# Aesthetic Index Analysis of Fusion of Folk Martial Arts and Dance Based on Deep Learning Algorithm

Authors: Yaqing Wei; Zongfeng Huang
Journal: Mathematical Problems in Engineering
 (2022)

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## Abstract

In this paper, we propose a computable method to evaluate the aesthetic value of fusion images of folk martial arts and dance based on human visual and aesthetic habits, extract features and use them as evaluation indexes from three aspects: technical features, perceptual features, and social features, establish an aesthetic evaluation model by fusing each index, and determine the influence factors of each index by using online research. The aesthetic evaluation of fusion images of folk martial arts and dance is carried out automatically. The results of the experimental tests on the evaluation dataset of the aesthetic quality of fusion images of folk martial arts and dance at the Communication University of China show that the accuracy of the proposed deep learning algorithm-based method for analyzing the aesthetic index of fusion of folk martial arts and dance can reach 98.08% with certain validity, and the evaluation results of each index are clear and intuitive, which can play a guiding role in improving the aesthetic quality of fusion of folk martial arts and dance from various angles. It can be used as a guide to improving the aesthetics of the fusion of folk martial arts and dance from various perspectives. By integrating the model into the mobile application, it is possible to evaluate and score the aesthetics of multiple portrait photos uploaded by users and select photos to be kept or deleted based on the scoring results, thus simplifying user operations.


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## Body

## 1. Introduction

Martial arts and folk dance are the products of our traditional culture and the treasures of traditional culture. There are striking similarities between them in many aspects such as cultural heritage, historical development, aesthetic perspective, philosophical foundation, and cultural connotation. Although it is said that dance focuses on appreciation, while martial arts focus on skill and combat, it is not difficult to see the similarities between the two in many dance artists and martial artists [1–3]. The martial arts focus on both form and spirit, and the movements are accomplished and embodied through the movement of the human body, which constitutes the external “form,” and through this external “form” to express the internal “essence,” “qi,” and “spirit.” In the theory of martial arts, “essence, qi, and spirit” together with “power” and “work” correspond to “hand, eye, body, method, and step” as the requirements of training, which is a kind of performance that focuses on the inner spirit. Our art forms also give prominence to the inner spirit of people [4, 5]. For example, dance includes technique, body technique, and rhythm. Rhythm is the connotation of dance, different people dance the same action, and rhythm is also different. Stance is the movement of the dance, and technique is the difficult movement specified by the dance type. Dance rooted in the fertile soil of traditional Chinese culture places great emphasis on the rhythm of “both the form and the spirit, the mutual integration of body and mind, and the unity of the inside and outside.” Shen Yun is the soul of dance. The idea of “leading the form with the gods and transmitting the gods with the form” has created the true connotation of Shen Yun [6–9].The art of dance is one of the most important expressions of culture, and the number of people taking dance classes in China is typically large. As a result, teachers can only roughly determine the movement changes and emotional changes of students by observing their body movements and facial expressions, and it is difficult to precisely determine the students’ real-time mastery of dance movements by observing them in action. So, the use of information technology to estimate the movements and gestures of the dancers in real time and to receive timely information on the status of classroom dance teaching will considerably facilitate the implementation of instruction that is tailored to the needs of individual students [10–12].A growing number of computer vision applications are being developed for dance images, and these include movement correction for professional dancers, dance self-help teaching, and other applications. They can also be used in athletes’ movement analysis, competition arbitration, movement recognition, and motion recognition in film and television entertainment, assisted game design, augmented reality (AR), and virtual reality (VR) [13–15].Thanks to conferences like the European Workshop on Computable Aesthetics for Graphic Image Vision in 2005 and the European Workshop on Computable Aesthetics for Graphic Image Vision in 2007, the field of computer vision research has exploded in recent years. It uses computable methods to simulate human perception and aesthetic thinking in order to make appropriate image aesthetics judgments. It is widely used in aesthetic prediction of photography, aesthetic correction of images, style analysis of artworks, and human-computer interaction, among other areas of application. Numerous research studies on computerized aesthetic evaluation based on all pictures are currently being undertaken, with the focus on various qualities such as general and local, bottom and top, and so on. There is, however, no uniform and flawless aesthetic quality evaluation standard for people images, which is a branch of images that falls within the category of images. Because of the growing interest in people photographs, the research findings for this specific category are becoming increasingly valuable in terms of application [16–18].This is a cutting-edge study topic at the crossroads of art, psychology, and computer science. It is also a difficult and subjective problem that presents a significant challenge in the field of image processing. According to some researchers, social images containing human faces have been subjected to aesthetic evaluation, and a library of people with subjective aesthetic scores has been built from multiple people. In addition to basic aesthetic characteristics such as brightness, sharpness, and background complexity, expression features, relationship features, and some composition features have been added to the basic aesthetic characteristics. It is evident from the experimental results that the feature set has a certain classification ability for the aesthetics of human images, and the aesthetic regression calculation also demonstrates a certain correlation with the aesthetic regression calculation [19, 20].This paper proposes a calculable method of aesthetic index of fusion of folk martial arts and dance based on the deep learning algorithm, extracts features from three aspects of technical features, perceptual features, and social features for fusion images of folk martial arts and dance and uses them as evaluation indexes, creates an aesthetic evaluation model by fusing each index, and determines the influence factors of each index through online research. This paper emphasizes the importance of the evaluation model. In this paper, we use the evaluation model’s application value to design and construct a mobile phone application that evaluates and scores the aesthetics of fusion images of folk martial arts and dance provided by users as well as simplifies the user selection process based on the scoring results.The following is a summary of the research organization. Section2 contains the origin and formation process of the combination of martial arts and dance. Section 3 discusses the proposed methods. Section 4 discusses the experiments and result analysis. Finally, the conclusion brings the paper to a finish in Section 5.


