1

AbstractWe present a vision-based method that directly

recognizes human emotion from monocular modern dance image
sequences. The method only exploits the visual information within
image sequences and does not require cumbersome attachments
such as sensors. This makes the method an easy-to-use and
human-friendly one. The procedure of the method is as follows.
First, we compute binary silhouette images with respect to input
dance images. Next, we extract the quantitative features, which
represent the quality of the motion of a dance, from the binary
silhouette images based on Labans movement theory and apply
consolidate algorithms to them in order to improve their
classifiability. Then, we statistically analyze the features and find
meaningful low-dimensional structures, removing redundant
information but retaining essential information possessing high
discrimination power, using SVD. Finally, we classify the
low-dimensional features into 4 predefined emotional categories
(happy, surprised, angry, sad) using TDMLP. Experimental
results show above 70% recognition rate outside training sequence
and thus confirm that it is feasible to directly recognize human
emotion using not physical entities but approximated features
based on Labans movement theory.

Index TermsEmotion recognition, modern dance analysis,
noncontacting, Labans movement theory

I. INTRODUCTION
HE ability to recognize, interpret and express emotions
commonly referred to as emotional intelligence [1] plays
a key role in human communication. Human-computer
interaction follows the same principles, i.e. we have an inherent
tendency to respond to media and systems in the ways that are
common in human-human interaction [2]. Since emotions are an
integral part of human-computer communication, computers
with emotion recognition skill will allow a more natural and thus
improved human-computer interaction.
For the last couple of years many researchers have focused on
developing emotion recognition technology. It is understood
that emotion has its expression in many areas such as ones face,

H. Park and J.-I. Park are with the Department of Electrical and Computer
Engineering, Hanyang University, Seoul, South Korea (e-mail: {hanuni,
jipark}@mr.hanyang.ac.kr).
U.-M. Kim is with the Department of Dance, Hanyang University, Seoul,
South Korea (e-mail: kimunmi@hanyang.ac.kr).
W. Woo is with the Department of Information and Communications,
Kwangju Institute of Science & Technology, Kwangju, South Korea (e-mail:
wwoo@kjist.ac.kr).

voice, and body movements. While the emotion recognition
methods that extract emotional information from speeches or
facial expressions have been extensively investigated [3-6]
(although it is still a challenge [6]), the ones associated with
body movements were less explored. This may be due to the fact
that body movement is too high dimensional, dynamic, and
ambiguous to analyze. There is no doubt that the need for a
framework for emotion recognition from body movements has
been increasing.
A. Related Work
1) Vision Based Human Motion Analysis: Most work in this
area has been concentrated on body parts such as hands [28] and
gait [26, 27] because they are relatively simple or well-regulated
and thus easy to quantify and analyze. This type of method is not
very applicable to other full body movements (neither body part
nor gait) that change unexpectedly or dynamically. Methods that
try to analyze more general human motions exist in the literature.
However, most of them rely on motion-capture systems or are
model-based approaches [29, 30, 31] of which both need a
troublesome initialization step.
There are some methods that try to analyze body movements
in time domain in the literature. Kojima et al. defined the word
rhythm points, which indicates the time of the start and the end
of a movement, so that the whole motion could be represented
as the collection of partial movements (a unit of motion) with a
period [7]. Wilson et al. also tried to identify temporal aspects of
body movement [8]. They proposed a method that detects
candidate rest states and motion phases from the movements
spontaneously generated by a person telling a story. Kojimas
and Wilsons methods are appropriate for analyzing simple and
regular motions such as small baton-like movement or swing
strokes. In general, however, human body motions (especially in
case of dance in this paper) are not so simple or regular so we
cannot easily determine the start/end of a unit of motion or rest
state. Thus, their otherwise effective methods do not seem to be
applicable to general and natural human motions.
All the methods explained in this section have only aimed at
analyzing human motions but do not pay attention to the
emotion communicated.
2) Emotion Recognition from Body Movement: Several
methods aiming at recognizing human emotion from body
movements exist in the literature.
Darwin described the motions associated with emotion and
theorized on the relationship between emotions and their
Silhouette-Based Emotion Recognition from
Modern Dance Performance
Hanhoon Park, Jong-Il Park, Un-Mi Kim, and Woontack Woo
T


