scholarly journals Do free dance movements communicate how we feel? Investigating emotion recognition in dance

2021 ◽  
Vol 30 (1) ◽  
Author(s):  
Sinead White ◽  
Hauke Egermann
Keyword(s):  
Emotion Recognition ◽  
Guided Imagery ◽  
Methodological Approach ◽  
Music Listening ◽  
Dance Movement ◽  
Basic Emotions ◽  
Guided Imagery And Music ◽  
Video Recordings ◽  
Induction Condition ◽  
Dance Movements

Current research into music and free dance movement explores differences in corporeal articulation of basic emotions. Accordingly, Van Dyck et al. (2014, https://doi.org/10.1371/journal.pone.0089773) report congruent emotion recognition in free dance movements recorded after happiness or sadness inductions in lay dancers. The current study replicates this previous study with an advanced methodological approach measuring ratings of happiness and sadness recognition separately within both happy and sad conditions. We then tested the differences between the recognition of happiness and sadness in free dance movements. Therefore, a dance movement pre-study was conducted in two different conditions where either happiness or sadness were induced within four lay dancers using guided imagery and music listening. Subsequent to this, dancers were video recorded while moving freely to a neutral piece of music. Those silenced video recordings were then presented to participants (N = 37) in an online experiment, who were instructed to rate the emotion they recognised. Based on the Effort-Shape Theory by Rudolf Laban, observers also rated kinematic features of velocity/acceleration, directness, impulsiveness and expansion. Participants rated higher levels of happiness for the happy-induction condition compared to sadness. However, participants rated higher levels of sadness in the sad condition compared to happiness for just one of the four dancers. This finding indicates that it is easier to recognise happiness in free dance movements than sadness. The results of the kinematic features supported previous research which rated higher intensities for the happy condition than the sad condition.

Multimodal Imagery in the Receptive Music Therapy Model Guided Imagery and Music (GIM)

2019 ◽  
pp. 426-444
Author(s):  
Lars Ole Bonde
Keyword(s):  
Music Therapy ◽  
Guided Imagery ◽  
Clinical Settings ◽  
Music Listening ◽  
Guided Imagery And Music ◽  
Musical Imagery ◽  
Receptive Music Therapy ◽  
Therapy Model ◽  
Multimodal Imagery ◽  
Bonny Method

Lars Ole Bonde considers musical imagery in the context of music therapy sessions and focuses on the Bonny Method of guided imagery and music as a well-documented example of music imagery. While Bonde mainly focuses on listening in clinical settings, he argues that imagery listening should be seen as a health resource in everyday listening settings. Taking in perspectives from neuroaffective theory, Bonde analyzes clinical material and evidence from the analysis of EEG data and shows how music therapy theory—as a specific tradition within musicology—can contribute to research in music listening through a greater understanding of multimodal imagery in such listening.

scholarly journals ASAL USUL, PENGOLAHAN DAN SIMBOL RAGAM GERAK TARIAN SUMANGGAK ETNIK TOMBONUO

2019 ◽  
pp. 47-78
Author(s):  
CHENG JIA MIN ◽  
LOW KOK ON
Keyword(s):  
Ethnic Group ◽  
Research Methods ◽  
19Th Century ◽  
Field Trips ◽  
Musical Instruments ◽  
Dance Movement ◽  
Video Recordings ◽  
Dance Movements ◽  
Performance Context ◽  
The 19Th Century

ABSTRAK  Tarian Sumanggak moden telah diolah oleh Suana Kabora berdasarkan pergerakan ritual muinsamung dan monginsamung etnik Tombonuo di daerah Pitas, Sabah pada tahun 1983. Fokus kajian ini tertumpu kepada aspek perubahan, pengolahan dan simbol ragam gerak tarian Sumanggak moden. Bagi mengumpul data kajian, tiga siri kerja lapangan dijalankan di empat buah kampung di daerah Pitas. Kaedah temu bual, pemerhatian, rakaman video dan pengambilan gambar telah digunakan dalam kajian lapangan. Analisis secara interpretasi mendapati asal usul nama tarian Sumanggak diperoleh daripada perbuatan membuka gadur (bekas yang diperbuat daripada tembaga), yang dikenali sebagai adat Sumanggak. Persembahan tarian Sumanggak didapati mengalami perubahan dari zaman mengayau sehinggalah zaman kini. Tarian ini berasal daripada upacara muinsamung, yang dikendalikan semasa rombongan mengayau dalam perjalanan kembali ke kampung. Pada zaman pentadbiran British (akhir kurun ke-19), konsep persembahan tarian Sumanggak berubah kerana upacara muinsamung telah ditukar kepada upacara monginsamung. Oleh itu, aspek-aspek persembahan tarian Sumanggak seperti ragam gerak, kostum, alat muzik, dan prop mengalami perubahan dari segi fungsi dan pengolahan. Setiap ragam gerak didapati mempunyai simbol yang berkait rapat dengan ritual tradisional etnik Tombonuo.   ABSTRACT The modern Sumanggak dance was adapted by Suana Kabora in 1983, based on the movements depicted from the muinsamung and monginsamung rituals of the Tombonuo ethnic group in Pitas district, Sabah. This study focuses on the aspects of the performance, the adaption and the symbols that are portrayed in the dance movements of the modern Sumanggak dance. This study involved three field trips to collect data from four villages in Tombonuo in Pitas district. Among the research methods employed were interviews, observations, video recordings and photography. Based on the interpretation and analysis of the study, it was found that the name of the modern Sumanggak dance originated from the act of opening the gadur (vessel made of bronze), which is known as Sumanggak. The performance context of the Sumanggak dance focused on the head-hunting period to the British administration era until the present time. The Sumanggak dance originated from the muinsamung ritual, which was performed at the time of the arrival of the head-hunting group at their village. During the British administration era (end of the 19th century), the Sumanggak dance had undergone some modifications due to transition from the muinsamung ritual to the monginsamung ritual. The aspect of the dance movements, the costume, the musical instruments and the props had undergone changes in terms of function and adaption. Each symbol of the dance movement has also been found to be closely related to the muinsamung and monginsamung rituals.

