Furious Maenad,carrying a thyrsus and a panther,with a snake rolled up over her head.Tondo of an Ancient Greek Attic white-ground kylix 490-480 BC from Vulci.Staatliche Antikensammlungen Munich Germany.

In Greek mythology, maenads (Greek: μαινάδες, mainádes) were the female followers of Dionysus (Bacchus in the Roman pantheon), the most significant members of the Thiasus, the god's retinue. Their name literally translates as "raving ones". Often the maenads were portrayed as inspired by him into a state of ecstatic frenzy, through a combination of dancing and drunken intoxication.^[1] In this state, they would lose all self-control, begin shouting excitedly, engage in uncontrolled sexual behavior, and ritualistically hunt down and tear to pieces animals — and, at least in myth, sometimes men and children — devouring the raw flesh. During these rites, the maenads would dress in fawn skins and carry a thyrsus, a long stick wrapped in ivy or vine leaves and tipped by a cluster of leaves; they would weave ivy-wreaths around their heads, and often handle or wear snakes.^[2] German philologist Walter Friedrich Otto writes that

The Bacchae of Euripides gives us the most vital picture of the wonderful circumstance in which, as Plato says in the Ion, the god-intoxicated celebrants draw milk and honey from the streams. They strike rocks with the thyrsus, and water gushes forth. They lower the thyrsus to the earth, and a spring of wine bubbles up. If they want milk, they scratch up the ground with their fingers and draw up the milky fluid. Honey trickles down from the thyrsus made of the wood of the ivy, they gird themselves with snakes and give suck to fawns and wolf cubs as if they were infants at the breast. Fire does not burn them. No weapon of iron can wound them, and the snakes harmlessly lick up the sweat from their heated cheeks. Fierce bulls fall to the ground, victims to numberless, tearing female hands, and sturdy trees are torn up by the roots with their combined efforts.^[3]

The maddened Hellenic women of real life were mythologized as the mad women who were nurses of Dionysus in Nysa: Lycurgus "chased the Nurses of the frenzied Dionysus through the holy hills of Nysa, and the sacred implements dropped to the ground from the hands of one and all,as the murderous Lycurgus struck them down with his ox-goad."^[4] They went into the mountains at night and practised strange rites.^[5]

In Macedon, according to Plutarch's Life of Alexander, they were called Mimallones and Klodones, epithets derived from the feminine art of spinning wool;^[6] nevertheless, these warlike parthenoi ("virgins") from the hills, associated with a shamanic Dionysios pseudanor, routed an invading enemy.^[7] In southern Greece they were described as Bacchae, Bassarides, Thyiades, Potniades^[8] and given other epithets.^[9]

The maenads were also known as Bassarids (or Bacchae or Bacchantes) in Roman mythology, after the penchant of the equivalent Roman god, Bacchus, to wear a fox-skin, a bassaris.

In Euripides' play The Bacchae, Theban maenads murdered King Pentheus after he banned the worship of Dionysus. Dionysus, Pentheus' cousin, himself lured Pentheus to the woods, where the maenads tore him apart. His corpse was mutilated by his own mother, Agave, who tore off his head, believing it to be that of a lion.

A group of maenads also killed Orpheus.^[10]

In Greek vase painting, the frolicking of maenads and Dionysus is often a theme depicted on Greek kraters, used to mix water and wine. These scenes show the maenads in their frenzy running in the forests, often tearing to pieces any animal they happen to come across.

Categories[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2010)

Dancing maenad. Detail from an Ancient Greek Paestum red-figure skyphos, made by Python, ca. 330-320 BC. British Museum, London

Nurses and nymphs[link]

The name maenad has come to be associated with a wide variety of women, supernatural, mythological, and historical,^[11] associated with the god Dionysus and his worship. In the realm of the supernatural is the category of nymphs who nurse and care for the young Dionysus, and continue in his worship as he comes of age. The god Hermes is said to have carried the young Dionysus to the nymphs of Nysa.

In another myth, when his mother, Semele, is killed, the care of young Dionysus falls into the hands of her sisters, Ino, Agave, and Autonoe, who later are depicted as participating in the rites and taking a leadership role among the other maenads.

