Interpretive Toolbox: Verbal Techniques part 3

The third in the series of verbal techniques for use in Interpretative Programming, here are another twenty or so more ideas in alphabetical order that help give the interpreter more techniques and methods to work with for a better program. Since much of the material presented here contains more definitions and suggested uses and less exposition and analysis, and there are so many of them, these verbal techniques blog posts will come much more frequently than the usual one-a-month that is done from this blog. Without further ado -

General to Specific- A process of taking a general characteristic or concept and explaining it in relation to a particular individual, circumstance, or other situation. It is like focusing the attention from a wide angle to a narrow view. Slavery is a general topic and one example of a slave is specific, say Olaudah Equiano. New England is a general topic, but Lowell, Massachusetts is specific. This technique is essentially an example, but does not necessarily need to be one. It allows the interpreter to paint a background before moving into the foreground of what they really want to talk about, but without that context, the subject does not have the most effective impact upon the visitor.

Guided Imagery- "A mental journey that is facilitated, led, or described by the interpreter to help visitors experience a situation or scenario that they probably would not be able to experience in person." It is more than story telling or narrative, because Guided Imagery focuses on the 'imagery' portion and accentuates the experience by vivid description. The verbal descriptive skill of the interpreter is essential for making this technique effective as it requires the inclusion of details that can take the visitors 'there' if they use their imagination and the descriptions provided to understand what the interpreter is describing.

Historical Reference- The mentioning of something significant in the past. This point of reference of the past explains the present. It is simply a subtle form of a few techniques such as Before and After, Example, and Flashback mentioned earlier. It can be used as simply as "You used to be able to..." but can be more subtly used than that.

If you have to use an actual crook to
grab a visitor, we need to talk.

Hook- A device for catching, holding, or pulling in a visitor. This verbal (or written) technique grabs the attention of the visitor and draws them in. It can be a provocative question, a dynamic introduction, a loud noise, and all sorts of surprises. Visitors will make decisions about the interpreter and the program very quickly, and hooking them with some curve ball right away is one way to get them excited and intrigued.

Humor- One does not have to be a stand-up comedian, but there are a lot of correlations with it. Using humor can lighten up a heavy topic if necessary or make an average program more enjoyable. Humor, like most things, can be tricky. Being flippant about a serious topic might rub some visitors the wrong way, as in a "Talk-With-the-Supervisor" or "Bad-Review-on-Facebook" sorts of ways. Using jokes directed at individuals, genders, ethnic groups or other hot button categories should be avoided. Parody and satire may be used if carefully executed, but be aware their intent is ridicule and could end up offending someone. Run your material by some people with different perspectives before trying it on live visitors. Avoid sarcasm; kids do not understand it and the intent of sarcasm is to viciously ridicule. Knowing how much to include is also of concern. The best types of humor to use are word play, witticisms, puns, and quick innocent jokes. It all depends on the circumstance, so make sure to read the crowd before launching into a joke.

Hyperbole- Exaggeration or overstatement. It exaggerates so greatly that no one could miss that it was said for effect. "I was so hungry I could eat a horse" is an example of hyperbole.

Ice breaking

Icebreaker- An activity that serves to build rapport with the people involved, especially between the interpreter and the visitors. Asking an inviting and provocative question is one way to break the ice. As a way of introducing my guided tour on the lives and homes of the people living at Fort Scott, I casually ask the interested visitors gathered where they call 'home' and what does that home look like. Or it can be overt, such as telling everyone in the group to introduce yourself to someone with a hello and a handshake. Doing a quick little game helps break down some walls. I have found that including yourself into these activities breaks down the ice with them as well since you have a part in the activities. Since this is usually at the beginning of the program, it should not take up too much time and detract from the program.

Imagination-Using the words to guide the illustration and understanding of something that is not present or yet perceived. Guided Imagery mentioned above uses the imagination to perceive the vivid details in the mind's eye. Essentially, the imagery is the sender while the imagination is the receiver. The images will be vivid, but each person will create the details to how they understand, perceive, and interpret the information.

Inclusion- Including people in as members. Among the most powerful interpretive techniques is doing something. While some are primarily audio visual learners, most people will learn by doing it. This is why the active zone of interpretation, beyond the verbal zone, is so hard and yet so rewarding. Making the program audience centered and bringing the whole program in together as a team or as VIPs on the "inside" gives a sense of community but also of ownership. This topic of inclusion is going to go into greater detail once the verbal techniques are all unpacked and the active and higher forms of interpretation get discussed.

Information- "Knowledge obtained from investigation, study, or instruction; intelligence, news, facts, data, etc." Information facts are the building blocks of interpretation, but as such are not interpretation. The information from the interpretive experience uses information to reveal, discover, and explore, but to also provoke because the visitor is searching for meaning in their brief time with the interpreter.

Insight- hidden understanding or meaning. A deeper subtle technique that reveals a different perspective that has a truth to it. The simple and profound statements are usually found in observation and oftentimes illustrate a deeper pattern or relationship that is not always obvious.

Interjection- "An exclamatory or interrupting word or phrase that expresses an emotion". This technique is hard to use since it really should not be used very often. It is often a shout. Think of the kind of words or phrases used for actual anger or surprise. Finding appropriate times to use interjection can really be a challenge but could add emotional impact.

