Non-verbal consciousness…

• Consciousness is not only awareness;

it is or has a dynamic and creative
energy.

• Consciousness is the reality that

transcends all and yet contains all.

• Without Consciousness, no synthesis

occurs; for, consciousness has
‘organizing principle’ within it.

C Dr. Ajit Kulkarni

 Non-verbal consciousness…

• Consciousness is awakening the inner

dancer, the inner choreographer, the
inner musician.

• Silence is a sublime form of

consciousness.

• Consciousness is the essence of all

existence.

C Dr. Ajit Kulkarni

Our bodies are rarely still. Our feet, hands,
eyes and head are moving all the time. Our
expressions change. We pull faces, rub our
nose, run our hands through our hair & do all
sorts of things which, when taken in isolation,
seem very odd…..

However, what is happening is quite

straightforward. Our bodies are talking.

We can guard our tongues but not easily shut

off our body language.

C Dr. Ajit Kulkarni

“Give thy thoughts no tongue.”

… Shakespeare

C Dr. Ajit Kulkarni

 Kinesics: The study of body motions

• Actions speak louder (and more accurately)

than words

• Every body movement has a meaning and no

movement is accidental

• Nonverbal signs, signals and cues evolve

separately as information, apart from the
evolution of matter or energy; they are not the
secondary products of verbal communication.

C Dr. Ajit Kulkarni

 Kinesics: The study of body motions

• The wealth of meaning resides in nonverbal

behavior & is controlled by nonverbal brain.

• “Your words tell me the story but your body

tells me the whole story”.

• Body language is a peep-hole into patient’s

hidden feelings and conflicts.

• “To study language by listening only to

utterances is to miss as much as 75% of the
meaning”.

C Dr. Ajit Kulkarni

 OBSERVATION

“Homoeopathic “Psychological
observer” Observer”

“Organizational
observer”
“Clinical
observer”
“Behavioural
observer”

C Dr. Ajit Kulkarni

When we encounter people, we
usually look first at their face to see
if their expression reflects what
they are saying.

C Dr. Ajit Kulkarni

•Then we listen to the tone of the voice to
check if there are any indications of the
emotions involved.
• Finally, we listen to the actual spoken
words.

C Dr. Ajit Kulkarni

 COMMUNICATION

VERBAL (35%) NON VERBAL

(65%)

Exchange through words Gestures

Language Postures

Contents Facial expression

Feelings Appearance

Power Eye contact

Modulations of voice

Use of space and distancing

C Dr. Ajit Kulkarni
INTRA-PSYCHIC COMMUNICATION

“THE SELF”

The Product Of I.P.C.

The Behavioural Dialogue etween

Unconscious Values
and Conscious Experience
- Carl Jung

C Dr. Ajit Kulkarni

 INTRA-PSYCHIC COMMUNICATION

VERBAL I.P.C. VOCAL I.P.C. TACTILE I.P.C. OLFACTORY

I.P.C.

Think Moan Bite nails Checking

Deodorants

Write Groan Rub muscles Perfumes

Meditate Sigh Pick particles

Rehearse Cry

Laugh

C Dr. Ajit Kulkarni

NON VERBAL BEHAVIOUR UU
bb
On moving & II
being moved qq
How to tap the stream
of meaning uu
II
C
TT
Intellectually Clinically ROLE
ROLE
O
oo
Broadening Exciting M
uu
M
Analytical U ss
Experience Shaper
NI
C
P e r c e p t i o n A
TI Therapeutic
O
N
C Dr. Ajit Kulkarni
C Dr. Ajit Kulkarni
 Observation
• “It is the disease of not listening, the malady of
not marking, that I am troubled withal”.
- Shakespeare

C Dr. Ajit Kulkarni

 Basic modes

Active acceptance
OPEN Receptivity
Ready to agree Listening
Engaged Attentive
RESPONSIVE REFLECTIVE
Eager Evaluating

FORWARD BACK
Resistance Withdrawal
Let me speak COMBATIVE FUGITIVE Defensive
Anger Boredom
Aggressive Rejection
Lying Let me go
CLOSED

C Dr. Ajit Kulkarni

 Remedies
Responsive OPEN Reflective

Arg-n, Carc, Med, Phos, Carc, DNA, Lyc, Phos,

Scorp, Ars, Ign, Puls, Sul, Caust, Sil, Ign, Cocc,
Cycl, Coff, Kalis, Snakes Chin, Indg, Carb-an, Kalis,
Natrums, Mags, Birds

FORWARD BACK
Lyc, Anac, Staph, Sul,
Aur, Ambr, Calc, Ign,
Cham, Hep, Nux-v, Petr,
Con, Thyr, Gels, Mosch,
Coloc, Merc, Nat-m, Choco,
Psor, Caust, Kali-p, Stront,
Plat, Cupr, Bell, Acids,
Barytas, Carbons
Snakes, Spider, Solanacae

Combative CLOSED Fugitive

C Dr. Ajit Kulkarni

 Utility of Body Language

• One-sided diseases
• Psychiatric difficulties
• Semantic difficulties
• Pediatric cases
• Contradictory / ill-defined data
• Deaf, dumb, imbecile cases

C Dr. Ajit Kulkarni

 Utility of Body Language

• Understanding ‘inner’ personality in a

better way.

• Evaluating mental expressions,

dispositions and mental state.