2
expression [9]. Montepare et al. described the emotional cues
that could be determined from the way someone walks [10]. For
example, they found out that a heavy-footed gait and longer
strides indicate anger while a faster pace indicates happiness.
Barrientos suggested that some expression of emotion should be
expressed in writing since it is merely a stylized human
movement [33]. And he described an interaction technique in
which pen gesture controls avatar gesture. Picard et al. tried to
recognize affective state by capturing the physiological signals,
e.g. electromygram (EMG), blood volume pressure, galvanic
skin response, and respiration, etc. [11]. They considered
emotion recognition as physiological pattern recognition. The
aforementioned methods have limitation in that Darwins is
heuristic, Montepares or Barrientoss technique cannot be
applicable to common human motions, and Picards requires
complicated devices to capture the physiological signals and
thus is not human-friendly.
Recently, endeavors for recognizing emotion from dance
have been made. Dance is close to common human motions that
are the most typical the basis of natural body expression has
further developed in terms of dance of expressing human
emotion at the same time. Dittrich et al. tried to recognize
emotion from dynamic joint-attached point light displays
represented in dance [12]. They concluded biological-motion
displays permit a large amount of emotional encoding to take
place. Their method based on subjective evaluation using a
questionnaire was not an automatic one based on vision
techniques.


Figure 1. Rectangle surrounding human body.

Some fully vision-based methods that can automatically
recognize human emotion from modern dance performance have
been introduced [13-15, 17, 18, 32]. To represent the
high-dimensional and dynamic change of body movements, they
simplified a dynamic dance to the movement of rectangle
surrounding human body and exploited several features related
to the motion of rectangles on the basis of Labans movement
theory [16] (see Fig. 1). They then analyzed the features
heuristically [13, 14] or statistically [15] and tried to find the
relationship between the features and human emotion similar
researches using two or more cameras had also been done by
Camurri et al. [17, 18]. These bounding-box-based methods had
shown satisfactory results in most cases. However, they were
confronted with difficulties in some cases. For example, when
the bounding box information from an emotional category is
similar to that from another emotional category, they cannot
discriminate the differences.
To resolve this problem, Park et al. proposed a method of
exploiting new form feature for representing human motion in
more detail [32]. They appended the contour-based shape
information (concerned with silhouette boundary) to the
region-based shape information (concerned with bounding box).
Thus, they could discriminate the subtle difference between the
shapes of silhouettes that have the same bounding box
information. It had an effect that the recognition rate of each
emotion category was improved and balanced.
B. Content of This Paper
In this paper, we present a new framework for noncontacting
emotion recognition from modern dance performance. We
consider emotion recognition as a direct 1-to-1 mapping
problem between low-level features and high-level information
(emotions). Notice that its feasibility has been verified in the
previous works [13-15].
Human motions possess emotive meaning together with their
descriptive meaning (Camurri et al. [18] used the terms,
prepositional and non-prepositional, instead). Descriptive
motions are a kind of signs to transmit meaning such as shaking
ones head to say no. In contrast, emotive motions are
embodied in the direct and natural emotional expression of body
movement based on fundamental elements such as tempo and
force that could be combined in a vast range of movement
possibilities [16]. In this sense emotive motions do not rely on
specific motions, but build on the quality of movements i.e., how
motions are carried through, for example whether it is fast or
slow. In this paper, we pay attention to this property of the
emotive movements.
The rest of this paper is organized as follows. In the next
section we explain the method for recognizing human emotion
from monocular dance image sequences in detail. In Section ,
we provide the experimental results and conclude in Section .

II. METHOD
The overall procedure consists of four parts:
- Foreground (silhouette) extraction from each frame
in dance image sequence (see Fig. 1);
- Reliable feature extraction from silhouette image;
- Transformation of the features into hidden space
using Singular Value Decomposition (SVD);
- Classification of the hidden space features into 4
predefined emotional categories, i.e. happy,
surprised, angry, and sad, using Time Delayed
Multi-Layer Perceptron (TDMLP).

