Minoan Bull Sacrifice

This is the bull sacrifice scene from the Minoan Hagia Triada Sarcophagus, a late Minoan limestone sarcophagus, dated to around 1400 BC, excavated from a chamber tomb at Hagia Triada, Crete in 1903 and now on display at the Heraklion Archaeological Museum, Crete, Greece.

As far as I know, all the scenes depicted on this sarcophagus are interpreted as "funeral offerings". This particular scene is interpreted as: "...an offering table on which lies a trussed bull...blood...coming from the bull’s neck and pouring into a vessel next to the table. Beneath the table are two small goats, possibly awaiting a similar fate..."

In the Khan Academy article about this sarcophagus we read:

 "In some ways what we see on...sarcophagus is simple to understand: women and men...making sacrifices and preparing the deceased for burial before his tomb. However, looking more deeply, many questions remain. How is it to be read?"

So how indeed is this to be read? 

I personally don't think this is a depiction of a funeral sacrifice at all...Here is why: 

This is climate in Crete...The climatic year is divided into hot and dry half (Apr/May - Sep/Oct) and the cool and wet half (Sep/Oct - Apr/May)...

The hot and dry half starts when the calving of the wild Eurasian cattle used to start, so it's marked by animal calendar marker Bull...

The cool and wet half starts when the mating season of Cretan Ibex starts, so it's marked by animal calendar marker Goat...

So, does killing of the bull, with goats under the table, symbolise the end of the dry season and the beginning of the wet season? A very big deal in Crete...Hence all the leafy green vegetation at the altars everywhere...

The death of the bull brings the rebirth of nature...

I first talked about the climate in Crete and goat and bull as calendar markers in my post "Goat riding thunder god". In this post I talked about this larnax, a type of small closed coffin, box or "ash-chest" often used as a container for human remains. It was found in Mycenaean Tanagra cemetery which was dated to 14th - 13th century BC...

And it was definitely developed under huge Minoan influence. This can be seen from the fact that the bottom part of the panel depicts bull leaping, favourite "past time" of the Minoans. I would say that this activity was a religious ceremony performed during the bull part of the year, summer. In the top panel we see Ibex goat hunt. I would say religious ceremony performed during the goat part of the year, winter.  The main question here is why was this panel divided like this? And why were these two scenes depicted separated like this?

I then talked about this bull/ibex duality in my post "Theseus ring" about two, officially, Mycenaean, but I think Minoan, rings, one depicting bull leaping and the other depicting a sacrifice made to an ibex. 

Now the priestess which performs the bull sacrifice stands in front of an altar which stands in front of a shrine topped with "bull horns of consecration" from which a tree (of life) grows. 

I talked about "bull horns of consecration" temples for the first time in my post "Sanctuary rhyton" where I analysed the scene depicted on the so called "Sanctuary Rhyton" from Zakros, Crete, Greece, dated to the Late Bronze Age, 1550-1500 BC.

The scene depicts a so called "Peak Sanctuary", a mountain top temple, one of many discovered on Crete, whose purpose and dedication is unknown. I proposed that this image actually explains that these mountain top temples were linked with the worship of the "goat of rain"...

You can see that the ibexes, whose mating, which takes place on mountain tops during the peak of the rain season on Crete, are depicted sitting on, what I proposed is, a cistern fool of water, depicted by swirling spirals. 

I talked about them as being the symbol for swirling, running, moving water in my post "Tuna boats" about Cycladic "frying pans".

Quite a lot of these Cycladic frying pens have depictions of boats as part of the decoration...Like this one...A boat depicted among the swirling spirals representing waves, or moving, running water...And right above the bow of the boat there is always a depiction of a fish...Which would suggest that Cycladic boatsmen were fishermen...

Now the same swirling spirals are depicted on the sides of the sacrificial altar and the shrine from the Hagia Triada sarcophagus...Swirling, running, water...

Do you see a jug standing on the altar? Jug with water? Holy, rain, water?

And do you see the basket of fruit above the altar? These could only be oranges, lemons, pomegranates...All winter, rain season, fruit...

Oh are these saffron crocus flowers depicted on the priestess's skirt? 

Like these depicted on a famous saffron gatherers Minoan fresco?

Like these depicted on the skirts of these figurines found in Knosos?

Saffron crocus flowers and is harvested at the beginning of the rain season in Crete...

Interestingly, between the altar and the shrine stands a pole with double headed axe topped by a bird...

