The Quality of Interpretive Provision - Essay Example

?Topic: Evaluate the Quality of Interpretive Provision. Heritage interpretation has progressed in the past decades to become mellowed since Freeman Tilden wrote ‘Interpreting our Heritage’ in 1957. Interpretation has played a significant part in enlivening decreasing urban, industrial and rural regions via tourism and conservation programmes. The quality of interpretive provision over the natural assets has touched new highs with the contribution of such personalities, as John C. Merriam who furthered the educative aim of Crater Lake National Park. The collaboration between conservation, education and tourism has given impetus to what has been named as the ‘heritage industry’. Heritage interpretation has performed a critical part in creating awareness, understanding and appreciation of time and place among people. Natural England manages Sites of Special Scientific Interest (SSSI) including some of the country’s wonderful and splendid habitats. Globally famous wildlife sites are ranked as Special Areas of Conservation (SACs), Special Protection Areas (SPSs). Natural England has fixed themes and priorities for 2008-2011 for the use of ALSF grant. Out of the selected themes, theme 4 dealing with education and understanding stresses on the provision of educational and interpretive opportunities in the context of landscape, biodiversity and geo-diversity constituents of the natural environment on and in proximity to the sites affected by extraction. Innovative approaches to education and interpretation is one of the priorities of theme 4. See the map below for the number of grants and their percentages for various regions of the Natural England. Characteristics of High Quality Interpretation Effective interpretation must be fulfilling the audience expectations. It should provide vivid experience to the listeners. It should be a planned composition and adhere to an essential theme so that the visitor follows it and feels engrossed to match it with own similar experiences. Audience should get a feeling of reverence by the interpreter (UQ, 2006). The importance of the written word: Interpretation and signage Like all kinds of communication, interpretation depends on a two-way flow of information. Therefore, interpreters should cater to the experiences, insight and interests of their audiences. Direct interaction with the visitors can be customised as per visitors’ inquiries and interests by answering 'on the spot’; comparatively interpretive signage is less flexible as the visitors can not provide instant response on signage. It is, therefore, critical for signage to be much more pertinent than other kinds of interpretation (UQ, 2006). Ideally interpretive signs should be inspected from visitors’ point of view, their inquisitions, anxieties and their knowledge. The visitors’ responses should form the basis of an interpretive signage (UQ, 2006). Warning Signs Extra precaution needs to be taken for not creating any ambiguity over the content of the message for double-meaning and culturally particular statement. It is more relevant while designing warning signs, as any wrong communication can be detrimental to the life of visitors. Local people may be well aware of possible environmental risks but visitors have no idea of the place. Therefore, waning signs need to provide functional information for the prevention of possible loss (UQ, 2006). Designing warning signs There are four key elements that a warning sign include, which are the word ‘Warning’, or ‘Caution’, a sentence about the risk, a possible outcome of ignoring the risk and instructions on taking precautions, as shown above (UQ, 2006). A warning sign should be easily visible and differentiable from general instructions such as interpretive information. It can be written in colour for enhanced visibility, as red colour is linked with danger zone. Contrast between the background and text provides clarity to the message (UQ, 2006). Size The size of the alert message and the type font used is critical although research is not decisive on this aspect of design but a sign board should be written in easily readable font as Helvetica or Times and size should be large enough to be read from an easily readable distance (UQ, 2006). Use of symbols Pictorial signs, as per research, provide clarity to the warning signs. Visitors can easily recollect such signs during the visit to beware of. Symbols play an important role in travel by supplementing the content. Such information helps global tourists as they can not read the language but decoding of symbols should be clear to avoid wrong meaning, as in the sign board given below (UQ, 2006). Nevertheless, interpreters should see to it that the symbols and pictures are globally identified and not just culturally particular. Position Position of the sign should be such that visitors notice and mind it. For instance, in tourism environs with the presence of animals, caution signs should be positioned where visitors cannot ignore them. It is critical to place warning signs at or near the danger zones. Facilities such as dust-bins and risk-reducing instructions with proof of safety should be advertised at the right place (UQ, 2006). For instance, the picture below of posting a message amid the bushes is indicative of wrong place selection, as it could pose a safety risk while reading it. The map below is a good example of using space to include various stations in the path of a site. It is aesthetically designed and coloured. The importance of Evaluation The best way to evaluate interpretive themes and messages is to straightway ask the visitors either before designing the front-end evaluation or in-between the design phase or after the completion of the design. Interpreters need to go a step further by asking such questions to visitors as their knowledge over the leading messages and themes, the questions on visitors’ learning from the messages and signs, their liking and interest in the content and their disliking as well (UQ, 2006). Evaluation of the interpretive provision can be of three kinds – Front-end evaluation, formative evaluation and summative evaluation, as given below. Front-end evaluation is done in earlier phase to determine the content, messages and themes for the exhibit. Researcher needs to frame sample questions about the place on the knowledge, learning, interest and ranking areas of interest on priority basis (UQ, 2006). Formative evaluation is done during the growth phase by employing mock-ups and prototypes to know whether specific methods would succeed or not. Designers can examine, repeat and re-examine low-cost copies of the exhibit with possible visitors. This process saves money wasted on expensive errors and ensures that the sample is as nearer to 'perfect' as possible before making and launching the final product. Relevant questions would be framed on themes, path, and logical formation of the exhibit, content, visibility, reach and so on (UQ, 2006). Summative evaluation is done on actual exhibits with actual visitors. Questions asked to the visitors need to be pertinent related to the specific attraction such as recalling relevant facts and concepts exhibited or a brief of the main messages and themes presented in the text. Open-ended questions can be asked on exhibits, elements, time taken to visit the exhibit, a comparison between the two exhibits, authenticity of the exhibit and changes recommended by the visitors (UQ, 2006). Observational issues can be instantly resolved by asking visitors questions on effective space use, tactile and interactive displays, usage of the display, hurdles in the usage, unnoticed displays and ways to bring them to the visitors’ notice (UQ, 2006). Interpreting Heritage: Theoretical Aspect of Literature The interpretive material adds value to the visit as a social experience. Various surveys have found evidence of a changing relationship between the interpretive material, the place, the visitor and the social segment of visitors, deriving meanings as outcome of the interaction (Blud, 1990; Uzzell, 1992)), (Uzzell, 2006). Exhibit designers find the role of panels critical in visitor experience although research does not substantiates it, as people spend very little time reading the panels, reason being panels are either very lengthy or language used is not simple enough. Such exhibits are more effective with which visitors can interact, as it helps in stating the central process of the interpretation (Alt and Shaw, 1984)), as cited by Uzzell (2006). Study by Linda Blud, as cited by Uzzell (2006) indicates that the most effective exhibits for learning promote social interaction among visitors on the meaning and relation of exhibits with life. Interactive exhibits not only promote lively debate but are qualitatively unique. The credit here is not given to interpretation but the ensued debate. It indicates that interpretation purposed to boost social interaction can be more effective. The planning participation example by O’Riordan, Shadrake and Wood (1989)), as cited by Uzzell (1998) where visitors are interviewed to know their choices for future environmental change is an instance of using this approach for practice. There is another example of senior visitors recalling experiences ‘in the old days (Gagnon, 1996; Haight, Webster et al, 1995; Woods, 1994). Gottesdiener (1993)) perceives the outcome of putting the visitor in stead of the exhibition at the centre of the interpretive experience and viewing knowledge as a social expression of the visitor who becomes the writer of the exhibit. The visitor begins to weave, psychologically, the exhibits. One outcome of perceiving the interpretation by authoring it is that it reflects the aspirations and values of visitors as a mirror reflects. It may hinder the wider perspective of the visitor, as he can not take his steps back but the designer of the exhibit looses his freedom. This questions Hooper-Greenhill’s (1991) notion that exhibits are mere carriers of political and ideological publication and growth (Uzzell, 2006). It delineates that effective interpretation plays a critical part in helping visitors to find out and comprehend past, place, society and finally themselves. Applying a meaning-making approach for interpretation and especially for the institutions imparting interpretation offers an alternate view on it. It is doubtful whether interpretive centres can be used variously for