LESSON 11: SPEECH AND APPLICATION

Speech of Introduction
In introducing a speaker, get the goodwill of the speaker as well
as the listeners for the audience to listen to the speaker in a favorable
position. The following will help you bring about these objectives:
1. Tell something about the speaker and his/her particular
relationship to the subject of the talk.
2. Touch on the significance of the occasion.
3. Tell an anecdote about the topic to awaken listener interest.
4. Avoid long elaborate details about the speaker’s life.
5. Avoid placing the speaker in an unfavorable light or giving too
much of a buildup.
Example:
SPEECH OF INTRODUCTION

Many, many times, we hear a person described by the honored and well-worn phrase,
“He is a man of the world.” And yet, it is seldom, indeed that we have the opportunity to see
a person to whom that phrase is appropriate in a literal sense. But today we have the pleasure
of seeing—and listening to—a man to whom that description does apply, both literally and
figuratively.
World War I found him a student at the University of California. He left the University
in senior year to join the French Ambulance Corps overseas and later served the United States
as an artillery office. Following the war, and in rapid succession, he became a lawyer, president
of an international holding company, the American Cable & radio Corporation, chairman of
the Board of Trans- World Airlines and president of the International Air Transport Association.
All of these gave him the background for his subsequent “man of the world” activities.
He became general counsel and later president of the Export—Import Bank, financial
adviser to the United States delegation at the Bretton Woods Monetary Conference, a member
of the Inter—American Financial and Economic Advisory Committee, and advisor to the Inter—
Ambassador, he represented this nation on the Tripartite Commission on German debts and is
now chairman of the United States Council of International Chamber of Commerce.
It is a real pleasure to present to you a man who has indeed won the right to
represent the world at the first monetary and business Conference of the United Planets – Mr.
Warren Lee

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Speech of Welcome
Speech of Welcome is a formal reception of an important
person or group. The main lines of thought are the following:
1. Talk about the organization you represent.
2. Explain the achievements of the person or group you are
welcoming.
3. Give the purpose and spirit of the organization that extends the
welcome.
4. Tell why it is fitting and proper for hosts and guests to meet
together on this particular day, place and circumstances.
5. If the guests have come on a special purpose, as for a
convention, wish them success in their deliberations and
progress in the future years.

Persuasive Speech
In this speech, you should motivate your classmates to change
their attitudes and behavior toward your topic.
Delivering a Persuasive Speech:
✓ Style
Delivery is of the utmost importance in persuasive
speaking. If you are not perceived as trustworthy, knowledgeable, and
interesting, your topic will be dismissed by the audience. Work on
creating a dynamic, energized, and enthusiastic delivery style for this
speech. You will be speaking extemporaneously using a key word
outline on note cards. You will be graded on how well you communicate
directly with the audience. The following will also be taken into account:
animatedness and enthusiasm, physical groundedness, eye contact with
audience, voice (speed, volume, vocal variety), professional appearance,
distracting verbals/nonverbal, and projected confidence and credibility.

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 ✓ Speaker’s Notes
You MAY use index cards, but only put key words or
phrases on them. The most important quality of your delivery is that
you communicate conversationally with the audience, using good eye
contact. If your notes are too detailed, you may have a hard time
doing this. You will be required to turn in your speaking notes at the
end of your speech.
✓ Rehearsal
REHEARSE, REHEARSE, REHEARSE! Make sure you practice
this speech OUT LOUD! Practice it as you truly plan to deliver it! It is
imperative that you start rehearsing this speech early, since it may be
the most difficult of the presentations you will give. You may be
required to rehearse with a rehearsal partner (in class) before you speak
and with an outside partner. You should take a page of notes as you
listen to a partner’s speech and give them the most honest and helpful
feedback possible.

ORATORICAL SPEECH
An oration, from the Latin, "plead, speak, pray", is a speech
delivered in a formal and dignified manner. A skilled public speaker is
known as an orator. The art of delivering speeches is called oratory. The
term oration sometimes carries a negative connotation: "any
impassioned, pompous, or long-winded speech" (Oxford English
Dictionary).