scholarly journals Receptive Music Therapy

2015 ◽  
Author(s):  
Denise Grocke
Keyword(s):  
Music Therapy ◽  
Guided Imagery ◽  
Research Literature ◽  
Music Listening ◽  
Guided Imagery And Music ◽  
Therapeutic Goals ◽  
Live Music ◽  
Receptive Music Therapy ◽  
Bonny Method ◽  
Music And Imagery

Listening to music is an everyday experience for most people. In music therapy music listening can be used to support many therapeutic goals. This chapter presents an overview of methods used in receptive music therapy that are supported by research literature, including music-assisted relaxation, music and imagery, and Guided Imagery and Music (Bonny Method). Salient features of each approach are outlined and supported with evidence-based research. Elements of music used in relaxation and imagery are discussed in some further depth to highlight the need for greater transparency when reporting the effect of recorded and live music in receptive music therapy.

Movement Analysis of Philippine Folk Dance Itik-itik

2019 ◽  
Vol 2 (1) ◽  
pp. 56-63
Author(s):  
Pangilinan Math C ◽  
Fontanilla Lyndo V ◽  
Pineda Israel C ◽  
Rocelle E Agtang ◽  
Soriano Ria M ◽  
...  
Keyword(s):  
Movement Analysis ◽  
Adductor Muscle ◽  
Mechanical Analysis ◽  
Muscle Group ◽  
Upper Body ◽  
Folk Dance ◽  
Dance Movement ◽  
Dance Teacher ◽  
Hip Muscle ◽  
Dance Movements

The purpose of the study was to describe and analyze the dance movements of the Philippine folk dance Itik-itik. The researchers adopted the movement analysis method similar to that of Mackenzie that involves the (1) description of the actual movements which occur at the joints involved; (2) the plane in which the movement occurs; and (3) the muscles producing the movement (agonist & antagonist). In addition, similar to the study of Martin and Miller, the researchers also had done a mechanical analysis on the lever type involved in the execution of the dance movement in terms of force, axis, and resistance. Results revealed that the prominent dance steps in the Philippine local dance Itik-itik are the (1) running, (2) cross step, slide close, slide close step, (3) heel, close-ball, close arm, (4) step, slide-close, slide, (5) arms extension/flexion, and (6) flapping of the arms. The joints involved are the shoulder and hip muscle which are ball and socket type of joints; and elbow, knee and ankle which are hinge joints. The major muscles involved in the dance for the lower body include the quadriceps, hamstring muscle group, adductor muscle group, calves and gluts. While for the upper body muscles involved are the pectoralis major, latissimus dorsi, deltoid, trapezius, biceps, and triceps muscles. The type of lever used in performing the dance comprise majority of 1st class and 3rd class levers. By knowing the muscles involved in the dance the dance teacher may be able to devise activities to gradually prepare the prime mover muscles before the actual execution for injury prevention. Thus, the movements in the dance may improve the health and skill related fitness of the performers.

scholarly journals Effects of aging on emotion recognition from dynamic multimodal expressions and vocalizations

2021 ◽  
Vol 11 (1) ◽  
Author(s):  
Diana S. Cortes ◽  
Christina Tornberg ◽  
Tanja Bänziger ◽  
Hillary Anger Elfenbein ◽  
Håkan Fischer ◽  
...  
Keyword(s):  
Older Adults ◽  
Emotion Recognition ◽  
Positive Emotions ◽  
Negative Emotions ◽  
Group Differences ◽  
Significant Group ◽  
Positivity Effect ◽  
Video Recordings ◽  
Age Related ◽  
Effects Of Aging

AbstractAge-related differences in emotion recognition have predominantly been investigated using static pictures of facial expressions, and positive emotions beyond happiness have rarely been included. The current study instead used dynamic facial and vocal stimuli, and included a wider than usual range of positive emotions. In Task 1, younger and older adults were tested for their abilities to recognize 12 emotions from brief video recordings presented in visual, auditory, and multimodal blocks. Task 2 assessed recognition of 18 emotions conveyed by non-linguistic vocalizations (e.g., laughter, sobs, and sighs). Results from both tasks showed that younger adults had significantly higher overall recognition rates than older adults. In Task 1, significant group differences (younger > older) were only observed for the auditory block (across all emotions), and for expressions of anger, irritation, and relief (across all presentation blocks). In Task 2, significant group differences were observed for 6 out of 9 positive, and 8 out of 9 negative emotions. Overall, results indicate that recognition of both positive and negative emotions show age-related differences. This suggests that the age-related positivity effect in emotion recognition may become less evident when dynamic emotional stimuli are used and happiness is not the only positive emotion under study.

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