Lesson 28. Sociolinguistic dimensions.

Nonverbal communication: body

language.
Important features of Body Language
Posture
The way a person stands or sits is his posture. It is good to adopt a flexible erect posture rather
than a stiff or slouching posture. An erect posture reveals confidence and poise. Drooping
shoulders, sagging in the seat, etc., reveal a feeling of depression and lack of interest.

Head motion
In oral communication, the movement of the head plays an important role. No one is expected to
keep on shaking his head, but appropriate nods and shakes of the head enhance the level of
communication.

Facial Expression
Face is the index of the mind. We say, ‘she put on a long face’ to mean that she was not in the
best of her moods. However much one tries, his hidden feeling of anger, fear, confusion,
uncertainty, enthusiasm and joy will get revealed by the facial expression. Sometimes, the words
that you utter may be contradicted by your facial expression. A teacher might ask the student if
he understood the idea, but he should not wait for an answer. A lack-lustre bewildered facial
expression would reveal that the student has not grasped anything.

Eye Contact
In an oral communication context, the speaker and listener should not only face each other but
also maintain correct eye contact. If someone avoids direct eye contact, he is suspected to be sly
or cunning. In eastern countries, subordinates or younger people may avoid direct eye contact
out of respect or deference, but it will be misunderstood in an international context. The Tamil
poet Subramanya Bharathi has praised upright bearing and straight eye contact.

Gestures
Movement of hands and fingers enhance communication. But, gestures are culture specific. A
clenched fist may mean emphasis for an American but disrespect for an Indian. A thumbs up
sign, a movement of the index finger communicate messages effectively. Continuous gestures
should be avoided. Non-verbal communication in short, adds, subtracts and amends our message.
In an oral communication context, all the above features of body language play an important
role. If you expect to communicate in a relaxed atmosphere, you have to kill and destroy the
stiffness with appropriate components of body language. Though gestures are culture specific
some of them have become universal cutting across cultural boundaries. They have become
emblematic. I iach sign is almost an “emblem” for a particular message. A “V” sign with index
linger and central finger stands for victory. A thumbs up sign stands for hitchhiking. A wave of
the arm is for a ‘hello’ or a good-bye. Emblems directly stand for a verbal message. Certain
gestures are illustrators for they illustrate a point. An arm can be used to draw a circle. The index
finger shown with a little shake stands to emphasise a point as an illustrator.

Certain gestures made unconsciously will reveal the mental state of the speaker. Anger, fear,
nervousness etc., are often revealed by fidgeting, shifting of legs etc., Twisting the shirt button or
cuff-links, rubbing the neck-tie, scratching the cheek, nose, stroking the chin are some of the
innumerable unconsciously acquired gestures. If overdone, they may degenerate to the level of
mannerisms. One has to avoid the habit of over-gesturing in oral communication.
Body language can be studied elaborately under kinesis which makes a scientific and analytic
study of the subject. Oral communication takes place in face to face or one to one situation or
when a speaker addresses an audience. The audience may be small as in a group discussion or
large in the case of some business meetings. In all these situations, body language plays an
important role.

Paralanguage
In oral communication situations paralanguage plays an important role while speaking or
listening. The speaker or listener makes use of sounds like ‘Hmm’ – ‘ha’, or clicks his tongue or
chuckles. These sounds, though do not have a semantic value (meaning), are in fact important
prompters in maintaining an unbroken communication chain. They are effective tools of
listening. Empathetic listening (ability to imagine and share another person’s feelings, etc.) is
characterised by the use of para-language. Our speech is affected by the volume of our voice, the
speed of articulation and such sounds made by clicking of our tongue, chuckling, etc. We come
across people whose voices quiver when excited. Some others raise the decibel level of their
voice. These are people who shriek or shout when provoked. All these lead to an evaluation of
the personality of the communicator.

Voice and Tone

It is possible to communicate an unpleasant information pleasantly or good news badly. When
you tell someone, ‘you have done a great job’, it is your statement and the tone together show the
receiver whether you are complimenting him or ridiculing him. A complimentary tone is
distinctly different from a sarcastic tone.

