The spirit of the Dutch people literally pours from the ends of their horns as they celebrate the new year, Christians announcing the arrival of Christ, and yet others continuing to combat evil spirits (that would freeze time) thought to dwell in their countryside. This same variation in celebration significance has occurred in the village of Linomori on the Oga Peninsula in northeastern Japan. Today, the Japanese Namahage Festival has no single cultural implication. Instead, there were many practices that originally sparked the celebration as it is presently practiced (Dorson 40). The origins of the midwinter horn blowing celebration are similarly skewed, several different cultural beliefs contributing to its present status. In his book published in 1995, Dr.Everhard Jans wrote about the origins of the horn in his book about Midwinter Horns, stating the ambiguity of their development, the oldest historical evidence being a charter from 1485 (http://www.midwinterhoornblazentwenthe.nl/Engels/ebasis.htm). The midwinter horn blowers have changed throughout history since the first midwinter horn blowers, the modern celebration a modification of the old (see the prognosis). The playing of horns, such as that of an ox, is a timeless notion, mentioned in the bible; the Dutch version, made of wood, reaches back into the same idea, although standing apart in a diferent time period. This Dutch celebration rings with the sound of both religious proclamation and social conversation for the duration of the advent season and the arrival of the new year. While practiced among participants of different religious backgrounds, the horn blowing remains a similar social practice throughouut the Netherlands, people grouping together to express the ideas central to their belief system. The horns bellow tremendously the voicees of the celebrants, an expression of the dutch people. The Dutch have historically been considered a very accepting people, warm in their open-minded appreciation of neighbors and travelers alike. Beyond the confines of its development, the sound flows together between villages, connecting the dwellers from a far. A concentration of participants remain in the eastern Twenthe region, echoes spreading outward through the hills and into the trees beyond.

Of the many midwinter horn stories that exist, many are clerical, and still others, pastoral. Outside of the Netherlands border in Germany, horn play during Christmas was forbidden as it was considered noisy and uncivilized. In the form of pastoral songs, it became popular to play the horn on Christmas Eve. As the audience grew, a contest to awaken churchgoers began. The celebration began to structure social relations each year as a result. Playing the horn became a calling, signaling neighbors. A certain sect of horn blower play not in praise of religious figures but in order to dispel evil spirits. Entirely, we can see clear influential interplay of old neighborhood traditions, pagan custom and the Christian Religion. Christianity must remain at the forefront of midwinter horn blowing influences, though, while the period of Advent until the Epiphany on the 6 th of January remains the only time that playing of the horns is permitted. This period also involves the winter solstice, the period of least sunlight each year. At this time, ignoring the story of Christ, many paganistic believers seek the strength of the horn in an effort to ward off evils not supposed by the Christian. It is not unlikely that believers like these have surfaced while people are suggestive and fearful. It is only natural that beliefs of the pagan have become wrapped around portions of this celebration.