• Giving gradation to mental symptoms

by appreciating the associated body
language.
C Dr. Ajit Kulkarni
 Utility of Body Language

• Enriching and simplifying the intricate

study of Materia Medica and Repertory.

• Explaining the rubrics with the help of

body language.

• Living Materia Medica - adding ‘life’ in the

drugs will be possible with body language.

C Dr. Ajit Kulkarni

 Utility of Body Language

• Body language serves to act as a facilitator

in conversation.

• Body language may unlock the issue

under exploration and may unlock, thus,
the entire case too.

• Saves valuable time.

C Dr. Ajit Kulkarni

 PATIENT IN CLINIC
WAITING ROOM
How a patient reacts to clinic: Positively, negatively,
neutrally. Focus on appearance, anger, anticipation,
anxiety, punctuality, talking, tone of voice, aggressive,
submissive, suspicion, activity, file, details, alone with
or someone etc.

CONSULTING ROOM

ENTRANCE: How the patient entered?

C Dr. Ajit Kulkarni
 Patient In Clinic
GAIT

SLOW RAPID TYPES USAGE

Dullness Hurried Reeling Dispositions
Shyness Impatient Staggering Temperamental
Depression Activity + Tottering Neurological
Torpidity Restless Wavering Alcoholic
Senility Anxious Unsteady Drug induced
Pain Agitated Infirm Addicted
Suspicion Anger Awkward Vision problem

C Dr. Ajit Kulkarni

 Patient In Clinic
Focus on the position of head, eyes, hands,
palms, legs etc.

UP DOWN
Domineering Submissive
Superior Yielding
Authoritarian Inferior
Confident Withdrawing
Self-righteous Meekness /
Shyness

C Dr. Ajit Kulkarni

Personal Appearance
CLOTHES

Clothing renders
masculine, feminine,
dominant or submissive
messages. Clothing help
a man to express
his identity.

Everyone is concerned
about making
a good first impression.

C Dr. Ajit Kulkarni

 Personal Appearance
Clothes - Materia medica
• Masculine clothing in women- Fluor-ac.,Lach.,Nux-v.,Sep.
• Feminine clothing in men- Calc.,Lyc.,Plat.,Puls.,Sil.
• Clothing, colorful desires- Lach.,Phos.,Plat.,Tarent.
• Desires purple colored clothing- Nat-m.
• Desires yellow and brown, to wear- Choc.
• Desires white clothing- Ambra.,Calc.,Caust.,Lyco.,Sil.
• Desires black clothes- Acid-nit.,Hyos.,Lach.,Tarent.
• Clothed himself differently every day- Hyos.
• Spruce, dress neatly- Ars.,Carc.,Lyco.,Nux-v.,Nat-m.,kali-c

C Dr. Ajit Kulkarni

External hair: Light blondes

C Dr. Ajit Kulkarni

External hair: Dark brunettes

C Dr. Ajit Kulkarni

 Personal Appearance
Hair style
Like our face, our hair
style is non-verbal
‘signature display’
representing who, what
and even why we are.
Clean hair is a sign of
status, good health, and
careful grooming.
Materia Medica: Plat., Puls., Tarn.,
Tub., Murx., Phos.

C Dr. Ajit Kulkarni

 FACE

FACIAL EXPRESSION:
Our face is exquisitely expressive.
It defines our identity.
It ‘speaks for itself.’
Emotionally, the face is mightier
than the word.
Truly the “mirror of life”.
MATERIA MEDICA:
Bufo., Calc., Lach., Lyco., Nat-m.,
Phos., Puls., Thuja, Tub.

C Dr. Ajit Kulkarni

 Fear of being attacked

Anac., Lach., Op., Stram.

C Dr. Ajit Kulkarni

 Fear downward motion

Bor, Sanic, Calc, Coca, Lac-c, Lil-t, Sil.

C Dr. Ajit Kulkarni

• Expression Anxious

C Dr. Ajit Kulkarni

 Face Gesture

STRANGER – ANXIETY:

Emotion: An innate anxiety, mistrust,

or wariness of unknown persons.
Usage: Children manifest this sign
often. Useful to a homoeopathic
physician.
Materia Medica: Ambr., Ant-c.,Bar-c.,
Carb-v., Caust., Stram., Thuj.

C Dr. Ajit Kulkarni

 Face Gesture
TONGUE-SHOW:

Facial Expression: A momentary protrusion of the

tongue between the lips.
Usage: A universal mood sign of unspoken
disagreement, disbelief, disliking, displeasure, or
uncertainty; also emotion cue for disgust.
Materia Medica: Apis., Crot-h., Ferr., Lach., Merc.,
Mygal., Vip.
C Dr. Ajit Kulkarni
Fear: Strangers of

C Dr. Ajit Kulkarni

Expression: Distressed

C Dr. Ajit Kulkarni

Expression: Frightened

C Dr. Ajit Kulkarni

 FACE

BLANK FACE:
SIGN :A neutral relaxed, ‘expressionless’ face;
with eyes open and lips closed.
USAGE : Strong emotional message :
“Do not disturb”.
Indifference.
Depression.
Schizophrenia.
Parkinsonism.

MATERIA MEDICA:
Acid-ph., Alum., Anac., Aur., Ign.,
Nat-m., Sep.

C Dr. Ajit Kulkarni

Expression: Vacant

C Dr. Ajit Kulkarni

 FACE

FACIAL FLUSHING:
Emotion Cue: Becoming red
or rosy in the face from
physical exercise,
embarrassment, shyness,
anger or shame.