Not my picture but a great illustration of irony.

Irony- A state or affairs, event, comment, or condition that seems deliberately contrary to what one would expect and is often amusing as a result. Since this technique is essentially sarcasm, it needs to be used with caution, perhaps even overtly mentioning it as ironic. But in situations where things can be contrary or have unintended results, placing the  the situation in a humorous light may lessen the heaviness of the topic or point out the futility of a wrong way of thinking.

Juxtaposition- The switching of places of two or more contrasting things. This technique is another advanced level kind of interpretation because it requires some careful planning to be done well. It is a bit of compare and contrast with dialogue and examining the patterns in situations.

Labeling- Not just putting a label on something but classifying people, or kinds of people, in a positive, negative, or even a neutral manner. The purpose of this is to get visitors to associate with one group or to disassociate with another, which will require the terms to be defined. It is important to be distinct as possible to make clear where the lines of classification are. The trouble with this technique is that it can be subjective; the interpreter makes the definition and has made a judgement of what is and is not in the classifications. It also has the problem of stereotyping people or kinds of people, and as a result labels can offend, even if a group is labeled as a positive or neutral label. Be careful with this one.

Lecturing- A formal discourse given for instruction. Once upon a time, this was the backbone of teaching. One person telling a group of students information in a formal setting. This has changed as now many people simply do not have the patience to sit and listen to one person talk for very long. Slides, overhead projectors, and power slide technology have made this primarily audio form of learning into a visual one. If the lecturer gets interactive, it will reach kinesthetic learners as well. But occasionally, a brief lecture (now usually called a 'talk') will pop up in a formal setting, like a dinner, a meeting, or a convention. One advantage to the lecture is that it is pure verbal skill if that is a strong attribute of the interpreter; since this part of the Interpreter's Toolbox focuses on the verbal zone, all of these techniques on this blog post, the two previous, and the few more that will come will be of tremendous value. Also, a lecture is the quickest way to give information in the shortest amount of time to the largest amount of people. Lectures are also easy to prepare and use a lot of techniques to keep an audience interested. There is also a degree of control to a lecture as no other person will contribute or interrupt, so staying on topic is up to one person. One other comment would be to be interactive with the lecture so that more people will retain information, since the visitor audience will be mostly passive during the presentation. But in an of itself, a lecture is a stand alone program.

List- A series of words arranged in some way. A list helps distill information into chunks or more memorable information. Their arrangement, including no arrangement, can be done in many ways, such as alphabetically, chronologically, categorically, priority, general to specific, or small to large.

Listening- To hear with thoughtful intention. From my time as a teamwork and challenge course leader, I would teach that communication is both the giving and receiving of information. If there is no listening, there is no communication. Listening is a form of interaction with the interpreter since the interpreter will be doing most of the talking. So when a visitor is speaking and an interpreter is listening, this exchange gives value to the visitor as information from the visitor is gathered. Examine for yourself: how do you feel when your input is listened to and reacted to? What if you were never given the opportunity to give input? An exchange of speaking and listening can greatly improve a visitor's experience because their thoughts were given consideration.

Made-up Words- "Fancifully devised terms". An interesting technique that relies on some imagination and the sound of words to create feeling. They could also be 'portmanteau' words; combinations of two or more words that convey some information and feeling, like 'frenemy'- both a friend and an enemy, or 'ginormous' two words that come from 'gigantic' and 'enormous'. This technique will probably work better with children but phrase it as a word-play and adults might even like it too.

I relied on Handles: A Compendium of Interpretive Techniques to Help Visitors Grasp Resource Meanings by Peggy Ann Scherbaum for ideas and material to share and is a great resource for ideas and examples and I could not have done this series without it. The next twenty techniques and methods will be later on next month.

Interpretive Toolbox: Verbal techniques, Part 2

The second in the series of verbal techniques for use in Interpretative programming, here are another twenty or so more ideas that help give the interpreter more techniques and methods to work with for a better program. Since much of the material presented here contains more definitions and suggested uses and less exposition and analysis, and there are so many of them, these verbal techniques blog posts will come much more frequently than the usual one-a-month that is done from this blog.

Cultural Reference- "An allusion to the customary beliefs, social forms, or material traits of a racial, religious, or social group". This can be of the interpreter's own cultural background, but can also make reference to other's culture. A couple examples could be explaining the name of a place as a Native American saying or word that described the area. Another example could be bringing in a joke which Jimmy Kimmel used last night that is relevant to the material used in the program.

Cumulative Effect- The adding to and building of events, situations, and conditions that help make a effect that clearly explains why something happened and the way in which it happened. "Piling on" information can give a sense of richness but also of awe or respect.

The best part about "Mythbusters" was blowing stuff up and
being jealous they got to do it instead of us.

Deconstruct a Myth- Taking a piece of knowledge then examining it to show that it is more false than true. The television show "Mythbusters" is a great example of the deconstruction of myths of culturally accepted "truths" that actually do not hold up to scrutiny. Unless there is a budget to do this on a grand scale the way they do on the television show, this can be done verbally based on the knowledge of the resource (KR in the interpretive equation) and maybe with the materials and know-how at hand. It is not the job of the interpreter to dispel a myth, but sometimes to acknowledge it and make the facts and truth known to the visitors by turning it into a learning opportunity.