## 2. The Origin and Formation Process of the Combination of Martial Arts and Dance

### 2.1. Origin of Martial Dance Combination

The beginning of martial arts performance is described as follows in the Shanhaijing: Overseas West Scripture. “Interceptor and the emperor came here to battle for the gods, and the emperor cut off his head and buried it in the mountain of the perpetual sheep.” The umbilicus serves as the mouth, and dry Chi is handled to allow the body to dance. Shanhaijing is a myth and legend that uses innovative techniques to illustrate cultural facts, such as the numerous and devastating tribal warfare that we are all familiar with in early society. Martial dance was used in early society to boost morale, exhibit jubilation after a win, and demonstrate the strength of their own armaments to their rivals, thus serving as a deterrent.It can be observed that in a remote primordial culture, the need for battle between tribes necessitated the development of group offensive and defensive drills, from which the first martial dance sprang. This martial art can be transformed into a war dance, and it is a significant source of traditional Chinese martial arts, with dancers brandishing a range of archaic weapons, as well as a variety of attacking and defensive techniques and exercises. People utilize a variety of weapons and strenuous workout scenarios to achieve this goal, and the victory of the struggle after the celebration is not complete without the revelry of the martial dance, which served as the foundation for the late martial dance’s steady development and maturity.


### 2.2. The Shape Change and Development History of the Combination of Martial Arts and Dance

The fusion of martial arts and dance has been performed throughout history at various times and locations. Ancient records indicate that the performance form “Dawu Dance,” which combines martial arts and dance, appeared as early as the Shang and Zhou dynasties, according to ancient documents. According to “The Book of History: Book of Music,” the Dawu Dance was a song and dance performance in which soldiers held weapons such as dry and gorget and marched into and out of the scene and movements in formation, with a neat and majestic momentum, showing off their might and playing a role in cheering up the visiting envoys. There are additional important documents: King Wu of Zhou utilizedwu dance to stimulate his subordinates before crushing King Zhou of Shang, indicating the existence of a mix of wu dance performance and the usage of wu dance to excite subordinates at the time.Wrestling and fencing were popular pastimes during the Qin and Han dynasties, and there were also dance performances on the stage. Xiang Zhuang performed with his sword drawn during the “Hongmen Banquet” between Xiang and Liu, apparently to delight the guests, but in actuality “with the purpose of Pei Gong,” according to “The Chronicle of Xiang Yu.” Before the sword dance, Xiang Zhuang said “Your Majesty and Pei Gong are drinking, and there is no music in the army, so please dance with your sword.” It illustrates that at the time of its creation, the sword dance served a dual purpose of entertainment and performance. The “knife dance,” “force dance,” and other forms of mixed martial arts and dancing were also popular throughout the Qin and Han dynasties, among other things. Gongsun Daniang and her disciples performed a sword dance that was so beautiful that it moved the famous poet Li Bai, who could not help but write for her about it in his poem “Watching Gongsun Daniang’s disciples dance with swords”: in the past, there was a beautiful woman, Gongsun, who danced with swords to move the four directions and was known as the “Four Directions Dancer.” The rulers of the Song Dynasty were always leery of military martial arts as a result of the lessons learnt from the “cup of wine and the discharge of military strength.” As a result, most of the martial arts practiced by folk martial arts organizations and other martial arts practitioners had the nature of dance performances at the same time, and the authorities allowed them. Because it was a period of wealth, paired with widespread acceptance across all social levels, martial arts dance at that time even became the primary performance content of leisure and amusement venues such as “Gouban” and “Washi.” An art form that was performed solely for the Emperor and his consort during the Tang and Song dynasties’ imperial palaces was a fusion of martial arts, sword dance, and music that existed throughout the Tang and Song dynasties. The term “word dance” and “flower dance” were used to refer to this style of performance art at the period, which was the forerunner of the martial arts performance known as “wu dance,” which was later popularized by Bruce Lee.Martial arts were formerly elevated to the status of “national arts,” with the task of strengthening the body and defending against insults, as well as the obligation of performing onstage, ascribed to them. The unique 1929 Hangzhou National Arts Tournament featured martial arts from diverse schools competing for first place and displaying their skills in a show of strength. Its very name implies a certain degree of commitment to the practice of martial arts in its various forms.When New China was first established, martial arts were considered as a sort of sport that could be used to benefit the nation’s health and productivity by incorporating it into the national workforce. At the time, the functions of martial arts competition and martial arts skill were severely restricted, and even the development of martial arts was clearly in a state of stalemate at the time. The social context of the time played a role in determining this. Because martial arts development was suppressed during the Cultural Revolution, some martial arts groups created quotations and poems, which they performed with a combination of dance martial arts movements and Chairman Mao’s quotations and poems, which were the same as the ““Rebellion Dance”“ and the “Zhongzhi Dance,” which were all expressions of loyalty to Chairman Mao in a specific form at a specific time, the highest feat of the dancer.


