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Recently, a client of mine, who is also a childhood friend, left me a voice mail saying that he did not think my short article on the power of gesture to create emotion was appropriate for the market I serve. Essentially, the short piece tried to make the point that speakers can alter their inner emotional state by finding a gesture to do (in private) that can move them out of fear and anxiety and into calmness and confidence.

He said that the suggestion seemed too “pop” and “retail” and inappropriate for sophisticated people. To him, it seemed like something he would find in an airline magazine.

I am grateful for his honesty, and for his trust that I would take his comment in the right way. I know he is watching out for my best interests.

I would like to try to make the point again (and here in public) in a way that makes it more palatable to him and those who might think as he does.

We all agree that just as feelings create physical gestures (happiness puts a spring in your step), gestures can stimulate feelings (raising your hands above your head and punching the air in triumph tends to lift a sagging mood.)

As speakers, we want to present ourselves as enthusiastic upbeat people who are excited about our material. If we happen to be nervous, a few fist pumps, or jumping jacks, or whatever, done out of sight of the audience, will serve to prime our emotional pumps.

Also, while sophisticated people may reject the idea that they could benefit from using creative gestures as an offstage tool to create more positive inner states (even though they admire dancers, actors and singers who use just those techniques to bring their material to life) they themselves might more effectively bring their own complex messages to life with a bit more expressiveness.

I taught acting for many years under the tutelage of Michael Chekhov and his disciples, and I now serve on the board of MICHA–the Michael Chekhov Association. Michael Chekhov was the nephew of Anton Chekhov, and he was considered the greatest actor of the 20th century in Russia.

Michael Chekhov disagreed with Stanislavsky about how actors should create the inner life of their characters. Stanislavsky suggested, for instance, that when called upon to cry, the actor should recall his “dying grandfather” or some other sad event, a technique he called sense memory. Michael Chekhov, on the other hand, suggested that creative gesture can stimulate sensation, and that sensation is the vessel into which we can pour our creative feelings.

I think both can work, but I tend to lean toward Chekhov. The technique of sense memory removes us from the immediate circumstances, and asks us to visualize something that occurred, or will occur, at another time and place.

Gesture, on the other hand, gives me an immediate physical and psychological jolt that arouses my vitality and sense of play. I can walk out on stage with an inner feeling that I have the energy and will to do my best.

The body can speak to the inner life, and when necessary, we can use gesture as a tool to create a more appealing and effective presence.

Science, like the rest of us, advances through trial and error, better known as dumb luck.

One summer day in 1991, neuroscientists in a lab at Parma University wired up a monkey’s brain for a simple experiment. They wanted to see which neruons fired during the series of movements involved in the everyday act of drinking from a cup.

But on that day the monkey was more interested in a student eating an ice cream cone. The monkey watched intently as the student moved the cone to his mouth and, as it watched, the motor neurons in its brain began to fire, indicating that the animal was moving its arms and hands. In fact, the monkey was perfectly still.

This suggests (they say) that our brains mimic, or mirror, the movements we observe, even though we don’t actually make the gestures. We are “moved” when observing the movements of others. In fact, scientists tell us that our brains have “mirror neurons” responsible for replicating the brain maps of gestures made by others.

While it’s nice to have science confirm this, didn’t we know it already? When we watch someone hit his thumb with a hammer, and he winces in pain, we make the same gesture.

When we see someone cover his face with his hands and shake with sobs, we can’t help but be moved, even though we don’t replicate the gesture.

And when we watch a speaker step out from behind the lectern, and we see that his or her body is free of tension, and even more importantly, full of intention, our brains recognize the speaker is confident in what she’s saying, and certain parts of our brains light up, and more importantly, she is more likely to exert influence over us.

As a great Roman said, “Unless the delivery stands guard over the material, the material will evaporate, no matter how precious it was in itself.”

There is no right way to “deliver” your thoughts: there is only your own best way. If you restrain yourself from gesturing, your audience feels your restraint. If you make exaggerated, unfelt gestures (because you’ve read and misinterpreted this blog) your audience feels that you are artificial. But when you allow your voice and body to express what your message means to you, they feel the meaning of your message.

And so I have a renewed interest in the body language and micro-movements of my clients. It doesn’t have to be elegant, but it does have to be full of intention.

I am still looking for a unified field theory of presentation skills, and when I find it, I will check to make sure that the mind-body connection is a significant part of it. The brain is in the skull, but the mind is in every cell.

A friend of mine, who is a very successful consultant, told me that she has lost her confidence as a speaker. For twenty years she has been speaking to large groups of clients and potential clients with success.  Now she feels very unsure of herself.

She reports to me that she’s terrified of going blank.  While she used to trust herself to speak without slides, and instead drew pictures on a flipchart or whiteboard, now she prepares a script and a set of detailed slides.  She says that her voice shakes, her hands tremble, and her eyes dart from side to side as she speaks.

I respect this person, and feel honored to be trusted with her struggle.  She told me that she has gotten a medication to help her, and it works.  She’s feeling better.

But that solution is not appropriate for everyone.  It’s expensive, might cause side effects, and some of us are opposed to pharmaceutical assistance when it comes to our “valor under fire.”  Plus, it could take the edge off–the edge that makes great musicians play dramatically better when under pressure to connect with a live audience.

What can you do if you lose your nerve, and feel your performance skills deteriorating?

