hief of interpretation arkansas state parks e: kelly ... · memorable yourself. (its ok if you are,...

Kelly Farrell, CHI, CIT, CIP Chief of Interpretation Arkansas State Parks E: [email protected] P: (501) 682-2187

To start we will brainstorm words to describe good interpretation, and likely get a list like this:

learning thinking feeling doing

involved inclusive engaging creative

From there, we must turn these words on ourselves as trainers. If we expect our trainees to do good interpretation, why not model interpretation during our interpretation training? Yes, there is a difference between instruction/training and informal, resource-based interpretation, but still, we should model what we mandate. It increases our credibility with trainees, it helps our trainees find deeper connections with lesson contents, AND it makes our trainings more fun! All trainers have been tempted to get stuck in a rut, teaching the same lessons year after year, class after class. We may hate it when someone lectures to us, yet we slide into lecture mode ourselves as we cover the contents of a Certified Interpretive Guide workshop. The “ten tips for trainers” covered in this session are not all my own ideas. I give credit where it is due and where I can confirm the source. If I overlooked someone, I apologize—please let me know. Also, I don’t have the assumption that those who attend my session are novices to whom I have much to teach; in fact, there will likely be some well-known, much-respected interpretive trainers in the room who I view as my own mentors. Rather, I viewed my role as facilitator. I intend to deliver my presentation of these ten tips with a goal of sparking renewal in my audience of fellow trainers. And, since I am presenting on the first day of the workshop, I hope to ignite conversations about interpre-tive training that will continue all week—at meals, after hours gatherings, during the CIT Forum, and later on social media. Thanks in advance for your collaborative efforts, idea-sharing, and kindness to one another. I look for-ward to the continuation of this dialogue! Contact me if you want slides, have questions, and can give me more training ideas! —Kelly F.

decision-making practicing thematic fun

Cultivate creativity with tabletop toys.

Most trainers provide toys on classroom tabletops, especially to help our right-brained, kinesthetic learners (who much prefer the outdoor, active work over an indoor classroom setting) with an outlet for their nervous/creative energy. I learned a good tip from CIT Karin Hostetter, to include creativity-stimulating stuff with your toys. Thus, the toys are not just objects to fiddle with, but to help students process creative thinking. Once I learned this idea, I began including bits of crafty foam, pipe cleaners, and garbage bag twist-ties with my table toys, and I have noticed a difference. Our CIG trainees now make sculptures. Of course, if they slip into immature, excessively distracting behavior with the toys/supplies, you can call them on it. Otherwise, let them create!

I’ve now noticed that as the week progresses, our “sculptures” go from abstract to being relevant to the students’ presentation topics: (below: fishing, animal tracks and scat, amphibian eggs)

Daily introductions = interpretation practice.

As is modeled in the CIT training workshops, I use daily introductions in my CIG class. Each afternoon, students receive a homework assignment, in which they plan a special way to introduce themselves the following morning. This method allows them to practice newly-found interpretive skills, whether it is using analogies, involving the audience, leading guided imagery, trying out tools for talking, etc. It helps nervous students get over their fear of speaking in front of their peers, prior to the “big day” when they give presentations. It helps “wordy/longwinded” interpreters practice being succinct, if you set a time limit (e.g. “In one minute or less…” or “In three sentences…”) (continued on next page)

“Ten Tips for Trainers: Make Your Training More Interpretive!” NAI National Workshop 2014, Denver, CO Kelly Farrell, CHI, CIT, CIP - Arkansas State Parks - (501) 682-2187 - [email protected]

Help students internalize their own definitions of interpretation.

There are many tried-and-true introduction activities. My favorite is the one we use on the first day. Each trainee chooses a color (you can use paint color swatches, a box of crayons, a set of colored pencils, etc.). Upon introducing him/herself, the student is instructed to tell why that color was chosen. They all easily tell their own story, whether it is because they liked the name of the color, or it remind-ed them of something in their life or their past, and so on. Afterward, we jump right into a lesson on “What is interpretation?” in which I point out that they JUST DID INTERPRETATION in their introductions, when they went beyond the naming of their favorite col-or, to tell what it means to them, how it fits in their life, and why it matters. I always get a roomful of smiles as they realize that interpretation can be that easy.

what your color means to you, how it fits in your life,

why it matters

It is tempting to lecture during this lesson, simply presenting a variety of definitions of “interpretation” from the various textbooks:

In Arkansas State Parks’ interpretation train-ing, we hold a contest, in which groups are challenged to define interpretation in 12 words or less.

