Chanoyu: Japanese Tea Ceremony (JTC)
Lie Detection Using Micro Expressions (LDUME)
West African Mandé Dance (WAD)
n. The tea bowl, where the tea is whisked. JTC.
n. The rings of bones that host the muscles that support the legs, where every movement originates. WAD.
n. The rostral surface of the head, where micro expressions are found. LDUME.
n. A series of moves to complete a "separate" practice (see warigeiko). JTC.
v. Moving in progressive order through the body, such as "sequencing through the spine." One after the other, requires fluidity and articulation. WAD.
v. The pattern of muscle movements that make up the full expression of an emotion. LDUME.
n. A Japanese-style traditional straight-lined robe worn when performing a tea ceremony. JTC.
n. A West African traditional dance skirt usually donning a colorful patterns, worn casually or at dance ceremonies. WAD.
n. The concealment of an emotion, worn by humans who are attuned to social norms of displaying emotions (see display rules). LDUME.
n. A way of living representing the Japanese aesthetic of simplicity, imperfection, modesty and appreciation of natural objects. Manifests in tea ceremony in ways such as imperfect, asymmetrical pottery, and attentiveness and appreciation of detail. JTC.
n. A quality of the "Africanist aesthetic" that represents youthfulness, fluidity in the joints, and readiness. The quality is manifests through speed and intensity in all parts of the body. WAD.
n. The variable levels by which we respond to triggers, the strengths of those responses, and how long it takes us to recover from the experience of the emotion. LDUME.
n. Tea procedure. Lit. ten means "point", mae means "in front of." Used to denote types of tea procedures, such as a thick tea (koicha temae) or thin tea procedure (usucha temae). JTC.
n. Used to denote different traditional dances (ie. Koté don, Maraka don). In Bambara (language of Bamako, Mali) lit. "to dance, to play, to know." WAD.
n. A marker of an emotion, such as a raised eyebrow or the emergence of a wrinkle. Used to identify facial expressions of emotions (ie. anger feature, sadness feature).
ICHI ICHI ICHI ICHI »
n. Lit. "one, one, one, one." A directive to instruct a student to flick the tea whisk with the wrist up and down in order to gently lift the tea off of the bottom of the tea bowl. JTC.
n. A short drum pattern that signals dancers to start a step, change to a different step, or end a step. WAD.
n. A stimulus that elicits an emotional reaction. LDUME.
n. A difficult transition of grip from the bottom of the tea scoop, to the holding it with only the last two fingers in order to have the first three free to open the tea container. JTC.
n. A outward display of a different emotion than what is actually experienced and can be identified by non-smooth transitions in and out of the deceptive expression. LDUME.
n. A movement in which the legs and feet move the body in space, but the feet don't leave the ground. WAD.
n. An alcove in the tea room that is elevated and houses items of artistic expression such as flowers and a hanging scroll. JTC.
n. An organization of cells in the brain that contain the memory of a learned trigger, physiological records of learned responses. Coined by Joseph Ledoux. LDUME.
n. An enclosed space created by dancer-spectators where dancers enter and meet the drums which are the head and focal point of the circle. WAD.
n. The traditional Japanese formal way of sitting, where the knees are together, back straight and the buttocks rest on the ankles. Can be extremely painful after many hours of sitting in this way. JTC.
v. The action of lowering into the stance of folding at the femeral joint. A common critique of beginner dancers is that they do not sit into this posture while performing the movements. WAD.
adj. Non-expression. The resting state of the face. LDUME.
n. Tea utensils, or tools. JTC.
DJUN DJUN »
n. A West African bass drums that are essential to dancers because they play each traditional dance's distinct rhythm. WAD.
n. The basic movements of muscles that are found in an emotional expression. LDUME.
v. Using the chashaku, or tea scoop, to pick up tea to be placed in the tea bowl. JTC.
v. Pressing the belly toward the lower back to create a concave shape in the torso. WAD.
n. The truth behind a deceptive subject. LDUME.
n. Figures such as Sen no Rikyû who developed the practice of tea and pass down the practice through teaching students. JTC.
n. A learned dancer who comes from the family of performers and passes down dances through teaching members of the community. WAD.
v. To become an expert at reading micro facial expressions. LDUME.
n. Viewing and appreciation of tea utensils at the end of the ceremony. Guests can request this when the host is just about to bring the utensils to the back room for clean-up. JTC.
