Body Language / Signals
| signal | part of body | possible meaning(s) | detailed explanation |
| Left and right are for the person giving the signals and making the movements. | |||
| looking right (generally) | eyes | creating, fabricating, guessing, lying, storytelling | Creating here is basically making things up and saying them. Depending on context this can indicate lying, but in other circumstances, for example, storytelling to a child, this would be perfectly normal. Looking right and down indicates accessing feelings, which again can be a perfectly genuine response or not, depending on the context, and to an extent the person. |
| looking left (generally) | eyes | recalling, remembering, retrieving 'facts' | Recalling and and then stating 'facts' from memory in appropriate context often equates to telling the truth. Whether the 'facts' (memories) are correct is another matter. Left downward looking indicates silent self-conversation or self-talk, typically in trying to arrive at a view or decision. |
| looking right and up | eyes | visual imagining, fabrication, lying | Related to imagination and creative (right-side) parts of the brain, this upwards right eye-movement can be a warning sign of fabrication if a person is supposed to be recalling and stating facts. |
| looking right sideways | eyes | imagining sounds | Sideways eye movements are believed to indicate imagining (right) or recalling (left) sounds, which can include for example a person imagining or fabricating what another person has said or could say. |
| looking right and down | eyes | accessing feelings | This is a creative signal but not a fabrication - it can signal that the person is self-questioning their feelings about something. Context particularly- and other signals - are important for interpreting more specific meaning about this signal. |
| looking left and up | eyes | recalling images truthfulness | Related to accessing memory in the brain, rather than creating or imagining. A reassuring sign if signalled when the person is recalling and stating facts. |
| looking left sideways | eyes | recalling or remembering sounds | Looking sideways suggests sounds; looking left suggests recalling or remembering - not fabricating or imagining. This therefore could indicate recalling what has been said by another person. |
| looking left down | eyes | self-talking, rationalizing | Thinking things through by self-talk - concerning an outward view, rather than the inward feelings view indicated by downward right looking. |
| direct eye contact (when speaking) | eyes | honesty - or faked honesty | Direct eye contact is generally regarded as a sign of truthfulness, however practised liars know this and will fake the signal. |
| direct eye contact (when listening) | eyes | attentiveness, interest, attraction | Eyes which stay focused on the speakers eyes, tend to indicate focused interested attention too, which is normally a sign of attraction to the person and/or the subject. |
| widening eyes | eyes | interest, appeal, invitation | Widening the eyes generally signals interest in something or someone, and often invites positive response. Widened eyes with raised eyebrows can otherwise be due to shock, but aside from this, widening eyes represents an opening and welcoming expression. In women especially widened eyes tend to increase attractiveness, which is believed by some body language experts to relate to the eye/face proportions of babies, and the associated signals of attraction and prompting urges to protect and offer love and care, etc. |
| rubbing eye or eyes | eyes | disbelief, upset, or tiredness | Rubbing eyes or one eye can indicate disbelief, as if checking the vision, or upset, in which the action relates to crying, or tiredness, which can be due boredom, not necessarily a need for sleep. If the signal is accompanied by a long pronounced blink, this tends to support the tiredness interpretation. |
| eye shrug | eyes | frustration | An upward roll of the eyes signals frustration or exasperation, as if looking to the heavens for help. |
| pupils dilated (enlarged) | eyes | attraction, desire | The pupil is the black centre of the eye which opens or closes to let in more or less light. Darkness causes pupils to dilate. So too, for some reason does seeing something appealing or attractive. The cause of the attraction depends on the situation. In the case of sexual attraction the effect can be mutual - dilated pupils tend to be more appealing sexually that contracted ones, perhaps because of an instinctive association with darkness, night-time, bedtime, etc., although the origins of this effect are unproven. Resist the temptation to imagine that everyone you see with dilated pupils is sexually attracted to you. |
| blinking frequently | eyes | excitement, pressure | Normal human blink rate is considered to be between six and twenty times a minute, depending on the expert. Significantly more than this is a sign of excitement or pressure. Blink rate can increase to up to a hundred times a minute. Blink rate is not a reliable sign of lying. |
| blinking infrequently | eyes | various | Infrequent blink rate can mean different things and so offers no single clue unless combined with other signals. An infrequent blink rate is probably due to boredom if the eyes are not focused, or can be the opposite - concentration - if accompanied with a strongly focused gaze. Infrequent blink rate can also be accompanied by signals of hostility or negativity, and is therefore not the most revealing of body language signals. |
