Sardinian Folklore - Between Domus de Janas, Music & Mamuthones
- 6 hours ago
- 6 min read
Let us resume our discussion of Sardinian folklore, picking up where the last article left off. This tradition reflects the strong connection its inhabitants have with their culture. This includes aspects such as the local language, traditional costumes, and various religious and popular festivals that feature unique songs and dances.
This ancient land, profoundly connected with nature, has never hesitated in celebrating its agricultural cycles. From the cultivation of local resources, lively carnivals and propitiatory rites have grown and expanded, simply to convey sincere gratitude to the sky and the Gods.
This deep bond allowed a powerful sense of community and unity, living through difficult challenges such as epidemics and famines, and flourishing times of abundance.
The relationship between natural elements and ancient architecture is clearly defined by the Domus de Janas. These unique structures are not only significant in terms of historical context but also serve as a reflection of the early folklore and mythology of the island. Their design and construction offer insights into the lives and beliefs of the people during that era.
Fairies and Mysticism in the Pre-Nuragic Age
Dating back to the pre-Nuragic era, these structures are believed to be tombs. They've been found in both isolated locations and in large groups of over 40 tombs. More than 2,400 have been discovered, with an average of one every 10 square km, and it's presumed that many more remain undiscovered.
The Sardinian term Domus de Janas, which translates to "Fairy Houses", refers to enchanting dwellings associated with the Janas, mythological and mystical beings often envisioned as delicate and small creatures with ethereal features, capable of flying through the air. In some parts of the island, they're described as women of ordinary height, yet blessed with extraordinary magical abilities.
Legends portray the Janas as shy and gentle, benevolent spirits who willingly offer their help to anyone in need, particularly to innocent children and those pure of heart. However, beneath their kind exterior lies a potential for fury; if wronged, or if someone dares to stare at their face, they'll transform into vengeful and fearsome beings.
These fascinating fairies are said to spend their days in secret, weaving intricate artefacts from shimmering golden threads on their magical looms. Occasionally, they offer these creations to those who deserve them, offering them as protective charms or tokens of good fortune, filled with their benevolent magic.
Quite significant is the assonance with the "Janare" of Campania, witches of Benevento folklore, who share significant similarities with the Janas. Their etymology also suggests a kinship with the Italic Goddess Diana.
Archaeologists believe that the first Domus de Janas were excavated around the mid-4th millennium BC, and spread during the Ozieri Culture (late Neolithic 3200-2800) throughout the region, except for the Gallura territory.
The Ozieri civilisation was characterised by its hardworking and peaceful population, who were largely engaged in agriculture. This community had a unique religious belief system that showed parallels to the distant Cyclades islands.
Central to their worship were symbols that represented key aspects of nature and fertility: the Sun and the Bull, which embodied male strength; the Moon and the Mediterranean Mother, also known as the Mother Goddess, which represented female fertility.
Numerous stylised statuettes representing the Mother Goddess have been excavated in different burial sites and worship areas, highlighting the prevalence of pagan traditions. These artefacts depicted the dualistic relationship between male and female, often symbolised by water.
Sardinia was notably influenced by a cult that worshipped water. The island considered this resource not only essential to survive, but also a powerful mark of life and fertility. Evidence can be found in the presence of wells, sacred springs, and diverse temple structures, along with tubs, pools, and lustral basins.
Between Modern and Traditional Rituals
One of the most significant sites is the sanctuary of Santa Cristina, now commonly referred to as the "Well of Saint Cristina", situated in Paulilatino (OR). The sanctuary acquired its name from a small village that emerged in its vicinity, influenced by a legend surrounding the Saint.
The site consists of two main parts: the first includes the well temple along with several annexed structures, such as a meeting hut, an enclosure, and various smaller sheds; the second part features a single-tower Nuraghe (ancient stone constructions of truncated cone shape, thousands of which can be found throughout Sardinia), alongside some elongated stone huts, as well as a Nuragic village that has yet to be excavated; only a few elements are currently visible above the surface.
The temple, viewed from above, showcases a distinctive shape resembling an ancient fertility symbol associated with the Mother Goddess.
