Category: Gravity defying body language

Authoritative body language, Confident body language, Dominant body language, Expansive movements, Gravity defying body language, High confidence body language, High confidence hand displays, Leadership body language, Open body language, Palm power, Up nonverbals

Body Language of Wide Arms

by Chris • October 30, 2014 • 0 Comments

Body Language of Wide Arms

Cue: Wide Arms

Synonym(s): Arms Apart, Catching The Applause.

Description: The arms are spread wide apart, palms even (neither up nor down) and eye contact is established with the target or targets.

In One Sentence: Wide arms is a long distance embrace-indicator.

How To Use it: Use the wide arms posture to collect adulation from other people at a distance. Presenters, politicians, entertainers, and so forth, should use the wide arm posture to connect and build bonds with many people at the same time.

Context: General.

Verbal Translation: “I’m opening my arms wide, palms flashed to catch all your applause and adulation – I am your star.”

Variant: See Palm Up Displays or The Rogatory Posture, Arms Up Posture.

Cue In Action: The president approached the audience, flashed his palms out and circled the stage with wide arms held just above his head. He was soaking in the adulation like a rock star.

Meaning and/or Motivation: Wide arms are a long distance embrace-indicator. Entertainers frequently perform this gesture toward their audience after completing a routine in order to catch their applause and adulation. We also see politicians do the wide arms gesture to collect them all in one big long-distance hug.

The posture shows others that they have a positive attitude as it defies gravity, that they are dominant by taking up more space, and that they wish to be noticed.

Other times, the wide arms posture is used to calm an audience. This gesture appears more as a palm moving in an up and down movement.

Cue Cluster: Watch for a big smile, head held high, palm flashing, waving, a swagger, eye contact with the audience, blowing kisses, bowing, pointing to people that are recognized, shaking hands, kiss hello and hugging.

Body Language Category: Authoritative body language, Confident body language, Dominant body language, Expansive movements, Gravity defying body language, High confidence body language, High confidence hand displays, Leadership body language, Open body language, Palm power, Up nonverbals.

Resources:

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*No Photo, Amplifier, Automatic gesture, Emotional body language, Expansive movements, Gravity defying body language, Up nonverbals

Body Language of Toes Pointed Upward

by Chris • October 29, 2014 • 0 Comments

Body Language of Toes Pointed Upward

Cue: Toes Pointed Upward.

Synonym(s): Upward Toe Point, Skyward Facing Toe.

Description: The skyward facing toe is a posture that happens while standing. A person will shift their weight to the back foot while raising the toe of the other foot. The toe is therefore pointed skyward with the heel resting on the ground.

In One Sentence: Pointing the toes upward is a sign of positive thoughts and confidence.

How To Use it: Point the toes upward when you want to show others that good things are happening to you as you participate in the battle of life. Pointing the toes upward, like all “up-nonverbals,” signals that you are in good spirits. This can create a positive impression in those who see your positive signal. Often, these sorts of nonverbal expressions tend to rub off on other people making them feel better and more positive by association.

Context: General.

Verbal Translation: “My toes are defying gravity by pointing to the sky. I’m experiencing positive feelings. I’m confident.”

Variant: See Arms Up Posture, Head Tilted Back, Thumb Displays or Thumbs Up Posture.

Cue In Action: While speaking on the mobile phone, the client was observed tilting their foot upwards. The posture indicated that she was the beneficiary of positive news.

Meaning and/or Motivation: Pointing the toes up is a gravity defying form of body language indicating positive feelings. When we are in a good mood, we feel like expending extra energy and taking up space. In other words, we want to be noticed by others so they can see just how successful we are. That’s why our body seems to become larger by taking up more space and being more expansive.

While standing, a person might rock back and forth on the balls of the feet or seem to stand taller, more confident and more animated. When people are happy their arms are used more to gesticulate during speech. Gravity defying gestures are rarely faked. That’s because they mostly go under the conscious radar of everyone including the person emitting them. In addition, someone carrying a negative mood is not usually able to hold positive gestures for any significant length of time as it requires conscious mental effort.

Interestingly, those with clinical depression are rarely seen doing positive “up” gestures. Instead their shoulders seem to slump and their arms do no more than hang at their sides. Those that are insecure seem to let the weight of life keep them down and pin their arms to their sides and their toes to the ground.

Cue Cluster: Be careful to watch for rocking back and forth coupled with the toe up, honest smiling, head held high, arms gesticulating or raised and torso erect.

Body Language Category: Amplifier, Automatic gesture, Emotional body language, Expansive movements, Gravity defying body language, Up nonverbals.

Resources:

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http://bodylanguageproject.com/articles/posture-affects-confidence-of-thoughts/

Prieto, A. G., & Robbins, M. C. (1975). Perceptions of height and self-esteem. Perceptual and Motor Skills, 40, 395–398.

Pablo Briñol; 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/

Pitterman, Hallee ; Nowicki Jr, Stephen. A Test of the Ability to Identify Emotion in Human Standing and Sitting Postures: The Diagnostic Analysis of Nonverbal Accuracy-2 Posture Test (DANVA2-POS). Genetic, Social, and General Psychology Monographs. 2004. 130(2): 146-162.

Ranehill, Eva; Anna Dreber; Magnus Johannesson; Susanne Leiberg; Sunhae Sul and Roberto A. Weber. Assessing the Robustness of Power Posing: No Effect on Hormones and Risk Tolerance in a Large Sample of Men and Women. Psychological Science, March, 2015. doi: 10.1177/0956797614553946 http://bodylanguageproject.com/articles/power-posing-no-effect-hormones-amy-cuddy-wrong/

Riskind, J. H., & Gotay, C. C. (1982). Physical posture: Could it have regulatory or feedback effects on motivation and emotion? Motivation and Emotion, 6, 273–298.

