In sep oct 2016 issue

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JVA InterpNews

2 Volume 5, #5, Sep/Oct 2016

The International Heritage Interpretation e-Magazine.

JV consulting on visitor center interpretation, Korean National Parks.

Hi folks - well time sure moves quickly - almost Halloween! And kids parents are smiling about back to school supplies and clothes. So we have more news. InterpNEWS is now a anchor part of our new Heritage Interpretation International Group. HIIG is our new larger home for John Veverka & Associates, InterpNEWS, The Heritage Interpretation Training Center, Interpretive Evaluation, Visitor Studies and Site Assessment Center, The Center for Interpretive Planning Advancement & Excellence, and the Heritage Interpretation Resource Center. Our goal is the continued research, training and advancement of the interpretive profession world-wide. If your organization, agency or site would like to be part of our Group, there are lots of benefits for you (and no costs to you either) and we are always looking for strategic partners as well. Help us evolve interpretation to its fullest potential.

Other news - just finished my working draft of our newest book "The Interpretive Writers Guidebook - How to Provoke, Relate and Reveal your messages and stories to your visitors in memorable ways". More details on our newest book in the next IN issue.

Have a safe and happy autumn. JV

In This Issue:

Page:

- Interpreting the Olmec Colossal Heads. Mark Cartwright

3 5 8 12 17 18 21 26 33 36 38 40 43 48 52 54 56 58 64

- Interpreting Halloween. - The History Channel Staff.

- Why Leaves Change Color. - USDA Forest Service - Interpreting Trace fossils. - Ed Clifton - Book Review - Interpreting Difficult History at Museums and Historic Sites.

- What's new on Cicada Mania (the 17 year cicada emergences).

- And Who Made These Particular Crazy Quilts? Dr. Martha Benn Macdonald - An Introduction to Interpreting Cemeteries and Gravestones John A. Veverka - We Walk the Woods with Abraham Maslow - Barbara Buls - Harley E. Warrick's barn side treasures. J. Veverka - Protecting and Interpreting sea turtle populations. Sharpshitrter - Free App to Create Interpretive Materials. Janice Kelley - Interpreting the "rest of the story" hidden in your artifacts. J.Veverka - Discovering the WWI Home Front: Children and charities, food and farms. Emma Espley - Interpreting the Oyster Industry Recovery - The oyster recovery program.

- Interpreting the Day of the Dead - The University of New Mexico.

-"After the Four Oaks,� An experience in interpretive writing. Dr. Martha Benn Macdonald - Interpreting Climate Change: Strategies -Patricia Walsh, - Your Safety - Our Concern- The Plight of a Water Safety Ranger Brian C. Westfall

InterpNEWS is published six times a year as a FREE John Veverka & Associates publication and published as a service to the interpretive profession. If you would like to be added to our mailing list just send an e-mail to jvainterp@aol.com and we will add you to our growing mailing list. Contributions of articles are welcomed. It you would like to have an article published in InterpNEWS let me know what you have in mind. Cover photo: The Olmec Stone Heads - Mexico. www.heritageinterp.com , jvainterp@aol.com. SKYPE: jvainterp.

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Interpreting the Olmec Colossal Heads. by Mark Cartwright Olmec civilization, which began sometime around 1400 BC, was centered in the Gulf Coast states of Veracruz and Tabasco. Olmec architects and artists produced the earliest monumental structures and sculptures in Mexico, including enormous basalt portrait heads of their rulers.

The colossal sculptures in the exhibition weigh between 7 and 10 tons each.

The stone head sculptures of the Olmec civilization of the Gulf Coast of Mexico (1200 BCE - 400 BCE) are amongst the most mysterious and debated artefacts from the ancient world. The most agreed upon theory is that, because of their unique physical features and the difficulty and cost involved in their creation, they represent Olmec rulers.

Seventeen heads have been discovered to date, 10 of which are from San Lorenzo and 4 from La Venta; two of the most important Olmec centres. The heads were each carved from a single basalt boulder which in some cases were transported 100 km or more to their final destination, presumably using huge balsa river rafts wherever possible and log rollers on land. The principal source of this heavy stone was Cerro Cintepec in the Tuxtla Mountains. The heads can be nearly 3 m high, 4.5 metres (9.8 feet, 14.7 feet) in circumference and average around 8 tons in weight. The heads were sculpted using hard hand-held stones and it is likely that they were originally painted using bright colours. The fact that these giant sculptures depict only the head may be explained by the widely held belief in Mesoamerican culture that it was the head alone which contained the emotions, experience, and soul of an individual.

Facial details were drilled into the stone (using reeds and wet sand) so that prominent features such as the eyes, mouth, and nostrils have real depth. Some also have deliberately drilled dimples on the cheeks, chin, and lips.

The heads all display unique facial features - often in a very naturalistic and expressive manner - so that they may be considered portraits of actual rulers. The scholar M.E. Miller identifies Colossal Head 5, for example, as a second-millenium BCE ruler of San Lorenzo. Although the physionomy of the sculptures has given rise to unfounded speculation of contact with civilizations from Africa, in fact, the physical features common to the heads are still seen today in residents of the modern Mexican cities of Tabasco and Veracruz.

The subject often wears a protective helmet which was worn by the Olmec in battle and during the Mesoamerican ballgame. These can vary in design and pattern and sometimes the subject also has jaguar paws hanging over the forehead, perhaps representing a jaguar pelt worn as a symbol of political and religious power, a common association in many Mesoamerican cultures. Colossal Head 1 from La Venta, instead, has huge talons carved on the front of the helmet.

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Some heads are also recarvings of other objects. For example, San Lorenzo Colossal Head 7 was originally a throne and has a deep indentation on one side and Altar 5 from La Venta seems to have been abandoned in the middle of such a conversion.

Miller suggests that perhaps a specific ruler's throne was converted into a colossal portrait in an act of remembrance following that ruler's death.

Many of the stones are difficult to place in their original context as they were not necessarily found in the positions the Olmecs had originally put them. Indeed, Almere Read (41) suggests that even the Olmecs themselves regularly moved the heads around for different ritual purposes. Another theory is that the heads were used as powerful markers of rulership and distributed to declare political dominance in various territories.

Interestingly, the four heads from La Venta were perhaps originally positioned with such a purpose in mind so that they stood as guardians to the sacred precinct of the city.

Three were positioned at the northern end of the complex and the other one stood at the southern end; but all faced outwards as if protecting the precinct. These heads are very similar to the San Lorenzo heads but display a regional variance in that they are wider and more squat in appearance.

That the other heads might have been discovered out of their original setting is suggested by the fact that very often they show signs of deliberate vandalism and most were buried sometime before 900 BCE in what appears to have been a purposeful ritual distancing with the past. However, it has also been suggested that some of the heads were buried shortly after their production in a process of ancestor worship or that they were defaced and buried by subsequent rulers to legitimize their claim to power and exclude competing lineages. It could also be that they were even damaged in order to neutralize the dead ruler's power. Whatever the reason, the heads were buried and forgotten for nearly three thousand years until the first head was re-discovered, in 1871 CE, with the last being excavated as recently as 1994 CE.

MARK CARTWRIGHT

Mark holds an M.A. in Greek philosophy and his special interests include the Minoans, the ancient Americas, and world mythology. He loves visiting and reading about historic sites and transforming that experience into free articles accessible to all.

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Interpreting Halloween The History Chanel Staff.

Straddling the line between fall and winter, plenty and paucity, life and death, Halloween is a time of celebration and superstition. It is thought to have originated with the ancient Celtic festival of Samhain, when people would light bonfires and wear costumes to ward off roaming ghosts. In the eighth century, Pope Gregory III designated November 1 as a time to honor all saints and martyrs; the holiday, All Saints’ Day, incorporated some of the traditions of Samhain. The evening before was known as All Hallows’ Eve and later Halloween.

Over time, Halloween evolved into a secular, community-based event characterized by child-friendly activities such as trick-or-treating. In a number of countries around the world, as the days grow shorter and the nights get colder, people continue to usher in the winter season with gatherings, costumes and sweet treats.

ANCIENT ORIGINS OF HALLOWEEN Halloween’s origins date back to the ancient Celtic festival of Samhain (pronounced sow-in). The Celts, who lived 2,000 years ago in the area that is now Ireland, the United Kingdom and northern France, celebrated their new year on November 1. This day marked the end of summer and the harvest and the beginning of the dark, cold winter, a time of year that was often associated with human death. Celts believed that on the night before the new year, the boundary between the worlds of the living and the dead became blurred. On the night of October 31 they celebrated Samhain, when it was believed that the ghosts of the dead returned to earth. In addition to causing trouble and damaging crops, Celts thought that the presence of the otherworldly spirits made it easier for the Druids, or Celtic priests, to make predictions about the future. For a people entirely dependent on the volatile natural world, these prophecies were an important source of comfort and direction during the long, dark winter.

To commemorate the event, Druids built huge sacred bonfires, where the people gathered to burn crops and animals as sacrifices to the Celtic deities. During the celebration, the Celts wore costumes, typically consisting of animal heads and skins, and attempted to tell each other’s fortunes. When the celebration was over, they relit their hearth fires, which they had extinguished earlier that evening, from the sacred bonfire to help protect them during the coming winter.

By 43 A.D., the Roman Empire had conquered the majority of Celtic territory. In the course of the four hundred years that they ruled the Celtic lands, two festivals of Roman origin were combined with the traditional Celtic celebration of Samhain. The first was Feralia, a day in late October when the Romans traditionally commemorated the passing of the dead. The second was a day to honor Pomona, the Roman goddess of fruit and trees. The symbol of Pomona is the apple and the incorporation of this celebration into Samhain probably explains the tradition of “bobbing” for apples that is practiced today on Halloween.

