Category: Emotional body language

Amplifier, Anger body language, Closed facial gestures, Emotional body language, Negative body language, Stressful body language, Suppressed facial expression

Body Language of Eyebrows Knit or Oblique Eyebrows Of Grief

by Chris • October 21, 2014 • 0 Comments

Body Language of Eyebrows Knit or Oblique Eyebrows Of Grief

Cue: Eyebrows Knit or Oblique Eyebrows Of Grief

Synonym(s): Grief Muscle Flex, Worry Facial Expression, Eyebrow Scrunch, Oblique Eyebrows Of Grief.

Description: The eyebrows are raised simultaneously and drawn inward toward each other producing both horizontal creases in the forehead and vertical creases between the eyebrows. In the oblique eyebrows of grief cue, the eyebrows are pulled upward more so than the other ends.

In One Sentence: Knitting the eyebrows together signals grief or physical pain.

How To Use it: Knit the eyebrows by flexing the muscles between the brows. This is most effective when upset or angry and you want someone else to know it. Parents can use this on children, or partners on each other, to show that they disapprove.

Research has shown that children are able to read the facial expressions of adults, and that the messages they carry are more salient to them, than are verbal expressions. In other words, an angry voice is less detectable to children than an angry face so the latter is more effective than the former.

Avoid knitting the eyebrows in airports near security as officers are specially trained to catch grief in high risk situations.

Context: General.

Verbal Translation: “I’m in deep pain due to emotional or physical pain and I’m showing you this by pulling my eyebrows together.”

Variant: See Eyebrow Cock, Eyebrow Hold, Eyebrow Lowering, Eyebrow Flash, Eyebrow Raise.

Cue In Action: At the boarder crossing, he was asked if he carried any drugs with him. He said no, but his eyebrows immediately came together. Spotting his grief, he was detained and questioned. His micro-expression showed that he was probably lying.

Meaning and/or Motivation: When the eyebrows pinch together it is a universal signal of pain, even if it flashes for a split second. Personnel who analyze high-risk events such as boarder crossings, airport security, police officers and detectives are trained to spot momentary expresses of grief. The muscle between the brows can flex at anytime when negative thoughts are held.

The French call the area between the eyebrows, the “grief muscle.” It is active when expressing both pain, as well as when you wish to inflict it. The fearful face carries a momentary raise in the upper eyelids and a grimace comes across the mouth. Anger appears with a lowering of the eyebrows, flaring of the eyes and a tightening of the mouth or jaw.

Fear, grief and surprise in addition to other facial expressions can quickly flash across the face in the form of micro expressions.

Cue Cluster: Eyebrows of grief are combined with other close facial expressions such as lip pursing, squinted eyes, grimacing, as well as nervous cues such as touching the face or ears, scratching the neck, smoothing and adjusting clothing, eye avoidance and even tears in extreme cases.

Body Language Category: Amplifier, Anger, Closed facial gestures, Emotional body language, Negative body language, Stressful body language, Suppressed facial expression.

Resources:

Bonanno, George A. ; Keltner, Dacher Strauss, Milton E. (editor). Facial Expressions of Emotion and the Course of Conjugal Bereavement. Journal of Abnormal Psychology. 1997. 106(1): 126-137.

Bartlett Marian S, Littlewort Gwen C, Frank Mark G, Lee K. Automatic decoding of facial movements reveals deceptive pain expressions. Curr Biol 2014;24:738–43.

Boucher, J D. Facial displays of fear, sadness and pain. Perceptual and motor skills 1969. 28(1): 239-42.

Craig, Kenneth D. ; Patrick, Christopher J. Hogan, Robert (editor). Facial Expression During Induced Pain. Journal of Personality and Social Psychology. 1985 48(4): 1080-109.

Cannon, W. B. (1929). Bodily changes in pain, hunger, fear and rage (2nd ed.). New York: Appleton, Century, Crofts.

Daniele Marzoli, Mariagrazia Custodero, Alessandra Pagliara, and Luca Tommasi. Sun-Induced Frowning Fosters Aggressive Feelings. Cognition And Emotion. 2013; 27 (8): 1513-1521.
http://bodylanguageproject.com/articles/the-sun-can-produce-feelings-of-anger-and-aggression-it-makes-us-frown/

Frijda, Nico H.. What is pain facial expression for? Behavioral and Brain Sciences. 2002. 25(4): 460-460.

Geisser M, Robinson M, Keefe F, Weiner M. Catastrophizing, depression and the sensory, affective and evaluative aspects of chronic pain. PAIN. 1994;59:79–83.

Hermann, Christiane; Flor, Herta. Facial expression of pain more than a fuzzy expression of distress? Behavioral and Brain Sciences. 2002. 25(4): 462-463.

Han, Changsu ; Park, Geun-Young ; Wang, Sheng-Min ; Lee, Seung-Yeop ; Lee, Soo-Jung ; Bahk, Won-Myong ; Pae, Chi-Un. Can botulinum toxin improve mood in depressed patients? Expert review of neurotherapeutics. 2012 12(9): 1049-51.

Keogh E. Gender differences in the nonverbal communication of pain: A new direction for sex, gender, and pain research? PAIN_ 2014;155:1927–31.

Kunz, Miriam ; Mylius, Veit ; Schepelmann, Karsten ; Lautenbacher, Stefan. Impact of age on the facial expression of pain. Journal of Psychosomatic Research. 2008. 64(3): 311-318.

Keogh, Edmund; Holdcroft, Anita. Sex differences in pain: Evolutionary links to facial pain expression. Behavioral and Brain Sciences. 2002. 25(4): 465-465.

Kunz, Miriam ; Peter, Jessica ; Huster, Sonja ; Lautenbacher, Stefan Gray, Marcus (Editor). Pain and Disgust: The Facial Signaling of Two Aversive Bodily Experiences (Comparing Facial Expressions of Pain and Disgust). 2013. 8(12): p.e83277

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McGrath P, Johnson G, Goodman J, Schillinger J, Dunn J, Chapman J. CHEOPS—a behavioral-scale for rating postoperative pain in children. Adv Pain Res Ther 1985;9:395–402.