In my post about the Mountain Sanctuary, I proposed that the depicted birds are migratory birds, which fly over Crete southward just before the beginning of the rain season, and fly over Crete northward just after the end of the rains season. Thus serving as animal calendar markers for the rain season. 

Now no one knows what the double axe means in Minoan context. We know that it was an important sacred symbol, but not what it meant. But in contemporary Levant and Anatolia, double axes were symbols of the thunderbolt. The double-axe is associated with the Hurrian god of sky and storm Teshub and his Hittite and Luwian counterpart Tarhun. Both are depicted holding a triple thunderbolt in one hand and a double axe in the other hand.

For instance

I talked about this Ugarit seal in my post "Mystery seal"...

So, I would say that the bull sacrifice scene from the Hagia Triada sarcophagus suggest that the Minoan double axe topped by a bird, next to a mountain sanctuary shrine is also a symbol of thunder and rain.

But, I can hear archaeologists shouting, in Crete the double axe only accompanies goddesses, never gods...

Well, If you read my posts about Minoan culture and religion, you will see that I have linked goddess to the rain season (winter, cool, wet, yin, female, goat) and god to the sun season (summer, hot, dry, yang, male, bull)...

Here are these articles, check for yourself: "Goat riding thunder god", "Sanctuary rhyton", "Cornucopia", "Saffron", "Origin of saffron", "Theseus ring"...

So the double axe can be a symbol of thunder and rain and be associated with goddesses only...

A sacrifice of a bull (summer, hot, dry, yang, male) to the double axe (thunder and rain)  standing in front of a shrine symbolising a mountain (goat of rain) sanctuary from which a tree of life grows, now makes a lot of sense...Right?

BTW, I don't think the goats are going to be sacrificed...They are not tied...

That's it. To read more about ancient animal and plant calendar markers, start here…Then check my twitter threads I still didn't convert to blog post...I am way way behind...

PS: I just looked at the other 3 sides of this sarcophagus. There is a lot more to be said about it. Soon.

Minoans spring fresco

The so called "Spring Fresco" from the Akrotiri Site at Thera (Santorini), dated to 1550 – 1500 BC, depicts swallows flying in the air above blooming flowers...

The fresco should really be called "Beginning of summer fresco"...Here is why:

The birds on these frescoes are identified as barn swallows...

And the flowers look like Lilium chalcedonicum

But are mostly identified as Lilium candidum, also known as Madonna Lilies where the red colour is a result of an "artistic freedom"...

You can read more about this in "Seasonal flux—three flowers for three seasons: seasonal ritual at Akrotiri, Thera". 

The Minoan artist depicted what actually happened on Santorini and Crete every May: Madona Lilies began to bloom, right at the time when barn swallows began to nest. And fight...In mid air...

Yup, apparently, the "kissing swallows" are not kissing at all. They are fighting over feathers which they collect to insulate their nest...

At least according to this paper: "A Flight of Swallows" by Karen Polinger Foster...

The blooming of Madonna Lilies, which on Santorini and Crete takes place in May/Jun overlaps with the nesting, hatching and fledgling of barn swallows...

So here we have another example of animal and plant calendar markers...Two things that happen every year at the same time (in May) are depicted together...Marking the beginning of summer...

Hence "Beginning of summer fresco" 🙂

To read more about ancient animal and plant calendar markers, start here…then check the rest of the blog posts related to animal calendar markers I still didn't add to this page, and finally check my twitter threads I still didn't convert to blog post...I am 9 months behind now...

Origin of saffron

During the excavations of the the Temple Repositories at Knossos, among many early 2nd millennium BC faience (glazed ceramic) objects, Arthur Evans unearthed ceramic crocuses and models of female garments decorated with crocuses...

I found this image in the "Bronze Age Flower Power: The Minoan Use and Social Significance of Saffron and Crocus Flowers". Really cool article...

In it the author, Rachel Dewan, states that: "...If Evans’ interpretation of the faience models as votive offerings is correct, than here again is evidence for significant links between women, textiles, crocuses, and the divine..."

In the conclusion of her article, Rachel Dewan says: "It is clear from the iconographic evidence that crocuses and saffron were regarded as more than mere crops by the inhabitants of  the Bronze Age Aegean...

As a functional ingredient within the dyeing and perfuming industries, an effective medical treatment, a meaningful cultural symbol most likely used in cultic activities, and a profitable commodity, the plant was revered by the Minoans...