Riskind, John H. Manis, Melvin (editor). They stoop to conquer: Guiding and self-regulatory functions of physical posture after success and failure. Journal of Personality and Social Psychology. 1984 47(3): 479-493.

Robinson, Michael D. ; Zabelina, Darya L. ; Ode, Scott ; Moeller, Sara K. The vertical nature of dominance-submission: Individual differences in vertical attention. Journal of Research in Personality. 2008. 42(4): 933-948.

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

Schwartz, B., Tesser, A., & Powell, E. (1982). Dominance cues in nonverbal behavior. Social Psychology Quarterly, 45, 114–120.

Stepper, S., & Strack, F. (1993). Proprioceptive determinants of emotional and nonemotional feelings. Journal of Personality and Social Psychology, 64, 211–220.

Scarpa, Stephano; Alessandra Nart; Erica Gobbi and Atillo Carraro. Does Women’s
Attitudinal State Body Image Improve After One Session Of Posture Correction Exercises? Social Behavior and Personality. 2011; 39(8): 1045-1052.

Schenkel, Rudolf. Submission: Its Features and Function in the Wolf and Dog. American Zoologist. 1967. 7(2): 319-329.

Stepper, S., & Strack, F. (1993). Proprioceptive determinants of emotional and nonemotional feelings. Journal of Personality and Social Psychology, 64, 211–220.

Strelan, P., Weick, M., & Vasiljevic, M. (2013). Power and revenge. British Journal of Social Psychology, 53, 521–540.

Tracy, J. L., & Robins, R. W. (2004). Show your pride: Evidence for a discrete emotion expression. Psychological Science, 15, 194–197.

Weisfeld, Glenn E. and Jody M. Beresford. Erectness of Posture as an Indicator of Dominance or Success in Humans. Motivation and Emotion. 1982. 6(2): 113-130.
http://bodylanguageproject.com/articles/body-language-cues-dominance-submission-children/

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, Arrogance or arrogant body language, Authoritative body language, Confident body language, Dominant body language, Expansive movements, Gravity defying body language, High confidence body language, Indicator Of Sexual Interest (IOsI), Leadership body language, Open body language, Threat displays, Up nonverbals

Body Language of Strutting

by Chris • October 28, 2014 • 0 Comments

Body Language of Strutting

Cue: Strutting.

Synonym(s): Swagger.

Description: A careless, slow, deliberate gait with shoulders back, chest out, head up, as if swimming through the air. The upper body moves back and forth confidently.

In One Sentence: Strutting is a type of gait displaying supreme confidence.

How To Use it: Use strutting or swagger to show others that good things happen to you and that you are able to control the results in your life. This works well in any context but if done too conspicuously will appear as smug. When using the cue, be sure that it can be backed up with other confident demeanor including a relaxed and slow speech pattern, proper gesticulation and so forth. President Obama is a great example of walking with swagger and he also backs it up with swagger in his speech and gesture. In dating, swagger is highly regarded as it is in business.

Context: a) Dating b) Business.

Verbal Translation: “I’m confident and in control. I walk with my head up, shoulders back, chest puffed out so that others take note of my dominance and show me respect and admiration.”

Variant: See Gait or Walking Styles.

Cue In Action: a) He walked by the girls in full strut, his chest puffed out trying to appear larger than he actually was. b) The boss was confident and this was easy to see. His gait was smooth, deliberate, and effortless. He walked with his head held high, back strait and arms moving smoothly with each stride.

Meaning and/or Motivation: High ranking officials such as presidents and high level business men habitually strut. A swagger occurs while walking and is a display of confidence, dominance and usually sex appeal. Men are said to strut when trying to appear masculine in the eye of women. Women can also strut, but it’s not as typical as it is for men.

If someone is going out of their way to strut, he is likely trying to impress others but might not have the gull to back it up. True strutting appears effortlessly and is backed by real life accomplishments.

Cue Cluster: The strut is a collection of cues in cluster. Head high, back straight but fluid, arms in motion and chest puffed out. Watch for additional cues to verify the honesty of the strut. Those with confidence will also carry open postures such as arms uncrossed and out of pockets, make and hold eye contact easily, touch people freely when appropriate, maintain open postures, gesticulate when appropriate and so forth.

Body Language Category: Arrogance or arrogant body language, Authoritative body language, Confident body language, Dominant body language, Expansive movements, Gravity defying body language, High confidence body language, Indicators of sexual interest (IOsI), Leadership body language, Open body language, Threat displays, Up nonverbals.

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.

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

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.

Eisenberg, P. Expressive movements related to feelings of dominance. Archives of Psychology, 1937, No. 211. Ekman, P. Universals and cultural differences in facial expression of emotion. In J. K. Cole (Ed.),

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.

Eisenberg, Philip ; Reichline, Philipb. Judging Expressive Movement: II. Judgments of Dominance-Feeling from
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.

Ginsburg, H. J. Playground as laboratory: Naturalistic studies of appeasement, altruism, and the omega child. In D. R. Omark, F. F. Strayer, & D. G. Freedman (Eds.), Dominance relations: An ethological view of human conflict and social interaction. New York: Garland, 1980.

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.

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.

Jessica L. Tracy 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/

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.

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

Mastow, A. H. The role of dominance in the social and sexual behavior of infra-human primates: I. Observations at Vilas Park Zoo. Pedagogical Seminary and Journal of Genetic” Psychology, 1936, 48, 261-277.

Maslow, A.H. Dominance-feeling, behavior, and status. Psychological Review, 1937, 44, 404-429.