Space
In oral communication situations, the space between the speaker and the listener is important.
Americans consider that a person who comes very close to him while speaking, say, less than
two feet is invading into his privacy. Only in intimate and personal situations can people move
closer than a foot and a half. To us, who are used to overcrowded public transport system, the
American practice of maintaining space in the elevator will be rather surprising whereas to him
our invasion of his personal space revolting.

Silence
In oral communication situations, silence plays an important role. People quite often talk about
“eloquent silence”. Yes, silence can send communication signals. Silence in a particular situation
may mean acceptance, agreement and in certain others indifference, apathy or even anger.

Listening – a Proactive Skill

In oral communication situations, listening plays an important role. Listening is different from
hearing. One can hear all noises and sounds and yet could be a poor listener. Listening is hearing
attentively and responding appropriately. Only a good listener can became a good speaker.
Attentiveness begins with the posture a listener adopts while he is listening. If a person inclines
towards the speaker, it means that the speaker is not clear either in the message or in his
articulation. If the listener tilts his head backwards, it shows that he is indifferent. A Good
listener is proactive. He is, as they usually say, “all ears”. He responds appropriately using
paralanguage. He says, Hmm—yeah—yes—come on now and then. He asks questions and
verifies facts. A listener’s role in an oral communication situation is as important as a speaker’s
role.

Listening in communication has several beneficial results. Good listening leads to getting useful
and updated information. Good listening creates a better understanding and rapport between the
speaker and listener. Good listening leads to better decisions. Good listening provides the best
feed back to the speaker.

Lead – in activity, Handout 1.

Student A

Come into the room. Sit down. Say “hey” “you” pointing with your hand and ask about last
hometask. Say “so today’s theme is “culture””. Say “culture is how to say….ummm” fiddle with
your fingers, don’t look at the eyes of the students.

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Student B

Come into the room. Greet with students. Say “ you looked very nice today”, let’s begin today’s
lesson”, Aziza will you say today’s date, ok, Komil what was given as an hometask, ok, good”.
Stand up from your place and check hometasks, explain the mistakes with eye contact and praise
for good works with tapping on their shoulders.

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Activity 2, Handout 3, Role play cards

 Put students in groups of 4 by pointing to the students with your finger and by saying
“You”. After the presentation ask what you should change in your behavior.
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 Give a short talk on what teacher presence includes. Speak loudly and during the speech,
fiddle with a pen or clothes. After the presentation ask what you should change in your
behavior.
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 Give a short talk on Learning styles(or any other topic). During the speech, look
repeatedly at your notes and if you have pockets, play with coins or keys. Speak very
softly so that nobody can hear you. After the presentation ask what you should change in
your behaviour.
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 Give a short talk on Teaching Grammar in context(or any other topic) sitting on the
chair. During your presentation fold your arms, cross your legs and look at the ceiling
and out of the window while speaking. After the presentation ask what you should
change in your behavior.
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  Introduce the topic “Integrated skills”(or any other topic). Speak very quickly, hunch
over and stand in one place without moving. After the presentation ask what you should
change in your behavior.
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 Make a list of characteristics of a good speaking activity on the board. Do not keep eye-
contact with the audience, talk to the board. Stand in front of the board so that students
do not see your list and ask the audience whether they agree with the list. After the
presentation ask what you should change in your behavior.
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 During your speech on any topic, talk in a deadly monotone without raising or lowering
your voice. Keep your hands behind your back and keep an eye contact with one of the
students. After the presentation ask what you should change in your behavior.

1) ------------------------------------------------------------------------------------- Please read the

article by Kerra Maddern “How to develop teacher presence and command attention in
class” and write your reflections on the role of teacher’s presence in the effective
classroom.
2) Reminisce your past education years and match with the teacher’s presence following
article(write your findings)

Review report

For this review report you will write a review report (minimum 300 words) focusing on the
teacher’s presence in the effective classroom background of the article. In your report include the
following points:
 What did you read (title, author)?
 Brief summary of the plot.
 Identify the main features of teacher’s presence from the article and give evidences.

How to develop teacher presence and command attention in class

Whatever their personal style, all teachers are performers and the classroom is their stage. But
success can depend on the kind of show they put on
Why do some teachers struggle to control a class while others manage to get a lesson flowing
seamlessly with apparently little effort?

