Get the look: Álfablót, Viking Halloween, male

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

Indo-European Ancestor Worship

Indo-European paganism is a Dharmic nature religion; we call it Dharmic because there were prescriptions and rules that maintained and supported the cosmic order.

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

In this context, we must view the Celtic Samhain, the Slavic Dziady, and also the Germanic Álfablót.

All of these festivals share one common theme: the commemoration of deceased ancestors. This can include both one's own ancestors and the mythological ancestors of the tribe or clan. Ancestor worship is a very important practice in Indo-European cultures. It unites the people and creates a bond of honor and pride.

Indo-European Halloween

Virtually all Indo-European cultures have holidays around May 1st, midsummer, October 31st, and midwinter. The pagan festivals that fall in between these dates differ across various Indo-European cultures.

The Celts celebrated Samhain. In ancient Germania and Scandinavia, Álfablót was probably celebrated, which literally means: "elf sacrifice."

What are Elves?

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

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

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

The Prose Edda from the 13th century speaks of the dökkálfar and ljósálfar, dark and light elves. The ljósálfar live in Álfheimr or Ljósálfheimr, a world often described as bright, airy, and beautiful. This was one of the nine worlds of Norse cosmology. The ljósálfar are described as beings radiating light and beauty. Although the Edda itself doesn't provide many details about specific deeds or characters among the ljósálfar, they are often believed to bring positive energy and luck.

The dökkálfar lived underground and were pitch-black. They may have formed the basis for later depictions of dwarves.

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

The blacksmith-artist Völundr and his two brothers are visited by three supernatural women in the form of swans, possibly valkyries. They marry, and after nine years, the women leave. When his brothers go in search of the women, Völundr is captured by the neighboring king Níðuðr, who severs his tendons to keep him imprisoned. Through trickery, Völundr exacts revenge and escapes.

Elves are often mentioned in the alliterative expression Æsir ok Álfar ('Æsir and elves'), a fixed poetic formula used in, for example, blessings and oaths. The Æsir were the principal group of Scandinavian gods, alongside the Vanir. Snorri Sturluson writes in the Poetic Edda that Freyr, one of the Vanir, received the elven realm Álfheimr. The Álfar may therefore have been his subjects, Vanir, or lesser gods. Either way, they were closely associated with the Æsir.

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

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

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

How elves were viewed in the past is not entirely clear. They may have been gods, or the distinction between gods and elves was vague. They could have been messengers of the gods or symbolic of the souls of the deceased.

Álfablót

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

In the poem Austrfararvísur, the Norwegian skald Sigvatr Þórðarson describes his negative experience with a festival in Sweden in 1019 while on a diplomatic mission to Västergötland. He and his companions needed a place to stay overnight and expected to be received hospitably, something considered sacred among Indo-European peoples. They were refused at the first farm, where the residents said the place was sacred. At the second farm, they were turned away, and the lady of the house said they feared the wrath of Odin and were in the middle of an elf sacrifice. After several failed attempts to find shelter, with the men at the farms all named Ölvir, they arrived at a man known as the most hospitable in the region. Even this man received them unfriendly and referred to himself as the “guardian of the pickaxe.” Sigvatr was disappointed in the Swedes’ hospitality and concluded that if this man was the “best,” the others must have been even worse.

Unlike the Irish Samhain celebrations and the blóts of Uppsala and Mære, the Álfablót was held primarily within families and the ritual was led by the woman of the household. Nothing is known about the specific rituals because they were conducted privately within the home and remained secret to outsiders. It also appears that Odin was invoked, and that the master of the household was called Ǫlvir when performing the rituals. The first element of Ǫlvir means ‘beer,’ which was generally an important element in North Germanic offerings.

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

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

Composition of the Jarl Harald

The gods symbolize structure and beauty, and that’s why we have dressed these characters in their finest. Both the man and the woman belong to the lower nobility, the class of the Jarls. The characters are referred to here as Harald and Astrid. Harald means "army leader" or "ruler of the army," while Astrid means "divine beauty" or "loving one." As the heads of a small household, Harald and Astrid celebrate the Álfablót ritual together with their immediate family and servants. Here is the composition of Jarlkona Astrid.

