This study aims to determine if there are differences in color–emotion association between monolingual speakers of Spanish and Mandarin, depending on how colors are presented (verbally or visually). We tested two groups of 25 speakers of these two languages in two different tasks using the Geneva Emotion Wheel, which encompasses 20 types of emotions. In Task 1, 13 colors were presented to participants as color terms in their native language, whereas in Task 2 the same colors were presented as color patches from the Munsell chart. Participants were then asked to associate color terms or color patches to the set of emotion concepts (and intensities of emotion) in the Geneva Emotion Wheel. Overall, differences between languages were not significant, regarding either the type of emotion or individual dimensions of emotion (valence, arousal or power), although significant differences were observed for specific colors. Also, Spanish speakers tended to attribute higher intensity values and higher numbers of emotion values to colors. At the same time, speakers of both languages reacted similarly to color presentation, with color terms being associated with the same emotions as color patches, but eliciting stronger reactions with respect to intensity and the number of emotion values. Finally, we found less variability in color–emotion associations within the Spanish-speaking group. Overall, our study points to a mixed pattern of universality and culture-specificity regarding how colors are used for conveying emotions by people.

Born from its usage in the Natyasastra, rasa, as both concept and experience, is notoriously difficult to define. As an experience, rasa is generated within performance but cannot be contrived. However, the conditions for its coming into being can be prepared for by both practitioner and spectator, who generate rasa together within the performance. Rooted in a deeply specific cultural context, rasa is the Indian classical contribution to the particular area of performance studies research that seeks to explore and discuss the ineffable experience of the spectator in performance. However, the concept gains traction in the understanding of and engagement with its cultural specificity, and therefore serves as a poignant example of how cultural specificity is a way through cultural barriers in performance. Scheherazaad Cooper has recently completed her PhD in practice-as-research at Goldsmiths, University of London, focusing on the contemporary Odissi Indian classical dance practitioner's cultivation of access points in performance. This article is developed from the research undertaken for her doctoral thesis, inspired and informed by Maria Shevtsova's work in the sociology of theatre and performance.