### 2.3. The Creation of Martial Arts Dance Performance Combinations in Conjunction with Other Disciplines

Currently, with the advancement of society, people’s demand for culture and art has skyrocketed, and martial arts dance is commonly seen on a wide range of performance and exhibition stages, where it is being increasingly welcomed and admired by audiences worldwide. Because of this, not only does the content of stage art become richer, but also it introduces ancient and contemporary components to the culture and art sector, raising the aesthetic level of stage performance. To be sure, the ever-evolving stage art and technology have, in turn, created better conditions for the presentation of martial arts dance as an art form, enhancing its visual impact while also making it more current and artistic.It has resulted in numerous excellent stage productions that skillfully integrate martial arts with other forms of physical movement such as dance, yoga, ballet, and other forms of physical movement, as well as choreographers who have bravely experimented with the stage through unique and novel artistic conceptions. The artists have explored the rich physical movement materials from Chinese martial arts and paired them with bold and innovative expressions, which not only contribute to the art treasury with new creations of the time but also contribute to the creative inheritance of Chinese martial arts and the promotion of excellent traditional culture. The well-known stage drama “Shaolin in the Wind” and the book “Kungfu Poem: Nine Scrolls” are two examples of what is on offer. Both of them use the Shaolin Temple as a backdrop and stage art as a vehicle for their presentations, expressing dance through martial arts and reflecting martial arts through dance, resulting in an organic fusion of martial arts and dance and further improving the ornamental aspect of martial arts. This combination and this innovation of martial arts and dance have created a new model and idea for stage performance art, which is a new model and idea for stage performance art.With many more stage art elements than ordinary programs, “Dancing to the Top” performed at the opening ceremony of the 2nd National Sports Faculty Student Sports Arts Festival added many more elements of stage art when compared to ordinary programs. Particularly impressive were the dance elements, which blended in extremely well with the martial arts performance and completed the two performances in a magnificent and wonderful way. A martial arts student named “Xiao Lin” had a dream that was the inspiration for the film “Dance to the Top.” In regard to the history of the origins of martial arts and his lifelong commitment to martial arts training, “Xiao Lin” diligently learns and practices Chinese martial arts after waking up from his dream, and he continues to promote Chinese martial arts in modern society, not only wandering through various schools of martial arts but also actively communicating with the sports cultures of various nationalities around the world, portraying a cultural picture of world unity and happiness and praising the value pursuit of “stopping fighting for martial arts” and the national friendship of respecting each other.


## 2.1. Origin of Martial Dance Combination

The beginning of martial arts performance is described as follows in the Shanhaijing: Overseas West Scripture. “Interceptor and the emperor came here to battle for the gods, and the emperor cut off his head and buried it in the mountain of the perpetual sheep.” The umbilicus serves as the mouth, and dry Chi is handled to allow the body to dance. Shanhaijing is a myth and legend that uses innovative techniques to illustrate cultural facts, such as the numerous and devastating tribal warfare that we are all familiar with in early society. Martial dance was used in early society to boost morale, exhibit jubilation after a win, and demonstrate the strength of their own armaments to their rivals, thus serving as a deterrent.It can be observed that in a remote primordial culture, the need for battle between tribes necessitated the development of group offensive and defensive drills, from which the first martial dance sprang. This martial art can be transformed into a war dance, and it is a significant source of traditional Chinese martial arts, with dancers brandishing a range of archaic weapons, as well as a variety of attacking and defensive techniques and exercises. People utilize a variety of weapons and strenuous workout scenarios to achieve this goal, and the victory of the struggle after the celebration is not complete without the revelry of the martial dance, which served as the foundation for the late martial dance’s steady development and maturity.


## 2.2. The Shape Change and Development History of the Combination of Martial Arts and Dance

The fusion of martial arts and dance has been performed throughout history at various times and locations. Ancient records indicate that the performance form “Dawu Dance,” which combines martial arts and dance, appeared as early as the Shang and Zhou dynasties, according to ancient documents. According to “The Book of History: Book of Music,” the Dawu Dance was a song and dance performance in which soldiers held weapons such as dry and gorget and marched into and out of the scene and movements in formation, with a neat and majestic momentum, showing off their might and playing a role in cheering up the visiting envoys. There are additional important documents: King Wu of Zhou utilizedwu dance to stimulate his subordinates before crushing King Zhou of Shang, indicating the existence of a mix of wu dance performance and the usage of wu dance to excite subordinates at the time.Wrestling and fencing were popular pastimes during the Qin and Han dynasties, and there were also dance performances on the stage. Xiang Zhuang performed with his sword drawn during the “Hongmen Banquet” between Xiang and Liu, apparently to delight the guests, but in actuality “with the purpose of Pei Gong,” according to “The Chronicle of Xiang Yu.” Before the sword dance, Xiang Zhuang said “Your Majesty and Pei Gong are drinking, and there is no music in the army, so please dance with your sword.” It illustrates that at the time of its creation, the sword dance served a dual purpose of entertainment and performance. The “knife dance,” “force dance,” and other forms of mixed martial arts and dancing were also popular throughout the Qin and Han dynasties, among other things. Gongsun Daniang and her disciples performed a sword dance that was so beautiful that it moved the famous poet Li Bai, who could not help but write for her about it in his poem “Watching Gongsun Daniang’s disciples dance with swords”: in the past, there was a beautiful woman, Gongsun, who danced with swords to move the four directions and was known as the “Four Directions Dancer.” The rulers of the Song Dynasty were always leery of military martial arts as a result of the lessons learnt from the “cup of wine and the discharge of military strength.” As a result, most of the martial arts practiced by folk martial arts organizations and other martial arts practitioners had the nature of dance performances at the same time, and the authorities allowed them. Because it was a period of wealth, paired with widespread acceptance across all social levels, martial arts dance at that time even became the primary performance content of leisure and amusement venues such as “Gouban” and “Washi.” An art form that was performed solely for the Emperor and his consort during the Tang and Song dynasties’ imperial palaces was a fusion of martial arts, sword dance, and music that existed throughout the Tang and Song dynasties. The term “word dance” and “flower dance” were used to refer to this style of performance art at the period, which was the forerunner of the martial arts performance known as “wu dance,” which was later popularized by Bruce Lee.Martial arts were formerly elevated to the status of “national arts,” with the task of strengthening the body and defending against insults, as well as the obligation of performing onstage, ascribed to them. The unique 1929 Hangzhou National Arts Tournament featured martial arts from diverse schools competing for first place and displaying their skills in a show of strength. Its very name implies a certain degree of commitment to the practice of martial arts in its various forms.When New China was first established, martial arts were considered as a sort of sport that could be used to benefit the nation’s health and productivity by incorporating it into the national workforce. At the time, the functions of martial arts competition and martial arts skill were severely restricted, and even the development of martial arts was clearly in a state of stalemate at the time. The social context of the time played a role in determining this. Because martial arts development was suppressed during the Cultural Revolution, some martial arts groups created quotations and poems, which they performed with a combination of dance martial arts movements and Chairman Mao’s quotations and poems, which were the same as the ““Rebellion Dance”“ and the “Zhongzhi Dance,” which were all expressions of loyalty to Chairman Mao in a specific form at a specific time, the highest feat of the dancer.