In classical rhetoric, notes George A. Kennedy, orations were

classified "into a number of formal genres, each with a technical name
and certain conventions of structure and content" (Classical Rhetoric
and Its Christian and Secular Tradition, 1999). The primary categories of

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orations in classical rhetoric were deliberative (or political), judicial (or
forensic), and epideictic (or ceremonial).

IMPROMPTU AND EXTEMPORANEOUS SPEECHES

Suppose while attending your best friend's birthday, the guests

begin chanting your name followed by the words 'Speech, Speech,
Speech!'

Frightened at the possibility of having leftovers thrown in your

direction, your first thought is to hide behind a potted plant. After all,
it is your friend's birthday, so you reluctantly get on stage and begin
yapping. You might talk about your friendship, his many former
girlfriends, all of which you liked, and the nasty creamed spinach that
was served with dinner.

Pat yourself on the back! You just performed an impromptu

speech. This is a speech that has no advanced planning or practice.
Reflecting back on your speech, you are probably thinking about what
you could have done better. Your black eye may very well be the
catalyst for your regret in making those word choices. Well, lucky for
you, if you are ever asked to speak before a crowd without advanced
notice again, here are a few tips you can use:

Think for a second about what you are going to say.

✓ Keep your points brief and to the point.

✓ Take a few seconds between thoughts to compose yourself.
✓ If you take your time and think about what you would like to
say, you probably will never put your foot in your mouth again.
Some speeches play it a little safer.

We learned that the impromptu speech can be tricky. Finding the

right words without advanced notice may not be for every speaker. No
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need to worry. The extemporaneous speech is a perfect balance. This
speech involves the speaker's use of notes and some embellishment to
deliver a speech. To clear this up, a speaker who uses this method
would have note cards or prompts that guide him from point to point,
but he uses his own words as he goes along. What makes this different
than an impromptu speech is that he has a loose guideline for his
speech. He did not memorize anything; he just used cues to know
where to go next.

There are advantages and disadvantages to this type of speech.

For one, the audience will think you are a genius. You used few notes
and appeared to know everything about the topic. But this is not
something that can be done quickly. The same fact finding and research
used for other types of speeches must be used here. The speaker also
must rehearse this speech for timing, rhythm and flow.

INTERPRETATIVE READING
Interpretive (or Interpretative) Reading is an oral and dramatic
presentation of a narrative that affords student participant’s
communication of its literary meaning in a highly creative and evocative
expression.
Basically the reader is sharing an interpretation of an author with
an audience, literally read and not memorized. The following are the
mechanics to consider:
✓ Selections include stories, essays, speeches, raps, plays and scenes
of plays.
✓ The reader communicates meaning and emotions to the listener,
relying only on the spoken word through reading, without props,
costumes, digital presentations, or wandering about a stage.

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✓ The reader assumes the identity of a character and portrays the
dramatic, physical and emotional aspects of this character or of
the situation.
✓ External music or sound effects are to be avoided unless critical
to the piece (depending on preference).
✓ Stools and podiums for scripts may be used.
✓ If there are several characters, each is identified through voice
changes, gestures, and posture.
✓ If there are more than one reader, there is no physical or eye
contact between readers as in a play
✓ Interpretive reading begins with a good understanding of the
material.
✓ Summarize the general theme, or dominant meaning, you wish to
convey
✓ Visualize or imagine a word picture that will help you relate your
experience with the reading
✓ Create an atmosphere or context with your voice: expressive
reading uses many vocal tools. Vocal qualities show differences in
characters, development of the action, and indications of
emotions
✓ Rhythm, pace and cadence include pauses and effective spacing
for words.
✓ Pronunciation of words pays attention to the enunciation of
sounds.
✓ Practice difficult words and their sounds as vowels and
consonants, especially leading and ending sounds.

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SPOKEN WORD POETRY

Spoken Word is writing that is meant to be read out loud. Some

examples of spoken word you might be familiar with are stories, poems,
monologues, slam poetry, rap and even stand-up comedy. When writing
a spoken word piece use words and phrases that project onto the minds
of the listeners like vivid images, sounds, actions and other sensations.
If your poem is rich with imagery, your listeners will see, smell, feel and
maybe even taste what you’re telling them.

Choose a subject and have attitude. No attitude, no poem!

Feelings and opinions give poetry its “richness.” Each poet has a unique
perspective and view of the world that no one else has. It is important
that a spoken word poem embodies the courage necessary to share
one’s self with the rest of the world. The key here is to build confidence.
We must acknowledge ourselves as writers and understand what we
have to say is important. Practice. Practice. Practice.

Pick your poetic devices. Poems that get attention are ones that
incorporate simple, but powerful poetic elements. Repetition is a device
that can help a writer generate exciting poems with just repeating a key
phrase or image. Rhyming can enrich your diction and performance.

Performance. Spoken word poems are written to be performed.

After your poem is written, practice performing the poem with the
elements of good stage presence in mind. It is important to maintain
Eye Contact – Don’t stare at the floor, or hide behind a piece of
paper/phone. From time to time, look into the eyes of people in the
audience to capture their attention. Projection is also crucial, so
remember to speak loudly and clearly so that your voice can be heard
from a distance. Enunciation helps the listeners to hear exactly what
you say. Don’t mumble. Speak clearly and distinctly so that the audience

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can understand what you are saying. Facial Expressions help animate
your poem. You’re not a statue: smile if you’re reading something
happy. Look angry if your poem is about anger. This might sound silly,
but using the appropriate facial expressions help express various
emotions in your performance. Gestures such as hand motions and
body movements emphasize different elements of your performance.
Choose the right gestures for your poem.

Memorization. Once you’ve memorized your spoken word piece,

you can devote more time to your performance. Memorization allows
you to be truly in touch with the meaning and the emotional content
of your poem, even if you forget a word or a line you can improvise
(freestyle), which is one of the most important elements of spoken word.

JAZZ CHANT
Almost anything can be jazz chanted. If you got the rhythm
correct, you can’t help but move because of its rhythm. This rhythmic
quality in jazz chants is its distinguishing mark from speech choir.
Speech choir is merely reciting a piece. Jazz Chant is delivering a piece
in a fast rhythm. It is almost like rap.

It should be remembered however that the delivery should not

become a rap. To deliver a piece correctly, one should not cut or pause
word for word to create emphasis. To make the delivery effective, one
should feel the piece. It is quite similar with speech choir in the
sense that three voices: light, medium and dark may be used.
Generally, light voices are used if the piece calls for happiness or
a young persona is speaking. Use the dark voice for mourning or sad
connotations or when the persona of the piece is an old person.
Medium voices are recommended for refrains or lines that has to be
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repeated; and, those lines that neither the light nor the dark voices are
appropriate.
There are two types of jazz chant, the conventional and the
dramatic. A dramatic jazz chant has no boundaries except for the
agreed time limit. In a dramatic jazz chant, imagination is the limit.
Musical instruments, props and whatever one desires may be employed
in this type. One can even modify a little the piece like adding a word
or repeating a line. However it is recommended that generally the piece
should still be as is. One should always remember though especially the
judges that these additional dramatic props should not overshadow the
primacy of the jazz rhythm. The presentation should not degenerate
into singing or a stage play. The voice and the sound of the jazz chant
should still be their focus.
The conventional jazz chant as a type of contest is preferred
because it cuts on cost and the objective of jazz chanting which is to
develop in students their English proficiency is still developed. Students
can only wear their school uniform. With the conventional Jazz chant,
participants can only do few limited movements like clap their hands,
move their body to the rhythm, move their heads but they could not
move freely on the stage.

SPEAKING ON RADIO AND TELEVISION

Today, more than ever, radio and television have become potent
forces, not only in communication but also in business and public
services. They have become powerful tools for education, reforms,
progress and even for political and personal purposes. They have
become so much an integral part of our life that very often, we
become dependent on them.

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 Radio broadcasts reach even the farthest nooks and corners of
the archipelago. With the aid of transistor radios, radio programs are
beamed to and can be heard even in the remotest regions. While
before, television broadcasts were received mainly in urban areas, they
are now followed avidly by millions not only in the metropolitan areas
and urban centers but also in semi-urban villages in the provinces.
The most common fare in radio and TV today are news
programs. The radio newscaster’s speech is usually spontaneous.
Meaning is received by ear. On the other hand, the TV newscaster’s
message is supplemented by gesture and facial expression, in addition
to the physical environment of the event, or the visual aids provided
during the programs.
Both radio and TV newscasters may depend on scripts. The radio
broadcaster’s script is usually an outline of the message they is to air.
As they talk they develop the main topics filling them in with various
major and minor items. One type of news program, for example, is
the spot news report. This report which deals with a very important
event, is inserted in a regularly-scheduled program, and therefore lasts
for only a few minutes. Other types of new program are the news
summary, news commentary (a discussion, analysis or an
interpretation of a news event by a knowledgeable commentator),
news round-up (a review of the significant political, historical or social,
cultural event) and the sportscast (a play-by-play account and
commentary of a game).
The TV broadcasters’ script is a carefully-edited manuscript
which is strictly read and followed. It is put on a teleprompter or
telecure, a device attached in front of a camera just above the lens
which the broadcasters read as they speak.

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 It is not only the content of the radio or TV broadcaster’s
communication activity that is of great importance. Their language
and speaking style could influence their broadcast audience to a great
extent. Their correct pronunciation, clear articulation and good diction
enhance and even heighten the acceptability of their message and
their credibility as communicators; these, in turn, influence in no small
measure, the speech conduct of their broadcast audience.
At one time or another, you may be asked to air over the radio
or on TV an important news item about your school, or organization
in or outside of school; or you may be a member of a panel to give
some news bits about a well-known person, to inform the public of a
worthy project or give comments on an issue or event.

Here are some helpful pointers when speaking on radio and television:

1. Speak in an easy conversational style as though you were talking to

someone you know only a few feet away from you in the room.
2. Be sure you know the correct pronunciation of every word in your script.
3. Call attention to ideas by varying your pitch levels, pauses, phrasing.
4. Be spontaneous, enthusiastic and sure of what you are talking about.
5. Use enough movements, gestures and facial expressions that will help you
maintain that easy, flowing conversational style.

On radio, although you are not visible to your radio audience,

your bodily movements will help you feel relaxed. This is reflected in
your oral delivery. On TV since you are both heard and seen, use
enough movements and gestures to keep your presentation lively and
spontaneous, but be sure they are not over-extensive; otherwise, they
will be more ridiculous than compelling.

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 SWISS OF THE KRIS
There is such a mistaken
concept among our Christian
Brothers in saying that the only
a good Moro is dead Moro.
A good Moro is dead
Moro. What a mistaken concept
my Christian Brothers! My father
is a dead Moro but while he
lived, he was a good man, a
good Filipino. He became bad
when he turned bandit by force
of circumstances and fled to the
mountains to join Kamlon.
I, son of the bandit Sultan
Alimoden Alfad, come to you
Oh! my blood brothers and
sisters. You, who call yourselves
Christian Filipinos, I plead with
understanding. I come in the
name of peace and national
unity. For are we Moros not
Filipinos like you? Are we not
entitled to share the lands of
our forefathers?
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Listen to me for I am an
educated Moro as articulate as
your poets, orators, and
politicians. Listen to me and I
shall voice to you the
grievances of my clan. I demand
here and now my rights as a
Filipino.
I am the nephew of Bae
Tarhata Kiram. And I, too, was
also educated in the United
States of America. I spent years
and years to educate myself so I
may enlighten my people and
lift them from the morass of
ignorance, sloth , and poverty.
Na aden iran mitindig so
titu a maratabat.
Few days ago. Four Moro
vintas were stripped mercilessly
by your fighter planes and all
were sunk. Not a single man
survived in that massacre. Now
can you say that they are good
Moros for the only good Moro
is a dead Moro? I mourned for
them as much I mourned for
my father who instantly died in
that skirmish fight against your
soldiers. My father was armed
with nothing but a kris. But with
a swiss of his kris, he can kill
and kill. Kill with the vengeance
that distilled four centuries of
strife and bitterness.
Last week, I killed a man
in cold blood. Yes, I killed him
with no regrets. And his blood
is still in my hands. Not all the
waters of Ranao can wash the
drops of his blood which is a
symbol of my sweet revenge.
I am an educated Moro
but here I am helpless, alone
and about to be swallowed by
the Moro problem.
There is such a dragon
which you cannot kill by your
modern weapons. But a Moro
has his maratabat and that his
best weapon. The Spanish
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conquistadores did not
vanquish him. The Americans
did not vanquish him. You, our
Christian Brothers can never
Christianize a Moro, for as you
believe in Christ as your savior,
we believe in Allah and
Muhammad is his messenger.
From the cradle idolatry of
Egypt and Babylon, from the
imposing temple of Pagan,
Rome, a new faith is born. It is
my faith and the faith of my
forefather, Bantugen. Stop
calling us Moros for it is a
notion of a conquered people.
Call us Brothers. And if you do
all these by the grace of Allah,
we will live in peace. But if you
defy us, we will fight you until
the end. We will fight you until
we all turn huramentados.
You may finally get Kamlon
by your modern weapons, but
other Kamlon will rise up form
their ashes and will scourge the
land forever. ALLAH HUAKBAR!!!
 BRUTUS SPEECH