effective interpretation of environmental and heritage education in the dynamic society and the environment. As the interpretive centre, likewise any other institution is part of the environment it needs to be changed. Any change in our understanding of the creation of knowledge will require structural shifts in the methods of interpretive programmes and also how the interpretive organisations observe themselves and connect to the visitors. If the visitor centres are keen to create the desired effect as carriers of safeguarding the environment, then they need to be open-minded in using various interpretive techniques to visitors and the local people. Their role as interpreters becomes dynamic in stead of conveying passively the information or values (Uzzell, 2006). Effective interpretation can help in resolving conflicts between groups identifying themselves with specific culture of a place of visit. Tajfel’s theory of inter-group tensions offers that even the most unruly and irrelevant groups show aggression for other groups. This tendency is reflected in people to find a positive social trait of their self, emerging from group-making. It encourages them to aggressively speak against other groups. In stead of creating any such risk that interpretation may project through aggressive behaviour, it should be effectively used for identifying oneness, common issues, fights and promote cooperation in finding the common solutions, as cited by Uzzell (2006). Positive interpretation cannot be dividing. Research and theory can help in guiding prescriptive functions for the interpretive planner and designer. A visit to a heritage site can help individuals in finding a positive self-image, prompting them form groups of like-minded people at national level to exhibit their keen interest into the cultural aspects, which can become a catalyst of informal groupings (Uzzell, 2006). From philosophical viewpoint, it is said about interpretation that it adds to an individual’s sense of place but there is dearth of literature on this aspect because of which it can not be proved whether interpretation promotes one’s sense of place or not (Uzzell, 2006). Urban identity theories in environmental psychology focus intentionally or unintentionally on the gender, ethnic, class or generational identity values. Research proves that things of historical importance provide an identity not by themselves but by the people of that region and activities of that region create that feeling of identity. It brings to the fore that theory is crucial in providing an insight on the role, effects and advantages of heritage interpretation and as a result can encourage practice of visiting places of heritage whether they are buildings, natural reserves or County Parks (Uzzell, 2006). Recommendation on Interpretation -- The Case of Crater Lake National Park for John Campbell Merriam was the inspiration behind the Crater Lake National Park. It was predominant in Merriam’s ranking over his research of individual parks that required the facility on the lines of the Sinnott Memorial and interpretive programmes with lectures, guided walks, displays and publications. Provision of funds was earmarked in 1930 by the Congress for the observation station in and stationing of full time naturalists in all national parks. Great thing about his contribution to the Crater Lake National Park was that he could manage more appointments of naturalists at the time of Great Depression because legislators perceived an economic opportunity of revitalisation by boosting leisure travel. It carried the expectation of visitor’s rush through educational work of effective interpretation through innovative programmes (Mark, 2002). Among noteworthy programmes included the provision of museum and fire lookout on the Watchman, a peak situated three miles north west of Rim village, construction of the Rim Road beside the Caldera’s western corner. For the next 10 years, a drive around the Crater Lake was built with observation stations manned by naturalists as stops for automobile processions taking place daily during summers. Merriam considered these as minor initiatives, yet to be linked with the lead project on the Crater Lake, to interpret the story of Crater Lake at the Sinnott Memorial (Mark, 2002). Merriam took the effective interpretation of the Crater Lake very seriously; he created a memorandum outlining the different types of appreciations, he noticed. The one type was “personal type” was linked to a person’s memory of joys or sorrows by creating favourable impression on people by providing rest or stimulation. A second type of appreciation kindled a feeling of beauty as interpreted by an artist; it included colour, line, balance, contrast and unity in design. The third type created ‘wow’ factor and admiration in the observer, where the impact and magnitude of the scenario transferred the sublime. According to Merriam, the identification of what lies behind this type of appreciation, often gained through scientific insight, was most appealing as by observing nature one could see it as living, moving and growing (Mark, 2002). Merriam created the four types of experience for effective interpretation of the most robust form of appreciation