## 2.3. The Creation of Martial Arts Dance Performance Combinations in Conjunction with Other Disciplines

Currently, with the advancement of society, people’s demand for culture and art has skyrocketed, and martial arts dance is commonly seen on a wide range of performance and exhibition stages, where it is being increasingly welcomed and admired by audiences worldwide. Because of this, not only does the content of stage art become richer, but also it introduces ancient and contemporary components to the culture and art sector, raising the aesthetic level of stage performance. To be sure, the ever-evolving stage art and technology have, in turn, created better conditions for the presentation of martial arts dance as an art form, enhancing its visual impact while also making it more current and artistic.It has resulted in numerous excellent stage productions that skillfully integrate martial arts with other forms of physical movement such as dance, yoga, ballet, and other forms of physical movement, as well as choreographers who have bravely experimented with the stage through unique and novel artistic conceptions. The artists have explored the rich physical movement materials from Chinese martial arts and paired them with bold and innovative expressions, which not only contribute to the art treasury with new creations of the time but also contribute to the creative inheritance of Chinese martial arts and the promotion of excellent traditional culture. The well-known stage drama “Shaolin in the Wind” and the book “Kungfu Poem: Nine Scrolls” are two examples of what is on offer. Both of them use the Shaolin Temple as a backdrop and stage art as a vehicle for their presentations, expressing dance through martial arts and reflecting martial arts through dance, resulting in an organic fusion of martial arts and dance and further improving the ornamental aspect of martial arts. This combination and this innovation of martial arts and dance have created a new model and idea for stage performance art, which is a new model and idea for stage performance art.With many more stage art elements than ordinary programs, “Dancing to the Top” performed at the opening ceremony of the 2nd National Sports Faculty Student Sports Arts Festival added many more elements of stage art when compared to ordinary programs. Particularly impressive were the dance elements, which blended in extremely well with the martial arts performance and completed the two performances in a magnificent and wonderful way. A martial arts student named “Xiao Lin” had a dream that was the inspiration for the film “Dance to the Top.” In regard to the history of the origins of martial arts and his lifelong commitment to martial arts training, “Xiao Lin” diligently learns and practices Chinese martial arts after waking up from his dream, and he continues to promote Chinese martial arts in modern society, not only wandering through various schools of martial arts but also actively communicating with the sports cultures of various nationalities around the world, portraying a cultural picture of world unity and happiness and praising the value pursuit of “stopping fighting for martial arts” and the national friendship of respecting each other.


## 3. The Proposed Method

When evaluating the aesthetic quality of a person’s image, there are numerous criteria to consider, each of which is represented in computer language as follows: the aesthetic quality of a person’s image is decided by either a single feature or a collection of features in the image. As a result, in this research, we investigate three characteristics of human photographs, namely, technical features, perceptual features, and social features, and consider their universal application as well as their execution efficiency when selecting feature extraction techniques.


