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KAILASA TEMPLE

KAILASA TEMPLE

The Kailasha (IAST: Kailāśa) or Kailashanatha (IAST: Kailāśanātha) temple is the largest of the rock-cut Hindu temples at the Ellora Caves near Aurangabad district, Maharashtra of Maharashtra, India. A megalith carved from a cliff face, it is considered one of the most remarkable cave temples in the world because of its size, architecture, and sculptural treatment. It has been called “the climax of the rock-cut phase of Indian architecture”.The top of the structure over the sanctuary is 32.6 metres (107 ft) above the level of the court below, and although the rock face slopes downwards from the rear of the temple to the front, archaeologists believe it was sculpted from a single rock.

The Kailasa temple (Cave 16) is the largest of the 34 Hindu, Buddhist, and Jain cave temples and monasteries known collectively as the Ellora Caves, ranging for over two kilometres (1.2 mi) along the sloping basalt cliff at the site. Most of the excavation of the temple is generally attributed to the eighth century Rashtrakuta king Krishna I (r. c. 756 – 773), with some elements completed later. The temple architecture shows traces of Pallava and Chalukya styles. The temple contains a number of relief and free-standing sculptures on a grand scale equal to the architecture, though only traces remain of the paintings which originally decorated it.

Kailasa (Kaliash) temple lacks a dedicatory inscription, but there is no doubt that it was commissioned by a Rashtrakuta ruler. Its construction is generally attributed to the Rashtrakuta king Krishna I (r. 756-773 CE), based on two epigraphs that link the temple to “Krishnaraja” (IAST Kṛṣṇarāja):

The Vadodara copper-plate inscription (c. 812-813 CE) of Karkaraja II (a ruler of a Rashtrakuta branch of Gujarat) records the grant of a village in present-day Gujarat. It mentions Krishnaraja as the patron of Kailasanatha, and also mentions a Shiva temple at Elapura (Ellora). It states that the king constructed a temple so wondrous that even the gods and the architect were astonished. Most scholars believe that this is a reference to the Kailasanatha Shiva temple at Ellora.
The Kadaba grant of Govinda Prabhutavarsha similarly appears to credit Krishnaraja with the construction of the temple.

However, the attribution of the temple to Krishna I is not completely certain because these epigraphs are not physically connected to the caves, and do not date Krishnaraja’s reign. Moreover, the land grants issued by Krishna’s successors do not contain any references to the Kailasa temple . The Kailasa temple features the use of multiple distinct architectural and sculptural styles. This, combined with its relatively large size, has led some scholars to believe that its construction spanned the reigns of multiple kings. Some of the temple reliefs feature the same style as the one used in the Dashavatara cave (Cave 15), which is located next to the temple. The Dashavatara cave contains an inscription of Krishna’s predecessor and nephew Dantidurga (c. 735–756 CE). Based on this, art historian Hermann Goetz (1952) theorized that the construction of the Kailasa temple began during the reign of Dantidurga. Krishna consecrated its first complete version, which was much smaller than the present-day temple. According to Goetz, Dantidurga’s role in the temple construction must have been deliberately suppressed, as Krishna sidelined Dantidurga’s sons to claim the throne after his death. Based on analysis of the different styles, Goetz further hypothesized that the later Rashtrakuta rulers also extended the temple. These rulers include Dhruva Dharavarsha, Govinda III, Amoghavarsha, and Krishna III. According to Goetz, the 11th century Paramara ruler Bhoja commissioned the elephant-lion frieze on the lower plinth during his invasion of Deccan, and added a new layer of paintings. Finally, Ahilyabai Holkar commissioned the last layer of paintings in the temple.

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KASHI VISHWANATH TEMPLE

KASHI VISHWANATH TEMPLE

Kashi Vishwanath Temple is a Hindu temple dedicated to Shiva. It is located in Vishwanath Gali, in Varanasi, Uttar Pradesh, India. The temple is a Hindu pilgrimage site and is one of the twelve Jyotirlinga shrines. The presiding deity is known by the names Vishwanath and Vishweshwara literally meaning Lord of the Universe.

