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CHAPTER 1
The Steps to Reading Body Language
Primitive man had a repertoire of survival skills that included reading body language. Etiquette and culture have blunted that natural human ability. Add to those factors the complexity of spoken language and modern conventions related to body language — stock gestures we see all the time in movies and television — and the result is: Few people today can read body language well.
Most of the time, we don't even know what our own bodies are doing. Human body language is more closely tied to ritual than planned behavior. We don't think about how to pick up a glass when we drink, how to hold a fork, or start a car. Our brains are so complex, with multiple subprograms running at all times, that it is difficult to have complete control over every twitch and tap. It is difficult for us to even remember what we've done if the action has reached the point of ritual or habit.
We teach professionals in finance and sales to read body language, as well as investigators and security professionals. For the latter groups, the survival of their careers, if not their lives, may depend on that ability.
In the following chapters, we will introduce you to a system Greg created called R.E.A.D. — Review, Evaluate, Analyze, Decide — which is an in-depth version of the course we teach government and business professionals in our body language classes. This is the same step-by-step training we give them, but we've added other modules, as well as a new system of reading moods, to make this book "the advanced course." These additional pieces address the interplay between body language and emotions, how to use gestures and posture as tools in business and personal relationships, and tricks to remain inscrutable by controlling how and when your own body language leaks emotions.
Take a minute and refer to the Contents. The next two paragraphs are a narrative complement to that outline, so you have a clearer understanding at the outset how the information in the book helps you build the skills of reading body language. In other words, if you skip around, you'll pick up some hot tricks, but you can't become adept at reading body language by taking that approach.
Beginning with some notes about communication of all beings, we move to distinctly human communication. The next topic figures prominently in our course on reading body language: culture. In this section, we look at the human groupings that have a profound impact on the way we express ourselves. You cannot hope to read body language well unless you take culture into consideration. Next, we move to person-to-person similarities, and then person-to-person differences. After that, you can start to answer the question: What are the differences between a person in a normal state — a state of congruence between gestures and voice — and a person in the state of sending verbal messages that conflict with non-verbal messages? At this point, the focus goes to the individual.
What is normal for a particular person? What is abnormal for a particular person? Those questions put us at the narrowest part of the diagram. From there, we start moving back toward a broader perspective. Exercises in applying the skill begin with a look at celebrities, who give us a common point of focus. You know the players; you see them every day on television. That sets the stage for reading the body language of individuals around you, for understanding their motivation and drive in context. As you practice overlaying the culture in your developing picture of what's happening, you can begin to employ the skill in one-on-one business and personal relationships, and then expanding the application of your expertise to groups.
Through time, your self-awareness of body language evolves as you review, evaluate, analyze, and decide what other people are doing. At that point, you've progressed to a level of knowledge and control that gives you powerful advantages over most other people.
What the Pros Know: TV Versus Reality
The ability of television cops and lawyers to catch a killer seems almost magical. For them, clues glow in the dark and fall out of the rafters. And when they interview a suspect, they read his body language to confirm his guilt. Given the advantage of close-ups, and a director explaining when and how to mimic a behavior, you get to see what tips off the brilliant detective — but you don't necessarily know what it means. Rubbing the legs while he's talking (stress relief through energy displacement), pupils opening like windows to take in more information when he sees a photo of the victim, and dry mouth (another sign of intense anger), all fit together for the smart cop, but all you perceive is a feeling that the suspect is an emotional wreck. These actors are, of course, working from a script, so they know the subtext, which the writer may or may not have gotten right. The truth is often much more subtle and difficult to read. Human subroutines can become really complex, and it is a rare combination of talent and experience that enables the writer-director-actor team to get it right. Greg has partnered with writer and producer Christopher Pratt to develop this dance in some of Pratt's work.
Homeland is a provocative show from a body language perspective because Carrie Mathison (Claire Danes) moves between keen analysis and warping the meaning of what she observes. In the earlier seasons, the CIA operations officer goes to great lengths to prove that every move U.S. Marine Sergeant Nicholas Brody makes when he returns home after eight years in captivity in Iraq signals his readiness to betray America. She firmly believes that Al-Qaeda turned Brody while he was their prisoner — and her conviction creates a filter that distorts some of what she sees him doing.
Mathison plants cameras in nearly all of the rooms of Brody's suburban Washington, D.C., house and watches him do everything from pour wine to have sexual relations with his wife. In the time the surveillance cameras are there, she sees things that give her clues as to who he is and what his true emotions and intentions are, and at the same time, she sees what she wants to see in his actions.