A. Foreground (Silhouette) Extraction
We remove the background and shadow out of dance images
using difference keying and normalized difference keying
technique separately and create binary silhouette images (see Fig.
1).
1) Difference Keying: In general, the background region in an


3
image is unnecessary and thus must be removed. Chroma-keying
has been widely used for this purpose. While it has good
performance when the color of background is uniform, it cannot
be applied to natural (or cluttered) backgrounds.
We use an approach to separate objects from a static but
natural background [19]. We use motion information that has
been widely accepted as a crucial cue to separate moving objects
from the background. The basic idea is to subtract the current
image from a reference image. The reference image is acquired
by averaging the images of a static background during a period
of time in the well-known (R,G,B) color space. The subtraction
leaves only non-stationary objects. For details, see [19]
2) Normalized Difference Keying: The conventional object
separation techniques based on static background modeling are
susceptible to both global and local illumination changes.
Normally, moving objects create shadow according to lighting
conditions. The (R,G,B) color space is not a proper space to
handle shadow. Thus, we introduce a new color space, called the
normalized (R,G,B) color space, which is able to cope with
slight change of illumination conditions [19]. What we use
normalized (R,G,B) color space means that we only consider
chromaticity of pixels. It is based on the observation that shadow
has similar chromaticity but slightly different brightness than
those of the same pixel in the background. For details, see [19].
3) Combining Two Keying Techniques: In 2), The result
binary image computed by 1) is used as a mask image. Fig.2 (c)
shows the separation result using both difference keying and
normalized difference keying.


(a) (b) (c)
Figure 2. Moving silhouette extraction. (a) Image when 4 directional lights were
used, (b) only using difference keying, (c) after shadow elimination. Shadow
was clearly eliminated.

B. Reliable Feature Extraction
After we create binary silhouette images, we extract the
features representing the quality of the motion of a dance based
on Labans movement theory (see Appendix for details) (Table
I).
Many researchers have used their features based on Labans
movement theory to analyze human motion and have supported
the theory lasting previous years [13-15, 17, 18, 20, 32, 33].
Among them, Suzuki et al. redefined the time-space-weight
concept introduced by Laban to be as generally and easily
extractable from video images as possible [13].

Time : Human body movement speed
Space : Openness of human body
Weight(Energy) : Acceleration of human body movement
They omitted flow and redefined space as the wideness or an
amount of space instead of design or form because they thought
that it was a minor feature that could be derived from the
redefined time-space-weight features. Afterward, Woo et al.
introduced TDMLP to take flow into consideration [14]. Suzuki
and Woo used similar features as shown in Table I except N
d
.

TABLE I
FEATURES EXTRACTED FROM BINARY SILHOUETTE IMAGES
The aspect ratio of rectangle H/W
The coordinates of centroid (C
x
, C
y
)
The coordinates of the center of rectangle (R
x
, R
y
)
The ratio between silhouette area and
rectangle area
S
s
/S
r

The number of dominant points on boundary N
d

The velocity of each feature f(
.
)
The acceleration of each feature g(
.
)
f(x
n
) = x
n
-x
n-1
, g(x
n
)=x
n
-2*x
n-1
+x
n-2

W, H , Cx, Cy, Rx, Ry, Ss, and Sr represent the width and height of bounding
box, the x-, y-coordinates of centroid, the x-, y-coordinates of rectangle, the area
of silhouette, and the area of rectangle, respectively. f() represents the velocity of
each feature, g() represents the acceleration of each feature.


(a) (b)
Figure 3. Similar but contextually different motions. (a) With only a bounding
box, we cannot discriminate between two motions. (b) On the right, a little
motion of her left leg gives rise to new dominant points. Then we can
discriminate between the two motions.

Without the feature N
d
, the difference between similar but
contextually different human motions cannot be detected as
shown in Fig. 3. Park et al. introduced N
d
to resolve this problem
[32]. The improvement resulted from using N
d
is clear in their
experimental results. In the same purpose, we use N
d
as a feature.
And we use Teh-Chins algorithm to compute N
d
because it has
shown reliable results even if the object is dynamically scaled or
changed [21].
Dominant points represent the points that have significant
change of curvature. This means that an object with a lot of
dominant points is star-like, on the other hand, an object with
few dominant points is circular. In other words, the number of
dominant points represents the shape complexity of an object
(see Fig. 4). Needless to say, the shape complexity of an object is
related to space in Labans movement theory.
At this point in time, a question arises, Why is the number of
dominant points used as a feature, not the dominant points
themselves or more detailed representations? The answer is
that it may suffice to utilize rough contour information because
we do not aim to answer the question what is the gesture he/she
made? but to catch the overall mood, i.e. emotion.
In general, the features extracted from dynamically changing
dance images include some outliers. Outliers are main culprit of