This is also reminiscent of the Goddess Tanit (or Tinnit), venerated during the Phoenician and Carthaginian times, and carries similar connotations. It consists of a triangular form, sometimes depicted with two upward-extending branches, topped by a disk.
This shape has been found in other similar areas, suggesting its recurring and consistent use in association with water rituals.
As Christianity evolved, it adopted various rituals that were initially rooted in pagan traditions. Despite this integration, many of these practices have preserved key characteristics from their original contexts, reflecting a blend of traditions that have evolved throughout history.
In modern times, traditional rites have been integrated into public celebrations. Among the most intriguing festivals stands the Mamoiada Carnival, known for its famous parade, featuring the "Mamuthones" and "Issohadores".
These figures of unknown origins are distinguished by their unique costumes, large heavy bells, and distinctive movements during the procession.
The Mamuthones wear black wooden masks called "visera" and march slowly and silently, while the Issohadores wear white masks, dress in vibrant colours, and bring energy to the parade.
The masks are crafted from various types of wood, which are then darkened. Materials used include fig, alder, and elm, with some masks made from chestnut or walnut. In old times, the masks were often created from wild pear wood.
The Mamuthones are dressed in black sheepskins known as "mastruca", with a series of bells called "carriga" attached to their backs. In contrast, the Issohadores wear a hat known as a "berritta", a red bodice named "curittu", a white shirt, trousers, a bandolier of bronze bells known as "sonajolos", a shawl, coarse wool gaiters called "cartzas", and leather boots. They also carry a rope known as "soha".
Testimonies suggest that these figures have been present since the 19th century; however, it's more likely they date back to the Nuragic age. This rite may have originated as a gesture of reverence for animals, to protect people from evil spirits, or to ensure a good harvest.
These are just a few of the numerous theories about its origins, since much of Sardinian folklore has been passed down orally. Interestingly enough, it may have connections to distant lands in other parts of pre-Christian Europe.
Some impressive similarities can be found within figures such as the Krampus, in German-speaking regions; the Geisselklepfer and Silvesterklaus in Switzerland; the Tschäggättä in Lötschental; the Kukeri in Bulgaria; the Capră in Moldavia; the Zvončari in Croatia; and the Caretos in Portugal.
As for other traditions, Sardinia is notably enriched by its unique melodies and dance practices. A key element of this cultural identity is its music, which stands out for its distinct characteristics.
Prominent genres include cantu a tenore, a polyphonic vocal style native to the Barbagia region, and cantu a chiterra, a monodic song typically accompanied by the guitar, prevalent in the northern and central parts of the island.
Furthermore, the music played on the "launeddas", a traditional wind instrument consisting of three pipes played in unison using a circular breathing technique, reveals the island's rich melodic legacy.
A Land Rich in Memories
Sardinian traditional music features various instruments, including the bena, similar to a fife, and the pipiolu, also called "sulittu," which is an aerophone with an internal slit and indirect mouthpiece, commonly used to accompany traditional dances.
One of the most famous dances is undoubtedly "Su Ballu Tundu," typically performed during festivals. Here, participants form a circle, clasping hands with their arms bent at the elbows. Occasionally, a couple of steps away from the group to take centre stage, demonstrating two fundamental movements: "sa seria" and "su sartiu."
While it may appear very simple and straightforward, the dance is quite intricate, demanding precise and synchronised execution of each movement.
Sardinian music has much to offer, and it doesn't stop there. Surprisingly, the inhabitants have a strong appreciation for jazz and have dedicated various festivals to this genre throughout the region. The most famous of these is "Time in Jazz," which takes place annually in Berchidda, a small village in the Northern part of the region.
If you believe that Sardinian folklore and culture can be encapsulated in a few paragraphs, you're mistaken. Unfortunately, this overview merely scratches the surface of what this beautiful territory has to offer: a few articles cannot fully convey the depth of its roots.
On the brighter side, though, many people are dedicated to exploring and celebrating these traditions, and I hope my humble effort contributes to this ongoing record.
