Male body movements as possible cues to physical strength: a biomechanical analysis

Mate assessment based on physical characteristics: a review and reflection

Mate choice, and sex differences in romantic behaviours, represented one of the first major applications of evolutionary biology to human behaviour. This paper reviews Darwinian approaches to heterosexual mate assessment based on physical characteristics, placing the literature in its historical context (1871-1979), before turning (predominantly) to psychological research on attractiveness judgements based on physical characteristics. Attractiveness is consistently inferred across multiple modalities, with biological theories explaining why we differentiate certain individuals, on average, from others. Simultaneously, it is a judgement that varies systematically in light of our own traits, environment, and experiences. Over 30 years of research has generated robust effects alongside reasons to be humble in our lack of understanding of the precise physiological mechanisms involved in mate assessment. This review concludes with three questions to focus attention in further research, and proposes that our romantic preferences still provide a critical window into the evolution of human sexuality.

Aesthetic preferences for prototypical movements in human actions

A commonplace sight is seeing other people walk. Our visual system specializes in processing such actions. Notably, we are not only quick to recognize actions, but also quick to judge how elegantly (or not) people walk. What movements appear appealing, and why do we have such aesthetic experiences? Do aesthetic preferences for body movements arise simply from perceiving others' positive emotions? To answer these questions, we showed observers different point-light walkers who expressed neutral, happy, angry, or sad emotions through their movements and measured the observers' impressions of aesthetic appeal, emotion positivity, and naturalness of these movements. Three experiments were conducted. People showed consensus in aesthetic impressions even after controlling for emotion positivity, finding prototypical walks more aesthetically pleasing than atypical walks. This aesthetic prototype effect could be accounted for by a computational model in which walking actions are treated as a single category (as opposed to multiple emotion categories). The aesthetic impressions were affected both directly by the objective prototypicality of the movements, and indirectly through the mediation of perceived naturalness. These findings extend the boundary of category learning, and hint at possible functions for action aesthetics.

Mirror, mirror on the wall, who is the fairest dancer of them all? A naturalistic lens model study on the judgment of dance performance

Success as a dancer is closely associated with positive dance judgments by perceivers. Although dancers' physical appearance (attractiveness, style) might affect dance judgments beyond dance-specific attributes (technique, expression), they have largely been unconsidered in previous studies. To contribute to a comprehensive explanation of real-life dance judgments, we applied the lens model, an approach explicitly developed to explain the emergence of social judgments by multiple attributes. Therefore, video-records of 70 solo performances were (1) rated regarding dancers' physical appearance, technique, and expression and (2) judged by 33 perceivers. Results of cross-classified mixed-effects models revealed that attributes of all domains were significantly related to dance judgements. Considered simultaneously, however, only dance-specific attributes contributed to the prediction of dance judgments. Additional moderation analyses underscored the importance of perceivers' expertise in judging dance. We discuss the lens model as suitable framework for a naturalistic approach to the study of aesthetic experiences and sports performances.

Are There Differences in Experts' and Lay Assessors' Attractiveness Judgments of Non-Professional Men's Dance/Gait Movements?

Research on attractiveness assessments of men's dance has shown that raters derive and integrate information about male mating-related qualities into their attractiveness assessments, but prior studies have focused on lay assessors (i.e., individuals with no professional dance background) rather than dance experts. We recruited male and female Russian dance experts (n = 23) to judge gender-neutral, featureless virtual characters, animated with motion-captured dance movements and gaits of British men, and compared their dance assessments to those from a group of Russian male and female lay assessors (n = 73). The dance experts provided higher dance and gait attractiveness judgments than the lay assessors. Both groups judged the gait movements to be of higher attractiveness than the dance movements. Differences in attractiveness assessments between experts and lay assessors were larger for the male judges than for the female judges. In an additional survey, the dance experts (versus lay assessors) placed greater emphasis on the importance of dance-related capacities and skills. We discuss our findings with reference to past research on dance/gait attractiveness as assessed by lay judges and the role of expertise in assessing body movement.

