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Copyright of Ciencia y Educación (2707-3378) is the property of Duanys Miguel Pena Lopez and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of PODIUM- Revista de Ciencia y Tecnologia en la Cultura Física is the property of Universidad de Pinar del Rio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Emotion perception interacts with how we think and speak, including our concept of emotions. Body expression is an important way of emotion communication, but it is unknown whether and how its perception is modulated by conceptual knowledge. In this study, we employed representational similarity analysis and conducted three experiments combining semantic similarity, mouse‐tracking task, and one‐back behavioral task with electroencephalography and functional magnetic resonance imaging techniques, the results of which show that conceptual knowledge predicted the perceptual representation of body expressions. Further, this prediction effect occurred at approximately 170 ms post‐stimulus. The neural encoding of body expressions in the fusiform gyrus and lingual gyrus was impacted by emotion concept knowledge. Taken together, our results indicate that conceptual knowledge of emotion categories shapes the configural representation of body expressions in the ventral visual cortex, which offers compelling evidence for the constructed emotion theory. [ABSTRACT FROM AUTHOR]

Aim. This paper focused mainly on analysis and the importance of a correct understanding of body language in transmitting emotions and affective experiences among those aged 20-30 years, by addressing in primary form the issues of multimodal modeling of several body expressions. The purpose of this work was to understand differences in understanding and examine the use of body expressions as an important way to communicate and create affectively aware technologies. The expression, gestures and movements of the teacher of physical education or the coach, the use of the hands and head to indicate to the students how to correct their posture or form during an exercise, without the need for verbal interruption of activity, is obviously an important addition to the theoretical or tactical contents in the case of sports competitions. Methods. This study was conducted with the participation of 74 clients of Ovidius University of Constanta, to whom we addressed a questionnaire with ten questions, to find out what is their perception of their own opinions and perceptions about how they understand the body message of a person known in the case of group one, or unknown in the case of group two. Both groups consisted of subjects of the same age and level of training, all being second or third year customers between the ages of 20 and 30. Results. The dispersion of group one options found in the first question is retained also in the case of the second question. Conclusions. The results of the above research indicate that there is a different way of interpretation but that is not a form of deception. Importantly, it has been proven that there is another way of interpretation, not only that both the face and the body play different roles that are interpreted differently. The study also examined and showed significant differences between the two groups in the assessment of the role played by the body in communicating emotions when presenting to the subjects affective displays containing a combination of facial expressions or sometimes of posture or movement. [ABSTRACT FROM AUTHOR]

Copyright of Ciencia y Educación (2707-3378) is the property of Duanys Miguel Pena Lopez and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ciencia y Educación (2707-3378) is the property of Duanys Miguel Pena Lopez and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pedagogía y Saberes is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of VIREF: Revista de Educación Física is the property of Universidad de Antioquia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of PODIUM- Revista de Ciencia y Tecnologia en la Cultura Física is the property of Universidad de Pinar del Rio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Shadow theatre is an educational resource based on the use of silhouettes and the body as a means of communication. It allows the incorporation of music and sound effects that help students discover movement possibilities in the stage space. It also encourages collaborative work through the creation of groups. Therefore, the aim of this research is the incorporation of shadow theatre as a performance art for the promotion of uninhibited corporal expression and group cohesion. An action-research methodology is used to define a didactic proposal that incorporates shadow theatre in the field of music education at primary school. The learning situation is carried out in two public schools in the province of Malaga, with a sample of 213 students. The results indicate that shadow theatre effectively improved pupils’ body expression and group cohesion. Some students had initial difficulties, but thanks to the anonymity provided by this resource, fear of ridicule was reduced. It is proposed to compare this resource with theatre in order to define whether the method of incorporating the shadow is really effective.

With the times’ progress and the growth of culture and art, the clothing industry has ushered in new development opportunities in the market. As its expansion and extension, clothing performance not only has high ornamental value, but also can exist independently as an art. However, in shaping the artistic image of clothing performance, the main focus is on the presentation of external images, lacking the expression of the rhythmic and connotative characteristics of body movements, which not only weakens the visual effect of the performance, but also has an impact on its integrity and continuity. Therefore, understanding the relationship between clothing performance and the body, and promoting their mutual integration and penetration are of great value and significance for the current development of visual art. Body philosophy is a philosophical discipline that explores the body and bodily experiences. It is concerned with the way the body perceives and exists. This can help performers and designers think about how clothing shapes and expresses personal and social identity, and how the diversity and change of identity can be explored through costume performance. In order to deeply study the relationship between clothing performance and body, and improve the effectiveness of clothing performance, this article explains the relationship between body and aesthetics based on the development history, function and value of clothing performance, combined with body philosophy theory. From the perspective of body philosophy, the body is an indispensable factor in costume performance, and costume performance can achieve artistic expression of the body, both of which interact and promote each other. In the development of aesthetic activities, the connection of the two closely has important value for achieving higher levels of visual representation.