| eyebrow raising (eyebrow 'flash') | eyes | greeting, recognition, acknowledgement | Quickly raising and lowering the eyebrows is called an 'eyebrow flash'. It is a common signal of greeting and acknowledgement, and is perhaps genetically influenced since it is prevalent in monkeys (body language study does not sit entirely happily alongside creationism). Fear and surprise are also signalled by the eyebrow flash, in which case the eyebrows normally remain raised for longer, until the initial shock subsides. |
| winking | eyes | friendly acknowledgement, complicity (e.g., sharing a secret or joke) | Much fuss was made in May 2007 when George W Bush winked at the Queen. The fuss was made because a wink is quite an intimate signal, directed exclusively from one person to another, and is associated with male flirting. It is strange that a non-contact wink can carry more personal implications than a physical handshake, and in many situations more than a kiss on the cheek. A wink is given additional spice if accompanied by a click of the tongue. Not many people can carry it off. Additionally - and this was partly the sense in which Bush used it - a wink can signal a shared joke or secret. |
| pasted smile | mouth | faked smile | A pasted smile is one which appears quickly, is fixed for longer than a natural smile, and seems not to extend to the eyes. This typically indicates suppressed displeasure or forced agreement of some sort. |
| tight-lipped smile | mouth | secrecy or withheld feelings | Stretched across face in a straight line, teeth concealed. The smiler has a secret they are not going to share, possibly due to dislike or distrust. Can also be a rejection signal. |
| twisted smile | mouth | mixed feelings or sarcasm | Shows opposite emotions on each side of the face. |
| dropped-jaw smile | mouth | faked smile | More of a practised fake smile than an instinctive one. The jaw is dropped lower than in a natural smile, the act of which creates a smile. |
| smile - head tilted, looking up | mouth | playfulness, teasing, coy | Head tilted sideways and downwards so as to part hide the face, from which the smile is directed via the eyes at the intended target. |
| bottom lip jutting out | mouth | upset | Like rubbing eyes can be an adult version of crying, so jutting or pushing the bottom lip forward is a part of the crying face and impulse. Bear in mind that people cry for reasons of genuine upset, or to avert attack and seek sympathy or kind treatment. |
| laughter | mouth | relaxation | Laughter deserves a section in its own right because its such an interesting area. In terms of body language genuine laughter is a sign of relaxation and feeling at ease. Natural laughter can extend to all the upper body or whole body. The physiology of laughter is significant. Endorphins are released. Pain and stress reduces. Also vulnerabilities show and can become more visible because people's guard drops when laughing. |
| forced laughter | mouth | nervousness, cooperation | Unnatural laughter is often a signal of nervousness or stress, as an effort to dispel tension or change the atmosphere. Artificial laughter is a signal of cooperation and a wish to maintain empathy. |
| biting lip | mouth | tension | One of many signals suggesting tension or stress, which can be due to high concentration, but more likely to be anxiousness. |
| teeth grinding | mouth | tension, suppression | Inwardly-directed 'displacement' sign, due to suppression of natural reaction due to fear or other suppressant. |
| chewing gum | mouth | tension, suppression | As above - an inwardly-directed 'displacement' sign, due to suppression of natural reaction. Otherwise however can simply be to freshen breath, or as a smoking replacement. |
| smoking | mouth | self-comforting | Smoking obviously becomes habitual and addictive, but aside from this people put things into their mouths because it's comforting like thumb-sucking is to a child, in turn rooted in baby experiences of feeding and especially breastfeeding. |
| thumb-sucking | mouth | self-comforting | A self-comforting impulse in babies and children, substituting breast-feeding, which can persist as a habit into adulthood. |
| chewing pen or pencil | mouth | self-comforting | Like smoking and infant thumbsucking. The pen is the teat. Remember that next time you chew the end of your pen... |
| pursing lips | mouth | thoughtfulness, or upset | As if holding the words in the mouth until they are ready to be released. Can also indicate anxiousness or impatience at not being able to speak. Or quite differently can indicate upset, as if suppressing crying. |
| tongue poke | mouth / tongue | disapproval, rejection | The tongue extends briefly and slightly at the centre of the mouth as if tasting something nasty. The gesture may be extremely subtle. An extreme version may be accompanied by a wrinkling of the nose, and a squint of the eyes. |
| hand clamped over mouth | mouth / hands | suppression, holding back, shock | Often an unconscious gesture of self-regulation - stopping speech for reasons of shock, embarrassment, or for more tactical reasons. The gesture is reminiscent of the 'speak no evil' wise monkey. The action can be observed very clearly in young children when they witness something 'unspeakably' naughty or shocking. Extreme versions of the same effect would involve both hands. |