Whole-body kinematics and coordination in a complex dance sequence: Differences across skill levels

This study examined differences across skill levels in the kinematics of a complex, whole-body, asymmetrical, cyclical dance sequence, the 'Alternate Basic' in Cha-Cha-Cha, to determine whether observed differences were consistent with Bernstein's (1967) model of development of coordination. Bernstein proposed that with novel motor skills, beginners move their bodies rigidly and spastically, freezing kinematic degrees of freedom (DOF) to constrain the motor system. As the skill becomes practised, the DOF unfreeze and movements become more dynamic, allowing the integration of reactional elements (passive forces, moments, etc.) and organisation of more complex coordinative structures. Twenty-nine dancers - beginners (n = 10), intermediates (n = 10), experts (n = 9) - performed 12 cycles of the dance sequence (total duration ~60 s). Three-dimensional kinematic data from 36 joint angles were collected using a 14-camera infrared motion capture system. Most joints displayed increased amplitude and speed of movement, especially early in skill progression (beginner-intermediate stage), with no evidence of any decreases, showing that unfreezing occurred around the general movement pattern early. Speed of movement continued to increase later (intermediate-expert stage), as well as further unfreezing of the upper limbs. Changes to intra-limb couplings were limited, comprising some early reductions in coupling strength. Principal component analyses (PCA) showed that the structure of movement became more organised with increased skill. There was an early reduction in the number of coordinative structures, while later, movement was integrated more into the first coordinative structure. As predicted by Bernstein's coordination development model, therefore, the kinematic DOF unfroze as skill level progressed, leading to increased organisation of coordinative structures. The results of this study support the importance of a whole-body perspective in studies of coordination, with incorporation of kinetic variables in future research in order to examine the role that reactional elements play in motor skill development.

Assessment of physical strength from gait: data from the Maasai of Tanzania

In industrialized societies, male gait provides information about physical strength. Male physical strength may be used by men and women to assess the fighting ability of rivals and the quality of potential mates, respectively. Women more than men discriminate between strong and weak walkers when assessing gait attractiveness. We presented videos of British men's gait-pre-categorized into strong and weak walkers-to male and female members ( n = 100) of the traditional Maasai in northern Tanzania in Africa. Maasai men and women judged the gaits of physically strong men less attractive than those of weak men and judged strong walkers to be weaker than weak walkers. These findings counter results from industrialized societies where participants accurately assessed strength from gait, thus arguing against a universal perception of physical strength from gait information.

Whole-body angular momentum in a complex dance sequence: Differences across skill levels

Due to the redundant degrees of freedom (DOF) and nonlinearity of reactional kinetic elements within the human motor apparatus, controlling the complex dynamics of the human musculoskeletal system presents considerable difficulties. Based on this challenge, Bernstein (1967) viewed skill development as the process whereby the central nervous system (CNS) gains mastery of kinematic DOF and kinetic reactional elements (passive forces, moments etc.), with the highest level of skill characterised by optimal exploitation of reactional elements in the achievement of movement goals. A previous kinematic investigation into coordination differences in a complex multidirectional dance sequence demonstrated that general unfreezing of kinematic DOF occurred as dance skill progressed (Chang et al., submitted for publication). To gain insight into the role of angular reactional elements in skill, the present kinetic study investigated angular momentum and associated variables across three skill levels (beginners, intermediates, experts) within this same complex dance sequence. The results showed that the angular momenta of segments and accompanying angular reactional elements generally increased with skill level. More specifically, the findings suggested that while improvements in movement economy from cancellation of angular momentum between body segments occur early in skill progression, later in skill progression, experts utilise increased whole-body angular momentum. Although this is energetically expensive, it may enhance the aesthetic value of dance movements, and/or have mechanical advantages. Overall, the findings here provide support for Bernstein's (1967) model of skill development. Future research should quantify the relations between energy expenditure, key biomechanical variables that reflect skill and dance aesthetics as perceived by audiences.