### 3.1. Technical Characteristics

The technical characteristics of a photograph are directly tied to the ambient conditions in which it was taken, the quality of the equipment used, and the talent of the photographer. The following three specific characteristics are discussed in this paper: contrast, saturation, and sharpness.Contrast has a significant impact on the visual quality of an image, particularly in terms of lightness. A histogram-based contrast evaluation algorithm is used to measure the contrast qualities of a human image in this study, which is explained in full elsewhere. To begin, the image is converted to HSI (hue saturation intensity) space from RGB (red-green-blue) space, after which the histogram of luminance components is calculated, and then the histogram is divided into five regions according to the grayscale values, fromJ0 to J4 (with the critical values of [0, 50], [51, 120], [121, 199], and [200]). When the subscripts of the largest area and the second largest area are numbers 0, 4 or (1, 4), the contrast is too large. When the subscript of the largest area and the second largest area is the number 1, 2, 3, 4 or 2, 2, the contrast is too small. CRS (contrast ratio score) is used to express the contrast score in this work. When the contrast ratio is normal, the contrast score is 1. When the contrast ratio is abnormal, the contrast score is 0.Saturation has a significant impact on the visual quality of an image, particularly in terms of color. It is demonstrated in this research that a saturation evaluation algorithm based on logistic regression may be utilized to determine the saturation properties of a human image. When utilizing regression analysis to predict the optimal saturation level of an image, the algorithm’s central premise is to first compare the predicted optimal saturation level to the average saturation level. To quantify the saturation level of an image in this study, we will use an SL (saturation level) value, which can be determined using the following equation:(1)SL=1−B0−B,where B0 is the ideal saturation level of the image, which is calculated by the experimentally determined logistic nonlinear regression function between saturation level and luminance, and B is the average saturation level of the image. The saturation level score is expressed by SLS (saturation level score); when the SL calculation result is greater than or equal to 0.5, the value of SLS is 1; when the SL calculation result is less than 0.5, the value of SLS is 0.Clarity mainly affects the aesthetic quality of the image in terms of details. The clarity evaluation function mainly includes the first function, gradient function, and spectrum function. In order to determine the clarity of the human face, an adaptive window-based clarity evaluation algorithm is used.In this paper, we use Dlib to detect the face and annotate 68 key points of the face, including eyebrows, nose, eyes, and mouth, as shown in Figures1 and 2.Figure 1
Demonstration of key point’s annotation.Figure 2
Fusion images of ethnic martial arts and dance.
(a)(b)The annotation of the fusion images of ethnic martial arts and dance is similar, and the specific images of fusion of ethnic martial arts and dance are shown in Figure2.(2)R=fx,ya−m<x<a+m,b−n<y<b+n,m=maxdlO,ltop,dlO,ldown,n=maxdlO,lleft,dlO,lright,where Oa,b is the center of gravity of the fusion movement image region of folk martial arts, ltop,ldown,lleft,lright are the top, bottom, left, and right boundaries of the image, respectively, and a−m<x<a+m,b−n<y<b+n is the Euclidean distance. The advantage of this process is that the position and size of the selected window are adaptively changed with the change of the fusion image area of folk martial arts and dance. However, the extracted window edges may contain some blurred backgrounds. In order to obtain more effective evaluation results, this paper divides the window into 9 subwindows, defined as Rkk=1,2,…,8, and uses the Tenengrad evaluation function to calculate the sharpness of each subwindow separately, which is shown in the following equation:(3)CRk=∑x,y∈Rk∩Sx,y>TSx,yRk,where Rk is the number of pixels in the kth subwindow and Sx,y denotes a gradient sum of squares computed using the Sobel operator on both horizontal and vertical gradients in the kth subwindow. In order to determine the final sharpness of the image, it is necessary to take a weighted average of the sharpness of each subwindow, which is calculated as stated in the following equation:(4)C=∑k=08ωRkCRk,where ωRk denotes the weight of each individual subwindow. Last but not least, the hyperbolic tangent function DT is utilized for normalization, and it is constructed as follows:(5)DT=tanhcC+d.The parametersc=1/24 and d=−1 are determined experimentally. As a final conclusion, the average value of the clarity of all poses in the fusion image of folk martial arts and dance is utilized to determine the overall clarity of the image. DTS provides the posture clarity scores of fusion images of folk martial arts and dance in the form of a bar graph. In cases where the DT result is more than or equal to 0.5, the value of DTS is 1; in cases where the DT result is less than 0.5, the value of DTS is zero.