According to several historical accounts, the Mughal Emperor Aurangzeb ordered the demolition of the Kashi Vishwanath Temple in 1669. Subsequently, the Gyanvapi Mosque was built on its site in 1678, but Hindu pilgrims continued to visit the remnants of the temple. The current structure was constructed on an adjacent site by the Maratha ruler Ahilyabai Holkar of Indore in 1780. In 2021, a major redevelopment of the temple complex was completed, and the Kashi Vishwanath Dham Corridor connecting the Ganga river with the temple was inaugurated by Prime Minister Modi, leading to a many-fold increase in visitors. It has become one of the most visited Hindu temples in India, with an average footfall of 45,000 per day in 2023. The total assets of the temple, were estimated to be more than ₹6 crores in 2024.

It is believed that Varanasi is the first Jyotirlinga to manifest itself. According to the legend, it was at this place that Shiva (the Hindu god of destruction) manifested as an infinite column of light (Jyotirlinga) in front of Brahma (the Hindu god of creation) and Vishnu (the Hindu god of preservation) when they had an argument about their supremacy.
In order to discover the origin of the luminous column, Vishnu took the form of a boar (Varaha) and tracked the column beneath the ground, while Brahma, who assumed the shape of a swan, scoured the heavens in an attempt to locate the apex of the column. However, both of them were unsuccessful in identifying the source of the luminous column. Yet, Brahma deceitfully asserted that he had discovered the summit of the column, while Vishnu humbly admitted his inability to find the starting point of the radiant column. Due to Brahma’s deceit over the discovery of the origin of the luminous column, Shiva penalised him by cutting his fifth head and placing a curse upon him. This curse entailed that Brahma would no longer receive reverence, whereas Vishnu, being truthful, would be equally venerated alongside Shiva and have dedicated temples for eternity.

Hindu scriptures describe Vishweshara as the sacred deity of Varanasi, holding the position of king over all the other deities as well as over all the inhabitants of the city and the extended circuit of the Panchkosi, an area (the sacred boundary of Varanasi) spreading over 50 miles.
The Jyothirlinga is an ancient axis mundi symbol representing the supremely formless (nirguna) reality at the core of creation, out of which the form (saguna) of Shiva appears. The Jyothirlinga shrines are thus places where Shiva appeared as a fiery column of light. There are twelve ‘self manifested’ Jyotirlinga sites that take the name of the presiding deity; each is considered a different manifestation of Shiva. At all these sites, the primary image is a lingam representing the beginningless and endless Stambha pillar, symbolising the infinite nature of Shiva.

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SASBAHU TEMPLE

SASBAHU TEMPLE

Sasbahu Temple, also called the Sas-Bahu Mandir, Sas-Bahu Temples, Sahasrabahu Temple or Harisadanam temple, is an 11th-century twin temple in Gwalior, Madhya Pradesh, India. Near the Gwalior Fort and dedicated to Vishnu in his Padmanabha form, like most Hindu and Jain temples in this region, it is mostly in ruins and was badly damaged from numerous invasions and Hindu-Muslim wars in the region. It was built in 1093 by King Mahipala of the Kachchhapaghata dynasty, according to an inscription found in the larger of the twin temple. The twin temples are situated in the Gwalior Fort.

The temple’s tower and sanctum has been destroyed, but its architecture and damaged carvings can still be appreciated from the ruins. The jagati platform is 100 feet (30 m) long and 63 feet (19 m) wide, on a square plan. The temple was three-storeyed, which was one of its distinguishing features and sophistication. It followed a central cluster concept, states Adam Hardy. The surviving elements of the temple are the entrance porch and the mandapa. According to James Harle, though the prasada (tower, spire) no longer exists, the triple storey plan with a cruciform foundation and balconies suggests that it had a North Indian Bhumija style architecture. This style, states Harle, is marked by a well proportioned superstructure, its “regularly arranged little subordinate sikharas strung out like gigantic beaded garlands”.

This temple mainly has three entrances from three different directions. In the fourth direction, there is a room which is currently closed. The entire temple is covered with carvings, notably 4 idols of Brahma, Vishnu and Saraswati above its entrance door. The pillar carvings show Vaishnavism, Shaivism and Shaktism related carvings. The larger temple ornamentation covers all the exterior walls and all surviving interior surfaces. The twin temple, like elsewhere in India, has locally been called Sasbahu temple. The word Sasbahu means “mother-in-law, bride” or “a mother with her daughter-in-law”, an association that implies their being together and interdependent. The Sas temple is typically the larger older temple of the twin. The Gwalior Sasbahu temple follows this style, but both temples are dedicated to Vishnu. Only the Sas temple has survived in some form, the Bahu temple is a shell structure of the original one storey with a highly ornate door frame and its defaced wall reliefs surviving. The remnants of the Bahu temple at Gwalior suggest that it may have been a smaller version of the Saas temple.