The  numerous correlations between this valuable plant and Minoan females, seen both in iconographic representations  and  archaeological finds, suggests that saffron was held in particularly high esteem by women who embraced it as a symbol of female identity and culture...

By the Mycenaean period, saffron’s value and versatility were well-established, and its detailed recording in Linear B documents reflects its status as a treasured commodity worthy of palatial attention...Saffron ideogram on tablets from Knossos highlighted in yellow...

Interestingly, however, crocus imagery became a rare motif in Mycenaean art throughout the Aegean, suggesting that the plant lost some of  its symbolism in this later period, even as its economic importance remained..."

So there are two unanswered questions here:

1. Why was crocus revered by Minoans before the Mycenaean conquest?

2. Why was crocus not revered by Mycenaeans?

The answers to the first of these questions is: because of climate. The climate in Crete which shaped Minoan mythology...

The climate in Crete is divided into two seasons: 

The dry and hot season May-Sep...

The wet and cool season Oct-Apr...

This is temperature and precipitation chart for Knossos (Modern Heraklion) area of Crete...

The end of the dry season is the moment of prayer in Crete...The rivers and wells are dry...The soil is dry and cracked...Everyone is looking at the sky, waiting for the arrival of the first rain clouds...

And then the Cretan Ibex goat mating season starts, and the first rains arrive...The land turns green. The wells and riverbeds start filling up. The life returns... 

Which is why Ibex goat was venerated as the goat of rain by Minoans. I talked about this in my article "Goat riding thunder gods"...

And right after the first rains, the wild flowers appear everywhere. Including saffron crocuses which flower in November - December...They were picked by Minoan women, as depicted on these Minoan frescoes...

I talked about this in my article "Saffron"...

These flowers were picked because of their vivid crimson stigmas...About 400 hours of labour is needed to produce just one kilogram of saffron...Which is why saffron was worth its weight in gold...Still is by the way...

We know this because saffron was the only spice to be measured by weight, in the same small, intricate values used for gold, suggests that it was considered to be a valuable commodity, carefully monitored by the palace...

The appearance of the saffron ideogram (CROC) on 59 whole or partial Linear B tablets is indicative of its economic importance. It was a valuable commodity...The reason for this is because it was used in the production of luxury goods...

Because of its extremely strong color, saffron was  used to die clothes yellow, the color which was from Eastern Mediterranean to Mesopotamia considered to be the color of divinity and royalty...

Because of its aroma and color, saffron was used as a food spice and as a compound in cosmetics, like cremes, body paint, and perfumes...

Because of its medicinal properties, saffron was used in preparation of medicines. As a matter of fact it was in the past one of the most famous medicinal plants...Amongst medicinal plants known in the Near East and Mediterranean, saffron has the largest number of applications...

Here is the interesting bit: the spice’s most common ancient reference is as a pain-reliever for menstrual cramps and childbirth. Saffron can act as an abortive in high doses, and may have functioned as an early form of birth control...

A women's plant...

Rachel Dewan quotes Robert Arnott who notes the prominent role that herbal healing would have played within the ancient Aegean, particularly amongst ancient midwives and female healers. I talked about the old midwife cult in my article about Balkan village midwives "Baba's day"... 

Rachel Dewan then says that "The fact that women, rather than men, are shown in scenes involving crocuses and saffron has led many scholars to suggest that the Minoans were aware of the gynecological benefits of saffron, and thus exploited the plant’s medicinal properties..."

Indicating that maybe this plant was sacred to Minoan women precisely because of its obstetrical-gynecological medical application...And I do agree that this is part of the reason why saffron crocus was sacred to the Minoan women...

But I also believe that the saffron crocus acquired religious significance because of when it flowered: right after the first rains...

The plant directly connected with feminine beauty and fertility flowered at the moment when Mother Earth's beauty and fertility was restored by her first "period": the first trickle of water in dry riverbeds after the first winter rains...You could make a religion out of it...

Now what about the decline of the crocus veneration under Mycenaeans...

To answer this question we have to look at the saffron crocus plant itself...The saffron crocus plant grown commercially today is Crocus Sativus...

But this is not the crocus flower picked by Minoans...They picked this: Crocus Cartwrightianus, the wild ancestor of the Crocus Sativus...

If we look at the natural distribution of this wild saffron Crocus Cartwrightianus we can see that it is found in Crete, Cyclades islands and Attica...