It could simply be down to the “presence” they have in the classroom. This is a vague term, but
learning how to have presence, or build on what you already possess, could create a more
harmonious and effective classroom and strengthen your relationship with your pupils. Broadly,
the word means being able to use your personality and body to command attention.
Teachers are not actors and developing more presence is not about trying to transform yourself
into a Hollywood star. But, as public speakers and communicators, they will be more successful
if pupils find their lessons memorable and they have good interpersonal skills.

Being in the spotlight can be frightening and nerves make us behave differently. Developing
presence can help to prevent paralysing symptoms such as breathlessness or a dry mouth. Those
who already have it are often more aware of the impact of their body language and use gestures,
or even a glance, to create the effect they want.

Developing teacher presence

Anyone can learn these skills, according to Mark Almond, a senior lecturer at Canterbury Christ
Church University who trains teachers in the art of creating presence. But not everybody gets the
chance.

“Some educators blanch at the idea that teacher presence should be included in training, as it is
such a vague term,” he says. “But I believe this is an area teachers want to be trained in. They
think their existing training lacks how to develop interpersonal skills, how to create your own
identity and connect with pupils.”

Some actors use the Alexander technique to relax – gently realigning the body, breathing from
deep in the lungs and using the body economically. This can also be useful for teachers who
struggle to relax.

“You may be feeling awful at having to walk into a classroom of 15-year-olds, but if you display
your anxieties to that class, you will have problems,” Mr Almond says. “Walk in to the room
slowly with your posture straight, chin up, make eye contact and speak to your pupils in a clear
and audible voice.”

Looking physically confident will help to create presence. A good posture makes a person look
strong and commanding. Keep your head still when you talk, and speak slowly.

Guy Michaels, an actor-turned-teacher who now runs courses for the Royal Academy of
Dramatic Art (RADA) on how to create classroom presence, says: “Nerves can prevent teachers
from communicating effectively. Many teachers will explain a task, then explain it again, using a
different set of words. This confuses the class and any clarity is gone. You are not allowing the
idea to sink in.”

Teachers should grow comfortable with using stillness and silence as part of their repertoire.
“Many teachers say ‘I’m not a performer’, but they have an audience of 30 people waiting to be
entertained,” says Mr Michaels.

“Teachers often work to rigid lessons, they are obsessed with planning, and there is a danger
they can lose their flexibility. They should listen and improvise, be excited and infectious.”

Masking your anxieties

So how do you mask your nerves and transform unhelpful body language? The first step is to get
rid of any signs of tension. And the way you breathe is a key factor.

“If you can’t take deep breaths, you can’t speak with authority and resonance. It’s a waste of
energy and affects where your breath comes from,” Mr Michaels says.

“Children pick up on signals of fear. The first thing you have to do is understand your fight or
flight response – what happens when your body releases adrenalin. It gives you a low status.
These are physical signs like fidgeting, a stooped head and sweaty palms.”

But how do you avoid them? He advises teachers to “stand as tall as you can be. It gives you an
anchoring and this helps to keep you grounded and calm.

“Scale your physical presence up or down. Use gestures to punctuate what you are saying and
move around in the space if you want a big presence. This helps you appear to be a strong,
confident teacher.”

Many of our nervous physical ticks can be unconscious. A good way to start tackling them is to
ask a trusted colleague to observe you and give their candid thoughts on your body language and
other physical traits. Or try video-recording yourself. It is incredible how much the small screen
amplifies even the slightest movement.

Pause for thought

Another tip is simply to pause. This allows you to organise your thoughts, so you can avoid
repeating yourself, and makes you appear calm and in control.

Observe others in authority who appear to have an inbuilt confidence. Why are they watchable;
what are they doing right?

People with charisma use their body effectively. Eye contact is one of the most important
weapons in a teacher’s arsenal.

Try this simple physical test: ask your pupils to face you and put their arms up. They should then
begin slowly lowering them until you make eye contact. Each time you do, they must freeze. The
aim is to make sure that no pupil ends up with their hands in their laps. Eye contact can help vary
the pace and energy of a lesson. “If you want a different effect, stay still and cast a net around
the room with your eyes,” Mr Michaels adds. This will help to give you an aura of authority –
and make them take notice of you.

