Posts Tagged ‘gestures’

A Final Post On Public Speaking Gestures

Tuesday, May 3rd, 2011
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Public speaking gestures are important in conveying your message effectively. What does your body language say about you?

There’s no 1 certain way to make any gesture. However UP and OUT (within reason obviously) are helpful terms to remember and use in connection with gestures. Actions that are up and out can be easily observed by an audience. Such actions are also usually far more positive and powerful than modest unsure motions made close to a speaker’s body. Then, also, when hands and arms move on a high sphere they are closer to the speaker’s facial area, which usually enables an audience to obtain a unified emotional impact from the hands, arms and face.
Whenever possible ideas ought to be illustrated with bodily action. For instance, whenever a speaker tells about the huge bass which got away he can picture the idea with facial and bodily action – if he can reach that far!
1 need not be absolutely exact when doing illustrative movements. They may be portrayed just as accurately as 1 readily can. Obviously the pace of the movement is going to be governed from the feeling that the idea encourages. “The train crawled around a bend,” will incite a far different sort of movement than, “A jet crashed in to the building!” As with all effective bodily action this is simply a case of talking naturally and openly with the muscles.
Healthy, successful gestures are not planned, even though at the beginning a student speaker might have to force his body and face, along with his tongue in order to tell his story. Nevertheless he needs to encourage body language right up until it becomes so natural he won’t need to give it second thought.
A presenter who refuses or fails to use natural gestures is similar to a boxer with a hand behind his back, or like somebody speaking through a television set that has no image. Such a speaker will be lacking a visual appeal which will certainly take away from his ability to persuade.
William Shakespeare reminds us, “Action is eloquence; the eyes of the ignorant are more learned than their ears.”
Perhaps the same could be said in all honesty regarding the very clever listeners in an audience, too.
And Demosthenes, who has a high ranking amongst speakers of all time stated, “The first qualification of the orator is action; the second, action; and the third, action.”
Act! – but as naturally when you would play your best game.

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Public Speaking Distractions

Saturday, April 30th, 2011
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Do you use word whiskers in your public speaking?

The behavior of expressing “ur, uh, mm,” or some other noise similar to a grunt other than a word, contributes nothing to the meaning of a speech and can easily become extremely maddening for audience members.
These vocalized breaks, word whiskers, or conversational burs occur like a worthless habit (as dry washing the hands) or when a speaker is sparring for words. Perhaps subconsciously feeling he or she must be speaking some thing continuously he / she tosses in the “urs” and “ahs” while he / she is thinking of what he / she will say next. In these kinds of cases the remedy can be a vivid knowing of the behavior and constant alertness to stop it.
Recording and replaying a speech or two will probably point out whether or not a presenter has the practice of saying “uh” or not. As well as giving someone a dollar every time he is overheard saying a vocalized pause will quickly break him, 1 way or another.
An additional weak personal tendency, evident sometimes in speaking, is physical indirectness or “very poor eye-to-eye contact.” A few speakers manage to prefer looking out a window or perhaps at the floor instead of at somebody in the audience.- This may be due to intense shyness, insufficient practice, or possessing little interest in the subject or audience.
The real “contact” in verbal communication of course comes from the speaker’s mind and soul. His / her eyes are just the devices” by which his / her feelings and thoughts are portrayed. When he or she is deeply serious about a subject and enthusiastic to share this topic the mental and emotional communication is vital and strong. Under these kinds of circumstances eyes aren’t shifty or evasive. They’re positively communicating! At the same time a speaker talks he / she ought to be looking straight at someone. And he / she ought to give all sections of his audiences around equal attention.
An appealing speaker typically, however, not all the time, moves around some as he speaks. A bit of this affords interesting variety by changing the actual physical picture. If it is overdone or simply to grab attention to the speaker, however, the effect could impede communication.
A valuable maxim of effective bodily action is doing what comes naturally with regards to ideas that are being portrayed. Muscles, along with the intellect and voice, ought to freely express those concepts.

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More Tips On Gestures In Public Speaking

Tuesday, April 26th, 2011
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Gestures in public speaking out to be natural but there are some natural gestures to avoide.

Sometimes a person, sensing that gestures of any style can enhance his presenting, makes continual pointless motions with his hands. This naturally is annoying for audience members and worse than no gesturing. A speaker need not feel obliged to make overt motions continuously. Frequently his hands ought to hang in a natural way at his / her sides, but always his / her entire body ought to be in a condition of readiness to gesture. Once this condition prevails he will “believe” and respond sensibly with his body.
Any form of doodling, both with or without a pencil, is an irritating behavior that a few speakers have. The speaker who shuffles his paperwork, removes and restores his / her spectacles periodically, rattles the change in their own pocket, scratches his scalp regularly, twirls his / her key chain, drums the stand with his / her fingers, gives his hands dry wipes, paces in a routine as he / she speaks, or even makes any unnecessary motions repeatedly, actually creates needless competition for himself. Clearly such movements shortly attract attention from a crowd and might result in listeners to think only -when is he going to cease that.
Generally, however, whenever a speaker is vitally interested in communicating ideas to an audience he / she will have neither the interest nor time to engage in distracting physical mannerisms. But even a professional speaker may have established a distracting habit so firmly he can continue it while seriously communicating. In such a case his / her coach or someone else should call his attention to the habit. Next, by becoming painfully aware of the mannerism, he / she could defeat it.
Any inclination a speaker might have to wrap himself/herself up should be avoided. Holding a speaker’s lectern and hanging on, for instance, will occupy the hands to such an degree they simply won’t bother to produce any illustrative or emphatic movements. Clasping the hands in front of the body, at the rear of the back, or folding the arms are habits that motivate a presenter to make use of little if any bodily action. A successful speaker isn’t like a soldier at parade rest, or an Indian chief during a peace treaty. However his manner is similar to that of an able boxer in boxing ring that is constantly prepared to move any part of his/her body harmoniously with the particular situation.