Resisters to the new religion[link]

Maenad and Satyr. Ancient Greek kylix by Makron, 490-480 BC. Staatliche Antikensammlungen München Kat. 94

The term 'maenad' is also used to refer to a category of women in the mythology who resist the worship of Dionysus, and are therefore driven mad by him, being forced against their will to participate in often horrific rites. The doubting women of Thebes, the prototypical maenads, or 'mad women', left their homes to live in the wilds of the nearby mountain Cithaeron. When they discover Pentheus spying on them, dressed as a maenad, they tear him limb from limb.^[12]

This also occurs with the three daughters of Minyas, who reject Dionysus and remain true to their household duties, becoming startled by invisible drums, flutes, cymbals, and seeing ivy hanging down from their looms. As punishment for their resistance, they become madwomen, choosing the child of one of their number by lot and tearing it to pieces, as the women on the mountain did to young animals. A similar story with a tragic end is told of the daughters of Proetus.

Voluntary revelers[link]

Not all women were inclined to resist the call of Dionysus, however. Maenads, possessed by the spirit of Dionysus, traveled with him from Thrace to mainland Greece in his quest for the recognition of his divinity. Dionysus was said to have danced down from Parnassos accompanied by Delphic virgins, and it is known that even as young girls the women in Boeotia practiced not only the closed rites but also the bearing of the thyrsos and the dances.

The foundation myth is believed to have been reenacted every other year during the Agronia. Here the women of Thebes were organized into three dance groups and rushed off to Mount Cithaeron with ritual cries of "to the mountain!" As "mad women," they pursued and killed, perhaps by dismemberment (sparagmos), the 'king', possibly represented by a goat. The maenads may have eaten the meat of the goat raw (omophagia) or sacrificed it to Dionysus. Eventually the women would be freed from the madness and return to Thebes and their usual lives, but for the time of the festival they would have had an intense ecstatic experience. The Agrionia was celebrated in several Greek cities, but especially in Boeotia. Each Boeotian city had its own distinct foundation myth for it, but the pattern was much the same: the arrival of Dionysus, resistance to him, flight of the women to a mountain, the killing of Dionysus’ persecutor, and eventual reconciliation with the god.

Priestesses of Dionysus[link]

Two satyrs and a maenad. Side A from an Ancient Greek red-figure kylyx-krater from Apulia, 380–370 BC. Louvre, Paris.

Dionysus and two Maenads, as depicted by the Amasis Painter circa 550-530BCE.

In this category of 'maenad' is found the later references to priestesses of the Dionystic cult. In the third century BC, when an Asia Minor city wanted to create a maenadic cult of Dionysus, the Delphic Oracle bid them to send to Thebes for both instruction and three professional maenads, stating, "Go to the holy plain of Thebe so that you may get maenads who are from the family of Ino, daughter of Cadmus. They will give to you both the rites and good practices, and they will establish dance groups (thiasoi) of Bacchus [ie: Dionysus] in your city."

Other groups[link]

The names of other associations of women who can be characterized as maenads are the Laphystiai, the Dionysiades, the Leucippides, the Bassarai, the Dysmainai, the Klodones, and the Mimallones. The memory of the Thyiades and of their cymbals, which people thought they heard, was still alive in the vicinity of Mt. Parnassos at the beginning of [the 20th] century. For the peasants the Thyiades had become Neraides, ghost women, of whom folk stood in awe believing that they possessed a power which Dionysus himself possessed.

Bacchanalia[link]

Cultic rites associated with worship of the Greek god of wine, Dionysus (or Bacchus in Roman mythology), were allegedly characterized by maniacal dancing to the sound of loud music and crashing cymbals, in which the revellers, called Bacchantes, whirled, screamed, became drunk and incited one another to greater and greater ecstasy. The goal was to achieve a state of enthusiasm in which the celebrants’ souls were temporarily freed from their earthly bodies and were able to commune with Bacchus/Dionysus and gain a glimpse of and a preparation for what they would someday experience in eternity. The rite climaxed in a performance of frenzied feats of strength and madness, such as uprooting trees, tearing a bull (the symbol of Dionysus) apart with their bare hands, an act called sparagmos, and eating its flesh raw, an act called omophagia. This latter rite was a sacrament akin to communion in which the participants assumed the strength and character of the god by symbolically eating the raw flesh and drinking the blood of his symbolic incarnation. Having symbolically eaten his body and drunk his blood, the celebrants became possessed by Dionysus.