MATERIA MEDICA :
Ambr., Bar-c., Ferr., Kali-c., Lach.,
Pul., Staph., Thuja.

C Dr. Ajit Kulkarni

Discoloration: red: flushes

C Dr. Ajit Kulkarni

 FACE GESTURE

CUT - OFF:

Body movement: A form of gaze avoidance in

which the head turned fully away to one side.
Usage: A sudden cut-off gesture indicates
uncertainty or disagreement. Sustained cut-off
may reveal shyness or disliking.
Materia Medica: Calc., Cham., Arg-n., Nat-m.,
Lach., Plat.
C Dr. Ajit Kulkarni
 FACIAL EXPRESSIONS
SHOCKED DUE TO INSULT

Materia medica- Aco., Arg-n., Ars.,

Aur.,Bell., Camph., Carb-v., Chin., Cocc.,
Coloc., gels., Ign., Lyss., Op., Staph.,
Verat.
C Dr. Ajit Kulkarni
 EYEBROW
EYEBROW RAISE:
FACIAL EXPRESSION: 1. To lift the arch of short hair
above the eye as in uncertainty, disbelief, surprise or
exasperation. 2. To elevate eyebrow by contracting the
occipitofrontalis muscle.
USAGE:
1. Adds intensity to a facial expression.
Strengthens a dominant stare,
exaggerates a submissive pout,
or boosts the energy of a smile.
2. In tandem with head-tilt-back, it
suggests disdain, haughtiness, or pride.
Materia medica - Acid-fl., Calc-fl.,
Hyos., Ip., Lach Lyc., Nux-v., Pall., Plat.,
Staph.,Sul.,Verat.
C Dr. Ajit Kulkarni
 EYEBROW
EYEBROW LOWER:
FACIAL EXPRESSION: 1. To frown or scowl, as in
anger, concentration, displeasure, or thought.
2. To depress, knit, pucker, or wrinkle the brow by
contracting the corrugator, brocerus, and orbicularis
oculi muscles.

USAGE: A sensitive indicator of

disagreement, doubt, or uncertainty.
Slightly lowered eyebrows may
telegraph unvoiced disagreement
among the group.

C Dr. Ajit Kulkarni

 HEAD GESTURES

‘NEUTRAL HEAD POSITION’

* Head up. Remains still.
* May occasionally give small nods
* Hand to cheek evaluation gestures are
often used with this gesture.

‘INTERESTED POSITION’
* Head tilts to one side.
* Charles Darwin was the first to note
this gesture.
* Women often use this head position to
show interest in an attractive male.

C Dr. Ajit Kulkarni

 HEAD GESTURES

‘DISAPPROVAL POSITION’
* Head down.
* It signals that attitude is negative
and even judgmental.
*Critical evaluation clusters are
normally made with the head
down.
* Unless you can get the person’s
head up or tilted, you may have
communication problem.

C Dr. Ajit Kulkarni

 HEAD GESTURES
“The most obvious body language is when someone
shakes his head back or forth or up & down. It points yes
or no or neutral.”

HEAD-TILT BACK:
Lifting the chin and leaning the head backward.
USAGE:
a) Superiority
b) Arrogance
c) Disdain

Materia medica- Agar., Anac., Arn., Aur.,

Calc., Lyc., Lach., Pall., Plat., Sil.,Staph., Stram.,
Sul., Verat.

C Dr. Ajit Kulkarni

Head: motions of : nodding of

C Dr. Ajit Kulkarni

 HEAD GESTURES

HEAD-TILT SIDE:
Leaning the head over laterally,
towards the right or left shoulder.

USAGE:
a) To show friendliness and
foster rapport
b) Coyness
c) Submissive pose
d) Self-protection

C Dr. Ajit Kulkarni

 HEAD GESTURES

HEAD - SHAKE:
1) Rotating the head horizontally-
disagree, misunderstanding
2) Rhythmic side to side
rotation to express disbelief,
sympathy, or grief.

USAGE:
To demonstrate:
a) Cognitive dissonance

b) Emotional empathy

C Dr. Ajit Kulkarni

 HEAD GESTURES

HEAD - NOD:

1) A vertical up and down

movement to show
agreement

2) A flexed forward, lowering

motion of the skull to
emphasize

USAGE: a) Affirmative cue

b) Conviction
c) Rage

C Dr. Ajit Kulkarni

 EYES

EYES:
‘Eye is an extension of the brain
and a window of the soul.’

Eyes reveal a great deal

about our emotions,
convictions and moods.
The eyes with sharply
contracted pupils are
termed as ‘Snake-eyes’ or
‘Beady-little eyes’.

C Dr. Ajit Kulkarni

 DIRECT EYE CONTACT
• Confidence
• Confrontation
• Friendliness
• Dictatorial
• Bold
• Listening
• Attentive
Materia medica:
Acid-fl.,Calc-fl., Hyos., Ip., Lach.,
Lyc., Nux-v., Pall., Plat., Staph.,
Sul.,Verat.

C Dr. Ajit Kulkarni

 EYES
EYE CONTACT:

Gazing at another’s eyes arouses strong

emotions.
An old saying goes ‘Look a person in
the eye when you talk to him.’
Romantic encounters
mostly take place in dim
light as that causes the
pupils to dilate.