Pantic, Maja; Rothkrantz, Leon J. M. Machine understanding of facial expression of pain. Behavioral and Brain Sciences. 2002. 25(4): 469-470.

Simon D, Craig K, Gosselin F, Belin P, Rainville P. Recognition and discrimination of prototypical dynamic expressions of pain and emotions. PAIN_ 2008;135:55–64.

Vlaeyen, Johan W.S. ; Hanssen, Marjolein ; Goubert, Liesbet ; Vervoort, Tine ; Peters, Madelon ; van Breukelen, Gerard ; Sullivan, Michael J.L. ; Morley, Stephen. Threat of pain influences social context effects on verbal pain report and facial expression. Behaviour Research and Therapy. 2009 47(9): 774-782.

Walsh, Joseph ; Eccleston, Christopher ; Keogh, Edmund. Pain communication through body posture: The development and validation of a stimulus set. Pain. 2014. 155(11): 2282-2290.

*No Photo, Aggressive body language, Amplifier, Anger body language, Closed facial gestures, Dislike (nonverbal), Dominant body language, Emotional body language, Eye Language, Fearful body language, Frustration or frustrated body language, Hostile body language, Negative body language, Threat displays

Body Language of Eyebrow Lowering

by Chris • October 21, 2014 • 0 Comments

Body Language of Eyebrow Lowering

Cue: Eyebrow Lowering

Synonym(s): Lowering The Eyebrows, Anger Eyebrows.

Description: Eyebrows that are lowered.

In One Sentence: Lowering the eyebrows signals anger, aggression, or fear.

How To Use it: Lower the eyebrows to tell others that you disapprove of their conduct and wish for them to correct it. Likewise you may lower your brows to show that you are experiencing an internal struggle. Overall, the cue can be useful when trying to manipulate other people into changing their behaviour.

The anger expression has been shown to be a signal of strength and helps reinforce dominance so it is useful in creating the impression of authority. Even if one lacks the physical power to back up aggression, the anger expression can still be used to create the illusion of force. Lowering the eyebrows should be used whenever you wish to be taken seriously and want that seriousness to be backed up by visible threat.

Avoid keeping the eyebrows lowered for too long, however, as this will be perceived as being weakness and dejection.

Context: General.

Verbal Translation: “I’m angry and my face is squishing all up including my eyebrows.”

Variant: N/A

Cue In Action: When she saw the girl who posted rude remarks on her online profile, she lowered her eyebrows to show her anger.

Meaning and/or Motivation: Eyebrows can squint just like eyes can and have many different meanings. Eyebrows can be lowered to indicate confrontation due to anger or aggression, fear from threats, when we feel displeasure or are annoyed.

If eyebrows are dropped low enough and kept there it indicates weakness and insecurity. This is true universally and so can even appear in children especially those who are abused. Lowered eyebrows is submissive, cowering, facial expression. Lowered eyebrows is a sign of being defeated and weak. It shows that one is unlikely to put up a fight. Bullies at school will also look for the expression to single out children as prey and so will social predators and psychopaths.

Cue Cluster: Varied depending on context.

Body Language Category: Amplifier, Aggressive body language, Anger, Closed facial gestures, Dislike (nonverbal), Dominant body language, Emotional body language, Eye Language, Fearful body language, Frustration or frustrated body language, Hostile body language, Negative body language, Threat displays.

Resources:

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de Waal, F. B. M. (2003). Darwin’s legacy and the study of primate visual communication. In P. Ekman, J. Campos, R. J. Davidson & F. B. M. De Waal (Eds.), Emotions inside out: 130 years after Darwin’s The Expression of Emotion in Man and Animals (pp. 7-31). New York: New York Academy of Sciences.

Darwin, Charles (1872). The Expression of the Emotions in Man and Animals, third edition (New York: Oxford University Press, 1998).

Eibl-Eibesfeldt, Irenaus (1973). “The Expressive Behaviour of the Deaf-and-Blind-Born.” In Mario von Cranach and Ian Vine (Eds.), Social Communication and Movement (European Monographs in Social Psychology 4, New York: Academic Press), pp. 163-94.

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Arousal, Autonomic signal, Embarrassment (nonverbal), Emotional body language, Nervous Body Language, Physiological signals, Shy nonverbal, Stressful body language

Body Language of Ear Blushing

by Chris • October 20, 2014 • 0 Comments

Body Language of Ear Blushing

Cue: Ear Blushing

Synonym(s): Ear Flushing

Description: Reddening of the ears.

In One Sentence: Ear reddening is a sign that someone is experiencing nervousness, stress, embarrassment, excitement, or is being physically active.

How To Use it: Ear reddening is not a cue that is usefully used and happens autonomically.

Context: General.

Verbal Translation: “I’m getting worked up and blood is rushing to the periphery of my body in effort to produce a cooling effect.”

Variant: See Blanching.

Cue In Action: a) It was Stacey’s turn to present next, her heart began to race and her ears turned a bright shade of red, she was nervous. b) The marathon caused the runner to flush in the face, ears, neck and chest.

Meaning and/or Motivation: Blushing usually appears in the chest and cheeks, but it also occurs in the ears. Blushing signifies stress, excitement, embarrassment and nervousness.

Other times people are prone to blushing with relatively low stress levels as a physiological condition. Blushing can also be the result of high activity levels where blood is pumped all over the body and outer skin so it can give off heat and cool the body off.

Blushing is linked to the release of adrenaline and cortisol which courses through the body. The hormone also diverts blood flow from the digestive system and shunts it to major muscle groups giving them a burst of energy. As a side effect, our blood vessels that deliver blood to our faces dilate, meaning they relax or open, allowing more blood to reach the surface of our ears causing them to turn red.

Cue Cluster: We usually see other nervous body language with blushing such as trembling hands, head lowering, shoulder shrugging, body turned away, eye contact avoidance, shaking the head, overall freezing, and lowered voice volume.

Body Language Category: Arousal, Autonomic signal, Emotional body language, Nervous body language, Embarrassment (nonverbal), Shy nonverbal, Stressful body language, Physiological signals.

