WESTERN WILDS
STORY TELLING INTERPRETATION TOOLKIT
CONTENTS Why Story Telling? What is story telling interpretation? Western Wilds Story Telling Interpretation Types of Story Stops Types of Media Top tips for Story Telling Interpretation (Story Stops) Story Stop Planning
Credit: Spray Tunnel Zeehan, Jess Bonde
WESTERN WILDS STORY TELLING INTERPRETATION TOOLKIT 1
WHY STORY TELLING?
Storytelling is engrained in human behavior as a way to make sense of the world, to affirm or challenge our beliefs and even prolong our survival; we tend to learn better through the experiences of others rather than through analytical facts.
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When we hear good stories, our brains release chemicals which makes us more empathic and can alter our decision making.
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We are more likely to remember and re-tell stories over analytical facts.
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Stories make complex or detailed information more interesting and accessible.
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“People stories” have a greater impact on our behaviour when compared with stories with lots of statistical information.
Stories are widely used both purposefully and unintentionally to help us connect with one another and to distil complex information into something that is relevant, interesting and motivates us into action. While it feels we’re simply drawn to good stories and good storytellers, modern research reveals good storytelling has a significant impact on our brains.
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Stories help us to imagine ourselves in a certain place or in a certain way which can affect buying decisions.
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Stories are an effective way to change attitudes, beliefs and behaviours.
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Credit: Franklin River Rafting, Tourism Australia & Graham Freeman
WHAT IS STORY TELLING INTERPRETATION? Storytelling interpretation is used to help people experience a place through a specific story. There are lots of different ways to encourage visitors to use their imaginations and step into the shoes of a certain character during a certain time to see what they saw, hear what they heard and think as they did. By telling a story rather than just dates and factual details we are able to create atmosphere, build identify and a sense of place.
When a visitor encounters story telling interpretation (what we are referring to as a story stop) they need to be rewarded with a good story that piques their interest, makes them smile, brings a tear to their eye, or promotes a conversation. Specifically, each story stop should: •
Be a story our visitors want to experience, not just a story we want to tell.
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Tell a story of a location in a creative and interesting manner.
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Be aligned to the overall Wilderness story and/or the signature stories (themes) that underpin this.
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Be unique - tell a story that is not told everywhere already.
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Be shareable on social media, Instagram, YouTube, Facebook.
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Encourage visitors to seek out other story stops.
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Include the Western Wilds Story Stop logo.
Appropriate responses may include repurposing existing features or experiences or creating brand new story telling interpretation ideas to reveal stories of the Western Wilds.
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TYPES OF STORY STOPS There are three categories of story stops. This categorisation is based on the scale and nature of the story stops and determines how and where these stories may be shared with visitors.
SIGNATURE STORY STOPS •
These are large compelling points of interest along the journey, intended to stop visitors in their tracks and encourage them to venture off the path most travelled, heightening the visitors’ sense of discovery.
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They are noticeable from a distance and professionally designed to interpret a story.
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They could include art installations (including sounds and light), architectural features or landscape design.
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Imagery of these stops will be used extensively by Tourism Tasmania throughout their interstate marketing and branding activities.
FEATURE STORY STOPS
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They are controlled through a Set of Criteria. They should:
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Deliver a compelling story that engages visitors with the wilderness story.
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Be distinctly unique from the others and appeal to visitors through various senses/emotions.
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Be located in places associated with the journey themes of flora/fauna, landscapes, indigenous, industry, conservation and environment.
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Be well dispersed across the journey.
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Have adequate parking facilities already in place or with minimal modification required (may include: re-alignment of fencing; building of pathways, gates, line marking and pull off zones; accessibility measures).
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Already have or be able to get permissions to access land, whether public or private land.
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Be safe – it should be safe to stop, get out and walk around.
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Encourage visitors to venture off the path most travelled and heighten the visitors’ sense of discovery.
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Have a clear owner who is able to commit to ongoing maintenance and care for the Story Stop.
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Feature Story Stops still need to be compelling points of interest that align with the Western Wild themes but not to the same scale and the criteria applying to these is as follows: •
Deliver a compelling story experience that engages visitors with the wilderness story of the area.
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Already have or be able to get permissions to access land, whether public or private land.
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Be safe – it should be safe to stop, get out and walk around.
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Have a clear owner who is able to commit to ongoing maintenance and care for the Story Stop.
Feature Story Stops will be incorporated into Regional Tourism Organisation’s marketing and promotion activities for intrastate travellers. They may also be incorporated into featured stories and promotion through Tourism Tasmania’s marketing program.
LOCAL STORY STOPS Created and activated by local operators and community. Content will not be vetted, and the Story Stop symbol can be downloaded and displayed at the Story Stop location or on the marketing collateral of the individual business or entity.
Private operators, Councils and Community groups are all welcome to apply to invest in a Signature Story Stop.
Sassafras beer & badminton The people of Lake Margaret village were a small but very social community. ‘Badminton Hall’ was a hub of activity with card evenings, supper dances and regular badminton tournaments. Competition was quite serious, and when the shuttle feathers needed replacing, the village chooks made themselves scarce!