C Dr. Ajit Kulkarni

 EYES
FLASHBULB EYES:

An involuntary and dramatic widening of the eyes,

performed in situations of intense emotion, such as
anger, surprise and fear.
Frightened, easily:
Aco. Arg-n.
Ars. Bell.
Calc-c. Camph.
Carb-v. Caust.
Ign. Kali-c.
Lach. Lyc.
Nat-ars. Opium.
Phos. Stram.

C Dr. Ajit Kulkarni

 BLINKING:

• Suspicious
• Aggressive
• Egoistic
• Stranger anxiety

C Dr. Ajit Kulkarni

Blinking

C Dr. Ajit Kulkarni

 LIPS
Lips are incredibly gifted communicators and the
most emotionally expressive parts of our body.
They are moved
a) To express emotions
b) Pronounce words
c) To kiss.
Lip touch is one of
our most common
self-touch cue and
makes a non-verbal
probing point.

C Dr. Ajit Kulkarni

LIP-PURSE:
To evert, pucker, and
round the lips in a look of
disagreement, scheming,
or calculated thought.
It reflects formation of an
alternative verbal reply in
the brain’s primary speech
center, Broca’s area.

C Dr. Ajit Kulkarni

 LIPS
LIPS

LIP-POUT:
To push the lower lip
against the upper in a
protruded look of
disappointment,
displeasure, sadness or
uncertainty.

Children and adults as

well pout. The lip-pout is
often a component of the
shoulder-shrug-display.
C Dr. Ajit Kulkarni
 LIPS

Materia medica:
Aco., Anac., Ars., Bell.,Caust.,Graph., Hep.,
Hyos., Lyc., Nux-v., Plat.,Psor., Stram., Syph.

LIP-COMPRESSION:
A usually negative cue produced by
pressing the lips together into a
thin line.
A sudden lip-compression may
signal the onset of anger,
disliking, grief, sadness,
or uncertainty.
C Dr. Ajit Kulkarni
 HAND-TO-FACE-GESTURES

TOUCHING NOSE :

A more sophisticated version of

‘hand covering the mouth’
gesture.

Hiding of negative / weak points

and controlling mouth.
‘I-doubt-you-gesture’.

C Dr. Ajit Kulkarni

 HAND-TO-FACE-GESTURES

RUBBING EYE:

Our brain attempts to block

out the deceit, doubt or lie
that it perceives. Used by
the liars.

‘See-no-evil-gesture’

C Dr. Ajit Kulkarni

 HAND-TO-FACE-GESTURES

PUTTING FINGERS-IN-THE-MOUTH
A gesture of stressful
moments. People under
immense stress put some
objects.

like pen, pencil or the

like in the mouth which
is simply a variation of
putting fingers-in-the-mouth.

C Dr. Ajit Kulkarni

 CHEEK AND CHIN GESTURE

PAYING GREAT ATTENTION:

A listener’s closed hand is
resting on his cheek and his index
finger is pointing upwards.
Actual interest lasts till the hand
is on the cheek.

C Dr. Ajit Kulkarni

 CHEEK AND CHIN GESTURE

MAKING A DECISION:
The chin-stroking gesture.

It is a signal that the person is

making a decision. But if this
gesture is followed by crossed
arms and legs and the listener
sits back in his chair, it shows
disagreement.

C Dr. Ajit Kulkarni

 CHEEK AND CHIN GESTURE
WHEN-WILL-YOU-SHUT UP GESTURE:
The listener make use of his hand to support his
head. The degree of boredom is related to the
extent to which his hand and arm are
supporting his head. The
ultimate boredom occurs
when the person falls
asleep on the chair itself.
Materia Medica:
Alum., Con., Hydrog., Lyc.,
Med., Merc., Nat-c., Nux-v., Plb.,
Spig. Sulph., Tub.,

C Dr. Ajit Kulkarni

 TELLING A LIE

A CHILD TELLING A LIE:

The mouth is deliberately

covered with both hands
immediately after telling
the lie.

C Dr. Ajit Kulkarni

 TELLING A LIE
A TEENAGER TELLING A LIE:
The hand is brought to the mouth like a child,
but instead of obvious hand-slapping gesture
over mouth, the fingers rub lightly around it.

C Dr. Ajit Kulkarni

 TELLING A LIE

AN ADULT TELLING A LIE:

Mouth-covering gesture more

refined. The hand is pulled
away from face at the last moment
and a nose-touch-gesture
results.

C Dr. Ajit Kulkarni

 HAND GESTURES

Hands have more to say even than faces.

1.The terminal end organs below Tactile antennae

the forearms, used to grasp
and gesture.

2. The most expressive parts

of the human body.

3. The restless organs.

Watching a hand move is like peering

into the brain itself.
C Dr. Ajit Kulkarni
 HAND GESTURES

• Nail biting is a tactile intra- Nail biting

psychic-communication.
• A neurotic trait.

Materia medica:
Ars., Lyc.,Bar-c.,Ambra., Arg-
n., Calc., Carc., Caust.,Hura.,
Lyss., Med., Nat-m.

C Dr. Ajit Kulkarni

Fingers in mouth, children put

C Dr. Ajit Kulkarni

 Pointing index finger

Materia medica

Carc., Caust.,Kali- carb.,

Kali-i., Lach., Lyc., Sil.,
Staph., Nux-v.