Now the Crocus Sativus is a triploid with 24 chromosomes. This makes the plant sterile due to its inability to pair chromosomes during meiosis. Which means that it has to be propagated by corms...And transplanted from place to place by humans...

The ancestor of the Crocus Sativus, which is unknown in the wild is Crocus Cartwrightianus.

Now today I came across the article "Saffron (Crocus sativus) is an autotriploid that evolved in Attica (Greece) from wild Crocus Cartwrightianus".

In this interesting article we read that: "...From Minoan frescos it is clear that more than 3600  years ago humans already harvested and used wild saffron in the southern Aegean...

The first clear indication for the cultivation of triploid saffron can be found in Historia Plantarum (350 BCE–287 BCE) where Theophrastus described the plant as being propagated by corms...

Our GBS (genotyping-by-sequencing) data point to the small Greek region around Athens as the place where Crocus Sativus evolved. We assume that sometime in between 1600 BCE and 350 BCE a triploid Crocus Cartwrightianus cytotype originated in Attica and was selected by humans...

They must have realized that they have a highly aromatic and stable type at hands that keeps the valuable properties of saffron through time and (vegetative) generations..."

Now "between 1600 BCE and 350 BCE" is a huuuuge time period...Can we narrow down the time when the domestication of Crocus Sativus happened? Well I think we can...

Something extremely important happened "between 1600 BCE and 350 BCE". The eruption of Thera, which according to archaeological data occurred in c. 1500 BC. It and the tsunami that followed caused cataclysmic destruction and the decline of the Minoan civilization of Crete...

This turn of events gave the opportunity to the Mycenaeans to spread their influence throughout the Aegean. Around c. 1450 BC, they were in control of Crete itself, including Knossos, and colonized several other Aegean islands, reaching as far as Rhodes...

I would here argue that the domestication of Crocus Sativus, if it happened in Attica, definitely didn't happen before the Mycenaean conquest of Minoan territories...Because I don't think that Mycenaeans knew what the source of saffron was before that...

Here is my theory: The wild Crocus Cartwrightianus was before Minoans endemic to Crete and this was the only place where it was originally found...

Minoans brought it to their colonies on Cycladic islands where they planted it, grew it and harvested it for saffron...The substance worth its weight in gold...

What I think is that Minoans probably kept the whole thing as a sacred secret...Partially because if you keep the source of your product secret you make sure no one else can take over your market by stealing few plants and planting them in their back garden...

But also because for Minoans saffron crocus was not just valuable. It was sacred...You wouldn't want some foreign devils laying their filthy barbaric eyes or hands on your sacred plant...

Then Thera exploded and Mycenaeans invaded Crete...Mycenaeans of course knew about saffron and now they were able to get their hands on the plant that saffron was extracted from...And of course they brought it to their mainland home and planted it in their back garden...

I believe that this is when Crocus Cartwrightianus left Minoan territory for the first time and was for the first time planted in Attica...

The plant was originally grown and harvested as a "wild plant"...Just like it was on Crete... Eventually at some point "between 1450 BCE and 350 BCE" somewhere in Attica someone came across the mutated Crocus Cartwrightianus and hey presto, Crocus Sativus...

Mycenaeans only saw economic importance of saffron crocus...As a male dominated warrior society, to Mycenaeans, the whole link between feminine beauty and fertility and the beauty and fertility of the Mother Earth was alien, unimportant and most likely laughable...

This was part of the Minoan culture and religion which they hated and probably actively eradicated...Which is why after the arrival of Mycenaeans, saffron crocus disappears from divine images and remains only in profane accounting tables...

That's it...What do you think?

Shield of Achilles

In "On Dance", Lucian names as the birthplace of Greek dance the island of Crete, were according to Myth, Rhea, the Mother of Zeus, being enchanted by this art, taught the Curetes in Crete how to dance...

Few days ago I read a very interesting article called "Circular Platforms at Minoan Knossos" which was published by Peter Warren in "The Annual of the British School at Athens, Vol. 79 (1984)". 

The article first describes the discovery of three circular platforms located on a hillside at the edge of Knossos.

It then proceeds with proposing that these were threshing floors, which are still found all over mediterranean.

But it then dismisses this explanation and proposes that the discovered structures were dancing floors. And it then goes on to point at various depictions of dancing people found among Minoan artefacts as the evidence that points at these circular structures being dance floors. For instance, this object from the site of Kamilari which depicts four figures holding each other by the arms and shoulders, surrounded by a low wall decorated with Horns of Consecration. Most archaeologists concur that this group is one of the earliest depiction of people dancing. 