The Sas temple has a square sanctum attached to a rectangular two storey antarala and a closed three storey mandapa with three entrances. The temple main entrance porch has four carved Ruchaka ghatapallava-style pillars that are load-bearing. The walls and lintels are intricately carved, though much defaced. On the lintel of the entrances, friezes of Krishna-leela scenes are carved inside, while the outer side narrate legends from other Hindu texts. Above the lintel is Garuda, the vahana of Vishnu. The Bahu temple also has a square sanctum with 9.33 feet (2.84 m) side, with four central pillars. Its maha-mandapa is also a square with 23.33 feet (7.11 m) side, with twelve pillars. The temple, like most Malwa and Rajputana historic temples, provides multiple entrances to the devotee. The roof consists of two rotated squares that intersect to form an octagon capped by successive overlapping circles. The pillars have octagonal bases as well, with girls carved but these have been defaced and mutilated. The sanctum has an image of damaged Vishnu, next to whom stands Brahma holding the Vedas on one side and Shiva holding the trident on the other side.

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BAITALA DEULA TEMPLE

BAITALA DEULA TEMPLE

Baitāḷa deuḷa or Vaitāḷa deuḷa is an 8th-century Hindu temple of the typical Khakara style of the Kalinga architecture dedicated to Goddess Chamunda located in Bhubaneswar, the capital city of Odisha, India. It is also locally known as Tini-mundia deula due to the three spires on top of it, a very distinct and unusual feature. The three spires are believed to represent the three powers of the goddess Chamunda – Mahasaraswati, Mahalakshmi and Mahakali.

Baitaḷa Deuḷa Temple’s striking feature is the shape of its sanctuary tower. The semi-cylindrical shape of its roof is a leading example of Khakhara order of temples— which bears an affinity to the Dravidian Gopuram of the South Indian temples. Its gabled towers with a row of Shikharas reveals unmistakable signs of southern intrusion. The plan of the deuḷa is oblong and the jagamohana is a rectangular structure, but embedded in each angle is a small subsidiary shrine. Baitala deuḷa boasts of some figures, although executed in relief, are however characterized by delicacy of features and perfect equipoise.

The outer walls are encrusted with panels of Hindu deities, mostly Shiva and his consort Parvati, hunting processions, capturing of wild elephants and the occasional erotic couples.The facade of the deuḷa above the left of the jagamohana is dominated by two chaitya windows—the lower one having a carved figure of the sun god, Surya noted for its facial expression, with Usha (Dawn) and Pratyusha shooting arrows on either side and with Aruna in front, driving a chariot of seven horses.

The medallion in the upper Chaitya window houses a 10-armed Nataraja, the dancing form of Shiva. In front of the flat roofed Jagamohana is a stone post relieved with two Buddha like figures seated in Dharma-Chakra-Pravartana mudra.
Another striking feature is temple’s Tantric associations, marked by eerie carvings in the sanctum. The image enshrined in the central niche, eight armed Chamunda, locally known as Kapaḷini, is the terrifying form of goddess. Thus, Baitāḷa Deuḷa is a Shakti shrine.

The presiding deity, Chamunda or Charchika sits on a corpse flanked by a jackal and an owl and decorated with a garland of skulls. She holds a snake, bow, shield, sword, trident, thunderbolt and an arrow, and is piercing the neck of the demon. The niche is capped by a chaitya window containing seated figures of Shiva and Parvati. Chamunda is surrounded by a host of other smaller size allied deities carved in the lower parts of the walls, each within a niche separate by a pilaster. The figure on the east wall, to the right of the door, is a skeleton form of Bhairava, the counterpart of Chamunda.