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Gestures For Public Speaking

Saturday, April 23rd, 2011
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How are your gestures when you give a speech? What do they say about you?

Some speakers seem to believe that gesturing is a lot like having red hair or the measles – either you have the capability to gesture or you don’t, and very little may be done about it.
But gesturing is as natural as walking and as easy as counting to 3. The challenge is that people have merely walked and counted to 3 far much more frequently than they have gestured whilst giving a speech. But how well could an individual walk if he had been using a push chair all his life?
Whilst people will gesture as many different ways as they walk there’s a fundamental principle in gesturing which, when practiced, will probably make this activity much more understandable and easier to do.
Each gesture, regardless of whether or not it stresses or describes a concept, has three distinct parts: 1. The approach, 2. Stroke! and 3. The release.
For instance when a girl slaps a boy she draws back her hand, (approach), Wham! (stroke), then she lets her hands fall to her side, (release). Or a baseball pitcher winds up -approach, throws – stroke, then releases his hand.
Whether gestures are made with the hands (in almost any position), the head, face, shoulders, or feet, the principle is the same – approach, stroke, release.
Some speakers simply make a weak approach, leaving their hands hanging in the air without a stroke or release. Some make the approach and stroke but no release. Still other people merely start an approach without finishing it.
Gestures should be produced positively, with reason and confidence. Naturally, weak, uncertain, timid bodily action leads to an audience to feel that a speaker is unclear about his ability, probably not well prepared to speak, and generally ineffective as a persuader.
When gesturing a person’s whole body should work as a unified method of communication. A speaker should “lean into” his gestures instead of throw out his hands like leaves falling from a tree, or as though he had been a mechanical man loosely connected at the wrists. Also he should encourage large curved movements instead of short, angular, jerky ones. Let a speaker reach up and out in all directions, freely using the cubic feet of air about him.
Naturally effective gestures will match with the meaning of speech material. Sometimes a conflict occurs, as the time the priest announced, “When the roll is called up yonder, I’ll be there!” As he talked he pointed emphatically straight down! But he didn’t mean that in any way!

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Emotional Public Speaking

Tuesday, April 19th, 2011
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Is your public speaking and your business presentations emotional? Or do you think emotion is unprofessional?

Just as a neat business letter has margins so does effective emotional speaking. Usually you will find threads of control. However these threads by no means turn out to be cables which choke out reasonable feeling. Many speakers, nevertheless, with regards to these analogies use only margins and cables. They talk as though their hearts were on holiday.
An additional cause of this tragedy may be because some adults believe that expressing any emotion is childish and immature, or that honest feeling will make them appear weak and ridiculous. So having been indoctrinated with this mindset for years, although they are tempted to express emotion from a speaker’s platform, they manfully suppress it.
But surely the millions of individuals who watch dramatic programs on Television every day, for example, indicates that emotion is popular and not to be feared. Feeling is natural, easy, and satisfying. What would remain if all feeling were removed from life? Life consists largely of the emotional experiences people have although some of those experiences may be as simple as the taste of ice cream.
When a speaker is willing to express freely the natural emotional content of his material his body will respond, also naturally, to the emotion. A twinkle in his eye, a smile, frown, nod of the head, lifting of an eyebrow, a shrug of the shoulders, shaking of a fist, opening of the hands, even a kick of the foot, or any one of many other overt actions might become a component of the speaking. Also small muscles that cannot be seen moving are contributing to the total speaking effect. In fact whenever a speaker willingly “lets his feelings show” he could make an extremely effective “speech without visibly moving a muscle!
But more likely most people who are honestly showing their feelings do use considerable overt bodily action. Obviously these movements ought to never be definitively planned, and as individuals walk in different manners, so will their physical expression of ideas differ.
For instance, each of five speakers may express “Get out of here!” in a different way. One may point a stern forefinger toward an imaginary door as he spoke. Another may make an open sweep with his hand, and the third may jerk a thumb over his shoulder toward a back door. The fourth speaker’s eyelids narrow as he slightly moves his head toward the door. The final speaker might stamp a foot and reach out as if he would choke anybody who refused to get out. There isn’t any 1 particular right way to express an emotion physically. Every speaker should feel deeply, then “do just what comes naturally.” But he should willingly do without restraining the doing.

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