The "Archetype" art group The team was formed as a result of a lack of creative communication and community in the artistic environment. The format of artistic research offered the group members, first of all, an opportunity for intensive creative interchange and an interdisciplinary communicative programme. Over the 2017-2018 period, meetings were organised with archaeologists, ritual practitioners, experts on funerary rites and the cult of death, historians, specialists in the study of the olonkho epic, theatre workers, and museum specialists. The fundamental idea of the project was to study those archetypal images that, as a product of the collective unconscious, underlie creative thinking and the artistic product in general, and in particular those archetypes that have shaped the subject and poetic canvas of the olonkho epic throughout the history of the Sakha people. The main question the author asked himself was that of how the olonkho came to be and how it was transformed by storytellers, passed on from one mouth to another, before its literary systematisation at the hands of Oyunsky. The folklore material collected, processed and clothed in literary form by Platon Oyunsky consisted of thousands of the most bizarre images born from the fears of our ancestors and their attempts to comprehend the world around them. The authors were faced with the task of starting as much as possible from the classical perception of the olonkho, as disseminated through the literary work Nyurgun Bootur the Swift, the canonical visualisation of its subject and characters as illustrated by Vladimir Karamzin, Ellei Sivtsev and Timofei Stepanov, to create a myth-project, articulated in archetypal symbols and psychological immersion in the consciousness of the generations that had created the epic. In the process of seeking out and isolating specific archetypal images from the abstract concept of the archaic worldview, the authors attempted to trace the process of myth formation as the only possible way for our ancestors to model the world and their self-identify. As the project development, each author tried out the role of storyteller-olonkhosut for themselves, translating or creating their own myth, transforming their creative process into myth-making, positioning their art as a means of self-identification and reflection, operating with the same archetypal motifs and images taken from the depths of the collective memory, and exploring those cultural strata that hailed from periods when people, without identifying themselves with a particular nation or ethnic group, formed part of a common...