In a walled circular structure. Which to me looks very much like a stone walled threshing floor...

Or it could be a depiction of people pressing grapes in a vat? Like it is still done in Duro valley in Portugal

However the structures discovered in Crete were too big to be grape vats...So...

I mean why could the circular structures discovered in Knossos not have been both threshing floors and dance floors? 

Many Greek villages have a flat place called χοροστάσι (αλώνι-χοροστάσι)(Chorostasi/Khorostasi/Horostasi), where dances, weddings and other events used to take place. 

The term "αλώνι-χοροστάσι" denotes "threshing floor", the place where the threshing of wheat was done. This is how this is done in Croatia. Horses are tied to the central pole and walk around it trampling the sheafs of grain and breaking off the seeds.

After the end of harvesting it was clean and empty and hence a natural place for celebration. 

Apparently the word χοροστάσι comes from χοροσ+τάσι (dance+tray) and literally means "a tray like place where singing and dancing takes place". 

According to ethnographic research from the Balkan mountains inhabited by Serbs, conducted in the 19th century, threshing floor was the place where all the village meetings, celebrations and ceremonies took place.The ethnographers say that this is because "threshing floors were the only flat smooth surfaces big enough to accommodate many people". 

But was this the only reason? Were threshing floors places where village meetings, celebrations and ceremonies took place because they were considered to be the sacred ground? The place where god lived on earth? I believe so.  

In 1950, Serbian ethnographer Nenad Janković published a book on folk astronomy called "Astronomija u predanjima, obicajima i umotvorinama Srba" (Astronomy in legends, customs and oral and written tradition of the Serbs). In it he expressed his great surprise at the ability of ordinary illiterate peasants to tell exact date and time without calendars and clocks. Professor Jankovic states that one of the main instruments used for these calendar and time calculations was the threshing floor. By looking at the shadow cast by the stožer, the central pole at sunrise, they were able to tell the date. And by looking at the shadow cast by the stožer, the central pole during the day they were able to tell the time. Threshing floor is a universal solar observatory, which at the same time can tell the date and the time. The main parts of this solar observatory were solar circle and its center, solar pole, stožer. Or if viewed from above, from heaven, the way Sun God would see it, a circle and a dot representing its center, solar pole, stožer. This is the symbol found all over the world and in Egypt it was the symbol of the sun, Ra. 

This circle, the symbol of the sun, Ra, is usually interpreted to mean sun disc, but I believe that it actually means sun circle, solar year, the manifestation of the Ra's power on earth...

That I am correct can be seen from the fact that this symbol, known as "sun hieroglyph" is used in the Ancient Egyptian language hieroglyphs as a determinative to refer to events of time, for example when referring to '"day xx" (of month yy'). For example, in the 24th century BC Palermo Stone, the sun hieroglyph is used to identify dates, or specific "day-events", ..."day of ....".

It also means "threshing floor", "solar observatory" and if you are a sun worshipper that equates to "temple"...Because it is from threshing floors that the Sun God was observed and his movement was interpreted as seasons, date and time...Threshing floors were the first sundials...And interestingly Greeks called the central pole of the sundial "gnomon" meaning the one which knows. This was because the central stake "new" the time and date.

How can threshing floor be used as a solar observatory?

What you are actually observing is the shadow made by the central stake. At the sunrise and sunset the shadow will be long enough to cut the circle at the opposite end. This is extremely precise way of marking the sunrise point. Which is very useful if you want to determine solstice and equinox points. And for instance align your temple with the true east, or winter or summer solstice...

Did you know that the orientations of the central courts of the palaces of Knossos, Phaistos, Mallia and Gournia were to the rising sun...

You can also observe the shadow during the day and use that to determine the hour of the day...

A place like this, where sun and grain were directly connected, must have been seen as sacred by the Greeks. We know they were seen as sacred by the Serbs. 

Rituals were performed on the threshing floor, at winter solstice, the birth of the new solar year, and some at the beginning of the threshing. During these ceremonies, sacrifices were performed on the central pole. 

There are some ethnographers who believe that this pole was the earthly representation of the Sun God...That this pole was a totem pole...I talked about this in my post "God's threshing floor".