Copyright of Revista Interuniversitaria de Formación del Profesorado is the property of Asociacion Universitaria de Formacion del Profesorado (AUFOP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Shadow theatre is an educational resource based on the use of silhouettes and the body as a means of communication. It allows the incorporation of music and sound effects that help students discover movement possibilities in the stage space. It also encourages collaborative work through the creation of groups. Therefore, the aim of this research is the incorporation of shadow theatre as a performance art for the promotion of uninhibited corporal expression and group cohesion. An action-research methodology is used to define a didactic proposal that incorporates shadow theatre in the field of music education at primary school. The learning situation is carried out in two public schools in the province of Malaga, with a sample of 213 students. The results indicate that shadow theatre effectively improved pupils' body expression and group cohesion. Some students had initial difficulties, but thanks to the anonymity provided by this resource, fear of ridicule was reduced. It is proposed to compare this resource with theatre in order to define whether the method of incorporating the shadow is really effective. [ABSTRACT FROM AUTHOR]

Copyright of Psychological Science is the property of Psychological Science Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Many areas in computer science are facing the need to analyze, quantify and reproduce movements expressing emotions. This paper presents a systematic review of the intelligible factors involved in the expression of emotions in human movement and posture. We have gathered the works that have studied and tried to identify these factors by sweeping many disciplinary fields such as psychology, biomechanics, choreography, robotics and computer vision. These researches have each used their own definitions, units and emotions, which prevents a global and coherent vision. We propose a meta-analysis approach that cross-references and aggregates these researches in order to have a unified list of expressive factors quantified for each emotion. A calculation method is then proposed for each of the expressive factors and we extract them from an emotionally annotated animation dataset: Emilya. The comparison between the results of the meta-analysis and the Emilya analysis reveals high correlation rates, which validates the relevance of the quantified values obtained by both methodologies. The analysis of the results raises interesting perspectives for future research in affective computing. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Capital Institute of Physical Education is the property of Shoudu Tiyu Xueyuan and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Movimento (0104754X) is the property of Movimento, da Escola de Educacao, Fisica, Fisioterapia e Danca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Conexxión is the property of Red Univercom, S.C. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Aula (0214-3402) is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Aula (0214-3402) is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of PODIUM- Revista de Ciencia y Tecnologia en la Cultura Física is the property of Universidad de Pinar del Rio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Unlike the usual academic path in their training through theoretical subjects, in Body Expression students have the opportunity to have a meaningful and embodied experience The objective of this research was to analyse the representations that the Social Education degree students from the University of the Basque Country had on the subject Body and motor expressiveness: proposals, techniques and intervention strategies in Social Education. The experience of this course has provided students with greater self-confidence, overcoming initial insecurity, and has also generated a feeling of enjoyment that has led to significant learning, despite involving great effort and personal involvement. [ABSTRACT FROM AUTHOR]

The purpose of higher education is the development of basic and professional skills to prepare students for the following stages of life. Social abilities and emotional regulation are considered to be part of these skills and could be improved through a group-work method. The aim of this study is to describe the emotional regulation process perceived by university students after group work is realised in expressive-artistic activities. The 69 participants (28 women and 41 men) aged between 19 and 26 (mean age 20.5, SD 2.1) were all second-year students of a Physical Activity and Sport Science degree. The data were collected through the questionnaire AIRE (Adaptative Instrument for Regulation of Emotions) applied by online form. The results revealed that the main goal of the students was to enjoy and have fun during the group work and gain new ideas from their peers. The biggest struggle was the schedule because some of them presented other personal or family commitments that limited their availability to practice. Overall, most of the participants affirmed that there are completely satisfied with the group project. In conclusion, group work within expressive-artistic activities improves social interaction and social skills but could be influenced by external factors (family, work, and other social commitments). [ABSTRACT FROM AUTHOR]