Definition- Defining a term. This is a very simple technique, but if the program has terms that would be unfamiliar to the visitor, defining words for them would be helpful. For example, at Fort Scott, I mention the U.S. Dragoons and when the topic comes around, I describe what a Dragoon was and how they are different than "cavalry".

Description- Another basic technique that goes into sensory detail about a term, word, phrase, or more concrete things like nouns, or verbs. It helps give a mental picture of the thing being described to be more understood fully, so that if it is encountered, then it could be identified by the visitor.

Dialogue- A conversation between two people, but could be more than two and does not necessarily need to be "people". This device can be used to illustrate two points of view that may or may not be in conflict with each other. One example would be a dialogue between a Patriot and a Loyalist in Colonial America. It could be between things that do not normally speak for themselves but through anthropomorphic objects, like predator and prey. "Good dialogue resembles real conversation without copying it." Also, it is a audience centered technique that gets the visitors more engaged with the program by having some input.

Diction- Choice of words and clarity of pronunciation. Choose words carefully and speak them clearly. This includes in giving voice to characters as well as the voice of the interpreter. Word choice will need to be modified for visitors; compare the words used for smaller children to those used for senior citizens.

Discussion- The consideration of a question in an open and informal debate. This is an audience centered technique where everyone has a voice to communicate their opinions and experiences. It should be recommended that a discussion take place near the end of the program since discussion will tend to use more time.

Euphony- The use of soothing sounding words. This can also be emphasized with inflection and rounding tone as well as other speaking techniques. Used with some light rhyming and description this technique can create a favorable mental image. This technique also works well for the written word.

Using a relative scale like the one above to
explain the size of the sun to the planets
exaggerates their sizes to be understood.

Exaggerated size or time scale- Using an exaggerated measure to see things for oneself. This means speeding up or slowing down time so that barely perceptible motion can be observed. The same applies to size scales. Making a mental image of being gigantic or tiny can help visitor "see" patterns or relationships that are not observable by being the size that they are now.

Example- Representations of groups or types of information. Showing samples of what an interpreter means makes the concept explored stand out, especially if the situation is a familiar one.They give further evidence to assertions made by the interpreter so that they are more persuasive.

Excerpt- A written passage that serves as an example or a supporting piece of evidence. It is the written form of quotation. Written pieces from primary sources (sources written by people in their time and place) or secondary (people writing about the time, place, people, or thing, but were not actually there) are most often used.

An excerpt from Handles by Peggy Ann Scherbaum. So it is an excerpt
on excerpts with an example of an excerpt in it. Does that make it
an Excerpt-ception or an Excerption?

Exclamation- A vehement expression of sudden or strong emotion. Sometimes being loud and forceful shakes up a crowd that might be drifting. It can also be used to effect when coupled by being quiet and whispering for effect and then being loud for a shocking or jarring effect or a emotional moment.

Explanation- To share the reason or cause of something. This is simplistic tool that is slippery to talk about because it happens so naturally in an interpretive setting. Most of what is done for interpretive purposes is already an explanation. The trick is to do the right amount of explanation for all kinds of visitors. If an interpreter does not explain very well, the visitors will not all understand. If an interpreter overexplains something, it gets boring and insults the visitors' intelligence. Make sure you get a feel for how much is enough explanation.

Fable- A short allegorical story that makes a point, often using anthropomorphic creatures in place of people as the main actors. Aesop's Fables are the most notable. This technique is difficult to use because such storytelling devices have largely been disused and, unless you know the story and the moral, it is hard to work into a program.

A 1841 'Mississippi' Rifle with a
1847 Musketoon photobomb
(foreground)

Flashback- A literary device where an earlier event is inserted into the narrative to illustrate the importance of the here-and-now. Sharing a memory is  the simple way to do this, either your own, or someone else's. This technique works with a chronological sequence in order for it to be effective. In some cases, a "flash-forward" to beyond the scope of the narrative to show how this develops after. In my interpretive talk of the 1841 Mississippi Rifle during the Mexican-American War, I explained the use of round ball ammunition and patches made it difficult to load quickly. The invention of the Minie ball solved the problem and sped up the loading process that was to effect the outcome of the American Civil War. But the Civil War was not a part of my program, so it was an example of a flash-forward. A flashback would be to discuss the use of flintlocks and the cantankerous and laborious process of loading before the invention of the percussion cap, which was used on the Mississippi Rifle.

Forecasting- Previewing the program can also be used to give the visitor an understanding of what the program will be about so they can choose to participate or go elsewhere. Let us face it: our hard work put into a program may not interest visitors, so giving a brief forecasting of the program gives them the choice to stay or go and we should not take offense if they go on without us. Better that than being disappointed or upset that the program was not something they wanted to do.

Foreshadowing- A technique that suggests that the beforehand information will be important as the narrative continues on. It prepares the visitor for what might happen next and gives them something to think about. It is a great transition technique between stops.

Framing (pausing to take a moment)- This technique intentionally takes the time and opportunity for the visitor to experience visual, auditory, and other sensory awareness of the resource. Build some time into the program to just enjoy something. If there is a scenic vista, take time to enjoy it. If it is the roar of the falls, take time to enjoy it. The power of place can work wonders into a program if you take the time to use it and let it speak for itself once and a while.

