| They say the eye is the passage to the soul. So | | | | pages of document. Better still, memorise the |
| powerful is this little organ that many cultures | | | | whole speech if possible and then look directly at |
| attribute fortune, both good and bad, to just once | | | | the audience throughout the entire talk. |
| glance of the eye. | | | | Looking directly into someone's eyes is a culturally |
| The eyes communicate strong messages of inner | | | | sensitive issue. Generally, Western cultures |
| confidence, credibility, sincerity, message value | | | | associate good eye contact with sincerity and |
| and audience empathy. As a speaker, you need | | | | confidence. On the other hand, in many Asian |
| to harness the power of eye contact when | | | | cultures and Africa societies for example, direct |
| delivering a speech so as to establish a crucial | | | | or prolonged eye contact with an older, senior or |
| bond with the audience and retain their interest in | | | | more authoritative person is perceived as |
| your speech. | | | | disrespectful or discourteous. Both scenarios still |
| You can effectively maintain eye contact with a | | | | require eye contact during public speaking but to |
| group by moving your gaze randomly across the | | | | varying degrees. Consequently, the speaker must |
| room. Look at the front row, the backbenchers | | | | be aware of the cultural norms of a particular |
| and the people at the flanks. Ensure to look | | | | audience and adapt the eye contact accordingly. |
| directly into the eyes of at least one person in | | | | Reverse eye gaze from the listeners is also a |
| each section before you move on. | | | | good indication of audience interest. It is natural to |
| The length of eye contact is critical. Don't look at | | | | look keenly at a person whose message has |
| one person too long as that may make them | | | | caught our attention. When delivering a speech, if |
| uncomfortable. On the other hand, if you look at | | | | you notice a lot of fidgeting, fiddling, wandering |
| the individual faces too quickly, you may be | | | | looks or drooping eyelids then you know that |
| perceived as being nervous, dishonest or unsure | | | | you're losing your audience's interest. While it |
| of whatever it is you are talking about. Generally | | | | might be too late to change your speech topic at |
| a glance of one or two seconds per person is | | | | that point, perhaps you could insert an unplanned |
| sufficient to establish that crucial connection. | | | | (but suitable) joke, give a quick vignette related to |
| Furthermore, even if an individual person doesn't | | | | the topic, or skip some of the more tedious bits |
| get your direct eye contact, they can see that | | | | of the speech entirely. |
| you are establishing it with other members of the | | | | While eye contact during speech delivery comes |
| audience. | | | | naturally to some, most will need a little practice |
| Maintaining eye contact requires one to be familiar | | | | to perfect the skill into a natural, smooth action. |
| with the content of the speech such that it need | | | | It's not a difficult thing to learn but it is a highly |
| not be read word for word. One method is to | | | | valuable skill to master for effective public |
| use cue cards with brief bullets points of the key | | | | speaking. |
| speech items, instead writing and reading several | | | | |