Myths[link]

Dionysus came to his birthplace, Thebes, where neither Pentheus, his cousin who was now king, nor Pentheus’ mother Agave, Dionysus’ aunt (Semele’s sister) acknowledged his divinity. Dionysus punished Agave by driving her insane, and in that condition, she killed her son and tore him to pieces. From Thebes, Dionysus went to Argos where all the women except the daughters of King Proetus joined in his worship. Dionysus punished them by driving them mad, and they killed the infants who were nursing at their breasts. He did the same to the daughters of Minyas, King of Orchomenos in Boetia, and then turned them into bats.

The Women of Amphissa by Lawrence Alma-Tadema

According to Opian, Dionysus delighted, as a child, in tearing kids into pieces and bringing them back to life again. He is characterized as "the raging one", and "the mad one", and the nature of the maenads, from which they get their name, is, therefore, his nature.^[13]

Once during a war in the middle of the third century BC, the entranced Thyiades (maenads) lost their way and arrived in Amphissa, a city near Delphi. There they sank down exhausted in the market place and were overpowered by a deep sleep. The women of Amphissa formed a protective ring around them and when they awoke arranged for them to return home unmolested.

On another occasion, the Thyiades were snowed in on Parnassos and it was necessary to send a rescue party. The clothing of the men who took part in the rescue froze solid. It is unlikely that the Thyiades, even if they wore deerskins over their shoulders, were ever dressed more warmly than the men.^[14]

Art[link]

Maenads have been depicted in art as erratic and frenzied women enveloped in a drunken rapture, the most obvious example being that of Euripides’ play The Bacchae. His play, however, is not a study of the cult of Dionysus or the effects of this religious hysteria of these women. The maenads have often been misinterpreted in art in this way. To understand the play of Euripides though one must only know about the religious ecstasy called Dionysiac, the most common moment maenads are displayed in art. In Euripides' play and other art forms and works the Dionysiac only needs to be understood as the frenzied dances of the god which are direct manifestations of euphoric possession and that these worshippers, sometimes by eating the flesh of a man or animal who has temporarily incarnated the god, come to partake of his divinity.

In addition to Euripedes' The Bacchae, depictions of maenads are often found on both red and black figure Greek pottery, statues and jewellery. Also, fragments of reliefs of female worshippers of Dionysus have been discovered at Corinth.^[15] Mark W. Edwards in his paper "Representation of Maenads on Archaic Red-Figure Vases" traces the evolution of maenad's depictions on Red-Figure vases. Edwards distinguishes between "nymphs" which appear earlier on Greek pottery and "maenads" which are identified by their characteristic fawnskin or "nebris" and often carrying snakes in their hands. However, the actions of the figures on the pottery Edwards does not consider a distinguishing characteristic for differentiation between Maendas and nymphs. Rather, the differences or similarities in actions are more striking between black-figure and red-figure pottery as opposed to maenads and nymphs.^[16]

• 

  Maenad carrying a hind,fragment of an Attic red figure cup ca.480BC Louvre Museum.

• 

  Ancient Greek terracotta statuette of a dancing maenad, 3rd century BC, from Taranto. Metropolitan Museum of Art, New York.

• 

  Statue of a sleeping Maenad, lying on a panther skin spread on a rocky surface; the type in known as the reclining Hermaphrodite; Pentelic marble; found at the south of the Athenian Acropolis; Hadrianic time (117-138 AD), follows a classical trend in the attic art; National Archaeological Museum, Athens.

• 

  Ring with the engraved representation of a maenad. Ancient Greek artwork, 3rd–2nd century BC. Louvre, Paris.

