Understanding nonverbal cues in the time of COVID

Voicing your interpretations and reactions

Shows undivided attention to, genuine interest in and sincere respect of the other. Can also be an act of power and domination

Thinking, visualising something. Making pictures in his head indicating a visual thinker. Indicate recalling a memory. For a speaker, "looking up" in his mind for words he has prepared. Can also be a signal of boredom as person look for something more interesting.

May be a sign of submission. Or indicate person is feeling guilty. Or attending to internal emotions. Or a sign of respect in certain cultures.

Coy and suggestive action. Can be judgemental especially when combined with a frown

Body language cue when someone finds someone attractive

Usually occurs after one has been talking to someone intimately, reading into them an invitation to greater intimacy

Either looking away from what's in front of the person or looking towards something that has taken his interest

Quick glance sideways can be checking source of distraction to assess for threat or interest/ show irritation

Recalling something

Imagining something

Indicate shiftiness and lying (looking for an escape route), happen when person is conspiratorial (checking that nobody else is listening), visualising a big picture (literally looking it over)

Observer looks furtively sideways and keeps looking as long as the subject of his gaze is unaware of being observed. The moment both eyes meet, he immediately lets his glance slide away. Also indicate person is suspicious/doubtful/distrusting

To treat someone with contempt, humiliate.

Fast (1970) makes a case for staring- people stare at art, sculptures, scenery, animals in the zoo for as long as they want to even at close quarters but to stare at people in this way is a sign of disrespect.

Indicator of boredom. Added cue to disinterestedness is the lack of blinking

Commonly found in interactions between lovers or when questioned about their r/s. Eyes sparkle when one is in a pleasant/joyous state.

Though there are detailed examination of the pupils, cornea and white sclera of eyes there's no scientific data to show how the sparkle originates

When a person is under pressure. Person is nervous and tension is transferred to the listener who begins to feel uncomfortable

Flicking eyes from side to side without moving their head. Designed to try and take in everything that is happening around them and also instinctively to search for possible escape routes

Environmental and natural conditions that interfere with the communication process

Non-conducive surrounding: insufficiently ventilated rooms, poor infrastructure, incompetency with new tech, sounds from physical disturbances and distractions

Interfere with smooth flow of info.

Sender will be distracted from messaging and whatever he communicates is unlikely to be received in the same way

Incompetency in dealing with new tech, all factors affecting sender's and receiver's concentration, interfering with the free flow of communication

Concept of time separation. Coordination can breakdown over as little as differences in lunch times and work hours

A technical breakdown or small technical glitch may ruin the entire process of communication

Reduced the possibility of natural face-to-face interaction that is at the helm of any human communication.

Problems related with time, such as delay cause in receiving the message due to physical distance, different time zones

inefficient info systems, lack of supervision or training, deficiencies in organisational design which make it unclear and confusing to know who to communicate with and lack of clarity in roles and responsibilities

Miscommunication when both sides believe they're communicating clearly based on their own comms patterns

Impact of inner values and beliefs generally held by a group of people on their outward behaviours and environment. Need to adopt the behaviour patterns of the group

Situations built into the system of competition that causes ethical dilemmas (sales person meeting quote)

One's ability to read others bodily gestures or messages.

We exhibit more open postures and more direct body orientation. Stand closely. Relatively relaxed body, gestures uninhibited and natural

Inviting bodily cues that simulate interaction

We exhibit incongruent and indirect body orientations. Avoid sustained eye contact and display high degree of bodily tension and rigidity.

Nonverbal behaviour is more relaxed and expansive. Exhibits comfortable eye contact, employs illustrators.