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SOMNATH TEMPLE

SOMNATH TEMPLE

The Somanath temple(IAST: somanātha) or Deo Patan, is a Hindu temple located in Prabhas Patan, Veraval in Gujarat, India. It is one of the most sacred pilgrimage sites for Hindus and is the first among the twelve jyotirlinga shrines of Shiva. It is unclear when the first version of the Somnath temple was built, with estimates varying between the early centuries of the 1st millennium and about the 9th century CE. The temple is not mentioned in the ancient Sanskrit texts of Hinduism; while various texts, including the Mahabharata and Bhagavata Purana, mention a tirtha (pilgrimage site) at Prabhas Patan on the coastline of Saurashtra, where the temple is presently located, there is no evidence that a temple existed at the site in ancient times.

The temple was reconstructed several times in the past after repeated destruction by multiple Muslim invaders and rulers, notably starting with an attack by Mahmud Ghazni in the 11th century. In the late 19th and early 20th centuries, historians and archaeologists of the colonial era actively studied the Somnath temple because its ruins showed a historic Hindu temple that was turning into an Islamic mosque. After India’s independence, those ruins were demolished, and the present Somnath temple was reconstructed in the Māru-Gurjara style of Hindu temple architecture. The contemporary Somnath temple’s reconstruction was started under the orders of the first Deputy Prime Minister of India, Vallabhbhai Patel after receiving approval for reconstruction from Mahatma Gandhi. The reconstruction was completed in May 1951, after Gandhi’s death.

The Somnath temple is located along the coastline in Prabhas Patan, Veraval, Saurashtra region of Gujarat. It is about 400 kilometres (249 mi) southwest of Ahmedabad, 82 kilometres (51 mi) south of Junagadh – another major archaeological and pilgrimage site in Gujarat. It is about 7 kilometres (4 mi) southeast of the Veraval railway junction, about 130 kilometres (81 mi) southeast of the Porbandar airport and about 85 kilometres (53 mi) west of the Diu airport.
The Somnath temple is located close to the ancient trading port of Veraval, one of three in Gujarat from where Indian merchants departed to trade goods. The 11th-century Persian historian Al-Biruni states that Somnath has become so famous because “it was the harbor for seafaring people and a station for those who went to and fro between Sufala in the country of Zanj (east Africa) and China”. Combined with its repute as an eminent pilgrimage site, its location was well known to the kingdoms within the Indian subcontinent. Literature and epigraphical evidence suggest that the medieval-era Veraval port was also actively trading with the Middle East and Southeast Asia. This brought wealth and fame to the Veraval area, as well as the temple.

The site of Prabhas Patan was occupied during the Indus Valley Civilisation, 2000–1200 BCE. It was one of very few sites in the Junagadh district to be so occupied. After abandonment in 1200 BCE, it was reoccupied in 400 BCE and continued into the historical period. Prabhas is also close to the other sites similarly occupied: Junagadh, Dwarka, Padri and Bharuch.
The site of Somnath has been a pilgrimage site from ancient times on account of being a Triveni Sangam (the confluence of three rivers: Kapila, Hiran and Saraswati). Soma, the Moon god, is believed to have lost his lustre due to a curse, and he bathed in the Sarasvati River at this site to regain it. The result is said to be the waxing and waning of the moon. The name of the town, Prabhasa, meaning lustre, as well as the alternative name Someshvara (“the lord of the moon” or “the moon god”), arise from this tradition.

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Veerabhadra Temple

Veerabhadra Temple

Veerabhadra temple is a Hindu temple located in the Lepakshi, in the state of Andhra Pradesh, India. The temple is dedicated to the Virabhadra, a fierce form of the god Shiva.Built in the 16th century, the architectural features of the temple are in the Vijayanagara style with profusion of carvings and paintings at almost every exposed surface of the temple. It is one of the centrally protected monuments of national importance and is considered one of the most spectacular Vijayanagara temples. The fresco paintings are particularly detailed in very bright dresses and colours with scenes of Rama and Krishna from the epic stories of the Ramayana, the Mahabharata and the Puranas and they are well preserved.

There is a very large Nandi (bull), mount of Shiva, about 200 metres (660 ft) away from the temple which is carved from a single block of stone, which is said to be one of the largest of its type in the world. The temple is home to many Kannada inscriptions as its located close to Karnataka border.
The temple has been built on the southern side of Lepakshi town, on a low altitude hillock of a large exposure of granite rock, which is in the shape of a tortoise, and hence known as Kurma Saila. It is 140 kilometres (87 mi) away from Bangalore. The approach from the National Highway NH7 to Hyderabad that takes a branch road at the Karnataka-Andhra Pradesh border leading to Lepakshi, 12 kilometres (7.5 mi) away. Another route to reach the temple is taking a route from Hindupur. It is situated 35 kilometres (22 mi) from Penukonda, located in Anantapur district of Andhra Pradesh.

