Category: Amplifier

Body Language of Peering Over Glasses or Looking Over Glasses

Body Language of Peering Over Glasses or Looking Over Glasses

No picCue: Peering Over Glasses.

Synonym(s): Looking Over Glasses.

Description: Happens by looking down and overtop of the glasses at another person. Sometimes the head is lowered and the eyes peer over top of the glasses, other times the glasses are pulled down onto the bridge of the nose coupled with a glare.

In One Sentence: Looking over the glasses signals distain, contempt, haughtiness, aggressiveness, and critical judgment.

How To Use it: Peer over the glasses to show others that you disagree with them or their ideas. The cue is reminiscent of the authoritative library trying to scold misbehaving students. Simply tilting the head without glasses can have the same effect. Research has shown that tilting the head down is a way to make the head appear wider and thus more dominant.

Mothers disapproving of children or wives disapproving of husbands can use the cue to show that actions or ideas are not being well received. Thus the cue signals the desire to keep a person ‘in their place’ and that one is morally superior. Therefore, use the cue when most appropriate.

Context: General.

Verbal Translation: “I’m peering over the top of my eye glasses and tilting my head forward because I’m scrutinizing you.”

Variant: The head might be tiled backwards with relatively the same effect. This is “looking down the nose” at someone. It is particularly powerful. See Head Tilted Back.

Cue In Action: The librarian wasn’t keen on the new group of rowdy students. After verbally berating them and warning of more severe punishment should they get disruptive, she’d occasionally peer over at them with lowered glasses to reinforce her commitment.

Meaning and/or Motivation: Disdain, contempt, haughtiness, aggressiveness, critical, condescending, and judgmental attitudes are all associated with this posture. The bearers of the posture assumes that they have the moral right to be looking down on other people from an elevated position.

Cue Cluster: Peering over the glasses is accompanied by a stern, closed facial expression, hard staring eyes, pursed lips, head forward and challenging, palms down and chin forward.

Body Language Category: Amplifier, Aggressive body language, Anger body language, Authoritative body language, Closed body language, Dislike (nonverbal), Dominant body language, Eye Language, Hostile body language, Evaluative body language.

Resources:

Beall, Alec and Jessica L. Tracy. The Puzzling Attractiveness of Male Shame. Manuscript submitted to Evolutionary Psychology. www.epjournal.net – 2014. 12(x): 1-39. http://bodylanguageproject.com/articles/male-nonverbal-shame-attractive/

Briñol, Pablo; Richard E. Petty and Benjamin Wagner. Body Posture Effects on Self-Evaluation: A Self-Validation Approach. European Journal of Social Psychology. 2009. 39(6): 1099-0992. DOI: 10.1002/ejsp.607. http://dx.doi.org/10.1002/ejsp.607
http://bodylanguageproject.com/articles/fix-posture-fix-confidence/

Costa, M., Menzani, M., and Ricci Bitti, P. E. Head canting in paintings: An historical study. Journal of Nonverbal Behavior. 2001. 25: 63–73.

Costa, M., and Ricci Bitti, P. E. Face-ism effect and head canting in one’s own and others’ photographs. European Psychologist. 2000. 5: 293–301.

Furley, Philip and Geoffrey Schweizer. “I’m Pretty Sure That We Will Win!”: The Influence of Score-Related Nonverbal Behavioral Changes on the Confidence in Winning a Basketball Game Journal of Sport & Exercise Psychology. 2013. 35:316-320. http://dx.doi.org/10.1123/jsep.2013-0199
http://bodylanguageproject.com/articles/losers-nonverbal-behavior-boosts-confidence-winners-study/

Hehman, Eric; Jordan B. Leitner and Samuel L. Gaertner. Enhancing Static Facial Features Increases Intimidation. Journal of Experimental Social Psychology. 2013; 49: 747-754.
http://bodylanguageproject.com/articles/tilting-the-head-is-display-of-intimidation-study/

Hwang, Hyisung C. and David Matsumoto. Cultural Differences in Victory Signals of
Triumph Cross-Cultural Research. SAGE Publications 2014. 48(2):177– 191.
http://bodylanguageproject.com/articles/culture-nonverbal-triumph/

Keltner, D. The signs of appeasement: Evidence for the distinct displays of embarrassment, amusement, and shame. Journal of Personality and Social Psychology. 1995. 68: 441–454.

Johnson, Richard R. and Jasmine L. Aaron. Adults’ Beliefs Regarding Nonverbal Cues Predictive of Violence. Criminal Justice and Behavior. 2013. 40 (8): 881-894. DOI: 10.1177/0093854813475347.
http://bodylanguageproject.com/articles/wanna-fight-nonverbal-cues-believed-indicate-violence

Krumhuber, Eva; Antony S. R.; Manstead; and Arvid Kappas. Temporal Aspects of Facial Displays in Person and Expression Perception: The Effects of Smile Dynamics, Head-tilt, and Gender. Journal Nonverbal Behavior. 2007; 31: 39-56.
DOI 10.1007/s10919-006-0019-x
http://bodylanguageproject.com/articles/head-tilt-and-slow-onset-smile-nonverbals-trust-attraction-dominance-and-flirting-a-brief-report/

Liu, C., Ishi, C. T., Ishiguro, H., & Hagita, N. (2012). Generation of nodding, head
tilting and eye gazing for human–robot dialogue interaction. In Human–Robot
interaction (HRI), 2012 7th ACM/IEEE international conference on (pp. 285–292).
IEEE Press.

Martens, Jason P.; Jessica L. Tracy and Azim F. Shariff. Status signals: Adaptive
benefits of displaying and observing the nonverbal expressions of pride and shame, Cognition & Emotion. 2012. 26(3): 390-406. DOI: 10.1080/02699931.2011.645281
http://bodylanguageproject.com/articles/significant-nonverbal-expression-pride-shame-body-language-detailed-examination-origin-function/

Martina Mara and Markus Appel. Effects of Lateral Head Tilt on User Perceptions of Humanoid and Android Robots. Computers in Human Behavior. 2015. 44: 326-334. http://bodylanguageproject.com/articles/nonverbal-head-tilt-says-robot/

Martens, Jason P.; Jessica L. Tracy and Azim F. Shariff. Status signals: Adaptive
benefits of displaying and observing the nonverbal expressions of pride and shame, Cognition & Emotion. 2012. 26(3): 390-406. DOI: 10.1080/02699931.2011.645281
http://bodylanguageproject.com/articles/significant-nonverbal-expression-pride-shame-body-language-detailed-examination-origin-function/

Mignault, Alain and Chaudhuri, Avi. The Many Faces of a Neutral Face: Head Tilt and Perception of Dominance and Emotion. Journal of Nonverbal Behavior. 2003 27(2): 111-132.

Marshall, Steven D. ; Low, Laura E. ; Holton, Nathan E. ; Franciscus, Robert G. ; Frazier, Mike ; Qian, Fang ; Mann, Kyle ; Schneider, Galen ; Scott, Jill E. ; Southard, Thomas E. Chin development as a result of differential jaw growth American Journal of Orthodontics & Dentofacial Orthopedics. 2011 139(4): 456-464.

Nelson, Nicole L and James A. Russell. Children’s Understanding Of Nonverbal Expressions Of Pride. Journal of Experimental Child Psychology. 2012; 111: 379-385.
http://bodylanguageproject.com/articles/can-children-read-pride-body-language/

Rule, Nicholas, O.; Reginald B. Adams Jr.; Nalini Ambady and Jonathan B. Freeman. Perceptions Of Dominance Following Glimpses Of Faces And Bodies. Perception. 2012; 41: 687-706 doi:10.1068/p7023
http://bodylanguageproject.com/articles/people-can-read-dominance-split-second

Rule, Nicholas, O.; Reginald B. Adams Jr.; Nalini Ambady and Jonathan B. Freeman. Perceptions Of Dominance Following Glimpses Of Faces And Bodies. Perception. 2012; 41: 687-706 doi:10.1068/p7023
http://bodylanguageproject.com/articles/people-can-read-dominance-split-second

Schubert, T. W. (2005). Your highness: Vertical positions as perceptual symbols of power. Journal of Personality and Social Psychology. 89, 1–21.

Sturman, Edward D. Invluntary Subordination and Its Relation to Personality, Mood,
and Submissive Behavior. Psychological Assessment. 2011. 23(1): 262-276 DOI: 10.1037/a0021499
http://bodylanguageproject.com/articles/nonverbal-submission-men-women-depression-critical-examination-use-disuse-submission/

Shariff, Azim F. and Jessica L. Tracy. Knowing Who’s Boss: Implicit Perceptions of Status From the Nonverbal Expression of Pride. Emotion. 2009.9(5): 631-639.
http://bodylanguageproject.com/articles/can-you-tell-whos-boss-by-the-nonverbal-expression-of-pride/

Tracy, Jessica L. and Alec T. Beall. Happy Guys Finish Last: The Impact of Emotion Expressions on Sexual Attraction Emotion. American Psychological Association. 2011; 11(6): 1379–1387
http://bodylanguageproject.com/articles/happy-guys-finish-last-happy-women-finish-first-says-new-study-on-sexual-attractiveness/

Tracy, Jessica L. and David Matsumoto. The Spontaneous Expression Of Pride And Shame: Evidence For Biologically Innate Nonverbal Displays. 2008; 105 (33) 11655-11660.
http://bodylanguageproject.com/articles/universal-expressions-of-pride-and-shame/

Tracy, Jessica L. and Richard W. Robins. The Nonverbal Expression of Pride: Evidence for Cross-Cultural Recognition. Journal of Personality and Social Psychology. 2008. 94(3): 516–530. DOI: 10.1037/0022-3514.94.3.516

http://bodylanguageproject.com/articles/nonverbal-expression-pride-recognized-cross-culturally/

Teixeira Fiquer, Juliana; Paulo Sérgio Boggio and Clarice Gorenstein. Talking Bodies: Nonverbal Behavior in the Assessment of Depression Severity. Journal of Affective Disorders. 2013. 150: 1114-1119.
http://bodylanguageproject.com/articles/using-nonverbal-behaviour-to-assess-depression-severity/

Welker, Keith M.; Stefan M.M.; Goetz, Shyneth Galicia; Jordan Liphardt and Justin M. Carré. An Examination of the Associations Between Facial Structure, Aggressive Behavior, and Performance in the 2010 World Cup Association Football Players. Adaptive Human Behavior and Physiology (forthcoming in print, online July).
http://bodylanguageproject.com/articles/facial-width-predicts-strength-soccer-field

Wells, G. L., & Petty, R. E. (1980). The effects of head movement on persuasion: Compatibility and incompatibility of responses. Basic and Applied Social Psychology, 1, 219–230.