| nail biting | mouth / hands | frustration, suppression | Nail-biting is an inwardly-redirected aggression borne of fear, or some other suppression of behaviour. Later nail-biting becomes reinforced as a comforting habit, again typically prompted by frustration or fear. Stress in this context is an outcome. Stress doesn't cause nail-biting; nail-biting is the outward demonstration of stress. The cause of the stress can be various things (stressors). |
| head nodding | head | agreement | Head nodding can occur when invited for a response, or voluntarily while listening. Nodding is confusingly and rather daftly also referred to as 'head shaking up and down'. Head nodding when talking face-to-face one-to-one is easy to see, but do you always detect tiny head nods when addressing or observing a group? |
| slow head nodding | head | attentive listening | This can be a faked signal. As with all body language signals you must look for clusters of signals rather than relying on one alone. Look at the focus of eyes to check the validity of slow head nodding. |
| fast head nodding | head | hurry up, impatience | Vigorous head nodding signifies that the listener feels the speaker has made their point or taken sufficient time. Fast head nodding is rather like the 'wind-up' hand gesture given off-camera or off-stage by a producer to a performer, indicating 'time's up - get off'. |
| head held up | head | neutrality, alertness | High head position signifies attentive listening, usually with an open or undecided mind, or lack of bias. |
| head held high | head | superiority, fearlessness, arrogance | Especially if exhibited with jutting chin. |
| head tilted to one side | head | non-threatening, submissive, thoughtfulness | A signal of interest, and/or vulnerability, which in turn suggests a level of trust. Head tilting is thought by some to relate to 'sizing up' something, since tilting the head changes the perspective offered by the eyes, and a different view is seen of the other person or subject. Exposing the neck is also a sign of trust. |
| head forward, upright | head / body | interest, positive reaction | Head forward in the direction of a person or other subject indicates interest. The rule also applies to a forward leaning upper body, commonly sitting, but also standing, where the movement can be a distinct and significant advancement into a closer personal space zone of the other person. Head forward and upright is different to head tilted downward. |
| head tilted downward | head | criticism, admonishment | Head tilted downwards towards a person is commonly a signal of criticism or reprimand or disapproval, usually from a position of authority. |
| head shaking | head | disagreement | Sideways shaking of the head generally indicates disagreement, but can also signal feelings of disbelief, frustration or exasperation. Obvious of course, but often ignored or missed where the movement is small, especially in groups seemingly reacting in silent acceptance. |
| pronounced head shaking | head | strong disagreement | The strength of movement of the head usually relates to strength of feeling, and often to the force by which the head-shaker seeks to send this message to the receiver. This is an immensely powerful signal and is used intentionally by some people to dominate others. |
| head down (in response to a speaker or proposition) | head | negative, disinterested | Head down is generally a signal of rejection (of someone's ideas etc), unless the head is down for a purpose like reading supporting notes, etc. Head down when responding to criticism is a signal of failure, vulnerability (hence seeking protection), or feeling ashamed. |
| head down (while performing an activity) | head | defeat, tiredness | Lowering the head is a sign of loss, defeat, shame, etc. Hence the expressions such as 'don't let your head drop', and 'don't let your head go down', especially in sports and competitive activities. Head down also tends to cause shoulders and upper back to to slump, increasing the signs of weakness at that moment. |
| head | pride, defiance, confidence | Very similar to the 'head held high' signal. Holding the chin up naturally alters the angle of the head backwards, exposing the neck, which is a signal of strength, resilience, pride, resistance, etc. A pronounced raised chin does other interesting things to the body too - it tends to lift the sternum (breast-bone), which draws in air, puffing out the chest, and it widens the shoulders. These combined effects make the person stand bigger. An exposed neck is also a sign of confidence. 'Chin up' is for these reasons a long-standing expression used to encourage someone to be brave. | |
| active listening | head / face | attention, interest, attraction | When people are listening actively and responsively this shows in their facial expression and their head movements. The head and face are seen to respond fittingly and appropriately to what is being said by the speaker. Nodding is relevant to what is being said. Smiles and other expressions are relevant too. The head may tilt sideways. Mirroring of expressions may occur. Silences are used to absorb meaning. The eyes remain sharply focused on the eyes of the speaker, although at times might lower to look at the mouth, especially in male-female engagements. |
