Category: Pacifying body language

Adaptors, Amplifier, Auto contact or self touching, Boredom body language, Courtship display, Indicator Of Sexual Interest (IOsI), Pacifying body language, Preening body language, Stroking body language, Worry body language

Body Language of Hair Play

by Chris • October 22, 2014 • 0 Comments

Body Language of Hair Play

Cue: Hair Play

Synonym(s): Playing With The Hair, Twirling The Hair, Hair Tossing, Hair Flick, Sucking On The Hair, Combing The Hair, Brushing The Hair,,Sexual Hair Play, Running Fingers Through The Hair, Wrapping The Hair Around The Neck, Flicking The Hair, Hair Twirl, Hair Sucking.

Description: When hair is playing with, tossed, twirled, flicked, combed, or sucked.

In One Sentence: Playing with the hair is a sign of self grooming, pacifying, or is a way to draw attention to feminine features in a dating context.

How To Use it: Women can play with their hair in order to draw men’s attention to it. When hair is tossed and otherwise displaced, it will draw men’s eyes. Tossing, flicking, and brushing the hair are ways to display youthful qualities of fertility which is mostly unique to women.

Sucking on the hair or stroking the hair is also a way to help sooth nerves although it is not advisable to do so repetitively as it can be read by others as insecurity.

Context: a) Dating, b) General.

Verbal Translation: “I’m drawing attention to my hair by grooming it so that I can show off its luxuriousness and get it ready for other people’s eyes to feast upon its greatness.” “I’m concerned my hair is out of place so I’m fixing it so others don’t think I’m unkempt.” “I’m sucking on my hair to pacify myself as a replacement for a soother.”

Variant: See Head Toss.

Cue In Action: a) When she saw a cute boy she subconsciously twirled her hair around her finger, titled her head to the side and batted her eyes at him. b) During a boring lecture she passed the end of her long blonde hair through her lips to pacify herself. b) His hair was overgrown and it constantly fell into his eyes so he either flicked it away or brush it away with the side of his hand.

Meaning and/or Motivation: a) Hair tossing is done by women to show off their luxurious hair to men. Hair tosses can be done by flicking the hair over the shoulder or away from the face. Hair can be removed from a band and twirled or rolled and placed on top of the head to expose the neck.

Other hair signals include running the fingers through the hair to preen it, wrapping the hair around the neck or curling it around the finger. These types of signals are done by women usually out of their conscious awareness. They may be available and seeking sexual attention, but equally, they can be done to serve an actual function. When they are done to attract attention, they are driven by inner thoughts and desires which manifest as nonverbal cues. It is the desires that prime the motivation to act out sexually. In this case, grooming draws attention to her luscious hair and hence her youth and fertility.

Men will also preen in during courtship and might try to flatten their hair, stroke it, or brush it away from the eyes. In more overt cases, men might remove a comb and fix their hair entirely.

b) Outside of a dating context, the hair might be preened due to either a functional purpose such as when it blocks the vision, or as a means of pacifying. Sucking on the end of the hair is a replacement for a soother as it stimulates the sensitive lips. Running the fingers through the hair can also serve a pacifying purpose as it reminds us of having our hands entwined in someone else’s. Other times the hair is fussed with simply to preen and keep the hair in its place.

Cue Cluster: a) Added sexuality can come with a lip lick or moistening of the lips with lip gloss or adding lip stick to make them appear red and seductive. Having the lips slightly parted as if blowing a small stream of air through them can escalate the cues even more dramatically.

For hair play to be a sexual cue, it will be done in association with eye contact, absent of which might just be a form of soothing auto contact. Eye contact turns a fairly random gesture like touching the hair into one that is directional, meaning the eye contact sends a message to a person of interest.

Other times, women use signals to “fish and lure” where signals happen in a more broad-stroke fashion, absent of eye contact and direction, sent off into the room at large.

When men preen they will often do so secretly and will not use eye contact to draw attention to themselves. In other words, men will preen before an approach rather than during one as women tend to do.

Body Language Category: Adaptors, Amplifier, Auto contact or self touching, Boredom, Courtship display, Stroking body language, Indicators of sexual interest (IOsI), Pacifying, Preening, Worry body language.

Resources:

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Fink, Bernhard; Nadine Hugill and Benjamin P. Lange. Women’s Body Movements Are a Potential Cue to Ovulation. Personality and Individual Differences. 2012. 53: 759-763.
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Guéguen, Nicolas. Hair color and wages: Waitresses with Blond Hair Have More Fun. The Journal of Socio-Economics. 2012. 41: 370-372.
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Guéguen, Nicolas. Hair Color and Courtship: Blond Women Received More Courtship Solicitations and Redhead Men Received More Refusals. Psychol Stud. 2012. 57(4):369–375. DOI 10.1007/s12646-012-0158-6

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*No Photo, Anger body language, Clenching and gripping, Dislike (nonverbal), Escape movements, Frustration or frustrated body language, Hostile body language, Masked emotions, Pacifying body language, Stubborn body language

Body Language of Feet Wrapped Around Legs Of Chair

by Chris • October 21, 2014 • 0 Comments

Body Language of Feet Wrapped Around Legs Of Chair

Cue: Feet Wrapped Around Legs Of Chair

Synonym(s): Ankles Wrapped Around Legs Of Chair, Legs Clamped Around Chair, Wrapping The Legs Around The Feet Of A Chair.

Description: The ankles are wrapped around the feet of a chair as if shackled in place.