Gathering Info- Getting the whole of opinion, experience, and information from the group and acknowledging the diverse ideas generated by the group. This can be done in so many ways that it may take a long time to list every single one of them. The simplest is verbally asking the group what they think and taking hands raised, since this is a verbal technique. Another couple of examples can be done by writing it down, or standing in or placing objects on a continuum line ("agree" on one side, "disagree" on the other and "somewhat" or "I don't know" in the middle). Gathering information stems from an open ended question designed to give meaningful responses, then using the information for some purpose.

I relied on Handles: A Compendium of Interpretive Techniques to Help Visitors Grasp Resource Meanings by Peggy Ann Scherbaum for ideas and material to share. The next twenty techniques and methods will be later on this month.

Interpretive Toolbox: Verbal techniques, Part 1.

This blog post is continuing the series on Interpretive methods and techniques. The first layered zone was planned techniques, followed by subtle techniques. This blog will focus on the verbal zone of interpretive techniques and methods for better interpretive experiences. Verbal layer interpretive techniques make up the largest category of interpretive techniques and methods, and they will be broken into parts rather than have a mammoth sized blog that exhaustively describes each technique. These techniques are easily used in verbal exchanges with visitors, but can also be be planned for readable text or exhibit displays and even active methods types.  Verbal techniques help bring visitors to understand the message of the program - "selling them" on your "product". As with all things verbal, how you say something is as important as what you say.

Start with the basics: introduce yourself. This ties into rapport from the previous layer and it is a great way to start. Long ago, a wise public speaker and educator taught me that having a professional opening or introduction should never begin "OK" or "alright". It is a mental crutch, as if you are psyching yourself up into a task. Start with a loud enough to hear "Good morning" or other similar beginning. Do not immediately jump into the material as people will not be ready for you to being with content that quickly. Visitors are expecting some sort of introduction for them to realize the program is beginning, to end whatever they were doing (socializing, reading, browsing the bookstore, etc) and settle and then focus on you, the guide, so you cannot start with critical information until everyone is settled upon you. Identify who you are and what you do at your workplace and what you intend to do (conduct a tour, bring you to the event area, pass out materials, etc). Be loud, clear, and concise with your introduction. I like to bring up safety concerns right away after introducing myself because it gives a sense of security that the interpreter has already reviewed the safety concerns and brings up what to think about before getting started.

The following list are the first twenty techniques and methods of verbal interaction with the visitors. Making a program interactive is better for the visitors, even though they may not necessarily be doing anything but speaking with you or others, so that they are not left to be a passive part of a program. Some techniques are more active than others, while some maybe difficult to use because it takes some skill to weave into a program. Others are so simple that you might not think of them as a technique but when used for your purposes and used with enough other techniques can make a compelling program.

Allegory - Use of symbols to tell a story that illustrates a larger, historical story or a hidden meaning. Its use is similar to metaphors in that you can use metaphors to make an allegorical situation or take a real situation and make it into a allegory, or even a moral-to-the-story. Aesop's Fables are generally allegorical; classic stories such as the Tortoise and the Hare teach a moral or could be used as reference to historical characters.

Alliteration - The use of words with the same letter or sound for effect. This technique can also be used effectively in a written form. An example of this is the old rhyme of Peter Piper picked a peck of pickled peppers.

Ascribing human-like qualities to
non-human things, eh? This lunch
bag is disappointed.  

Analogy - At a basic level an analogy is a comparison of two things, usually explaining one using the other. This is a tremendously deep topic that can be delving into off topic depth (see that analogy?). Since it is such a large topic, being brief will allow you to find your own way of handling analogies. Sometimes keeping them simple can make them more comprehensible. Remember similes? Similes use "like" or "as" to make comparisons.

Anecdote- A short story that connects the material. It is usually insightful or humorous, but helps highlight a part of the narrative. Funny story: It took me an embarrassing amount of time to try and define anecdote and come up with an anecdotal story.

Anthropomorphism - Giving human qualities to non-human things. Animals that talk and rocks that walk and time that flies are examples of anthropomorphism. This technique works well with children but not exclusively.

Aphorism - Pithy statements that are short and to the point. "The pen is mightier than the sword". It is best to use sparingly, since they often border on cliche.

Balance of Opinions - This a technique is core to creating audience based connections because everyone has an opinion and not everyone makes the same conclusions or draws the same meanings. so explore differing viewpoints within the content and within the visiting public. Not quite on a conflicting level, but showing multiple perspectives to show that the events, people, objects, and other details are not all perceived the same way or any one narrative dominated.

Before and After - This is a classic method that looks at before an event or circumstance and how consequences changed after. This can apply to landscape, places, and people. This technique can be used with a chronological framework since before comes before and after discusses what was the results and further how those results affect the now.

Cacophony - The use of harsh sounding words to create an effect. This can also be further emphasized by the interpreter when spoken aloud. Emphasizing a crack or a crunch by use of the voice in creating a realistic sound can help bring the visitors into a program.

What a character!

Cause and Effect- Like Before and After but can deal with roots and causes rather than a circumstances or situations and how the actions created consequences and results.

