In their tellings of Cybele’s myth, Greek and Roman authors give differing versions for Attis’ self-castration. The Roman poet Catullus describes how Cybele puts Attis into a state of frenzy, during which he castrates himself. Immediately afterward, Attis is referred to by female adjectives as she calls to her companions, the Gallae, using the female form instead of the masculine Galli. Catullus’ poem highlights the ambiguity in Attis’ gender and that of Cybele’s attendants.

A relief sculpture from Lanuvium, now at the Musei Capitolini in Rome and dated to the second century C.E, is one of the few surviving representations of a Gallus.

This individual is surrounded by objects commonly associated with Cybele’s cult, including musical instruments, a box for cult objects and a whip. The sculpted figure is adorned with an elaborate headdress or crown, a torque necklace and a small breastplate, as well as ornate clothing.

Other than signaling the person’s connection to Cybele’s cult, the objects and adornments also suggest that the person’s gender identity is somewhat ambiguous, since Roman men shunned flamboyance and ornaments.

At Cataractonium, a Roman fort in Northern England, a skeleton was uncovered in the necropolis of Bainesse during excavations in 1981-82. Based on the accompanying burial goods, which included a torque anklet, bracelets and a necklace made of a type of gemstone that has been dated to around the third century C.E., archaeologists thought that these were the remains of a woman.

An examination of the bones, however, revealed that the remains were those of a young man – likely in his early twenties. Since Roman men typically did not wear the kind of jewelry found in the grave, archaeologists concluded that the individual may have been a Gallus.

Galli were attached to temples, where they formed a community. During processions in Cybele’s honor, they would follow behind the cult image and priests, chanting alongside musical instruments they played.

In Rome, they had permission to seek alms from the populace; they would also offer prophetic readings or ecstatic dances in return for payment. It is possible that they enhanced their looks in order to get more money.

Some scholars have argued that their feminine appearance was a way to differentiate themselves from the general public; likewise, that their voluntary castration signaled their renunciation of the world and devotion to Cybele, in imitation of Attis, her companion.

However, it does not seem out of the ordinary to think that some Galli were drawn to Cybele’s cult because it offered them a way to escape the strict binary gender system of the Romans. Galli, unlike other men in Rome or its empire, were able to openly present themselves or live as women, regardless of their assigned sex or how they identified.

Catullus’ poem and comments by other authors indicate that they perceived the gender of the Galli as differing from Roman concepts of masculinity. However, the Galli were also, reluctantly, respected for the role they played in Cybele’s cult. It is thus hard to know who exactly joined their communities and how they saw themselves, and whether the sources describe them accurately.

It is tempting to see the Galli as nonbinary or transgender individuals, even though the Romans did not know or use concepts such as nonbinary or transgender. Still, it is not inconceivable that a number of individuals found in the Galli both a community and an identity that allowed them to express themselves in a way that traditional Roman manhood did not permit.

The Vatican declaration asserts that the female and male binary is fixed and suggests that gender-affirming care “risks threatening the unique dignity the person has received from the moment of conception.”

Nonetheless, the existence of trans people today, as well as people who defied gender binaries in the past – including the Galli of ancient Rome – shows that it is and was possible to live outside prevailing gender norms. In my view, that makes it clear that it is unjust to impose moral teachings or judgments on how people experience their bodies or themselves.

This article is republished from The Conversation, a nonprofit, independent news organization bringing you facts and analysis to help you make sense of our complex world.

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Tina Chronopoulos does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.