• 

  Dance of of the Maenad, by Cornelis Lens

Later culture[link]

Bacchante by William-Adolphe Bouguereau

A maenad appears in Percy Bysshe Shelley's poem, Ode to the West Wind.

The Bassarids (composed 1964-65, premiere 1966), to a libretto by W. H. Auden and Chester Kallman, is the most famous opera composed by Hans Werner Henze.

Maenads, along with Bacchus and Silenus, appear in C.S. Lewis' Prince Caspian. They are portrayed as wild, rambunctious young children who dance and perform somersaults.

Maenads are the primary symbol of the city of Tetovo depicted prominently of the city's coat of arms. The inclusion of maenad imagery dates to 1932, when a small 6th-century BC statuette of a maenad was found within the city. The "Tetovo Maenad" was also featured on the reverse side of the Macedonian 5000 denars banknote issued in 1996.^[17]

In Fables and Reflections, the seventh volume of Neil Gaiman's comic series The Sandman, the maenads feature in the story Orpheus, in which they gruesomely murder the titular character after he refuses to cavort with them (echoing the events of the actual Greek myth of Orpheus).

Charlaine Harris' The Southern Vampire Mysteries series of novels and its television adaptation, the HBO series True Blood (2nd season, aired in summer 2009), feature maenads in the characters of Callisto and her television representation, Maryann, respectively. In the show, Maryann wishes to sacrifice Sam Merlotte in hopes of summoning her god, Dionysus.^[18]

In the Buffy the Vampire Slayer novel Go Ask Malice: A Slayer's Diary, maenads are depicted as corrupted human beings in service of the ancient and powerful Greek vampire Kakistos, whose name means in Greek "the worst", the natural superlative of kakos meaning "bad".^[19]

See also[link]

Greek mythology portal

• Anthesteria
• Gerarai
• Minyades

References[link]

Further reading[link]

• Abel, Ernest L., Intoxication in Mythology: A Worldwide Dictionary of Gods, Rites, Intoxicants, and Place, McFarland & Co., Inc., Publishers; Jefferson, NC and London 2006.
• Edwards, Mark W. "Representation of Maenads on Archaic Red-Figure Vases." The Journal of Hellenistic Studies 80 (1960): 78-87
• Manheim, Ralph (translator), Dionysos: Archetypal Image of Indestructible Life, Bollingen Series LXV 2; Princeton University Press 1976.
• Manzarek, Ray. Light My Fire: My Life with the Doors. New York: Berkly Boulevard Books, 1999
• Mikalson, Jon D., Ancient Greek Religion, Blackwell Publishing Ltd; Malden, MA 2005.
• Morford, Mark P.O.; and Lenardon, Robert J., Classical Mythology, 7th ed., Oxford University Press, Oxford, 2003.
• Otto, Walter F., Dionysus: Myth and Cult; Indiana University Press; Bloomington and Indianapolis 1965.
• Richardson, Rufus B. "A Group of Dionsiac Sculptures from Corinth. " American Journal of Archaeology 8, no.3 (July- September 1904): 288-296

External links[link]

Wikimedia Commons has media related to: Maenads

•  Chisholm, Hugh, ed. (1911). "Maenads". Encyclopædia Britannica (11th ed.). Cambridge University Press. 
• Background and Images for the Bacchae

This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (February 2008)

John Psathas (born 1966) is a New Zealand composer, son of Greek immigrant parents.

He has works in the repertoire of such high profile musicians as Evelyn Glennie, Michael Houstoun, Michael Brecker and the New Juilliard Ensemble, and is one of New Zealand's most frequently performed composers. He has established an international profile and receives regular commissions from organisations in New Zealand and overseas.

Psathas grew up in Taumarunui and then Napier. He attended Napier Boys' High school and left early to study composition and piano at Victoria University of Wellington. He supported himself as a student partly by playing up to nine gigs a week in a jazz trio.

Psathas studied further with composer Jacqueline Fontyn in Belgium before returning to New Zealand, where he has since lectured in music at Victoria University and continued to fulfil a busy schedule of commissions.