Mehrabian, A. Influence of attitudes from the posture, orientation and distance of a communicator. Journal of Consulting and Clinical Psychology, t968, 32, 296-308.

Mehrabian, Albert Deese, James (editor). Significance of posture and position in the communication of attitude and status relationships. Psychological Bulletin. 1969. 71(5): 359-372.

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/

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/

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.

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).

Van Der Zwan, Rick ; Herbert, Natasha. “I like the way you move”: how hormonal changes across the menstrual cycle affect female perceptions of gait.(Research article)(Report). BMC Research Notes. 2012. 5: 453.

*No Photo, Amplifier, Childlike playfulness, Confident body language, Enthusiasm (nonverbal), Excited body language, Gravity defying body language, Happiness body language, High confidence body language, Up nonverbals

Body Language of the Prance Gait

by Chris • October 27, 2014 • 0 Comments

Body Language of the Prance Gait

Cue: Prance Gait (the).

Synonym(s): Prancing, Walking On Air, Walking With A Bounce In The Step, Bound In The Gait.

Description: A playful gait which is peppered with unnecessary leaps and bounces.

In One Sentence: The prance gait signals a high degree of femininity due to happiness and health.

How To Use it: Children can use the prance for best effect to show their good spirits. Women are also permitted by our culture to prance and when men prance, they can use it for comedic effect.

A more muted prance can work in both woman and men, however, and is useful in showing others your good health and good spirits. Rather than an exaggerated prance, a mute prance is simply a youthful gait which produces a slight leap in the steps as if floating on air.

Use the prance in any context in which health and virility will be seen as a positive trait. In dating, a bound in the step will show your partner that you have good character and good genetics. This is especially useful to women whom can show off their youth, and hence fertility, with a bound in their step.

Context: a) General b) Dating.

Verbal Translation: “I’m so happy and healthy and want everyone to notice. When I walk, I like to expend more energy than is practical or necessary.”

Variant: A woman may use the parade style of walking which exaggerates the motion of the hips, forcing them to cant from side-to-side. A playful prance intermixed with a parade style of walking shows a person in good spirit who has good childbearing hips. See Gait or Walking Styles.

Cue In Action: a) The girls and boys happily pranced around the playground while the parents ambled after them – barely keeping up. a) He just won the lottery and you could tell. His head was held high, it was as if he was walking on the clouds with a confident stride, buoyant, and youthful. b) Her youth was apparent. When she walked, she had a noticeable bound in her step indicating her health, vigor and good spirit. She advertised her sexuality with her prance.

Meaning and/or Motivation: The prance indicates good spirit and confidence usually associated with youth and thus health.

A bound in the gait indicates a persons ability and desire to fight the effects of gravity. When people win, they celebrate by thrusting their arms up in the air to draw attention to themselves. The same is true about our gait. It is often found in adults who feel that they have control over their lives and those who have enjoyed successes.

Conversely, those who lack confidence or who are depressed will hang their shoulders and saunter about instead. The prance is a type of gait that advertises to the world that a person is happy and content is worthy of our association.

The prancing gait also indicates the virility of a person when carried by those of sexual maturity. Prancing is a sign that they make a good sexual partner partially due to their optimism and good spirit, but also their youthfulness and health. This makes the prance a strong indicator of physical and mental fitness.

Cue Cluster: Watch for head held high with chin up, smiling face and a smooth stride with straight back.

Body Language Category: Amplifier, Confident body language, Childlike playfulness, Enthusiasm (nonverbal), Excited body language, Gravity defying body language, Happiness, High confidence body language, Up nonverbals.

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/

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.

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.

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

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.

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/

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.

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/

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.

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/

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

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

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

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.

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.

Negriff, Sonya ; Noll, Jennie G ; Shenk, Chad E ; Putnam, Frank W ; Trickett, Penelope K. Associations between nonverbal behaviors and subsequent sexual attitudes and behaviors of sexually abused and comparison girls. Child maltreatment. 2010. 15(2): 180-9.

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.

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.

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.

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/

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/

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.

*No Photo, Displacement behaviour, Enthusiasm (nonverbal), Gravity defying body language, Low confidence body language, Nervous Body Language, Stressful body language, Suspicious body language

Body Language of Jerky Movements

by Chris • October 23, 2014 • 0 Comments

Body Language of Jerky Movements

Cue: Jerky Movements

Synonym(s): Twitchy, Spastic Movements, Sporadic Movements, Erratic Movements, Failing Arms.

Description: Unpredictable, twitching, erratic, flailing wildly, theatrical, impulsive or random motions by the head, arms, hands, feet, legs, torso and so forth.

In One Sentence: Jerky movements signal emotional uneasiness.

How To Use it: Use jerky movements to show others that you are emotionally unstable!

Context: General.

Verbal Translation: “I have lost complete control of my body which is why it moves around so sporadically and twitches and this makes you think I’m not emotionally well.”

Variant: Jerky movements can also spread to the voice as it becomes high pitched and increases in volume.

Cue In Action: When Dave was presenting his research on butterflies, his gestures were erratic and out of tune with what he was saying. He seemed scatterbrained, moving back and forth across the stage, his arms pointing quickly to his whiteboard and then scratching his face and neck. He was difficult, even annoying to follow.

Meaning and/or Motivation: Jerky movements comes across as hysteric, frustrated, and breeds a lack of respect in others and is generally unflattering. It says nonverbally that a person lacks precise control over their bodies which people assume transfers to erratic thoughts and a scattered mind. People with jerky movements are seen as untrustworthy and often as having hyperactivity disorder.

