Bacchus between cosmos and chaos : The resonance of his cult in the African provinces

Abstract

This article explores the worship of Bacchus in Greco-Roman culture and its establishment in North Africa. The objective of this article is to investigate the complexities of the character of Bacchus, the god of wine, theater, madness and disorder, whose contradictory identity alternates between order (Cosmos) and disorder (Chaos). A god of metamorphoses, depicted as a man then a woman, dismembered then reassembled, his nature is enigmatic, allowing for unlimited interpretations. During the Homeric era, he was not yet a member of the primary pantheon; he was eventually recognized as one of the gods of the Cosmos.

The question arises as to the reasons behind the presence of a deity representing chaos and confusion among the Olympians who represent harmony and stability, as well as the possible interpretations of this myth, written in several versions by ancient poets, and finally its establishment in the African provinces under the Roman Empire. The article highlights the god's ability to embody paradoxes.

The theoretical approach is based on understanding the image of the god described in ancient sources. The practical part is gathering archaeological evidence related to the imagery of Bacchus, which includes oil lamps, mosaics, inscriptions, and high and low reliefs from the roman period. The data analysis included a comparison between ancient literature (ancient sources), archaeological remains (artistic objects: iconographic representations from the Roman period), philosophical ideas, and modern analyses.

By exploring the origins of the god in different versions, his influence on Olympian politics, and his multiple cultural interpretations, the myth of Bacchus can be interpreted in various ways. These include the interpretations of him as an allegory of personality, a chaotic power in the cosmos, a seasonal cycle of rebirth, a defiled element requiring purification through initiation, an expression of protest against established hierarchies, the ruler of the other world, among others. His presence in North Africa, specifically in Algeria, is confirmed by various archaeological remains (on display in several museums), such as mosaics, lamps, inscriptions, temples, statues, stelae, and reliefs. He is depicted alone or accompanied by a member of the thiasus, as well as by distinct representations of his companions. The people adopted the deity as a god of fertility, harvest, and well-being. He is also considered as a savior god, offering eternity to his followers. As the protector of animal and plant abundance, he provides comfort to the inhabitants both in earthly life and in the afterlife.

Bacchus worship also includes music and dancing (essential elements in the cult of Bacchus). Members of his thiasus (satyrs and maenads) play various musical instruments (string, wind, and percussion) to enhance these soundscapes. These are not ordinary and typical religious celebrations but part of an initiatory process aimed at purifying and uniting the god's followers.