Interview with the theatre choreographer

So, the next step has been to understand how our body reacts in (and to) each kind of hugging. For that, we asked for the help of the theater choreographer Cláudia Stattmiller, since she works with a theatre group with classes that go from young ages to senior people, men and women. With the 4 feelings defined for the Hug Me project, we created a sheet with a human silhouette (back and front), so it could be fulfilled in the interview with Cláudia.

(image from here)

About uncomfortable hugs, the focus points from that interview were:

  • Uncomfortable hugs are slower, without rhythm, without strength, with very little contact, the minimum possible;
  • In uncomfortable hugs, the fingers do not close and they touch only in the shoulder blade, and we close our chest because we do not want to give ourselves;
  • In uncomfortable hugs, only the upper parts of the body are slightly in contact, as we try to keep as much distance as we can;

About hugging with happiness:

  • In a hug of happiness or joy, the most important factor is the starting velocity – but that we can not define in the Hug Me project, as the we are only able to measure the hug itself;
  • The bodies embrace and attach to each other very strongly, almost like they are seeking to merge, it’s a very intense hug;
  • We can distinguish a happiness hug from a love hug by the dynamic: the love hug it’s also very intense, but more static;

About love hugs:

  • The hands positions are very similar to the joy or happiness hug, but the touching area is lower, more near the waist;

About longing hugs:

  • The longing feeling only exists in “goodbyes”, in departures. In arrivals, the feeling that comes over it’s happiness. We never say “I miss you so much” to someone that is arriving, we say, “I MISSED you so much”;

The most touching area on this kind of hugging are the shoulders, with a gradual decrease of strength.