Usually sporadic behaviour is not due to any actual negative traits and is mostly due to a high affect, meaning people simply have lots of excess energy and don’t like being in one place for extended periods of time. Other times, jerky movements are linked to excitement and enthusiasm for a topic.

Cue Cluster: Watch for erratic movements of the eyes, touching the face, neck, nose, ears, rubbing the eyes, pacing back and forth, pointing, smoothing clothing, patting, rubbing the hands, hands in pockets and so forth.

Body Language Category: Displacement behaviour, Enthusiasm (nonverbal), Gravity defying body language, Low confidence body language, Nervous body language, Stressful body language, Suspicious 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.

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.

Burba, Nathan ; Bolas, Mark ; Krum, David M. ; Suma, Evan A.. Unobtrusive measurement of subtle nonverbal behaviors with the Microsoft Kinect. 2012 IEEE Virtual Reality. 2012. 1-4.

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.

Da Silva, Felipe N. ; Irani, Farzin ; Richard, Jan ; Brensinger, Colleen M. ; Bilker, Warren B. ; Gur, Raquel E. ; Gur, Ruben C. More than just tapping: Index finger-tapping measures procedural learning in schizophrenia. Schizophrenia Research. 2012. 137(1-3): 234-240.

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.

Deans, Pamela ; O’laughlin, Liz ; Brubaker, Brad ; Gay, Nathan ; Krug, Damon. Use of eye movement tracking in the differential diagnosis of Attention Deficit Hyperactivity Disorder (ADHD) and reading disability.(Report). Psychology (Irvine). 2010. 1(4): 238(9).

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

Fisch, Hans-ulrich ; Frey, Siegfried ; Hirsbrunner, Hans-peter Buchwald, Alexander M. (editor). Analyzing nonverbal behavior in depression. Journal of Abnormal Psychology. 1983. 92(3): 307-318.

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.

Katza, Carmit; Irit Hershkowitz; Lindsay C. Malloya; Michael E. Lamba; Armita Atabakia and Sabine Spindlera. Non-Verbal Behavior of Children Who Disclose or do not Disclose Child Abuse in Investigative Interviews. Child Abuse & Neglect. 2012. 36: 12-20.
http://bodylanguageproject.com/articles/reading-nonverbal-behaviour-child-abuse-cases-encourage-children-divulge-information-truth-telling

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.

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

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.

Nao, Misako Sawada and Motonobu Ishii. Development of the Movements Impressions Emotions Model: Evaluation of Movements and Impressions Related to the Perception of Emotions in Dance. Journal of Nonverbal Behavior. 2013. 37:107-121.
DOI 10.1007/s10919-013-0148-y
http://bodylanguageproject.com/articles/convey-emotion-nonverbally-dance-study/

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.

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.

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

According to Wikepdia, there are at least 25 movement disorders of which nonverbal eratic movement may signal: http://en.wikipedia.org/wiki/Movement_disorder

Akathisia (inability to sit still)
Akinesia (lack of movement)
Associated Movements (Mirror Movements or Homolateral Synkinesis)
Athetosis (contorted torsion or twisting)
Ataxia (gross lack of coordination of muscle movements)
Ballismus (violent involuntary rapid and irregular movements)
Hemiballismus (affecting only one side of the body)
Bradykinesia (slow movement)
Cerebral palsy
Chorea (rapid, involuntary movement)
Sydenham’s chorea
Rheumatic chorea
Huntington’s disease
Dyskinesia (abnormal, involuntary movement)
Tardive dyskinesia
Dystonia (sustained torsion)
Dystonia muscularum
Blepharospasm
Writer’s cramp
Spasmodic torticollis (twisting of head and neck)
Dopamine-responsive dystonia (hereditary progressive dystonia with diurnal fluctuation or Segawa’s disease)
Essential tremor
Geniospasm (episodic involuntary up and down movements of the chin and lower lip)
Myoclonus (brief, involuntary twitching of a muscle or a group of muscles)
Metabolic General Unwellness Movement Syndrome (MGUMS)
Mirror movement disorder (involuntary movements on one side of the body mirroring voluntary movements of the other side)
Parkinson’s disease
Paroxysmal kinesigenic dyskinesia
Restless Legs Syndrome RLS (WittMaack-Ekboms disease)
Spasms (contractions)
Stereotypic movement disorder
Stereotypy (repetition)
Tic disorders (involuntary, compulsive, repetitive, stereotyped)
Tourette’s syndrome
Tremor (oscillations)
Rest tremor
Postural tremor
Kinetic tremor
Essential tremor
Cerebellar tremor
Parkinsonian tremors
Physiological tremor
Wilson’s disease

Aggressive body language, Arrogance or arrogant body language, Authoritative body language, Confident body language, Dominant body language, Expansive movements, Gravity defying body language, High confidence body language, Open body language

Body Language of Hooding or The Catapult

by Chris • October 23, 2014 • 0 Comments

Body Language of Hooding or The Catapult

Cue: Hooding or The Catapult.

Synonym(s): Full Body Steeple, Catapult (The), Interlaced Hands Behind The Head.

Description: Hooding is a body posture that occurs by placing both hands up and clasped behind the head, elbows back, and chest puffed out while in a seated position. Think of making a hood with your arms and hands.

In One Sentence: Hooding is a posture signaling high dominance.

How To Use it: Use hooding to expand the body and make it appear larger than it is in reality. This will be viewed by others as dominance and confidence therefore it should be reserved for higher ranking individuals who will not be challenged by others.

Bosses, should feel free to assert their dominance with the hooding posture, whereas lower ranking employees should not.

Women should generally not carry the posture due to its high perceived dominance. When done by women it can appear overbearing. If women do choose to do it, they should be expecting to be viewed as capable of backing their dominance with not only verbal counterarguments, but also supportive action. When dominance lacks substance it is viewed in a negative light rather than a positive one.