### 3.2. The Qualities of Perception

Some creative themes are depicted in human perception through the use of perceptual features, that is, attributes measured from the viewer’s perspective. This study is primarily concerned with three perspectives: composition, visual balance, and depth of field (or depth of field).The harmony and beauty of a photograph’s structural organization are reflected in the composition of the photograph. When considering composition, we introduce the “golden section/thirds” photography rule, which is expressed as two straight lines in the horizontal and vertical directions to divide the image into three equal parts, with the golden section points located at the four thirds mark on either side of the horizontal and vertical directions. To make the subject of the figure prominent and vivid, the “golden section/thirds” composition guideline for folk martial arts and dance fusion images recommends placing the center of the torso at the point of the golden section to make the subject of the figure prominent and vivid.In this work, the CP is used to determine the proximity of the torso point to the trisection point, and the closer the picture composition is to the four trisection points, the more realistic the composition is considered to be.(6)DT=tanhcC+d.For example, the minimum distance between the center point of the torso and each of its four trisections is given byD=minj=1,2,3,4dlh,Qj. When the image length and width are both measured in pixels, g=0.17×p,p is the average of the pixel values. The ultimate result for the multiethnic martial arts and dance fusion image was calculated by taking the average value of each figure posture and combining it. In mathematics, the composition score is denoted by the letter CPS (composition score). When the CP calculation result is more than or equal to 0.5, the value of CPS is 1. When the CP calculation result is less than 0.5, the value of CPS is 0.This means that the visual center of an observation object is set in line with particular criteria. Moreover, each image has a balanced visual effect, prominent theme, and clear primary and secondary, so as to achieve a certain aesthetic feeling.Many algorithms have been developed in recent years to evaluate the visual balance of images, and the majority of these algorithms are based on the recognition of saliency regions in images and then a series of following operations on the detected saliency regions. As previously stated, the salient region of a picture is the region that most accurately depicts the image’s content and point of interest, that is, the visual center of the object of observation indicated above. Image salient area identification, also known as the extraction of salient regions from an image, is widely employed in a wide range of sectors of image study, including medical imaging.In grayscale, the saliency map is created by using the picture color statistics, which quantifies the saliency value in terms of the distance between pixels. The LC algorithm is a useful way for obtaining the saliency map. The fundamental formula is represented by the following equation, whereWz denotes the gray value of the pixel and Wi denotes the gray value of the other pixels in the image.(7)SalSW2=∑VWi∈WWz−Wi.A major factor in visual balance is the relationship between the salient area and the entire image; for example, when the ratio of the subject area to the image size is 0.1, 0.56, or 0.82, the visual balance is at its optimal level. As a result, in this study, we will utilize VB (visual balance) to determine the visual balance of an image, which is determined as follows:(8)VB=e−ε2/2r.The area share of the relevant region in the entire image is given byE=maxq−0.1,q−0.56,q−0.82, r=0.05. It was possible to express the visual balance score as VBS (visual balance score), with the value of VBS equal to one if the VB calculation result was greater than or equal to 0.5; when the VB calculation result was less than 0.5, the value of VBS was zero.Depth of field is defined as the distance between a point and the front and back of the camera’s viewfinder. Shallow depth-of-field composition is a frequent method used by photographers to draw attention to the visual subject by defocusing the background. This allows the subject to be more clearly seen and the viewer to be more easily drawn to the subject, which is advantageous.For the purposes of this paper, we will use the difference between the sharpness of the salient area and the overall sharpness of the image to determine the depth of field of the image, and the average gradient energy of the image calculated by the Laplace operator will be used as a measure of sharpness.(9)∑x,y∈tGx+1,y+Gx−1,y+Gx,y+1+Gx,y−1−4Gx,ySt,where G denotes the area to be evaluated, t denotes the area to be calculated for clarity, and St is the total area of the area. For the purposes of this work, the term DOF (depth of field) is used to denote the depth of field of an image, and the specific calculation method is illustrated in the following equation:(10)DOF=log2Fu−Fv+1+0.5.The HRNet, as illustrated in Figure3, is utilized as the backbone network in this paper. It is made up of four concurrent multiresolution subnetworks, each of which uses the ResNet module design principle and has four residual units.Figure 3
Structure of HRNet.


## 3.1. Technical Characteristics

The technical characteristics of a photograph are directly tied to the ambient conditions in which it was taken, the quality of the equipment used, and the talent of the photographer. The following three specific characteristics are discussed in this paper: contrast, saturation, and sharpness.Contrast has a significant impact on the visual quality of an image, particularly in terms of lightness. A histogram-based contrast evaluation algorithm is used to measure the contrast qualities of a human image in this study, which is explained in full elsewhere. To begin, the image is converted to HSI (hue saturation intensity) space from RGB (red-green-blue) space, after which the histogram of luminance components is calculated, and then the histogram is divided into five regions according to the grayscale values, fromJ0 to J4 (with the critical values of [0, 50], [51, 120], [121, 199], and [200]). When the subscripts of the largest area and the second largest area are numbers 0, 4 or (1, 4), the contrast is too large. When the subscript of the largest area and the second largest area is the number 1, 2, 3, 4 or 2, 2, the contrast is too small. CRS (contrast ratio score) is used to express the contrast score in this work. When the contrast ratio is normal, the contrast score is 1. When the contrast ratio is abnormal, the contrast score is 0.Saturation has a significant impact on the visual quality of an image, particularly in terms of color. It is demonstrated in this research that a saturation evaluation algorithm based on logistic regression may be utilized to determine the saturation properties of a human image. When utilizing regression analysis to predict the optimal saturation level of an image, the algorithm’s central premise is to first compare the predicted optimal saturation level to the average saturation level. To quantify the saturation level of an image in this study, we will use an SL (saturation level) value, which can be determined using the following equation:(1)SL=1−B0−B,where B0 is the ideal saturation level of the image, which is calculated by the experimentally determined logistic nonlinear regression function between saturation level and luminance, and B is the average saturation level of the image. The saturation level score is expressed by SLS (saturation level score); when the SL calculation result is greater than or equal to 0.5, the value of SLS is 1; when the SL calculation result is less than 0.5, the value of SLS is 0.Clarity mainly affects the aesthetic quality of the image in terms of details. The clarity evaluation function mainly includes the first function, gradient function, and spectrum function. In order to determine the clarity of the human face, an adaptive window-based clarity evaluation algorithm is used.In this paper, we use Dlib to detect the face and annotate 68 key points of the face, including eyebrows, nose, eyes, and mouth, as shown in Figures1 and 2.Figure 1
Demonstration of key point’s annotation.Figure 2
Fusion images of ethnic martial arts and dance.
(a)(b)The annotation of the fusion images of ethnic martial arts and dance is similar, and the specific images of fusion of ethnic martial arts and dance are shown in Figure2.(2)R=fx,ya−m<x<a+m,b−n<y<b+n,m=maxdlO,ltop,dlO,ldown,n=maxdlO,lleft,dlO,lright,where Oa,b is the center of gravity of the fusion movement image region of folk martial arts, ltop,ldown,lleft,lright are the top, bottom, left, and right boundaries of the image, respectively, and a−m<x<a+m,b−n<y<b+n is the Euclidean distance. The advantage of this process is that the position and size of the selected window are adaptively changed with the change of the fusion image area of folk martial arts and dance. However, the extracted window edges may contain some blurred backgrounds. In order to obtain more effective evaluation results, this paper divides the window into 9 subwindows, defined as Rkk=1,2,…,8, and uses the Tenengrad evaluation function to calculate the sharpness of each subwindow separately, which is shown in the following equation:(3)CRk=∑x,y∈Rk∩Sx,y>TSx,yRk,where Rk is the number of pixels in the kth subwindow and Sx,y denotes a gradient sum of squares computed using the Sobel operator on both horizontal and vertical gradients in the kth subwindow. In order to determine the final sharpness of the image, it is necessary to take a weighted average of the sharpness of each subwindow, which is calculated as stated in the following equation:(4)C=∑k=08ωRkCRk,where ωRk denotes the weight of each individual subwindow. Last but not least, the hyperbolic tangent function DT is utilized for normalization, and it is constructed as follows:(5)DT=tanhcC+d.The parametersc=1/24 and d=−1 are determined experimentally. As a final conclusion, the average value of the clarity of all poses in the fusion image of folk martial arts and dance is utilized to determine the overall clarity of the image. DTS provides the posture clarity scores of fusion images of folk martial arts and dance in the form of a bar graph. In cases where the DT result is more than or equal to 0.5, the value of DTS is 1; in cases where the DT result is less than 0.5, the value of DTS is zero.