The temple was built in 1530 AD (1540 AD is also mentioned) by Virupanna Nayaka and Viranna , both brothers who were Governors under the Vijayanagar Empire during the reign of King Achyuta Deva Raya, at Penukonda who were native to Karnataka. The temple consists of only Kannada inscriptions. The cost of building the temple was defrayed by the government. According to Skanda Purana, the temple is one of the divyakshetras, an important pilgrimage site of Lord Shiva.

The temple is of the Vijayanagara architectural style. The main temple is laid out in three parts, these are: The assembly hall known as the Mukha mantapa or Natya mantapa or Ranga mantapa; arda mantapa or antarala (ante chamber); and the garbhagriha or the sanctum sanctorum. The temple, as an edifice, is encircled by two enclosures. The outermost walled enclosure has three gates, the northern gate is used regularly. The inner east gate is the entry to the assembly hall, which is a large sized open hall designed with a large space in its central part.

It is at the entrance to the sanctum sanctorum and has a profusion of sculptures and paintings over every inch of space on the columns and ceiling. The images on the pillars and walls are of divine beings, saints, guardians, musicians, dancers and 14 avatars of Shiva. Figurines of the goddesses Ganga and Yamuna flank the entrance to the sanctum. The exterior columns of this hall are built over a decorated plinth; the decorations are in the form of blocks of carved images of horses and soldiers. The columns are slim and have features of colonnettes carved with eaves, overhanging in a curved shape. The open space in the middle part of the hall is defined by large columns or piers which have carvings of triple figures.

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CHATTARPUR TEMPLE

CHATTARPUR TEMPLE

Chhatarpur Temple (Officially: Shri Aadya Katyayani Shakti Peetham) is a temple dedicated to the goddess Katyayani. The entire complex of the temple is spread over a wide area of 28 hectares (70 acres). It is located in Chhatarpur, on the southwestern outskirts of the New Delhi The temple was established in 1974, by Baba Sant Nagpal ji, who died in 1998. His samadhi shrine lies in the premises of the Shiv-Gauri Nageshwar Mandir within the temple complex.

It is the 2nd largest temple in Delhi, after the Akshardham Temple. This temple is constructed from marble and on all of the facets there is jaali (perforated stone or latticed screen) work. It can be classified a vesara style of architecture.
Surroundings are an important biodiversity area within the Northern Aravalli leopard wildlife corridor stretching from Sariska Tiger Reserve to Delhi. Historical place around sanctuary are Badkhal Lake (6km northeast), 10th century ancient Surajkund reservoir and Anangpur Dam, Damdama Lake, Tughlaqabad Fort and Adilabad ruins (both in Delhi). It is contiguous to the seasonal waterfalls in Pali-Dhuaj-Kot villages of Faridabad, the saсred Mangar Bani and the Asola Bhatti Wildlife Sanctuary. There are several dozen lakes formed in the abandoned open pit mines in the forested hilly area of Delhi Ridge.

The entire temple complex spread over 24 ha (60 acres), has over 20 small and large temples divided in three different complexes. The main deity in the temple is Goddess Katyayani, who is part of Navadurga, the nine forms of Hindu goddess Durga or Shakti, worshipped during the Navratri celebrations.

A side shrine within the main temple houses a shrine of Goddess Katyayani (Durga), which opens only during the bi-annual Navratri season, when thousands of people throng the premises for darshan. One nearby room has been made as living room with tables and chairs made in silver, and another regarded as the Shayan Kaksha (bedroom), where a bed, dressing table and table are carved in silver. This shrine opens to a large satsang or prayer hall, where religious discourses and bhajans, (religious songs) are held. At the entrance to the main temple stands an old tree, where devotees tie holy threads for wish fulfillment. Another shrine of Durga is open to devotees morning to evening, it lies above the shrines dedicated to Radha Krishna, and Ganesh.

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ANJANEYA TEMPLE

The Anjaneya Temple at Nanganallur, Chennai is a Hindu temple dedicated to the god Hanuman. The principal idol of Hanuman is 32-feet tall and sculpted from a single piece of granite, which the second tallest Hanuman after Panchavatee near Puducherry.