Early success came with Matre's Dance in 1991, a maximum-energy duet for percussion and piano that has since made Psathas' name internationally through having been taken up and championed by percussionist Evelyn Glennie. This work and Drum Dances are fast becoming standard repertoire for percussionists throughout the world.

According to his publisher Promethean Editions, a new work by John Psathas is an individual, unique entity, and his music is like that of no-one else. His 'sound' is difficult to define – the harmony and improvisational feel of jazz, the compelling rhythmic drive and excitement of rock music and the sustained repetitive textures of minimalism are apparent as influences, yet they combine and intermingle with something else more intangible. This undefinable quality is partly what makes his one of the most original voices in the arena of contemporary classical music in New Zealand.

Psathas' relationship with Evelyn Glennie has been a particularly fruitful one for them both. Her performing repertoire includes Matre's Dance, Drum Dances, Spike, Happy Tachyons and the double concerto for piano and percussion View From Olympus. She has recorded Matre's Dance on her CDs Drumming and Greatest Hits (BMG), and she continues to commission new works.

A highlight of 2000 was the premiere of the Omnifenix at an outdoor concert before an audience of 8000 people at the 2 Agosto Festival in Bologna, Italy. This work was tailored to the particular improvising talents of tenor saxophonist Michael Brecker.

A retrospective concert of Psathas' chamber music was given in the 2000 New Zealand International Festival of the Arts, culminating with the premiere of the specially commissioned Piano Quintet. In the programme to the concert, he described the process of creating his music:

"When I write music, it's not a sense of inventing I experience, as much as it is a sense of finding something that exists at the remote periphery of what I know. It is like seeing things – that aren't really there – in the corner of one's eye, but not spinning around to view them, because then they would simply cease to be. It is a case of being aware of a thing in one's peripheral vision and, while staring straight ahead, trying to decipher, without looking at it, the true nature of what it is. What one is finding is exactly the right thing for any given moment in a musical work."

Career highlights [link]

Highlights in 2002 included the premieres of several major works, including View From Olympus a double concerto for piano, percussion and orchestra performed by Evelyn Glennie, Philip Smith and the Halle Orchestra conducted by Mark Elder at the Royal Gala finale of the Commonwealth Games 'Pulse' music festival in Manchester, UK. This work was awarded New Zealand's major annual composition award for 2002, the SOUNZ Contemporary Award.

In 2003 a new CD of chamber works, Fragments, was released to critical acclaim and went on to win the Tui Award for Best Classical Recording at the New Zealand Music Awards. He was also named as the recipient of one of five Arts Foundation of New Zealand Artist Laureate Awards, which carry cash prizes of $40,000.

In 2004 Psathas achieved the largest audience for New Zealand-composed music when billions heard his fanfares and other music at the opening and closing ceremonies of the Athens Olympics. This high-profile work was recognised in New Zealand's New Year Honours by his appointment as an Officer of the New Zealand Order of Merit. Additionally, his Piano Concerto, premiered by the New Zealand Symphony Orchestra and soloist Stephen Gosling, was awarded the SOUNZ Contemporary Award for excellence in composition.

Works of music [link]

Notable works by John Psathas:

• Waiting for the Aeroplane for piano (1988)
• Matre's Dance for piano and percussion (1991)
• Percussion Concerto for four percussionists and orchestra (1992/95)
• Drum Dances for piano and drum kit (1993)
• Rhythm Spike for piano (1994)
• Three Island Songs for clarinet, cello and piano (1995)
• Abhisheka for string quartet (1996)
• Happy Tachyons for piano and percussion (1996)
• Three Island Songs (version for piano trio) (1996)
• Motet for piano duet (1997)
• Jettatura for piano (1999)
• Luminous for orchestra (1999)
• Saxon for Brass Band (1999) - Written for the 2000 Shell NZ National Brass Band Championships
• Piano Quintet for piano and string quartet (2000)
• Saxophone Concerto for tenor saxophone, drum kit and orchestra (2000)
• Fragment for piano and vibraphone (or piano duet) (2001)
• Orpheus in Rarohenga for soprano, tenor and bass soloists, choir and orchestra (2002)
• View from Olympus: Double Concerto for percussion, piano and orchestra (2002)
• Piano Concerto for piano and orchestra (2003)
• Pieces for the Olympic Games Opening and Closing Ceremonies - Athens 2004 (2004)
• A Cool Wind for string quartet (2008) Commissioned by Chamber Music New Zealand and written specifically for the Takács Quartet.
• Elect the Dead Symphony (with Serj Tankian) (Orchestral Arrangements) (2010)
• The New Zeimbekiko (2011)

