Oh happy dance: Emotion recognition in dance movement

PLoS ONE, 2014

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. Citation: Van Dyck E, Vansteenkiste P, Lenoir M, Lesaffre M, Leman M (2014) Recognizing Induced Emotions of Happiness and Sadness from Dance Movement. PLoS ONE 9(2): e89773.

Scientific Reports

Ekman famously contended that there are different channels of emotional expression (face, voice, body), and that emotion recognition ability confers an adaptive advantage to the individual. Yet, still today, much emotion perception research is focussed on emotion recognition from the face, and few validated emotionally expressive full-body stimuli sets are available. Based on research on emotional speech perception, we created a new, highly controlled full-body stimuli set. We used the same-sequence approach, and not emotional actions (e.g., jumping of joy, recoiling in fear): One professional dancer danced 30 sequences of (dance) movements five times each, expressing joy, anger, fear, sadness or a neutral state, one at each repetition. We outline the creation of a total of 150, 6-s-long such video stimuli, that show the dancer as a white silhouette on a black background. Ratings from 90 participants (emotion recognition, aesthetic judgment) showed that intended emotion was recogniz...

Frontiers in Human Neuroscience, 2014

These authors have contributed equally to this work.

Proceedings of the …, 2012

Emotion in Motion' is an experiment designed to understand the emotional reaction of people to a variety of musical excerpts, via self-report questionnaires and the recording of electrodermal activity (EDA) and heart rate (HR) signals. The experiment ran for 3 months as part of a public exhibition, having nearly 4000 participants and over 12000 listening samples. This paper presents the methodology used by the authors to approach this research, as well as preliminary results derived from the self-report data and the physiology.

2017

Emotional engagement and aesthetic appreciation can be prime motivations for engaging with dance. Dance can therefore offer a valuable tool for the neuroscientific study of emotion processing. This idea underpinned the project Watching Dance, which investigated the neural correlates of subjective emotional response. Participants watched a four-minute video of contemporary dance involving two dancers and three music segments. Subjective emotional response was measured by continuous rating with a slider on an analogue scale, and structured interviews prompted participants to reflect on their ratings. The neural correlates were measured using functional brain imaging complemented by a brain interference study to investigate a causal link between regional brain activity and the subjective emotional response. A pattern of emotional rating emerged that was strongly influenced by both music and movement, as confirmed by the qualitative investigation. A direct link was established between p...

PloS one, 2014

Several studies have investigated the encoding and perception of emotional expressivity in music performance. A relevant question concerns how the ability to communicate emotions in music performance is acquired. In accordance with recent theories on the embodiment of emotion, we suggest here that both the expression and recognition of emotion in music might at least in part rely on knowledge about the sounds of expressive body movements. We test this hypothesis by drawing parallels between musical expression of emotions and expression of emotions in sounds associated with a non-musical motor activity: walking. In a combined production-perception design, two experiments were conducted, and expressive acoustical features were compared across modalities. An initial performance experiment tested for similar feature use in walking sounds and music performance, and revealed that strong similarities exist. Features related to sound intensity, tempo and tempo regularity were identified as ...

Listening to music makes us to move in various ways. Several factors can affect the characteristics of these movements, including individual factors and musical features. Additionally, music-induced movement may be shaped by the emotional content of the music. Indeed, the reflection and embodiment of musical emotions through movement is a prevalent assumption within the embodied music cognition framework. This study investigates how music-induced, quasi-spontaneous movement is influenced by the emotional content of music. We recorded the movements of 60 participants (without professional dance background) to popular music using an optical motion capture system, and computationally extracted features from the movement data. Additionally, the emotional content (happiness, anger, sadness, and tenderness) of the stimuli was assessed in a perceptual experiment. A subsequent correlational analysis revealed that different movement features and combinations thereof were characteristic of ea...

Brain Topography, 2009

In everyday life, emotional events are perceived by multiple sensory systems. Research has shown that recognition of emotions in one modality is biased towards the emotion expressed in a simultaneously presented but task irrelevant modality. In the present study, we combine visual and auditory stimuli that convey similar affective meaning but have a low probability of co-occurrence in everyday life. Dynamic face-blurred whole body expressions of a person grasping an object while expressing happiness or sadness are presented in combination with fragments of happy or sad instrumental classical music. Participants were instructed to categorize the emotion expressed by the visual stimulus. The results show that recognition of body language is influenced by the auditory stimuli. These findings indicate that crossmodal influences as previously observed for audiovisual speech can also be obtained from the ignored auditory to the attended visual modality in audiovisual stimuli that consist of whole bodies and music.

Music Perception, 2009

time-course of these emotional responses during listening sessions is unclear. We investigated the length of time required for participants to initiate emotional responses ("integration time") to 138 musical samples from a variety of genres by monitoring their real-time continuous ratings of emotional content and arousal level of the musical excerpts (made using a joystick). On average, participants required 8.31 s (SEM = 0.10) of music before initiating emotional judgments. Additionally, we found that: 1) integration time depended on familiarity of songs; 2) soul/funk, jazz, and classical genres were more quickly assessed than other genres; and 3) musicians did not differ significantly in their responses from those with minimal instrumental musical experience. Results were partially explained by the tempo of musical stimuli and suggest that decisions regarding musical structure, as well as prior knowledge and musical preference, are involved in the emotional response to music.