| crossed arms (folded arms) | arms | defensiveness, reluctance | Crossed arms represent a protective or separating barrier. This can be due to various causes, ranging from severe animosity or concern to mild boredom or being too tired to be interested and attentive. Crossed arms is a commonly exhibited signal by subordinates feeling threatened by bosses and figures of authority. N.B. People also cross arms when they are feeling cold, so be careful not to misread this signal. |
| crossed arms with clenched fists | arms | hostile defensiveness | Clenched fists reinforce stubbornness, aggression or the lack of empathy indicated by crossed arms. |
| gripping own upper arms | arms | insecurity | Gripping upper arms while folded is effectively self-hugging. Self-hugging is an attempt to reassure unhappy or unsafe feelings. |
| one arm across body clasping other arm by side (female) | arms | nervousness | Women use this gesture. Men tend not to. It's a 'barrier' protective signal, and also self-hugging. |
| arms held behind body with hands clasped | arms | confidence, authority | As demonstrated by members of the royal family, armed forces officers, teachers, policemen, etc. |
| handbag held in front of body (female) | arms | nervousness | Another 'barrier' protective signal. |
| holding papers across chest (mainly male) | arms | nervousness | Another 'barrier' protective signal, especially when arm is across chest. |
| adjusting cuff, watchstrap, tie, etc., using an arm across the body | arms | nervousness | Another 'barrier' protective signal. |
| arms/hands covering genital region (male) | arms / hands | nervousness | Another 'barrier' protective signal. |
| holding a drink in front of body with both hands | arms / hands | nervousness | Another 'barrier' protective signal. |
| seated, holding drink on one side with hand from other side | arms / hands | nervousness | One arm rests on the table across the body, holding a drink (or pen, etc). Another 'barrier' protective signal. |
| touching or scratching shoulder using arm across body | arms / shoulder | nervousness | Another 'barrier' protective signal. |
| palm(s) up or open | hands | submissive, truthful, honesty, appealing | Said to evolve from when open upward palms showed no weapon was held. A common gesture with various meanings around a main theme of openness. Can also mean "I don't have the answer," or an appeal. In some situations this can indicate confidence (such as to enable openness), or trust/trustworthiness. An easily faked gesture to convey innocence. Outward open forearms or whole arms are more extreme versions of the signal. |
| palm(s) up, fingers pointing up | hands | defensive, instruction to stop | Relaxed hands are more likely to be defensive as if offered up in protection; rigid fingers indicates a more authoritative instruction or request to stop whatever behaviour is promoting the reaction. |
| palm(s) down | hands | authority, strength, dominance | Where the lower arm moves across the body with palm down this is generally defiance or firm disagreement. |
| palm up and moving up and down as if weighing | hands | striving for or seeking an answer | The hand is empty, but figuratively holds a problem or idea as if weighing it. The signal is one of 'weighing' possibilities. |
| hand(s) on heart (left side of chest) | hands | seeking to be believed | Although easy to fake, the underlying meaning is one of wanting to be believed, whether being truthful or not. Hand on heart can be proactive, as when a salesman tries to convince a buyer, or reactive, as when claiming innocence or shock. Whatever, the sender of this signal typically feels the need to emphasise their position as if mortally threatened, which is rarely the case. |
| finger pointing (at a person) | hands | aggression, threat, emphasis | Pointing at a person is very confrontational and dictatorial. Commonly adults do this to young people. Adult to adult it is generally unacceptable and tends to indicate a lack of social awareness or self-control aside from arrogance on the part of the finger pointer. The finger is thought to represent a gun, or pointed weapon. Strongly associated with anger, directed at another person. An exception to the generally aggressive meaning of finger pointing is the finger point and wink, below. |
| hands/ eyes | acknowledgement or confirmation | The subtle use of a winked eye with a pointed finger changes the finger point into a different signal, that of acknowledging something, often a contribution or remark made by someone, in which case the finger and wink are directed at the person concerned, and can be a signal of positive appreciation, as if to say, "You got it," or "You understand it, well done". | |
| finger pointing (in the air) | hands | emphasis | Pointing in the air is generally used to add emphasis, by a person feeling in authority or power. |
| finger wagging (side to side) | hands | warning, refusal | Rather like the waving of a pistol as a threat. Stop it/do as you are told, or else.. |
| finger wagging (up and down) | hands | admonishment, emphasis | The action is like pressing a button on a keypad several times. Like when a computer or elevator won't work, as if pressing the button lots of times will make any difference.. |
| hand chop | hands | emphasis - especially the last word on a matter | The hand is used like a guillotine, as if to kill the discussion. |
| clenched fist(s) | hands | resistance, aggression, determination | One or two clenched fists can indicate different feelings - defensive, offensive, positive or negative, depending on context and other signals. Logically a clenched fist prepares the hand (and mind and body) for battle of one sort or another, but in isolation the signal is impossible to interpret more precisely than a basic feeling of resolve. |