Characterization - Creating a character. A little different than Living History and first person because it is a more general concept. Living History and first person portrayals are characterizations but not all characterizations are Living History since they can be other things like birds, rocks, tree, or other objects. This technique is useful with children because it is done all the time with singing birds and dancing animals in cartoons and such.

Chronology- A method of arranging material from beginning to the end. This technique works well in conjunction with Before and After and Cause and Effect. The sequence of events is its own story and framework for telling a story. It's simple but effective for people to follow.

Commentary- An expression of your own personal opinion. This helps separate the interpreter from the material, especially when the material gets controversial. It can be used to help explain the reasons for why things happened they way they did. It also makes you more than the 'teacher' because you react to the material as well. Personally, I like using asides and commentary to also give a different perspective using a Balance of Opinion technique.

Compare and Contrast- Another old school style analytical technique. This technique can be done together or separate such as just contrasting or just comparing. It is simple but effective; there is a reason why you did so much of this during school!

Conflict- Conflict involves two or more opposing view points. Conflict can be civil or can be aggressive; everything from an argument to full-scale war. Using conflict can be a great asset to create narrative because conflict is drama! Explaining the conflict and hinting at the resolution can bait a visiting crowd with anticipation.

Conjecture- This is a conclusion based on guesses and logical deduction. It can be used to allude to the future and to the events or reasons for your program.

Context- Context sets the situation or event in place with larger circumstances. It explains that people, objects, events, and decisions were not in a vacuum, but are a result of the cumulative effects of everything leading up to that point. On the opposite side, having things out of context robs the program of a lot of meaning. What was going on at the time and how did that influence the decisions about the content of the program? With historical interpretation, context can be everything.

Contrived Situation- Also called hypotheticals, this technique takes the amassed body of knowledge and changes variables to test with the visitors what they think would be the result for a point. Hypothetically speaking, the interpreter could pose nearly any situation based on what they had shared so far and fish for guesses as to what might have changed. One popular example is "What if the South won the Civil War?"

Conversation- Also called discussion, this technique breaks down the teacher/student barrier and all have an equal chance at contributing. This is a favorite technique that has the favor with audience focused interpretation. Basically discuss the topic or program with the other visitors and give and receive feedback. One drawback to having a conversation is that if the program is about something visitors know very little about, it is hard to have an informed conversation about it. If you spoke with a scientist that wanted to have a conversation about applied thermodynamics, how much good input would you be able to give in this hypothetical case?

Critique- a style of analysis that evaluates some aspects and posits how or what could be done better or how a visitor would do something. This technique will be often used near the end of the program, if not actually in the conclusion, since it needs material to work with in order to be effective. For example, demonstrate something and ask the audience what they would do differently.

This is only part of the verbal styled techniques more are going to follow. If I'm feeling ambitious I will release them over the course of September since there are so many of them and doing a monthly blog would stretch out these techniques unnecessarily. So stay tuned for further parts to this series.

Post Script: I relied on Handles: A Compendium of Interpretive Techniques to Help Visitors Grasp Resource Meanings by Peggy Ann Scherbaum for ideas and material to share.

Interpretive Toolbox: Subtle Physical Skills

Continuing the series on Interpretive techniques and methods in subtle skills, we come to the physical aspects that the interpreter does to enhance or inhibit the interpretive program. To the visitor, these skills are not necessarily noticeable; they are something that is innate to the interpreter, but are in fact a planned and calculated part of the interpretive experience.They are the nuanced actions of the interpreter that draw in visitors and make for a more sensory presentation.These are very close to the verbal skills an interpreter uses, but are going to be treated in their own category. The subtle skill layer of interpretation has everything to do with how the interpreter acts and as such, the interpreter must be self aware of his actions as well as presence. They can add to a presentation or detract from it. Therefore, every element of the subtle personal must be mastered for interpretive effort.

Sometimes dirt don't hurt, in fact, it might give you some
extra credibility!

First, get a look at yourself. One's personal appearance can have an effect on the visitor. Basic grooming needs to be addressed first. Ideally, the interpreters should be well groomed like all adults should. We are professionals, so we need to act like it. Comb your hair, brush your teeth (and floss too!), use deodorant, wash your face and body. These basics are essential. What is your reaction to people who look like they do not own a mirror or cannot afford to wash themselves? If you cannot do this there had better be a good reason for it, for example, portraying a soldier on a long campaign. Shaving can be a little bit of a trickier thing since different organizations have different standards regarding grooming. I did a post on the benefit of having facial hair, but some organizations may have a no facial hair policy so that will require you to shave. A few days growth can change a visitor's perception of you, context being the largest factor. If you wear an official uniform (like the National Park Service, for example) or expected to be clean shaven, the appearance is sloppy. If wearing living history clothing, a few days growth may add a saltiness to the impression. Your clothing is the next layer out. If you wear an official uniform, it needs to be in compliance, neat, clean, and pressed. If you get to wear a "business casual" clothing, it also needs to be neat and clean in appearance. A name tags or name plate is really the mark of a professional. It says that you belong to the organization, so make sure it is worn. If there is no standard as to where your name plate goes, one thing I was taught was to put it on the chest nearest the arm you use to shake hands, typically on the right side. Reaching up to shake hands draws the eyes up and to the name tag. In some cases there is no uniform standard because the "uniform standard" is Living History clothing on a daily basis. If so, research how to best take care of the clothing. I usually do not clean those clothes as often for a number of reasons, such as dirt can add a degree of authenticity to a position. For example, naturally dirty knees and sleeves on farming clothes compared to freshly laundered farm clothes tells a visitor that you were actually working and not bumming around an office and came out for a tour or program.