Interestingly, at the same time Serbian folk tradition says that threshing floors are a favourite meeting place of demons and witches and one of the main places that should be avoided during the night. Witches come to threshing floors to dance. This is typical reversal of positives into negative which was a favorite method of brain washing used by Christians during forced conversions. Old gods become devils and demons, and places where people gathered to celebrate Sun God through circular solar dance, become the place where demons and witches gathered to dance. What is interesting is that people believe that witches only live on unused threshing floors. Once people stop visiting god's house on earth, the god leaves as well, and demons move in....

In Montenegro, young people, wearing flower wreaths on their heads, would gather on "Vilino Gumno", Fairy threshing floor, on the Feast of Ascension to sing songs about fairies and dance a circular dance kolo, oro. 

Christ's ascension to heaven? 
Marked by a circular solar dance? 
On a solar observatory? 

The fact that threshing floors were used as solar observatories just made me think of something...What if the word χοροστάσι was originally ὥραστάσις (horastasis) which can be broken into ὥρα+στάσις?

ὥρα - "any defined period of time, season, climate, year, time of day, hour, some specific time: right time, time for something, time of life: youth..."
στάσις - "Standing stone, pole"

Time pole...

Can we have a better description of a solar observatory? All it is is a pole stuck in the ground with a circle drawn around it...Like a threshing floor...

And because threshing floors were also sacred places where things like village councils, weddings...were held, often accompanied by dancing, the ὥραστάσις were also χοροστάσι...

Anyway...

Warren ends his article with the mention of The Shield of Achilles:

The Shield of Achilles is the shield that Achilles uses in his fight with Hector, famously described in a passage in Book 18, of Homer's Iliad. In the poem, Achilles lends Patroclus his armour in order to lead the Achaean army into battle. Ultimately, Patroclus is killed in battle by Hector, and Achilles' armour is stripped from his body and taken by Hector as spoils. The death of Patroclus prompts Achilles to return to battle, so his mother Thetis, asks the god Hephaestus to provide replacement armour for her son. He obliges, and forges a shield with spectacular decorative imagery. Homer gives a detailed description of the imagery which decorates the new shield.

This is the shield's design as interpreted by Angelo Monticelli, from Le Costume Ancien ou Moderne, ca. 1820.

One of the things Homer says was depicted on the shield was "a dancing-floor where young men and women are dancing"...

Here is the part of the Book 18 which describes the dance scene from the Shield of Achilles:

The renowned one [= Hephaistos], the one with the two strong arms, pattern-wove [poikillein] into it [= the Shield of Achilles] a place for singing-and-dancing [khoros].

It [= the khoros] was just like the one that, once upon a time in far-ruling Knossos, Daedalus made for Ariadne, the one with the beautiful tresses [plokamoi].

There were young men there, and young women who are courted with gifts of cattle, and they all were dancing [orkheîsthai] with each other, holding hands at the wrist.

...

Half the time they moved fast in a circle, with expert steps, showing the greatest ease...

The other half of the time they moved fast in straight lines, alongside each other....

A huge crowd stood around the place of the song-and-dance [khoros]...

Two special dancers [kubistētēre] among them were swirling...in their midst...

Now this is very very interesting.

Circular dances with the name like "horos" are found in all Balkan and East Slavic countries as well as in Romania and Turkey. One of the places is Montenegro where we find circular dance called "oro". 

Anthropologist Chris Boehm spent 3 years, between 1963 and 1966, doing fieldwork in Montenegro in Gornja Morača region. He called the people that he encountered there "Mountain Serbs of Montenegro".

One of the pictures taken by Chris Boehm has this capture: "All important tribal events took place on the plateau in front of the church. Oro (traditional circle dance) was often part of the event."

In the past, before churches, these events were held on threshing floors, "the only flat piece of ground in the mountain villages"...

The oro dance is typically danced at the weddings and celebrations of the Serbian Orthodox population in Montenegro and Herzegovina...

Now, in "The Geographical Journal, Volume 4, Issues 2-6 Royal Geographical Society", published in 1894 we can read

So local people believed that the name of the dance "oro" meant "eagle" dance??? Which was dismissed by the author of the above article...

But there is something remarkable about this mountain dance...It is identical to the description of the dance from Iliad:

Half the time they moved fast in a circle, with expert steps, showing the greatest ease...

The other half of the time they moved fast in straight lines, alongside each other....

A huge crowd stood around the place of the song-and-dance [khoros]...

Two special dancers among them were swirling...in their midst...

You can see the Montenegrin oro dance performed here.

Is this the kind of dance Homer saw depicted on The Shield of Achilles?