not have any audience at all. These private occasions offer an opportunity to explore ritual space, with participants making use of mask, music and movement to tap into an often primal sense of trancelike consciousness. It may also simply manifest in a party-like atmosphere, where straightforward enjoyment and fun is the aim.

Pagan Rave forms a symbiotic relationship with our sister project Aeons, the electronica band founded by Muireann Nic Amhlaoibh. We also make music with musical supergroup Mr Muntz.

Irish football supporters have gained international recognition for their distinctive approach to fandom, marked by joy, resilience, and a camaraderie that often transcends the outcomes of games.

Renowned for transforming moments of defeat into scenes of shared humour and positivity, they are widely regarded as goodwill ambassadors who regularly cheer for opponents, sing in the streets, and turn matches into events of communal celebration.

This reputation solidified during World Cups such as Italia 90, USA 1994, Japan 2002, and Euro 2016, where their warmth and good humour garnered global admiration. The enduring perception of Irish fans is one of loyal and optimistic supporters who celebrate each game as a communal experience, projecting a distinctive, resilient national identity that endures beyond the sport itself.

A pencil sketch of various mythological and religious scenes.

The Mythological Scene in the collection of the Royal Museum of Fine Arts Antwerp (KMSKA) measures 225 × 296 mm and is catalogued under inventory number 3172/83. For more details, including professional usage or to view the artwork, you can visit the museum's link below.

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The Fall of Pegasus, Inventory No. 3322/1, is a painting by Bill Orix, depicting the dramatic fall of the mythical creature Pegasus, a moment rooted in Greek mythology.

Pegasus is often portrayed as being tamed by Bellerophon but meeting a tragic fate, either due to the gods' intervention or through its association with human arrogance.

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The Kristal calendar, created to promote the photographer Frank Philippi's photo studio, features a crystal glass bowl adorned with mythological female figures.

The imagery blends intricate glasswork with classical mythological representations, showcasing Philippi's artistic approach to combining photography and design.

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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The tale explaining why the Moon has spots is a Lithuanian sakmė, a type of fantastical folk tale used to explain the origins of natural phenomena. According to the story, the spots on the Moon represent a girl carrying water. Once an orphan, she was mistreated by her stepmother, a witch, who sent her on endless tasks, including fetching water.

In a fit of rage, the stepmother cursed the girl and sent her to the Moon, where she was forced to carry a yoke and buckets. This image of the girl enduring endless labor is said to be the cause of the dark spots visible on the Moon's surface today.

This sakmė is part of Lithuanian etiology, a genre of folk tale that explains the origins of the world and natural phenomena. It is rewritten and translated based on How the Earth Came to Be: Lithuanian Etiological Legends (Kaip atsirado žemė: lietuvių etiologinės sakmės), compiled and edited by Norbertas Vėlius. The image accompanying this narrative was captured by Aušra Jasiukeviciūtė.

This tale, like many in Lithuanian folklore, uses celestial phenomena to convey moral lessons, integrating the mystical with the natural world. The Moon, often a source of mystery, in this case, represents the punishment and endurance of a girl wronged by her stepmother, creating a vivid explanation for the lunar spots seen across cultures. Similar themes of transformation and punishment are common in both Lithuanian and broader Baltic mythologies, where the celestial realm is often used to narrate tales of justice and morality.

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