Weisbuch, Max ; Slepian, Michael L ; Eccleston, Collette P ; Ambady, Nalini. Nonverbal Expressions of Status and System Legitimacy. Psychological Science. 2013. 24(11): 2315-2321.

Body Language of The Parade

Body Language of The Parade

No picCue: Parade (the).

Synonym(s): (the) Catwalk.

Description: The “parade” occurs when a woman walks with an exaggerated swinging or rolling of the hips, back arched, stomach flat, breasts protruding, and head held high.

In One Sentence: The parade is a way to showcase sexuality to others.

How To Use it: Women can use the parade most effectively. For men, this is called swagger. If women wish to be noticed for their sexual assets, they should swing their hips in full view others, especially the ones they wish would notice most. This can be done by walking, but equally, can be done by rolling the hips in a fixed position. Men find an exaggerated parade to be highly visible and difficult to ignore so women can effectively use it to solicit men.

Caution is in order when using the signal since the parade is considered a broadcast signal, and therefore, difficult to anchor to a specific person. In other words, the cue casts a ‘wide net’ potentially drawing in men of lesser quality. However, the cues’ strength relies on this by drawing in many potential “male orbiters” whom are ready to do perform various services for a shot at romance. Women therefore, can use the signal to solicit general attention and then simply refuse those advances which do not meet her criteria.

Context: Dating.

Verbal Translation: “My hips are the focal point of my sexuality so I’m swaying them hypnotically up and down to draw your attention to my sexual bits – I sure hope you notice!”

Variant: The hips are a source of great power in female sexuality. Any draw to the pelvis indicates a desire to showcase a woman’s virility for the admiration of others. A bare midriff is particularity alluring because it exaggerates the hip-to-waist ratio. Incidentally, the tight flat stomach is the first casualty of pregnancy, which reduces the hip-to-waist ratio significantly. For this reason, a bare midriff is normally always reserved for women in the pre-childbearing years of the late teens and early twenties or those in peek physical fitness.

The same effect is accomplished with skintight dresses, and also bikinis or adornments such as waistlets and belly button piercings. They serve to draw the eye to the relative difference between the hips and waist. See Hip Tilt.

Cue In Action: She was newly single and feeling positive. You could tell she was prowling because she appeared confident and vibrant. When she walked, she commanded attention and the boys couldn’t help but look. It was obvious by the way she pranced that she was available and advertising.

Meaning and/or Motivation: Women naturally have wider hips than men in order to accommodate childbirth and it is the exaggeration of the differences between men and women the makes them sexy.

The parade is a way for women to attract attention by emphasizing their hips. Studies show us that women out of committed relationship naturally walk in this manner to attract attention.

For this reason, runway models are also instructed to walk with a hip tilt but in a much more exaggerated way. The hip emphasis posture is pervasive in fashion and advertising. We see women slouching to one side forcing their hips out to emphasize their curves, or walking in an exaggerated way, bouncing their hips up and down as if on a pendulum. Their hips are seen swaying high from the left side, dropping, then right side, dropping.

Picturing this parade or “cat-walk” in the nude and you get the sense that there is an obviously hypnotic purpose to the method. Because the hips move about a center pivot, the eye is drawn front and center to the woman’s genitals – acting like a beacon.

Out of consciousness the parade is not overt or striking, but now that you understand the characteristics, you can watch for it. Women can also roll their hips while standing. This draws attention to their pelvic region.

Cue Cluster: The gesture might be accompanied by a sideways glance and slightly parted wet lips, which could be unconsciously exaggerated by saliva or lipstick.

Body Language Category: Amplifier, Courtship displays, Indicators of sexual interest (IOsI), Leaked or involuntary body language, Metronomic signals, Micromessaging.

Resources:

Abbey, A., and Melby, C. (1986). The effects of nonverbal cues on gender differences in perceptions of sexual intent. Sex Roles, 15, 283-298.

Buunk, B. P., & Dijkstra, P. K. (2005). A narrow waist versus broad shoulders: Sex and age differences in the jealousy-evoking characteristics of a rival’s body build. Personality and Individual Differences, 29, 379-389.
doi: 10.1016/j.paid.2005.01.020
http://bodylanguageproject.com/articles/adversarys-body-build-elicits-jealousy-men-women/

Book, Angela; Kimberly Costello and Joseph A. Camilleri Psychopathy and Victim Selection: The Use of Gait as a Cue to Vulnerability. Journal of Interpersonal Violence. 2013. 28(11): 2368-2383. DOI: 10.1177/0886260512475315jiv.sagepub.com
http://bodylanguageproject.com/articles/dont-walk-like-youre-watched-avoid-victimization-nonverbal-behavior/

Crossley, Kara L.; Piers L. Cornelissen and Martin J. Tovee. What Is an Attractive Body? Using an Interactive 3D Program to Create the Ideal Body for You and Your
Partner. PLOS one. November 2012. 7(11): e50601. doi:10.1371/journal.pone.0050601.g001
http://bodylanguageproject.com/articles/attractive-body-ideal-male-body-ideal-female-body-based-3d-morphing-study/

Crane, Elizabeth ; Gross, M. Effort-Shape Characteristics of Emotion-Related Body Movement. Journal of Nonverbal Behavior. 2013. 37(2): 91-105.

Cari D. Goetz; Judith A. Easton; David M.G. Lewis; David M. Buss. Sexual Exploitability: Observable Cues And Their Link To Sexual Attraction. Evolution and Human Behavior. 2012; 33: 417-426.
http://bodylanguageproject.com/articles/victim-blaming-or-useful-information-in-preventing-rape-and-sexual-exploitation/

Cho, S. H., Park, J. M., & Kwon, O. Y. (2004). Gender differences in three dimensional gait analysis data from 98 healthy Korean adults. Clinical Biomechanics, 19, 145–152.

Cutting, J. E., & Kozlowski, L. T. (1977). Recognizing friends by their walk: Gait
perception without familiarity cues. Bulletin of the Psychonomic Society, 9, 353–356.

Fink, Bernhard; Nadine Hugill and Benjamin P. Lange. Women’s Body Movements Are a Potential Cue to Ovulation. Personality and Individual Differences. 2012. 53: 759-763.
http://bodylanguageproject.com/articles/women-use-sexier-body-language-indicate-ovulation-fertility-women-dance-walk-sexier/

Furnham, Adrian ; Swami, Viren ; Shah, Krupa. Body weight, waist-to-hip ratio and breast size correlates of ratings of attractiveness and health. Personality and Individual Differences. 2006. 41(3): 443-454.

Fink, Bernhard; Nadine Hugill and Benjamin P. Lange. Women’s Body Movements Are a Potential Cue to Ovulation. Personality and Individual Differences. 2012. 53: 759-763.
http://bodylanguageproject.com/articles/women-use-sexier-body-language-indicate-ovulation-fertility-women-dance-walk-sexier/

Gunns, Rebekah E; Lucy Johnston; and Stephen M. Hudson. Victim Selection And Kinematics: A Point-Light Investigation Of Vulnerability To Attack. Journal of Nonverbal Behavior. 2002. 26(3): 129-158.
http://bodylanguageproject.com/articles/how-to-avoid-an-attack-just-by-changing-how-you-walk-study/

Guéguen, Nicholas. High Heels Increase Women’s Attractiveness. Archives of Sexual Behavior. 2014. DOI 10.1007/s10508-014-0422-z
http://bodylanguageproject.com/articles/high-heels-exact-power-men-study-women-wear-heels/

Guéguen Nicolas. Gait and menstrual cycle: ovulating women use sexier gaits and walk slowly ahead of men. Gait Posture. 2012; 35(4): 621-4.
http://bodylanguageproject.com/articles/gait-as-bait-women-walk-sexy-during-high-sexual-receptivity/

Guéguen N. Gait and menstrual cycle: ovulating women use sexier gaits and walk slowly ahead of men. Gait Posture. 2012; 35(4): 621-4.
http://bodylanguageproject.com/articles/gait-as-bait-women-walk-sexy-during-high-sexual-receptivity/

Givens D. The nonverbal basis of attraction: Flirtation, courtship, and seduction. Psychiatry. 1978. 41: 346.

Goetz, Cari D.; Judith A. Easton; David M.G. Lewis; David M. Buss. Sexual Exploitability: Observable Cues And Their Link To Sexual Attraction. Evolution and Human Behavior. 2012; 33: 417-426.
http://bodylanguageproject.com/articles/victim-blaming-or-useful-information-in-preventing-rape-and-sexual-exploitation/

Goetz, Cari D.; Judith A. Easton; Cindy M. Meston. The Allure of Vulnerability: Advertising Cues to Exploitability as a Signal of Sexual Accessibility. Personality and Individual Differences. 2013. 62: 121-125. http://dx.doi.org/10.1016/j.paid.2014.02.019
http://bodylanguageproject.com/articles/allure-sexual-vulnerability-move/

Hasegawa, T. and K. Sakaguchi. 2006. Person perception through gait information and target choice for sexual advances: comparison of likely targets in experiments and real life. Journal of Nonverbal Behavior 30(2): 63-85.