C Dr. Ajit Kulkarni

 HAND GESTURES
ARM – CROSS:
A self-comforting, self-stimulating posture unconsciously
used to alleviate anxiety and social stress.
A defensive barrier sign.

C Dr. Ajit Kulkarni

 HAND GESTURES

CLENCHED HANDS IN FRONT OF THE FACE:

Can be a sign of confidence.

Fingers in front of the face
appearturning white and
seem to be welded together,
signifies a frustrated
/hostile / negative attitude.

C Dr. Ajit Kulkarni

 HAND GESTURES

Clenched hands resting on the desk:

Eagerness,
‘I will have to think’,
neutral, negative
gesture.

C Dr. Ajit Kulkarni

 PALM GESTURES

Submissive palm position:

The palm facing up = non-threatening
gesture, reminiscent of the pleading gesture
of a street beggar.
Materia medica- Lyc., Puls., Bar-c., Calc-sil., Carc.,
Ign., Phos., Sil., Ambr-g.

C Dr. Ajit Kulkarni

 PALM GESTURES

Aggressive palm position:

A stabbing motion of the index

finger. Stiffening a forefinger.
The palm is closed into a fist &
the pointed finger becomes a
symbolic club.

C Dr. Ajit Kulkarni

 PALM GESTURES

Dominant palm position:

The palm is turned to face downwards = authority,
giving an order to others.
A guiding gesture for a homoeopath.

C Dr. Ajit Kulkarni

Dictatorial, domineering

C Dr. Ajit Kulkarni

 PALM GESTURES
Openness palm position
Welcome you with frankness, openness
and from the bottom of my heart.
Open palms is associated with truth,
honesty, allegiance and submission.

C Dr. Ajit Kulkarni

 COMMON SIGNS
THE RING OR OK GESTURE

Everything is fine.

C Dr. Ajit Kulkarni

 COMMON SIGNS

THE THUMB-UP GESTURE

"HOLDING ON"
C Dr. Ajit Kulkarni
 COMMON SIGNS

V-SIGN

"VICTORY"

C Dr. Ajit Kulkarni

 ANGER

EMOTION: Unpleasant feeling of

annoyance, resentment or rage.

USAGE:
Anger is expressed through…
*Jaws tensed to a biting position.
*Postures of the broadside
display (e.g. hands on hips)
*Cut off and head jerk cues.
*Fist, hand-behind-head and
palm-down beating gestures.
C Dr. Ajit Kulkarni
 ANGER

• Frowning and tense mouth

expressions.
• Growling voice tones and staring.
• Rigid body, body held erect.
• Continued eye contact
with dilatation of pupils;
contracted brows.

C Dr. Ajit Kulkarni

 ANGER

Materia medica:
Anac., Bry., Cham., Cina., Colo., Hep., Ign.,
Kali-c., Kali-s., Lyc., Merc., Nat-m., Nit-ac.,
Nux-v., Pall., Plat., Petr., Sep., Staph., Sul.,
Tarent.
C Dr. Ajit Kulkarni
 ANGER
Repertory rubrics:
* Activity, with great physical
* Ailments after anger
* Easily
* Fits of
* Interruption, from
* Laughing with bursts of
* Temper tantrums
* Violent
* Crying, from pain with
* Face, pale livid
* Indignation, with
* Jealousy and
incoherent talk, with
* Suppressed, ailments
from
* Trembling with
C Dr. Ajit Kulkarni
 LEG BARRIERS
INTERESTED IN HIS OWN AFFAIRS:
Holding a paper in his hands and the crossed leg
gesture…The person is no more interested in the
ongoing conversation.

C Dr. Ajit Kulkarni

 LEG BARRIERS

Least-bothered-about-you-attitude:
Right leg on left knee and arms crossed, head
raised…I am in my own world.
C Dr. Ajit Kulkarni
 LEG BARRIERS

STUBBORNNESS :
A person, in an argument, often
locks his legs and uses one or
his both hands on the leg-on-top
as a clamp. This position shows
that he is rather tough-minded
and stubborn.

The crossed leg gestures signify a

negative, rather defensive attitude
like the arm barrier gestures.

C Dr. Ajit Kulkarni

 SUPERIORITY GESTURES

PRIDE OF OWNERSHIP:
Some people use the leg-
over chair gesture to signify
the ownership of the
particular chair or space.
Annoying gesture.

C Dr. Ajit Kulkarni

 SUPERIORITY GESTURES

AUTHORITARIAN GESTURE:
Gripping hands, arms and wrists. Walking with
head up, chin out and one palm gripping the
other hand behind back.
C Dr. Ajit Kulkarni
 SUPERIORITY GESTURES

KNOW-IT-ALL:

Both hands behind head.

Leg-lock-position shows that
the person not only feels
superior but is also likely to
argue. “May be someday
you’ll be as smart as I am.”

C Dr. Ajit Kulkarni

Delusions: imagines: great person he is

C Dr. Ajit Kulkarni

 GESTURES
FLEXION WITHDRAWAL:
Sign: Reflective body movement. An automatic
escape motion designed to remove a body part or
parts from danger.
Usage: Flexion withdrawal underlines many
negative and submissive nonverbal signs.

Materia medica- Lyc., Puls.,

Cocc., Bar-c., Calc-sil., Carc., Ign.,
Phos., Nat-m., Sil., Staph.