The idol of Hanuman was installed in 1989 and consecrated in 1995. Sri Maruthi Bhaktha Samajam Trust, consisting of people with high spiritual beliefs, wished for this temple. Sri Chandrashekarendra Saraswati mahaswamiji of Kanchi Mutt entrenched the 32-foot idol of Anjaneyar in 1989 and consummated the Kumbabishekam in 1995. The distinguished factor of the 32-feet idol is that it was molded out of a single rock.

The main shrine houses Anjaneya inside a Temple Tower 90 feet tall. Anjaneya is facing west, and thus the main entrance is on the west. There is an auxiliary entrance on the southern side used during temple festivals. The main temple building has path-ways all around the sanctum sanctorum and also a large covered space (mandapa) for devotees to assemble in front of the deity for offering worship.
On the northwest corner is a full-fledged Sannidhi for Lord Rama, Sita, Lakshmana and Hanuman in attendance. The gods are facing east. Rama’s role as the protector and ruler is signified here as Rama is seen carrying his bow, hence the name “Kodanda Rama.” Southwest, is a Sannidhi for Lord Krishna with Rukmini and Satyabhama, all facing east. Even though a Sannidhi for Lord Rama is normally built in Anjaneya temples, rarely a Sannidhi for Lord Krishna is built. In this temple, Krishna Sannidhi is built to remind the devotees that among the gods it was only Hanuman who was present in both the Indian epics—in Ramayana as a direct disciple of Rama, and in Mahabaratha on the flag of Arjuna’s chariot to save it from destruction by the opponents. In the northeast part of the temple, on a small platform, “Vinayaka” is housed facing east and to his left on another platform ‘Naga’ has been installed. Saint Raghavendra has taken his abode facing Lord Krishna.

The temple was run by a private trust – Sri maruthi bhaktha samajam trust – since consecration on 1995. However, widespread allegations of financial irregularities in the administration of the temple and the trust resulted in several complaints and petitions to the Government of Tamil Nadu. This prompted a review and enquiry by the government and upon unsatisfactory response and evidence from the trust, the Hindu Religious and Charity Endowment Department declined exemption and took over the administration of the temple since July 2013. Predictably, this action was severely criticized by Sri Maruthi Bhaktha Samajam Trust, the former management, which was accused of the financial irregularities.

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BODY LANGUAGE

What is body language?

Body language is a form of non-verbal communication a lot of information. Body language includes gestures facial expressions I contact, and even the tone of the voice. Body language gives a lot of information to the audience. In fact it enhances the speech and often emphasises the points which Speaker wants to make. When the Speaker wants to express himself or herself clearly and effectively body language lends a helping hand. Therefore it’s necessary for the speakers to understand the body language as well as the practice of the language should be their mandate.
Positive body language is critical for your confidence and for giving your presence felt. standing tall using open gestures and maintaining eye contact makes you make you appear more confident and assertive which in turn can influence how others perceive your personality.

Building relationships
good body language can help you to build a rapport with your listeners and establish connection with others. You can be on the same page to influence people you will sound more trustworthy with a positive body language. It in its facilitates better communication and augments relationship building.

Helps creating an impression
Whether it’s a professional situation or you are conversing to a group of friends your body language definitely helps you to create a better impression. Authentic and genuine expression body language can foster better understanding and deeper connections with others.

Enhances self-awareness
When you pay good attention to create your own positivity with the body language it also helps you in self-awareness. It allows you to recognise your conduct and behaviour. It also helps you to make adjustments as they will be needed to improve your interaction with others and overall personality
Insured body language is a powerful tool for communication, relationship building and self-expression. Being mindful of your body language can contribute to the development of a good personality by a nursing your communication skills, building confidence and fostering meaningful connections with others.

PublicSpeaking and body language.
The role of body language in PublicSpeaking is critical. Holding high head straight back and avoiding drooping shoulders gives a very impressive picture of yours to the audience. It enhances your confidence and also your credibility. you are able to maintain good eye contact with the audience whether it is one person or it’s a group of people or you are speaking on from the stage. It also helps you to use your gestures and gestures and facial expressions to enhance your communication.

what is the ideal posture?

