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The Cult of the Winds

An adaptive or reconstructive overview from a Hellenic Polytheist perspective.

The Cult of the Winds: An Overview

There are a lot of variations to the Cult of the Winds, and I may be the only person who refers to them collectively as the Cult of the Winds so keep that in mind before you try to google this stuff. I will mark commonly used keyword terms in bold italics so you can better identify which terms are more likely to yield search results. I have my own jargon so it can get a little confusing. Usually people refer to each individual cult by its proper name, if it has one that marks it as something distinct from another. Zar & Gnawa are examples of living Cult of the Winds traditions while the ancient cults of the Kouretes & Koryvantes were also a part of that family tree in the past. For example, the Zar cult has a few different named variations like: Zar-Hadra, Zar-Bori, Zar-Tumbra. But the vast majority of variations to Zar do not have special terms demarcating them as variations. They are all perfectly equal and valid. The named spirits and their personalities change from region to region and there are some color variations used to represent the courts, and threads (spirit songs) used to call the spirits can also be different from place to place.

All variations in the wider scope of the Cult of the Winds form what I like to call the spectrum of normal. There is never just one right way to do something. Regional variations are all perfectly valid and help complete the picture of what this cult is all about and what it was designed to do. Having multiple variations of this cult to compare provides stable ground for establishing patterns.

Background Information

Before I get too far ahead of myself, a little background on what the Cult of the Winds is and what the general associated classical Hellenic micro-pantheon is…

The Cult of the Winds spun out of the likely Bronze Age or even Neolithic ecstatic cave-based practices of a goddess that I usually refer to as the Mountain Mother. She has a lot of names and regional variations but the ones you would probably be most familiar with are Kybele, Ida, Rhea, or Magna Mater.

A while back I created this little image to show the relationships and divisions between the 5 major ecstatic cults of the classical Hellenic world–as they appear to my eyes. The Cult of the Mountain Mother is the starting point for both the Cult of the Winds & the Cult of Divine Madness. And there is a very good reason for that. Both have features and ideological technologies that came directly from her cult practices. Features like using cymbals and clackers to control spirits. It is from the Cult of the Mountain Mother that we get the idea that spirits can be controlled by ringing metal against metal. This is still a major underlying principle in many ecstatic and even shape shifting traditions today and it is the reason that Christian churches ring bells and at least partially forms the underlying belief that fey or other types of nature spirits are repelled by cold iron.

In the Bronze Age, the spirit weapon of choice for her cult would have been either clay or Bronze, depending on exactly where and when we are talking about. With the Bronze Age Collapse came some very serious changes to the spiritual landscape of the pre-Hellenic world. The Mountain Mother had always had sons and daughters. One of those sons was an Eagle god who ruled over the sky and specifically the Winds. With the rise of iron technology, and the spiritual properties associated with iron, that god rose to prominence above the others. This would one day be Zeus.

The Storm God's father was a lightning god, associated with snakes in iconography. Snakes being code for so-so-so many spiritual concepts but in this context, largely the patterns that lightning and static make. That serpentine electrical arc. Eagle Storm God Son overthrew Storm God Snake-Dragon Dad and took his place in both sacred legend and in life. This granted him a very specific spiritual authority over pretty much everything--at least in the minds of his sorcerer priests. Ringing metal against metal was the method for establishing that spiritual dominance. Instead of using a sistrum or hand cymbals to do it, his early cult made the adaptation of using what we would recognize as gongs or shields.

This is where the cults of the Kouretes of Crete and the Koryvantes of Samothrace, Phrygia, and Euboea come into the story. The very early micro-pantheon of the god that would one day be popularly known as Zeus, was largely sky based. He ruled over the Winds as his own domain first and then eventually his priests used the same techniques to extend that influence and control over the other gods. The only deity he never really outranked, as far as these early cults were concerned, was that of his mother, the Mountain Mother.

The early Kouretes and Koryvantes practiced what would eventually come to be seen as sorcery and are pretty much the fathers of many, many later magical traditions. They were metallurgists, blacksmiths, who closely guarded the recipes and techniques used to smelt iron and various other metals and create alloys. At first these secrets were kept in the family, which allowed this to be an extremely exclusive closed practice. Eventually the technology did spread around and when they no longer had the monopoly on it, their practices lost some prestige.