This stimulates terrific conversation, and the results can be filed in their minds, for next time they get asked, “Now what is it you do?” IF WE DON’T OWN AND DEFINE OUR PROFES-SION, how can we expect others to recognize and respect it?


Arkansas State Park teams were given this challenge: Craft an effective, useful response for visitors who ask you “What is an interpreter?” Use a dozen words or less:

Team I: “I’m the voice of resources that make this place unique.” Team II: “We inspire a personal understanding between visitors and the park.” Team III: “We help you understand why your park is important.” Team IV: “Connecting the visitor to the park with a meaningful experience.”

In addition, we have created a culture in our agency where it is not disrespectful, or flippant, to ask “So What?” of each other. Interpret-ers are challenged to challenge the purpose and depth of one an-other’s work.

To foster this attitude, we printed shirts with the slogan/question, which is often attributed to Dr. Sam Ham. Having an interpreter shirt is unifying and teambuilding, but yet again, it keeps our staff talking about, “What IS interpretation?” These proved so popular we had to do a reprint.

Then, in 2011 we took that a step further, and provided our State Park interpreters the opportunity to screen print their own t-shirts/banners/whatever, with a definition of interpretation.

Logistically, this was easier and cheaper for us—they provided their own shirts in whatever colors/sizes they wanted. All we provided was the screen and ink supplies (you can buy a screen kit at your local hobby or art store). The interpreters loved learning a new art skill, and again, it kept the conversation going about “What IS interpretation?”


Know Your Resource and Audience: mind mapping and real audience reading

Know your resource! Help trainees understand the value of mind-mapping. This strategy lets trainees examine topics, brain-storm, brain-dump, and begin to see paths to organizing their presenta-tion. Knowing your resource includes knowing how to “slice the pie” of your resource into manageable program segments / topics.

Know your audience: It is one thing to talk about and role play with body language, situational cues, etc. It is another thing to actually practice reading real audiences. If you can’t get them out in the park/museum/zoo to observe real guests, at least let them practice using photos of various groups. Encour-age discussion of how they would react as an interpreter in these situations.

This can seem like a mundane or extremely basic lesson for us as trainers, but it is truly an important skill for our new interpreters to practice. (Including the photo on lower right: What can you read into this audience? Where are they? Why aren’t people at your programs?)


The remainder of these “Ten Tips for Interpretive Trainers” follow the POETRY model for teaching CIG, except in reverse order, starting with Y.

Interpretation is YOU: You glue your visitors to the resource.

Emphasize that it’s not all about you. In fact you don’t even have to be memorable yourself. (It’s ok if you are, but don’t upstage or outshine your resource!) Rather, YOU are the glue that sticks visitors to the resource.

Do a craft in which students make a resource and a visitor. We use scraps of crafty foam (resource) and index cards (visitors). We then use kids’ pur-ple glue sticks to bond the two together. Purple glue goes on gloppy and shows around the edges—just like a memorable interpreter is very much part of the guest experience at the park.

But later, purple glue dries clear—it disappears from being a prominent part of the art, while still doing an effective, strong job of connecting visitor to resource—just like a good interpreter.

Interpretation is RELEVANT: Learning styles skits

This activity idea is not mine--I learned it from Scott Mair (Canada Provincial Parks). These are simply my notes: Use the CIG workbook to introduce learning styles (page 19 in the current edition).

Next, put trainees in small groups of four. Have all groups act out the same scene, but each group is assigned one learning style, and can use that one only. This helps them really understand which one(s) they personally favor, discern the differences, and see the value of using multiple ones in any given presentation. Suggested skit topics/scenes:

coming and passing of a rainstorm, beginning of the world, predator/prey in action growing of a tree seed (tree life cycle)

Can you guess by the photos which style these interpreters were using?


Interpretation is THEMATIC: Go birding and focus your binoculars.

The key to teaching themes is to help trainees recognize that themes are about FOCUS. When you (the interpreter) know what the main message, or point, or moral of your program is, then you generally know your theme. With some effort, you can get better at expressing that point in words. You will then concisely and effectively communicate said point to your audience. Next, tell your class you’re going birdwatching. (This activity and slides are what I developed for my lesson assignment at my CIT training).