| finger tips and thumbs touching each other on opposite hands ('steepling') | hands | thoughtfulness, looking for or explaining connections or engagement | Very brainy folk use this gesture since it reflects complex and/or elevated thinking. In this gesture only the fingertips touch - each finger with the corresponding digit of the other hand, pointing upwards like the rafters of a tall church roof. Fingers are spread and may be rigidly straight or relaxed and curved. Alternating the positions (pushing fingers together then relaxing again - like a spider doing press-ups on a mirror) enables the fascinating effect (nothing to do with body language), which after enough repetition can produce a sensation of having a greased sheet of glass between the fingers. Try it - it's very strange. Very brainy people probably don't do this because they have more important things to think about. It's their loss. |
| steepled fingers pointing forward | hands | thoughtfulness and barrier | The upwards-pointing version tends to indicate high-minded or connective/complex thinking, however when this hand shape is directed forward it also acts as a defensive or distancing barrier between the thinker and other(s) present. |
| palms down moving up and down, fingers spread | hands | seeking or asking for calm, loss of control of a group or situation | Seen often in rowdy meetings the gesture is typically a few inches above the table top, but is also seen standing up. The action is one of suppressing or holding down a rising pressure. Teachers use this gesture when trying to quieten a class. |
| cracking knuckles | hands | comforting habit, attention-seeking | Usually male. Machismo or habit. Meaning depends on context. No-one knows still exactly how the noise is made, but the notion that the practice leads to arthritis is now generally thought to be nonsense. |
| interwoven clenched fingers | hands | frustration, negativity, anxiousness | Usually hands would be on a table or held across stomach or on lap. |
| index finger and thumb touching at tips | hands | satisfaction, 'OK' | This is generally seen to be the 'OK' signal, similar to the 'thumbs up'. The signal may be to oneself quietly, or more pronounced directed to others. There is also the sense of this suggesting something being 'just right' as if the finger and thumb are making a fine adjustment with a pinch of spice or a tiny turn of a control knob. The circle formed by the joined finger and thumb resembles the O from OK. The remaining three fingers are spread. |
| thumb(s) up | hands | positive approval, agreement, all well | In the Western world this signal is so commonly used and recognized it has become a language term in its own right: 'thumbs up' means approved. It's a very positive signal. Two hands is a bigger statement of the same meaning. |
| thumbs down | hands | disapproval, failure | Logically the opposite of thumbs up. Rightly or wrongly the thumbs up and down signals are associated with the gladiatorial contests of the ancient Roman arenas in which the presiding dignitary would signal the fate of the losing contestants. |
| thumb(s) clenched inside fist(s) | hands | self-comforting, frustration, insecurity | As with other signals involving holding or stroking a part of one's own body this tends to indicate self-comforting. Also thumbs are potent and flexible tools, so disabling them logically reduces a person's readiness for action. |
| hand held horizontally and rocked from side to side | hands | undecided, in the balance | Signalling that a decision or outcome, normally finely balanced and difficult to predict or control, could go one way or another. |
| rubbing hands together | hands | anticipation, relish | A signal - often a conscious gesture - of positive expectation, and often related to material or financial reward, or an enjoyable activity and outcome. |
| touching nose, while speaking | hands / nose | lying or exaggeration | This is said to hide the reddening of the nose caused by increased blood flow. Can also indicate mild embellishment or fabrication. The children's story about Pinocchio (the wooden puppet boy whose nose grew when he told lies) reflects long-standing associations between the nose and telling lies. |
| scratching nose, while speaking | hands / nose | lying or exaggeration | Nose-scratching while speaking is a warning sign, unless the person genuinely has an itchy nose. Often exhibited when recounting an event or incident. |
| pinching or rubbing nose, while listening | hands / nose | thoughtfulness, suppressing comment | In many cases this is an unconscious signalling of holding back or delaying a response or opinion. Pinching the nose physically obstructs breathing and speech, especially if the mouth is covered at the same time. Rather like the more obvious hand-clamp over the mouth, people displaying this gesture probably have something to say but are choosing not to say it yet. |
| picking nose | hands / nose | day-dreaming, inattentive, socially disconnected, stress | Nose picking is actually extremely common among adults but does not aid career development or social acceptance and is therefore normally a private affair. When observed, nose-picking can signify various states of mind, none particularly positive. |
| pinching bridge of nose | hands / nose | negative evaluation | Usually accompanied with a long single blink. |