They were an ecstatic cult that compelled Wind spirits but they also provided spiritual services to the public to diagnose which god was cheesed-off at a human being whenever someone felt spiritually tormented. They beat shields together to create a rhythm and danced wildly with swords and knives. Often taking injuries--a feature pulled directly from the practices of the Cult of the Mountain Mother. They chanted hymns to the gods in a special order of strict hierarchy, the same as they would have done for the Winds. Everything was about strict hierarchy with this cult. Everything in order, while the entranced dancers themselves whirled around in chaotic patterns.

By the classical Hellenic period, this wild cult had largely died down but was still held in very high esteem--same with the cult of the Mountain Mother. The ecstatic techniques and ideological technologies that it planted in the population also splintered off in different directions, working their way into the many cults of Dionysos. These cults of Dionysos existed from at least the Bronze Age onward so, to be clear, it was not the cult itself that came later but some of the adapted ecstatic practices that were brought in. The Cult of Dionysos shares a lot of features with the Cult of the Winds, including musical diagnosis and wild dancing to relieve spiritual torment, the use of cymbals--though some branches of Dionysos’ cult used metal while others used wooden clackers. Just an honorable mention for the Cult of Divine Madness before getting back to the Cult of the Winds.

Winds are demons. And I am not talking like the general daimon that could refer to nearly any kind of spirit. I mean a very specific type of bodiless spirit that is generally not the most helpful thing to humanity, yet they absolutely love to mess with humans. Like can't get enough. The idea is that since Winds have no bodies of their own, they like to inhabit the bodies of mortals that they take a liking to--usually someone that they think could give them the experiences and physical sensations that they crave. These mortals are referred to as Brides.

Bride is a genderless term. The closest word I could compare it to in modern English would probably be "bottom." Another code word that was fairly popular for this relationship in the classical Hellenic period would be translated as "horse." Horse is still used today in that same context in various languages where the Cult of the Winds can be found. So, when you go on Theoi in a minute and start looking up the Wind Kings and you see them mentioning horses, they're being very clever and whoever did the translating maybe did not understand that this was a code word for something. Double and even triple meanings to various terms were pretty popular in the classical Hellenic period. The stinkers.

When covertly speaking about the Winds, because talking about them directly is kind of seen as bad luck or an invitation for them to visit, they are usually described as being "above" and their mortal Bride as being "under" them. Which is why horse works so well. And you can see how this cult has influenced so many other spirit traditions in and adjacent to the Med by really exploring this concept. You see these key words used in spirit threads a lot. References to going underground, to diving down below, to being under water, to falling from somewhere. The act of trance itself is described this way, same with hypnosis and anesthesia. You are being "put under."

Not everybody who trances is automatically a Bride. A Bride is someone who has been through a ceremony that formalizes the relationship between mortal and possessing spirit. Those who are taken by a spirit are said to have been bitten, pricked, or pinched. The Bite is the vector of possession. It is how we go from happily lil mortal doodle-dooing through life to BAM!--married to a Wind (or to Dionysos. Similar concept but different cult).

In the Cult of the Winds, this relationship is largely not considered sexual or even romantic in any way. Winds just want to play with human bodies and have adventures while pretending to be human. A lot of them are not super smart and they don't fake being human very well. (You didn't hear that from me.) It would be cute if it wasn't also sometimes very dangerous. A Wind cannot be other than they are. Their nature is a set thing, it never changes. They may not be mean-spirited but they just do not comprehend the limitations of a human body. So the spirit-marriage ceremony is a way of keeping the wind from destroying their Bride. In between the Bite and the marriage ceremony there is a period of drama referred to as spirit sickness or possession illness. This represents the time frame when the possession has been introduced but there are not yet any restraints placed on the Wind so the mortal host's body suffers.

Possession illness is not just any ol’ thing. It is not a disability or a neurodivergence. It is a very specific thing and it is tightly regulated to prevent people who need medical and mental health care from being misdiagnosed. The very first thing a spirit master is going to ask when someone comes to them with their symptoms is, "Have you been to the doctor? Have you been to several?"