Resources:

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the sympathetic nervous system. Brain, 110(Pt. 3), 793–803.

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Drummond, Peterd. ; Su, Daphne. The relationship between blushing propensity, social anxiety and facial blood flow during embarrassment. Cognition & Emotion. 2012. 26(3): 561-567.

Drummond, Peter D. and Lazaroo, Daniel. The effect of facial blood flow on ratings of blushing and negative affect during an embarrassing task: Preliminary findings. Journal of Anxiety Disorders. 2012. 26(2): 305-310.

Drummond, Peter D. ; Back, Kate ; Harrison, Jennifer ; Dogg Helgadottir, Fjola ; Lange, Brooke ; Lee, Chris ; Leavy, Kate ; Novatscou, Caroline ; Orner, Azalia ; Pham, Han ; Prance, Jacquie ; Radford, Danielle ; Wheatley, Lauren. Blushing during social interactions in people with a fear of blushing. Behaviour Research and Therapy. 2007. 45(7): 1601-1608.

de Jong, Peter J. ; Peters, Madelon L. Do blushing phobics overestimate the undesirable communicative effects of their blushing? Behaviour Research and Therapy, 2005. 43(6): 747-758.

Dijk, Corine ; De Jong, Peter J. Blushing-fearful individuals overestimate the costs and probability of their blushing. Behaviour research and therapy. 2012. 50(2): 158-62.

Gregson, Kim D ; Tu, Kelly M ; Erath, Stephen A. Sweating under pressure: skin conductance level reactivity moderates the association between peer victimization and externalizing behavior. Journal of child psychology and psychiatry, and allied disciplines. 2014 55(1): 22-30.

Gross, Katharina M ; Schote, Andrea B ; Schneider, Katja Kerstin ; Schulz, André. Elevated social stress levels and depressive symptoms in primary hyperhidrosis
Meyer, Jobst. PloS one. 2014 9(3): e92412

Licht, Peter B. ; Pilegaard, Hans K. ; Ladegaard, Lars. Sympathicotomy for Isolated Facial Blushing: A Randomized Clinical Trial. The Annals of Thoracic Surgery. 2012. 94(2): 401-405.

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nonglabrous skin surfaces under thermoneutral conditions. Psychophysiology 49, 369–374 (2012).

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

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temperature responses in blushing. Psychophysiology, 27(6), 687–693.

Closed facial gestures, Dislike (nonverbal), Emotional body language, Microexpression, Negative body language, Rejection body language, Universal facial expressions

Body Language of The Disgusted Facial Expressions

by Chris • October 20, 2014 • 0 Comments

Body Language of The Disgusted Facial Expressions

Cue: Disgust Facial Expression

Synonym(s): N/A

Description: One of the six main universal facial expressions characterized by eyebrows that are turned inward, raised upper lip, winkled nose and a rise in cheek muscles.
Here, the lower eyelids rise and lines appear in the skin below them.

In One Sentence: Raising the upper lip in disgust signals a negative visceral reaction to a person, idea, or situation.

How To Use it: The disgust expression can be done quickly as a microexpression in order to convey detest for an idea or person. Disgust usually registers just below the conscious radar of the people seeing it. While brief, however, disgust can send a strong negative nonverbal message.

Conversely, the disgust expression can be held for a longer period of time to send a highly potent message that one is not on board with an idea, policy or even a person. One might use this in a negotiation to influence the offers presented. When viewed, others will see the need to ratify the offer to make it more palatable.

Context: General.

Verbal Translation: “I’m so turned off by what I’m seeing and hearing that my face is tightening and contracting due to a sickening discomfort.”

Variant: See Contempt Facial Expression, Scorn, Sneering.

Cue In Action: During an office meeting, Debbie, a long time employee would frequently sneer in disdain when the new girl would make particularly intelligent additions to the dialogue. Her jealousy was obvious.

Meaning and/or Motivation: Disgust is one of the six main universal facial expressions: happiness, sadness, surprise, fear, anger and disgust.

Disgust is a throwback expression to the visceral reaction to eating food that is particularly unpalatable. This is why we see the nose sneer. To replicate this facial expression, just imagine taking a deep breath of rotted flesh that has been plated for a meal!

When disgust is directed to a person with eye contact, its motivation is raw and rooted in deep anger. This person feels repulsed by the situation.

Cue Cluster: Usually coupled with a downward gaze to strengthen the cue and in extreme cases the head comes up making the disgust expression very powerful. If eye contact is added to the disgusted facial expression, it is a salient message that others will find difficult to ignore.

Body Language Category: Closed facial gestures, Dislike (nonverbal), Emotional body language, Microexpressions, Negative body language, Rejection body language, Universal facial expressions.

Resources:

Aranguren, Martin. “Nonverbal interaction patterns in the Delhi Metro: interrogative looks and play-faces in the management of interpersonal distance.” Interaction Studies. 2016. 16(1) forthcoming.
http://bodylanguageproject.com/articles/seriously-stop-touching-use-nonverbal-signaling-manage-unwanted-touching-busy-public-areas/

Aranguren, Martin and Stephane Tonnelat. Emotional Transactions in the Paris Subway: Combining Naturalistic Videotaping, Objective Facial Coding and Sequential Analysis in the Study of Nonverbal Emotional Behavior. Journal of Nonverbal Behavior. 2014. 38:495–521. DOI 10.1007/s10919-014-0193-1

Carroll E. 1994. Innate and universal facial expressions: Evidence from developmental and cross-cultural research Izard, Psychological Bulletin. 115(2): 288-299.

Curtis, V., & Biran, A. (2001). Dirt, disgust, and disease: Is hygiene in our genes? Perspectives in biology and medicine, 44(1), 17–31.

Curtis V, Aunger R, Rabie T (2004) Evidence that disgust evolved to protect from risk of disease. Proceedings of the Royal Society of London, Series B 271: S131–S133. doi:10.1098/rsbl.2003.0144. PubMed: 15252963.

Carroll JM, Russell JA (1996) Do facial expressions signal specific emotions? Judging emotion from the face in context. J Pers Soc Psychol 70: 205–218. doi:10.1037/0022-3514.70.2.205. PubMed: 8636880.