Context: General.

Verbal Translation: “I’m so dominant and confident that I’m placing my hands on my head where they can’t be used for defense, splaying wide open and taking up a bunch of space and leaning back to be comfortable.”

Variant: See Military Man or Regal Stance and Cowboy Pose Stance for two similarly dominant postures.

Cue In Action: The boss was cocky and confident. When meeting with employees he always placed his hands up behind his head and leaned back in his chair. When the owner of the company showed up and surprised him, he quickly shot forward, took his hands off the back of his head and made a point of shaking hands with him. He didn’t get back to his hooding posture until the owner was safely out of the office.

Meaning and/or Motivation: Hooding or interlaced hands behind the head is an extremely dominant and possibly arrogant, self-satisfied, even threatening display.

The arms behind the head posture shows arrogance because it openly exposes the body to attack through its expansiveness. Dominant people don’t worry about being attacked and often show this confidence by overexposing themselves and their vulnerable areas to challengers.

The full body steeple is common to professionals such as lawyers, accountants, managers, bosses, and others that feel more superior then their counterparts.

Hooding can be used to intimidate others, or convey a relaxed, cocky disposition, but as always, body language needs to be taken in context. The accompanying dialogue will help tell us what is really going on.

Professionals, such as lawyers, accountants, managers, bosses, and others that tend to take their superiority to higher levels than the rest of us, will be seen using the full body steeple. This is the hooding posture coupled with a figure four leg cross and leaning back in the chair.

Cue Cluster: When seated hooding is coupled with body leaning backward with the legs spread wide open we have a very dominant crotch display. The postures is completed by combining it with the figure-four-leg cross which happens by placing the ankle of the opposite foot across the knee.

Body Language Category: Arrogance or arrogant body language, Aggressive body language, Authoritative body language, Confident body language, Dominant body language, Expansive movements, Gravity defying body language, High confidence body language, Open body language.

Resources:

Arnette, S. L., & Pettijohn, T. F., II. (2012). The effects of posture on self-perceived leadership. International Journal of Business and Social Science, 3, 8–13.

Briñol, P., Petty, R. E., & Wagner, B. (2009). Body posture effects on self-evaluation: A self-validation approach. European Journal of Social Psychology, 39, 1053–1064.

Bartholomewn, Morgan E.; Sheri L. Johnson. Nonverbal Dominance Behavior Among Individuals at Risk for Mania. Journal of Affective Disorders. 2014. 159: 133-138.

Cashdan, Elizabeth. Smiles, Speech, and Body Posture: How Women and Men Display Sociometric Status and Power. Journal of Nonverbal Behavior. 1998. 22(4): 209-228.

Cesario, J., & McDonald, M. M. (2013). Bodies in context: Power poses as a computation of action possibility. Social Cognition, 31, 260–274.

Laird, J. D., & Lacasse, K. (2014). Bodily influences on emotional feelings: Accumulating evidence and extensions of William James’s theory of emotion. Emotion Review, 6, 27–34.

Lee, E. H., & Schnall, S. (2014). The influence of social power on weight perception. Journal of Experimental Psychology: General, 143, 1719–1725.

Michalak, J., Mischnat, J., & Teismann, T. (2014). Sitting posture makes a difference: Embodiment effects on depressive memory bias. Clinical Psychology & Psychotherapy, 21, 519–524.

Marsh, Abigail A; Henry H. Yu; Julia C. Schechter and R. J. R. Blair. Larger than Life: Humans’ Nonverbal Status Cues Alter Perceived Size. PLoS ONE. 2009. 4(5): e5707. doi:10.1371/journal.pone.0005707. http://bodylanguageproject.com/articles/large-life-nonverbal-dominance-affects-perception-size/?preview=true

Roberts, Tomi-Ann and Yousef Arefi-Afshar. Not All Who Stand Tall Are Proud: Gender Differences in the Proprioceptive Effects of Upright Posture. Cognition and Emtion. 2007. 21(4):714-727.

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.

Riskind, J. H. (1984). They stoop to conquer: Guiding and selfregulatory functions of physical posture after success and failure. Journal of Personality and Social Psychology, 47, 479–493.

Riskind, J. H., & Gotay, C. C. (1982). Physical posture: Could it have regulatory or feedback effects on motivation and emotion? Motivation and Emotion, 6, 273–298.

Stepper, S., & Strack, F. (1993). Proprioceptive determinants of emotional and nonemotional feelings. Journal of Personality and Social Psychology, 64, 211–220.

Strelan, P., Weick, M., & Vasiljevic, M. (2013). Power and revenge. British Journal of Social Psychology, 53, 521–540.

Adornments, Confident body language, Courtship display, Gravity defying body language, High confidence body language, Masked emotions, Power play

Body Language of High Heels

by Chris • October 23, 2014 • 0 Comments

Body Language of High Heels

Cue: High Heels Body Language.

Synonym(s): Stilettos Body Language.

Description: A type of footwear worn by women where the heel is raise higher than the toe.

In One Sentence: High heels are a super normal nonverbal cue signaling the desire for sexual power and appeal.

How To Use it: High heels are advantageous to women. High heels should be used to attract taller more desirable men. While men are not overly concerned with taller women, research shows that men and women tend to pair relatively. That is, in most relationships, men are normally about 2” taller than women and overall. This may be because, given the choice, men, like women, prefer their counterpart to be tall. Therefore, like short men, short women find it difficult to compete with taller counterparts in dating.

High heels work to make women more attractive because they seem to elongate the legs and at the same time make them appear more toned. Women can use high heels to create the illusion of fitness as they work to thrust the hips forward and protrude the breast.