In this context, Astrid takes on the leading role, as she, being a woman, assumes the function of priestess. In many Viking rituals, it was the woman who performed the ceremonial acts, especially during domestic or familial ceremonies. Harald is the patriarch of the family and, as the chieftain, commands sworn warriors. These warriors, who come from the free class of karls, celebrate Álfablót with their own families, separate from the household.

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

Tunic & Undertunic

Harald wears an undertunic and an overtunic. The undertunic is made of undyed fabric. The overtunic is more elaborate, with simple embroidery trimming the edges. By dressing in layers, Harald’s clothing could be adapted to all seasons. Additionally, he could remove the overtunic when indoors. Many wealthier men also wore woolen tunics over their undertunics.

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Kaftan

Although we have not found complete kaftans, several sources refer to the use of woolen coats that we would consider as kaftans today. On the runestones of Etelhem and Lärbro in Gotland, kaftans are likely depicted, as well as on the 9th-century tapestry found in the Oseberg ship burial.

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Trousers & Leg Wraps

The typical Viking baggy trousers were popular between the 8th and 11th centuries. They were loose around the thighs and hips, making them comfortable to move in. The trousers were usually narrowed at the bottom and tied at the ankles or knees or tucked into boots. It is possible that Vikings also wore linen trousers underneath their woolen ones. Around his lower legs, Harald wears leg wraps.

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Footwear

Vikings often wore turnshoes, a type of footwear that was made inside out and then turned right side out, so that the seams were on the inside. These shoes fit closely to the shape of the foot, providing a comfortable fit.

However, unlike modern shoes, turnshoes offered less ankle support, making them less suitable for prolonged or intense physical activities. For a festive occasion like this, of course, this would not have been a concern.

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Sword

Harald’s sword was an absolute status symbol, as swords were expensive and time-consuming to make. To forge a sword, blacksmiths used "twists" of different types of steel, which they twisted together to achieve functional strength. By combining steel with a higher carbon content with steel that contained less carbon, blacksmiths were able to create a balance between hardness and flexibility.

This intricate craftsmanship made swords not only valuable weapons but also symbols of power and prestige.

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Sax

The sax was a short, single-edged knife carried by various Germanic peoples, including the Vikings. It served both practical and ceremonial purposes. The sax was versatile, used for everyday tasks such as cutting and crafting, while also being a weapon for close combat or a symbol of status during rituals and ceremonies. Its design made it a valuable tool and a functional part of Viking culture.

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Comb

It was mandatory to wash yourself before participating in a ritual or visiting a sacred place. This practice can be seen as a form of respect toward the gods. The Christian ritual of baptism and the use of holy water may have been derived from this.

Medieval sources mention that Viking men washed more frequently than average, indicating a culture that valued personal hygiene. Combs, ear spoons, needles, and nail cleaners have been found in both men’s and women’s graves, highlighting the importance of grooming and cleanliness in Viking society.

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Bracelet & Thor’s Hammer

Harald’s bracelet, like the torque, is crafted from multiple interwoven strands. The ends of the bracelet feature dragon heads, which were believed to offer protection from evil. In a broader sense, dragons symbolized wisdom, power, and a strong connection to natural forces, all of which were positive aspects of Viking spirituality and daily life.

The Thor’s Hammer pendant, often worn alongside such jewelry, was a symbol of protection, strength, and the favor of the god Thor. It represented the wearer’s connection to the gods and was a powerful symbol of faith and cultural identity, particularly in a time when Christianity was spreading through Scandinavia. Both the bracelet and the Thor’s hammer were important elements of Viking spiritual and material culture.

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The Thor’s Hammer or Mjölnir that Harald wears is highly symbolic. These amulets were worn to protect the wearer from evil and to seek Thor’s blessing in battle or daily life. The hammer was a powerful symbol of strength, protection, and faith in Thor, the god of thunder and a protector of mankind. It also served as a sign of defiance against the spread of Christianity, reinforcing the wearer’s devotion to the old gods and traditional Viking values.

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Fur Collar

Only wealthy Vikings could afford fur, making it an important status symbol in society. Fur was widely traded in the Viking world, and the choice of specific types of fur, especially from expensive animals, contributed to the social status of the wearer.

In addition to being a symbol of wealth and prestige, fur provided excellent insulation, keeping the torso warm during the harsh winter that followed the Álfablót. This combination of practicality and luxury made fur a valued material among the Viking elite, both for its warmth and its display of social standing.

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