Understanding the Intent of a Ritual Posture
by Paul Robear, President & Executive Director of the Cuyamungue Institute

Dr. Felicitas Goodman, anthropologist and founder of the Cuyamungue Institute, examined the ecstatic experiences of many individuals using ritual postures. From these experiences, she determined the intent behind each posture—some are for journeying to the underworld, others for divination, healing, or transformation. Building upon her work, I suggest two additional steps to help us better understand the intent of a posture.

First, in each group session, I ask participants to take and hold the posture during the preparatory segment. While holding the posture, I invite them to describe in words what the posture seems to express. The results have been fascinating.

For example, two of the divination postures—the Mayan Oracle and the Jama Coaque Divination Posture—both feature a raised left arm, with the hand held a few inches before the face, fingers closed. These have been compared to Rodin’s The Thinker. Yet, while The Thinker rests his head upon a fist in a closed, inward gesture, these divination postures are more open—receptive to thoughts or insights that may arise from beyond the self.

Second, imagine yourself in the bare feet of the shaman. If your purpose were to seek answers, to see into the future, or to divine insight, what posture would best express that intent? The Mayan Oracle and Jama Coaque Diviner postures embody that searching openness. Other divination postures express this less directly, yet all convey a sense of alertness and attentive focus.

The Bear Spirit Healing Posture, found across many cultures, is another example. The participant stands with shoulders back, chest expanded, and hands resting on the lower abdomen. When breathing from the diaphragm, one can feel the abdomen rise and fall—evoking a sense of self-assurance and inner power. This posture expresses ego strength, confidence, and vitality. A shaman seeking healing energy—or a warrior preparing for battle—might assume this stance to draw in strength. Early ecstatic experiences suggest that this may even have been the posture of the ancient Berserkersentering their trance of invulnerability. The Norse word berserk means “bear shirt,” further linking this trance state with the bear’s spirit.

Postures for journeying into the upper and lower worlds also mirror the direction of the voyage. The Upper World Posture features a reclining figure at a 37° angle, suggesting upward flight or ascent. For the Lower World, the postures are prone—either lying on the back, as in the South American version, or on the stomach, as in the Sami tradition. In each, I’ve experienced a distinct sense of gliding or sliding downward—into a cave, water, or other depths below.

Another lower world posture, the Hallstatt Warrior (5th century BCE, Hirschlanden, Germany), leads specifically into the Realm of the Dead. His arms are crossed over his chest, as if to brace against the cold, damp atmosphere of that realm. The posture conveys apprehension and awe before the mystery of death. Similarly, the Realm of the Dead posture from Belinda Gore’s first book shows the arms wrapped across the stomach, suggesting a queasy apprehension—an unease felt deep in the gut.

In contrast, the Feathered Serpent Posture, associated with death and rebirth, expresses defiance and readiness. With fingers resting on the hips and elbows flared outward, the stance proclaims, “I am ready for anything.” In the death–rebirth process, one first resists letting go of the parts of self that must die—the unhealthy or ineffective aspects. As inner strength grows, readiness replaces fear, and the posture’s wings (the outward elbows) suggest rising renewal. The serpent’s grounded feet connect the transformative power of earth with the soaring spirit of rebirth.

Many metamorphosis or shape-shifting postures also reveal their intent through gesture. Some extend the arms forward like forelegs, as in the Olmec Prince posture. Others, like Cernunnos, the antlered figure from Celtic tradition, express identification with the animal world. Cernunnos sits cross-legged, left leg before the right, holding a snake in one hand and a torque in the other, surrounded by animals. The imagery suggests communion and transformation—perhaps the act of assuming another being’s form. Ancient Nordic myth supports this symbolism: Loki, when transforming into a falcon, dons a falcon skin.

Ultimately, the power of each posture lies in how it embodies intent—whether to heal, to journey, to commune with the dead or the divine, to shift shape, or to seek guidance. The physical form mirrors the shaman’s purpose. We may experiment with new postures, yet it is valuable to focus on those that most clearly express their intent. Through this attunement, we deepen our understanding of ecstatic postures as precise languages of the body—gateways through which the spirit journeys.