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HALLOWEEN COMES TO AMERICA MERICA Celebration of Halloween was extremely limited in colonial New England because of the rigid Protestant belief systems there. Halloween was much more common in Maryland and the southern colonies. As the beliefs and customs of different European ethnic groups as well as the American Indians meshed, a distinctly American version of Halloween ween began to emerge. The first celebrations included “play parties,” public events held to celebrate the harvest, where neighbors would share stories of the dead, tell each other’s fortunes, dance and sing. Colonial Halloween festivities also featured the telling of ghost stories and mischief-making mischief of all kinds.

By the middle of the nineteenth century, annual autumn festivities were common, but Halloween was not yet celebrated everywhere in the country.

In the second half of the nineteenth century, America was flooded with new immigrants. These new immigrants, especially the millions of Irish fleeing Ireland’s potato famine of 1846, helped to popularize the celebration of Halloween nationally. Taking from Irish and English traditions, Americans began to dress up in costumes and go house to house asking for food or money, a practice that eventually became today’s “trick-or“trick treat” tradition. Young women believed that on Halloween they could divine the name or appearance of their future husband by doing tricks with yarn, apple parings or mirrors.

In the late 1800s, there was a move in America to mold Halloween into a holiday more about community and neighborly get-togethers togethers than about ghosts, pranks and witchcraft. At the turn of the century, Halloween pparties for both children and adults became the most common way to celebrate the day. Parties focused on games, foods of the season and festive costumes. Parents were encouraged by newspapers and community leaders to take anything “frightening” or “grotesque” “grotesque” out of Halloween celebrations. Because of these efforts, Halloween lost most of its superstitious and religious overtones by the beginning of the twentieth century.

By the 1920s and 1930s, Halloween had become a secular, but community-centered community centered holiday, with parades and town-wide wide parties as the featured entertainment. Despite the best efforts of many schools and communities, vandalism began to plague Halloween celebrations in many communities during this time. By the 1950s, town leaders had successfully limited vandalism and Halloween had evolved into a holiday directed mainly at the young. Due to the high numbers of young children during the fifties baby boom, parties moved from town civic centers into the classroom or home, where they could be more easily easily accommodated. Between 1920 and 1950, the centuries-old practice of trick-or-treating treating was also revived. Trick-or-treating Trick treating was a relatively inexpensive way for an entire community to share the Halloween celebration. In theory, families could also prevent tricks being played on them by providing the neighborhood children with small treats. A new American tradition was born, and it has continued to grow. Today, Americans spend an estimated $6 billion annually on Halloween, making it the country’s second largest est commercial holiday.

TODAY’S HALLOWEEN TRADITIONS ADITIONS The American Halloween tradition of “trick-or-treating” “trick treating” probably dates back to the early All Souls’ Day parades in England. During the festivities, poor citizens would beg for food and families would give g them pastries called “soul cakes” in return for their promise to pray for the family’s dead relatives. The distribution of soul cakes was encouraged by the church as a way to replace the ancient practice of leaving food and wine for roaming spirits. Thee practice, which was referred to as “going a-souling” a souling” was eventually taken up by children who would visit the houses in their neighborhood and be given ale, food, and money

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The tradition of dressing in costume for Halloween has both European and Celtic roots. Hundreds of years ago, winter was an uncertain and frightening time. Food supplies often ran low and, for the many people afraid of the dark, the short days of winter were full of constant worry. On Halloween, when it was believed that ghosts came back to the earthly world, people thought that they would encounter ghosts if they left their homes. To avoid being recognized by these ghosts, people would wear masks when they left their homes after dark so that the ghosts would mistake them for fellow spirits. On Halloween, to keep ghosts away from their houses, people would place bowls of food outside their homes to appease the ghosts and prevent them from attempting to enter.

HALLOWEEN SUPERSTITIONS Halloween has always been a holiday filled with mystery, magic and superstition. It began as a Celtic end-ofsummer festival during which people felt especially close to deceased relatives and friends. For these friendly spirits, they set places at the dinner table, left treats on doorsteps and along the side of the road and lit candles to help loved ones find their way back to the spirit world. Today’s Halloween ghosts are often depicted as more fearsome and malevolent, and our customs and superstitions are scarier too. We avoid crossing paths with black cats, afraid that they might bring us bad luck. This idea has its roots in the Middle Ages, when many people believed that witches avoided detection by turning themselves into cats. We try not to walk under ladders for the same reason. This superstition may have come from the ancient Egyptians, who believed that triangles were sacred; it also may have something to do with the fact that walking under a leaning ladder tends to be fairly unsafe. And around Halloween, especially, we try to avoid breaking mirrors, stepping on cracks in the road or spilling salt.

But what about the Halloween traditions and beliefs that today’s trick-or-treaters have forgotten all about?

Many of these obsolete rituals focused on the future instead of the past and the living instead of the dead. In particular, many had to do with helping young women identify their future husbands and reassuring them that they would someday—with luck, by next Halloween—be married. In 18th-century Ireland, a matchmaking cook might bury a ring in her mashed potatoes on Halloween night, hoping to bring true love to the diner who found it. In Scotland, fortune-tellers recommended that an eligible young woman name a hazelnut for each of her suitors and then toss the nuts into the fireplace. The nut that burned to ashes rather than popping or exploding, the story went, represented the girl’s future husband. (In some versions of this legend, confusingly, the opposite was true: The nut that burned away symbolized a love that would not last.) Another tale had it that if a young woman ate a sugary concoction made out of walnuts, hazelnuts and nutmeg before bed on Halloween night she would dream about her future husband. Young women tossed apple-peels over their shoulders, hoping that the peels would fall on the floor in the shape of their future husbands’ initials; tried to learn about their futures by peering at egg yolks floating in a bowl of water; and stood in front of mirrors in darkened rooms, holding candles and looking over their shoulders for their husbands’ faces. Other rituals were more competitive. At some Halloween parties, the first guest to find a burr on a chestnut-hunt would be the first to marry; at others, the first successful apple-bobber would be the first down the aisle.

Of course, whether we’re asking for romantic advice or trying to avoid seven years of bad luck, each one of these Halloween superstitions relies on the good will of the very same “spirits” whose presence the early Celts felt so keenly.

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USDA Forest Service f you are lucky, you live in one of those parts of the world where Nature has one last fling before settling down into winter's sleep. In those lucky places, as days shorten and temperatures become crisp, the quiet green palette of summer foliage is transformed into the vivid autumn palette of reds, oranges, golds, and browns before the leaves fall off the trees. On special years, the colors are truly breathtaking.

How does autumn color happen?

For years, scientists have worked to understand the changes that happen to trees and shrubs in the autumn. Although we don't know all the details, we do know enough to explain the basics and help you to enjoy more fully Nature's multicolored autumn farewell. Three factors influence autumn leaf color-leaf pigments, length of night, and weather, but not quite in the way we think. The timing of color change and leaf fall are primarily regulated by the calendar, that is, the increasing length of night. None of the other environmental influences-temperature, rainfall, food supply, and so on-are as unvarying as the steadily increasing length of night during autumn. As days grow shorter, and nights grow longer and cooler, biochemical processes in the leaf begin to paint the landscape with Nature's autumn palette.

Where do autumn colors come from?

A color palette needs pigments, and there are three types that are involved in autumn color. 

 

Chlorophyll, which gives leaves their basic green color. It is necessary for photosynthesis, the chemical reaction that enables plants to use sunlight to manufacture sugars for their food. Trees in the temperate zones store these sugars for their winter dormant period.

Carotenoids, which produce yellow, orange, and brown colors in such things as corn, carrots, and daffodils, as well as rutabagas, buttercups, and bananas.

Anthocyanins, which give color to such familiar things as cranberries, red apples, concord grapes, blueberries, cherries, strawberries, and plums. They are water soluble and appear in the watery liquid of leaf cells.

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Both chlorophyll and carotenoids are present in the chloroplasts of leaf cells throughout the growing season.

Most anthocyanins are produced in the autumn, in response to bright light and excess plant sugars within leaf cells.

During the growing season, chlorophyll is continually being produced and broken down and leaves appear green. As night length increases in the autumn, chlorophyll production slows down and then stops and eventually all the chlorophyll is destroyed. The carotenoids and anthocyanins that are present in the leaf are then unmasked and show their colors.

Certain colors are characteristic of particular species. Oaks turn red, brown, or russet; hickories, golden bronze; aspen and yellow-poplar, golden yellow; dogwood, purplish red; beech, light tan; and sourwood and black tupelo, crimson. Maples differ species by species-red maple turns brilliant scarlet; sugar maple, orange-red; and black maple, glowing yellow. Striped maple becomes almost colorless. Leaves of some species such as the elms simply shrivel up and fall, exhibiting little color other than drab brown.

The timing of the color change also varies by species. Sourwood in southern forests can become vividly colorful in late summer while all other species are still vigorously green. Oaks put on their colors long after other species have already shed their leaves. These differences in timing among species seem to be genetically inherited, for a particular species at the same latitude will show the same coloration in the cool temperatures of high mountain elevations at about the same time as it does in warmer lowlands.

Does weather affect autumn color?

The amount and brilliance of the colors that develop in any particular autumn season are related to weather conditions that occur before and during the time the chlorophyll in the leaves is dwindling.

Temperature and moisture are the main influences.

A succession of warm, sunny days and cool, crisp but not freezing nights seems to bring about the most spectacular color displays. During these days, lots of sugars are produced in the leaf but the cool nights and the gradual closing of veins going into the leaf prevent these sugars from moving out. These conditions-lots of sugar and lots of light-spur production of the brilliant anthocyanin pigments, which tint reds, purples, and crimson. Because carotenoids are always present in leaves, the yellow and gold colors remain fairly constant from year to year.