4
decreasing recognition rate. To remove outliers, we calculate
the mean and deviation of each feature in advance and clamp the
outliers that deviate from the mean more than the allowed
deviation. The value of each feature in Table I does not have
same scale. To alleviate the scale problem, we normalize the
features to be distributed evenly between their maximum value
and minimum value. This normalization procedure can resolve
the problem resulted from the physical difference between
dancers at the same time [15].



(a) (b)
Figure 4. Dominant point detection on (a) real images and (b) synthetic images.
The number of dominant points is associated with the complexity of an object.

The features are inherently noisy and need to be smoothed to
obtain a reliable result. Thus, we take frame-by-frame median
filtering. The window size (= the number of frames) for median
filtering heavily affects the recognition rate [15]. If the window
size is too small, it tends to be noisy. On the contrary, if the
window size is too large, valid information for effective
recognition is blurred (= deteriorated). We set the window size
to 10.
C. Hidden Space Transform
After applying the preceding algorithms to the low-level
features, they are still high dimensional and hard-to-classify. We
take into account statistical properties of the features. We apply
SVD to the features and select the eigen-vectors having large
eigen-value. This has an effect to remove redundant information
out of the features while maintaining high recognition rate by
classifying them in hidden space [22]. In the section, we give
details of our hidden space transform for a reader with little
experience in computer science. These details can be skipped by
a reader in the field of computer science.
In the case of extracting n features from the dance sequence
having m frames, we apply SVD to F matrix having mn
features as its elements. That is:
T
V U F E =
(5)
where
,
f f f f
f f f f
f f f f
f f f f
n
m
n
3
n
2
n
1
3
m
3
3
3
2
3
1
2
m
2
3
2
2
2
1
1
m
1
3
1
2
1
1
(
(
(
(
(
(

F
. , , 0
0
0
,
2 1
1
n m r
r
r
s > > > >
|
|
|
.
|

\
|
=
|
|
.
|

\
|
=
o o o
o
o

D
0 0
0 D

Here,
j
i
f represents the value of the i-th feature in the j-th
frame. o
k
represents the singular value and k-th column of U is
eigen-vector associated with o
k
. The r eigen-vectors (u
1
, u
2
, ,
u
r
) associated with large o are represented by linear combination
of the feature vectors (f
1
, f
2
, , f
n
). That is:
.
,
,
2 1
2 22 21
1 12 11
n 2 1 r
n 2 1 2
n 2 1 1
f f f u
f f f u
f f f u
rn r r
n
n
o o o
o o o
o o o
+ + + =
+ + + =
+ + + =

(6)
Equation (6) is rewritten as follows:
, , , 2 , 1 r i for = =
i i
F u (7)
where
| |
| |. f f f
,
n 2 1
T
in i2 i1

=
=
F

i

Here, o
i
represents contribution coefficient vector and it is
solved as follows:
. ) (
1
i i
u F F F
T T
= (8)
Given o
i
, the hidden space features are represented by weighted
sum of the original features extracted from dance image
sequence:
'
n rn
'
2 2 r
'
1 1 r r
'
n n 2
'
2 22
'
1 21 2
'
n n 1
'
2 12
'
1 11 1
f f f p
, f f f p
, f f f p
o + + o + o =
o + + o + o =
o + + o + o =

(9)
where f represents the original features extracted from each
frame of dance sequence.
In practice, we calculated the contribution coefficients for 12
eigen-vectors having large eigen-values and extracted 12 hidden
space features associated with the eigen-vectors every frame.
The number of eigen-vectors can be changed according to the
characteristics of data. We used 12 eigen-vectors because the
eigen-values related to the eigen-vectors were much larger than
the other ones. In addition, the hidden space features associated
with few largest eigen-values cannot account for all of the three
kinds of features i.e. space-time-weight. The ones associated
with smaller eigen-values can account for the velocity and
acceleration features (see Fig. 5). Finally, these 12 hidden space
features are used as an input of TDMLP that will be explained in
the next section.
D. Classification of Hidden Space Features
The distribution of the features is very complicated and
over-populated. It is almost impossible to classify them linearly.