## 3.2. The Qualities of Perception

Some creative themes are depicted in human perception through the use of perceptual features, that is, attributes measured from the viewer’s perspective. This study is primarily concerned with three perspectives: composition, visual balance, and depth of field (or depth of field).The harmony and beauty of a photograph’s structural organization are reflected in the composition of the photograph. When considering composition, we introduce the “golden section/thirds” photography rule, which is expressed as two straight lines in the horizontal and vertical directions to divide the image into three equal parts, with the golden section points located at the four thirds mark on either side of the horizontal and vertical directions. To make the subject of the figure prominent and vivid, the “golden section/thirds” composition guideline for folk martial arts and dance fusion images recommends placing the center of the torso at the point of the golden section to make the subject of the figure prominent and vivid.In this work, the CP is used to determine the proximity of the torso point to the trisection point, and the closer the picture composition is to the four trisection points, the more realistic the composition is considered to be.(6)DT=tanhcC+d.For example, the minimum distance between the center point of the torso and each of its four trisections is given byD=minj=1,2,3,4dlh,Qj. When the image length and width are both measured in pixels, g=0.17×p,p is the average of the pixel values. The ultimate result for the multiethnic martial arts and dance fusion image was calculated by taking the average value of each figure posture and combining it. In mathematics, the composition score is denoted by the letter CPS (composition score). When the CP calculation result is more than or equal to 0.5, the value of CPS is 1. When the CP calculation result is less than 0.5, the value of CPS is 0.This means that the visual center of an observation object is set in line with particular criteria. Moreover, each image has a balanced visual effect, prominent theme, and clear primary and secondary, so as to achieve a certain aesthetic feeling.Many algorithms have been developed in recent years to evaluate the visual balance of images, and the majority of these algorithms are based on the recognition of saliency regions in images and then a series of following operations on the detected saliency regions. As previously stated, the salient region of a picture is the region that most accurately depicts the image’s content and point of interest, that is, the visual center of the object of observation indicated above. Image salient area identification, also known as the extraction of salient regions from an image, is widely employed in a wide range of sectors of image study, including medical imaging.In grayscale, the saliency map is created by using the picture color statistics, which quantifies the saliency value in terms of the distance between pixels. The LC algorithm is a useful way for obtaining the saliency map. The fundamental formula is represented by the following equation, whereWz denotes the gray value of the pixel and Wi denotes the gray value of the other pixels in the image.(7)SalSW2=∑VWi∈WWz−Wi.A major factor in visual balance is the relationship between the salient area and the entire image; for example, when the ratio of the subject area to the image size is 0.1, 0.56, or 0.82, the visual balance is at its optimal level. As a result, in this study, we will utilize VB (visual balance) to determine the visual balance of an image, which is determined as follows:(8)VB=e−ε2/2r.The area share of the relevant region in the entire image is given byE=maxq−0.1,q−0.56,q−0.82, r=0.05. It was possible to express the visual balance score as VBS (visual balance score), with the value of VBS equal to one if the VB calculation result was greater than or equal to 0.5; when the VB calculation result was less than 0.5, the value of VBS was zero.Depth of field is defined as the distance between a point and the front and back of the camera’s viewfinder. Shallow depth-of-field composition is a frequent method used by photographers to draw attention to the visual subject by defocusing the background. This allows the subject to be more clearly seen and the viewer to be more easily drawn to the subject, which is advantageous.For the purposes of this paper, we will use the difference between the sharpness of the salient area and the overall sharpness of the image to determine the depth of field of the image, and the average gradient energy of the image calculated by the Laplace operator will be used as a measure of sharpness.(9)∑x,y∈tGx+1,y+Gx−1,y+Gx,y+1+Gx,y−1−4Gx,ySt,where G denotes the area to be evaluated, t denotes the area to be calculated for clarity, and St is the total area of the area. For the purposes of this work, the term DOF (depth of field) is used to denote the depth of field of an image, and the specific calculation method is illustrated in the following equation:(10)DOF=log2Fu−Fv+1+0.5.The HRNet, as illustrated in Figure3, is utilized as the backbone network in this paper. It is made up of four concurrent multiresolution subnetworks, each of which uses the ResNet module design principle and has four residual units.Figure 3
Structure of HRNet.