| hands clamped on ears | hands / ears | rejection of or resistance to something | Not surprisingly gestures involving hands covering the ears signify a reluctance to listen and/or to agree with what is being said or to the situation as a whole. The gesture is occasionally seen by a person doing the talking, in which case it tends to indicate that other views and opinions are not wanted or will be ignored. |
| ear tugging | hands / ears | indecision, self-comforting | People fiddle with their own bodies in various ways when seeking comfort, but ear-pulling or tugging given suitable supporting signs can instead indicate indecision and related pondering. |
| hands clasping head | hands / head | calamity | Hands clasping head is like a protective helmet against some disaster or problem. |
| hand stroking chin | hands / chin | thoughtfulness | The stroking of a beard is a similar signal, although rare among women. |
| hand supporting chin or side of face | hands / chin, face | evaluation, tiredness or boredom | Usually the forearm is vertical from the supporting elbow on a table. People who display this signal are commonly assessing or evaluating next actions, options, or reactions to something or someone. If the resting is heavier and more prolonged, and the gaze is unfocused or averted, then tiredness or boredom is a more likely cause. A lighter resting contact is more likely to be evaluation, as is lightly resting the chin on the knuckles. |
| chin resting on thumb, index finger pointing up against face | hands / chin | evaluation | This is a more reliable signal of evaluation than the above full-hand support. Normally the supporting elbow will be on a table or surface. The middle finger commonly rests horizontally between chin and lower lip. |
| neck scratching | hands / neck | doubt, disbelief | Perhaps evolved from a feeling of distrust and instinct to protect the vulnerable neck area. Who knows - whatever, the signal is generally due to doubting or distrusting what is being said. |
| hand clasping wrist | hands / wrist | frustration | Clasping a wrist, which may be behind the back or in open view, can be a signal of frustration, as if holding oneself back. |
| running hands through hair | hair / hair | flirting, or vexation, exasperation | Take your pick - running hands through the hair is commonly associated with flirting, and sometimes it is, although given different supporting signals, running hands through the hair can indicate exasperation or upset. |
| hand(s) on hip(s) | hands / arms | confidence, readiness, availability | The person is emphasizing their presence and readiness for action. Observable in various situations, notably sport, and less pronounced poses in social and work situations. In social and flirting context it is said that the hands are drawing attention to the genital area. |
| hands in pockets | hands / arms | disinterest, boredom | The obvious signal is one of inaction, and not being ready for action. Those who stand with hands in pockets - in situations where there is an expectation for people to be enthusiastic and ready for action - demonstrate apathy and lack of interest for the situation. |
| removing spectacles | hands / spectacles | alerting wish to speak | For people who wear reading-only spectacles, this is an example of an announcement or alerting gesture, where a person readies themselves to speak and attracts attention to the fact. Other alerting signals include raising the hand, taking a breath, moving upwards and forwards in their seat, etc. |
| playing an imaginary violin | hands / arms | mock sympathy or sadness | The 'air violin' has been around a lot longer than the 'air guitar', and is based on the traditional use of violin music as a theme or background for sad scenes in movies and in music generally. The 'air violin' is not typically included in body language guides; it's here as an amusing gesture which demonstrates our conscious practice and recognition of certain signals. |
| thumb and fingers formed into a tube and rocked side to side or up and down (mainly male) | hands | offensive - mockery, dissatisfaction, expression of inferior quality | A conscious signal, usually one-handed. Insulting gesture if directed at a person, typically male to male, since it mimics masturbation, like calling a person a 'tosser' or a 'wanker' (UK) or a jerk-off (US). This is obviously rude and not used in respectable company such as the queen or a group of clergymen. The gesture is also used as a response to something regarded as poor quality, which might be a performance or piece of work or a comment on a product of some sort. The allusion is to masturbation being a poor substitute for sex with a woman, and that those who masturbate are not 'real men'. Unsurprisingly the gesture is mainly male, directed at other males, especially in tribal-like gatherings. Rare female use of this gesture directed at males can be very effective due to its humiliating value. For obvious reasons the gesture is unlikely to be used by females or males directed at females. |
| two-fingered V-sign, palm inward (mainly male) | hands / fingers | offensive - derision, contempt | A consciously offensive and aggressive gesture, also called 'flicking the Vs', widely but probably incorrectly thought to derive from the 1415 Battle of Agincourt in the Hundred Years War when the tactically pivotal Welsh longbowmen supposedly derided the beaten French soldiers' and their threats to cut off the bowmen's fingers. |