The amount of moisture in the soil also affects autumn colors. Like the weather, soil moisture varies greatly from year to year. The countless combinations of these two highly variable factors assure that no two autumns can be exactly alike. A late spring, or a severe summer drought, can delay the onset of fall color by a few weeks. A warm period during fall will also lower the intensity of autumn colors. A warm wet spring, favorable summer weather, and warm sunny fall days with cool nights should produce the most brilliant autumn colors.

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What triggers leaf fall?

In early autumn, in response to the shortening days and declining intensity of sunlight, leaves begin the processes leading up to their fall. The veins that carry fluids into and out of the leaf gradually close off as a layer of cells forms at the base of each leaf. These clogged veins trap sugars in the leaf and promote production of anthocyanins. Once this separation layer is complete and the connecting tissues are sealed off, the leaf is ready to fall.

What does all this do for the tree?

Winter is a certainty that all vegetation in the temperate zones must face each year. Perennial plants, including trees, must have some sort of protection to survive freezing temperatures and other harsh wintertime influences.

Stems, twigs, and buds are equipped to survive extreme cold so that they can reawaken when spring heralds the start of another growing season. Tender leaf tissues, however, would freeze in winter, so plants must either toughen up and protect their leaves or dispose of them.

The evergreens-pines, spruces, cedars, firs, and so on-are able to survive winter because they have toughened up. Their needle-like or scale-like foliage is covered with a heavy wax coating and the fluid inside their cells contains substances that resist freezing. Thus the foliage of evergreens can safely withstand all but the severest winter conditions, such as those in the Arctic. Evergreen needles survive for some years but eventually fall because of old age.

The leaves of broadleaved plants, on the other hand, are tender and vulnerable to damage. These leaves are typically broad and thin and are not protected by any thick coverings. The fluid in cells of these leaves is usually a thin, watery sap that freezes readily. This means that the cells could not survive winter where temperatures fall below freezing. Tissues unable to overwinter must be sealed off and shed to ensure the plant's continued survival. Thus leaf fall precedes each winter in the temperate zones.

What happens to all those fallen leaves?

Needles and leaves that fall are not wasted. They decompose and restock the soil with nutrients and make up part of the spongy humus layer of the forest floor that absorbs and holds rainfall. Fallen leaves also become food for numerous soil organisms vital to the forest ecosystem.

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What happens to all those fallen leaves?

Needles and leaves that fall are not wasted. They decompose and restock the soil with nutrients and make up part of the spongy humus layer of the forest floor that absorbs and holds rainfall. Fallen leaves also become food for numerous soil organisms vital to the forest ecosystem.

It is quite easy to see the benefit to the tree of its annual leaf fall, but the advantage to the entire forest is more subtle. It could well be that the forest could no more survive without its annual replenishment from leaves than the individual tree could survive without shedding these leaves. The many beautiful interrelationships in the forest community leave us with myriad fascinating puzzles still to solve.

Where can I see autumn color in the United States?

You can find autumn color in parks and woodlands, in the cities, countryside, and mountains - anywhere you find deciduous broadleaved trees, the ones that drop their leaves in the autumn. Nature's autumn palette is painted on oaks, maples, beeches, sweet gums, yellow-poplars, dogwoods, hickories, and others. Your own neighborhood may be planted with special trees that were selected for their autumn color.

New England is rightly famous for the spectacular autumn colors painted on the trees of its mountains and countryside, but the Adirondack, Appalachian, Smoky, and Rocky Mountains are also clad with colorful displays. In the East, we can see the reds, oranges, golds, and bronzes of the mixed deciduous woodlands; in the West, we see the bright yellows of aspen stands and larches contrasting with the dark greens of the evergreen conifers.

Many of the Forest Service's 100 plus scenic byways were planned with autumn color in mind. In 31 States you can drive on over 3,000 miles of scenic byways, and almost everyone of them offers a beautiful, colorful drive sometime in the autumn.

Thanks to the USDA Forest Service for this contribution to InterpNEWS.

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Interpreting Trace fossils. by Ed Clifton Unidentified Permian trace fossil. Maybe created by a burrowing mollusc? Photography by Michael D. Vanden Berg

“Fossil: any remains, trace, or imprint of a plant or animal that has been preserved in the earth's crust since some past geologic or prehistoric time. (American Geological Institute Glossary of Geology) The visitors were most disappointed. They had been told that the rocks here contained abundant fossils, yet nowhere were there shells or even the imprint of shells. As they glumly trudged over the rocks back to their car, they stepped over, and on, the burrows and trails of countless ancient organisms. They left, completely unaware of the rich trace fossil assemblage beneath their feet.

Like these visitors, most of us perceive “fossils” as the shells or bones of ancient animals or the stems and leaves of ancient plants (the “body fossils” of paleontologists). But even more common in sedimentary rocks are “trace fossils”: imprints in the rock that reflect the activity of ancient animals that lived on or within the sediment.

It is not surprising that our visitors did no recognize the traces beneath their feet. Unlike typically conspicuous body fossils, trace fossils can be quite subtle. They appear as disturbances in the layering of the rock, or peculiar patterns on its surface. Yet, trace fossils are far more abundant in sedimentary rock than body fossils—rare is the Phanerozoic marine deposit that lacks at least a few faunal traces. Even ancient desert deposits, typically devoid of body fossils, can display scattered footprints or trails of long-extinct lizards or scorpion-like arthropods. They are so common that their absence can be an important clue in the reconstruction of an ancient marine world, since some aspect of it may have inhibited a thriving ecosystem.

Geologists, like many other scientists, thrive on complex terminologies. The science of trace fossils is “ichnology” (“ick-nol’-o-gee”) and those who specialize are “paleoichnologists”. This branch of paleontology has striven to achieve scientific rigor by assigning genus and species names to traces, using in the same Linnaean classification by which living organisms are identified. This is useful for scientists, but offers little value in communicating with the public, whose interest is typically more directed toward the animal that made the trace and its behavior.

Students of trace fossils identify five major types of traces: 1) Trails left on the sediment surface as animals travelled across it, 2) Resting traces, where an animal temporarily dug into the surface sediment, 3) Two-dimensional feeding or grazing traces on the surface of the sediment, 4) Dwelling structures consisting of originally open tubes or chambers within the sediment, once occupied by an animal, and 5) Feeding traces within the sediment, three-dimensional patterns generated by deposit-feeding organisms.

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Trails, resting traces and grazing traces are imprinted on ancient sea floors. Such surfaces are preserved only under certain circumstances, such as a sudden influx of sand that blankets the muddy trace-bearing surface.

Traces thus preserved tend to appear as casts on the underside of the sandstone bed. The animal trails and resting marks shown in the accompanying photographs are casts of the traces (Figs. 1 and 2).

Fig. 1 Casts of traces made by an unknown animal as it crawled across the sea floor about 350 million years ago.

Horton Bluffs Formation, Nova Scotia (left photo).

Fig. 2 Casts of resting marks on the underside of a sandstone bed, made Âą350 million years ago by trilobites or similar animals. Horton Bluffs Formation, Nova Scotia (right photo).

Vertebrate footprints may be preserved either as casts or actual imprints depending on the subsequent depositional history. Dinosaur trackways may be the most stunning of all the trace fossils, but the fossil footprint of any ancient land animal is a remarkable find Fig. 3 below.

Fig. 3. Prehistoric canid (wolf?) paw print (to the left of the 6-inch scale) made around 500,000 years ago, Pleistocene Merced Formation, Daly City, California.

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Dwelling structures are typically open tubes in which an organism lived within the sediment. They may be simple vertical shafts or complex networks. Dwelling chambers that pass through a sandy substrate may be lined with mud or mud pellets, which reinforces the burrow walls and prevents sand from collapsing (Fig. 4).

Other organisms line their burrow with a mineral such as calcium carbonate. After a burrowing animal expires or leaves, open dwelling chambers typically become filled with sand or mud, producing tubes composed of sediment that differs from the enclosing rock.

Fig. 4. Filled fossil burrows that were lined with mud pellets (Ophiomorpha) in the Carmelo Formation at Point Lobos State Natural Reserve, California. The burrowing occurred 50-55 million years ago in an ancient submarine canyon. Blue arrow points to a horizontal burrow, red arrows to somewhat smaller \ mud-lined vertical burrows.

Feeding patterns within the substrate typically produce the most complicated traces. The responsible organisms extract their food from the organic material on the sand grains or in the mud in which they live. The traces generally reflect some segregation of the sedimentary, such as sand and mud, or different types of sand.

Some polychaetes worms selectively ingest silt and clay-sized detritus and excrete it as a continuous sinuous tube as they work their way through the sediment. For some traces, it is not clear whether the organism was feeding or simply passing through the sediment (Fig. 5 below).

Fig. 5. Numerous large (and small) trace fossils on bedding surface exposures of inter-bedded sandstone (light colors) and mudstone (dark colors), Carmello Formation, Point Lobos State Reserve, California. Internal structure of the burrow above the pen indicates that the animal was moving to the left.

Complexity around the burrow margins suggests a feeding trace. Red arrow points to cluster of dark mud blebs that probably represent a section through a continuous sinuous feeding trace.

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Feeding traces within the sediment and dwelling structures can be complicated three-dimensional features, and understanding their geometry is critical to their interpretation. Typically, however, our view of them is restricted to a two-dimensional cross-section on a rock’s surface, where their appearance depends on their orientation relative to that of the surface on which it appears. Vertical tubes appear as circles on a bedding surface, but as narrow elongated ellipses where exposed on surfaces normal to bedding (Fig. 4 shown earlier).

Sinuous columns of excreted silt and clay appear on a rock surface to be a cluster of isolated small dark blebs of very fine sediment (Fig. 5 shown earlier).

Tracking down the origin of a trace and its interpretive significance can be a very satisfying endeavor.

When I first came to California in 1963 to work on sedimentary rocks in the Southern Coast Range, a colleague who was also working there showed me his “spaghetti rock�, which consisted of an intertwined mass of small tubes, each outlined by a concentration of dark minerals. I later found this trace in abundance in the rocks I was studying, always in deposits that I inferred, on the basis of other evidence, to have accumulated in an ancient beach or surf zone (Fig 6).

Fig. 6. Traces (Macaronichnussegregatis) made by a deposit-feeding worm. A worm of the genus Ophelia makes a similar trace today by selectively ingesting lighter-colored quartz grains and passing them through its body. Darker grains carrying less organic content are shunted to the outside of its body as it crawls through the sand. Traces made 15 million years ago in beach sand, Branch Canyon Formation, Caliente Range, California.

The origin of the trace remained a mystery, until, years later, I spotted it in sediment cores that we had collected in Willapa Bay, Washington. The following summer, we collected the animals that lived in the sand where we found the trace; among them was a small deposit-feeding worm of the genus, Ophelia, that was of the right size to make the trace.

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Experiments using an aquarium showed that Ophelia did, indeed, make a trace like that I had seen in the rocks, by selectively ingesting smaller, rougher-textured quartz grains (which bear relatively more organic matter). Following the protocol of the paleoichnologist community, I named it Macaronichnussegregatis because its shape resembles macaroni and the way the mineral grains that define it are segregated. Since then, Macaronichnus has been identified by other geologists in rocks in many other parts of the world, and it is considered a valuable indicator of deposition in shallow near-shore environments where turbulence of the water enhances the oxygen supply.

In recent years, I have been studying trace fossils in the Carmelo Formation at Point Lobos, a deposit of probable early Eocene age (50-55 million years ago) that crops out at Point Lobos State Reserve in central California. The geometry of the deposit, its physical features, and the few body fossils that have been found within it indicate that it accumulated in the upper reaches of an ancient submarine canyon. The trace fossil assemblage, which is consistent with that interpretation, is remarkably diverse. Among the notable traces is a remarkably complex feathery trace (Fig. 7) that was initially interpreted as fossil seaweed. It’s complicated three-dimensional nature and lack of carbon dictates that it is a very complex feeding trace.

Fig. 7. Complex feeding trace fossil (Hillichnus lobosensis), made by an unknown organism 50-55 million ago. Carmelo Formation, Point Lobos State Natural Reserve.

Trace fossils provide a unique opportunity for an interpreter. They are common features in sedimentary rocks that are overlooked by most visitors. Each trace tells a story of an ancient organism and what is was doing when it left its mark in the rocks. The only tools needed are a sharp pair of eyes and an awareness of the basic nature of fossil traces.

Traces also allow us to enter the ancient world in which they formed. The restored skeleton of a dinosaur never fails to impress me, but it does not match the awe of seeing dinosaur footprints in the rocks. The skeleton depicts an animal that lived a hundred million years ago, which is remarkable. But when I stand alongside its footprints, I know it was here, striding across an ancient landscape, sharing the same space I currently occupy!

H. Edward Clifton, retired geologist (USGS, Conoco, Inc.) eclifton@earthlink.net

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Book Review Interpreting Difficult History at Museums and Historic Sites (Rowman and Littlefield, 2016) by Julia Rose Difficult histories pose significant challenges and resistances from museum workers and visitors. My new book, Interpreting Difficult History at Museums and Historic Sites, has just been published by Rowman and Littlefield this month. The book offers public historians, museum workers, and educators a much needed resource to interpret histories of slavery, genocide, war and mass oppression. How do we engage visitors in histories that are traumatic and shocking? With the rise of social history since the mid-20th century, history workers, scholars and educators are grappling with how to engage learners and museum visitors in histories that can be too much to bear.

The new book, provides a sensitive strategy, Commemorative Museum Pedagogy (CMP), which is based in learning theories that are well accepted and clearly described in this book. Interpreting Difficult History at Museums and Historic Sites is framed by education psychoanalytic theory and positions museum workers, public historians and museum visitors as learners. Through this lens, history workers can develop compelling and ethical representations of historic individuals, communities and populations who have suffered.

About the Author Julia Rose is presently the director of the West Baton Rouge Museum. Her primary research interests focus on interpreting difficult histories and documenting historical enslaved plantation communities for museum interpretations. Currently, Rose also serves as the Chairman for the Council for the American Association for State and Local History, and is a board member for the Louisiana Association of Museums. She received her Ph.D. from Louisiana State University, a Master of Arts in Teaching from the George Washington University, and a Bachelor of Arts in Fine Art and Education from State University of New York at Albany. She has held curator positions at the Columbia Historical Society in Washington, D.C., Children’s Museum of Oak Ridge, East Tennessee Historical Society, and Magnolia Mound

WAYS TO ORDER: Go to rowman.com for an order form and pricing information.

Call toll-free: 1-800-462-6420 /

This is an important and wonderful interpretive resource - just finished reading through it and can strongly recommend it. John Veverka - Editor, InterpNEWS.

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What's new on Cicada Mania?

Brood V has arrived!

This is going to be a loud, buggy summer in some parts of the US as the 17 year cicada emergence occurs. As you read this in Aug/September, it may have already happened or is happening. Being a cicada lover (especially fries or baked crisp with a little seasoning), I thought I would share this cool web site I found with you to share my love of cicadas. Check it out: http://www.cicadamania.com/ Brood V periodical cicadas (17-year "locusts") have begun to emerge in eastern Ohio, south-western Pennsylvania, north-western Virginia, and northern West Virginia, and soon will emerge in parts of western Maryland, Long Island N.Y.,. Learn when, where and which species.

Try our new Periodical cicicada emergence checklist!

Check out our Facebook Page, where I share photos and cicada news from other Facebook users around the world.

What are Cicadas?

The Basics

An illustration of cicada tymbals from C.L. Marlatt's The Periodical Cicada. c shows the muscles and tendons connected to the tymbals, and d & e show the bending of the tymbal.

Cicadas are insects, best known for the songs sung by most, but not all, male cicadas. They make this sound by flexing their tymbals, which are drum-like organs found in their abdomens. Small muscles rapidly pull the tymbals in and out of shape — like a child's click-toy. The sound is intensified by the cicada's mostly hollow abdomen. Female and some male cicadas will also make a sound by flicking their wings, but it isn't the same as the song cicadas are known for (listen for cicada songs at the web site).

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A Magicicada drinking from a tree. Photo by Roy Troutman.

Cicadas belong to the order Hemiptera, suborder Auchenorrhyncha, superfamilyCicadoidea and families Cicadidae (the vast majority of cicadas) or Tettigarctidae(only two species). Leafhoppers, spittle bugs and jumping plant lice are close relatives of the cicada. Hemiptera are different from other insects in that both the nymph and adult forms have a beak (aka rostrum), which they use to suck fluids called xylem from plants. This is how they both eat and drink.

The Latin root for the word for cicada is cicada. Cicadas are called semi in Japan, cigale in France, and cigarra in Spain.

Life Cycle Cicadas begin life as a rice-shaped egg, which the female deposits in a groove she makes in a tree limb, using her ovipositor. The groove provides shelter and exposes the tree fluids, which the young cicadas feed on. These grooves can kill small branches. When the branches die and leaves turn brown, it is called flagging.

Once the egg hatches the cicada begins to feed on the tree fluids. At this point it looks like a termite or small white ant. Once the young cicada is ready, it crawls from the groove and falls to the ground where it will dig until it finds roots to feed on. Once roots are found the cicada will stay underground from 2 to 17 years depending on the species. Cicadas are active underground, tunneling and feeding.

After the long 2 to 17 years, cicadas emerge from the ground as nymphs. Nymphs climb the nearest available tree, and begin to shed their nymph exoskeleton. Free of their old skin, their wings will inflate with fluid and their adult skin will harden. Once their new wings and body are ready, they can begin their brief adult life.

Adult cicadas, also called imagoes, spend their time in trees looking for a mate. Males sing, females respond, mating begins, and the cycle of life begins again.

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Top, Left to Right: cicada egg, freshly hatched nymph, 2nd and 3rd instar nymphs. Bottom, Left to Right: 4th instar nymph, teneral adult, adult. (Photos by Roy Troutman and Elias Bonaros).

There are three types of cicada life cycles: 1. Annual: Cicada species with annual life cycles emerge every year, for example, Swamp Cicadas (Tibicen tibicen) emerge every year in the United States, and Green Grocers (Cyclochila australasiae) emerge every year in Australia.

2. Periodical: Cicadas species with periodical life cycles emerge all together after long periods of time, for example, Magicicada septendecim will emerge every 17 years.

3. Proto-periodical: Cicada species with proto-periodical life cycles might emerge every year, but every so many years they emerge in heavy numbers, like the Okanagana.

Different Varieties There are over 190 varieties (including species & subspecies) of cicada in North America, and over 3,390 varieties of cicadas around the world. Cicadas exist on every continent but Antarctica.

The world's largest species of cicada is the Megapomponia imperatoria, which is native to Malaysia. The largest species of the Americas is Quesada gigas, aka Giant Cicada.

According to the University of Florida Book of Insect Records, theTibicen pronotalis is the loudest cicada in North America, and can achieve 108.9 decibels. Australian species of cicadas, like the Double Drummer (Thopa saccata) are said to exceed 120 deafening decibels at close range. The loudest cicada in the world is supposed to be theBrevisana brevis, a cicada found in Africa. At a distance of 50cm (~20") B. brevis reaches 106.7 decibels.