Sexualizing the body is double edged, however, as it will create a desire in men to take part in benevolent sexism, but will also reduce women’s perceived competence. Thus, high heels should be coupled with conservative dress to preserve the image of professionalism.

The height advantage can also work to a woman’s benefit in a business context by stepping them up to the average height of men and therefore eliminating the dominance advantage that height brings. Further, aiming the heel toward men while sitting, legs cross, toward that whom a woman feels discontent, is akin to striking with a dagger – a power-play.

Context: a) Business b) Dating.

Verbal Translation: “I’m trying to make my legs appear sexy and alluring to gain an advantage over men and women by hyper sexualizing my female features as well as to gain a height advantage over others.”

Variant: Women sometimes use their high heels as daggers especially while sitting where they can be aimed squarely at potential “prey.” See Adornments and Bodifications, Dressing Sexy.

Cue In Action: a) The female boss always made a point of wearing high spikes so she could stand over her employees. None of the female employees dared best her with anything taller. b) Whilst still out of sight, men on the quiet walkway waited with eager anticipation as they heard the unmistakable sound of stilettos. Each step produced a click-and-clock. It was only a matter of time before the object of their attention would reveal itself – an alluring woman.

Meaning and/or Motivation: The high heel is a type of shoe worn by women in effort to draw attention to their sexuality. The high heel lifts the butt by contracting it, tilts the pelvis forward, arches the back thus protruding the chest and breast, makes the legs appear longer, toned and produces a tight flexed calf muscle.

The high heel emphasizes women’s already long legs and hyper-sexualizes them and also gives women the illusion of slimness, virility, youth and hence fertility, by imitating the leg proportions of girls in their upper teens and early twenties. The stiletto also creates the illusion of smaller feet which is universally deemed submissive and ladylike.

Women will use heels during dating and courtship as well as in business in order to fix the height gap between them, and the men in their association, which points to their function as a power play.

Cue Cluster: The high heel is usually accompanied with confident postures as the high heel commands attention. Expect to see an upright posture, head held high, confident and relaxed facial expression, business or club attire, usually skirts, or business pants. Tall boots with high heels over jeans have recently become fashionable.

Body Language Category: Adornments, Courtship displays, Confident body language, Gravity defying body language, High confidence body language, Masked emotions, Power play.

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.

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.

Dietz, P., & Evans, B. (1982). Pornographic imagery and prevalence of paraphilia. The
American Journal of Psychiatry, 139, 1493–1495.

Durante, Kristina M ; Li, Norman P ; Haselton, Martie G. Changes in women’s choice of dress across the ovulatory cycle: naturalistic and laboratory task-based evidence. Personality & social psychology bulletin. 2008 34(11): 1451-60.

Etcoff, N. L., Stock, S., Haley, L. E., Vickery, S. A., & House, D. M. (2011). Cosmetics as a feature of the extended human phenotype: Modulation of the perception of
biologically important facial signals. PLoS One, 6, e25656.

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/

Grammer, Karl, LeeAnn Renninger and Bettina Fischer. Disco Clothing, Female Sexual Motivation, and Relationship Status: Is She Dressed to Impress? The Journal of Sex Research. 2004. 41(1): 66-74.
http://bodylanguageproject.com/articles/is-she-dressed-for-success-how-women-adorn-during-courtship/

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/

Haselton, M. G., M. Mortezaie, E. G. Pillsworth, A. Bleske-rechek, and D. A. Frederick. 2007. Ovulatory shifts in human female ornamentation: near ovulation, women dress to impress. Hormones and Behavior. 51(1): 40-45.

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.

Lynch, A. Expanding the Definition of Provocative Dress: An Examination of Female Flashing Behavior on a College Campus. Clothing and Textiles Research Journal. 2007. 25(2): 184-201.

Moore, Monicam. Human Nonverbal Courtship Behavior—A Brief Historical Review. Journal of Sex Research. 2010 47(2-3): 171-180.

Moore, Monica. M. Nonverbal Courtship Patterns in Women: Context and consequences. Ethology and Sociobiology. 1985. 6:237- 247.

Moore, M. M. Courtship Communication and Perception. Perceptual and Motor Skills. 2002. 94(1): 97-105. doi:10.2466/PMS.94.1.97-105.

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

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.

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

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

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

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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.

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.

Aggressive body language, Amplifier, Arrogance or arrogant body language, Authoritative body language, Confident body language, Dislike (nonverbal), Dominant body language, Doubt or disbelief body language, Evaluative body language, Expansive movements, Eye Language, Gravity defying body language, Hostile body language

Body Language of The Head Tilted Back

by Chris • October 23, 2014 • 0 Comments

Body Language of The Head Tilted Back

Cue: Head Tilted Back

Synonym(s): Looking Down The Nose, Nose up gesture, Tilting The Head Back.

Description: A posture done by tilting the head back and looking down and across the bridge of the nose upon other people as if glaring. Sometimes the head is cocked to the side or the eyes peer over glasses.

In One Sentence: Tiling the head back indicates smugness and pride.

How To Use it: Tilt the head back to demonstrate pride after winning a dominance competition. The stance is appropriate after victory in sports as it is in any other situation where one must overcome great obstacles. Holding the head high will show others that you are winning in the battle of life and that you are worthy of special attention and to be followed. Holding the head high in business will show others that you have leadership qualities.

When one tilts the head back when pride is not earned, it can backfire and be read as smugness, so be prepared for challenges to your stance should you choose to apply them.

When you want to belittle another, simply title the head back and stare down your nose at them. This shows condescension. Think of the stern librarian as she lowers her eye glasses and glares down upon you.

Context: General.