There is a chain of operations here. This cult is all about hierarchy and doctors are always at the top tier. A potential Bride should do everything in their power to get licensed medical help first. Then licensed psychological help. If both of those fail to yield a solution, the next step is to go to your official religious authority and see if they can help. Spiritwork is always a last resort. It is a lifelong commitment and a very big deal. Doing this also helps to provide proof of state through a process of elimination. If nobody else can figure out a solution to your ailment, then it improves the likelihood that the cause is a Wind.

No spirit master of any repute is ever going to sit down with a person, listen to their story, and tell them, "Yes, you have a spirit and this is their name!" That curdles my blood just thinking about it. That violates the heart of how these rituals function. Even the Kouretes & Koryvantes would never say such a thing right off the cuff. The afflicted must go through the diagnostic musical ritual. The afflicted is expected to lie completely still in a catatonic state until they hear the music of their possessing Wind (it is the same in Tarantella, which is a part of the greater cult of Dionysos, btw).

The living traditions surrounding the Cult of the Winds tend to be a little more old fashioned and stodgy than their Dionysian cousin traditions. They have their spirit threads (chants) and each one is tied to a named spirit. Tarantella is more of a musical free-for-all. There are no spirit names, just an ever-growing repertoire of spirit songs. Any new song that enters the Tarantella repertoire is fair game. So, there is so much more music to learn for Tarantella than for any of the Cults of the Winds.

If you are a lead musician for a variation of either tradition, you are in for a lengthy period of study. Say a prayer for your poor hands and voice. I'm kidding. It is actually a lot of fun to learn. Not everything serious in life is serious all the time. Well, I think it is fun. If you give it a shot and you feel your body fighting against it, it may be a sign to try a different role. It takes a whole team of people to effectively pull off these rituals. This is definitely not solo trance time…

Onward to the Winds!

Time to introduce these guys. As I have already said, the Winds have a strict hierarchy. The cardinal directions (N, S, E, W) are considered the royals or kings of their respective directions. Just about every language has their own names for these beings. The kings do not take Brides very often and are sometimes barely involved in the rituals directly. This image here also provides 4 more names for the Winds who rule the directions in between (NE, NW, SE, SW). These are also nobles but they rank underneath the 4 kings.

Some traditions include nobles and some don't. Some have just the 4 kings. Some have 4 kings and 4 nobles. Some have 4 kings and 8 nobles. Something you may notice pretty quickly is the symbol that emerges from them. The compass. This compass will change design depending on which version of the cult we are looking at. It will have either 4, 8, or 12 spokes to the wheel. Later nautical traditions got really carried away with naming the Winds and you can find maps with all kinds of names. Way more than 12. All are valid but not all are part of a known ecstatic Cult of the Winds. But if you were to reconstruct something like this on your own, whatever traditional names you would want to put in there should be within the spectrum of normal. At least from my perspective. Each cardinal direction is associated with a greater court and a color. This is where it starts to get tricky. Different traditions use different colors.

Speaking of confusion, the Winds who take Brides should not be thought of as directions. The directions are what rule, govern, and inspire them. The directions are their Lords--who they have to listen to and obey. Winds don't listen to just anyone. They only listen to their direct superior in the hierarchy. So, when you are reading a sacred legend about a Wind and the author describes them listening attentively and doing what they are told, whoever gave them an order is higher ranking than they are. (In classical Hellenic texts this is usually Iris and the author is displaying her rank in the spiritual hierarchy by describing how the 4 kings respond to her.)

Instead of directions–which are the nobles–think of the average Winds as a collection of passions taken to an extreme. Each cardinal direction has their own type of extreme passion. It is a bit more nuanced than what I am presenting here but this is a good starting guide for building some understanding.

For the North it is Fear.

For the East it is Distraction.

For the South it is Obsession.

For the West it is Lust.

There can be any number of Winds in each court. They do not have to be evenly matched with each other. Since they do not represent directions and instead represent extreme passions, there can be quite a lot of them. In more modern traditions like Zar and Gnawa, Winds are born, live, and die just like people do. I don't know if that was the case in antiquity. Basically if it is a passion that exists and someone created a name for it, there is probably a corresponding Wind.