Hall, Jeffrey A. and Chong Xing. The Verbal and Nonverbal Correlates of the Five Flirting Styles. Journal of Nonverbal Behavior. 2015. 39:41–68. DOI 10.1007/s10919-014-0199-8
http://bodylanguageproject.com/articles/first-12-minutes-flirting-using-nonverbal-communication-study-reveals-26-body-language-cues-attraction/

Johnson, Kerri L.; Gill, Simone; Reichman, Victoria and Tassinary, Louis G. Swagger, Sway, and Sexuality: Judging Sexual Orientation from Body Motion and Morphology. Journal of Personality and Social Psychology. 2007. 93(3): 321-334. doi: 10.1037/0022-3514.93.3.321
http://bodylanguageproject.com/articles/heterosexual-vs-homosexual-swagger-can-you-spot-the-difference/

Kościński, Krzysztof. Assessment of Waist-to-Hip Ratio Attractiveness in Women: An Anthropometric Analysis of Digital Silhouettes. Archives of Sexual Behavior. 2014. 43(5): 989-997.

Kozlowski, L. T., & Cutting, J. E. (1977). Recognizing the sex of a walker from a dynamic point-light display. Perception and Psychophysics, 21, 575–580.

Miller, G., Tybur, J. M., & Jordan, B. D. Ovulatory cycle effects on tip earning by lap dancers: Economic evidence for human estrus. Evolution and Human Behavior. 2007. 28: 375-381. http://dx.doi.org/10.1016/j.evolhumbehav.2007.06.002.

Moore, Monica. Courtship Signaling and Adolescents: Girls Just Wanna Have Fun. Journal of Sex Research. 1995. 32(4): 319-328.
http://bodylanguageproject.com/articles/girls-just-want-to-have-fun-the-origins-of-courtship-cues-in-girls-and-women/

Moore, M. M. 2001. Flirting. In C. G. Waugh (Ed.) Let’s talk: A cognitive skills approach to interpersonal communication. Newark, Kendall-Hunt.

Moore, M. M. 1985. Nonverbal courtship patterns in women: context and consequences. Ethology and Sociobiology 64: 237-247.

Moore, M. M. and D. L. Butler. 1989. Predictive aspects of nonverbal courtship behavior in women. Semiotica 76(3/4): 205-215.

Moore, M. M. 1985. Nonverbal courtship patterns in women: context and consequences. Ethology and Sociobiology 64: 237-247.

Moore, Monica. Courtship Signaling and Adolescents: Girls Just Wanna Have Fun. Journal of Sex Research. 1995. 32(4): 319-328.
http://bodylanguageproject.com/articles/girls-just-want-to-have-fun-the-origins-of-courtship-cues-in-girls-and-women/

Miller, G., Tybur, J. M., & Jordan, B. D. Ovulatory cycle effects on tip earning by lap dancers: Economic evidence for human estrus. Evolution and Human Behavior. 2007. 28: 375-381. http://dx.doi.org/10.1016/j.evolhumbehav.2007.06.002.

Morris, Paul, H, Jenny White, Edward R. Morrison and Kayleigh Fisher. High Heels As Supernormal Stimuli: How Wearing High Heels Affects Judgements of Female Attractiveness. Evolution and Human Behavior. 2013. 34: 176-181.
http://bodylanguageproject.com/articles/high-heels-supernormal-body-language-signal/

Michalak, J., Rohde, K., Troje, N. F. How We Walk Affects What We Remember: Gait Modifications Through Biofeedback Change Negative Affective Memory Bias. Journal of Behavior Therapy and Experimental Psychiatry. 2015. 46:121-125.
http://bodylanguageproject.com/articles/walking-happy-leads-actual-happiness-game-emotions-body-language/

Opila-Correia, K. A. (1990). Kinematics of high-heeled gait. Archives of Physical Medicine and Rehabilitation, 71, 304–309.

Paul H. Morris, Jenny White, Edward R. Morrison and Kayleigh Fisher. High Heels As Supernormal Stimuli: How Wearing High Heels Affects Judgements of Female Attractiveness. Evolution and Human Behavior. 2013. 34: 176-181.
http://bodylanguageproject.com/articles/high-heels-supernormal-body-language-signal/

Roether, C. L., Omlor, L., Christensen, A., & Giese, M. A. (2009). Critical features for the perception of emotion from gait. Journal of Vision, 9(6), 1–32. http://dx.doi.org/10.1167/9.6.15.

Riling, James K.; Torrey L. Kaufmana; E.O. Smitha; Rajan Patele and Carol M. Worthmana. Abdominal Depth and Waist Circumference as Influential Determinants of Human Female Attractiveness. Evolution and Human Behavior. 2009. 30:21-31.
http://bodylanguageproject.com/articles/what-matters-most-in-womens-bodies-apparently-abdominal-depth-study/

Sakaguchi, Kikue and Toshikazu Hasegawa. Person Perception Through Gait Information And Target Choice For Sexual Advances: Comparison Of Likely Targets In Experiments And Real Life. Journal of Nonverbal Behavior. 2006; 30:63-85. DOI 10.1007/s10919-006-0006-2
http://bodylanguageproject.com/articles/dont-walk-like-youre-asking-targets-sexual-approach-based-walking-style-personality-study/

Schneider, Sabrina ; Christensen, Andrea ; Hau[sz]inger, Florian B. ; Fallgatter, Andreas J. ; Giese, Martin A. ; Ehlis, Ann – Christine. Show me how you walk and I tell you how you feel — A functional near-infrared spectroscopy study on emotion perception based on human gait. Neuroimage. 2014. 85: 380(11).

Sakaguchi, Kikue and Toshikazu Hasegawa. Person Perception Through Gait Information And Target Choice For Sexual Advances: Comparison Of Likely Targets In Experiments And Real Life. Journal of Nonverbal Behavior. 2006; 30:63-85. DOI 10.1007/s10919-006-0006-2
http://bodylanguageproject.com/articles/dont-walk-like-youre-asking-targets-sexual-approach-based-walking-style-personality-study/

Smith, E. O. (1999). High heels and evolution: Natural selection, sexual selection and
high heels. Psychology, Evolution and Gender, 30, 245–277. Smith, E. O., & Helms, W. S. (1999). Natural selection and high heels. Foot and Ankle International, 20, 55–57.

Smith, Finlay G.; Benedict C. Jones; Lisa L.W. Welling; Anthony C. Little; Jovana Vukovic; Julie C. Main and Lisa M. DeBruine. Waist–Hip Ratio Predicts Women’s Preferences for Masculine Male Faces, But Not Perceptions of Men’s Trustworthiness. Personality and Individual Differences. 2009. 47: 476-480.
http://bodylanguageproject.com/articles/low-waist-hip-ratio-predicts-female-desire-male-masculinity-study/

Singh, Devendra ; Randall, Patrick K. Beauty is in the eye of the plastic surgeon: Waist–hip ratio (WHR) and women’s attractiveness. Personality and Individual Differences. 2007. 43(2): 329-340.

Singh, Devendra. Is thin really beautiful and good? Relationship between waist-to-hip ratio (WHR) and female attractiveness. Personality and Individual Differences. 1994. 16(1): 123-132.

Singh, Devendra ; Dixson, B.J. ; Jessop, T.S. ; Morgan, B. ; Dixson, A.F. Cross-cultural consensus for waist–hip ratio and women’s attractiveness. Evolution and Human Behavior. 2010. 31(3): 176-181.

Sorokowski, Piotr ; Kościński, Krzysztof ; Sorokowska, Agnieszka ; Huanca, Tomas ; Sueur, Cédric. Preference for Women’s Body Mass and Waist-to-Hip Ratio in Tsimane’ Men of the Bolivian Amazon: Biological and Cultural Determinants. PLoS ONE. 2014. 9(8).

Streeter, Sybil A ; McBurney, Donald H. Waist–hip ratio and attractiveness: New evidence and a critique of “a critical test”. Evolution and Human Behavior. 2003. 24(2):.88-98.

Thoresen, John C.; Quoc C. Vuong and Anthony P. Atkinson. First Impressions: Gait Cues Drive Reliable Trait Judgements. Cognition. 2012. 261–271 Thoresen, John C.; Quoc C. Vuong and Anthony P. Atkinson. First Impressions: Gait Cues Drive Reliable Trait Judgements. Cognition. 2012. 261–271
http://bodylanguageproject.com/articles/walk-drives-first-impressions/

van der Zwan, Rick and Natasha Herbert. “I Like The Way You Move”: How Hormonal Changes Across The Menstrual Cycle Affect Female Perceptions of Gait. Research Notes. 2012; 5: 453.
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Walter, K. D., Brownlow, S., Ervin, S. L., & Williamson, N. (1998). Something in the way she moves: The influence of shoe altered gait on motion and trait impressions of women. PSI CHI Journal of Undergraduate Research, 3, 163–169.

Body Language of Palm Up Displays or The Rogatory Posture

Body Language of Palm Up Displays or The Rogatory Posture

BodyLanguageProjectCom - Palm Up Displays or The Rogatory Posture 8 BodyLanguageProjectCom - Palm Up Displays or The Rogatory Posture 7Cue: Palm Up.

Synonym(s): Palm Flash, (the) Offered, Open Palm, Rogatory Posture.