Verbal Translation: “I’m superior to you in many ways so I tilt my head back and appear haughty and special, demonstrating that you are not worthy of my gaze.”

Variant: See Peering Over Glasses, Chin Jut and Chin Lift.

Cue In Action: Upon entering a coffee shop, she turned the heads of men. When she noticed that she was being watched, she averted her gaze and instead of making eye contact she would “look down her nose at them” by tilting her head backward showing disapproval. It is read by onlookers correctly as an “I’m better than you” glare. They don’t even bother to approach her.

Meaning and/or Motivation: Looking down one’s nose at someone is a dominant, judgment posture and is viewed negatively by others. The opposite cue is the forehead bow, where the head is tilted back and they eyes cast upward. This shows submission.

Looking down the nose at someone can be done without glasses, but their addition makes the posture even more salient. The head back is a domineering teacher or librarian look when a student has done something she does not approve of, so she stares him down. The posture elicits a prey response in others because it puts them in an aggressive relationship with the predator peering down on them.

Tilting the head back is a way to adjust the height levels between people because by doing so it raises the level of the eyes by a few inches. Looking down the nose is indicative of someone that is condescending or pushy, authoritarian, arrogant, but is also a gravity defying body language so shows confidence often bordering on overconfidence.

The phrase “keep your chin up” stems from the power that chin’s held high carries. Holding a high head helps people frame their own views in a more constructive light.

Cue Cluster: Crossing the legs by bringing one foot over the opposite leg (the Figure-Four Leg Cross), hand steepling, or interlocked fingers, leaning back in the chair, and tilting the head back and looking down through the nose at others. This cluster shows arrogance and superiority.

Body Language Category: Amplifier, Arrogance or arrogant body language, Aggressive body language, Authoritative body language, Confident body language, Dislike (nonverbal), Doubt or disbelief body language, Dominant body language, Expansive movements, Eye Language, Gravity defying body language, Hostile body language, Evaluative body language.

Resources:

Aguinis, Herman ; Simonsen, Melissam. ; Pierce, Charlesa. Effects of Nonverbal Behavior on Perceptions of Power Bases. The Journal of Social Psychology. 1998. 138(4): 455-469.

Aguinis, Herman ; Henle, Christinea. Effects of Nonverbal Behavior on Perceptions of a Female Employee’s Power Bases. The Journal of Social Psychology. 2001 141(4): 537-549.

Aviezer, Hillel, Yaacov Trope, Alexander Todorov. Body Cues, Not Facial Expressions, Discriminate Between Intense Positive and Negative Emotions Science 338, 1225 (2012).
http://bodylanguageproject.com/articles/body-language-trumps-facial-expressions-read-my-body-not-my-lips/

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/

Costa, M., Menzani, M., & 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.

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.

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Hehman, Eric; Jordan B. Leitner and Samuel L. Gaertner. Enhancing Static Facial Features Increases Intimidation. Journal of Experimental Social Psychology. 2013; 49: 747-754.
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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

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/

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

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/

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

Tracy, J. L., & Matsumoto, D. (2008). The spontaneous expression of pride and shame: Evidence for biologically innate nonverbal displays. Proceedings from the National Academy of Sciences, 105(33), 11655–11660.

Tracy, J. L., & Robins, R. W. (2007). The prototypical pride expression: Development of a nonverbal behavior coding system. Emotion, 7(4), 789–801.

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.

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

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

*No Photo, Amplifier, Buy signals, Childlike playfulness, Gravity defying body language, Honest body language, Up nonverbals

Body Language of Happy Feet

by Chris • October 22, 2014 • 0 Comments

Body Language of Happy Feet

Cue: Happy Feet

Synonym(s): Bouncing Feet.

Description: Happy feet are those that bounce up and down with joy, point upwards when standing, or seem to have a spring in their step when walking. Other times happy feet are feet that point or move in the direction of something they like.

In One Sentence: Feet that bounce up and down signal happiness, confidence, and good health.

How To Use it: Use happy feet to show others that you are healthy, confident and that good things are happening to you. Happy feet will be viewed by others as a symptom of your good fortune. Positive attitudes are transferred through body language and keeping the feet in motion shows others that you are prepared for action.

Bluff in poker by bouncing your feet. If people are attuned, they will read your bouncing feet as a true indicator of a great hand (even if you don’t have one).

Context: General.

Verbal Translation: “I’m happy with joy so my honest feet defy gravity by bouncing, toes rising and pointing.”

Variant: See Cooperative Feet, Toe Pointing or Pointed Toe, Toes Pointed Upward.

Cue In Action: We always knew it was time to fold. When Kevin had a great poker hand, his feet started bouncing. They were nearly vibrating the entire table.

Meaning and/or Motivation: Throughout our evolution, the feet carried out more traditional tasks like escaping predators, avoiding hot sand or coals from fire, leaping from slithering snakes or poisonous spiders, or navigating rough rocky river bottoms. The feet were therefore connected more to the reptilian brain which reacts to stimuli directly instead of contemplating higher order tasks that require planning. This makes the feet “honest” and reliable as clues to fear as well as happiness.

Bouncing feet are called “happy feet” and is a high confidence ‘tell’, indicating that a person is about to gain something important. It is very reliable and happens as a direct result of having heard or seen something significant that is positive to the person displaying the signal. While high affect happy feet make the entire body bounce, happy feet can be display in a more subdued way by just wiggling the feet. Watching for these cues in poker can be a very important tell and save a pile of money, so be careful to watch for it.

Legs and feet can also become jittery and fidget when a person is bored and wants to leave. Jittery feet, though, can also be due to nervous energy or even the result of happiness such as “happy feet.” It is the context that will help decide what feet and legs are telling in this type of body language.