External links[link]

• www.johnpsathas.com – his official website
• Promethean Editions composer page
• Biography and selected list of works at the Centre for New Zealand Music
• His page at the New Zealand Arts Foundation, marking his Laureate Award of 2003
• His page on the Te Koki New Zealand School of Music website

Pedro Carneiro is a Portuguese solo classical percussionist, marimba player, and composer. Pedro Carneiro is one of the very few percussion players to have made an international career as a soloist, and has established himself as one of the world's foremost solo percussionists, performing regularly throughout Europe, the Asia and the United States.

Carneiro has won several international competitions and awards, while performing regularly in festivals and venues such as the BBC Proms, Rhythm Sticks Festival, Queen Elisabeth Hall and Purcell Room in London, Sonorities Festival in Belfast, Macau International Music Festival, Grant Park Music Festival in Chicago, New Zealand International Festival of the Arts, Capital Theatre in Beijing, La Biennale di Venezia, Folles Journées (Lisbon), Schumannfest in Düsseldorf, Festival Classique au Vert in Paris, amongst others. Mr. Carneiro has also performed recitals in cities such as London, Paris, Los Angeles, Hanover, Seville, Lisbon, Seoul and Hong Kong.

Carneiro is a frequent guest soloist with numerous orchestras: BBC National Orchestra of Wales, London Mozart Players, Tampere Philharmonic Orchestra, Orquestra Sinfônica do Estado de São Paulo, Helsingborgs Symfoniorkester, Estonian National Symphony Orchestra, Lithuanian National Symphony Orchestra, Orquesta de la Comunidad de Madrid, Bilbao Symphony Orchestra, Orchestre Régional de Basse-Normandie, Gävle Symfoniorkester and Portuguese Symphony Orchestra, to name but a few, working with conductors such as Petri Sakari, John Neschling, Ronald Zollman, Kaspar de Roo, Jurjen Hempel, Olari Elts, Andrew Parrott, Juanjo Mena, António Saiote, José Ramón Encinar, John Storgårds, Hamish McKeich, Max Rabinovitsj, Sarah Ioannides and Joseph Swensen, amongst others.

Pedro Carneiro has been heard and seen on radio and television stations throughout the world as well as releasing several solo recordings. As a guest teacher, Pedro has given masterclasses in many prestigious conservatoires and universities, such as the Royal College of Music, Guildhall School of Music & Drama and Trinity College of Music in London, Hong Kong Academy for Performing Arts, São Paulo State University in Brazil and the Royal College of Music in Stockholm, to name but a few. He is the visiting professor of solo percussion studies at the Academia Nacional Superior de Orquestra in Lisbon.

External links[link]

• Official website.

Michael Houstoun (born 20 October 1952) is a concert pianist from New Zealand.

Born and educated in Timaru, Houstoun studied piano under Sister Mary Eulalie and Maurice Till in Dunedin and Christchurch. Having won every New Zealand piano competition and award as a teenager, he then travelled and entered three major international competitions: Van Cliburn (1973, 3rd place), Leeds (1975, 4th place) and Tchaikovsky (1982, 6th)

Houstoun returned to live in New Zealand in 1981 and regularly plays with New Zealand's professional music ensembles as well as solo recitals and recording. In the 1990s he performed and recorded the complete Beethoven sonata cycle, and collaborated with Tainui Stephens on a television documentary about Franz Liszt entitled Icon in B minor.

in 1999, Houstoun received an honorary doctorate in literature from Massey University

External links[link]

• Michael Houstoun's personal website
• Houstoun's management site

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