Description
: In the palm up display, the hands are turned palm up rather than palm down or hidden from view (such as in pockets). The “rogatory” posture or “prayer-like” posture are terms used to describe outstretched arms with palms up. The palm-up gesture is used throughout the world. We recognize the gesture as an upward rotation of the palms, usually both hands, with fingers partially, or fully extended. The arms are either straight or flexed at the elbow with the wrist flexed or extended.

In One Sentence: Palm up is a cue indicates uncertainty, helplessness, confusion and deference and often accompanies “who,” “what,” “when,” “why,” “where,” and “how” questions.

How To Use it: Use palms up when trying to appear honest. Palm displays signal to others that you want to both offer and idea or accept an idea. This is the cue used when people want to show that they sincerely believe that they are correct and wish to plead with others to accept their opinion.

Palms up while gesturing is also highly effective in building rapport.

Other times, turning the palms up shows that one simply does not know. To make this appear most honest, turn the palms up in unison and with emphasis. Having only one palm up is uncommitted and if they are not uniform from left to right shows dishonesty.

Context: General.

Verbal Translation: a) “I’m displaying my palms because I’d like to offer you my ideas and thoughts.” b) “I’m showing you my hands because I want to show that I’m honest and carry no weapons.” c) “I’m holding my hands palm up because I’m trying to gain your trust through honesty – I carry no weapons and I’m trying to offer you my opinion; will you take it? Please.”

Variant: Palm down means the opposite of palm up. Palm down is a power position and shows dominance. Palm up also tends to expose the delicate and vulnerable wrists so coupled with the palm up display reinforces the overall meaning of palm up – offering and submission. See Palm Down and Palm Even, Wrist Exposure Displays.

Cue In Action: a) When trying to explain his position, he turned his palms up, moved them in and out and gestured in synchrony with his thoughts. He was offering his heartfelt view of the situation and desperately wanted to be believed. b) When asked if he knew where the missing doughnut had gone, he shrugged in submission and turned his palms up with enthusiasm. He sincerely didn’t know.

Meaning and/or Motivation: Palms-up, palms-down and palms even all represent different things, from authority to submission. Palms up are a signal of trustworthiness and are a positive, honest, signal. It signifies the desire to build rapport and is nonthreatening and submissive.

The palm-up cue is used to appease and we present it when we’re putting ourselves at risk. For example, we use the cue when asking a question because we realize that we may be ridiculed for our ignorance. Listeners may react negatively to us or laugh at us. We use the posture to show submission and lesson our chances of being challenged. After all, not knowing is a sign of weakness and our weakness is and should be coupled with visible defeat. All this stems from ancient processes which make our bodies take on a smaller, crouched posture, creating a smaller target for potential attack – referred to as “flexation withdrawal.”

In evolutionary terms, the palm display is an important gesture signifying honesty because it is a way to make evident to others that no threat or weapon is present (such as a spear, sword or bow and arrow). Palm flashes are essentially what would have happened thousands of years ago when two foreign tribes met.

Palm and wrist displays have also been noted to be sexual in nature and more frequently flashed by women during courtship likely because it is such a vulnerable part of the body.

The palm up cue is recognized in sign language of the deaf from the U.S. to Colombia and Papua New Guinea. In other words, the cue is likely universal.

Dr. David B. Givens argues that the palm- up gesture originated from primitive pectoral communication (think fish).

Overall, the palm-up gestures, is said by Givens to be a part of a larger shoulder-shrug display. As such, it originates from a crouched posture, or flexation withdrawal. The main actor is the upper trapezius which functions to lift the scapulas. He reminds us that theses muscular movements are incredibly ancient and much like facial expressions, are motivated by emotions. The same nerves that innervates the trapezius (cranial XI), also feeds the larynx. This is why we often accompany a shoulder shrug with a high-pitched, submissive voice tone. In other words, Givens says that muscles that move the larynx and pectoral girls evolved from muscles that originally opened the mouths and gills of ancient fishes.

The palm up gesture is adapted for social communication. The gestures are often paired with words – or vocal roars, drumming sounds (from swim bladders and “singing” which might come from a whale’s respiratory system.

According to Givens, “We do not ordinarily make conscious choices about these gestures. Emotions responsible for palm-up movements are located above the spinal cord in defensive areas of the forebrain’s limbic system (notably the amygdala), passing through basal ganglia and brain-stem links to the spinal cord below. The emotional brain unthinkingly touches off flexor-withdrawal movements designed to protect from real or imagined harm.”

On the other hand, when we view the posture in others, we intuitively decode the message with the help of mirror neurons. These are specialized structures in the brain which subconsciously activate a motor template, or brain blueprint, which help us empathize immediately with the person emitting the cue.

In other words, the entire process is innate, ancient and totally “out of our hands.”

Givens also challenges the idea that the palm up cue is about “offering.” In this metaphor, it is argued that the palms are a container by which we give an idea to someone else. However, he says this explanation falls short. He says that palm up gesture are more about social relationships. Rather than offering and receiving ideas, the posture is more about how one presents the self in relative status to another. When one is asking, pleading, appealing, showing uncertainty, questioning, or acting in deference, then one should accompany ones relative position with a posture that is congruent.

“What you are seeing when you watch a palm-up sign is a continuation of a movement pattern that has survived for hundreds of millions of years. In essence, you see a “gestural fossil” from antiquity that continues to broadcast today,” says Givens.

In other words, the posture is no accident, not conscious or learned, entirely innate and therefore of predictable nonverbal meaning.

Cue Cluster: Palms up is accompanied by relaxed and open facial expressions, relaxed stance, calm breathing and other natural body postures. When stress is evident, but honesty still present, a person might be seen with a tensed face, but the palms will flash consistently and with enthusiasm. The disconnect comes from the misery of not being believed and the worry that comes from potential negative consequences. The enthusiasm with the palm flash indicates a desire to show honest conviction. When lying is present, a person will flash their palms but with low amplitude and lack of symmetry from left to right.

Body Language Category: Amplifier, Gesticulation, Honest body language, Nonthreatening body language, Open body language, Palm power, Rapport or rapport building.

Resources:

Blurton Jones, N. G. (1967). “An Ethological Study of Some Aspects of Social Behaviour of Children in Nursery School.” In Desmond Morris (Ed.), Primate Ethology (Chicago: Aldine), pp. 347-68.

Brannigan, Christopher, and David Humphries (1972). “Human Non-Verbal Behaviour, A Means of Communication.” In N. G. Blurton-Jones, ed., Ethological Studies of Child Behaviour (Cambridge: University Press), pp. 37-64.

Bass, Andrew & Boris P. Chagnaud. 2013. Shared developmental and evolutionary origins for neural basis of vocal–acoustic and pectoral–gestural signaling. Proceedings of the National Academy of Sciences.

Birdwhistell, Ray. 1952. An introduction to kinesics. Louisville: University of Louisville.

Birdwhistell, Ray. 1970. Kinesics and context. Philadelphia: University of Pennsylvania.

Ekman, Paul, and Wallace V. Friesen (1969). “Nonverbal Leakage and Clues to Deception.” In Psychiatry (Vol. 32), pp. 88-106.

Ekman, Paul & Wallace V. Friesen. 1972. Hand movements. Journal of Communication. Vol. 22, Dec. 1, pp. 353-374.

Engel, George. 1978. Clinical value of gestures, postures, and facial expressions. Public lecture. University of Washington. Seattle. December 5.

Ferre, Gaelle. 2011. Functions of three open-palm hand gestures. Multimodal Communication, 2011, 1 (1), pp.5-20.
http://hal.archives-ouvertes.fr/docs/00/66/60/25/PDF/Multimodal-com-Ferre_final_.pdf

Fabrega, Horatio Jr. 1973. Begging in a southeastern Mexican city.” In Romney, A. K. & I. DeVore (eds.). You and others. Cambridge, Mass.: Winthrop, pp. 162-173.

Friesen, Wallace ; Ekman, Paul ; Wallbott, Harald. Measuring hand movements. Journal of Nonverbal Behavior. 1979. 4(2): 97-112.

Goffman, Erving. The Nature of Deference and Demeanor. American Anthropologist. 1956. 58(3): 473-502.

Givens, David B. (forthcoming). “Reading Palm-up Signs: Neurosemiotic Overview of a Common Hand Gesture” (Accepted for publication [March 4, 2015] in Semiotica).

Givens, David B. (1982). “From Here to Eternity: Communicating With the Distant Future.” In Et Cetera (Vol. 39, No. 2), pp. 159-79.

Givens, David B. (forthcoming). “Reading Palm-up Signs: Neurosemiotic Overview of a Common Hand Gesture” (Accepted for publication [March 4, 2015] in Semiotica).

Givens, David B. (1978C). “Social Expressivity During the First Year of Life.” In Sign Language Studies (20), pp. 251-274.

Givens, David B. (1978D). “Greeting a Stranger: Some Commonly Used Nonverbal Signals of Aversiveness.” In Semiotica (Vol. 22), pp. 351-67.
Grant, Ewan (1969). “Human Facial Expressions.” In Man (Vol. 4), pp. 525-36.

Givens, David B. 1977. Shoulder shrugging: A densely communicative expressive behavior. Semiotica. Vol. 19:1/2, pp. 13-28.

Givens, David B. 1982. An ethological approach to the study of human nonverbal communication. Ann Arbor: University Microfilms.

Givens, David B. 1986. The big and the small: Toward a paleontology of gesture. Sign Language Studies. No. 51. Summer, pp. 145-167.

Givens, David B. 2005. Love signals: A practical field guide to the body language of courtship. New York: St. Martin’s Press.