Daniel H. Lee, Reza Mirza, John G. Flanagan and Adam K. Anderson. Optical Origins of Opposing Facial Expression Actions. Psychological Science published online 24 January 2014 DOI: 10.1177/0956797613514451
http://bodylanguageproject.com/articles/eyes-and-facial-expressions-may-be-biologically-controlled-serve-a-real-non-emotional-purpose-says-research/

Ekman, P. & O’Sullivan, M. (1991). Who can catch a liar? American Psychologist. 46, 913-920.

Ekman, Paul. 1994. Strong evidence for universals in facial expressions: A reply to Russell’s mistaken critique Psychological Bulletin. 115(2): 268-287.

Ekman, Paul. 1986. A new pan-cultural facial expression of emotion. Source: Motivation and Emotion Ekman. 10(2): 159-168.

Ekman, Paul and Friesen, W. V. 1987. Universals and cultural differences in the judgments of facial expressions of emotion. Journal of Personality and Social Psychology. 53(4): 712-717.

Ekman, Paul; Friesen, Wallace V. 1971. Constants across cultures in the face and emotion. Journal of Personality and Social Psychology. 17(2): 124-129.

Ekman, Paul. 1972. Universals and cultural differences in facial expressions of emotion. In J. Cole (Ed.), Nebraska Symposium on Motivation, 1971. 19: 207-282. Lincoln: University of Nebraska Press.

Fulcher, J. S. “Voluntary” facial expression in blind and seeing children. Archives of Psychology, 1942. 38: 272.

Gagnon, Mathieu ; Gosselin, Pierre ; Hudon-ven der Buhs, Isabelle ; Larocque, Karine ; Milliard, Karine. Children’s Recognition and Discrimination of Fear and Disgust Facial Expressions. Journal of Nonverbal Behavior. 2010. 34(1): 27-42.

Inbar, Y., & Pizarro, D. Disgust, politics, and responses to threat [commentary]. The Behavioral and Brain Sciences. 2014. 37: 315-316.

Inbar, Y., Pizarro, D.A., Iyer, R., and Haidt, J. (2012). Disgust sensitivity, political conservatism, and voting. Social Psychological and Personality Science. 2012. 3: 537-544.

Inbar, Y., Pizarro, D.A., and Bloom Disgusting smells cause decreased liking of gay men. Emotion. 2012. 12: 23-27.

Inbar, Y., Pizarro, D.A., & Bloom, P. Conservatives are more easily disgusted than liberals. Cognition and Emotion. 2009. 23, 714-725.

James A. Russell, Naoto Suzuki and Noriko Ishida. 1993. Canadian, Greek, and Japanese freely produced emotion labels for facial expressions. Motivation and Emotion. 17(4): 337 -351

McClure, Erin B 2000. A meta-analytic review of sex differences in facial expression processing and their development in infants, children, and adolescents
Psychological Bulletin. 126(3): 424-453.

Mead, M. 1975. Review of “Darwin and facial expression.” Journal of Communication, 25: 209-213.

Pizarro, D.A., Inbar, Y., and Helion, C.. On disgust and moral judgment. Emotion Revie2. 2011. 3: 267–268.

David Pizarro (video) talk about the possible evolution of the disgust facial expression: http://bodylanguageproject.com/articles/evolution-politics-disgust-ted-talk-david-pizarro/

Russell, James A. 1995. Facial Expressions of Emotion: What Lies Beyond Minimal Universality? Psychological bulletin. 118(3): 379-391.

Russell, James A. 1994. Is There Universal Recognition of Emotion From Facial Expression? A Review of the Cross-Cultural Studies. Psychological Bulletin. 115(1): 102-141.

Schnall, S., Haidt, J., Clore, G. L., & Jordan, A. H. (2008). Disgust as embodied moral judgment. Personality and Social Psychology Bulletin, 34, 1096–1109. doi:10.1177/0146167208317771.

Underwood, M. K.. Glares of Contempt, Eye Rolls of Disgust and Turning Away to Exclude: Non-Verbal Forms of Social Aggression among Girls. Feminism & Psychology. 2004 14(3): 371-375

Wolf K, Mass R, Ingenbleek T, Kiefer F, Naber D et al. (2005) The facial pattern of disgust, appetence, excited joy and relaxed joy: an improved facial EMG study. Scand J Psychol 46: 403-409. doi: 10.1111/j.1467-9450.2005.00471.x. PubMed: 16179022.

Zeinstra, Gertrude G.; M.A. Koelen; D. Colindres ; F.J. Kok; C de Graaf. Facial Expressions in School-Aged Children are a Good Indicator of ‘Dislikes’, but not of ‘Likes.’ Food Quality and Preference. 2009. 20: 620-624.
http://bodylanguageproject.com/articles/read-kids-dislike-food-facial-expressions-accurate-detecting-dislike-not-like-children/

*No Photo, Displacement behaviour, Emotional body language, Energy Displacement, Frustration or frustrated body language, Negative body language, Nervous Body Language, Pacifying body language

Body Language of The Dart

by Chris • October 20, 2014 • 0 Comments

Body Language of The Dart

Cue: Dart (The)

Synonym(s): Darting, Erratic Movement.

Description: A type of gait characterized by short, seemingly indecisive bursts.

In One Sentence: Erratic movement signals to others that one is either, busy, indecisive, or nervous

How To Use it: This is not the sort of cue that can be used in a helpful way although erratic movement can signal to others that one needs outside assistance in resolving matters. This may prove to be beneficial in soliciting help.

Context: General.

Verbal Translation: “I’m going here, there and everywhere because I don’t know exactly where to be, but whatever it is that I feel I need to do, I should do it quickly.”

Variant: See Shifty Eyes.

Cue In Action: a) There were only a few hours left before she would have to walk down the isle and she couldn’t find her veil. She looked everywhere and paced back in forth trying to recall where she had left it. b) His thoughts were scattered, he walked to and fro as if lost.