Copyright of Didacticae: Revista de Investigación en Didácticas Específicas is the property of Didacticae: Revista de Investigacion en Didacticas Especificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Didacticae: Revista de Investigación en Didácticas Específicas is the property of Didacticae: Revista de Investigacion en Didacticas Especificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The bodily expressive action stimulus test (BEAST) is developed to provide a set of standardized emotional stimuli for experimental investigations of emotion and attention, and the consistency has been validated in adult populations abroad. However, the consistency of this test in the Chinese population is unclear. To this end, 42 images of each category of emotion (happiness, sadness, fear, and anger) were selected from 254 images of the original stimulus set to further examine the consistency of the BEAST in Chinese population. Thirty‐one Chinese college students and 41 Chinese preschool children participated in this study. All of them were asked to complete an emotion recognition and judgment task. Results showed that adults had a high degree of consistency in rating these pictures, while the children's consistency was at a medium level. For adults, sadness was the easiest to recognize, followed by fear and anger, while happiness was the hardest to recognize. For children, fear was the easiest to recognize, anger and sadness were second, and happiness was also the hardest to recognize. At the same time, adults were more accurate in identifying happiness and sadness than children. For adults, they were more likely to confuse positive emotions with negative emotions. They tended to mistake sadness, fear, and anger for happiness. For children, they were more likely to identify sadness as fear and happiness. They also tended to recognize anger as fear. These results indicate that the recognition performance of BEAST images for Chinese and Western adults are roughly the same, however, in the same cultural context, the recognition performance of adults and children are very different, and generally the recognition accuracy rate of adults is higher than that of children. [ABSTRACT FROM AUTHOR]

La Percusión Corporal es un contenido que se está utilizando en Educación Física (EF) para desarrollar competencias vinculadas a la Expresión Corporal. Tras observar que existen evidencias científicas de sus posibles beneficios socioemocionales sobre las personas que la practican, este estudio pretende analizar si una práctica de percusión corporal, concretamente la Esku Dantza, una danza colectiva que utiliza patrones rítmicos con palmadas para relacionarse con sus compañeros/as, puede producir cambios en el estado emocional de los/las estudiantes de formación inicial del profesorado de EF. Se administró el cuestionario POMS a 82 estudiantes universitarios, 28 mujeres (34.1%) y 54 hombres (65.9%) al llegar y finalizar la sesión. La propuesta siguió un proceso pedagógico progresivo que dio lugar a aumentar los valores de tensión y vigorosidad así como disminuir los valores depresión, rabia y fatiga. Al finalizar la intervención, los/las estudiantes expresaron palabras como sentirse enérgicos/as, felices y motivados/as. Estos resultados podrían reafirmar los posibles beneficios de estas prácticas, promoviendo la actividad física a través de prácticas artísticas, no competitivas; así como generar impacto emocional que, sumado a un aprendizaje significativo, les haga interiorizar esta práctica y genere la motivación necesaria para implementarla en sus futuros ámbitos profesionales (educativos, deportivos, terapéuticos, etc) o incluso pueda utilizarse como estrategia para incorporar la danza entre el género masculino. Abstract. Body Percussion is a content that is being used in Physical Education (PE) to develop skills related to Body Expression. After observing that there is scientific evidence of its possible socioemotional benefits on people who practice it, this study aims to analyze whether a practice of body percussion, specifically Esku Dantza, a collective dance that uses rhythmic patterns with clapping to interact with their peers, it can lead to changes in the emotional state of students in initial PE teacher training.. The POMS questionnaire was administered to 82 university students, 28 women (34.1%) and 54 men (65.9%) upon arrival to class (Pre) and upon completion (Post). The proposal followed a progressive pedagogical process that resulted in increasing the values ​​of tension and vigor as well as decreasing the values ​​of depression, anger and fatigue. At the end of the intervention, the students expressed words such as feeling energetic, happy and motivated. These results could reaffirm the possible benefits of these practices, promoting physical activity through artistic practices, not competitive; as well as generating emotional impact that, added to a significant learning, makes them internalize this practice and generates the necessary motivation to implement it in their future professional fields (educational, sports, therapeutic, ...) or can even be used as a strategy to incorporate dance between the male gender.

Copyright of Historia de la Educacion is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The impact of emotional words on the recognition of body expression and the underlying neurodynamic mechanisms remain poorly understood. This study used a classic supraliminal priming paradigm and event related potential (ERP) to investigate the effect of emotion-label words (experiment 1) and emotional verbs (experiment 2) on the recognition of body expressions. The behavioral results revealed that individuals exhibited a higher accuracy in recognizing happy expressions when presented with a happy-label word condition, in contrast to neutral expressions. Furthermore, it was observed that the accuracy of recognizing happy body expressions was reduced when preceded by angry verb priming, compared to happy and neutral priming conditions. Conversely, the accuracy of recognizing angry body expressions was higher in response to angry verb priming than happy and neutral primings. The ERP results showed that, in the recognition of happy body expressions, the P300 amplitude elicited by angry-label words was more positive, while a congruent verb-expression condition elicited more positive P300 amplitude than an incongruent condition in the left hemisphere and midline. However, in the recognition of angry body expressions, the N400 amplitude elicited by a congruent verb-expression condition was smaller than that elicited by an incongruent condition. These results suggest that both abstract emotion-label words and specific emotional verbs influence the recognition of body expressions. In addition, integrating happy semantic context and body expression might occur at the P300 stage, whereas integrating angry semantic context and body expression might occur at the N400 stage. These findings present novel evidence regarding the criticality of emotional context in the recognition of emotions. • Emotion-label words and emotional verbs influenced the recognition of body expressions. • Integrating happy context and body expression might occur at the P300 stage. • Integrating angry context and body expression might occur at the N400 stage. [ABSTRACT FROM AUTHOR]

