People frequently rely on verbal communication to express particular thoughts or to share ideas. However, communication goes beyond mere words; rather, it encompasses movement as well. This comes in the form of non-verbal communication cues which people typically associate with an individual’s facial expression. Smiling, frowning, subtle shifts of your eyes, as well as other non-verbal “clues,” are an essential aspect of communication since this allows a person to connect your feelings to what you are saying (Pigni 457). Without these non-verbal clues, it is very likely that aspects of communication such as sarcasm, humor or sadness will not be transmitted correctly resulting in a considerable amount of confusion involving the context of a particular conversation. One example of this can be seen in the lack of sufficient emotional context in email conversations. While emails are one of the most expedient methods of communication that you can utilize, their inability to convey the emotional context of a conversation can result in people misinterpreting the message that the sender is trying to send. Do note though that non-verbal communication is not limited to facial expressions, body movement is also another aspect of this method of subtle communication (Subapriya 37).
Non-verbal communication using the body often centers around hand movements in everyday conversations. Gestures such as rolling the hands, pointing, or opening the hands are a recognized method of enhancing a particular point or specifying what a person is attempting to communication. In fact, various forms of literature, both fiction, and non-fiction, have highlighted the expressiveness of a person’s hands and how their movements are often an essential aspect of allowing a person to understand the context and emotional cues in a particular conversation (Gabbott and Hogg 384). Aside from hand movements, the movements of a person’s body when they are dancing are also an effective means of conveying emotion. Based on the research conducted by Phutela, it was shown that traditional dances from tribes in Africa as well as those from Western cultures embodied different emotional states and conveyed them through dance. For example, the Mauri Haka dance was meant as a means of intimidation and to show off strength, but it could also be used to convey appreciation for great achievements (Phutela 43). The rhythmic stomping, aggressive movements and traditional “shouting” are all meant to convey some form of emotion that can be interpreted by the viewer. In fact, some particular dances take this method of “emotional conveyance” to its extremes wherein dancing is used as the primary method of conveying a message. Examples of this take the form of interpretative dancing which seeks to express emotions, feelings, situations and even stories via dance alone (Shukla 41).
Each movement in this sort of dance is meant to transmit a particular type of emotion which people can instinctively recognize due to how much non-verbal communication cues have become an important aspect of how we communicate (Preja 241). This is why the sculpture that is on display has an ideal mix of symbolism since it utilizes an innate visual cue that people can recognize on an instinctual level. The sculpture is meant to represent the traditional clothes that used to be worn by women in Qatar. It is also positioned in such a way that it is intended to represent happiness as well as sadness based on the body movements that are meant to convey this emotion. The typical use of happiness, in this case, is supposed to represent the happiness that women feel when they get married. It is a mark of new beginnings and the potential happiness that a woman will receive in the future. On the other end of the spectrum, the sadness in the sculpture is supposed to showcase the uncertainty that women feel when it comes to marrying into a new family as well as having to abandon their old one for a new one.
This why the sculpture utilizes a combination of fabric and metal since the colorful cloth is supposed to represent the positive feelings that come from marriage while the cold metal embodies the loneliness and sadness that the new bride also feels. In essence, interpreting this sculpture requires a considerable amount of cultural context since people from western cultures do not realize that when a wife marries into a family in Qatar, she is, in effect, cutting off nearly all ties with her old one. Communication with her old family is limited, and she is, in essence, thrust into an entirely new environment. This is why this sculpture represents that duality that every bride in Qatar experiences in marriage. Aside from this, the sculpture also has a deeper meaning wherein it also embodies the saying: “there is no happiness without sadness.” One way of interpreting this is by understanding that to gain something, you must give up something in return. In essence, all things, including happiness, have a price and to get what you want, you must pay the required price. This is a lesson that applies to many aspects in a person’s life.
Works Cited
Gabbott, Mark, and Gillian Hogg. “An Empirical Investigation Of The Impact Of Non- Verbal Communication On Service Evaluation.” European Journal Of Marketing 34.3/4 (2000): 384. Print.
Phutela, Deepika. “The Importance Of Non-Verbal Communication.” IUP Journal Of Soft Skills 9.4 (2015): 43. Print.
Pigni, Alessandra. “Symbolic Communication And Silence In An Informal Interpersonal Helping Process (Extract From The Film Chocolat By Lasse Hallström).” Psychodynamic Practice 12.4 (2006): 453-461. Print.
Preja, Carmen Aneta. “Verbal And Non-Verbal Communication In Sports Culture.” Palestrica Of The Third Millennium Civilization & Sport 14.3 (2013): 239-243. Print.
Shukla, Sangeeta. “Body Language: Inside Out.” IUP Journal Of Soft Skills 3.3/4 (2009): 41-44. Print.
Subapriya, Rahmat. “The Importance Of Non-Verbal Cues.” ICFAI Journal Of Soft Skills 3.2 (2009): 37. Print.