Movement and Gesture in Liturgy. 
Robert Barton

 Formalized movement and gesture during the performance of ceremony is found exemplified in virtually every venue of ritual from the traditional ethnic ceremonies of tribal spiritual leaders, to the complex exercises of the modern magician. It is the intention of this essay to provide the student with a basic introduction to, and a reference point for, explorations and development of this oft used but seldom discussed skill.
 When conducting a ritual or ceremony, we use several symbology systems -laid one upon the other- with the intent of reinforcing a specific message or set of messages on multiple levels of awareness and understanding. Human communication makes use not only of verbally expressed information, but also of feelings relayed through facial expression, body position and body movement. The willful use of gesture, movement, positioning and expression along with the generally more studied symbology systems of temple furniture, ritual tools and spoken language will often convey instinctual perception and understanding of the concepts being communicated.
 Many examples for the use of ritual gesture may be found in the teachings of magical schools and organizations of the past few generations. Magical systems use sigils and symbols drawn in the air with a magical tool and in a very formal manner in order to perform specific tasks. There is the very commonly used posture with a single finger placed to the lips, in the position for silence. Many ritual systems start their exercises with a physical gesture of opening a veil or sweeping away a fog. Priests of many faiths bless with a physically drawn symbol of their faith.   
 It is unfortunate that many modern systems for the teaching of liturgical composition and performance do not directly address the more physical methods of expression and communication. This is, however, a valuable area to explore, in that a small amount of study is all that is required in order to apply a set of skills that can exponentially increase the practical effectiveness of spiritual and ceremonial activities.
 During the invitation to Deity or invocation of forces, the person performing the operation can use simple gesture and expression to enhance the effect of the act upon everyone present. The eyes can be elevated to gaze through a point above the heads of the attendees as though looking through a doorway into another world, with the eyes not being focused on any obvious point in this realm. While the invitation is being spoken, the hands start at the sides slowly being raised palm up to a position of  'awaiting' with the palms up, open and elevated to the level of the eyes or top of the head with the arms slightly bent. After the words are spoken, a short pause, and then the hands are lowered slowly to the sides as the eyes are lowered to look at the others present. A final statement to the effect of "He is among us, may he be welcomed" may be made to complete the effect of awaiting, and then of arrival.
 While a space is being declared sacred and blessed to the work at hand, the perimeter may be walked by someone asperging or censing the area as they go. Alternately, the speaker may point toward the edge of the area in a large, slow, sweeping gesture, completing the entire circuit, and the words, simultaneously. An area, or the people in an area, may also be blessed while the hands are held up palm out at (or above) eye level. An item or cup may be blessed by being slowly elevated in one hand and then the other palm being held over the item, as though pouring out the blessings upon it.  
 The opening of gates may be accompanied with a simple motion of the arms being extended from the chest outward to the sides and the palms slowly being turned outward. Or, the hand may be raised and directed at some point in space, and then slowly moving outward in a spiral pattern until a final sweeping large circular motion is made as the words are completed.
 Sacrifices may be presented by carrying them in both hands before the offerer as the item is slowly raised and then given to sea, fire or well as the statement reaches climax. Offering to the sea may be given in this manner at the shore while the sacrificer walks some distance into the waves. Grounding acts may be accompanied by the arms being slowly lowered and the palms being turned down until they rest flat upon the ground at the culmination of the statement, a short pause taken for meditation and the ritual ends.
 The perception of the flow and direction of energy may be enhanced by movements of the hands and arm. Energy may be raised, lowered, received, poured, projected, held and directed with simple gestures. Hands may be thrust downward and closed as though grasping the forces of the Earth and slowly pulling them up into the body and ritual space, the hands then opened as though pouring those forces into the area, people or items awaiting their reception. Or, the energy thus grasped and pulled up, may be joined with the awaiting forces of the sky by the hands being raised and opened palms up to be exposed to the light of the Sun and then the hands spread outward to fill the area with the combined forces of this creative formula.
 Gesture and the effect it has on communication may be studied by the observation of professional actors during stage performance. Ritualist should practice the coordination of movement and gesture with spoken parts and sections of ceremony. One should not wait until a ritual begins to think about gesture, but should rather, practice these things well ahead of time so that the movements will appear spontaneous and natural during performance.
A small amount of thought, and practice in advance can take one from being a competent ritualist to being a good or even excellent ritualist. While this essay contains only a few examples from a field of endless possibilities, I hope that it has made the reader more aware of the subject and how it may enhance spiritual and ceremonial practice.