Adopts a rigid posture, exhibit array of nervous gestures, avoids sustained eye contact, hunches shoulders in a protective or closed stance. Confidence-deflating adaptors that announce vulnerability

How to adapt

Understanding nonverbal cues in the time of COVID

Voicing your interpretations and reactions

Tone of voice, inflictions in delivery, emphasis on words, guttural sounds can mean difference between a meaningful and interesting communication or a monotonous one

Body space or distance have bearing on effectiveness of a communication

Body movement and gestures (automatic/ involuntary/ intentional), are key determinants in the actual meaning of any spoken communication

Eye contact indicate degree of sincerity on the part of the speaker

Proper use of time, control of profanity and slag, appropriate physical appearance also impt nonverbal comm

<Physical signs of deception>

Interrogator must be continually alert for any nonverbals exhibited by the interviewee

"Facial expressions can change instantly, sometimes even at a rate imperceptible to the human eye"

Final solicitation of the confession - allowing the "telling of the truth" to be the suspect's channel for release of tension

The conscience does not act as any sort of brake and hence may be extremely difficult for the individual to distinguish between right and wrong

The interviewee is as alert to nonverbals as the interrogator

<Experiment>

Why were there no differences between the truth tellers and liars in their nonverbal behaviours although there were diffs between them in their self-rated nervousness?

How does historical and theoretical concept of kinesthetic empathy relate to contemporary audiences' articulations of the experience of watching dance?

Pleasure is important to audience studies because it relates to motivation

Kinesthetic empathy as a mode of engaging with dance that can give pleasure to spectators and can be a strong motivating factor in why people choose to watch dance

Ideas of kinesthetic empathy are relevant to viewers who have different experiences of dance and different motivations

"Mirror neuron" system as a methodology for understanding responses to dance

We need to think of kinesthetic responses as plural - involve empathetic experiences and include kinesthetic responses that are linked with broader aspects of emotion, admiration, escapism and sensuality.

"Being an audience for anything is never a simple or singular process. It is a process that begins in advance of the actual encounter, as people gather knowledge and build expectations. [...] In other words, audiences bring their social and personal histories with them" (Barker 2006)

Watching dance - Methodologies

But! We cannot assume that the utterances of a participant correspond with the speaker's actual opinion.

"We cannot and no not always say what we mean - or know what we mean - and also conscious that the deconstruction of an easy relationship between language, intention, and meaning was a key critical development of the 20th century".

<Empathy, Kinesthesia and the Idealised Dance Audience>

Kinesthesia: sensations of movement. Sensing body position and muscle tension can be considered integral to kinesthesia (awareness of the position and movement of the part of the body by means of sensory organs (proprioceptors) in the muscles and joints) both types of stimuli (below). Integral to perception (not purely visual but active and multisensory)

Proprioception: stimuli from inside the organism

Exteroception: stimuli received from outside the organism
Emotional Contagion: "catching" and being overpowered by emotions from others (crying in response to someone else who is crying)

Empathy: (latest concept) form of fellow-feeling, embodied and predicated on muscular and psychic experience.

Contagion: (By Martin) the inherent contagion of bodily movement, makes the onlooker feel sympathetically in his own musculature the exertions he sees in someone else's musculature.

There's a strong link between emotion and movement because "the sense organ which report movement and postural change are closely connected with that part of the nervous system which belongs primarily to the inner man were emotions are generated"

The ideal spectator would respond kinesthetically, experiencing the dance through his or her own sense of movement and postural change.

<Cultural Capital and Kinesthetic Responses>

Findings:

<Admiration of Virtuosity>

<Imagining Moving and Inner Mimicry>

Sense of being unable to execute dance movements can be pleasurable and exciting for spectators. "Wow" factor also frequently provoked unfavourable physical comparisons between the spectator and the dancer

Response to this challenge of imagining doing movement that they knew would be impossible. Fantasised identification with an ideal other sometimes constitutes a significant source of pleasure for spectators of dance

Both dancers and non-dancers experienced varying levels and kinds of inner mimicry, kinesthetic projection and empathy/sympathy (encompasses a more conscious, reflective response, such as comparison of the dancer's virtuosity or physique with one's own skill/figure)

<Kinesthetic Responses and Music>

<Empathy as Embodied Anticipation>

<Sensual and Escapist Motivations in Watching Dance>

Theodor Lipps's theory of Einfuhlung

Audience's emotional responses to dance movement, therefore are produced by the process of engaging with the work rather than elements found within the work alone

Wide spectrum of possibilities, motivations are in large part shaped by the cultural contexts and dance traditions with which spectators are familiar

Some respond to dance through the lens of their own particular interpretative strategy, others are happy to adopt different viewing positions according to what they're watching