The most well-known cicadas in the North America are the Magicicada periodical cicadas, which have amazingly long 17 or 13 year lifecycles. Brood IV (17 year life cycle) will emerge in IA, KS, MO, NE, OK, and TX. Brood XXIII

cicadas (13 year life cycle) will emerge in AR, IL, IN, KY, LA, MO, MS, and TN, in 2015.

The cicada information on Cicada Mania is not limited to North America. We have cicada photos and information for Australia, Asia, Europe, and South America thanks to contributors around the world.

Visit the Cicada Mania web site at: http://www.cicadamania.com/ Lots of really cool articles, publications, t-shirts and more. JV

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“And Who Made These Particular Crazy Quilts?”

by Dr. Martha Benn Macdonald

Prelude to planning, developing and delivering the interpretive program on quilts: My first cousin who recently donated what she called a “Victorian quilt” to the Georgetown County Museum (South Carolina) asked her daughter, Mary Ruth Smith Wall, to contact me about when our grandmother, Mary Ruth Turner Benn (on my mother’s side of the family) made the quilt, why she made it, and where it was made. Able to answer these questions, I explained that this was sometimes called a “crazy” quilt. In my research, I learned that “Victorian quilts” were crazy quilts with very elaborate images. For this program, I will pretend to take several groups of visitors interested in quilts to the Georgetown County Museum on Broad Street, Georgetown, South Carolina, and givean interpretation of this very large quilt with unusual characteristics.

Knowing ahead that I want everyone to try his/her hand at making a small crazy quilt, I will limit the number of participants and consider age. For example, I would want each participant to be able to handle a needle. No pricking please, for that might call for the doctor! And we all remember those nursery rhymes about doctors. While I am working with this first group, others who will come a little later may enjoy other exhibits in the museum, sample some delights from my great grandmother’s collection of “receipts,” (circa 1878), take a stroll, or join one of the tours around Historic Georgetown, located between Charleston and Myrtle Beach.

“This old port town,” as my uncle, Joseph Wesley Starnes, long-time resident of Georgetown, recently said, “is surrounded by the Black, Sampit, Peedee, and Waccamaw Rivers.” Indeed, the town is not only beautiful, but also rich in history, and filled with a sense of community and an appreciation of divergent cultures.

After giving this interpretive program and asking the audience questions, I will offer what I see as the three objectives: learning, emotional, behavioral, and suggest ways to advertise this addition to the museum. I will engage and “talk,” not read. That would be anathema to interpretation. 

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Interpretive Objectives: Learning objectives: Most of the visitors, adults and young people, will be able to name why crazy quilts were made, who made them, where they were generally made, and what made this large crazy quilt, in particular, different. Perhaps it is the religious symbols.

Emotional objectives: Most visitors will appreciate what the Georgetown County Museum offers, the beauty, history, and charm of Georgetown, and why, among others, “crazy” quilts were very important. They will appreciate the artistic, religious symbolism in this particular quilt.

Behavioral objectives: The majority of participants will want to see other crazy quilts, find out if their ancestors made them, consider preserving their family’s artifacts, perhaps giving them to a museum which is usually able to preserve valuable pieces(as the Georgetown County Museum is), and/or making a contribution and talking with friends about the advantages of visiting this museum.

There are universal principles in the program, as well as tangible and intangible ones. For example, having a loving, giving grandmother is an intangible for some. Having something to use for warmth, even if it is not a crazy quilt, would be a tangible. _________________________________________________________________________________ My Program“Welcome to the Georgetown County Museum. Please be comfortable (I will show guests where restroom facilities and water fountains are). I am “Miss Martha,” and I am delighted that you joined me to make a small crazy quilt. Although we may not finish, we’ll get the gist of making one. Let’s talk about crazy quilts: their origin, their role in families, and any unusual features.

See this very large one on the wall? It was made by my great grandmother and her daughters back in Cedar Hill, Tennessee, not far from Kentucky, after the Civil War when most Southerners were destitute, hungry, and cold. “Cedar Hill,” as my cousin, the Reverend Dr. Robert Benn Vincent, who has visited there, related, “is in the ‘rolling hills.’”Others have certainly suffered from the cold, for example, former servants and people of Appalachia, to name two other cultures with which I am familiar.

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Tim, I heard you say you were from Jonesborough, Tennessee. Have you ever seen a crazy quilt? Great! Did you ever wonder why it was called crazy? I had not until I inherited two crazy quilts from my father’s side of the family in South Carolina, with the patchwork quilts that Gangie, as I called my grandmother, Mary Ruth Turner Benn made, as well as this small patchwork one Zinzie made. She gave this quilt to me on my ninth birthday for my doll. When you touch it and look closely at it, why would you say it’s a patchwork quilt, Cleondra? You are right. This is a patchwork quilt.

And you want to know who Zinzie was. She was my mammy and my best friend. I could tell her or ask her anything. Although some folks call the crazy quilt simply a variation of the patchwork, I disagree. Certainly both were used for warmth, but there are some major differences. Cleondra, I see you’re pointing out the different geometrical shapes in the crazy quilt hanging on the wall. Good job! What are some similarities besides warmth? Cutting cloth, stitching with a needle and thread, and working together with other quilters.

When women spent the day making a quilt at someone’s home, the gathering was known as a quilting “bee.”

Quilters took a break for a meal or for coffee as they sat near the fire on a chilly day. Sometimes men participated. Lots of gatherings are called “bees.” Remember the spelling bees in school? You might want to look up the word.

One of the major differences between the two quilts was that patchwork quilts had particular names: log cabin, wedding knot, doll, and sunburst, the star, to name a few. As Diane Todd, a close friend, artist, and designer, recently related, ‘Patchwork quilts have repetition and pattern, but crazy quilts are random.’”Zinzie’s quilt features a star in the center and portrays unity with the repetition of fabric, for example, the stripes, blocks of plaid, or squares of blue serge.

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Would you like to try to make a small crazy quilt now? Quilters used whatever they had to make the crazy quilt. Because plaid laid was in fashion just before the Civil War, it was used in some crazy quilts. Other material included velvet, silk, flannel, tweed, cotton, serge, to name a few, all scraps cut from old dresses, aprons, perhaps tattered draperies, even old uniforms or feed sacks, in short, from whatever was available after the war. These pieces of fabric were sewn together, then reinforced with the whipping stitch, the thread often cream-colored or green.

Do you see a pattern and repetition in the large quilt? I don’t either. Crazy quilts consisted of what-ever geometrical shape you had to cut out to fit the chosen quilt size. Most were for double beds; some crazy quilts were, of course, for single beds. As you can see, this one is very large. Perhaps this quilt accommodated two adults and a number of children. To repeat, if a square or triangle, to name two shapes, did not work, you might find yourself cutting an original shape.

So what we’re making is a small square, and I’ve cut that out for you as the backing. The fun begins now as you choose different pieces of cloth, cut these, and make the geometrical shapes fit onto the square, then whip stitch the pieces together. ***Variation---If working with cloth seems a little too challenging, we can always use different textures and colors of paper, such as copy paper, construction paper, wrapping paper, newsprint. We will cut the paper into shapes and glue onto the cut poster board. If you choose paper, it is fine. Or if you want to paint a crazy quilt, I have brushes and paints. Of course, you can’t wrap paper around you for warmth, can you, Tim? Finally, let’s talk about unusual features or symbols on this particular quilt on the wall. What have you observed, Dr. Strahn? I notice you’re wearing a clerical collar, and I see you are pointing to the dove, the decorated cross, and the horse shoe with the words, “Good Luck,” embroidered in red inside. Does this quilt seem a little fancier than crazy quilts without pictures or images?

My great grandmother’s family, originally Episcopalians, lived in Virginia, and they took the road to Cumberland Gap, then settled in Middle Tennessee. Some married Baptists, and others married Methodists.

My great grandmother married a Methodist minister. Perhaps the Episcopal/Methodist roots account for the religious symbols, whereas my father’s background in South Carolina was Presbyterian. Presbyterian services were plain, even austere, if you will, not especially ritualistic. I wonder if “Gangie” began making the patchwork quilts after she married my Presbyterian grandfather, the Reverend Dr. Robert Lee Benn (aside: He was an Episcopalian from the Valley of Virginia, and his father was a surgeon in Lee’s Army. After my grandfather went down the mountain and finished Hampton-Sydney College, he became a Presbyterian---I would tell this only if the audience seemed really engaged).

There’s not the usual whip stitch in this quilt on the wall, is there. The stitches suggest embroidery or crewel work. See the tiny flowers and greenery adorning the cross. The horse shoe doesn’t seem to blend with the other religious symbols, does it? Oh, you think it might represent the communion chalice, Dr. Strahn? Neat idea! Maybe someone who was into horses and had a keen sense of humor wrote the good luck. I don’t know.

But the letters are in red, perhaps representing “the blood of Christ, the cup of Salvation.” My grandmother and her sisters were all artistic---writers, musicians, teachers. Some people call crazy quilts Victorian quilts. I’m wondering if that is because some are, indeed, fancier and feature symbolic motifs and fancier stitches. Maybe that is, indeed, why my first cousin called this a Victorian quilt.

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I am so glad that you came this afternoon, and I’m wondering what three things you might remember. Any volunteers?

You’re on, Cleondra. You say you’ll remember the Cross, the fact that it is a crazy quilt, and the special talents and love our grandmothers give us. Your grandmother gave you gingerbread boys? You’ll never forget the scent of those spices filling the kitchen and the way she decorated those boys, will you? Anybody else? You will remember why these quilts were made and where, Ms. Johnston. You’re right, too.

Thank you again for coming, I hope you’ll have a happy evening. Try some of Georgetown’s amazing food. We have some awesome restaurants. Please come back, and tell your friends about the museum. There are brochures, and we advertise in other ways. “Word of mouth” is ideal. So, please spread the word. Also, please sample some refreshments whose “receipts” are from my great grandmother’s little journal, written in 1878.

References: Starnes, Joseph Wesley. Personal Interview. 15 May 2016.

Todd, Diane. Personal Interview. 01 May 2016.

Vincent, the Reverend Dr. Robert Benn. Telephone Interview. 08 May 2016.

Wall, Mary Ruth Smith. Telephone Interview. 24 April 2016. ___________________________________________________________________________________ “Receipts” from my great grandmother, Mary Jane Pickett Turner’s little book, circa 1878.

French Cake 5 cups flour, 3 cups sugar, one half teacup butter or more, one teacup warm milk, eggs, and a tsp. baking soda dissolved in a little luke -warm water (slowly add to milk). Beat the butter and sugar, whisk the eggs, and blend together. Then slowly add flour and milk mixture, a little add a time. Beat together hard for about ten minutes. Grease pans, and bake in a moderate oven ‘til done.

Ribbon Sandwiches: Color loaves of bread or use a combination of white, pumpernickel whole wheat, and rye (or breads of your choice). Slice individual loaves, or make individual sandwiches. This may seem a little confusing, but the idea is to have four slices of bread. Spread one with butter, then a deviled egg spread. Top with a second piece of bread. Butter, and spread with thinly sliced avocado or finely grated carrot mixed with cream cheese. Top with another slice of buttered bread dabbed with pimiento cheese. Cover with another slice of bread. Chill, and slice into dainty sandwiches. Be certain to trim edges from the loaves of bread before making. Use your imagination with fillings.

Written by Martha Benn Macdonald, Ph.D., college instructor, performer, author, and NAI certified interpreter. doctorbenn@gmail.com

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An Introduction to Interpreting Cemeteries and Gravestones John A. Veverka Interpretive Planning Consultant Director, Heritage Interpretation Training Center.

I first became interested in gravestone and cemetery interpretation many years ago while attending an Association of Interpretive Naturalists regional meeting in Indiana. One of the events included a visit to Spring Mill State Park and discussions about their cemetery interpretation which was an outstanding experience.

Since that time I have been involved with Community Interpretive Planning as part of heritage tourism development. For all of the communities I have worked with, some interest in interpretive services for their cemeteries always came up. In fact, cemetery interpretation and gravestone interpretation is very popular and growing in interest. Some cities, like the community of Belvidere in Illinois, incorporate cemetery interpretive programs, both guided and self-guided, into their community history and heritage interpretation. The interpretation here not only includes the symbols and meanings of the stones and their designs, but the historic “founding fathers� and key historical figures from the community. These programs are highly attended and very successful.

Some of the more unusual gravestones to be seen in the Belvidere Cemetery. The tree trunks are somewhat unique for Illinois and represent the brevity of life. The number of broken branches can indicate deceased family members buried at that site as well.

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In addition to the wealth of unusual grave stones in the Belvidere Cemetery, the Cemetery also has some unique architecture as well, the Frank Lloyd Wright Pettit Memorial Chapel – a historic facility built in 1907 that is still being used, and currently under restoration. This is an important part of the total cemetery interpretive program.

Frank Lloyd Wright’s Pettit Memorial Chapel, Belvidere Cemetery, Belvidere, IL.

Planning for Cemetery and Gravestone Interpretive Programs or Services.

If you are interested in providing a community heritage interpretation program using a local historic cemetery, here are some steps to consider: -

-

Remember that this is a cemetery. Any and all interpretive guided programs or tours, and self-guiding interpretation must be respectful of the site you are in.

Check into the need to acquire permission to use the cemetery.

Be mindful of how many visitors you could manage in the cemetery at any one time, and any damage that might occur (soil/grass erosion, etc.).

Plan your objectives well – what do you want the interpretive programs to accomplish?

Clearly plan what elements you want to interpret:  Gravestone art/designs and their historic meanings.  Gravestones as a social statement.  Gravestone carvers  Historical figures from the communities past.  Communities relationships to conflicts (Revolutionary War, Civil War, etc.).  Social stories and conflict (where were the black community members buried?)  Funeral practices (above ground vaults, wooden caskets, etc.).

Once you have decided upon what elements you want to interpret, begin your research into that subject. I will provide some excellent references and web sites at the end of this article to help get you started.

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The Red Oak Cemetery located near Ripley, Ohio, is a good candidate for interpretation, as it is located near the newly designated Ohio River Road Scenic Byway.

These small cemeteries are full of history and stories and can give community visitors a real sense of the past and heritage of the region.

They are, in many respects, a historical treasure that must be taken care of.

Some small community cemeteries can be very powerful even if they are lacking in gravestones. The Dougherty-Miller Cemetery located in Jefferson County (not far from Madison), Indiana is an example of this.

I visited the cemetery site as part of developing a regional community interpretive plan for Jefferson County.

The Dougherty-Miller Cemetery, outside of Madison, Indiana.

This was a black cemetery from the late 1800’s.

Most of the headstones would have been wooden, and have long since disappeared. Only the depressions of where the graves are (yellow arrows) can been seen highlighted by a light snow from the day before.

This cemetery, for blacks in the late 1800’s, was almost lost amongst the trees. The site is now being cleared and restored. When you walk into a site like this one, and have first person interpretation of “who, what, when, and why”, it is sad and sobering. The day I visited the site a light snow had fallen, highlighting the many grave sites without any markers. This is a powerful and important part of local history, and the interpretive experience here will send chills down your back – and the memory of your visit will linger.

There are only a few headstones showing today, like the one below, of a black civil war veteran who could only be buried here.

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The weathered stone of a black Civil War soldier is one of the only visible stones at the Dougherty-Miller cemetery.

The Story on the Stones – Interpreting symbols and their meanings.

Of course, one of the most interesting parts of gravestone interpretation for most visitors is the use of art and symbols on many older stones. This is something that will need to be researched for any cemetery you might be interested in interpreting, as there is some change in designs and types of symbols used over time. There is also a design change as you look at cemeteries from the east coast and move west. So you’ll need to find out just what part of the gravestone art story you have. There are lots of reference books for that, but here are some very common symbols.

This stone from the Red Oak Cemetery, Ripley, Ohio has a common feature, the willow tree. The tree represents life, knowledge, the fall of man through sin, human fruition or frailty. Note that the branches on the right have been broken off and there is a lamb near the tree.

The lamb represents innocence, indicating that this is the grave of a youngster or teenager.

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Here is another “tree design” of which there are many varieties. Note how this design differs from the previous one. Different tree (or other symbol) styles represent different stone carvers styles, and can be traced back to master carvers from the east coast from the 1600’s and 1700’s. As master carvers taught their apprentices, the apprentices adapted that style. As these new stone carvers moved westward, their designs mirrored those of the master they worked under. In time, they would evolve their own unique design style.

This stone in the Blood Cemetery, in Clinton County, Michigan (left), illustrates the common design of the finger pointing up. The garland around the hand symbolizes victory over death. Another common gravestone symbol is the use of Clasped Hands (right) which symbolizes “farewell” or hope of meeting in eternity.

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Flowers were common on women’s graves. The flower symbolizes life’s frailty and immortality. Of course, some of the older gravestones in New England can have some exceptional carvings on them, such as the use of skulls, which symbolize the transitory nature of earthly life, penitence, and mortality, like the example to the left.

Of course, some of the older gravestones in New England can have some exceptional carvings on them, such as the use of skulls, which symbolize the transitory nature of earthly life, penitence, and mortality, like the example above.

But some gravestones can be much simpler, and may lack any art work at all. Some stones, like the one below, may have been done “on a budget”, the family not being able to afford a well-known stone carver, not have a stone carver available or the stone work was done by a family member or friend. In this case a simple flower design at the top, and an epitaph. This stone is from the Belpre, Ohio Cemetery and dates from 1804. The bottom epitaph says “Death is a debt to nature which I have paid, and so will you”. Note that you can have an interpretive program just based on epitaphs!

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Of course, these are just a few of the common symbols that you might find on older gravestones, there are hundreds of different designs and symbols. Here are just a few symbols and their meanings from “Tomb With A View’s Guide to Commemorative Motifs, Mourning Images, and Memento Mori”(an internet web site): Anchor – Hope, seaman.

Angels – Rebirth, protection, wisdom, mercy, divine love.

Bird – Eternal live, winged soul, spirituality.

Chain with three links – Trinity, faith, Odd Fellows Column – Nobel life Frog – Worldly pleasure, sin.

Ivy – Fidelity, attachment, undying affection.

Poppies – Eternal sleep.

Rope Circle – Eternity.

Rose – Victory, pride, triumphant love, purity.

Tree – Life, knowledge.

Tree Trunk, Leaning – Short interrupted life, mourning.

Urn – Immortality, death of the body and its return to dust.

Wreath on Skull – Victory of death over life.

This has just been a sampling of the interpretive possibilities for cemeteries and gravestones as part of community heritage interpretation and tourism development. In Freeman Tilden’s terms (Interpreting our Heritage, 1954), this is something we can all RELATE to, as eventually, as one gravestone noted: As I am now, you shall be too! This can be one of the most powerful tools we have for interpreting the true nature of our communities, and our heritage. The stories are all there; people, events, folk art, a history textbook carved in stone waiting to be read.

I hope you will consider this aspect of community or historic interpretation if it is appropriate to your site or stories. The interpretive experience will be powerful and memorable, helping visitors and local residents alike truly understand their local history. Here are some references to help you get started. John Veverka, Interpretive Planning Consultant - jvainterp@aol.com.

References: Ludwig, Allen. “Graven Images – New England Stone carving and Its Symbols – 1650 – 1815.” Wesleyan University Press, Hanover, NH. Ridlen, Susanne S. “Tree-Stump Tombstones: A Field Guide to Rustic Funerary Art in Indiana.” Old Richardville Publications, IN “Tomb With a View’s Guide to commemorative Motifs, Mourning Images, and Memento Mori” – internet web site: http://members.aol.com/TombView/symbol2.html.

For other information on cemetery and gravestone studies contact: The Association for Gravestone Studies, 278 Main St., Suite 207, Greenfield, MA 10301; or at: www.gravestonestudies.org

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We Walk the Woods with Abraham Maslow

By Barbara Buls, Regional Interpretive Coordinator Abraham Maslow.

I published an article (A Return to the Golden Age of Childhood) in the May/June 2011issue of Legacy, published by the National Association for Interpretation. It told the story of a special hike (We Walk the Woods) that occurs every Wednesday at Harold Parker State Forest in North Andover, Massachusetts. The focus of the article was on the children who benefited greatly from hiking in the woods, breathing the fresh forest air and exploring the way we used to explore when we were kids and much freer to wander and play outside.

I still believe that this particular hike, or any hike for that matter is really great for children, but I have found that it is also Figure 1: March 2010

beneficial to the adults who regularly attend. I took the opportunity to interview some of the regulars last winter.

I knew some of what I would find – that hiking on a regular basis was good for their hearts and spirits, and that the community of hiking with others, who had since become friends was a singular motivation of why they came. After much consideration and having done a lot of interpretive training, I started to investigate the role of this hike in their lives.

At one point, I turned to one of the men who attends weekly and asked, “If we were to cancel this hike, what would you do?”

He laughed. “We would just keep coming until you closed the whole forest. I mean, we like Bob (the interpreter at that time), but we don’t need him to do this. We would just keep meeting and hiking.”

The significance of this one group of people who have met over 350 times to hike through Harold Parker State Forest is mind-blowing. It is worthy of a study. In the winter of 201415, New England had record snowfalls and snow totals of over 6’. The We Walk the Woods hikers missed only one Figure 2: February 2012 Wednesday, when conditions simply didn’t permit driving to the forest. If they had been able to get there, they would’ve gone hiking, in the snow shoes that most of them had purchased for this purpose

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Every week, about half way through the hike, they pause at a beautiful pre-planned location and read an excerpt from Amy Dean’s Daybreak: 52 Things Nature Teaches Us. The wide range of topics, from Patience to Belief to Trust, all include elements of nature; trees, water, sky, earth to illustrate the concept. The writing is rich and deep, and the participants stand quietly and absorb the lesson.

Figure 3: January 2013

I believe it was the existence of this

special reflective moment that first made me think of Maslow’s Hierarchy and its manifestation in Interpretive Programming. I studied Maslow’s in college, and it didn’t mean much to me, exacerbated by the triangle graphic in our textbooks with its contrived translation. Man, that was boring. But I had to understand Maslow’s to study interpretation, which has become my chosen Figure 4: May 2012

profession. Consider Maslow’s Hierarchy of needs and its levels: Physiological, Safety, Love and Belonging, Esteem, and Self-actualization. I presented a session at our Massachusetts’ State Parks Interpretive Orientation last year, and was determined to link the often misunderstood graphic representation with a program. Of course, the Harold Parker hikers came to mind. The satisfaction of Figure 5: August 2012 physiological needs is simple for a regular program with regular attendees; they know where the bathrooms are and have prepared snacks and water in advance.

Safety is cinch; many of them know the forest; they feel safe in numbers.

Their mutual familiarity fulfills love and belonging. They buoy each other with compliments and laughs to attain esteem. And Amy Dean’s words plant an important seed of self-reflection that could start the participants on the road to self-actualization.

It all seemed too perfect. Could it be that this is really the case, and that we can blow through the hierarchy of Maslow’s Needs in such short time? Probably not. Remember, this hike has been meeting for 7 years now. The lower and even higher levels have worked themselves out over time.

Whether or not we approach the apex of Maslow’s Hierarchy, we can see a few of its elements reflected in a well-developed interpretive program. In fact, I find Maslow’s Hierarchy easiest to describe by using a program format. The hierarchy provides us with a template for a complete introduction, in fact, the first three levels; Figure 6: October 2012

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physiological (restrooms, water, what to bring), safety (self-explanatory), and belonging (welcome! and, look, I remembered your name!). As we continue through the body of the program, we can find avenues for boosting esteem and fostering excitement by provocation and connection. Visitors are awed by revelations and enthusiasm, and isn’t that a step toward selfactualization? Maybe a stretch, but I am so honored to be involved in a field that provides such opportunities for our park visitors.

The hikers are well into the 2016 season. They gather at the Harold Parker State Forest headquarters around 10:00 a.m., enjoy a friendly morning greeting, which includes any new members joining them that day. They check their supplies, fill their water bottles and visit the restroom. And then, they set off to explore the 3,500 acres that comprise one of the first state forests of Massachusetts, purchased by the Commonwealth 100 years ago to provide initially, woodlots in eastern New England. They ponder the contribution of the Civilian Conservation Corps in building the infrastructure of roads, dams and campgrounds for recreation, as well as planting thousands of trees for the future. And when they pause halfway at their chosen spot and read Amy Dean’s Daybreak, they come a little closer to the goal of selfactualization without even realizing it. Abraham Maslow would have appreciated their journey.

Figure 7: February 2013

Barbara Buls is the Regional Interpretive Coordinator for the Massachusetts State Parks, managed by the Department of Conservation and Recreation. She holds certifications as a Certified Interpretive Guide and Certified Interpretive Host and Certification for Training both Hosts and Guides. She lives in Gloucester, MA with her husband Al and her beautiful Aussie shepherd, Lila.

Barbara Boudreau Author of "The Frenchman" bbboudreau@ymail.com http://www.amazon.com/Frenchman-Barbara-Boudreauebook/dp/B00DEEXWDQ/ref=sr_1_1?ie=UTF8&qid=1391360126&sr=8 1&keywords=the+Frenchman

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Harley E. Warrick's barn side treasures.

John A. Veverka Interpretive Planning Consultant Director, Heritage Interpretation Training Center

Several years ago while working on an interpretive plan for the "Covered Bridge Scenic Byway" in Southern Ohio I first came upon several of Harley Warrick's treasures. As you have guessed from the photo, Harley was the famous folk artist who painted many of the Mail Pouch Tobacco barn signs. I was interviewing an 80 year old lady in her farm kitchen and she remembers when Harley came to their farm and asked to paint his Mail Pouch sign on their barn site. He offered them $3.00 or several pouches of tobacco. Thankfully, she said, her husband wasn't home so she got the $3.00. So I thought this was a nice interpretive experience and story to share with you about how, as an interpretive planner, everything can have a story.

Harley E. Warrick (October 5, 1924 – November 24, 2000), was an American barn painter, best known for his work painting Mail Pouch tobacco advertising on barns across 13 states in the American Midwest and Appalachian states. Over his 55-year career, Warrick painted or retouched over 20,000 Mail Pouch signs. When he retired, he was the last of the Mail Pouch sign painters in America.

The Mail Pouch signs have become iconic and some of Harley Warrick's work has been exhibited by the Smithsonian Institution.

Though he was not the first or the only Mail Pouch barn painter, he was the most prolific and famous.

Warrick was born and raised in Londonderry, Ohio, where his family had a dairy farm. When he returned from service in World War II in 1946, he began painting his family's dairy barn with a team of Mail Pouch sign painters; they suggested he join them.

Upon reflection, Warrick decided that it would be better than milking his family's Jersey cows each day so he began painting with the team. Having just returned from the Army, Warrick had no other clothes and so he painted barns for the first week in his uniform. It turned out to be the only job he would ever have.

Warrick and a partner traveled from town to town, sometimes sleeping in the back of a pickup truck or cheap motel. They would often be on the road for months at a time. With the partner painting the black background and Warrick painting the letters, they were able to paint two barns a day, taking about six hours per barn. Warrick painted signs in Ohio, Pennsylvania, West Virginia, Maryland, Kentucky, Indiana, New York, Illinois, and Michigan.

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Warrick used no template or tools, painting the sides of barns entirely by eye. He would start with the letter 'E' in 'CHEW' and then add the 'W' and then 'CH'. He once said that he always started with the 'H', 'E', and 'W' as those represented his initials.

Harley would sometimes deliberately misspell words to see how many phone calls the tobacco company would get about it. He had said that once in a while he'd put three 'C's in 'TOBACCO' just to see if anyone noticed.

According to Mail Pouch barn enthusiast Eddie Roberts, farmers were willing to let Mail Pouch Tobacco paint their slogan on the side of the barn in exchange for a small amount of money, but more importantly the farmer would often have the rest of his barn painted for free.

He did most of his work in that nine-state area, spending up to 12 hours a day painting barns, six days a week, and then prepared paint in 5-gallon kegs on Sundays for the next week.

The Highway Beautification Act of 1965 prohibited advertising billboards within 660 feet of an interstate highway and effectively ended the era of painting the sides of barns for advertising. Though nearly all other sign painters went out of business, Warrick continued painting barns along lesser roads and highways until his retirement in 1991.