Outside of working hours, cricket, bonfires, wood chopping and walks to the lakes or mountains whiled away long summer days. Villagers fondly recall collecting blandfordia (christmas bells), waratahs and berries. And was there a better way than home-made sassafras beer to quench a summer thirst?
“We had an orchestra come out… you’d have so many visitors allowed each. And they’d go there till nine o’clock and then they’d blow the siren... and then they’d all go down to the hall and have the dance going til about one o’clock.”
Monthly church services were held at the Martin’s home, where Ernest Martin’s organ accompaniment is wellremembered. With their physical, social and spiritual needs fulfilled, it’s not surprising that many thought of life at Lake Margaret as close to paradise.
Molly Groves, former resident
Image: George Barvich
Bells). Blandfordia (Christmas Image: Chris T Wilson
Image: Gillian Robnik
A walking party to Mt Sedgwick on February 22, 1949. Front left, George Bacon. Front right, unknown. Rear (left to right) Brian Pilling, Theo Box, Myra Mickan, Betty Robertson, Marin Bjirring, Frank Martin. Image: Frank Martin
Credit: Lake Margaret - Sassafras, beer and badminton - Hydro Tasmania
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Credit: Split Rock Falls Track, Great Western Tiers, Marcus Tatton
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MEDIA FOR STORY STOPS Story Stops can be delivered through various media but come under two distinct categories: 1. Personal Interpretation could include: a.
Guides and guided tours.
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Live performances.
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Events such as Festivals.
2. Non Personal Interpretation could include:
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Credit: Spray Tunnel Zeehan, Jess Bonde Credit: Bonnett Island Lighthouse Paul Flemming; Lighthouse Keeper RACT Destinations
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Installations and objects (of varying scales).
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Audio visual i.e. light and sound installations.
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Augmented and Virtual Reality experiences.
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Apps.
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Exhibitions.
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Story Telling Interpretations panels.
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Story Telling trails.
THERE ARE OPPORTUNITIES AND CHALLENGES WITH WHATEVER INTERPRETATION MEDIUM YOU CHOOSE TO USE AND THE BEST EXPERIENCES OF STORY TELLING CAN OFTEN USE A COMBINATION OF MEDIUMS.
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TOP TIPS FOR STORY TELLING INTERPRETATION
Storytelling Interpretation requires careful planning and skilful delivery. The following questions should help you to develop a preliminary plan for your Story Stop project.
There are many creative and successful ways to use storytelling interpretation to improve your visitor’s experience and inspire them to share your story with others. The most important things to remember for storytelling interpretation include: •
Consider how easy it is to share your story. Can your visitors take a photo and post it online or will they verbally re-tell it?
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Many stories have a visual focus. Make sure you consider other senses too and incorporate sounds, smells, touch and even taste!
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Focus on people stories rather than historical timelines.
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Tell stories that show how people have used the natural and built landscape of the Western Wilds.
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Consider how your visitors will experience your story. Will it be from start to finish or will you need a common thread allowing them to come and go from the story?
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Be clear on what message you want people to remember and re-tell. Make this the focus of your story.
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Be brief. Much interpretation (including leaflets, panels, audio tours, guided walks and audio-visual presentations) is too long. Give people a clear introduction and summary and options for finding out more.
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5. What type of resources do you need? • Do you need to commission an artist, designer or interpretation specialists? • Do you need specific permissions and authorities to put your stop in place? • Would your current insurances cover your story stop?
1. Who is your visitor? •
Who is this for and what do they want to hear or know about?
2. What is your story? • How does your story fit with the themes of the Western Wilds? • What do you want your visitors to remember about you and the West at the end of their visit? What stories can you tell that will help towards that? • What resources do you have (research, archives, objects, photographs, local memories) to help you tell the story?
Before you start creating your story, put yourselves in the shoes of your visitors and consider what they would want to learn, how they would want to learn it and why.
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STORY STOP PLANNING
7. Are there people/groups you could collaborate with? • Are there people in your community that you can work with to assist? • Are there organisations that may have a shared interest in your story? 8. What are the costs associated with your story stop? • What are the costs to establish? • What are the costs to operate/maintain?
3. What is the experience you want people to have? • How do you make your story stop interpretation into an experience to remember? • Where will your story stop be located? 4. What is the type of media you will use? • What media will enable you to achieve the experience you are trying to provide? • Can you manage the maintenance and running costs (financial and human) of your chosen medium?
Cover Credit: Driving Towards Mt Murchinson, Flow Mountain Bike
6. H ow will you attract people to your story stop? • What channels do you currently use to speak to visitors? Can you promote your stop through these? • Can you also incorporate stories into these channels i.e social media feeds?
9. What are the sources of funding or support you could access to assist in development of your Story Stop? • Can you raise funds as a community? • Is there an opportunity for private sponsorship of your project? For more detailed advice on developing your story stop, you can attend a Western Wilds Developing your Story Stop workshop or coaching session or contact Destination Southern Tasmania or Cradle Coast Authority.
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Cover Credit: The Ship that Never Was - Kiah Davey, Tourism Tasmania & Rob Burnett