Most automatic expression analysis systems attempt to recognize a conventional set of expressions such as happiness, sadness, anger, surprise and fear, etc. Although this set of expressions is the most typical of the face, it is not the most representative/relevant for what the body expressions tell us. This paper presents a novel and generic approach for the recognition of body expressions using human postures. Our method is based on the notion of neutral motion generated from a given expressive one. In a second time, we estimate a residue function, as the difference between the two associated motions, namely the expressive and the neutral motion. More precisely, this function that is inspired by studies from psychology domain, gives a “neutrality” score of a motion. Using this “neutrality score”, we propose a cost function which enables to synthesis the neutral motion from any input expressive motion. The synthesis of neutral motion process is based on two nested Principal Component Analysis providing a space where moving and selecting realistic human animations become possible. Proposed approach is evaluated on four databases with heterogeneous movements and body expressions and it achieved recognition results for body expression recognition that exceed state of the art.

The purpose of higher education is the development of basic and professional skills to prepare students for the following stages of life. Social abilities and emotional regulation are considered to be part of these skills and could be improved through a group-work method. The aim of this study is to describe the emotional regulation process perceived by university students after group work is realised in expressive-artistic activities. The 69 participants (28 women and 41 men) aged between 19 and 26 (mean age 20.5, SD 2.1) were all second-year students of a Physical Activity and Sport Science degree. The data were collected through the questionnaire AIRE (Adaptative Instrument for Regulation of Emotions) applied by online form. The results revealed that the main goal of the students was to enjoy and have fun during the group work and gain new ideas from their peers. The biggest struggle was the schedule because some of them presented other personal or family commitments that limited their availability to practice. Overall, most of the participants affirmed that there are completely satisfied with the group project. In conclusion, group work within expressive-artistic activities improves social interaction and social skills but could be influenced by external factors (family, work, and other social commitments).

In the preparation of”complete actors” only the technical aspects are not decisive, they will not only train them for the level of mastery. Aerobic exercises, forexample, can only play a part in recreation and muscular development, but when we talk about the scenic movement that uses actors’ preparation, the situation changes; the future actor has to work out physical exercises by passing through the mental as well as the spiritual filter. Each student should think about how the exercises indicated by the teacher feel in their bodies, the reception may be different from the way the teacher / college actors / dancers experience the movement. In this context, the student is the only expert in what he likes to do with the movements indicated by the one in front of him, or what emotions are evoked when he experiences a choreographic phrase. This makes the study of acting or dance a form of art, and the difference is given by their inner experiences. the uniqueness of the body on the move.”

Activity in the lessons of modern dance, using appropriate music and features of age, is a way of activation of children in the educational process. Modern dance teacher’s personality, creativity, willingness to search and to promote the new, blending the work of training everything is good with what is beautiful, our own childhood memories bringing us closer to the age of the children that we educate, to their requirements, through all of this we can increase efficiency of modern dance classes, to ensure harmonious development, the formation of custom and pleasure to practice systematically elements of modern dance. Using music in modern dance classes at primary school will increase efficiency and in particular its density, and the dynamic of the lessons will get a new look that can be considered for enrichment of the methods used in educational process. The purpose of this study is to record the steps of modern dance to children in primary and the efficiency analysis using music lesson in modern dance lessons.

This article deals with the Argentinian musician Adolfo Reisin (1936-2020), a figure still unknown both to the public and the musicological community. The first objective of the article is to go in depth into Reisin's work for theatre in Argentina during the 1960s, where he was part of the movement known as Teatro de los Independientes. A second objective takes into consideration the main international composers that influenced his aesthetic--mainly, Pierre Schaeffer, Luigi Nono and Iannis Xenakis--, and how they contributed to Reisin's particular evolution to collective free improvisation and the experimentation with voice. Reisin's main contribution in this field was the so-called "corporalgestural solfeggio", a technique of his own that involves both artistic, pedagogical and music therapy facets. The study of Adolfo Reisin's aesthetic trajectory is carried out through the analysis of the author's own archival sources (autobiographical documents, press articles and video recordings of some of his music improvisation workshops) as well as personal interviews with him, connecting his career with the work of other free improvisation groups such as the Gruppo di Improvvisazione Nuova Consonanza. The main conclusion of the article is that the kind of improvisation developed by Adolfo Reisin was influenced both by his initial training in musical theatre and by his interest in the renewal of the pedagogical models of music teaching: especially, those aimed at early childhood. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Sport & Health Research is the property of Journal of Sport & Health Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)