In One Sentence: Wrapping the feet around the legs of a chair signals the desire to be locked in place and feel safe and secure.

How To Use it: Wrap the legs around the chair when you want to create the sense of security for which you currently lack. Anchoring to your surroundings can help ground you and by extension your mind. That being said, the cue indicates lack of confidence, so should generally be avoided.

Context: General.

Verbal Translation: “I’m stressed and uncomfortable and I’m bracing myself for a bad outcome from which I can not escape. I’m wrapping my feet, clenching my hands against the arms rests, and trying to secure myself from being tossed.”

Variant: We habitually see this self arresting, gripping when people ride in the passenger side of a car with a bad or aggressive driver. People will hold their seat belt, the upper hand grip on the ceiling of the car or the grips in the door. We also see this in amusement park roller coaster rides where people hold their restraints.

Cue In Action: During a high intensity inquisition, he wrapped his feet around the legs of the chair.

Meaning and/or Motivation: It says, “I’m not going anywhere, not doing anything and not cooperating.” This posture is a freeze response and is normal during high stress, discomfort and concern, especially when exiting is not possible. Locking into a chair gives us a protective feeling as we try to prevent ourselves from being figuratively tossed around.

We see this when people are fastened into roller coasters where people will hug the restraints for extra safety.

When the hands grip the armrest coupled with ankles locked around the legs of the chair, not only does it give us comfort, but it provides a tactile release. It gives our hands something to do, thus preventing them from gesticulating. This is yet another way we nonverbally express our desire to keep quiet, as gesticulating could give up information we wish not to divulge.

Cue Cluster: Usually the head is pulled back or turned away, chin up, body leaning deep into the seat, eyes are forward, face is blank, lips pursed, the lip or inside of the cheek may be bitten, teeth clenched, knuckles turning white from gripping the arm rest and blanching of the skin.

Body Language Category: Anger, Clenching and gripping, Dislike (nonverbal), Escape movements, Frustrated body language, Hostile body language, Masked emotions, Pacifying, Stubborn or stubbornness.

Resources:

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Adaptors, Auto contact or self touching, Defensive body language, Displacement behaviour, Lying or deceptive body language, Negative body language, Pacifying body language, Shy nonverbal

Body Language of The Ear Grab

by Chris • October 20, 2014 • 0 Comments

Body Language of The Ear Grab

Cue: Ear Grab

Synonym(s): Ear Rub, Ear Rubbing, Grabbing The Ear, Touching The Ear, Pulling At The Ear, Ear Pull, Ear Touch, Hand To Ear.

Description: The hand reaches up and grabs, scratches, tugs, or lightly touches or partially covers the ear. If an earring is being worn, a person might roll or tug it instead. In more overt ear language, a person might cover their ears completely, which is usual in children who haven’t yet learned to how to minimize the gesture.

In One Sentence: Grabbing the ear is attributed to those experiencing visceral stress but usually simply serves to alleviate an itch.

How To Use it: Touching parts of the face is not advisable as it generally comes across as negative. Do avoid touching the face as much as possible including the ears when trying to appear open and honest.

Context: a), b), c) General.

Verbal Translation: a) “I’m touching my ear because what I’m hearing is causing me stress and touching my ear helps to relieve it.” b) “I can’t believe what I’m hearing.” c) “This is causing me emotional discomfort and which is making my ears flush. To fix the discomfort, I feel like tugging at my ear.”

Variant: See Hand To Nose, Neck Rubbing (back of neck) or Holding The Back Of The Neck.

Cue In Action: a) During court proceedings, a witness began to delve deeper into the case. The defendant didn’t like what she was hearing and she began to flush in the ears causing her to tug at her ears. A used car salesman might talk about the quality of a certain car, then pull on his ear lobe, or more subtly, he might be found rubbing the edge of the ear, indicating that what he has just said is untrue.

Meaning and/or Motivation: The ear grab refers to a subconscious desire to “hear no evil” and is done by reaching up and pulling the ear in response to hearing or saying discomforting things. It also sometimes represents anxiety and nervousness.

Think of the ear grab like rubbing sore muscles or massaging a stiff back, except in this case the damage done is internal and it’s due to something that has been heard, which “hurts” the ears. Anytime someone shows the desire to touch their ear means that they are thinking about hearing, and it will be up to you to tie them to context and decide what it is they are really saying. Other times, the ear is scratched because it really is itchy and has no meaning at all (an adaptor).

The ear grab can be use not only at the conclusion of the lies of others, but also at the conclusion of our own lies as well. The gesture used at the conclusion of our own lies serves to reduce what is called “cognitive dissonance” which is the uncomfortable feeling that comes from holding two contradictory ideas simultaneously.

Cue Cluster: In order for the ear tug to have any true meaning of discomfort other cues must be present such as blushing, touching the face or neck, submissive cues, eye aversion or eyes shifting, head lowered, feet turning away, hands and feet freezing, rubbing the hands on the thighs, rubbing the back of the head or neck, massaging the throat or covering the neck dimple and so forth.

Body Language Category: Adaptors, Auto contact or self touching, Defensive, Displacement behaviour, Doubt or disbelief body language, Embarrassment (nonverbal), Pacifying, Lying or deceptive body language, Negative body language, Shy nonverbal.

Resources:

Akehurst, L., G. Kohnken, A. Vrij, and R. Bull. 1996. Lay persons’ and police officers’
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Appelbaum, P.S. The new lie detectors: Neuroscience, deception, and the courts. Psychiatric Services. 2007. 58: 460-462.

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*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.

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.

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/

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.

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: