![]() ![]() In disbelief that a bug so giant existed in the UK, and in absolute horror that it may land on me, my feet froze, and my arms flailed manically beside my ducked head-or so the witnesses of my emotional display told me. A creature that I can only describe as a queen bee, the size of my hand, entered my garden and buzzed around for a few seconds that felt like an eternity. I experienced intense creeped-out fear when confined in the tiny walled garden of my terraced house back home in England. When we experience intense emotion such as fear or anger, our movements and gestures can speed up and increase in size, creating a dramatic show of emotion. The audience (one or more people) can end up watching your hands and not listening to your words, or worse still, think you are crazy. Using hand gestures like that can make you appear scatty and disorganised. If you use too many hand gestures, with fast movements taking up too much space, then yes, that can be distracting. Hand gestures can be distracting when used in the wrong way. Furthermore, communication is more difficult for the speaker because, strangely, cognitive load lightens when using hand gestures-we’ll get to that soon. Not only is this a blocking behaviour, creating a physical and, therefore, a psychological barrier between the speaker and the audience, but it also eliminates the second layer of communication that makes understanding easier for the audience. Instead, they are trained to hold an odd, staged pose where hands are held together, forming a V-shape fingers from one hand hold fingers from the other hand, sometimes concealing a clicker. Yes, absolutely you should! There are several benefits to using hand gestures when you communicate for your audience as well as for yourself.Ībsurdly, media training often teaches presenters to abstain from using hand gestures. ![]() Rano is used in Sindhi folk to juxtapose Lord with beloved.Should we be using hand gestures to communicate? This is the translation of the folk song. Momal then jumped into the pier of fire for her beloved and Rano on hearing that followed suit. Momal begged for his forgiveness and wander the streets as a destitute in her longing, but Rano never returned. This put off Rano, and the relationship went south, hence forth. One night, Rano snuck into the room of Momal to find her scheming sister in the bed. Rano would have none of that and continued a long distance relationship. Rano was released with the condition that he discontinues pursuing Momal, as the king himself was interested in pursuing the lady. Rano stealthily continued the affair, but was caught by the king and jailed. Their love grew from there, but the evil king Hameer forbade his prince Rano from courting her. Well, Rano Mendhro braved all perils to reach the court of Momal and ask for her hand. Momal’s chief schemer was Natir while the riddler was Soma. These friends chose to pursue Momal and her enchanting beauty. The sisters with their elaborate schemes and craftiness, kept prospective suitors away. The prince said that Momal live in Umerkot with her seven sisters. The king of Amarkot ( later day Umarkot), Hameer Soomro, along with his ministers, Rano Mahendra, Seenharro Dhamachanni and Daunro Batyanni, used to go for hunting in the far flung areas of Amarkot.ĭuring their hunt, they came across a prince from a Himalayan kingdom, who had been robbed of his riches in his pursuit of a beautiful local princess, Momal. There are many versions of the folk story in the market but this is the closest to the original one I could get: The setting is rural Sindh and its folk love story of Rano the prince and Momal the enchanting beauty. ![]()
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