at Crater Lake National Park. He tried to focus on the purpose of the park's educational programme. He wanted people to actually enjoy a landscape of wonderful beauty through the greatest emotional impact on visitors, with all the information to be offered at the Sinnott Memorial, which was Observation Station No. 1, as he named it. Here, tourists learned where and when to go to places on the rim and the lake. Artists and their artworks were displayed here for visitors as a reference point in their experience of the park's splendour (Mark, 2002). The memorandum helped Merriam in the creation of the leaflet for the Sinnott Memorial. The exhibits were hooked to telescopes fixed on certain observations on a semicircular parapet, giving the Sinnott Memorial a sharp similarity with Yavapai Station. The nine glimpses selected for Crater Lake, if seen in numerical order, offered the scenario of wonderful natural forces’ play contributing in the creation of present beauty. The leaflet was presented as an introduction to the visitors, followed by other guides for the Rim Road and the boat trip for a guided visit at close range (Mark, 2002). Services of college professors and students were utilised in their respective research areas when such visits, guided tours and trips were organised. The Sinnott Memorial got virtually changed into an experimental laboratory to effectively interpret the sublime nature (Mark, 2002). Design Plan at the Sinnott Memorial The Sinnott Memorial was designed by focussing on simplicity and honour in presentation through insight gained via the experimental laboratory on interpreting the sublime element in nature. The exhibit plan segmented the museum area into an “art room” with six back lighted glass transparencies and three paintings, each purposed to describe periods of changing beauty in the park. Adjacent to the art room was an oblong “photographic alcove,” where thirteen black-and-white pictures brought to focus the value of line and form as constituents of beauty. Labels were used selectively, one for each room, the art room and the alcove. Merriam felt very inspired from the planned design of the Sinnott Memorial and praised it in relation to the Yavapai Station for bringing the focus on elements of nature’s beauty in visitors’ views; these elements were more closely linked to one another and more gracefully exhibited. The “whole story” section linked to the beauty created in the area and the number of years used on the Crater Lake project provided "a really important contribution" to what could be attained through attempts to create awareness among park visitors (Mark, 2002). The three design plans stated above in relation to public resort, super-university and nature reserve are mutually inclusive and NPS management traditions today carry factors of all three. Each has the possibility, nevertheless, to create issues. In this context, Crater Lake National Park is similar to various other areas in the national park system. According to Merriam, the difference between other visitor places and the like of Grand Canyon and Crater Lake National Park apart, was that these places helped visitors think about physical laws controlling the universe better than anywhere else, while also adding to the richness of visitor experience (Mark, 2002). The Crater Lake National Park got into its second century in 2002 but the teaching methods that need to be inculcated have yet to be researched to be applied. Effective interpretation is the ideal to aspire for, as Merriam stated that it required "exceptional knowledge of the whole scientific story of the region" and admiration of values “as recognized by artist, scientist, and philosopher”. This task presents a challenge “to the greatest minds of present and future,” as suggested Merriam that the recognition “will be among the finest that can be given to any student of nature in its relation to human life”. Interpretation needs to be performed as guided by Merriam. It should be a catalyst for change. It needs to be robust enough to defeat the powers it has been structured to counter. It cannot be possible until practice is done on strong theoretical and research-based innovations. References: Mark, Stephen R., 2002. A study in appreciation of nature: John C. Merriam and the educational purpose of Crater Lake National Park. Oregon Historical Quarterly, 103 (1), pp. 98-123. Available from: http://www.jstor.org/stable/pdfplus/20615210.pdf [Accessed 10 March 2012]. Natural England, 2012. Sites of special scientific interest. Available from: http://www.naturalengland.org.uk/search/default.aspx [Accessed 10 March 2012]. Uzzell, D., 2006. Interpreting our heritage: a theoretical interpretation. In L. Smith (Ed.) Cultural Heritage: Critical Concepts in Media and Cultural Studies, pp 11-25. Available from: http://surrey.academia.edu/DavidUzzell/Papers/253908/Interpreting_our_heritage_a_theoretical_interpretation [Accessed 10 March 2012]. UQ, 2006. Interpretive signage: principles and practice. University of Queensland, Brisbane, Australia. Available from: http://tourism.uq.edu.au/signage/sign-evaluation.html [Accessed 10 March 2012]. http://www.naturalengland.org.uk/Images/alsf-final-report_tcm6-26968.pdf Read More