Givens, David B. 2014b. Nonverbal neurology: How the brain encodes and decodes wordless signs, signals, and cues. In Kostic, Aleksandra & Derek Chadee (eds.). Social psychology of nonverbal communication. New York: Palgrave-MacMillan Press, pp. 9-30.

Givens, David B. 2014c. Measuring gestures. In Kostic, Aleksandra & Derek Chadee (eds.). Social psychology of nonverbal communication. New York: Palgrave-MacMillan Press, pp. 66-91.

Goffman, Erving. 1956. The nature of deference and demeanor. American Anthropologist. Vol. 58, No, 3, June, pp. 473-502.

Goodall, Jane. 1986. The chimpanzees of gombe: Patterns of behavior. Cambridge: Belknap Press of Harvard University.

Hall, Jeffrey A. and Chong Xing. The Verbal and Nonverbal Correlates of the Five Flirting Styles. Journal of Nonverbal Behavior. 2015. 39:41–68. DOI 10.1007/s10919-014-0199-8
http://bodylanguageproject.com/articles/first-12-minutes-flirting-using-nonverbal-communication-study-reveals-26-body-language-cues-attraction/

Hall, Karl & Irven DeVore. 1972. Baboon social behavior. In Phyllis Dolhinow (ed.). Primate patterns. San Francisco: Holt, Rinehart, and Winston, pp. 125-180.

Hubbard, Amy, McNealy, K., Zeeland, A., Callan, D. & M. Dapretto. 2012. Altered integration of speech and gesture in children with autism spectrum disorders. Brain and Behavior. Vol. 2, No. 5, Sept. 2012, pp. 606-619.

Iacoboni, Marco. 2009. Imitation, empathy, and mirror neurons. Annual Review of Psychology. Vol. 60, pp. 653-670.

Kendon, Adam. 2004. Gesture: Visible actions as utterance. Cambrideg: Cambridge University Press.

Lee Ann Renninger, T. Joel Wade, Karl Grammer. Getting that female glance: Patterns and consequences of male nonverbal behavior in courtship contexts. Evolution and Human Behavior. 2004; 25: 416–431.
http://bodylanguageproject.com/articles/part-i-how-to-read-male-sexual-body-language-a-study-for-women-and-the-men-who-wish-to-cheat-the-system/

Moore, Monica. Courtship Signaling and Adolescents: Girls Just Wanna Have Fun. Journal of Sex Research. 1995. 32(4): 319-328.
http://bodylanguageproject.com/articles/girls-just-want-to-have-fun-the-origins-of-courtship-cues-in-girls-and-women/

Morris, Desmond (1994). Bodytalk: The Meaning of Human Gestures (New York: Crown Publishers).

Morris, Desmond (1994). Bodytalk: The Meaning of Human Gestures (New York: Crown Publishers).

Marler, Peter. 1965. Communication in monkeys and apes. In DeVore, I. (ed.), Primate behavior. New York: Holt, Rinehart & Winston, pp. 544-584.

McNeill, David. 1992. Hand and mind: What gestures reveal about thought. Chicago: University of Chicago Press.

McNeill, David. 2005. Gesture and thought. Chicago: University of Chicago Press.

Mittelberg, Irene. 2008. Peircean semiotics meets conceptual metaphor: Iconic modes in gestural representations of grammar. In Cienki, A. & C. Müller (eds.). Metaphor and gesture. Amsterdam/Philadelphia: John Benjamins, pp. 115-154.

Montgomery, Kimberly J., Isenberg, Nancy & James V. Haxby. 2007. Communicative hand gestures and object-directed hand movements activated the mirror neuron system. Social Cognitive and Affective Neuroscience. Vol. 2, No. 2, June, pp. 114-122.

Muller, C. 2004. Forms and uses of the palm up open hand: A case of gesture family?” In Muller, C. & Ronald Posner (eds.). The semantics and pragmatics of everyday gestures. Berlin: Weidler, pp. 233-356.

Norton, R. (1983). Communicator Style: Theory, Applications, and Measures (Beverly Hills: Sage Publications).

Navarro, Joe. 2008. What Every BODY is Saying: An Ex-FBI Agent’s Guide to Speed-Reading People. William Morrow Paperbacks.

Pease, Barbara and Allan Pease. 2006. The Definitive Book of Body Language Hardcover. Bantam.

Sturman, Edward D. Invluntary Subordination and Its Relation to Personality, Mood,
and Submissive Behavior. Psychological Assessment. 2011. 23(1): 262-276 DOI: 10.1037/a0021499
http://bodylanguageproject.com/articles/nonverbal-submission-men-women-depression-critical-examination-use-disuse-submission/

Waal, Frans De (1982). Chimpanzee Politics (London: Jonathan Cape).

Xu, Jiang, Gannon, Patrick J., Emmorey, Karen, Smith, Jason F. & Allen R. Braun. 2009. Symbolic gestures and spoken language are processed by a common neural system. Proceedings of the National Academy of Sciences.

Body Language of Palm Down Displays or Palm Power

Body Language of Palm Down Displays or Palm Power

BodyLanguageProjectCom - Palm Down Displays or Palm Power 4 BodyLanguageProjectCom - Palm Down Displays or Palm Power 1Cue: Palm Down Displays

Synonym(s): Palm Power, Palm Down On Desk, Fingertips Spread Palm Down On A Desk, Hands On Desk Or Table, Downward Facing Palm, Planted Fingertips.

Description: Hands are palm down, sometimes on a table, while speaking on a topic or issue.

In One Sentence: Palm down is a signal of authority.

How To Use it: Palms have very powerful powers. To wield them, simply display them palm down rather than palm up. Use the palms down on a desk while leaning the body forward. This shows other people that you are to be taken seriously. Use the palm-on-desk-lean-forward posture in negotiations or when trying to intimate such as in an interrogation. Placing the palms up and then down as a gesticulation against the top of the table is a way to showcase authority and the certainty of your held opinions.

Context: General.

Verbal Translation: a) “My palms are down with authority, there is no room for discussion here – just do as I say.” b) “What I say goes. I’m putting my palms down on the issue.”

Variant: See Palm Up Displays or The Rogatory Posture.

Cue In Action: a) The boss stood up, put his hands palm down on the boardroom desk, leaned in, and spoke slowly and deliberately. It was a message no one misunderstood for weakness, but rather high authority and dominance. b) To quiet the room, the speaker waved his hands at chest height, fingers slightly separated. He moved up and down to calm the audience as he prepared to speak.

Meaning and/or Motivation: Palms-up, palms-down and palms even all represent different things, from authority to submission.

The rule of thumb is that palms down “tell”, while palms up, “offer.”

Palm down shows dominance or superiority, palm up shows submissiveness and palm even equality. Palm down displays show emphatically that a position is held confidently.

When used with fingers closed, a palm down display is high authority – think of the Nazi salute.

Cue Cluster: Dominant cues are linked to palm down displays. Watch for palm down with fingertips spread to be accompanied by the body leaning in, head on, loud voice and slow dominant speech. Palm down is coupled with a loud, deep voice, arms spread apart, legs open or in the figure four, leaning back and showing confidence or leaning in with passion.

Body Language Category: Amplifier, Aggressive body language, Authoritative body language, Confident body language, Closed body language, Dominant body language, High confidence body language, Palm power, Power play.

Resources:

Alibali, M.W., Heath, D.C., and Myers,H.J. (2001). Effects of visibility between speaker and listener on gesture production: Some gestures are meant to be seen. Journal of Memory and Language, 44, 169–188.

Blurton Jones, N. G. (1967). “An Ethological Study of Some Aspects of Social Behaviour of Children in Nursery School.” In Desmond Morris (Ed.), Primate Ethology (Chicago: Aldine), pp. 347-68.

Brannigan, Christopher, and David Humphries (1972). “Human Non-Verbal Behaviour, A Means of Communication.” In N. G. Blurton-Jones, ed., Ethological Studies of Child Behaviour (Cambridge: University Press), pp. 37-64.

Bass, Andrew & Boris P. Chagnaud. 2013. Shared developmental and evolutionary origins for neural basis of vocal–acoustic and pectoral–gestural signaling. Proceedings of the National Academy of Sciences.

Birdwhistell, Ray. 1952. An introduction to kinesics. Louisville: University of Louisville.

Birdwhistell, Ray. 1970. Kinesics and context. Philadelphia: University of Pennsylvania.

Chaikin, Alan L. ; Gillen, Barry ; Derlega, Valerian J. ; Heinen, James R. K. ; Wilson, Midge. Students’ reactions to teachers’ physical attractiveness and nonverbal behavior: Two exploratory studies. Psychology in the Schools. 1978. 15(4): 588-595.

Carney, Dana R.; Amy J.C. Cuddy; Andy J. Yap. Power Posing: Brief Nonverbal Displays Affect Neuroendocrine Levels and Risk Tolerance. Psychological Science, 2010; 21 (10): 1363-1368.

Cuddy, Amy J.C., Caroline A. Wilmuth, and Dana R. Carney. The Benefit of Power Posing Before a High-Stakes Social Evaluation. Harvard Business School Working Paper, No. 13-027, September 2012.

Ekman, Paul & Wallace V. Friesen. 1972. Hand movements. Journal of Communication. Vol. 22, Dec. 1, pp. 353-374.

Engel, George. 1978. Clinical value of gestures, postures, and facial expressions. Public lecture. University of Washington. Seattle. December 5.

Ekman, Paul, and Wallace V. Friesen (1969). “Nonverbal Leakage and Clues to Deception.” In Psychiatry (Vol. 32), pp. 88-106.