| two-fingered V-sign, palm outward | hands fingers | victory, peace | British 2nd World War leader Winston Churchill popularised the victory usage, although apparently, significantly if so, first used the palm inwards version until he was told what it meant to the working classes. |
| handshake - palm down | handshake | dominance | Usually a firm handshake, the 'upper hand' tends to impose and/or create a dominant impression. |
| handshake - palm up | handshake | submission, accommodating | Usually not a strong handshake, the lower hand has submitted to the upper hand dominance. How all this ultimately translates into the subsequent relationship and outcomes can depend on more significant factors than the handshake. |
| handshake - both hands | handshake | seeking to convey trustworthiness and honesty, seeking to control | Whether genuine or not, this handshake is unduly physical and (often) uncomfortably domineering. |
| handshake - equal and vertical | handshake | non-threatening, relaxed | Most handshakes are like this, when neither person seeks to control or to yield. |
| pumping handshake | handshake | enthusiasm | A vigorous pumping handshake tends to indicate energy and enthusiasm of the shaker towards the other person, the meeting, situation or project, etc). There is a sense of attempting to transfer energy and enthusiasm, literally, from the vigorous handshaker to the shaken person, hence the behaviour is popular in motivational folk and evangelists, etc. |
| weak handshake | handshake | various | Avoid the common view that a weak handshake is the sign of a weak or submissive person. It is not. Weak handshakes can be due to various aspects of personality, mood, etc. People who use their hands in their profession, for example, musicians, artists, surgeons, etc., can have quite gentle sensitive handshakes. Strong but passive people can have gentle handshakes. Old people can have weak handshakes. A weak handshake might be due to arthritis. Young people unaccustomed to handshaking can have weak handshakes. It's potentially a very misleading signal. |
| firm handshake | handshake | outward confidence | Avoid the common view that a firm handshake is the sign of a strong solid person. It is not. Firm handshakes are a sign of outward confidence, which could mask deceit or a weak bullying nature, or indicate a strong solid person. Strength of a handshake is not by itself an indicator of positive 'good' mood or personality, and caution is required in reading this signal. It is widely misinterpreted. |
| handshake with arm clasp | handshake | seeking control, paternalism | When a handshake is accompanied by the left hand clasping the other person's right arm this indicates a wish to control or a feeling of care, which can be due to arrogance. To many this represents an unwanted invasion of personal space, since touching 'permission' is for the handshake only. |
| leg direction, sitting - general | legs/knees | interest, attentiveness (according to direction) | Generally a seated person directs their knee or knees towards the point of interest. The converse is true also - legs tend to point away from something or someone which is uninteresting or threatening. The rule applies with crossed legs also, where the upper knee indicates interest or disinterest according to where it points. The more direct and obvious the position, the keener the attraction or repellent feeling. |
| uncrossed legs, sitting - general | legs | openness | In sitting positions, open uncrossed leg positions generally indicate an open attitude, contrasting with with crossed legs, which normally indicate a closed attitude or a degree of caution or uncertainty. |
| parallel legs together, sitting (mainly female) | legs | properness | This unusual in men, especially if the knees point an angle other than straight ahead. The posture was common in women due to upbringing and clothing and indicates a sense of properness. |
| crossed legs, sitting - general | legs | caution, disinterest | Crossed legs tend to indicate a degree of caution or disinterest, which can be due to various reasons, ranging from feeling threatened, to mildly insecure. |
| crossing legs, sitting - specific change | legs | interest or disinterest in direction of upper crossed knee | Generally the upper crossed leg and knee will point according to the person's interest. If the knee points towards a person then it signifies interest in or enthusiasm for that person; if it points away from a person it signifies disinterest in or a perceived threat from that person. Signs are more indicative when people first sit down and adopt initial positions in relation to others present. Signs become less reliable when people have been sitting for half-an-hour or so, when leg crossing can change more for comfort than body language reasons. |
| American or figure-4 leg cross | legs | independent, stubborn | The 'American' or 'figure-4' leg cross is a far more confident posture than the conventional 'both knees' leg cross. It exposes the genital region, and typically causes the upper body to lean back. The crossed leg is nevertheless a protective barrier, and so this posture is regarded as more stubborn than the 'both knees' leg cross. |
| American or figure-4 leg cross with hand clamp | legs / arm / hand | resistant, stubborn | This is a more protective and stubborn version of the plain American leg cross, in which (usually) the opposite hand to the crossing leg clamps and holds the ankle of the crossing leg, effectively producing a locked position, which reflects the mood of the person. |