Handgrip Strength as a Darwinian Fitness Indicator in Men

Handgrip strength (HGS) is a robust measure of overall muscular strength and function, and has long been predictive of a multitude of health factors and physical outcomes for both men and women. The fact that HGS represents such a ubiquitous measure of health and vitality may reflect the significance of this trait during human evolution. This trait is also highly sexually dimorphic due to influences of androgenic hormones and fat-free body mass, suggesting that it has been further elaborated through sexual selection. Consistent with this view, research within evolutionary psychology and related fields has documented distinct relationships between HGS and measures of social and sexual behavior, especially in men. Here, we review studies across different societies and cultural contexts showing that male HGS predicts measures of aggression and social dominance, perceived formidability, male-typical body morphology and movement, courtship display, physical attractiveness, and sexual behavior and reproductive fitness. These findings underscore the value of including HGS as an independent measure within studies examining human sexual selection, and corroborate existing research suggesting that specific features of physical strength have and continue to be under positive directional selection in men.

Cross-Cultural Investigation of Male Gait Perception in Relation to Physical Strength and Speed

Previous research documents that men and women can accurately judge male physical strength from gait, but also that the sexes differ in attractiveness judgments of strong and weak male walkers. Women's (but not men's) attractiveness assessments of strong male walkers are higher than for weak male walkers. Here, we extend this research to assessments of strong and weak male walkers in Chile, Germany, and Russia. Men and women judged videos of virtual characters, animated with the walk movements of motion-captured men, on strength and attractiveness. In two countries (Germany and Russia), these videos were additionally presented at 70% (slower) and 130% (faster) of their original speed. Stronger walkers were judged to be stronger and more attractive than weak walkers, and this effect was independent of country (but not sex). Women tended to provide higher attractiveness judgments to strong walkers, and men tended to provide higher attractiveness judgments to weak walkers. In addition, German and Russian participants rated strong walkers most attractive at slow and fast speed. Thus, across countries men and women can assess male strength from gait, although they tended to differ in attractiveness assessments of strong and weak male walkers. Attractiveness assessments of male gait may be influenced by society-specific emphasis on male physical strength.

Joint action aesthetics

Synchronized movement is a ubiquitous feature of dance and music performance. Much research into the evolutionary origins of these cultural practices has focused on why humans perform rather than watch or listen to dance and music. In this study, we show that movement synchrony among a group of performers predicts the aesthetic appreciation of live dance performances. We developed a choreography that continuously manipulated group synchronization using a defined movement vocabulary based on arm swinging, walking and running. The choreography was performed live to four audiences, as we continuously tracked the performers' movements, and the spectators' affective responses. We computed dynamic synchrony among performers using cross recurrence analysis of data from wrist accelerometers, and implicit measures of arousal from spectators' heart rates. Additionally, a subset of spectators provided continuous ratings of enjoyment and perceived synchrony using tablet computers. Granger causality analyses demonstrate predictive relationships between synchrony, enjoyment ratings and spectator arousal, if audiences form a collectively consistent positive or negative aesthetic evaluation. Controlling for the influence of overall movement acceleration and visual change, we show that dance communicates group coordination via coupled movement dynamics among a group of performers. Our findings are in line with an evolutionary function of dance-and perhaps all performing arts-in transmitting social signals between groups of people. Human movement is the common denominator of dance, music and theatre. Acknowledging the time-sensitive and immediate nature of the performer-spectator relationship, our study makes a significant step towards an aesthetics of joint actions in the performing arts.

Optimal asymmetry and other motion parameters that characterise high-quality female dance

Dance is a universal human behaviour that is observed particularly in courtship contexts, and that provides information that could be useful to potential partners. Here, we use a data-driven approach to pinpoint the movements that discriminate female dance quality. Using 3D motion-capture we recorded women whilst they danced to a basic rhythm. Video clips of 39 resultant avatars were rated for dance quality, and those ratings were compared to quantitative measurements of the movement patterns using multi-level models. Three types of movement contributed independently to high-quality female dance: greater hip swing, more asymmetric movements of the thighs, and intermediate levels of asymmetric movements of the arms. Hip swing is a trait that identifies female movement, and the ability to move limbs asymmetrically (i.e. independently of the other) may attest to well-developed motor control, so long as this limb independence does not verge into uncontrolled pathological movement. We also found that the same level of dance quality could be predicted by different combinations of dance features. Our work opens avenues to exploring the functional significance, informational content, and temporal sequencing of the different types of movement in dance.