Body Language is an extension of the body; it's what the body does. What the body does is send subtle messages about the interpreter and the message. Think of Body Language as a larger category and made up of gestures, facial expressions, and body movement. Or to put it concretely: hands, face, and everything else. Shifting, pacing, self touching, nervous ticks, and lowered gaze are all examples of negative body language and tell visitors that the interpreter is unsure, uncomfortable, and probably not very prepared for the presentation or program. Those are body movements because they take place all over the body even using the hands at times or the head. Self touching, like scratching, chewing nails, holding your arm or hands, rubbing your face, or playing with your hair are all self soothing actions done to soothe the body in anxiety or nervousness. This means that you are uncomfortable and that you are trying to make yourself comfortable. But it makes people uncomfortable to watch. Most unintentional body language is subconscious and unintentional. The best way to change this into a positive message is to be aware of your actions by making all actions intentional. This takes knowing yourself and watching yourself. Do your talk, program, or presentation and record it or have someone, like an interpreter or a supervisor, constructively critique your body language to find out what you do when all eyes are on you. When presenting, try to relax. It will get easier the more you do a program and remembering each detail will be a part of what you do, so when you are comfortable, your body will reflect that, and in turn, the message to the visitor is that that interpreter knows their material and is comfortable, therefore I can be comfortable too.

Gestures give you something to do with your hands that can
be effective tools to emphasis and assist your speaking so
learn to use them effectively.

Gestures are actions done with the hands; they are a part of the body movement, but enough goes on with the hands that gestures really needed their own paragraph. We manipulate most of our lives with our hands, so it would be natural that we try to manipulate the interpretive process to our advantage. Some people talk with their hands while other do not. Hands in the pockets while presenting is being too comfortable, it gives a lazy or unconcerned impression. Gestures have the ability to make symbolic movement that can accent a presentation or detract from one. One helpful thing to do, if you do not know what to do with your hands, is to put them naturally by your sides. At first try it feels weird, but look in a mirror; it will look natural. It is okay not to gesture or talk with your hands, but you do need to do something with them. If you are going to do something with them, know what you are doing. He may not be a great example, but consider Adolf Hitler as a speaker (completely apart from his ideology). He studied the emotional impact of his gesturing while giving his speeches and had photographers take pictures of his gestures to use them for full effect on the crowd. What does a fist mean, particularly if you pound it into your cupped hand? What about an outstretched hand to the people? What if you point to your mind? Each gesture means something and can be used to further your message if you learn how to use it. If nothing else, pointing to things is among the easiest gesture to master. Also, sign language is a great way to keep your hands busy, reach others in the crowd, and further get your message across.

Unshaven, frowning, furrowed brow, not very good
eye contact so what impression does this face make upon
ye? Is it a favorable one? Would you like a tour from
someone with this kind of expression?

The third component to Body Language is Facial Expression. The face is very expressive, down to the minute details, and people can pick up on those expressions. Your face can give away if you are tired, irritated, or comfortable. Like body movement, most of these actions of the face are subconscious; you do them without thinking. The trick, like body movement, is to master the subconscious motion into intentional actions that reinforce your message. If doing a program stresses you out, take some time to prepare yourself internally so you can be calm and relaxed when you begin. It will rub off onto the visitors one way or another; by being facially relaxed and happy, it will work to your advantage. The best way to improve your facial expression is to smile. It's easy, simple, and will go a long way. Smiling is the visual equivalent to the firm handshake because it lets people know who you are and how you are feeling at this exact moment. Also, what you do with your eyes is important. "The eyes are the window of the soul" the old adage goes, and their role should not be overlooked. Crowd scanning is important because it gives energy and movement to the program, but indicates also that you are addressing multiple individuals as you go. Eye contact helps reinforce this by connecting you with the visitor visually. People want to be talked to, not talked at. Poor eye contact disengages you from the visitor and you from them. If you are looking at them and they do not meet your eyes, that is their choice not to engage. Your job is to engage them and if they do not want to engage you will have to find another way to do it.

Clean appearance, smiling, good eye contact;
what impression does this make on ye?

 A final consideration that spans a few categories is rapport. Being a likable person can be crucial to a program. It combines a number of attributes like attitude, personality, voice, presence, being outgoing, and effective use of body language. A program can be given with zero rapport and still be a good program, but often having a rapport with the visitors makes a program memorable and personal. Your program is only really part of what we want to achieve through interpretation. Remember, that interpretation is about provocation and letting the visitor feel how important to you this whole thing is based on how much you love them, love your location, and the material that you present. If you want them to care, show them how much you care.

Next month I will examine the verbal layer of interpretive methods and techniques, and it will probably be in a few parts because there are numerous methods to go over!

Changes in Photobucket policy

Photobucket has changed it's policy regarding third party hosting so that paid members may embed photos into their blog, site, what have you. Since I had been using Photobucket as a third party host, I will need to make some changes. Please be patient while I fix this up in the mean time.
Thank you to all the loyal readers so far!