C Dr. Ajit Kulkarni

 GESTURES
HANDS-ON-HIPS:

Posture: An akimbo
position. The palms rest on
the hips with the elbows
flexed outward, bowed
away from the body.
Usage: Shows that the
body is prepared to ‘take
steps’, poised to ‘step
forward’. Sign of anger,
pride, superiority.
C Dr. Ajit Kulkarni
 YAWNING

Sign: A sudden, deep

inhalation of air accompanied
by an open mouth, tightened
cheek muscles, eye closure and
tearing.

Usage: Usually a sign of

drowsiness; also of mild
anxiety, disagreement, or
uncertainty.

Materia Medica: Ars., Caust.,

Chel., Ign., Kali-ar., Kali-c., Nux-v.,
Op. C Dr. Ajit Kulkarni
 VOICE

 Tone of voice reflects psychological arousal.

Speech is an indispensable means for

sharing feelings, ideas, observations and for
conversing about the past and future.

A significant number of voice qualities

are universal across all human cultures.

Vocal cues can predict deception.

C Dr. Ajit Kulkarni

 VOICE
INTERPRETATION:
Speaking loudly and rapidly:
a) Anger or lack of interest in the other
person’s views.
b) The speaker has run out of the logical
support for his view.
Clear controlled steady voice:
a) Confidence
Lively, bouncy, well modulated speech:
a) Enthusiasm
b) Politeness
Lowered volume, reduced pitch rate and little intonation:
a) Negative attitude
b) Nervousness
C Dr. Ajit Kulkarni
 VOICE

INTERPRETATION:

To mumble or gabble a) Excitement

b) Fear
Hesitation a) Lowered confidence
Crying, moaning a) Sadness
and sighing b) Silent grief
Hiss and boo a) Disapproval
The softer pitch a) Friendship

C Dr. Ajit Kulkarni

• Voice: higher

C Dr. Ajit Kulkarni

Voice low and soft

C Dr. Ajit Kulkarni

 THE ULTIMATE GESTURE
• Absolutely universal

• Rarely misunderstood

• Primitive tribes and World leaders alike know and

use it

• Scientists believe it actually releases chemicals

endorphins into the system that create a feeling
of mild euphoria

• Everywhere it may help to slip out of the prickliest

of difficult situations
C Dr. Ajit Kulkarni
 THE SMILE

By analysing the movements of

over 80 facial muscles involved
in smiling, researchers can tell
when the smile is true. The
smiles may be authentic,
friendly, mischieving, horrifying,
tragic, apologetic or confusing.

There are 50 or so different types of human smiles.

Open lipped smiling fully facing you - Openness
Over-grinning smile - Stupidity
Small upper or inward smile - Enthusiasm
C Dr. Ajit Kulkarni
 LAUGH

• Human laughter varies greatly in form, duration

and loudness.
•One can ‘read’ laughter from the sounds that
ensue.
•‘Ha-Ha’ is laughter that is genuine, coming
straight from the heart.
•‘Ha-Ha’ expresses pure joy and self-fulfillment.

Cann-i., Coff., Hyos., Lach., Nat-c., Op., Carbn-

s.,Lyc., Phos., Plat., Stram., Tarent., Zinc.

C Dr. Ajit Kulkarni

 LAUGH

‘Hee-Hee’ suggests a secret giggle or a

snigger that is emitted when a person is
being cynical or spiteful.

‘Hee-Hee’ is mocking laugh, usually issuing

from a condescending remark or a joke
about a person.

C Dr. Ajit Kulkarni

 LAUGH

‘Hee-Hee’ is found in:

Anac., Ars-alb., Bor., Cham., Cupr., Hep.,
Hyos., Kali-i., Lach., Lyc., Nat-m., Nit-ac.,
Nux-v., Stram., Tarent., Tuber.

C Dr. Ajit Kulkarni

 LAUGH

‘Ho-Ho-Ho-Ho’
Communicates surprise, even disbelief,
by a person who is critical, protesting, or
challenging.

Remedies:
Chin., Coff., Merc., Op., Phos., Verat.

C Dr. Ajit Kulkarni

 LAUGH

• Laughing, tendency, causeless - Arn., Bar-c, Bufo.,

Cann-i., Carbn-s., Sal-ac., Stram., Syph., Tab.
• Laughing, tendency, childish - Bar-c., Bufo., Croc.
• Laughing, tendency, contemptuous - Alum
• Laughing, tendency, love from disappointed - Hyos
• Laughing, tendency, misfortune at - Apis
• Laughing, tendency, mocking - Tarent
• Laughing alternating with crying – Hyos., Merc., Mosch.

C Dr. Ajit Kulkarni

 BODY LANGUAGE

DEMERITS
• The body language may not coincide with the
verbal language.
• The body language may add or complicate
verbal communication.
• The body position or movement does not
by itself, have a precise or universal meaning.
• The specific meaning of body movements is
different from person to person.

C Dr. Ajit Kulkarni

 BODY LANGUAGE

DEMERITS

• Culture, traditions, social norms, learning, habits

play a vital role in non-verbal communication.
• It is necessary to link body language with
spoken language and with the situation in
TOTALITY.
• The interpretation of body language
requires high skill and perspective vision.

