Many information is given about the topic of body language ranging from some background information to its meaning. Majority of the researches who have focused on this have also given examples about the topic. The conversation regarding the topic of dancers usage of body language to communicate is centered on visual education as opposed to the usual reading and writing experiments. This was beneficial to gain understanding of the examples given about my topic.
One experiment, which was done by Julie Brodie and Elin Lobel, attempted to study fundamental concepts of movement essential for many dance practices. Students are introduced to breathing, sensing, connecting, and initiating during the warm-up of their dance class over the course of one …show more content…
Additionally, he mentions four aspects that make body language effective: gestures, body movement and position, facial expression, and eye contact. These four aspects are what makes a dancer communicate with the audience and it’s performance improve. With gestures, a dancer needs to “let the body speak for itself” (Jain 40), body movement “gains the audience’s attention” (Jain 41), facial expressions are self-explanatory. Own’s face expresses emotion and it connects with the audience, that is why a dancer should “never change natural personality to suit situations” (Jain 41). Finally, eye contact “invites attention, initiates communication, erases ignorance, establishes a personal connect but also promotes bonding” (Jain 42). With these four aspects, a dancer can truly communicate with the audience well thus, increasing their dance …show more content…
Nele Dael, Marcello Mortillaro, and Klaus Scherer all primarily examined common body movements and emotions. The authors chose the Geneva Multimodal Emotion Portrayals (GEMEP) corpus for the purpose of this research because “it provides a very rich and diverse database both in terms of the number of emotions and in terms of the behavioral repertoire, integrating body posture, movement, and gesture (1088). The experiment involved ten professional actors portraying a set of twelve emotions. The emotions were defined and described in three different scenarios for validity: the basic emotion theory, the bidimensional theory, and the componential appraisal theory. The experiment was also made under a controlled environment thus reducing false results. The results were shown in charts and tables to be easily read which suggests that patterns of body movement occur due to specific emotions therefore, most emotions were expressed by multiple
One experiment, which was done by Julie Brodie and Elin Lobel, attempted to study fundamental concepts of movement essential for many dance practices. Students are introduced to breathing, sensing, connecting, and initiating during the warm-up of their dance class over the course of one …show more content…
Additionally, he mentions four aspects that make body language effective: gestures, body movement and position, facial expression, and eye contact. These four aspects are what makes a dancer communicate with the audience and it’s performance improve. With gestures, a dancer needs to “let the body speak for itself” (Jain 40), body movement “gains the audience’s attention” (Jain 41), facial expressions are self-explanatory. Own’s face expresses emotion and it connects with the audience, that is why a dancer should “never change natural personality to suit situations” (Jain 41). Finally, eye contact “invites attention, initiates communication, erases ignorance, establishes a personal connect but also promotes bonding” (Jain 42). With these four aspects, a dancer can truly communicate with the audience well thus, increasing their dance …show more content…
Nele Dael, Marcello Mortillaro, and Klaus Scherer all primarily examined common body movements and emotions. The authors chose the Geneva Multimodal Emotion Portrayals (GEMEP) corpus for the purpose of this research because “it provides a very rich and diverse database both in terms of the number of emotions and in terms of the behavioral repertoire, integrating body posture, movement, and gesture (1088). The experiment involved ten professional actors portraying a set of twelve emotions. The emotions were defined and described in three different scenarios for validity: the basic emotion theory, the bidimensional theory, and the componential appraisal theory. The experiment was also made under a controlled environment thus reducing false results. The results were shown in charts and tables to be easily read which suggests that patterns of body movement occur due to specific emotions therefore, most emotions were expressed by multiple