The ideal posture is one where your body is properly aligned in a balanced position promoting optimal health and minimising strain on muscles and joints. Some suggestions are as below.
Keep your feet shoulder with apart distribute your body weight evenly on both feet straight line from your ears through your shoulders hips knees and down to your ankles. Tuck in your chin slightly and keep head aligned with your spine. Relax your shoulders and keep them Old back forward avoid leaning to one side or oscillating from 1 foot to another
While sitting sit back in your chair properly supported keeping your spine straight and head upright on the shoulders.

How to maintain eye contact with the audience?

It’s critical that you maintain a good eye contact with your audience. You don’t have to fix your gaze on one or two persons you have to scan the entire room so that we entire audience feels that you are with them. Hold attention with appropriate VoiceModulation. and face gestures.

What is the ideal movement on the stage?

The ideal movement on the stage depends on various factors such as context of the performance the style of your presentation and the mix of the audience. Movement should be purposeful. Don’t go for the sake of moving but advancing or getting back or going to one direction or the other if it is done with deliberation the same can be very effective.

How to use body language to emphasise an article that further the points that you are making in the speech?

As has been detailed above use your hand gestures to further illustrate your concepts for example if you are talking about size of size of something you can use your hands to indicate it scale. Likewise facial expressions also convey range of emotions. Spiling following or brown or raising your eyebrow can help you emphasise the tone and importance of what you are saying. Likewise your posture gives dignity and grace your presence on the stage. In short body language must be properly understood By the public speaker and he or she must use it to their advantage.

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PUBLIC SPEAKING

Public Speaking

What is PublicSpeaking? Your ability to communicate to an audience whatever you have in mind clearly and effectively insured is PublicSpeaking. However, it must be understood that the elements of good PublicSpeaking or also this is Siri for your good conversational skills. Thus unless you are able to communicate clearly and effectively it becomes difficult for you to build relationship and influence people.

What are the main elements of PublicSpeaking?

Cicero said the most important thing is that you should know your audience. You should know their likes and dislikes. You should know what is the desired outcome that they need. Cicero said it in three words: ethos pathos and logos, ethos refers to your credibility or your status to speak on that particular subject for which you have invited you have an invite. Pathos is of course the need of the audience he said earlier you must understand audience and what they expect of you. Logos is how you construct your arguments and how you deliver so that there is Takeaway and people feel that the time they have spent with you is worth it.
Thus, clarity in speech, effective modulation so that you are aware able to hold the attention of the people, understanding the response of the audience from the stage to keep them well-connected are the few things you must concentrate upon. You can carry out above by working on the subject, practising and developing your communication skills.

One might ask what are the benefits of developing public speaking skills. This has been the concern of people from times immemorial. The simple answer to this question is: (a) to influence people, (b) to convince them of your views, and (c) to impress them in any kind of interviews. If you have something to say and you are committed and you feel that it is good for the society which you want to serve, there is nothing like developing the area of public speaking. Effective communication on the subject to the desired audience makes public speaking critically important. This has been so in the past. This is so now and it will remain so in future times to come.

Why should a leader must be a good public speaker? Or even a person who wants to grow and be highly successful?

Being a good public speaker is essential for a leader for several reasons which are listed below:

Effective communication is primary means through which leaders express their vision strategies and inspire their team to follow the same. They can motivate only if they are enthusiastic and good public speakers. Another important point is that they have to build the trust. Trust can be built only with effective communication which should be also be honest is delivered confidently.
A great leader definitely possesses a Charisma which depends on how committed and honest he is to what he is expressing we have seen that great leaders over the world have been spending a lot of time and they have been practising the important speeches. It has been said that John Kennedy who is reckoned as one of the most effective speakers spent six months creating his inaugural speech. This inaugural speech of John F. Kennedy is recognised as one of the finest speeches in the world.

What is the importance of good public speaking skills in modern times?

A big public speaking event or a presentation where you have been invited to address certain group of people for a course is of utmost importance. It requires great public speaking ability.

Networking is very important today.In the business environment you should be excellent in conversational skills. Above all, good conversation requires all the qualities of a good public speaker but of course with the difference that it is more intimate and does not require the rhetoric which helps the public speaker on the stage. Besides people who go for interviews we have to communicate very well and that also requires it that public speaking ability.

Insured public speaking is critical for a person to grow in his career and be a successful person.

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