C Dr. Ajit Kulkarni

 DECODING BODY LANGUAGE
BASIC POSTURES

OPEN CLOSED FORWARD BACKWARD

OPEN HANDS ARMS FOLDED ACTIVE DOODLING

FULLY FACING LEGS CROSSED LEANING FORWORD LEANING BACK

OPEN LIPPED SMILING SLUMPED POSTURE RESPONSIVE BOREDOM

C Dr. Ajit Kulkarni

 DECODING BODY LANGUAGE
RESPONSIVE REFLECTIVE FUGITIVE COMBATIVE

ENGAGED LISTENING BORED LET ME SPEAK

leaning forward head tilted staring into space finger tapping
open body loss of eye contact slumped posture foot tapping
open arms & open hands nodding doodling staring

EAGER EVALUATING LET ME GO AGGRESSIVE

open legs sucks glasses/pencil feet towards door leaning forward
feet under chair strokes chin looking around finger pointing
on toes & leaning forward looks up & right, ankle on knee buttoning coat fists clenched

READY TO AGREE ATTENTIVE REJECTION DEFIANT

closes papers arms behind back sitting /moving standing
pen down smile back arms folded hands on hips
hands flat on table open feet head down & frown frown

DEFENSIVE LYING
standing touches face,pulls ear
feet pointing in eyes down,
hands clenched looks down & to left

C Dr. Ajit Kulkarni

 Common Gesture Meanings
Gesture When in Moderate Form When Exaggerated

Forward Lean Friendly feelings Hostile feelings

Direct eye contact Friendly feelings Hostile feelings

Unique dress and hair style Creativity Rebelliousness

Upright posture Expertise; self-confidence Uprightness; hostility

Variability in voice Lively mind Nervousness; anxiety;

insecurity
Smiling Friendliness; relaxed & Masking hostility;
secure composure submissiveness
Averting gaze Shyness; modesty Guilt; unreliability

Knitted brow Involvement Hostility

Nodding and reaching out Self-confidence Uncertainty

the hands while talking

C Dr. Ajit Kulkarni

 Common Gesture Meanings
Nonverbal Gestures to Common Intrepretations
Avoid

Hair-twirling Incompetence and uncertainty

Placing your hand in front Anxiety about your competence

of your mouth

Rubbing your arm or leg Anxiety about your competence;

uncertainty

Wringing your hands; Nervousness; anxiety; uncertainty

rubbing your fingers

Slumped posture Boredom; alienation

C Dr. Ajit Kulkarni

SHORT VOCABULARY OF BODY LANGUAGE

1. Openness
Open hands with palms visible

Taking coat off

Moving closer

Leaning forward
Uncrossed legs

Arms gently crossing lower body

Repeated glances C Dr. Ajit Kulkarni
 SHORT VOCABULARY OF BODY LANGUAGE

2. Enthusiasm
• Small upper or inward smile
• Erect body stance
• Hands open, arms extended, eyes wide,
alert
• Lively and bouncy voice, well modulated

C Dr. Ajit Kulkarni

 SHORT VOCABULARY OF BODY LANGUAGE

3. Defensiveness
• Rigid body
• Arms/legs crossed tightly
• Minimal eye contact
• Pursed lips
• Head down with chin depressed towards
chest
• Fists clenched
• Fingers clenching crossed arms
• Leaning back in chair
C Dr. Ajit Kulkarni
 SHORT VOCABULARY OF BODY LANGUAGE

4. Anger
• Body rigid
• Fists clenched
• Lips closed and held in a tight thin line
• Continued eye contact with dilation of pupils
• Squinting of eyes
• Shallow breathing

C Dr. Ajit Kulkarni

 SHORT VOCABULARY OF BODY LANGUAGE

5. Readines
• Leaning forward in chair
• Hand placed mid-thigh
• Relaxed, but alive facially
• Standing with hands on hips, feet slightly spread
6. Evaluating
• Slightly tilted head
• Sitting front portion of chair with upper torso
forward
• Hand-to-cheek gesture
• Stroking chin or pulling beard

C Dr. Ajit Kulkarni

 SHORT VOCABULARY OF BODY LANGUAGE

7. Nervousness

• Clearing throat
• Hand-to-mouth movements
• Covering mouth when speaking
• Tugging at ear
• Darting eyes
• Twitching lips or face
• Mouth slightly open
• Playing with objects or fidgeting
• Shifting weight while standing
• Tapping fingers
• Waving foot
• Pacing
• Whistling
C Dr. Ajit Kulkarni
 SHORT VOCABULARY OF BODY LANGUAGE

8. Suspicion/Secrecy

• Failing to make eye contact or resisting

• your glances
• Glancing sideways at you
• Rubbing or touching nose
• Squinting or peering over glasses
• Playing with hair
• Frowning

C Dr. Ajit Kulkarni

 SHORT VOCABULARY OF BODY LANGUAGE

9. Rejection/Doubt

• Touching and rubbing nose

• Squinting or rubbing eyes
• Arms and legs crossed
• Body withdrawn
• Throat-clearing
• Hand-rubbing or ear-tugging
• Raising eyebrow
• Walking with hand in pockets
• Shoulders hunched
• Sitting or moving back
C Dr. Ajit Kulkarni
 SHORT VOCABULARY OF BODY LANGUAGE

10. Confidence/Authority
• Steepling - the higher the hands, the greater
the confidence
• Resting feet on desk
• Leaning back with hands laced behind head
• Proud, erect body stance with chin forward
• Continuous eye contact with little blinking
• Leaning forward with chin up
• Hands joined behind back when standing
• Shaking hands with a firm grasp
• Clear, controlled, steady voice
C Dr. Ajit Kulkarni
 SHORT VOCABULARY OF BODY LANGUAGE