v. Viewing more experienced dancers or elders from the side lines in order to gather more information about how to perform a particular step better. WAD.
v. Paying close attention to a subject's facial expression in order to determine whether they are lying. LDUME.
n. Procedures conducted before the tea ceremony that may include making each and every utensil from bamboo, especially if the ceremony guests are highly respected. JTC.
n. Usually meant to be the leg that bends down in order to set oneself up for a jump or leap. WAD.
n. Micro Facial Expression Training tool prepares one for real-life interactions. LDUME.
n. Guests at a tea ceremony. JTC.
n. Spectators at a dance ceremony. WAD.
n. People whose faces are observed after one undergoes lie detection training. LDUME.
n. The notion that different parts of the dancer's body play different parts of the rhythm. WAD.
n. The notion that different skills with different utensils make up one procedure. JTC.
n. The notion that is it possible for a facial expression to have features that convey more than one emotion. LDUME.
n. The repeated pattern of sound created by the drums. WAD.
n. The pattern and speed of each move in a tea procedure. JTC.
n. The speed at which facial expressions are displayed. LDUME.
BUTTOCK FURROW »
n. The prominent folds that separates the bottom of the buttocks and the start of the thigh. Commonly dancers are instructed to lift this area when performing West African dance. WAD.
NASOLABIAL FURROW »
n. Wrinkles that run down from nostrils outward beyond the corner of the lips, that emerge from the raising of the cheeks. The muscles that produce this pushes upward the skin below the eyes, narrowing them. LDUME.
n. A thick silk cloth that is folded several times during the course of the ceremony. Skilled tea practitioners are identified by their fukusa folding performance. JTC.
FEMERAL JOINT »
n. The ball-and-socket hip joint where West African dancer fold from in order to be in a ready stance to dance, lowered and seated with their torso leaning forward and the buttocks out and back. WAD.
FEMERAL JOINT »
n. The joint of the tea scoop that is examined carefully to appreciate the beauty of the bamboo utensil. The joint is produced by the node of the bamboo; through examination, it is possible to tell which direction the original piece of bamboo had been growing. JTC.
n. The conjoining of two images in succession, one of a neutral face and one of a facial expression shown for microseconds, used for training purposes. LDUME.
n. A holder of the oral tradition of Mandé culture. WAD.
n. An expert and/or lineage holder of the practice of tea. JTC.
n. The leading researcher and expert on micro facial expressions, Paul Ekman. LDUME.
n. A circular motion, generally ascribed to the motion of the arm moving at the shoulder joint through the front and back space of the dancer's center. WAD.
Characters of the Japanese syllabary of hiragana that are used to instruct a student to perform the movements of purifying the tea bowl. The transliteration of the first character is, "no" and the second, "ko." The movement of cleansing of the inside of the bowl resembles the tracing of these two characters in succession. JTC.
n. The ring-like band of muscle in the face that closes the eyelids. It is only when these muscles are activated that a smile can be considered genuine. Cannot be activated voluntarily. LDUME.
n. A movement quality that is characterized by a lift and/or pause that creates texture in the rhythm of a movement. WAD.
n. The temporary overriding of a default responses, such as the suspension of disgust in a sexual context that establishes intimacy and signals commitment between partners. LDUME.
n. A mixture of solid and liquid that characterizes whisked Matcha tea. Matcha powder is ground green tea leaves that are whisked together with hot water to create not a brew, but a suspension. The whole tea leaf in this case is consumed. JTC.
CALL AND RESPONSE »
n. The musical technique where one person or a group sings a phrase, and then another person or group responds with either the same phrase or a different one. WAD.
CALL AND RESPONSE »
n. The notion that all talking in a tea ceremony is initiated by the first guest or host only and is essentially scripted. JTC.
CALL AND RESPONSE
n. The technique of triggering a subject using a reliable stimulus such as reuniting them with an old friend, and carefully observing their response. LDUME.
n. The pose that marks the end of a dance. WAD.
n. The cylindrical stand on which the bamboo ladle rests. JTC.
n. A descriptor of a type of nose. LDUME.
n. The turning of the arm at the elbow, that allows the arm to be 'flipped,' not to be confused by circumduction. WAD.
n. The turning of the tea bowl in order for the front to be facing away from the drinker right before it is sipped. JTC.
n. The turning of the head to a profile orientation that makes it more difficult, yet still possible, to spot microexpressions. LDUME.
n. The movement of one particular area of the body without moving the others. Generally isolations of the chest and pelvis are practiced as part of developing dance technique in this form. WAD.
n. The technique of performing a tea ceremony in separate pieces, without completing a full procedure. JTC.
n. A technique for law enforcement to separate a group of suspects from each other in order to not allow them to fabricate a story together. LDUME.
n. The arrangement of dancers on the stage during a performance. WAD.
n. The arrangement of tea utensils on a tray or bamboo floor mat during a ceremony. JTC.
n. The arrangement of muscle movements on a face when a microexpression is displayed. LDUME.