As I stated in the very beginning of this, Winds are just largely incompatible with human bodies. So, when I'm describing the worst of what they are and what they do, understand that this is what they would be like in their natural state before a Bridal ceremony. This is how they make their Brides sick and it is why these ceremonies exist to begin with. The ecstatic rituals are designed to bring harmony and peace to all involved. Once a potential Bride has gone through the Bridal ceremony, their Wind will be at peace within them. Each will have rules to follow in life to keep the other safe and content.

These rituals come from a time before Christianity took hold anywhere. And some aspects of Christianity evolved as a direct response to them. When early Christian writers talk about people trafficking with demons, this is at least a good chunk of what they are talking about. They viewed the propitiation of these types of spirits as evil and wrong and they presented an alternative to spending your life in a spirit marriage. That alternative was and still is exorcism.

THE WINDS/ ANEMOI/ AETAI

The Winds are the living spirits of the wind itself. They represent pure thought, ideas, and whisperings of the mind as much as they represent the directions, gusts, and seasons they are tied to. The Winds are assembled into a strict hierarchy of Courts with each Court ruled by a King of that direction. The Four Wind Kings are the sons and subjects of Eos (Dawn) and Astraios/Aeolus (Prophecy/Astrology). Beneath them are the High Nobles and under those are the Low Nobles.

The Kings: Boreas= North, Notos= South, Apeliotes= East, Zephyrus= West

High Nobles: Kaikas= North East, Eurus= South East, Skiron= North West, Lips= South West

Low Nobles: Meses=NNE, Euronotus= SSE, Libonotus= SSW, Thrasias= NNW

In each of the cardinal directions there are varying named and unnamed lesser winds who constitute the Court of that direction. Winds are closely associated with horses. Horses are often code for gods and spirits who take Brides (possess mortals).

Each tier in the hierarchy of the Winds must answer to the tier above it. The Wind Kings themselves will answer to their parents, Eos & Astraios, as well as Iris on behalf of Hera, Zeus, & Zeus’ Mother (Rhea, Ida, Kybele–traditional names vary). In this they are compelled by the crashing of metal against metal, such as used in ritual music composed of metal bells, cymbals, sistrum, and shields.

BOREAS is the King of the Northern Winds. As the North Wind, Boreas is associated with the Winter season and chill, icy winds that blow down from the Thracian mountains. Boreas is also associated with knowledge, fear, contemplation, leadership, and authority.

OFFERINGS AND ASSOCIATIONS

Symbols: Conch shell.

Colors: Purple or White.

Animals: Horses. Winged Horses.

Plants/Herbs: Root vegetables, purple winter flowers.

Food/Drink: Mountain tea (Τσάι του βουνού).

Offerings: Frankincense/ Livani.

NOTUS is the King of the Southern Winds. As the South Wind, Notus is associated with the Autumn drenching rain and cruel storms that blow towards the Aegean from Ethiopia. Notus is associated with darkness, obsessions, deeply rooted passions and is closely tied to the traditions of Rhea/ Ida/ Kybele.

OFFERINGS AND ASSOCIATIONS

Symbols: Knives, metal spade.

Colors: Black or Dark Brown

Animals: Horses. Winged Horses.

Plants/Herbs: Rosemary, dark colored flowers, fragrant herbs.

Food/Drink: Blood or wine.

Offerings: Frankincense/ Livani

APELIOTES is the King of the Eastern Winds. Sometimes the name Eurus is used. The name of this Wind King is not as firmly fixed as the others because the Eastern Wind was added later. Originally there were only 3 Kings and the East was ruled by the Dawn or the Sun. As such, the Eastern Wind King is still associated with fire, warmth, and the plenty of the summer months. Apeliotes is also associated with mischief, distractions, pranks, daydreams, and leisure time.

OFFERINGS AND ASSOCIATIONS

Symbols: Cornucopia.

Colors: Orange-Red.

Animals: Horses.

Plants/Herbs: Harvest fruits and grains.