5
We introduce a neural network to classify the features
nonlinearly. Multi-Layer Perceptron (MLP) is a feedforward
neural network that has hidden layers between input layer and
output layer. MLP can be used to classify arbitrary data because
its internal neurons have nonlinear properties [23].

Space
0
0.05
0.1
0.15
0.2
0.25
0.3
0.35
0.4
0.45
1 2 3 4 5 6 7 8 9 10 11 12
(1) > (2) > ... > (12)
c
o
n
t
r
i
b
u
t
i
o
n

c
o
e
f
f
i
c
i
e
n
t
H/W
Cx
Cy
Rx
Ry
Ss/Sr
Nd

Time
0
0.1
0.2
0.3
0.4
0.5
0.6
0.7
0.8
0.9
1
1 2 3 4 5 6 7 8 9 10 11 12
(1) > (2) > ... > (12)
c
o
n
t
r
i
b
u
t
i
o
n

c
o
e
f
f
i
c
i
e
n
t
H/W
Cx
Cy
Rx
Ry
Ss/Sr
Nd

Weight
0
0.05
0.1
0.15
0.2
0.25
0.3
0.35
0.4
0.45
1 2 3 4 5 6 7 8 9 10 11 12
(1) > (2) > ... > (12)
c
o
n
t
r
i
b
u
t
i
o
n

c
o
e
f
f
i
c
i
e
n
t
H/W
Cx
Cy
Rx
Ry
Ss/Sr
Nd

Figure 5. The contribution coefficients associated with 12 largest eigen-values.
Only the ones associated with smaller eigen-values can account for the velocity
and acceleration features.

The number of neurons of hidden layer is not fixed but can be
determined by multiplying the number of inputs by the number of
outputs. We obtain a satisfactory performance in this way.
When a sigmoid function is used as active function, the value
of output is not rounded off to 0 or 1 and it is distributed
uniformly between 0 and 1. If we use these values as is, the sum
of errors becomes very large. Applying the Winner Take All
(WTA) rule, the values of output are rounded and we can reduce
the result error-sum.
In the case of dynamically changing data like dance, it is of
great importance to find out how they vary temporally (Laban
introduced the factor, flow, to explain it). However, MLP
cannot deal with such a changing pattern of data. As shown in
Fig. 6, TDMLP stores the input data in a buffer for some period
and uses all the delayed data as input. Because putting together
data acquired at different times has an effect on coping with the
change among them, TDMLP can effectively analyze not only an
instant value but also a changing patterns of input data [14].
To find the optimal number of delays is necessary because the
performance of TDMLP is influenced by the number of delays
[14, 15]. Through experiments, we confirmed that zero-delayed
TDMLP (simply MLP) cannot cope with temporal changes of
data and TDMLP with lots of delays lose its separability for data
with different characteristics in spatial domain. In practice, we
used 1-delayed MLP.
We used 12 hidden space features as an input of TDMLP as
explained previous section. Thus, the TDMLP used in our
experiments has 24 (=12+12) input nodes, 96 hidden nodes, and
4 output nodes.


Figure 6. The structure of our TDMLP. It has three layers and a buffer in input
layer.

III. EXPERIMENTAL RESULTS
To obtain experimental sequences, we captured the motions
of a dance from 4 professional dancers using a static video
camera (Cannon MV1). The images have 320240 pixels. The
dancers freely performed the various movements of a dance
related to pre-defined emotional categories, keeping within
about 5m5m size of space with static background, within a
given period of time. Fig. 7 shows the examples of the dance
images. Some sequences were used for training the TDMLP and
the others for testing the TDMLP, not duplicated.
The frame-rate of each sequence used in our experiments was
30Hz. We obtained 3 recognition results per second because we
took the frame-by-frame median filtering every 10 frames as
explained before. Strictly speaking, 1/3 sec is too short to
estimate an exact emotion. Therefore, the recognition results


6
were saved into a buffer with a given size
1
and we took the
major one as a final result.
We implemented most of the algorithms using the functions in
OpenCV library [24] that aims at real-time computer vision.



Figure 7. Dance images.