11. Needing Reassurance

• Pinching the fleshy part of hands

• Gently rubbing or caressing some
personal object such as ring, watch, etc
• Biting fingernails or examining cuticles
• Stamping foot

C Dr. Ajit Kulkarni

 SHORT VOCABULARY OF BODY LANGUAGE

12. Frustration

• Tightly clenched hands or shaking fists

• Hand wringing, rubbing back of neck
• Controlled short breathing
• Blind staring
• Running hands through hair
• Grinding of jaw
• Clenched hands on forehead

C Dr. Ajit Kulkarni

 SHORT VOCABULARY OF BODY LANGUAGE

13. Boredom/Indifference

• Head in hand
• Drooping eyelids
• Relaxed posture, slouching
• Tapping foot, fingers
• Swinging feet
• Blank stares, little eye contact
• Doodling
• Slack lips

C Dr. Ajit Kulkarni

 SHORT VOCABULARY OF BODY LANGUAGE

14. Acceptance

• Moving closer to other person

• Spreading hands held to chest
• Head nodding
• Leaning forward
• Open smile

C Dr. Ajit Kulkarni

 PATIENT- COMMUNICATION

SUGGESTIONS
# Simply, be ‘open’. Be aware of body posture.
Do not cross arms in front of you, or cross your
legs away from the person you are talking with.
# Maintain eye contact. Glance away
periodically to prevent intimidation but NOT at
crucial moments. Converse at patient’s eye
level.

C Dr. Ajit Kulkarni

 PATIENT- COMMUNICATION
SUGGESTIONS

# ‘Touch’: It helps patient know that you view

them as ‘people’. A pat on the back, a light touch
on the shoulder can be reassuring to patients.

# ‘Barriers’: Masks, safety glasses, gloves,

patient bibs, etc. Communicate ‘barrier free’ with
the patient.

C Dr. Ajit Kulkarni

 PATIENT- COMMUNICATION
SUGGESTIONS

# ‘Facial expressions’: Openness, smile,

eagerness, interest yet serious and sincere.
# ‘Tone of voice’: Polite tone. Speak slowly,
articulately. Proper enunciation and
pronunciation of words.
# ‘Body Movements’: Avoid excessive, repeated
movements of body, legs, hands, fingers etc.
The FIRST person you need to impact with
positive body language is not others, but rather
YOURSELF.
C Dr. Ajit Kulkarni
“Visible Code” in Repertorial Perspective -
Important Rubrics

Mind Chapter
1. Activity, Mental 2. Actions, behaviour
3. Agony, anguish 4. Alert, mentally
5. Anger 6. Answers, general
7. Antics, plays 8. Anxiety
9. Automatic, behaviour 10. Aversion, general
11. Awkward 12. Bashful
13. Bites 14. Boredom, ennui
15. Busy 16. Caressed, agg.

C Dr. Ajit Kulkarni

 “Visible Code” in Repertorial Perspective - Important Rubrics
Mind Chapter

17. Cheerful 18. Childish, behaviour

19. Clinging 20. Clothed, improperly
21. Crying 22. Dancing
23. Faces, makes 24. Frown, disposed to
25. Gestures, makes 26. Gloomy, morose
27. Grimaces, makes 28. Hatred feelings
29. Hurried 30. Hyperactive, children
31. Impolite 32. Indifference
33. Kicking, behaviour 34. Laughing, behaviour

C Dr. Ajit Kulkarni

 “Visible Code” in Repertorial Perspective - Important Rubrics
Mind Chapter

35. Laziness, indolence 36. Moaning

37. Mocking 38. Plays, with his
fingers
39. Rage 40. Restlessness
41. Screaming, shrieking 42. Serious, behaviour
43. Shameless 44. Sighing, emotional
45. Singing 46. Sit, inclination to
47. Sits, general 48. Speech, general
49. Smiling 50. Suspicious

C Dr. Ajit Kulkarni

 “Visible Code” in Repertorial Perspective - Important Rubrics
Mind Chapter

51. Sympathetic 52. Torpor

53. Violent, behaviour 54. Walking,
behaviour
55. Washing, hands 56. Whistling
57. Witty 58. Yielding

(II) Children chapter

(III) Legs
(IV) Limbs
(V) Generals
Repertory Ref. : Murphy
C Dr. Ajit Kulkarni
 DUAL DIALOGUE

• One swallow doesn’t make a summer and

one body language signal doesn’t
necessarily convey a message.

• Body Language is full of ambiguities.

• To have clarity, one must focus on the

cluster of signals.

C Dr. Ajit Kulkarni

 TWO STREAMS MEET…

“The mind and body are inseparably one. The unity that is
‘me’ separates into the streams of experience. I
experience the subjective stream as thoughts, feelings,
and desires. I experience the objective stream as my body.
At a deep level, however, the two streams meet at a single
creative source. It is from this source that we are meant to
live.”

C Dr. Ajit Kulkarni

 THE CORE OF BEING

“Each of us inhabits a
reality lying beyond all
change. Deep inside us,
unknown to the five
senses, is an innermost
core of being, a field of
non-change that creates
personality, ego and body.
This being is our essential
state. It is who we really
are.”

C Dr. Ajit Kulkarni