Interpretive Toolbox: Subtle Environmental Skills

The second layer to the skills and tools used in interpreting are subtle skills that have much to do with the physical presentation of the program. To the visitors they are not necessarily noticeable, something that is innate to the situation in which the visitors finds themselves but is in fact a planned and calculated part of the interpretive experience. They are the nuanced conditions the interpreter uses that draws in visitors and makes for a more sensory presentation. This environment is not necessarily "nature", but also being at the place, or it could even be imaginary.

The Power of Place at Appomattox Court House at the

150th anniversary.

One of the more powerful subtle skills that should already be on your side is the

Power of Place. If you work at a historic site that, for example, was where something of personal, national, or even international happened, being in that place is enough to be an interpretive technique. It is already built into your program. Being there at the place can be very significant to some people. Being at the epicenter even more so. For example, being in the exact place where someone stood, sat, lay, or died can amplify this technique. Combine it with exact time (fall, or October, of a date in October, or 2:35 pm on a date in October) can also amplify this technique as being significant. Anniversaries of the event in rules of 5 also help get people closer to what it actually felt like as well. The point of this technique is to put oneself into the scene as the people experienced it. Visitors want to know what it was like, being where it happened gets them closer, and every little step mentioned helps make that connection closer or deeper. To some, this might be a intellectual connection, but those that feel the emotional connection, it could be what makes their experience meaningful for a lifetime. For example, I mentioned my own experience of being at Appomattox Court House for the 150th anniversary of the surrendering of General Lee. I was at the place, I was there at the time, and I was on an anniversary of the event. To me, such an experience was both intellectual as well as emotional, as I had literally placed myself in the shoes of a soldier experiencing this event. The Power of Place can be a incredible tool to use.

Walnut Hill is a fictitious community that Living History
 Farms uses to create a setting for visitors to experience life

in the 19th century. You can read about my experiences at this

place in my earlier blog posts. 

Some places, like museums, disconnected from an exacting place, may struggle creating that place, but can recreate an experience in other ways. One of these ways involves portraying a setting. This setting can be a physical mock-up or an imaginary one. Making a setting can help the visitor understand what it was like if they were there, but cannot actually be there. Talking about the setting at the foot of San Juan Hill in Cuba in the Spanish-American War or what the wilderness was like when the pioneers crossed the plains will help fill in the obvious gaps.

Spatial arrangement and proximity in action: How do you react

to how a things are arranged in this picture? From this blog post

Spatial Arrangement can be used as a technique to help reinforce ideas in a display or in an active activity. This can be added to the planning layer but the subtle placement can have its own meanings. Arranging exhibits or sensory objects, especially into themes, can help the interpreter reinforce their point. This concept interrelates with proximity. Does the closeness of things mean connectivity or make someone uncomfortable? Are their distance apart taken for aloofness or disconnection, or a example of great distance? Have you taken the time to arrange things or is it always set up this way? Have you taken the time or arranged the setting in which the program takes place? Having a layout gives a sense that time has been taken to consider how a program takes place. It gives the visitor a sense that there is a program and that it is set up in a certain way and not chaotically thrown together (unless a chaotic arrangement was what you were looking for). Your own proximity to the visitors also says something. Could it be misinterpreted? Maybe calling attention to it may make your meaning more clear. Some people are very uncomfortable being close to someone they do not know, or being at a distance may be taken as aloofness by your visitors. Maybe give yourself more space to address a larger group of people without feeling the need to shout at the people visiting closest to you. Such arrangements need to be examined and the intentions made clear.

A staged area allows people to stop and interact with the

environment that is there naturally to selected to be there.

It also allows you to make your point while resting. This

area is staged for a discussion on the beaver and its

impact on the fur trade as well as provide visitors a place

to sit, but is open to the elements.

During the program or presentation, it is best to have the places to stop and discuss the topic at hand. For a tour, this is simply part of the tour. Examples would be a scenic vista where one could see the whole area and using it to describe wide movements or an overall plan. Sometimes it is to get out of the sun and into the shade but being close enough in the area to still make the talking points relevant. This idea is called staging. Each stop is a stage where a point is discussed. This idea also works with pacing. Pacing is the speed or timing in which the program takes place. Going slowly helps make programs last longer, and gives the interpreter the time to be thorough. It will also be appreciated by folks like the elderly or people with special considerations. Brief but frequent stops might be difficult on the people

just mentioned. It is probably best to warn them ahead of time if you think some people might have difficulties. A mix of brief stops and long stops could also be effective if practiced.

Logistical considerations like seating, enough room, shade, temperature, weather, climbing stairs, descending stairs, length of time, and length of travel are all things that an interpreter must consider for the ease of the visitors. But they can also be used to help illustrate interpretive points. For example, telling the visitors that the hike will be 7 miles might cause some to drop out, but the view may be worth the trip, or that the same 7 miles was the exact trail that the people we are discussing actually traveled (using power of place as a technique as well). Perhaps stating it was bright on the day, or its always bright here may help visitors understand certain actions by individuals who may have been fighting glare. Of course, if the glare is too much, it may impede the satisfaction of your visitors on your program.