Meaning and/or Motivation: Darting and erratic behaviour signifies indecision and lack of direction, stress, and nervousness. At times it signifies hyperactivity and a need to burn off excessive energy. Some people habitually suffer from the dart due to a scattered mind that seeks out order and direction from the environment rather than order that is internal.

Cue Cluster: Darting is coupled with erratic hand movements and pacifying behaviour such as rubbing the back of the neck, touching the face, pinching and scratching, nail and lip biting, smoothing clothing, eyes darting about the room and general uneasiness.

Body Language Category: Displacement behaviour, Energy Displacement, Emotional body language, Frustration or frustrated body language, Negative body language, Nervous body language.

Resources:

Angela Book, 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/

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

Gross, M Melissa ; Crane, Elizabeth A ; Fredrickson, Barbara L. Effort-Shape and kinematic assessment of bodily expression of emotion during gait. Human movement science. 2012. 31(1): 202-21.

Davis, Martha. Movement characteristics of hospitalized psychiatric patients. American Journal of Dance Therapy. 1981. 4(1): 52-71.

Eisenberg, Philip ; Reichline, Philipb. Judging Expressive Movement: II. Judgments of Dominance-Feeling from Motion Pictures of Gait. The Journal of Social Psychology. 1939. 10(3): 345-357.

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 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/

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.

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/

Janssen, Daniel ; Schöllhorn, Wolfgang ; Lubienetzki, Jessica ; Fölling, Karina ; Kokenge, Henrike ; Davids, Keith. Recognition of Emotions in Gait Patterns by Means of Artificial Neural Nets. Journal of Nonverbal Behavior. 2008. 32(2): 79-92.

Johnson, Kerri L ; Gill, Simone ; Reichman, Victoria ; Tassinary, Louis G. Swagger, sway, and sexuality: Judging sexual orientation from body motion and morphology. Journal of personality and social psychology. 2007. 93(3): 321-34.

Johnson, Kerri L ; Tassinary, Louis G. Perceiving sex directly and indirectly: meaning in motion and morphology. Psychological science. 2005. 16(11): 890-7.

Kito, Tomonori ; Yoneda, Tsugutake. Dominance of gait cycle duration in casual walking. Human Movement Science. 2006. 25(3): 383-392.

Kupper, Zeno ; Ramseyer, Fabian ; Hoffmann, Holger ; Kalbermatten, Samuel ; Tschacher, Wolfgang. Video-based quantification of body movement during social interaction indicates the severity of negative symptoms in patients with schizophrenia. Schizophrenia Research. 2010. 121(1): 90-100.

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.

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/

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/

Montepare, J. M., Goldstien, S. B., & Clausen, A. (1987). The identification of emotions from gait information. Journal of Nonverbal Behavior, 11, 33–42.

Montepare, Joann ; Zebrowitz, Leslie. A cross-cultural comparison of impressions created by age-related variations in gait. Journal of Nonverbal Behavior. 1993. 17(1): 55-68.

Montepare, Joann ; Goldstein, Sabra ; Clausen, Annmarie. The identification of emotions from gait information. Journal of Nonverbal Behavior. 1987. 11(1): 33-42.

Montepare, J. M., & Zebrowitz-McArthur, L. (1988). Impressions of people created by age-related qualities of their gaits. Journal of Personality and Social Psychology, 55(4), 547–556. http://dx.doi.org/10.1037/ 0022-3514.55.4.547.

Montepare, Joann ; Zebrowitz, Leslie. A cross-cultural comparison of impressions created by age-related variations in gait. Journal of Nonverbal Behavior. 1993. 17(1): 55-68.

Prasad, S., & Shiffrar, M. (2009). Viewpoint and the recognition of people from their movements. Journal of Experimental Psychology – Human Perception and Performance, 35(1), 39–49. http://dx.doi.org/10.1037/A0012728.

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.

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/

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/

Sweeney, John A. ; Haas, Gretchen L. ; Clementz, Brett ; Weiden, Peter ; Frances, Allen ; Mann, J.John. Eye movement abnormalities in schizophrenia. Biological Psychiatry. 1989. 25(7): A77-A78.

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.
http://bodylanguageproject.com/articles/women-at-peak-fertility-rate-other-female-walkers-less-favorably/

Wilder, Vicky. Effects of antipsychotic medication on the movement pathologies of chronic schizophrenics. American Journal of Dance Therapy. 1987. 10(1): 77-94.

Courtship display, Dominant body language, Emotional body language, Enthusiasm (nonverbal)

Body Language of Dancing

by Chris • October 20, 2014 • 0 Comments

Body Language of Dancing

Cue: Dancing

Synonym(s): N/A

Description: A rhythmic movement of the body in concert with music.

In One Sentence: Dancing is a universal expression of happiness and joy, though it can also convey other emotions.

How To Use it: Use dancing to show others your good spirits and good health. Dancing does not have to be limited to the dance floor. Wiggling the hips to a tune while working, can show others that you are successful at life and are in command of your existence. Dancing is said to be the universal display of sexuality and virility. Men whom can dance, are seen as highly attractive as it cues athleticism and coordination which are two very desirable characteristics. Many of the movements in dance are much like movements during sex, so can elude to a man or woman’s sexy potency. Use dance to show off your personality.

Context: General

Verbal Translation: “I’m happy and having a good time so my body is moving to the beat.”

Variant: N/A.

Cue In Action: They picked up where they had left off, dancing to the beat.

Meaning and/or Motivation: A nonverbal expression of movement to music that is universally expressed. Dancing is a display of physical and sexual potential or an expression of art. Many different types of dancing exist throughout the world.

Cue Cluster: Dance is varied and the context will warrant various additional cues.

Body Language Category: Courtship displays, Emotional body language, Enthusiasm (nonverbal), Dominant body language.

Resources:

Atkinson AP, Dittrich WH, Gemmell AJ, Young AW (2004) Emotion perception from dynamic and static body expressions in point-light and full-light displays. Perception 33: 717–746. doi: 10.1068/p5096.

Bavelas, J. B., Black, A., Chovil, N., Lemery, C. R., & Mullett, J. (1988). Form and function in motor mimicry: Topographic evidence that the primary function is communicative. Human Communication Research, 14, 275- 299.