Just a day after his arrival back in the States, she participates in debrief at CIA headquarters. A trained interrogator, she calls him out on a statement that he made earlier to military debriefers that he didn't divulge any strategic or tactical information to his captors. "My SERE training was excellent," he replies. Pressing him further, Mathison asks why he would have been kept alive for eight years if he told them nothing. Brody remains relatively unflappable, at first only giving a crooked smile to suggest that he isn't telling the small CIA group everything. But as she pushes on, asking if Brody recognizes a significant Al-Qaeda terrorist in a photo she hands him, we see an eye twitch when he denies knowing him. Mathison sees the twitch, too. Brody denies knowing the Al-Qaeda leader: "No, I never met him." But the television audience knows — and Mathison knows — that he's lying. She sees signs of a false denial, including penetrating, sustained eye contact from Brody. Later, with her suspicions raging, Mathison speculates that Brody is sending signals with subtle hand movements that are visible during his media interviews. However, nearly everyone else at the CIA is ready to dismiss them as nervous gestures.
Is she reading him well or projecting meaning onto the movements? To complicate matters, she finds Brody attractive — different filter, different kind of distortion.
Greg taught at SERE, the acronym for Survival, Evasion, Resistance, and Escape, a program that provides U.S. military personnel and other selected people in the military with training in evading capture, survival skills, and the military code of conduct. Many of the military people who go through SERE have a very high risk of capture. We know for sure that Sergeant Brody's training would have been excellent. In fact, it may have been so excellent that Brody's self-control is believable. And yet, he leaked clues of deception that a trained eye could see.
Greg's body language students were aspiring interrogators and human intelligence collectors in both military and non-military sectors of government service and they were hand-picked for his body language class. They come through the door embracing a paradox of their own creation: "I'm good enough to be in this class so I must already know most of what Hartley's going to teach me."
They often referenced John Travolta's 2003 movie Basic, which "taught" them that a person looking up and to his right means he's lying; Greg told them that they've been deceived. A broad conclusion such as this about a particular piece of body language usually has very little meaning. Until they are connected with other factors, and until you have baselined a person to determine what is normal behavior, you can't draw a conclusion about truth or deception based on a single eye movement. If you want to "read someone like a book," you need to look at the entire text and not just the section titles.
Another common misconception is that crossed arms always signify a barrier, a defensive gesture to block someone out, primarily because of insecurity. This gesture alone means nothing. Stand in front of a mirror. Cross your arms, furrow your brow, point toward the mirror with your head, and overly enunciate the words, "Do I seem insecure?" The answer: No, you don't.
Some of the other mistaken beliefs even come from "expert" sources writing about human patterns of behavior. They see a phrase such as "Seventy-three percent of the time, a man with his fingers in a steepling position is feeling self-confident" and conclude that the theory applies to all steepling — up, down, or sideways. Not so, as you will soon find out.
Using numbers like this to justify a conclusion about human behavior borders on nonsense. Assigning numbers to behavior patterns is an attempt to mask uncertainty. Humans are easily represented on a bell curve for any demographic. The greatest percentage is going to fall somewhere near the center with extreme deviations lying near the edges. This works for intelligence, skin tone, how white your teeth are, and how many times you have skinned your knee. It is not magic; it is simple math.
Even after the intelligence students go through the basic body language course, they often allow their projections to contaminate what they observe, just as Carrie Mathison does with Brody. The turning point tends to be their failure to successfully pinpoint the bad guy in a scenario that serves as a kind of final exam.
Let's consider one of those scenarios. If you determine what kind of body language the terrorist would have, then you are on the road to expertise in this field.
The Scenario
The scene is a farmhouse in northern Iraq in 2007. You and two people in your unit have been briefed that an informant alleges that someone in that house is an IED (improvised explosive device) kingpin. You have room for only one person in your transport, so you must find the individual that is most likely to be that person. In addition, you know that this person is known as Abulhul, or "father of despair." That's what the Sphinx is called in Egyptian, by the way.
You and your buddies kick the door in and find five people in the room having dinner — a middle-aged Iraqi male and two Iraqi couples. Everyone in the house appears to be Iraqi because of their physical appearance and clothing; everyone speaks an Iraqi dialect. At this point, you have one hour to determine who the terrorist is and get that person back to your unit.