These subtle techniques are only some of the techniques that fit into this category. For next month's edition, personal subtle nuances such as body language, personal appearance, and language will be the main focus.

The Interpretive Toolbox: Introduction and Planning

Interpretation as a discipline and an art can end up being very theoretical. It is all well and good that we make our material meaningful to visitors, but what can be done to get them to see and understand? What practical techniques and methods are at the disposal of the interpreter? This month's edition will launch a new series focused on the interpretive tools the interpreter uses to make connections between the resource and the visitor. Some of these techniques were discussed before, but there are plenty more to use. The beginning of this series will begin from within the interpreter and work from inherent attributes of self to subtle interpretive techniques using more and more complex forms of interpretive techniques in following editions. This series will center on four zones from which Interpretation comes from: Planning, Subtle Skill, Verbal, and Active. Or, simply, this is about what you think, how you act, what you say, and what you do.

Novel arrangenment of Interpretive techniques and method

into classifications starts with the innermost and works to the

most active methods. Nothing really new, just a different way

to characterize information like this.

When the Creating A Program series was created last year it left out techniques. Now is to the time to learn those techniques and incorporate them. The first will be the furthest inside the interpreter. It starts in his or her mind as the planning stage. The planning stage takes into account the Verbal and Active portions and to a lesser degree what is a Subtle skills in the interpreter, but it is so instinctual and innate that some of the techniques might be more difficult to control because there are so many nuances involved. The second zone is the Subtle actions of the interpreter, things like body language, location, volume. As mentioned, these are harder to plan because they generally are subconscious action that give messages to the visitors. Some of these subtleties might even be counterproductive as without even realizing it, the interpreter is sending a mixed message. Verbal communication is essential to interpretation because that is the main way that an interpreter will communicate with the audience. The interpreter provides much of the new information to the visitors. Granted, some will be through reading material but generally the visiting public will rather listen to an interpreter than read materials, and even less will do both very well. The last zone of interpretive technique is Active; this is where a lot of the fun stuff comes from. Generally speaking, the more active a program is, the more enjoyable and/or more memorable it will be as well.

But first, a review of the Interpretive Equation. An interpretive opportunity comes from the ability to use the Knowledge of Audience and Knowledge of Resource with Appropriate Techniques. This series is all about the "Techniques" portion of this equation. Not every technique is the right technique to use in a given situation, especially the more complex ones. Talking with a seasoned interpreter may give the reader some hints as to which techniques are better than others as well. Consider the types of programs used, such as a talk, tour, or activity and then try to evaluate the appropriateness of a technique in abstract and then in practice. Just because a technique sounds good, does not necessarily mean that it will work according to how it is planned. Planning one's program and techniques out ahead of time will help prevent a wrong technique from lowering the quality of the interpretive program. This is where the knowledge of audience comes in. A coloring activity may not be suitable for all ages. Consider also the context of when and where the program will take place before evaluating yourself.

Since all programs are planned, it is important to look over some of the factors that help make a successful program as this zone really informs all the other zones. Much of this has already been described in the Creating a Program Series. In planning and creating a program the interpreter might have used some interpretive techniques without even realizing it. This is not necessarily bad, but every part of the program must be used for full effect. Some of the program-related materials created for programs are products of planning.

Get organized!

One of the most powerful tools in your Interpretive toolbox is organization. The program must be organized; it cannot be a random doings-of-things. Organization gives the visitor a framework in which the program occurs. A disorganized program feels poorly thought out and unprofessional. Using effective transitions helps guide the visitor along and gives a professional polish to the program. Having written objectives and goals help define what the interpreter is after, as well as declare on paper what the intention of the program is about, not just for the interpreter, but also for people trying to review your work or help you make it better. The layout of materials should be easy to follow. Cluttered material is a turn-off to a lot of people. Other planned features include things like font, the way the letters look on printed material. Having a thematic font can help set the tone and setting. Researching historical fonts to give an added touch to printed materials that the visitor interacts with in active techniques. For example, using an original document out in the open might damage the resource, or the handwriting difficult to read, so having a copied text printed in a period handwriting font sells the program a little better rather than using Times New Roman for everything. Do not get too carried away with wild fonts. On the other hand, using large size blocky fonts are easier to read from afar, near, and helpful for people hard-of-seeing. In design, alignment, reader flow, and simple are key in creating passive text based labels, signs, and other printed materials. Carefully crafting each sentence's structure and word choice for maximum effect is important. This applies to verbal portions as well. How you say it will come later, but planning what to say first is something that must be planned ahead of time.

Pay attention to how each font makes you feel when you read.

Then add your own inflection to the text and see how the

sentence's meaning changes.

As mentioned, planning touches all other zones from the most subtle nuance to wildly engaging activities, so there is going to be overlap, or techniques and methods that are not exclusively planning centered or verbal or active, but will require combinations in different proportions in order to be successful. Next edition will deal with the subtle, foundational techniques and methods.

I relied on Handles: A Compendium of Interpretive Techniques to Help Visitors Grasp Resource Meanings by Peggy Ann Scherbaum for ideas and material to share; not everything I present is of my own creation, but a synthesis of a lot of other ideas. Because of that, I felt this text needed to be mentioned as a great and clear resource for using interpretive techniques.