While some consciously/unconsciously adjust their interpretative strategies to different performances, others found this more challenging

These then influence not only what individuals find and response to in the performances they see but also naturally what kind of dance they attend

Variety of attitudes suggest that kinesthetic responses are key source of pleasure and motivation for many dance spectators

<Kinesthetic "Empathy">

Experiences of embodied and imaginative connection between self and other, particularly in moments of inner mimicry/ imagined substitution can be considered in terms of kinesthetic "empathy"

<Kinesthetic "Sympathy">

<Kinesthetic "Contagion">

Stern Look: at player who committed a foul can go a long way in letting player know that the behaviour is unacceptable

Smile: indicate referee heard the remark

Raising hand in "stop" motion: clearly tells player that referee is not going to condone anymore of the particular style of play

Voice Inflection (how referee says something): must be composed when speaking and ensure player/coach focuses on the words and not referee's emotions

Must maintain composure, professionalism and be aware of body language

Physical approach, attitude, body language and stance and eye contact will determine the environment and will bring about a positive result

Eve contact:

Body stance:

Coaches, Referess, Fans, Players

Michael W. Kraus, Cassy Huang, and Dacher Keltner of the University of California conducted an ethological study during the NBA 2008-2009 regular season

When receiver sees dribbler get his head up/raise eyebrow: signals to receiver to make the run because dribbler can pass anytime after his head comes up

Open hand to side: directs side in which the ball is to be played/ using extended arm by deep player (goal keeper) to give teammates needed directional info prior to a drop

More helpful than confusing language (left/right) and eliminate problems faced when crowd noise drowns out verbal comms

Raise hands overhead/ out to the side with palms up, head held high in triumph: Universal sign of winning/scoring

High 5: signal "great job" after scoring goal or winning game

Cover face or eyes with hands/arms: signal loss/humiliation, common reaction of shame/defeat

Head nods, smiles, frowns, bodily contact, eye movements, laughter, body posture, language etc

Facial expression of athletes: provide feedback to coach

Posture of group: provide means by which their attitude to the coach may be judged and act as pointer to their mood

Thumbs up sign: indicate player has done a great job

High 5: well done

Run down sidelines when goal missed, clapping towards player: indicate players gave a good effort and will do better next time

Frown + crossed arms + back turned: indicate disappointment, say to players they really messed up on the play

Extending both arms above head: Score

Wrapping hands around wrists below his clenched fist: Holding

NFL's officiating hand signals more than 35

Randomised controlled trial- highlighted that wearing facemasks by docs can result in a significant negative effect on the patient's perception of the doc's empathy

Steady eye gaze: from doctor. may help build a relationship of trust with patient

Shifting gaze/inability to maintain eye contact: lead to anxiety and mistrust despite constant verbal reassurances provided by doc

Furrowing frowning forehead, flinching of eyes: indicator of the degree of pain

Pitch (highness/lowness of voice)

Volume (loudly/softly)

Rate (speed)

Voice quality (how pleasant/unpleasant)

Constant back-leaning: generate mistrust and feeling of indifference

Forward lean: exhibits benevolence and compassion to the patients

Frequent head nodding/hand movements: conveys to patient that doc is attentive and actively engaged in the convo

Indian style of greeting (Namaste): time-tested gesture of goodwill and compassion

"Kubler-Ross model": stages of grief

B1. Critical Analysis Process: use the critical analysis process to reflect on and evaluate their own and others’ dance works and activities;

B2. Dance and Society: demonstrate an understanding of how societies present and past use or have used dance, and of how creating and viewing dance can benefit individuals, groups, and communities;

B3. Continuing Engagement: demonstrate an understanding of the purpose and possibilities of continuing engagement in dance arts.


Foundations

C2. Contexts and Influences: demonstrate an understanding of the social, cultural, and historical origins and development of dance forms, including their influence on each other and on society;

C3. Responsible Practices: demonstrate an understanding of safe, ethical, and responsible personal and interpersonal practices in dance activities

What elements of dance did you see present in the piece? How were the elements of dance used to communicated the message of the piece? What choreographic forms were used?