You ask one of the men, who has a noticeable scar across his forehead: "What do you do for a living?"
"I sell timers and radios," he replies. He wrings his hands and rubs his head. Have you struck gold immediately?
His cousin, one of the other men in the room, admits to being an electronics repairman. "Don't listen to that stupid man," he says. He explains that his cousin suffered a serious head injury and functions only on a marginal level. He has trouble remembering words; instead of saying clocks, he said timers. "I try to help him," the man says, "by giving him clocks and radios that I repair to sell."
Suspicion now moves to the electronics repairman. You keep an eye on him, as he taps his fingers on the table and shifts in his chair. He clearly resents your presence, but says nothing.
You watch him out of the corner of your eye as you question his wife. She appears to be a simple woman who gives straightforward answers to questions, but clearly hates Americans. With nowhere to go during the day, she sits home and watches television with her kids around the clock. The farmhouse is equipped with satellite TV, so she not only gets news, but also American crime shows, and a plethora of programs that cause her to conclude that the United States has a population of immoral, insane people. She spits at you and the other soldiers as her husband gestures for her to sit down and shut up.
The electronics repairman's brother owns the house; he's a sheep farmer who makes a point that he has a thriving business. He uses his arms to indicate that his flock is enormous and that they keep him busy night and day. His wife has two kids at home and, similar to her sister-in-law, all she does is take care of the kids all day. From the way she answers questions, she seems to be more educated than the other woman.
After you ask a barrage of standard questions, such as "Where you were born?" and "How long have you lived here?" the tactic you and your buddies use is to ask questions designed to make each person leak information about the others. You go after the woman who is vocal in her anti-Americanism and suggest she's obviously alone in her feeling.
"No!" she screams and points again and again to her sister-in-law. "Ask her. She knows what they're like!"
The other woman strides from where she was standing and faces you directly. "Yes, I know because I saw for myself how you kill," she says quietly. "She sees it only on TV."
The Answer Revealed
The students who figure out who the guilty party generally do so through questioning and by putting aside their preconceived notions that the "father of despair" must be a man. Good questioning of the woman who hates Americans will reveal that she does not like or trust her sister-in-law, whom she does not consider a real Iraqi. Why? The wife of the shepherd left Iraq when she was 10 years old because her father was on the outs with the Saddam regime. Her family lived in Germany until after the first Gulf War, and then came back, thinking that the Shi'ites would take power.
A star student of body language will notice three telling things: First, the wife of the electronics repairman points at the other woman in an accusing way as she says, "Ask her!" Second, the other woman moves in a way that suggests she has only recently started wearing Iraqi garb again. A woman who had worn pants for a period of time would stride, but not a woman who has worn a dress and lived among traditional Iraqi women her whole life. Third, the shepherd's wife approached her questioner directly, which is uncharacteristic behavior. She has a Western woman's sense of comfort talking face-to-face with a man.
The truth you need is this: She still has friends in Germany and mules sensitive information back and forth. She is the source of sophisticated design information and supplies for new IEDs.
The moral of the story is this: Don't jump to conclusions based on things you think are true. Watch and listen for clues that add up logically, not ones that fit a pattern you think should be there.
One of the photos we've shown to provoke analysis in various body language workshops invariably gets the same reaction. The photo captures the face of a white-haired old woman, smiling slightly, and wearing a simple checkered housedress. The students uniformly respond with descriptors, such as "weak," "frail," and "helpless." It's the photo of a 96-year-old Florida woman who gunned down her nephew with a .357 magnum handgun in 2011. This assumption of zero-threat from an elderly person is rooted in a cultural bias. In a culture that values youth and vigor, the old cannot possibly be dangerous. Most Americans never consider what they would think if they met a 74-year-old Harrison Ford who didn't have the benefit of makeup and a good camera angle. Is he still Indiana Jones, or is he suddenly Professor Henry Jones?
Sheikh Omar Abdel-Rahman, who is now serving a life sentence at the Butner Federal Correctional Institution in Butner, North Carolina, is a blind Muslim cleric. Linked to the 1993 World Trade Center bombing, among other heinous acts, he may have looked pathetic, but his fatwa calling for violence against U.S. civilian targets made a powerful terrorist.
(Continues…)
Excerpted from "The Art of Body Talk"
by .
Copyright © 2017 Gregory Hartley and Maryann Karinch.
Excerpted by permission of Red Wheel/Weiser, LLC.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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