Bavelas, J. B., Black, A., Lemery, C. R., & Mullett, J. (1986). “I show how you feel”: Motor mimicry as a communicative act. Journal of Personality and Social Psychology, 50, 322-329.

Boone RT, Cunningham JG (1998) Children’s decoding of emotion in expressive body movement: the development of cue attunement. Dev Psychol. 34: 1007–1016. doi: 10.1037//0012-1649.34.5.1007.

Brownlow S, Dixon AR, Egbert CA, Radcliffe RD (1997) Perception of movement and dancer characteristics from point-light displays of dance. Psychol Rec 47: 411–421.

Camurri A, Lagerlo¨f I, Volpe G (2003) Recognizing emotion from dance movement: Comparison of spectator recognition and automated techniques. Int J Hum Comput Stud 59: 213–225. doi: 10.1016/S1071-5819(03)00050-8.

Davis, Martha. Movement characteristics of hospitalized psychiatric patients. American Journal of Dance Therapy. 1981. 4(1): 52-71.

de Meijer M (1989) The contribution of general features of body movement to the attribution of emotions. J Nonverbal Behav 13: 247–268. doi: 10.1007/BF00990296.

Dittrich WH, Troscianko T, Lea SEG, Morgan D (1996) Perception of emotion from dynamic point-light displays represented in dance. Perception 25: 727–738. doi: 10.1068/p250727.

Geoffrey Miller, Joshua M. Tybur, Brent D. Jordan. Ovulatory Cycle Effects On Tip Earnings By Lap Dancers: Economic Evidence For Human Estrus? Evolution and Human Behavior, 2007; 28: 375–381.
http://bodylanguageproject.com/articles/lap-dancers-earn-more-during-peak-ovulation-how-the-pill-affects-your-sex-drive/

Godøy R (2010) Gestural affordances of musical sound. In: Godøy R, Leman M, editors. Musical gestures: Sound, movement, and meaning. New York, NY: Routledge. 103–125.

Grammer, Karl ; Kruck, Kirsten ; Magnusson, Magnus. The Courtship Dance: Patterns of Nonverbal Synchronization in Opposite-Sex Encounters. Journal of Nonverbal Behavior, 1998, Vol.22(1), pp.3-29.

Harrigan, Jinni ; Oxman, Thomas ; Rosenthal, Robert. Rapport expressed through nonverbal behavior. Journal of Nonverbal Behavior. 1985. 9(2): 95-110.

LaFrance, M. (1979). Nonverbal synchrony and rapport: Analysis by the cross-lag panel technique. Social Psychology Quarterly, 42, 66-70.

LaFrance, M. (1982). Posture mirroring and rapport. In M. Davis (Ed.), Interaction rhythms: Periodicity in communicative behavior (pp. 279-298).New York: Human Sciences Press.

LaFrance, M., & Broadbent, M. (1976). Group rapport: Posture sharing as a nonverbal indicator. Group and Organization Studies, 1, 328-333.

Lagerlo¨f I, Djerf M (2000) Communicating emotions: Expressiveness in modern dance. Int J Psychol 35: 225–225.

Manusov, Valerie. Mimicry or synchrony: The effects of intentionality attributions for nonverbal mirroring behavior. Communication Quarterly. 1992 40(1): 69-83.

Montepare, J. M., Goldstien, S. B., & Clausen, A. (1987). The identification of emotions from gait information. Journal of Nonverbal Behavior, 11, 33–42.

Neave, Nick; Kristofor McCarty; Jeanette Freynik; Nicholas Caplan; Johannes Hönekopp; Bernhard Fink. Male Dance Moves That Catch A Woman’s Eye. Biology Letters. 2011; 7(2): 221-224.
http://bodylanguageproject.com/articles/the-science-of-sexy-male-dance/

Risner D (2009) What we know about boys who dance: The limitations of contemporary masculinity & dance education. In: Shay A, Fisher J, editors. When men dance: Choreographing masculinities across borders. New York, NY: Oxford University Press.

Ricard, Nathalie C. ; Beaudry, Simon G. ; Pelletier, Luc G. Lovers With Happy Feet: The Interdependence of Relationship and Activity Factors for Individuals Dancing With a Romantic Partner.(Report). Journal of Applied Social Psychology. 2012. 42(4): 939(25).

Sawada, M., Suda, K., & Ishii, M. (2003a). Expression of emotions in dance: Relation between arm movement characteristics and emotion. Perceptual and Motor Skills, 97, 697–708.

Sawada, M., Suda, K., & Ishii, M. (2003b). Relationship between leg movement quality and emotional expression in dance. Poster session presented at the annual meeting of the International Association for Dance Medicine & Science, London, England.

Van Meel J, Verburgh H, de Meijer M (1993) Children’s interpretation of dance expressions. Empirical Studies of the Arts 11: 117–133. doi: 10.2190/V69NVB0T-A9Q3-TJ04.

Van Dyck, Edith ; Vansteenkiste, Pieter ; Lenoir, Matthieu ; Lesaffre, Micheline ; Leman, Marc Canal-bruland, Rouwen. Recognizing Induced Emotions of Happiness and Sadness from Dance Movement. PLoS ONE. 2014 9(2): e89773.

Van Dyck E, Maes P-J, Hargreaves J, Lesaffre M, Leman M (2013). Expressing induced emotions through free dance movement. J Nonverbal Behav 37: 175–190. doi: 10.1007/s10919-013-0153-1.

Whittock, Trevor. The role of metaphor in dance. The British Journal of Aesthetics. 1992. 32(3): 242(8).

Arousal, Emotional body language, Happiness body language, Physiological signals

Body Language Of Crying

by Chris • October 20, 2014 • 0 Comments

Body Language Of Crying

Cue: Crying

Synonym(s): Damp Eyes, Teary Eyes, Weepy Eyes, Eyes Glistening.

Description: Eyes that weep due to emotional pain.

In One Sentence: Eyes that tear demonstrate high emotion including joy and suffering.