IMPULSE AWARENESS »
n. Knowledge and attentiveness of when an impulse arises to act on a emotion and ability to choose if/when to act on it. LDUME.
IMPULSE AWARENESS »
n. Knowledge and attentiveness of when a wrong move or imperfect placement is performed and ability to choose whether to correct it in the moment or not. JTC.
IMPULSE AWARENESS »
n. Knowledge and attentiveness of when the spirit moves you to enter the improvisational circle to do a solo for the drummers. WAD.
PARTIAL EXPRESSION »
n. The production of only one or some of the expressive features of an emotion, which make an expression subtle and difficult to read. LDUME.
v. Carrying out the movements with less extension and precision as a way to preserve energy during rehearsal, but maintaining speed so as to stay with the rhythm. WAD.
n. The simplest service of tea because it utilizes a minimum number of tea utensils. JTC
n. An occurrence of many, if not all, of the facial features associated with a certain expression. LDUME.
FULL EXPRESSION »
n. The performance of a step in a manner that is full-out, with high energy and full extension. WAD.
n. The proper construction of a sentence that is used in formal tea gatherings. Statements that are spoken in the ceremony are never spoken in shorthand or using informal grammar. JTC.
DISPLAY RULES »
n. Culturally determined rules of how we must control what kinds of emotions we outwardly express, how we must diminish, exaggerate, hide completely or mask the emotion we are feeling. LDUME.
DISPLAY RULES »
n. Traditional rules of etiquette in a tea ceremony and what you are allowed to say or wear in the tea-room. JTC.
n. Unspoken rules regarding how to interact within a hierarchy of dancers, such as who to defer to when the steps are unclear. WAD.
n. A revealing of an emotion that a person is trying to conceal. LDUME.
n. A spilling of water from the water container when transporting it from the preparation room to the tea room. JTC.
n. A unconscious add of flourish to a step when trying to show the most basic form of the step to students that are learning. WAD.
REFRACTORY STATE »
n. A short time where we cannot incorporate any information that does not fit, maintain or justify the emotion we are feeling. LDUME.
REFRACTORY STATE »
n. A short time in the procedure after the bowl is returned to the host that the first guest may request that the host finishes--otherwise, the host will continue making bowls. JTC.
n. A short time before the next step beut after the 'break' is given where the mind is not ready to call out the orders for the body to move. WAD.
n. A sense of being aware of what the mind is doing and what emotions are arising. LDUME.
n. A sense of being present to the beauty of each moment in the tea ceremony, as a guest or as a host. JTC.
n. A sense of being present to the sound of the drums and one's own body moving in space. WAD.
FACIAL ACTION CODING SYSTEM (FACS)
n. A comprehensive systematic tool to measure facial movements, developed by Paul Ekman in 1978. Elements of the system include: jaw drop, eye turns right/left, lip bite, cheek puff, etc. LDUME.
n. Lit. "divided" or "separate training." Skills that are practiced that form up the basis of a tea procedure, such as basics of the tea room, folding of the tea cloth, how to purify the utensils.
n. A repeated phrase of movements that make up a dance. Each step is performed until the break is given, signaling to the dancer to proceed to the next movement. WAD.
VERTICAL WRINKLE »
n. The wrinkle between eyebrows that is produced by when they are drawn up and together. Some have a permanent etch of that wrinkle, so when activated, they wrinkle will just grow darker and deeper. LDUME.
VERTICAL WRINKLE »
n. The fold of the tea cloth that is created when the two tails meet at the end of the folding sequence. JTC.
n. A type of a formation where a vertical line is created with dancers and each dancer in sequence moves away from the line. WAD.
n. A sign of anger; eyes arrow and gaze is locked. LDUME.
n. The reflection of light off of the black lacquer of the tea container. JTC.
n. A soft version of this is used as a expression when a dancer is performing in order to create the sense of performativity and intensity. WAD.