Public Speaking

Lecture 22: Kinesics

Prof. Binod Mishra

DEPARTMENT OF HUMANITIES AND SOCIAL SCIENCES

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“Man is a multi-sensorial
being. Occasionally he
verbalizes…and we must
seriously examine the
implications of the fact
that man does not
communicate by word
alone”
- Ray Birdwhistell

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 Communicating without Words
 Non-verbal communication is unstructured.
 It compensates for the deficiency of verbal communication.
 It also supplements our verbal communication.
 Non verbal signals involve three
 Categories of language: sign language, action language and
object language.

“He who has eyes to see and ears to hear can convince that no mortal can keep a secret. If
his lips are silent, he chats with his finger tips, betrayal oozes out of him at every pore.”
-Sigmund Freud
 What is Kinesics?
It is a term introduced in the year 1952 by Ray
Birdwhistell.
Kinesics aims to study the non-verbal mode of human
communication.
Non-verbal communication includes interpretation of
body movements such as:
 Facial expressions.
 Gestures
 Postures
 Gait
 Visible arm movements
 Body movements
Parts of Kinesics
 Body Movements
1. It is the largest physical gesture that a
speaker can demonstrate on the stage. Sitting: It is possible to non-verbally communicate and
send signals to the person at the other end of the
2. The larger the gesture; the larger the table. During an interview-like situation, one shall
impact. follow the positive types as given in the image below.
Standing:
• Move between transitioning from one point
to another.
• Act out examples or stories. Make it
engaging.
• Record yourself while preparing time and
augment coordination between words and
body.
 Facial Expressions
 Studies suggest that with 43 muscles under our
facial skin, we are capable of producing
thousands of different expressions.
 Each expression carries its own meaning and
impact.
 Better equipment of facial expression shows
quality of higher emotional intelligence.
 In Indian aesthetics and traditional dance forms,
like Bharatanatyam, rasas (tastes) are expressed
primarily through facial expression.
Posed and Emotional Facial Expressions
 Rasa Theory
 Rasas are considered to be physical
manifestations of one’s emotions, that is, gunas.
 Traditional dance artists mostly try to express
the nine rasas basically through means of
kinesics.
 Such a capability of posing intense emotions
through facial expression requires high
emotional intelligence and artistic talent.
 Orators too are like artists who can gain
inspiration by projecting different rasas, as
required, while public speaking.
Navarasas/Nine Rasas
 Evocation of Rasas in Public Speaking
Although entertainment is just a partial reason behind the evocation of rasas, the
main purpose lies in the transference of values and emotions to the spectators.
 Gestures

Studies suggest that “communication is only 7%
verbal and 93% non-verbal.” (Mehrabian 44)

Gestures are reflected through movement of
hands, arms, shoulders and torso.

Rather than sitting and talking passively, one can
make use of gestures to bring attention closer.

Parallel communication through gestures doubles
the effect intended on the audience.

However, the public speaker must be aware of
the cultural significance of specific gestures with
respect to the audience, place and situation.
 Types of Gesture and their Meaning

Hand movements are symbolical.

Enumerative Number or distance Limp hands /Hanging hands
Flat hands
boredom
silent questions
Descriptive Size of the object Open hands trust, interest

Locative Location of an object Clenched hands

frustration
tension and

Symbolic Subtle suggestion Covered hands

Clinging hands
insecurity
uncertainty
Emphatic Emphasis Wringing hands discomfort/tension
Fists determination, anger
Crossing the arms negative attitude
Arms and legs uncrossed attentive
Double handed handshake intimacy
Dead fish handshake formality
Glove handshake politician’s handshake
 Postures
 A public speaker should consider himself as the most impactful visual
element they could present.
 Prof. Amy Cuddy through her research classified a set of bodily
postures as “power poses.”
 “Fake it till [you] make it” (Cuddy 1367)
 Her study suggests that practising a powerful pose before a final
presentation boosts one’s confidence.
 Assuming power poses leads to peak performance by increasing
one’s testosterone levels (dominance hormone) and decreasing
cortisol (stress hormone).
 Gait

Walk with purpose – Walk with confidence.

Direct your whole body – shoulders, hips and toe
towards the audience.

Move a step forward when delivering the important
message.

Walk with firm steps.

Stay connected with the whole group of listeners.

Although, passive talk without movement can sound
dull; too much movement can cause distraction too.

A balance of movement is essential.
 Arm Movements
• A confident speaker keeps their arms wide
open facing the audience.
• It expresses confidence and it reduces the
distance between speaker and listener.
• Famous speaker Dananjaya Hettiarachchi
recommends keeping an open palm toward
the audience as it reveals openness in
communication and intent towards
connection.
• He also warns not to lean on the podium and
advises to keep a comfortable distance.
 Importance of Kinesics in Public Speaking
 Awareness of kinesics is essential for a
public speaker.
 It helps to improve the quality of speech
on a multi-dimensional level.
 Proper body-word co-ordination doubles
the effect of the message delivered.
 Moreover, it grooms one’s own overall
personality and boosts self-confidence.
 Some Tips about Body Action
 Adapt your body action to the empathy of the audience.
 Maintain proper eye contact with the audience and use body
action meaningfully.
 Avoid cracking knuckles, scratching head/eyebrows and
twitching nose.
 Walk but avoid constant pacing and pussyfooting.
 Concentrate on words but do not forget your body.
There's language in her eye, her cheek, her lip,
Nay, her foot speaks; her wanton spirits lookout
At every joint and motive of her body.“
- Troilus and Cressida (Act IV, Scene V)

Thank You

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 Works Consulted

Cuddy, Amy J.C. et al. “Power Posing: Brief Nonverbal Displays Affect
Neuroendocrine Levels and Risk Tolerance.” Psychological Science, 2010.

Mehrabian, Albert. Nonverbal communication. Routledge, 2017.

Chaudhury, Pravas Jivan. “The Theory of Rasa.” The Journal of Aesthetics and Art
Criticism, vol. 1965, no. 24, 1965, pp. 145 – 149.

Mukerjee, Radhakamal. “Rasas as Springs of Art in Indian Aesthetics.” The Journal
of Aesthetics and Art Criticism, vol. 24, no. 1, 1965, pp. 91 – 96.

Birdwhistell, Ray L. Kinesics and Context. University of Pennsylvania press, 2010.

Thampi, Mohan G.B. “Rasa as Aesthetic Experience.” The Journal of Aesthetics and
Art Criticism, Vol. 24, No. 1, 1965, pp. 75 – 80.

Turk, Christopher. Effective Speaking: Communicating in Speech. Spon Press, 1985.
 https://www.eiagroup.com/knowledge/facial-expressions/