How To Use it: Use crying to show others that you are either really happy or really hurt. Eyes are an honest signal showing others that you are experiencing intense emotions. Demonstrating pain, can help you bond with other people or gain sympathy if experience emotional of physical pain. Crying has been shown to reduce the level of punishment as it creates feelings of sympathy. Thus, when an authority figure is about to dish out their sentence, crying is nearly certain to be of benefit. Women are likely to benefit most from crying and a first reaction to being wronged is this very condition. Crying is therefore quite common from women facing judge and jury.

Crying when being hit, or being scolded, or when facing authority, often improves the outcome of a situation because it elicits sympathy from the more dominant person thereby lessening punishment. Men are not advised to use crying when facing others as this is usually read as weakness and loss of emotional control. Men are usually permitted to cry only when mourning death.

Context: General

Verbal Translation: “I’m overwhelmed with so much emotion it’s welling up and pouring out of my eyes.”

Variant: Eyes can sometimes be overjoyed due to passion, and love. Likewise, anguish, distress, and bereavement produce so much extra moisture that it makes the eyes glisten.

Cue In Action: When she found out the news, she cried with joy, her baby girl was going to be married.

Meaning and/or Motivation: Damp eyes can have many nonverbal meanings. They can indicate tiredness or suppressed weeping, anxiety or sadness. Crying symbolizes an overflowing of emotions such as sadness from emotional hurt, from pain due to physical hurt, or from extreme joy. However, crying is a universal signal of sadness.

Cue Cluster: Crying appears in a cluster that highly depends on the context. When joy is the cause, crying is accompanied by relaxed and open body language. When crying is due to sadness, closed and tight language appears in cluster.

Body Language Category: Arousal, Emotional body language, Happiness, Physiological signals.

Resources:

Arsenio, W. F., Cooperman, S., & Lover, A. Affective Predictors of Preschooler’s Aggression and Peer Acceptance: Direct and Indirect Effects. Developmental Psychology. 2000. 36: 438-448.

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http://bodylanguageproject.com/articles/cry-joy/

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Darwin, Charles (1872). The Expression of the Emotions in Man and Animals, third edition (New York: Oxford University Press, 1998).

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Eisenberg, Nancy ; Fabes, Richard A. ; Carlo, Gustavo ; Speer, Anna Lee ; Switzer, Galen ; Karbon, Mariss ; Troyer, Debra. The Relations of Empathy-Related Emotions and Maternal Practices to Children′s Comforting Behavior. Journal of Experimental Child Psychology. 1993. 55(2): 131-150.

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Auto contact or self touching, Barriers, Body cross, Closed body language, Defensive body language, Emotional body language, Lying or deceptive body language, Masked body language, Pacifying body language, Protective reflexes

Body Language of Covering The Neck Dimple or Hand To Lower Neck

by Chris • October 20, 2014 • 0 Comments

Body Language of Covering The Neck Dimple or Hand To Lower Neck

Cue: Covering The Neck Dimple or Hand to Lower Neck

Synonym(s): Covering The Suprasternal Notch, Hand To Lower Neck, Playing With A Necklace, Neck Dimple Cover, Adjusting The Tie, Tie Adjustment.

Description: A primarily female body language cue where the hand will come up to the upper chest or lower neck and cover the suprasternal notch or neck dimple. Men will substitute this gesture for adjusting the tie or massaging the throat.

In One Sentence: Covering the neck dimple or suprasternal notch is a sign that a person is feeling nervous, distressed, threatened, insecure, fearful, or uncomfortable.

How To Use it: Use this cue to show other people that you are not comfortable with the situation. You might assume the posture when receiving worrisome news. Appearing uncomfortable when the situation warrants it will have others offer sympathetic words, gestures or even offer to rectify the situation on your behalf. The posture also creates a soothing affect which can help mitigate nervousness or anxiety. Stroking the upper chest can release positive stress reducing hormones.

Context: General.

Verbal Translation: “I’m performing a partial arm cross by bringing my hand up to the “suprasternal notch” which is the dimple just below the neck between the Adam’s apple and the breast bone because I’m nervous, distressed, threatened, insecure, fearful or uncomfortable.”

Variant: See Partial Arm Cross or Incomplete Arm Cross, Blading Body Language, Body Angling or Ventral Displays, Arm Crossing, Neck Scratching or Neck Massaging.

Cue In Action: Imagine a tense negotiation between a couple who are making plans for their honeymoon vacation. The wife might be cupping her arm under her elbow while covering her suprasternal notch while the husband clasps the back of his neck in a restraint posture. As he concedes she might drop one or even both arms. With no concession from her, he might remain negatively locked or might place his arms crossed on his chest. Sensing his negative body language, she might agree to a compromise.

Meaning and/or Motivation: Women are particularly prone to bringing their hand up to the “suprasternal notch” which is the dimple just below the neck between the Adam’s apple and the breast bone when nervous, distressed, threatened, insecure, fearful or uncomfortable. Covering the suprasternal notch is one of the nonverbal signals that is unmistakable and also reliable in predicting emotional distress. It is significant and reliable enough that it shouldn’t be ignored.

While touching the neck and nose can be the result of fear or nervousness, they can also be meant as pacifying behaviours. Pacifying behaviours happen automatically. Our brains send a message to our bodies that we need to be pacified and out go our hands to serve the purpose.

Cue Cluster: Watch for the neck to be massaged, playing with a necklace, stroking the face, playing with the hair, stroking hands against the thighs, sucking on a pen, biting the fingernails, picking or pulling at the skin, etc.

Body Language Category: Auto contact or self touching, Barriers, Body cross, Closed body language, Defensive, Emotional body language, Lying or deceptive body language, Masked body language, Pacifying, Protective reflexes.

Resources:

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Anger body language, Clenching and gripping, Closed body language, Closed facial gestures, Emotional body language, Frustration or frustrated body language, Honest body language, Leaked or involuntary body language, Masked body language, Negative body language

Body Language of Compressed Lips or Stiff Upper Lip

by Chris • October 20, 2014 • 0 Comments

Body Language of Compressed Lips or Stiff Upper Lip

Cue: Compressed Lips

Synonym(s): Tight Lips, Lip Compression, Disappearing Lips, Stiff Upper Lip, Inward Lip Roll, Lip Pursing, Lip Puckering, Pursed Lips, Puckering, Prune Lips.