## 4. Experiments and Result Analysis

In order to evaluate the effectiveness of the proposed algorithm, the experiments designed in this paper include a comparative analysis of single and multiperson dance movement pose estimation on the publicly available dataset MSCOCO2017 as well as a dataset of fusion folk martial arts and dance movements on the public dataset MSCOCO2017 (including self-filmed folk martial arts and dance data and web-downloaded folk martial arts and dance data).Figure4 depicts some visualizations of the pose estimation results obtained by this algorithm on the CoCO test-dev 2017 dataset. In this paper, we first extract the human frame from the CoCO test-dev 2017 dataset, then obtain the human detection frame, and finally perform human pose estimation according to the algorithm proposed in this paper.Figure 4
The visualization of partial human pose estimation on the standard dataset.For the purpose of demonstrating the generalizability of the algorithm in this research, the suggested approach is applied to human pose estimation using a dance dataset that has been created by the authors. Because of the lack of true values in the self-built dataset and the lack of fairness of quantitative comparative analysis using the own calibration method in comparison to other comparison methods, only qualitative analysis is used in this paper on the self-built dance dataset, and some of the experimental results are shown in Figures5 and 6. Figure 5 shows the experimental results from the self-built dance dataset; these five types of separate single and multiple ethnic dance datasets are used in this paper to analyze the findings of the visualization. The datasets include Tibetan dance, Dai dance from China’s Han Chinese Yangge, Mongolian dance, and Uyghur dance, all of which are presented in this paper. Also, to create the final dataset, this dance was blended with ethnic martial arts from throughout the world.Figure 5
A partial visualization of the dance gesture estimation of the algorithm in this paper on a self-constructed single dance dataset.Figure 6
A partial visualization of the multiperson folk dance and folk martial arts gesture estimation of the algorithm in this paper on a self-constructed single dance dataset.According to Figure5, in Tibetan dance, it is difficult to locate the leg joints accurately even with human eyes due to the occlusion of the leg joints by the long black skirt worn by the dancer; in addition, the occlusion of the arm joints and leg joints by the white water sleeves worn by the dancer increases the difficulty of posture estimation. Specifically, the method in this paper performs the prediction of the occluded joint points based on the geometric relationship of the human joints, along with the prediction of the occluded joints by solving the even graph matching subproblem through the hierarchical pose estimation model, with the goal of obtaining more accurate joint point estimation results than previous methods. The Han Yangge dance is depicted in Figure 5, in which the prop fan obscures the dancer’s posture while the dancer moves quickly, resulting in motion blur. In the Dai dance, the dancer’s posture is severely deformed and the dancer’s body is heavily obscured by self and costume, making joint point estimation more difficult; in the Dai dance, the prop fan obscures the dancer’s posture while the dancer moves rapidly, resulting in motion blur. In Mongolian dancing, the dancer’s posture is severely covered by his or her own clothing, and even the human eye has difficulty determining the location of the long skirt that obscures the leg joints. Because of the influence of lighting as well as the clothes worn by the dancers and the quick movements they make, measuring the dancers’ joint points becomes increasingly challenging. The method described in this paper constructs a sequential multiscale feature fusion model to improve the capability of feature representation for gesture estimation in response to complex and variable dance movements and drastic gesture deformation and, at the same time, analyzes the geometric relationship of human joint points and designs a hierarchical gesture estimation model to reason about the occluded joint points, as described in the previous section. In Figure 6, it can be shown that the suggested algorithm is capable of achieving accurate estimation of the dancer’s posture in the face of occlusion, violent deformation, light interference, and rapid movement, demonstrating the algorithm’s usefulness.Figure6 depicts some of the visualization results obtained by using the algorithm described in this research on a dataset consisting of five classes of multiperson folk dance and folk martial arts. Multiperson dance movement estimation is more difficult than single-person dance pose estimation because it must deal with issues like costume changes, complex backgrounds, self-plating blocking, and viewpoint changes, as well as issues like an unknown number of people and mutual speed blocking among multiple people, which are present in single-person pose estimation. In Tibetan dance, it is difficult to accurately locate the body joints of multiple dancers at the same time, even with the human eye, due to the blocking effect of the long skirt worn by the dancer, the change in camera view, and the change in the dancer’s vice intense movements, all of which contribute to the difficulty of accurate body joint location. It has been discovered that the method presented in this research is more effective in estimating the pose of the dancer, which demonstrates the usefulness of the algorithm proposed.


## 5. Conclusion

This study provides a deep learning algorithm that addresses the difficulties of complicated and variable motions in fusion folk martial arts and dance, as well as big changes in the scale of posture, using the aesthetic index analysis of fusion folk martial arts and dance. It can be used as a guide to improving the aesthetics of the fusion of folk martial arts and dance from various perspectives. The method builds a sequential multiscale feature fusion model, which improves the robustness of the posture estimation algorithm to drastic scale changes of skeletal joint points during the fusion movements of folk martial arts and dance. The results show that the stance estimation approach outperforms the classic human stance estimation dataset, as well as self-built single and multiplayer fusion datasets of ethnic martial arts and dance, among others.



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*Source: 1176500-2022-04-23.xml*