Food/Drink: Spicy foods, hot drinks, beer, cider.

Offerings: Frankincense/ Livani.

ZEPHYRUS is the King of the Western Winds. As the West Wind, Zephyrus is associated with the thaw of spring, youth, love, and the first flowers of the season. Zephyrus is also associated with love, lust, jealousy, romance, music, and pleasant things.

OFFERINGS AND ASSOCIATIONS

Symbols: Spring Flowers.

Colors: Warm Blues.

Animals: Horses, scorpions.

Plants/Herbs: Crocus, Hyacinth, Daffodils, and other spring flowers.

Food/Drink: Sweet beverages, occasionally alcohol.

Offerings: Frankincense/ Livani.

*Winds are an integral part of spirit possession traditions of the pan-Mediterranean. Associated with disquieting passions that cannot be ignored. Surviving traditional practices relating to the Winds involve complex rituals of musical propitiation and spirit marriage wherein the Winds and their Courts take mortal Brides.

Arlechina Special Notes:

The offerings and associations provided are just for the Wind Kings. The High and Low Nobles were not included in this write up because so much of the material available on them comes from living traditions and those really vary a lot from region to region, as we went over a bit previously. Some traditions include them and some do not. Offerings, associations, and names were also not provided for the spirits of each Court for similar reasons. Those will be similar to the Kings of their respective Courts BUT not identical. Each spirit has something very particular that they like and that literally can vary from Spirit House to Spirit House.

A Spirit House is an individual group of humans who gather together to perform musical rituals of propitiation for the Winds and their Brides. For example, if we were to get together and go through these rituals, our individual group would be a Spirit House and we would have our own variations on these traditions for spirit names, threads (spirit chants), offerings, and associations based on how the spirits interact with their Brides in our specific house. Variation is normal but it does follow a spectrum of things that make sense and form unity with other Spirit Houses. This is why, even in antiquity, there would be many different names for the individual lesser Winds as spirits from place to place.

General Info on Spirit Possession

For those who are not familiar with what spirit possession traditions look like or how they function, it is a pretty consistent thing all over the world so there is a method/ series of techniques to doing it well. These same techniques are found in all of the Mystery Religions of the wider ancient Mediterranean as well as living traditions of that same region today. This makes it easier to understand the methods because there is consistency and continuity involved.

Firstly, these rituals are musical. There is a thread (spirit song) for every spirit that compels them to rise up in their mortal Bride and dance/ move. They go from dormant to suddenly very active when they hear their thread. Through their dancing they will portray who they are and what they desire. The Bride will wear the colors of their Wind groom (still a term linked to horses), and partake of the offerings the spirit has requested. So, while their music plays, they will eat and drink, use the tools associated with their Wind, and move in such a way as that Wind is known to move.

Spirit possession is not considered rare at all. It is in fact quite contagious and all gods and spirits who take Brides can and will take many at once. This includes the Cults of the Winds as well as the Cults of Dionysos and any other that follows this sort of format. Multiple spirits may even claim the same mortal Bride. Every single spirit marriage requires a separate contract/ agreement made between the Bride & the Wind. So, if you have three separate Winds over your head, you are going to have a very busy night during the course of the ritual.

These rituals are usually done at night in the living traditions that I am familiar with. And I seem to recall it was a complaint raised by detractors of spirit possession traditions in antiquity because, at least in a few hoity-toity minds, proper people don't get up to wild dancing shenanigans under cover of darkness. If it is truly good, then it should be done in the daylight! Eff that. The night time is the right time.

This means that participants stay awake all night doing this. If you are a musician, gods help your poor hands and voice. This is partly why the living traditions are most active in the summer months--shorter nights! There is a practical reason for everything. It is also meant as a sort of catharsis--to journey into the darkness, confront spirits, and emerge in the dawn whole, healed, changed. This concept is reinforced in the classical Hellenic Cult of the Winds with Eos (Dawn) as their mother who compels them to step back and surrender their mortal Brides to their own lives, until the time comes to dance all night again. We dance under the stars of Astraios until the Dawn brings spiritual clarity and unity.

#hellenic polytheism #spiritwork #trance work

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