Physical strength and dance attractiveness: Further evidence for an association in men, but not in women

OBJECTIVES

Physical strength provides information about male quality and can be assessed from facial and body morphology. Research on perception of dance movements indicates that body movement also provides information about male physical strength. These relationships have not been investigated for women.

METHODS

We investigated relationships of handgrip strength (HGS) and dance attractiveness perception in 75 men and 84 women.

RESULTS

We identified positive relationships between HGS and opposite-sex assessments of dance attractiveness for men but not women.

CONCLUSIONS

The replication of previous research investigating relationships between dance attractiveness and physical strength in men corroborates the hypothesis that dance movements provide information about male quality. We argue that these relationships are interpretable in contexts of inter- and intra-sexual selection.

Integrating body movement into attractiveness research

People judge attractiveness and make trait inferences from the physical appearance of others, and research reveals high agreement among observers making such judgments. Evolutionary psychologists have argued that interest in physical appearance and beauty reflects adaptations that motivate the search for desirable qualities in a potential partner. Although men more than women value the physical appearance of a partner, appearance universally affects social perception in both sexes. Most studies of attractiveness perceptions have focused on third party assessments of static representations of the face and body. Corroborating evidence suggests that body movement, such as dance, also conveys information about mate quality. Here we review evidence that dynamic cues (e.g., gait, dance) also influence perceptions of mate quality, including personality traits, strength, and overall attractiveness. We recommend that attractiveness research considers the informational value of body movement in addition to static cues, to present an integrated perspective on human social perception.

Gender differences in the neural underpinning of perceiving and appreciating the beauty of the body

Although previous studies have suggested a certain degree of right hemisphere dominance for the response of extrastriate body area (EBA) during body perception, recent evidence suggests that this functional lateralization may differ between men and women. It is unknown, however, whether and how gender differences in body perception affect appreciating the beauty of the body of conspecifics. Here, we applied five 10-Hz repetitive transcranial magnetic stimulation (rTMS) pulses over left and right EBA and over the vertex to investigate the contribution of visual body representations in the two hemispheres on esthetic body perception. Female and male healthy volunteers were requested to judge how much they liked opposite- and same-gender virtual model bodies or to judge their weight, thus allowing us to compare the effects of right- and left-EBA rTMS on esthetic (liking) and perceptual (weight) judgments of human bodies. The analysis of the esthetic judgments provided by women revealed that right-EBA rTMS increased the liking judgments of opposite- but not same-gender models, as compared to both vertex and left EBA stimulation. Conversely, in men the liking judgments of opposite-gender models decreased after virtual disruption of both right and left EBA as compared to vertex stimulation. Crucially, no significant effect was found for the perceptual task, showing that left- and right-EBA rTMS did not affect weight perception. Our results provide evidence of gender difference in the hemispheric asymmetry of EBA in the esthetic processing of human bodies, with women showing stronger right hemisphere dominance in comparison with men.

Changes in Women's Attractiveness Perception of Masculine Men's Dances across the Ovulatory Cycle: Preliminary Data

Women's preferences for putative cues of genetic quality in men's voices, faces, bodies, and behavioral displays are stronger during the fertile phase of the ovulatory cycle. Here we show that ovulatory cycle-related changes in women's attractiveness perceptions of male features are also found with dance movements, especially those perceived as highly masculine. Dance movements of 79 British men were recorded with an optical motion-capture system whilst dancing to a basic rhythm. Virtual humanoid characters (avatars) were created and converted into 15-second video clips and rated by 37 women on masculinity. Another 23 women judged the attractiveness of the 10 dancers who scored highest and those 10 who scored lowest on masculinity once in days of high fertility and once in days of low fertility of their ovulatory cycle. High-masculine dancers were judged higher on attractiveness around ovulation than on other cycle days, whilst no such perceptual difference was found for low-masculine dancers. We suggest that women may gain fitness benefits from evolved preferences for masculinity cues they obtain from male dance movements.