Description: Done by pressing the lips together to the point where they begin to disappear.

In One Sentence: Lip compression is a negative thought indicator.

How To Use it: Compress the lips when you want others to know that you disapprove of them or their ideas but do not wish to speak out and say so verbally. Compressing the lips also shows others that you are anxious or stressed. By demonstrating this “honest cue” one can show others that you wish for them to change their tactic to better suit your stance.

Context: General

Verbal Translation: “I’m having a hard time with this and so I’m going to suck my lip in and consume it while I deal with negative thought or while I am in deep concentration.” “I’m biting back my words.” “I’m holding something back with my mouth by pressing my lips together so no negative thoughts escape which may get me into trouble.”

Variant: The jaw is often tensed coupled with compressed lips showing additional negative thoughts. Note that Compressed Lips (lips flattened) is related, but not the same as a Lip Pucker (lips pushed out).

Cue In Action: a) She really wanted to speak out about the eighteen year old would-be-wife but she maintained a stiff upper lip and kept quiet. b) He was really contemplating a thought, and wanted to speak-up, you could tell from his compressed lips, but instead he kept steady and quiet. c) She rarely held full, relaxed lips, she carried many negative thoughts around with her throughout the day.

Meaning and/or Motivation: A universal trait done to signify stress, anxiety, anger, frustration and an overall negative thought indicator. The lips are tightened to contain and stifle emotion or signal deep concentration and internal turmoil. It is opposite to full expressive lips that show contentment. The subconscious mind is essentially telling the body to close down and not let anything out – to bottle it up and withhold information or feelings.

Tight compressed lips happen honestly and immediately so reflect true stress sentiments revealing a troubled mind.

Alternatively, a tight lip indicates thought process when someone is indecisive. This can be particularly useful in business. Picture someone reading a document or contract aloud. Lip pursing will happen in real time as judgment arises. Other times, lip pursing is done to show outright disagreement. Usually the eyebrows will frown in unison with pursed lips. Lip pursing is a very reliable indicator of different thought processing, and it would be foolish to ignore it. Watch the lips for these quick flashes will tell you a lot about what is going on inside someone’s head. Tight lips can also form due to sexual arousal and sexual tension, but this comes across more as pursing with accompanying sexual clues.

Cue Cluster: Compressed lips are accompanied by other restraint postures such as hand to the back of the neck, hand clenching, eye contact avoidance, head turned away and ventral denial and jaw clenching.

Body Language Category: Anger, Clenching and gripping, Closed body language, Closed facial gestures, Emotional body language, Honest body language, Frustration or frustrated body language, Leaked or involuntary body language, Masked body language, Negative body language.

Resources:

Arsenio, W. F., Cooperman, S., & Lover, A. Affective Predictors of Preschooler’s Aggression and Peer Acceptance: Direct and Indirect Effects. Developmental Psychology. 2000. 36: 438-448.

Berkowitz, L., & Harmon-Jones, E. (2004). Toward an understanding of the determinants of anger. Emotion, 4, 107-130.

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Body size reduction, Closed body language, Emotional body language, Low confidence body language, Negative body language, Orienting reflex or orienting response, Pensive displays, Protective reflexes, Stressful body language

Body Language of Cocooning

by Chris • October 20, 2014 • 0 Comments

Body Language of Cocooning

Cue: Cocooning

Synonym(s): Rolling Into A Ball, Curling Up, Slumping, Putting On Headphones, Texting In Public, Reading A Book In Public.

Description: There are various degrees of cocooning including putting on headphones, putting up the hands to the side of the face, collapsing the head onto the thighs in a seated position.

In One Sentence: Cocooning is to collapse in one ones-self and indicates the desire to protect and recoil from outside harm.

How To Use it: Use this gesture to show others that you are unwell and that you want to gain their sympathy. When you are depressed, coiling up can help you feel safe and protected from the outside world. Onlookers will immediately spot your discomfort and offer sympathy, care, special assistance, or time alone to reflect.

When in busy locations, a set of headphones or reading material can help drown out the outside world permitting one internal reflection. This too is a form of cocooning. When these are not available, allowing the eyes to glaze over can also allow one to escape and reflect.

Context: General.

Verbal Translation: a) “Leave me be, I have my headphones on because I just want to be left alone.” b) “I’m thinking about something, I’m not stressed, but I need a moment to ponder something c) “I’m really upset and feeling bad. I’m grieving and I’m really at a loss for words, I may or may not want some comforting.”

Variant: See Shoulder Shrugs or Shoulder Rise, Body Lowering, Fetal Position (The).

Cue In Action: a) While shopping for groceries, Brenda put her headphones on so she wouldn’t have to talk to anyone. b) When asked if she wanted the chicken or fish, she put her hands on the side of her face and thought to herself. c) When told that her father was sick and was certain to pass way, she collapsed; stricken with grief.

Meaning and/or Motivation: Cocooning indicates that concentration is required, a person is experiencing stress or that a person is emotionally withdrawn and requires escape. Other times, a person cocoons as a way to establish privacy in a public setting when they need time to thing and recover from excess stimulation.

Cocooning is a term used to describe body language that indicates a desire not to be bothered. There are various degrees which include a mild form such as putting on headphones to tell others that social interaction is undesired, putting up the hands to the side of the face while studying (mild cocooning), and an extreme form where the head collapses onto the thighs in a seated position which can indicate grieving.

Cue Cluster: Cocooning is usually accompanied by slumped shoulders, hands to face, eyes, or ear, hand to head in a helmet or protective type gesture. The body almost always slumps forward in a fetal position except in mild cocooning. A blank face is usually coupled with cocooning, but under extreme stress we see a grief expression where the brows come together. At times, there might be tears or sobbing.

Body Language Category: Body size reduction, Closed body language, Emotional body language, Low confidence body language, Negative body language, Protective reflexes, Orienting reflex or orienting response, Pensive displays, Stressful body language.

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