Happy feet are feet that “defy gravity” are an honest indication of joy. When feet are happy they will bounce up and down and move the body in various playful ways. The feet are often extended toward things they like and point to them. Often the toes will point upward demonstrating confidence. This is done by bearing the weight on one foot and putting the heel down and lifting the toes up.

Cue Cluster: Watch for more open cues such as smiling, head tilted to the side in interest, palm up displays, open and lose body, torso flowing, touching other people, bouncing up and down and excited eye flashes and eye pops.

Body Language Category: Amplifier, Buy signals, Childlike playfulness, Gravity defying body language, Honest body language, Up nonverbals.

Resources:

App, Betsy; Catherine L. Reed and Daniel N. McIntosh. Relative Contributions Of Face And Body Configurations: Perceiving Emotional State And Motion Intention. Cognition and Emotion. 2012. 26(4): 690-698.
http://bodylanguageproject.com/articles/facial-expressions-versus-bodily-expressions-nonverbal-communication/

Astrom, Jan. Introductory greeting behavior: a laboratory investigation of approaching and closing salutation phases. Perceptual and Motor Skills. 1994. 79(2): 863(35).

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.

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.

Baxter, James C. ; Rozelle, Richard M. Lanzetta, John T. (editor). Nonverbal expression as a function of crowding during a simulated police-citizen encounter. Journal of Personality and Social Psychology. 1975. 32(1): 40-54.

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.

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.

Fisch, Hans-ulrich ; Frey, Siegfried ; Hirsbrunner, Hans-peter Buchwald, Alexander M. (editor). Analyzing nonverbal behavior in depression. Journal of Abnormal Psychology. 1983. 92(3): 307-318.

Harrison, Cathie. Watching the children watching Play School: indicators of engagement, play and learning. Australasian Journal of Early Childhood. 2012. 37(4): 44(7).

Harrigan, Jinni ; Oxman, Thomas ; Rosenthal, Robert. Rapport expressed through nonverbal behavior. Journal of Nonverbal Behavior. 1985. 9(2): 95-110.
Rovers, A.F. ; Essen, H.A. Guidelines for haptic interpersonal communication applications: an exploration of foot interaction styles. Virtual Reality. 2006. 9(2): 177-191.

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

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

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

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).

Sporer, Siegfried L. ; Schwandt, Barbara Penrod, Steven D. (editor). MODERATORS OF NONVERBAL INDICATORS OF DECEPTION: A Meta-Analytic Synthesis. Psychology, Public Policy, and Law. 2007. 13(1): 1-34.

Schneider, Sabrina; Andrea Christensen; Florian B. Häußinger; Andreas J. Fallgatter; Martin A. Giese and Ann-Christine Ehlis. 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: 380-390 http://dx.doi.org/10.1016/j.neuroimage.2013.07.078.
http://bodylanguageproject.com/articles/show-me-how-you-walk-and-ill-tell-you-how-you-feel/

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).

*No Photo, Amplifier, Confident body language, Depressive body language, Emotional body language, Enthusiasm (nonverbal), Excited body language, Gravity defying body language, Happiness body language, High confidence body language, Low confidence body language

Body Language of Gait or Walking Styles

by Chris • October 22, 2014 • 0 Comments

Body Language of Gait or Walking Styles

Cue: Gait or Walking Styles

Synonym(s): Walking Styles.

Description: Refers to the style or mechanics of locomotion in humans and its hidden meaning.

In One Sentence: Gait is highly unique to each person much like a fingerprint and it’s style is connected to various personality traits.

How To Use it: Use your gait to signal desired qualities to others. A bouncy gait signals joy and happiness, a swagger shows sexual energy, hobble shows age, darting shows impatience, prancing shows femininity. Use the type of gait that suits your personality best.

Context: General

Verbal Translation: “How I walk gives clues to my health, emotions, character and accomplishments.”

Variant: N/A

Cue In Action: He just won the lottery. Not only did he carry a huge grin on his face, but he also walked with an exaggerated bounce in his step. It was as if he had been transported back to his youth.

Meaning and/or Motivation: Scientists have identified thirty six different types of gait in the human species. They include the hobble, the mince, the glide, the bounce, the stride, the wiggle, the dart, the prance and the run. People can shuffle along or drag their feet, bounce up and down, or seem to float on air.

How one walks gives clues to the internal workings of people, their emotions and rhythm, character and even their accomplishments not to mention their health and age.

Those who are positive will tend to walk energetically while those who are down and depressed or elderly will saunter or hobble about. The effect is particularly pronounced between the old and young, but it can easily be seen between those who expect good things to happen and those who do not.

Cue Cluster: Watch for additional cues coupled with gait types to decide the overall mental attitude and disposition people carry.

Body Language Category: Amplifier, Confident body language, Depressive body language, Emotional body language, Enthusiasm (nonverbal), Excited body language, Gravity defying body language, Happiness, High confidence body language, Low confidence body language.

Resources:

Brownlow, S., Dixon, A. R., Egbert, C. A., & Radcliffe, R. D. (1997). Perception of movement and dancer characteristics from point-light displays of dance. The sychological Record, 47(3), 411–421. http://dx.doi.org/10.1068/p250727.

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

Cutting, J. E., & Kozlowski, L. T. (1977). Recognizing friends by their walk: Gait perception without familiarity cues. Bulletin of the Psychonomic Society, 9(5), 353–356.

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.

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.

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.

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.

Kozlowski, L. T., & Cutting, J. E. (1977). Recognizing the sex of a walker from a dynamic point-light display. Perception and Psychophysics, 21(6), 575–580.

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

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

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.

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.

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