Ferre, Gaelle. 2011. Functions of three open-palm hand gestures. Multimodal Communication, 2011, 1 (1), pp.5-20.
http://hal.archives-ouvertes.fr/docs/00/66/60/25/PDF/Multimodal-com-Ferre_final_.pdf

Friesen, Wallace ; Ekman, Paul ; Wallbott, Harald. Measuring hand movements. Journal of Nonverbal Behavior. 1979. 4(2): 97-112.

Fabrega, Horatio Jr. 1973. Begging in a southeastern Mexican city.” In Romney, A. K. & I. DeVore (eds.). You and others. Cambridge, Mass.: Winthrop, pp. 162-173.

Genthner, Robert W. ; Moughan, James Osipow, Samuel H. (editor). Introverts’ and extraverts’ responses to nonverbal attending behavior. Journal of Counseling Psychology. 1977. 24(2): 144-146.

Gorkan Ahmetoglu, Viren Swami. Do Women Prefer “Nice Guys?” The Effect Of Male Dominance Behavior On Women’s Ratings. Social Behavior And Personality, 2012; 40(4), 667-672.
http://bodylanguageproject.com/articles/how-to-significantly-increase-male-attractiveness-with-simple-body-language-nice-guys-finish-last-once-again/

Goffman, Erving. The Nature of Deference and Demeanor. American Anthropologist. 1956. 58(3): 473-502.

Givens, David B. (forthcoming). “Reading Palm-up Signs: Neurosemiotic Overview of a Common Hand Gesture” (Accepted for publication [March 4, 2015] in Semiotica).

Givens, David B. (1978A). “Social Expressivity During the First Year of Life.” In Sign Language Studies (20), pp. 251-274.

Givens, David B. (1978B). “Greeting a Stranger: Some Commonly Used Nonverbal Signals of Aversiveness.” In Semiotica (Vol. 22), pp. 351-67.

Givens, David B. 1977. Shoulder shrugging: A densely communicative expressive behavior. Semiotica. Vol. 19:1/2, pp. 13-28.

Givens, David B. 1982. An ethological approach to the study of human nonverbal communication. Ann Arbor: University Microfilms.

Givens, David B. 1986. The big and the small: Toward a paleontology of gesture. Sign Language Studies. No. 51. Summer, pp. 145-167.

Givens, David B. 2005. Love signals: A practical field guide to the body language of courtship. New York: St. Martin’s Press.

Givens, David B. 2014A. Nonverbal neurology: How the brain encodes and decodes wordless signs, signals, and cues. In Kostic, Aleksandra & Derek Chadee (eds.). Social psychology of nonverbal communication. New York: Palgrave-MacMillan Press, pp. 9-30.

Givens, David B. 2014B. Measuring gestures. In Kostic, Aleksandra & Derek Chadee (eds.). Social psychology of nonverbal communication. New York: Palgrave-MacMillan Press, pp. 66-91.

Grant, Ewan (1969). “Human Facial Expressions.” In Man (Vol. 4), pp. 525-36.

Goffman, Erving. 1956. The nature of deference and demeanor. American Anthropologist. Vol. 58, No, 3, June, pp. 473-502.

Goodall, Jane. 1986. The chimpanzees of gombe: Patterns of behavior. Cambridge: Belknap Press of Harvard University.

Givens, David B. (1982). “From Here to Eternity: Communicating With the Distant Future.” In Et Cetera (Vol. 39, No. 2), pp. 159-79.

Givens, David B. (forthcoming). “Reading Palm-up Signs: Neurosemiotic Overview of a Common Hand Gesture” (Accepted for publication [March 4, 2015] in Semiotica).

Hall, Karl & Irven DeVore. 1972. Baboon social behavior. In Phyllis Dolhinow (ed.). Primate patterns. San Francisco: Holt, Rinehart, and Winston, pp. 125-180.

Hubbard, Amy, McNealy, K., Zeeland, A., Callan, D. & M. Dapretto. 2012. Altered integration of speech and gesture in children with autism spectrum disorders. Brain and Behavior. Vol. 2, No. 5, Sept. 2012, pp. 606-619.

Iacoboni, Marco. 2009. Imitation, empathy, and mirror neurons. Annual Review of Psychology. Vol. 60, pp. 653-670.

Koppensteiner, Markus ; Grammer, Karl. Body movements of male and female speakers and their influence on perceptions of personality. Personality and Individual Differences. 2011. 51(6): 743-747.

Koppensteiner, Markus ; Stephan, Pia ; Jäschke, Johannes Paul Michael. From body motion to cheers: Speakers’ body movements as predictors of applause. Personality and Individual Differences. 2015. 74: 182-185.

Leigh, Thomas W. ; Summers, John O. An initial evaluation of industrial buyers’ impressions of salespersons’ nonverbal cues. Journal of Personal Selling & Sales Management. 2002. 22(1): 41(13).

Mehrabian, Albert ; Williams, Martin Mcguire, William J. (editor). Nonverbal concomitants of perceived and intended persuasiveness. Journal of Personality and Social Psychology. 1969. 13(1): 37-58.

Morris, Desmond (1994). Bodytalk: The Meaning of Human Gestures (New York: Crown Publishers).

Morris, Desmond (1994). Bodytalk: The Meaning of Human Gestures (New York: Crown Publishers).

Marler, Peter. 1965. Communication in monkeys and apes. In DeVore, I. (ed.), Primate behavior. New York: Holt, Rinehart & Winston, pp. 544-584.

McNeill, David. 1992. Hand and mind: What gestures reveal about thought. Chicago: University of Chicago Press.

McNeill, David. 2005. Gesture and thought. Chicago: University of Chicago Press.

Mittelberg, Irene. 2008. Peircean semiotics meets conceptual metaphor: Iconic modes in gestural representations of grammar. In Cienki, A. & C. Müller (eds.). Metaphor and gesture. Amsterdam/Philadelphia: John Benjamins, pp. 115-154.

Montgomery, Kimberly J., Isenberg, Nancy & James V. Haxby. 2007. Communicative hand gestures and object-directed hand movements activated the mirror neuron system. Social Cognitive and Affective Neuroscience. Vol. 2, No. 2, June, pp. 114-122.

Muller, C. 2004. Forms and uses of the palm up open hand: A case of gesture family?” In Muller, C. & Ronald Posner (eds.). The semantics and pragmatics of everyday gestures. Berlin: Weidler, pp. 233-356.

Norton, R. (1983). Communicator Style: Theory, Applications, and Measures (Beverly Hills: Sage Publications).

Navarro, Joe. 2008. What Every BODY is Saying: An Ex-FBI Agent’s Guide to Speed-Reading People. William Morrow Paperbacks.

Roll, William V. ; Schmidt, Lyle D. ; Kaul, Theodore J. Berdie, Ralph F. (editor). Perceived interviewer trustworthiness among black and white convicts. Journal of Counseling Psychology. 1972. 19(6): 537-541.

St J. Neill, S.R. The Effects of Facial Expression and Posture on Children’s Reported Responses to Teacher Nonverbal Communication. British Educational Research Journal. 1989. 15(2): 195-204.

Schubert, T. W. (2005). Your highness: Vertical positions as perceptual symbols of power. Journal of Personality and Social Psychology. 89. 1–21.

Trout, Deborah ; Rosenfeld, Howard. The effect of postural lean and body congruence on the judgment of psychotherapeutic rapport. Journal of Nonverbal Behavior. 1980. 4(3): 176-190.

Wiener, Morton ; Devoe, Shannon ; Rubinow, Stuart ; Geller, Jesse Mandler, George (editor). Nonverbal behavior and nonverbal communication. Psychological Review. 1972. 79(3): 185-214.

Waal, Frans De (1982). Chimpanzee Politics (London: Jonathan Cape).

Xu, Jiang, Gannon, Patrick J., Emmorey, Karen, Smith, Jason F. & Allen R. Braun. 2009. Symbolic gestures and spoken language are processed by a common neural system. Proceedings of the National Academy of Sciences.

Body Language of Neck Exposure

Body Language of Neck Exposure

BodyLanguageProjectCom - Neck Exposure 1 BodyLanguageProjectCom - Neck Exposure 2 BodyLanguageProjectCom - Neck Exposure 3 BodyLanguageProjectCom - Neck Expousre 4Cue: Neck Exposure

Synonym(s): Exposing The Neck, Showing The Neck.

Description: A cue originating primarily from women in dating and children in general where the neck is exposed by removing long hair or canting to the side.

In One Sentence: Neck exposure is a submissive signal.

How To Use it: Women benefit best from using the neck exposure nonverbal signal as it tells others that they are willing to submit. In dating, exposing the neck by canting the head to the side is alluring to men as it shows attraction. To amplify the posture, brush hair aside or lightly stroke the neck to draw gaze in that direction. Eye contact helps anchor the cue to a specific person.

Children can also benefit from the posture in much the same ways as women because it shows that they are not willing to put up a fight. This usually elicits a helping response from adults.

Context: a) General b) Dating.

Verbal Translation: “I’m trusting and submissive of your dominance and am showing you this by exposing my vulnerable neck by canting to the side or removing my hair.”

Variant: See Wrist Exposure Displays, Head Tilted or Head Cocked To The Side.

Cue In Action: a) She really wanted a pony so she canted her head to the side, twirled her hair around her finger to reveal her neck as she gazed up at her Dad doe-eyed. b) She really wanted him, so she canted her head to the side, twirled her hair around her finger to reveal her neck as she gazed up at him doe-eyed.

Meaning and/or Motivation: Exposures of the neck are a visceral responses linked to submissiveness and are displayed during courtship by women and by children.

Children are often seen bending or canting their heads to the side in order to elicit a protective response in adults.