Nearly every new interpreter makes the mistake of giving too much information and not enough orga-nized interpretation or listening to visitors. I begin my theme lessons with the following slides, demon-strating what happens when interpreters tell too much—we clutter the resource with a jumble of facts.

In this scene, our guests are bored and disappointed.


“What are we looking at?” I ask.. “Uh...mumble, mumble,” students collectively reply. I catch bits of words...“Trees” “leaves” “riverbank” “rocks” “a stream” “chipmunks” “the center of a flower, like an iris maybe.” I ask, “What’s the problem?” Now the responses are more clear: “It’s out of focus!”.....“It’s blurry, we can’t tell what you’re trying to show us,” they exclaim. “Exactly,” I say, “This is a visual example of an interpretive program with no clear theme. You aren’t focused and so your audience isn’t either. Your program kind of wanders around and gives info on various topics, but you aren’t really sure what the main point of your program is. And your audience certainly isn’t sure.

“Now, what do we have to do to bring binoculars into focus?” “Turn the knob!” “Right,” I say, “You do have to recognize that you are out of focus, then make the effort to manipulate your binoculars until the image is crisp and clear. The same idea applies with your interpretation. You have to be willing to examine your work and admit if you are being blurry. If you are, then it does take some effort—not a hard effort, but a little time and adjustment—to become more effective at communi-cating your theme. “Now, go ahead and focus your binoculars.” They all pretend to turn the knob. Gradually, I reveal the following series of images on the screen, until everyone realizes and shouts that we are looking at two Eastern screech owls, one gray phase and one red. So...be sure your interpreters work on their input themes. Encourage them to take the time to constantly “turn the knob” of their internal binoculars and bring themselves into focus. It doesn’t take a major effort, just a little time and adjustment. We should all present every interpretive effort, whether it’s a program, article, exhibit, etc., with our main point in mind.


Have students hold hands up to face as pretend binoculars. (This activi-ty may be helpful for visual and kinesthetic learners). Show a very blurry slide on screen. This represents a program with no theme. Subsequent dialogue goes something like this:

Interpretation is ENJOYABLE / EXPERIENTIAL / ENGAGING: The E Song

I once had an interpreter tell me this: He no longer works for us. My response is that it is absolutely our job to get people engaged, having memorable experiences, and enjoying themselves if possible. That’s part of the deal. That comes with being an interpreter.

My boss took these two photos during a presenta-tion I gave one time. In the first scene, I am being very boring—listing lots of facts and figures about my agency. What’s different in the second image?

My co-trainer in Arkansas State Parks, John Morrow, came up with a fun, audience-participation song that drives home the “E” lesson quite well. The les-son is short, sweet, and FUN—and it models “being E.” Our CIG trainees go around the rest of the week telling each other to “Be E!” We pass out music spoons, rhythm sticks, egg shakers for anyone who wants to play along with John. Everyone sings the chorus together. Words and chords on next page.


Interpretation is “E” (enjoyable and experiential) By John Morrow, CIT Superintendent, Mississippi River State Park, Arkansas “E Singalong” (verses to the tune and style of Uneasy Rider, by Charlie Daniels), key of G G Now that you’ve learned about O and P C It’s time to hear all about E D, G, D It’s the only one of these letters that has two separate meanings Repeat Enjoyable and Experiential

Now these two things aren’t inconsequential They HAVE to be a part of all your pro-gram-ings

Enjoyable: we all understand that Without it your message is going to fall flat Because folks don’t have to listen to what you say Experiential is getting the crowd involved Having them take part and problem solve If you do that then your program will be okay Stop song- Have students write chorus down on their page (or bring up the lyrics on screen) CHORUS C Enjoyable and Experiential G That’s what you got to do D Smile, laugh, get folks involved D, G And they’ll make memories with you (Repeat, with them singing with you) Now some folks that a joke now and then Is enough to make it all work But I’ve got tell you that most jokes told, will make you just look like a dork Throw involvement in and folks will understand ‘cause it will be plain to see They are laughing with you, not at you And that will make your program a memory CHORUS 2X everyone sings (Bridge: Slow, minor key, dramatic) Am They’re may be a point in your program Em You must get all serious Am That’s perfectly fine Em As long as your time D Is spent reinforcing your theme and purpose… CHORUS 3X everyone sings