| open legs, sitting (mainly male) | legs | arrogance, combative, sexual posturing | This is a confident dominant posture. Happily extreme male open-crotch posing is rarely exhibited in polite or formal situations since the signal is mainly sexual. This is a clear exception to the leg/knee point rule since the pointing is being done by the crotch, whose target might be a single person or a wider audience. Not a gesture popularly used by women, especially in formal situations and not in a skirt. Regardless of gender this posture is also combative because it requires space and makes the person look bigger. The impression of confidence is increased when arms are also in a wide or open position. |
| ankle lock, sitting | legs | defensiveness | Knees may be apart (among men predominantly) or together (more natural in women). There is also a suggestion of suppressing negative emotion. |
| splayed legs, standing | legs | aggression, ready for action | Splayed, that is wide-parted legs create (usually unconsciously) a firm base from which to defend or attack, and also make the body look wider. Hands on hips support the interpretation. |
| standing 'at attention' | legs / body | respectful | Standing upright, legs straight, together and parallel, body quite upright, shoulders back, arms by sides - this is like the military 'at attention' posture and is often a signal of respect or subservience adopted when addressed by someone in authority. |
| legs intertwined, sitting (female) | legs | insecurity or sexual posing | Also called 'leg twine', this is a tightly crossed leg, twined or wrapped around the supporting leg. Depending on the circumstances the leg twine can either be a sign of retreat and protection, or a sexual display of leg shapeliness, since a tight leg-cross tends to emphasise muscle and tone. Assessing additional body language is crucial for interpreting such signals of potentially very different meanings. |
| legs crossed, standing (scissor stance) | legs | insecurity or submission or engagement | Typically observed in groups of standing people at parties or other gatherings, defensive signals such as crossed legs and arms among the less confident group members is often reinforced by a physical and audible lack of involvement and connection with more lively sections of the group. Where legs are crossed and arms are not, this can indicate a submissive or committed agreement to stand and engage, so the standing leg cross relays potentially quite different things. |
| knee buckle, standing | legs / knees | under pressure | Obviously a pronounced knee buckle is effectively a collapse due to severe stress or actually carrying a heavy weight, and similarly a less obvious knee bend while standing can indicate the anticipation of an uncomfortable burden or responsibility. |
| feet or foot direction or pointing | feet | foot direction indicates direction of interest | Like knees, feet tend to point towards the focus of interest - or away from something or someone if it is not of interest. Foot direction or pointing in this context is a subtle aspect of posture - this is not using the foot to point at something; it is merely the direction of the feet when sitting or standing in relation to people close by. |
| foot forward, standing | feet | directed towards dominant group member | The signal is interesting among groups, when it can indicate perceptions of leadership or dominance, i.e., the forward foot points at the leader or strongest member of the group. |
| shoe-play (female) | feet | relaxation, flirting, sexual | A woman would usually be relaxed to display this signal. In certain situations dangling a shoe from the foot, and more so slipping the foot in and out of the shoe has sexual overtones. |
| 1. Close intimate | 0-15cm 0-6in | lovers, and physical touching relationships | Sometimes included with the 2nd zone below, this is a markedly different zone in certain situations, for example face-to-face contact with close friends rarely encroaches within 6 inches, but commonly does with a lover. |
| 2. Intimate | 15-45cm 6-18in | physical touching relationships | Usually reserved for intimate relationships and close friendships, but also applies during consenting close activities such as contact sports, and crowded places such as parties, bars, concerts, public transport, queues and entertainment and sports spectating events. Non-consenting intrusion into this space is normally felt to be uncomfortable at best, or very threatening and upsetting at worst. Within the intimate zone a person's senses of smell and touch (being touched) become especially exercised. |
| 3. Personal | 45-120cm 18in-4ft | family and close friends | Touching is possible in this zone, but intimacy is off-limits. Hence touching other than hand-shaking is potentially uncomfortable. |
| 4. Social- consultative | 1.2-3.6m 4-12ft | non-touch interaction, social, business | Significantly hand-shaking is only possible within this zone only if both people reach out to do it. Touching is not possible unless both people reach to do it. |
| 5. Public | 3.6m+ 12ft+ | no interaction, ignoring | People establish this zonal space when they seek to avoid interaction with others nearby. When this space is intruded by another person is creates a discomfort or an expectation of interaction. |
0 comments:
Subscribe to:
Post Comments (Atom)