Women will do likewise when sexually aroused. In a dating context, women show their trust and willingness to submit to men, by revealing their necks. While the neck is not inherently sexy on its own, it is a way that people signal trust when facing authority. The neck contains many nerve endings so are very sensitive. A woman’s neck is also far less robust, more dainty, longer than mens’, with less musculature. The neck is an extremely vulnerable part of our bodies which we defend rigorously if attacked, and the genes we have as a result of eons of evolutionary history supports this. One well placed bite to the throat by cat like predators instantly immobilizes their prey.

Cue Cluster: a) Children who cant their heads to reveal their necks will also lower their eyes and cast them upwards, the might show a fat lower lip to gain sympathy, they may also bat their eyes, turn their palms up pleading, hug your leg, whine and shrug their shoulders.

b) You can imagine a woman might seductively remove her long hair by bringing it over to one side, or twisting it around a finger then flexing to the side flashing her neck. She might tilt her head to the side by dropping her head and bring her hand up to carefully stroke and caress the skin on her neck just lightly, so as to draw a man’s eyes on her. In more overt cases, woman can even display sexually by coming so close that the neck invites a kiss.

Body Language Category: Amplifier, Appease, Courtship displays, Indicators of sexual interest (IOsI), Nonthreatening body language, Pseudo-infantile gestures, Readiness to submit postures, Submissive body language.

Resources:

Beall, Alec and Jessica L. Tracy. The Puzzling Attractiveness of Male Shame. Manuscript submitted to Evolutionary Psychology. www.epjournal.net – 2014. 12(x): 1-39
http://bodylanguageproject.com/articles/male-nonverbal-shame-attractive/

Brockner, J., Pressman, B., Cabitt, J., & Moran, P. (1982). Nonverbal intimacy, sex, and compliance: A field study. Journal of Nonverbal Behavior, 6, 253-258.

Cari D. Goetz; Judith A. Easton; David M.G. Lewis; David M. Buss. Sexual Exploitability: Observable Cues And Their Link To Sexual Attraction. Evolution and Human Behavior. 2012; 33: 417-426.
http://bodylanguageproject.com/articles/victim-blaming-or-useful-information-in-preventing-rape-and-sexual-exploitation/

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Fink, Bernhard; Nadine Hugill and Benjamin P. Lange. Women’s Body Movements Are a Potential Cue to Ovulation. Personality and Individual Differences. 2012. 53: 759-763.
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Goetz, Cari D.; Judith A. Easton; David M.G. Lewis; David M. Buss. Sexual Exploitability: Observable Cues And Their Link To Sexual Attraction. Evolution and Human Behavior. 2012; 33: 417-426.
http://bodylanguageproject.com/articles/victim-blaming-or-useful-information-in-preventing-rape-and-sexual-exploitation/

Goetz, Cari D.; Judith A. Easton; Cindy M. Meston. The Allure of Vulnerability: Advertising Cues to Exploitability as a Signal of Sexual Accessibility. Personality and Individual Differences. 2013. 62: 121-125. http://dx.doi.org/10.1016/j.paid.2014.02.019
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Body Language of Nasal Wing Dilation or Nose Flaring

Body Language of Nasal Wing Dilation or Nose Flaring

BodyLanguageProjectCom - Nasal Wing Dilation Or Nose Flaring 2Cue: Nasal Wing Dilation or Nose Flaring

Synonym(s): Nose Flaring, Flared Nostrils.

Description: The wings of the nose flexes and flares as if taking in a big breath of air. However, they often remain fixed in place in a more permanent fashion.

In One Sentence: Flared nostrils signals a negative thought pattern and aggression.

How To Use it: Use flared nostrils to show others that you disapprove of them or their ideas. By responding to someone with flared nostrils you can tell them that what they have said is not appropriate or that you disagree. As it is close to disdain, it can be potent. When done at the sight of someone, will tell them that you don’t like them and they are on your bad list.

Flaring the nostrils is a great way to tell others that your aggression is rising. Thus, use the signal to tell others to correct their behaviour before you lash out at them.

Context: General.

Verbal Translation: “We’ve probably got a problem on our hands, time to load up on oxygen as we might need to fight or take flight!”

Variant: N/A

Cue In Action: His boss came down hard on him and prodded him until he neared his breaking point. His nose flared and his fist balled up. One wrong step and he was fully prepared to act out his aggression.

Meaning and/or Motivation: Nasal wing dilation is part of the fight and flight response because it tells us that someone is actively oxygenating their bodies in preparation to do something important. Our bodies consume oxygen during work, and we can get our bodies ready by loading up hemoglobin which is the carrier of the oxygen molecule, just in case it’s needed for an intense bout of work. As people get ready to fight, their chests can be seen rapidly expanding and contracting as if panting.

Sometimes though, nasal wing dilation is actually in response to doing something physical, be it to move a heavy sofa or taking to a flight of stairs. Other times, nostrils flare when aroused by a potential mate who is seeking to take up an alluring scent laced with sexual pheromones.

However, as mentioned this cue can be very important in certain context as it may provide clues to potential aggression. School aged children should learn this nonverbal cue early on so as to diffuse aggression by bullies.

Cue Cluster: Aggressive body language can happen by clenching the fists, finger pointing, loose or tense body, jaw clenching, quivering lips, frowning, furrowing, lowered eyebrows, dilated pupils, squinting of the eyes, crotch displays, sneering, hands on hips, leaning in or shrinking the distance, flushing,

Body Language Category: Amplifier, Arousal, Aggressive body language, Anger body language, Emotional body language, Hostile body language, Microexpressions, Microgestures, Negative body language, Threat displays.

Resources:

Aviezer, Hillel; Ran R. Hassin; Jennifer Ryan; Cheryl Grady; Josh Susskind; Adam Anderson; Morris Moscovitch and Shlomo Bentin. Angry, Disgusted, or Afraid? Studies on the Malleability of Emotion Perception. Psychological Science. 2008. 19(7): 724-732.
http://bodylanguageproject.com/articles/emotions-read-context-study/

Aaron, Sell; Cosmides, Leda and Tooby, John. The Human Anger Face Evolved to Enhance Cues of Strength. Evolution and Human Behavior. 2014. 35(5): 425-429.
http://bodylanguageproject.com/articles/the-universal-anger-face/

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Bjorkqvist, K., Osterrnan, K. and Lagerspetz, K.M.I. (1994) ‘Sex Differences in Covert
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Daniele Marzoli, Mariagrazia Custodero, Alessandra Pagliara, and Luca Tommasi. Sun-Induced Frowning Fosters Aggressive Feelings. Cognition And Emotion. 2013; 27 (8): 1513-1521.
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Body Language of Loud Voice

Body Language of Loud Voice

BodyLanguageProjectCom - Loud Voice 1Cue: Loud Voice

Synonym(s): Shrill Voice, Screaming, Yelling, Booming Voice.

Description: A voice that is forceful and overtakes a room or conversation. It can be booming and baritone or a high pitched soprano shrill.

In One Sentence: A loud voice is a sign of dominance and signals a passion to be heard.

How To Use it: Men benefit best by using a booming voice as it comes across as more dominant. Men can use their loud and deep voice to command respect and be heard. A loud voice is best used to show passion, but it can also be used to demand respect and authority. However, while the loudest voice is most likely to be heard, it is not always the one that is most likely to be listened to. Thus, one should use a loud voice with care so as not to appear belligerent. A loud voice, in the right context shows others that you are passionate, but used incorrectly is taken negatively.

Women should use a loud voice to encourage, but when angry should lower their voices to mirror that of men’s voices. A high pitched shrill voice is rarely seen as positive – though will often command temporary obedience.

How a loud voice is used depends largely on the context. One can use a loud voice to be silly and show amusement but also to scold and dish out punishment. In either case, one should use a loud voice with care so that it does not result in a poor result.

Context: a) General b) Business.

Verbal Translation: “I’m in charge, passionate, and want to be heard or the center of everyone’s attention. I use a loud booming, or shrill voice, so people pay me attention.”

Variant: See Becoming Quiet or Whispering for the opposite cue.

Cue In Action: a) She was the life of the party, laughing, talking loudly, carrying on and telling jokes that every enjoyed. b) When he spoke everyone listened. His voice boomed and controlled a room, he was passionate and dominant and he really loved his work. His enthusiasm was overwhelming. c) They both raised their volume to try to drown the other out with all the noise. Neither person made any valid argument – at least ones that could be properly understood.

Meaning and/or Motivation: The aim of the speaker is to avoid being overlooked. The loud voice stems from a person who wishes to gain attention and control others through authority and intimidation.

The overall meaning of a loud voice is highly context specific. Sometimes people misread loud voices as confidence which is rarely the case as usually it comes from people who fear not being heard. Often, loud voices are aimed at speaking over others and show egotism and impatience. Loud voices can also be used to persuade others, but by trying to create submission in them rather than use constructive reasoning. Loud voices can be used to drown out counterpoints.

A loud voice may be used to compensate for a perceived personal flaw, a reaction to hearing loss or inebriation.

When men use a loud voice in business, it often, though not exclusively, implies passion but is often misinterpreted, especially by women, to be negative in nature. However, the cues of a passionate speaker will be directed at the objective – the desired results rather than aimed at a specific person. A loud voice sometimes means confrontation but will be coupled with adjoining cues such as physical encroachment and finger pointing.

Cue Cluster: A loud voice is associated with passionate gesticulation, batoning, fish chopping and the person will usually be standing to gain a height advantage. When passion meets aggression the loud speaker will encroach on another’s personal space, will use piercing eye contact and finger pointing.

Body Language Category: Amplifier, Aggressive body language, Anger body language, Authoritative body language, Dominant body language, Emotional body language, Frustration or frustrated body language, Hostile body language, Threat displays.