Using the space of the classroom differently can also vary the dynamics of the lesson. Try
teaching from a different area, at a different height or even sitting on a desk with pupils.

Presence means you can set the tone in your classroom.

You as the storyteller

 Think of yourself as a storyteller, conveying a secret through your teaching. Vary your language:
use active verbs to create excitement and an emotional response. Create anticipation or intrigue
with props or timing, letting each activity be revealed one at a time.

Appear energetic and eager to talk about your subject. It might be the thousandth time you have
taught a topic, but behave as if you are enjoying yourself. Enthusiasm is contagious.

Adjust the tone and volume of your voice to convey emotion and alter the pace of the lesson.

Teachers are not actors but some theatrics can create a buzz. Why not use over-the-top gestures
from time to time, to express delight, mock boredom or surprise? Such charades – pretending to
snore, feigning a heart attack (when appropriate) – can amuse and engage pupils.

Having presence also means that you are confident enough to be spontaneous and improvise.
This creates a vibrant lesson and can create energy if it starts to lag; it also means that you can
respond swiftly if pupils become disruptive.

According to Rob Salter, a London teacher who trains his peers in how to create presence, US
president Barack Obama is a perfect example of someone who already knows how to harness his
charm.

“He shows how being still and pitching his voice lower…and from the diaphragm, gives an air of
authority,” he says.

“Presence is as much about how you perceive yourself. Cultivate it. You should set the tone and
get children to buy into your vision.

“Have a part of the classroom which is the equivalent of the front of a stage. Use it when you
need to get the focus back on you – for example, if the noise levels go up. This gives you an
aura. Use different spaces to create different energies.”

The message is simple. By controlling the atmosphere of the lesson, you are showing pupils how
to behave.

Exercises you can practise at home

Tips from courses run by RADA, the National Theatre, Rob Salter and Mark Almond.

Voice
 Breathe in and hold for three seconds. As you breathe out, project your voice and say the days of
the week; then try the months; then the alphabet. This helps you to speak from the chest, not
from the back of the throat.
 To seem authoritative, practise your breathing to find your “home note” – your own distinctive
voice – from your chest.
Physicality
 Stand in a grounded way. To find your “centre”, stand with feet apart and bend your knees
slightly.
 Lengthen your spine. Stand as if your head is being pulled up by a string. Hunching reduces your
capacity to breathe properly.
 Release tension by swinging your arms from your shoulders. You can extend this to “shake out”
your whole body.
 To calm breathing, raise your arms slowly as you breathe in, and bring them down again while
exhaling and making a “ssshh” sound.
 To check you are breathing from your diaphragm, try stamping your foot while shouting “ha” as
you breathe out.
 Imagine you are blowing up a balloon with a long, slow, outward breath through the mouth until
there is no air left in your lungs. Then, on the in breath, through the nose, imagine you are
smelling a bunch of flowers.
 Think about eye contact – aim to look open and receptive. Make eye contact with your pupils,
even if you are shy.
 Scale your physical presence up or down.
 Use gestures to punctuate what you say and move around in the space if you want to create a
bigger presence. This helps you to appear strong and confident.
 To create an aura around yourself, stay still and cast a net around the room with your eyes.
 To bring your energy into the room, stand with your feet planted and say “I am here”, taking one
step with each word. Tread firmly on the floor and say the words out loud.
Varied use of space
 Teach from the back of the classroom.
 Kneel or crouch down between desks or at the front of the room.
 Sit at a desk, on the floor or on a chair or table.
 Try entering the pupils’ physical space; sit next to them, lean on their desks, walk slowly
between desks.
Adopt a relaxed and positive facial expression
 Give yourself a facial massage, concentrating on your forehead, cheeks and jaw.
 Practise relaxing and using your facial muscles by widening eyes, puffing out cheeks, stretching
your mouth into different shapes and flexing your chin. Now scrunch up your face as tightly as
possible. Move your eyebrows up and down. Try to move one at a time.