Expressing Induced Emotions Through Free Dance Movement

Dyck, Edith Van; Maes, Pieter-Jan; Hargreaves, Jonathan A.; Lesaffre, Micheline; Leman, Marc

doi:10.1007/s10919-013-0153-1

Cited by 39 publications

(55 citation statements)

References 44 publications

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“…Gazing allocation research has shown that observers' attention is generally allocated to the most salient locations in a scene, or the locations that stand out relative to their neighbors [44]. As Van Dyck et al [28] unveiled that, after happy emotion induction, movements proved to be faster, more accelerated, more expanded, and more impulsive than after sad emotion induction, the bodies of dancers in the happy condition were in all probability more salient than those of dancers in the sad one, and therefore, attracted more attention.…”

Section: Discussionmentioning

confidence: 99%

Recognizing Induced Emotions of Happiness and Sadness from Dance Movement

et al. 2014

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Recent research revealed that emotional content can be successfully decoded from human dance movement. Most previous studies made use of videos of actors or dancers portraying emotions through choreography. The current study applies emotion induction techniques and free movement in order to examine the recognition of emotional content from dance. Observers (N = 30) watched a set of silent videos showing depersonalized avatars of dancers moving to an emotionally neutral musical stimulus after emotions of either sadness or happiness had been induced. Each of the video clips consisted of two dance performances which were presented side-by-side and were played simultaneously; one of a dancer in the happy condition and one of the same individual in the sad condition. After every film clip, the observers were asked to make forced-choices concerning the emotional state of the dancer. Results revealed that observers were able to identify the emotional state of the dancers with a high degree of accuracy. Moreover, emotions were more often recognized for female dancers than for their male counterparts. In addition, the results of eye tracking measurements unveiled that observers primarily focus on movements of the chest when decoding emotional information from dance movement. The findings of our study show that not merely portrayed emotions, but also induced emotions can be successfully recognized from free dance movement.

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Section: Discussionmentioning

confidence: 99%

Recognizing Induced Emotions of Happiness and Sadness from Dance Movement

et al. 2014

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“…It has been found, for example, that people tend to move with larger, faster, and more fluid movements to "happy" music than to "sad" music Camurri, Lagerlof et al, 2003;Dahl & Friberg, 2003;Van Dyck, Maes, Hargreaves, Lesaffre, & Leman, 2013). Furthermore, our movements become faster, more regular, and jerkier with a steady beat .…”

Section: Music-related Movementsmentioning

confidence: 99%

Pleasurable and Intersubjectively Embodied Experiences of Electronic Dance Music

Solberg

Jensenius

2017

EMR

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How do dancers engage with electronic dance music (EDM) when dancing? This paper reports on an empirical study of dancers' pleasurable engagement with three structural properties of EDM: (1) breakdown, (2) build-up, and (3) drop. Sixteen participants danced to a DJ mix in a club-like environment, and the group's bodily activity was recorded with an infrared, marker-based motion capture system. After they danced, the subjects filled out questionnaires about the pleasure they experienced and their relative desire to move while dancing. Subsequent analyses revealed associations between the group's quantity of motion and self-reported experiences of pleasure. Associations were also found between certain sonic features and dynamic changes in the dancers' movements. Pronounced changes occurred in the group's quantity of motion during the breakdown, build-up, and drop sections, suggesting a high level of synchronization between the group and the structural properties of the music. The questionnaire confirmed this intersubjective agreement: participants perceived the musical passages consistently and marked the build-up and drop as particularly pleasurable and motivational in terms of dancing. Self-reports demonstrated that the presence and activity of other participants were also important in the shaping of one's own experience, thus supporting the idea of clubbing as an intersubjectively embodied experience.Submitted 2015 December 15; accepted 2016 June 13. KEYWORDS: EDM, groups in motion, pleasure, intersubjectivity, motion captureMUSIC has the unique ability to temporally synchronize us, both physically and affectively. This can be seen in the way in which a group of people are able to move "together" to music and also share similar pleasurable experiences of dancing together. Such experiences are often to be found on night-club dance floors, a setting in which people dance both individually and collectively to loud and energetic music while spectacular visual effects light up the darkened space.There are many studies of shared embodied experiences with electronic dance music (EDM) in club settings (Collin & Godfrey, 1997;Fikentscher, 2000;Garcia, 2011;Jackson, 2004;Malbon, 1999;Reynolds, 1998;Rietveld, 1998;Thornton, 1995;St John, 2004). These studies, however, have tended to focus on sociological and cultural aspects, such as identity, social interaction, gender, and sexuality, and they have mainly used interpretive readings and ethnography as points of departure. As far as we know, there are no existing empirical investigations into how people move to EDM, what happens affectively in such settings, and how these body movements and affective engagements are related to sonic features in particular.This paper reports on an experimental study of EDM dancers' experiences that was carried out in a controlled yet club-like environment. In it, we explore how the co-shaping of a shared experience happens in an EDM environment, as evidenced through motion capture data and subjective self-reports.The general resea...

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“…man.ac.uk/neill/mocap) complemented with our own algorithms, we calculated the three-dimensional position and displacement of both hands in reference to the body-center (the center of the hips) independent of how the participant is positioned or orientated relative to the motion capture space. The selection and calculation of the individual movement features (acceleration, impulsiveness, smoothness error, jerk, directness index, size, height) was based on previous studies applying the Effort/Shape model in the study of human movement behavior (Camurri et al, 2004;Petersen, 2008;Van Dyck, Maes, Hargreaves, Lesaffre, & Leman, 2013). A full description of the different features and the procedures used to calculate them is presented in Van Dyck et al (2013).…”

Section: Movement Data Acquisition (Motor-attuning Part)mentioning

confidence: 99%

“…The selection and calculation of the individual movement features (acceleration, impulsiveness, smoothness error, jerk, directness index, size, height) was based on previous studies applying the Effort/Shape model in the study of human movement behavior (Camurri et al, 2004;Petersen, 2008;Van Dyck, Maes, Hargreaves, Lesaffre, & Leman, 2013). A full description of the different features and the procedures used to calculate them is presented in Van Dyck et al (2013). Accordingly, for each subject (N ¼ 36) we obtained a single-value measure per musical style for each of the seven movement features.…”

Section: Movement Data Acquisition (Motor-attuning Part)mentioning

confidence: 99%

The Coupling of Action and Perception in Musical Meaning Formation

Maes¹,

Dyck²,

Lesaffre³

et al. 2014

Music Perception

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THE EMBODIED PERSPECTIVE ON MUSIC COGNITIONhas stressed the central role of the body and body movements in musical meaning formation processes. In the present study, we investigate by means of a behavioral experiment how free body movements in response to music (i.e., action) can be linked to specific linguistic, metaphorical descriptions people use to describe the expressive qualities they perceive in the music (i.e., perception). We introduce a dimensional model based on the Effort/Shape theory of Laban in order to target musical expressivity from an embodied perspective. Also, we investigate whether a coupling between action and perception is dependent on the musical background of the participants (i.e., trained versus untrained). The results show that the physical appearance of the free body movements that participants perform in response to music are reliably linked to the linguistic descriptions of musical expressiveness in terms of the underlying quality. Moreover, this result is found to be independent of the participants' musical background.

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Expressing Induced Emotions Through Free Dance Movement

Cited by 39 publications

References 44 publications

Recognizing Induced Emotions of Happiness and Sadness from Dance Movement

Recognizing Induced Emotions of Happiness and Sadness from Dance Movement

Pleasurable and Intersubjectively Embodied Experiences of Electronic Dance Music

The Coupling of Action and Perception in Musical Meaning Formation

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