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Contradictions and Subtleties In this final part of her series on body language, Kathie Gregory moves into the realm of cats and dogs in addition to horses, focusing specifically on the behaviors and vocalizations associated with play
© Can Stock Photo / Virgonira
Play can be difficult to read as the instincts and motivations that contribute to how an animal plays are not always obvious; we need to look closer to determine how each individual animal is actually feeling
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t takes time to recognize the nuances of body language and vocaliza tions, and to be able to differentiate between when they are in tune with each other and when there is conflict between the two. But with practice, we can learn to interpret the language of animals inter acting with people and other animals.
Positive Emotional State So let’s start with what we might typically expect to see in a positive vs. negative state of mind during an interaction. When an animal is in a positive emotional state, soft body language is more relaxed and the body looks fluid, easy, and open. The positioning of the body is in tune with, and relevant to, the activity and the animal or person they are with. Sharper, quicker body language has an enthusiasm about it — but is still fluid. It still retains its open quality, and positioning remains in tune with the fellow participant. Movements are generally equal be tween participants, who compensate for each other as they are in tune with each other and the activity. They participate together. Soft vocalization has a rich, open quality to it. The tone is inviting and those who hear it feel safe, and that the animal is happy. When the animal is more enthusiastic, we still hear a rich open tone, but it can be louder and have a throatier aspect. It also tends to be more precise. And it can often be lengthened.
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BARKS from the Guild/September 2021
Negative Emotional State Conversely, when an animal is in a negative emotional state, soft body language looks contained and is not fluid or open. The positioning of the body is more about protecting oneself, but this may not be overt; it can be very subtle. Sharper, quicker body language has an intensity to it. It can look like there is a purpose to the movement, which tells you that there is some sort of intent within the mind. Unlike soft body language in a negative emotional state, these intense movements are fluid, but there are definite start and stop moments compared to the ongoing flu idity of positive body language. It is also less open, so you see slight dif ferences in the positioning of the body in relation to the animal or person they are around. Also, rather than compensating for the other, you can see that the animal is no longer in tune with his participant and is doing his own thing, not acting with the togetherness you see with positive body language. Soft vocalization can have a reedy or throaty tone to it. It sounds as though there is a constriction within the throat, stopping the sound from being full and rounded. The tone makes you take notice, but there is no surety from the animal as to which way his emotions will go. When the animal is in a stronger negative emotional state, the voice becomes more strident and sharper. It often becomes staccato, but equally it can be long and drawn out.