Resources:

Apicella, Coren L. and David R. Feinberg. Voice Pitch Alters Mate-Choice-Relevant Perception in Hunter–Gatherers. Proc. R. Soc. B. 2009. 276: 1077–1082
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Body Language of Leg Crossing and Leg Crossing Direction

Body Language of Leg Crossing and Leg Crossing Direction

BodyLanguageProjectCom - Leg Crossing and Leg Crossing Direction 2 BodyLanguageProjectCom - Leg Crossing and Leg Crossing Direction 1Cue: Leg Crossing and Leg Crossing Direction.

Synonym(s): Crossing The Legs, Thigh-Thigh Cross.

Description: A proper sitting posture where one leg crosses over the knee of the other leg.

In One Sentence: Leg crossing is a closed body posture demonstrating the desire to protect privacy.

How To Use it: Women should make it a habit to cross the legs regardless of the type of attire they wear, but especially so if they are wearing short skirts or dresses or are trying to appear feminine. Our current culture affords women the liberty to comport themselves however they see fit, however, this does speak directly toward our values. In other words, if women wish to be perceived as “lady-like” and feminine, rather than masculine (the current default), crossing the legs is an apt nonverbal display.

Men also benefit from crossing the legs, much like women. When men cross their legs rather than splay them open, they appear more proper and sophisticated, not to mention respectful.

As always, one must use body language to create the results that are most desired.

Context: a) General, b) Dating.

Verbal Translation: “I’m somewhat reserved so I’m closing off my body and aiming my legs toward someone I like or away from someone I dislike.”

Variant: Sometimes people are not physically able or comfortable crossing their legs in more than one direction or crossing them at all. If a person habitually crosses their legs in one direction, their tendons and muscles will stretch and conform to suite that direction best. This then inhibits them from crossing in another direction because they feel less comfortable doing so. Therefore, we should be careful to watch for adjoining cues, the context, and a person’s baseline before drawing definitive causal conclusions with respect to leg cross direction.

See European Leg Cross and Figure Four Seating Position (The) or The Ankle-Knee Cross and Leg Twine.

Cue In Action: a) While the two girls chatted, each had their legs crossed toward each other as if cutting out all others from the conversation. b) Dave and his new girlfriend sat chatting on the sofa when a younger more attractive girl sat down next to Dave. Subconsciously Dave began to lean toward her, shifted his body over and even crossed his legs in her direction rather than toward his girlfriend.

Meaning and/or Motivation: The legs crossed toward something or someone indicates attraction in that direction. In other words, the legs are propelled in the direction in which we think. Couples that have a strong relationship will usually cross their legs toward each other. Enemies will usually cross away, context permitting of course. Lovers sitting on a couch together with their legs crossed toward each other, bodies leaning inward, with their arms meeting over the back of the couch are said to be in a “loving circle.”

Be cautious about reading the meaning of leg cross with respect to direction as there is no solid evidence that people habitually cross their legs toward or away from people they like and don’t like respectively.

Having the legs crossed is often a signal of a closed attitude as the leg crosses over the mid-point of the body. Compare legs crossed to having the legs opened or legs cross in the figure four posture. Legs open is more open and more dominant. However, women who wear skirts should cross their legs so as not to appear overtly sexual.

Leg crossing is often motivated by the desire to increase comfort and therefore simply a natural posture in a person’s repertoire. However, if a postural change occurs suddenly and due to a particular stimulus, we should pay particular attention. The legs may have been drawn in the direction of the attractive stimulus – be it a person or event.

Similar to the leg twine, a thigh-thigh cross is a tight version of leg crossing where the thigh is brought up really high and the legs pressed tightly together. This can signal a closed attitude and restrained emotion. It might also signify a desire to pacify by pressing the genitals tightly together. It is more commonly found in women, but particularly salient when done by men. If a bounce is present, it might indicate a desire for pacifying through sexual self-stimulation.

Cue Cluster: When the legs are crossed toward another person expect to see bodies leaning in, shoulders and head turned toward and good eye contact. The opposite is found when the legs are crossed away. If they are not, then we can assume that the leg cross is more due to comfort or that a person is splitting attention between two equally attractive stimulus.

Body Language Category: Adaptors, Amplifier, Barriers, Body cross, Body pointing, Blocking or Shielding, Closed body language, Defensive body language, Idiosyncratic body language, Indicator of interest (IoI), Intention movements, Undivided attention (nonverbal).

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Body Language of Leaning In and Leaning Out

Body Language of Leaning In and Leaning Out

BodyLanguageProjectCom - Leaning In and Leaning Out 1 BodyLanguageProjectCom - Leaning In and Leaning Out 3 BodyLanguageProjectCom - Leaning In and Leaning Out 5 BodyLanguageProjectCom - Leaning In and Leaning Out 6Cue: Leaning In and Leaning Out.

Synonym(s): Pecking Forward, Leaning Out.

Description: Leaning forward or away from another person (or thing).

In One Sentence: Leaning in and leaning out signal interest and disinterest respectively.

How To Use it: Use leaning in and leaning out to show your level of interest. Leaning in shows people that you are interested in them, their ideas and/or what they have to say. Leaning out sends the reverse message.

Leaning language is applicable in business, dating and amongst friends.

For example, leaning in toward your dating partner shows him or her that you wish to gain intimacy. In a business meeting or presentation sit at the edge of your seat and lean in toward the presenter to show them you are keen on the information. With friends at lunch, sit facing them and engage them with conversation by moving forward. These postures all work in reverse to show disinterest. Additionally, leaning in and out can be done while standing and send a similar message. Leaning in also shows a readiness for action. This is also a positive message – especially in business and dating.

Context: a) Dating, b) General.

Verbal Translation: “I’m interested in what you are saying and am supplicating to your dominance and ability to draw me in closer to you, rather than you, to me. That’s why I’m leaning forward.”

Variant: See Head Away.

Cue In Action: a) Dave was really into Stacey. Throughout lunch, he tried to engage her as much as possible but found the more he leaned in, the more she leaned out and away. It was clear that he was more into her, than vice versa. b) While presenting to the crowd, she found half of the students leaning in and engaged, while the other half leaned out and away. She knew which students where most keen on the topic from the way their bodies leaned.

Meaning and/or Motivation: Leaning in too much, also referred to as “pecking” forward has been advanced by the pick-up community as a term describing men who appear needy and who lack control of the dating situation rather than dominant and chase-worthy.

Pecking forward can appear in any setting and shows which of the two are most interested in the other or whom is most dominant and in control. Or, sometimes more aptly, leaning away tells us which person is more apathetic to the relationship and apathy often creates control and ability to dominate. Dominant people will tend to lean back and take up space, but someone who lacks confidence or whom has a great interest in another person will try to engage them more by leaning in toward them. This tends to have the reverse result to what is intended.

Leaning back will force others to engage you, instead of the other way around (cat and mouse game.) Talking quietly also has the affect of forcing people to move closer to you, thereby increasing your status.

Cue Cluster: Couple leaning in and leaning out with other nonverbal cues to determine level of engagement. Leaning in should find itself with eye contact, nodding, smiling, smooth flowing conversation and head tilted to the side – this shows engagement. Leaning back, and disengagement should find itself with lack of eye contact, lack of nodding, deadpan face, stuttered conversation and head-on rather than head tilted.

Body Language Category:

Leaning In: Amplifier, Attentive, Body pointing, Indicator of interest (IoI),
Indicators of sexual interest (IOsI), Intention movements, Low confidence body language, Liking.

Leaning Away: Amplifier, Body pointing, Confident body language, Disengagement, Dislike (nonverbal), Distancing or moving away, Dominant body language Escape movements, Expansive movements, Indicators of disinterest (IOD), Indicators of sexual disinterest (IOsD), Intention movements, Power play.

Resources:

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Body Language of Jabbing The Finger

Body Language of Jabbing The Finger

BodyLanguageProjectCom - Jabbing 2Cue: Jabbing The Finger

Synonym(s): Finger Jabbing, Foot Jabbing

Description: A type of finger pointing but with added emphasis and direction, usually aimed at a person who is being spoken to, and repeated rhythmically. At times, a finger might actually physically make contact with another person to make the cue more salient.

In One Sentence: Finger jabbing is a rude gesture symbolizing being poked by a spear.

How To Use it: Use finger jabbing when you want to use nonverbal aggression to make a point. Jabbing the finger with every point tells others that you should be taken seriously through force and intimidation. In an emotionally charged debate one can use the finger jab to drive your point home.

On the other hand, to appear more rational, drop the finger jab and instead use a calm voice and fluid hand movements to make a proper “point.”

Context: General.

Verbal Translation: “I trying to make a point that I feel strongly about. I’m jabbing my fingers toward you like I would jab a spear. I really want to drive my idea home.”

Variant: The feet are sometimes jabbed or kicked in the direction of other people or during heated situations. Other times, a finger only points in the direction of another person and lacks a jabbing motion. Also see Baton Gesture.

Cue In Action: It was nearing blows. They both exclaimed their case with extreme enthusiasm. At one point, she was shouting and jabbing at close quarters and encroaching on his personal space.

Meaning and/or Motivation: Finger jabbing is a rude gesture. It is as if the person is being stabbed with a spear, especially if is present in a particularly negative or heated context. The voracity and amplitude of the jab outlines the degree of emotion present.

Other times, a jab can be a playful expression between say an uncle and his nephew to tickle his sides and have him giggle.

Cue Cluster: Expect to see violations of personal space, loud voices and shouting, wide focus intense eyes, erratic arm movements, puffing of the chest, arms akimbo and chin jutting.

Body Language Category: Amplifier, Aggressive body language, Body pointing, Displacement behaviour, Enthusiasm (nonverbal), Hostile body language, Intention movements, Negative body language, Threat displays.

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