Interpretation is ORGANIZED: The Junk Drawer

How exciting can it be to teach “organization”? Guess what...you CAN make it fun and interactive. Invite two groups of volunteers to the front of the room:

Give one group a junk drawer (something nearly everyone can relate to—full of random pens, paperclips, rubber bands, keys, odds & ends). Have them try to organize it. As soon as they get almost done, shake it. Everything will jumble. They will be annoyed! This is a program with no outline. Then hand them a tray organizer. It will be easy for them to sort the contents of the drawer, and even if shaken, the drawer can’t get too messy. This is a program with an outline! I learned this activity from CIT Rob Carr.

Give the second group a real program outline, cut into pieces (intro, sub-themes, transitions, call to action, theme, conclusion). Have them organize the parts of the program in order. This helps visual/kinesthetic learners better un-derstand the need to use planned outlines. I learned this part of the O activity from CIT Amy Lethbridge.

Interpretation is PURPOSEFUL: Take a pledge!

Part of the discussion about goals and measurable objectives may be a suggestion that interpreters can get people to take a pledge. So, demonstrate that in class, by encouraging your trainees to take a pledge! In our “history of the profession” lesson, we use CIT Bob Hinkle’s “We Stand on the Shoulders of Giants” theme, with the powerful call to action, “...and we can be giants ourselves!”

We cover several well-known figures from the past, (Tilden, Mills, Muir, Leopold, Carson, etc.), we talk about who is doing research and writing publications being used today (Ham, Cable, Beck, Merriman, Cornell, Brochu, etc.), and then we talk about ways that we can grow ourselves, challenge ourselves professionally, serve and mentor others—and be giants.

Everyone who is willing raises a hand and repeats after the trainer. We build in volume and emotion, leading up to the final statement which is practically shouted. I’ve not yet met a class that didn’t love this activity.

Note: I follow up by giving them a business-card size copy of the pledge. They can keep it in their wallet or on their desk for everyday reminders. Sometimes we also laminate the card into the back of their name tag—which can later serve as a backpack or briefcase tag, also providing easy daily refer-ence once they leave class and go out into the world to interpret.

—see pledge on following page —>


-attributed to Isaac Newton, 1675 (referencing earlier philosophers)

Know my purpose. Relate to real life. Be fun. Engage. Talk with people, not at them. Have them touch, listen, sniff, and do. Listen to them. Encourage them to feel. Awaken awareness. Spark wonder. Craft a setting so they under-stand connections. Explain relationships. Lead them to the big picture. Reveal meanings. Provoke thought and action. Remember the giants whose shoulders on which I stand.

Be a giant.

Interpretation is PURPOSEFUL: Take a pledge!

Build an atmosphere of inclusion and confidence.

A final thought about making your interpretive training more interpretive: Be proactive in fostering an inclusive atmosphere. We expect our interpreters to do this for their audiences, and it is imperative that we do it as trainers. Remember that your CIG trainees—even the most seemingly confident ones—are building up anxiety about that last day of class when they give presentations. They are usually worried about presenting for their peers, and they are likely nervous about your evaluation, too.

Do activities in class that help new interpreters feel welcomed into the profession—like they are part of something bigger—like they belong. A few ideas:

Encourage them to add to a flipchart poster throughout the week any names that come to mind as mentors, inspirers, interpretive spark-lighters. Keep this poster in a prominent place in the class-room. We usually put it on the door or right by the door. They see it every time they come and go.

If your group takes meals together during class, plan some discussion questions that can guide the dialogue in an informal, but meaningful direction: —What is the best interpretive program you ev-er attended? —Presented? — My favorite, most perfect, ideal interpretive program for me to pre-sent is… —The funniest/most embarrassing thing that ever happened to me as an interpreter is…? — If I could vacation anywhere in the world with no time and money limits, it would be…? (most end up talking about parks/museums/world heritage sites)

Sing together! We’ve had some

amazing experiences with Arkansas State Parks staff who joined together in song, led by one of our own inter-preters. Their favorite is a call-and-response tune called “Let the life I lead speak for me.” (other verses: “Let the friends I know…” “Let the work I do…”)


hief of interpretation arkansas state parks e: kelly ... · memorable yourself. (its ok if you are,...

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