Refuse to speak?  Few of us have that option.

Confess to the client or the meeting host that you are having a crisis of confidence and ask to be relieved of the duty to address the room?  Not a good idea–not unless the client or host is a long-time friend who will keep your secret and cover for you.

Lie, and say you’re not feeling well?    That’ll work.  Once.

Pray?  That could work for some.  After preparing like a maniac, throw yourself on the mercy of your God.  Trust your fate to His/Her guidance.  Give it everything you’ve got and hope that Someone is watching.

Rehearse more than usual?  Prepare so thoroughly that even if you pass out with anxiety you can still get your point across?   Yes!   The knowledge that you did everything within your power to ensure your success will strengthen you.  Anticipate everything that could possibly go wrong and develop a strategy for dealing with each potential disaster.  The performance will probably seem easy compared to the rehearsals.

Act as if you’re confident?  Absolutely!  We know instinctively that confidence is the essential ingredient for our success, and we constantly make every effort to demonstrate confidence to others.  A speaker without confidence does not inspire others to have confidence in her.

As a matter of fact, you can use posture and gesture to alter your inner state.  Just as emotions tend to shape our bodies, our bodies can also influence our emotions.  In private, find a gesture that gives you a good feeling (like Tiger Woods pumping his fist) and do it over and over.  Try it at different tempos.  Then, simply imagine you’re doing it while standing still.  The image of the gesture will inform your behaviors and stimulate a sensation that can help you overcome your negative feeling.

Smile?  Yes, if you can manage to do so.  Anxious speakers tighten the muscles of the face which makes a mask that listeners recognize.  Work hard to smile.  Charles Strobel of Yale University demontrated that a smile literally changes your brain chemistry and diminishes your experience of fear.

Lift your eyebrows?  Believe it or not, yes!  Lifting the eyebrows is a universal gesture that indicates surprise and delight.  It will help you feel those emotions, and it will make the audience respond positively to you.  By the way, raising the eyebrows also brings the voice forward and helps you be more expressive.

Remember to breathe?  Yup, that works too.  As you prepare for the event, and you feel anxiety rising, sit quietly and become mindful of your breathing.  Watch it come in and out.  Try counting your breaths while saying to yourself, “I’m breathing in ONE; I’m breathing out ONE.  I’m breathing in TWO; I’m breathing out TWO,” all the way to TEN.  Then start again.

While you’re doing this, send your mind on an inspection of your body.  Check out your legs, your lower back, your shoulders, your neck, your forehead.  See if any area is experiencing tension.  If so, tell it to relax.  Or imagine that you’re breathing in and out through the tense spot.

Here’s another technique.  Count your breaths from 100 to zero.  The effort to concentrate on your breath while counting backwards takes the mind away from your pre-occupation with your anxiety.

Finally, envision yourself succeeding–over and over again.  Picture it in detail.  What do you look like when you’re succeeding during the speech?  What do you sound like?  What are you doing?  What’s the audience doing?  How do you feel while you’re succeeding in your vision?

Confidence can be defined as the expectation of positive outcomes.  Talk to yourself in a positive manner, so that your subconscious mind absorbs positive messages.  Do that long enough, and your self-image changes.  You begin to think of yourself as, “The kind of person who speaks well in public.”

And that can make a huge difference in your performance.

Trying to master a mental task?

Acting it out can help.  In a study reported in Cognition, when kids were told to use gestures as they learned to do a type of math problem, the lesson stuck.  Embodiment gives you–literally–another way to grasp an idea.

Actors use gesture in a similar way–to grasp the feeling and intention of the character they’re playing.  When trying to discover the best way to speak a line, some actors will say the line using different gestures–even random and counter-intuitive gestures–to expand the range of possible interpretations of the text.

Gesturing also helps us find the right word in conversation.  It’s almost as if we use gesture to “reach” into our own minds to find the word we need.

As reported in another posting, speakers with their hands in their pockets are more hesitant and awkward as speakers.  Speakers who gesture say fewer “ers and uhms.”

Lesson to be learned?  Let your body talk!

Traveling to a foreign country, we will have trouble communicating with the locals if we don’t speak their language.  We may also have trouble reading their facial expressions.

Hillary Elfenbein of the University of California at Berkeley has done a study looking at local “facial dialects.”  As a management consultant, she used to notice that her colleagues were having a hard time with signals coming from people from different backgrounds–signals as basic as whether it was their turn to speak in a meeting.

In a recent paper in Emotion, she put her “facial dialect” theory to the test by comparing French speakers in Quebec to those from the African nation of Gabon.  Reflexive responses such as fear and disgust showed the least regional variation, while serenity, contempt, sadness, happiness, shame, and anger showed the most.

And in tests of recognition–on average, in-group members have about a 10 percent accuracy advantage–the expressions with the greatest cross-cultural differences proved the hardest for outsiders to interpret.

Now the U.S. Department of Defense has picked up on her work, and seeks ways to train soldiers to read expressions and gestures specific to Middle Eastern cultures.

Says Elfenbein, “This is something that can really help as our society becomes increasingly diverse.”

It can also help those of us who work in large, diverse business settings.  And when presenting, we must also be mindful of our facial dialect.

I have rarely seen a presenter in the business world whose facial dialect needs to be reined in.  Most of us need to be more expressive.  After all, there are people in the back row who want to see on your face what the information means to you.