Romans, countrymen, and lovers! hear me for my cause, and be

silent, that you may hear: believe me for mine honour, and have respect
to mine honour, that you may believe: censure me in your wisdom, and
awake your senses, that you may the better judge. If there be any in
this assembly, any dear friend of Caesar’s, to him I say, that Brutus’ love
to Caesar was no less than his. If then that friend demand why Brutus
rose against Caesar, this is my answer: –Not that I loved Caesar less,
but that I loved Rome more. Had you rather Caesar were living and die
all slaves, than that Caesar were dead, to live all free men? As Caesar
loved me, I weep for him; as he was fortunate, I rejoice at it; as he was
valiant, I honour him: but, as he was ambitious, I slew him. There is tears
for his love; joy for his fortune; honour for his valour; and death for his
ambition. Who is here so base that would be a bondman? If any, speak;
for him have I offended. Who is here so rude that would not be a
Roman? If any, speak; for him have I offended. Who is here so vile that
will not love his country? If any, speak; for him have I offended. I pause
for a reply.

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 GIVE US THE WORDS by by Aufie Zophy

Give us the words

The words that can cut deep into
And destroy the soul of arrogance

Give us the words

The words that can fuel the flames
Of passion for truth and honesty

Give us the words

That can destroy the seeds
The seeds of greed and envy

Give us the words

The words that can fertilise and help to bloom
Perpetual pink cherry blossoms of helpfulness

Give us the words

Words that can pulverise and make to dust
The ugly rocks of Egotism and selfishness

Give us the words

That ignite the rocket engines to never stop
a huge world changing kindness revolution

O my God, give us the words

that lead to endless unconditional love
for every human soul in this amazing world

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 STILL I RISE by Maya Angelou

You may write me down in history Does my sexiness upset you?

With your bitter, twisted lies, Does it come as a surprise
You may trod me in the very dirt That I dance like I've got
But still, like dust, I'll rise. diamonds
At the meeting of my thighs?
Does my sassiness upset you?
Why are you beset with gloom? Out of the huts of history's shame
'Cause I walk like I've got oil wells I rise
Pumping in my living room. Up from a past that's rooted in
pain
Just like moons and like suns, I rise
With the certainty of tides, I'm a black ocean, leaping and
Just like hopes springing high, wide,
Still I'll rise. Welling and swelling I bear in the
tide.
Did you want to see me broken?
Bowed head and lowered eyes? Leaving behind nights of terror
Shoulders falling down like and fear
teardrops, I rise
Weakened by my soulful cries? Into a daybreak that's wondrously
clear
You may shoot me with your I rise
words, Bringing the gifts that my
You may cut me with your eyes, ancestors gave,
You may kill me with your I am the dream and the hope of
hatefulness, the slave.
But still, like air, I'll rise. I rise, I rise, I rise

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