Because insufficient training data may result in erroneous
recognition, we tried to capture the dance image sequence
including various motions of a dance for a long time. If the
sequence is too short, it has few specific patterns. The TDMLP
learned with such a sequence can recognize only the specific
patterns and thus does not have a good recognition rate. As
shown in Fig. 8, when the number of frames is greater than 5000,
satisfactory performance was obtained.

0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
1 2 3 4 5 6 7 8
frames (1000)
r
e
c
o
g
n
i
t
i
o
n

r
a
t
e

(
%
)
happy
surprised
angry
sad

Figure 8. Recognition rate according to the number of frames in training
sequence. When the number of frames is greater than 5000, satisfactory
performance was obtained.

TABLE
RECOGNITION RATE INSIDE THE TRAINING SEQUENCE
Output
Input
Happy Surprised Angry Sad
Happy
Surprised
Angry
Sad
88%
2%
12%
0%
2%
80%
4%
12%
10%
12%
84%
2%
0%
6%
0%
86%


1
We set the buffer size to 6
TABLE
RECOGNITION RATE OUTSIDE THE TRAINING SEQUENCE
Output
Input
Happy Surprised Angry Sad
Happy
Surprised
Angry
Sad
75%
14%
14%
0%
14%
70%
15%
11%
11%
11%
60%
2%
0%
5%
11%
87%

Table and shows the cross-recognition rate of four
emotions to the dance image sequences inside and outside the
training sequence respectively. In both sequences, we could
obtain more advanced performance than the previous methods
[13, 14] and more balanced performance than the previous
method [15].
The recognition rate outside the training sequence is less than
that inside the training sequence since the method of each
professional dancers expressing his/her emotion is different.
This can be alleviated if we acquire the sample sequence from
more dancers and have the TDMLP learn to adapt to various
expression methods included.
We obtained above 70% recognition rate outside the training
sequence using the proposed method. This is really nice. Even
people cannot recognize other persons emotion with that
precision when they watch only his/her natural motion. In
practice, we confirmed through a subjective evaluation on
college students that people have the correctness of
approximately 50-60%.

IV. CONCLUDING REMARKS
We presented a framework to recognize human emotion from
modern dance performance based on Labans movement theory.
Through experiments, we obtained acceptable performance and
confirmed that it was feasible to directly recognize human
emotion using not physical entities but approximated features
based on Labans movement theory.
We expect that the proposed method be practically used in
entertainment and education fields that need humanlike,
real-time human-computer interaction on which we are
intensively investigating.
Currently we are trying to recognize human emotion from
traditional dance performance that differs from modern dance.
As interesting future work, it is necessary to focus on how to
categorize emotions. In this paper, we categorized human
emotions into just four common ones. However, they are not
sufficient for describing all emotional categories and might not
be familiar to those who are from other (not Korea) countries.
Anthropologists report that there are enormous differences in
the ways that different cultures categorize emotions and the
words used to name or describe an emotion can influence what
emotion is experienced [25].


7
APPENDIX: LABANS MOVEMENT THEORY [16]
While it is abstract, human movement connotes a physical law
and a psychological meaning. As Laban made use of this
characteristic, he tried to observe, analyze and classify human
movement. While the movement of animals is instinctive and
responds to external stimulus normally, human movement is
filled with human temperament. People express themselves and
transmit something (effort, named by Laban) occurred to heart
by their movement. To analyze the effort, Laban adopted the
following elements:
1) Weight: The element of effort, firm, consists of a
powerful resistance to the weight or depressed motion or
heaviness as a sense of motion. The element of effort, soft,
consists of a weak resistance to the weight or light feeling or
lightness as a sense of motion.
2) Time: The element of effort, sudden, consists of a rapid
speed or a short time or a short length of time as a sense of
motion. The element of effort, consistent, consists of a slow
speed or endlessness or long length of time as a sense of motion.
3) Space: The element of effort, straight, consists of a
straight direction or narrowness or droop like a thread as a sense
of motion. The element of effort, pliable, consists of a
wavelike direction or curved shape or a bend toward different
direction as a sense of motion.
Additionally, Laban adopted flow to represent the temporally
changing pattern of human movement. It means that he tried to
observe the tendency of human movement within a specific
period as well as instant human movement.
Labans movement theory has been used by many group of
researchers, dance performers, etc., to observe and analyze how
human movement changes in weight, time and space.

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