Mail Pouch signs were eventually designated as National Landmarks and some of Harley Warrick's work has been exhibited by the Smithsonian. p

The American Sign Museum in Cincinnati, Ohio, heard about a barn in Indiana about to be torn down, adorned with a 50 foot Mail Pouch Tobacco Sign that Harley Warrick had painted. The museum staff and crew disassembled the barn and installed the sign on a wall in the museum preserving and interpreting Harley's story.

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Protecting and Interpreting sea turtle populations.

Sharpshirter News Release

It is estimated that sea turtle populations worldwide have declined by up to 80 percent in the last three decades. Green sea turtles (Chelonia mydas) are the only sea turtle species that make their nests on the beaches of the Galapagos Islands, and they are listed as Endangered on the IUCN’s Red List of threatened species. In Galapagos, green sea turtles can get caught in fishing lines, risk injury from boat propellers, and may choke on plastic bags and other debris floating throughout the ocean. Their eggs and hatchlings are preyed upon by invasive pigs, cats, rats, and beetles.

Climate change is also a threat for sea turtles through rising sea levels, eroding the green sea turtle’s nesting habitat, and increasing sand temperatures. That poses a potential problem, as the temperature of the sand in their nests determines the gender of the turtle hatchlings. If warmer and warmer nests produce a disproportionate number of females, it will likely throw the population out of balance and negatively impact population stability.

Galapagos Conservancy (GC), the only US nonprofit dedicated solely to the protection of the wildlife and ecosystems of Galapagos, is helping to fund annual scientific surveys to increase our knowledge of the green sea turtle population and to provide support for planning strategic interventions to protect these rare turtles from negative human impacts and invasive species. For example, GC is funding a program whereby rangers with the Galapagos National Park Directorate are tagging green sea turtles and monitoring two of their primary nesting beaches: Quinta Playa on southern Isabela Island and Las Bachas on northern Santa Cruz Island. These annual surveys provide critical information on Galapagos green sea turtles and the threats they face, which will help us devise more effective strategies to ensure their survival.

GC is also supporting public awareness campaigns to improve care of the turtles’ nesting beaches. One campaign strives to keep plastic waste, like disposable shopping bags, out of the Galapagos Marine Reserve — which sustains an astonishing diversity of marine life in addition to green sea turtles. Another campaign educates boaters to slow down near sea turtle nesting areas and watch out for green sea turtles near the coast.

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Green sea turtles are listed as Endangered on the IUCN’s Red List of threatened species — and even under the best conditions, 99.9% of them never make it to adulthood. GC is helping to ensure that the 0.1% that do survive continue to live and reproduce by reducing ocean pollution, protecting sea turtle nests, and increasing awareness about impacts with boats, fishing lines, and other dangers.

Sharpshirter has created several beautiful sea turtle designs in honor of this magnificent species, and 20% of all proceeds from these items will be donated to Galapagos Conservancy to further their efforts to protect sea turtles in the fragile Galapagos Islands. Help sea turtles with your purchase today.

Check out these links: Link to: http://www.galapagos.org/newsroom/sea-turtle-nesting-2016/ ]Link

to: http://www.galapagos.org/newsroom/galapagos-bans-plastic-bags/

Link to: http://www.sharpshirter.com/collections/galapagos-conservancy

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Free App to Create Interpretive Materials - Fast, Easy and Fun. Janice Kelley Interpretive Consultant

By using any of one three new free apps from Adobe, creating interpretive materials for your site and engaging students to create their own products is easy, fun and free. These new members to the Adobe family are Adobe Spark Post, Adobe Spark Video and Ad Adobe obe Spark Page. With Internet access, you and your visitors can quickly create short videos, online postcards, or tell expanded stories via a one page style website that visitors will scroll through to read.

Each app creates a high quality product that is surprisingly easy to use and incredibly versatile. I used my iPad mini to create all the products included in this article.

Visit https://spark.adobe.com/gallery/ to view a collection of projects that other users have posted online. You will need to create a free Adobe account if you don’t already have one.

Adobe Spark Video.. As a docent for Sutter’s Fort in Sacramento, I took a series of photos to capture the people, activities, stations and various products for sale during the annual Sutter’s Fort Trader’s Fair. A few weeks later, I created a 3-minute minute video using Adobe Spark Spark Video to present an overview of the history and activities at Sutter’s Fort to build awareness for the BIG Day of Giving in May. I crafted the narrative from existing text in brochures and handout materials. In about three hours, the entire video was complete com – including photo selection, crafting and recording the narrative, choosing a background theme and adding music from the Adobe Spark Video library in the Creative Cloud.

Here is a link to Sutter’s Fort State Historic Park informational video. https://www.youtube.com/watch?v=4IaBeZz16jI&feature=youtu.be

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I showed a video I created with Adobe Spark Video to a group of fourth graders as a guest teacher. With very little direction, three students dived in and created a video in less than an hour about endangered Pandas, to complement their reading in a Time for Kids magazine. They created the story, recorded their narrative, found icons and photos, saved the video and uploaded it to Youtube so the entire class could view their work. Here is the link to Save the Pandas! https://www.youtube.com/watch?v=wxFwH0dPm4A After they were done, they asked when could

they create the next one. They wanted to do a video to save the Rainforests.

Adobe Spark Post. This powerful app creates a postcard with text overlay in minutes. Users can choose from a series of template themes for the text and modify type or formatting as desired. Upload a photo from your computer, Dropbox, Creative Cloud or other online sources. Modify the photo using predetermined filters or leave as is. The formal purpose of Adobe Spark Post is a “social graphic,� because as soon as the user completes the card, the next page provides the link to share via facebook, twitter or email. Save the post to your Adobe project folder, share with social media sites, and download the jpg to your computer desktop. When you want to start a new post, return to the main menu and click on the + sign to begin a new project.

What messages do you want to share if you can complete a postcard and share it online in less 10 minutes?

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Adobe Spark Page. This app presents templates for a “one page website” so the user can create and share the richer, visual details of a longer story. The user selects a photo template, pastes in photos and types directly into the page at it looks on screen. Here is a sample of a day at the beach with my family. https://spark.adobe.com/page/6q3Ci/. Using the scroll feature on mobile devices creates the full effect of fading from one screen to another.

These three powerful Adobe apps are new releases within the last year. They were originally available only as free apps for iPads and iPhones from Apple’s App Store. With a recent upgrade and regrouping the three of them into the “Spark” family, Adobe has made it possible to access all of them from the Internet. Users can begin their videos, posts and websites from their laptops and finish them from mobile devices. Look for the Adobe Spark apps at https://spark.adobe.com/.

Janice Kelley Interpretive Consultant, Author, Naturalist. www.naturelegacies.com outdoorjan@att.net

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Interpreting the "rest of the story" hidden in your artifacts. by John A. Veverka Director Heritage Interpretation Training Center Sr. Instructor, Kansas State University Global Campus Many years ago while working as an interpretive consultant in Canada I had the chance to meet an Inuit (a member of a group of native people of northern North America and Greenland) soapstone carver who just started working on a new project. Holding the large piece of raw soapstone in his hand I asked him what he was going to carve? He said the stone hadn't revealed that to him yet. He believed that the stone held a spirit within it and that as he began to carve away bits of the stone, the spirit would be freed, as a seal, bird, hunter, whatever image was waiting for him to release it from the stone.

Free at last from the stone it was sleeping in.

The job of the professional interpreter is to do just that - to release the sleeping story that's a part of each and every artifact, landscape, artwork, plant or item they interpret at every museum, park or organization they work for. Sadly, most museums are just as happy to have only a boring label telling you what the object is, but not any of the stories attached as the sole of it. I think most museums are really collections of stories, illustrated with artifacts - waiting patiently for an interpreter to free those stories from their bondage within each artifact they're a part of. Maybe someday, for museums and heritage sites, this will be the norm. A little less information and maybe a little more interpretive inspiration and revelation?

To release the story from the artifact you first have to "find" or learn the story the artifact is hiding or representing. This requires some research of course - but not just "curatorial" research but interpretive research.

Remembering Tilden's principles of interpretive communication - provoke, relate, reveal, have a theme, think about tangibles and intangibles, using active language and adding a pinch of "inspiration" to the whole presentation. We do want visitors to remember something from their interpretive experience - and of course the REVEAL.

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Just for fun - here are some stories that were waiting within artifacts for their freedom. Can you find the Provoke, Relate, Reveal, etc.? How would you release the stories in your artifacts There's always more than one right answer.

Here's my best shot at interpreting a few of them for you.

Interpretive example 1 - The harpoon of death at a snail's pace.

These beautifully patterned Cone Shells are capable killing machines - killing a human in less than 30 minutes!

Instead of teeth these snails use a venomous harpoon for hunting food which is a hollow, barbed and very deadly tool ! Much like a doctors hypodermic needle - this needle injects death!

Cone shells feed on sea worms, fish and even other Cone shells. Because they are slow moving they use their harpoons to capture a faster moving prey. The harpoons have to be strong enough to penetrate the scales of fish, but they can also penetrate the gloves a human might be wearing searching the water for other "edibles". Handling the live snail can have tragic consequences and be deadly to humans.

The Geographic Cone shell is so poisonous that it has been called the cigarette snail in the belief that the victim has only enough time left to smoke a cigarette before death. But the venom of the Magician Cone shell seems to be a non-addictive pain reliever one thousand times more effective than morphine! Research into this miracle drug is on-going. So now you know the rest of the story of life and death with cone snails.

Is there a relate and reveal here? Did the interpretation leave you asking for more

Interpretive example 2 - Isaac's great idea!

Have a look at some of the change in your pocket and you’ll see that most coins have ribbed edges as if they're scarred. Such textured surfaces can be observed in almost every coin of the world no matter where it came from. But such coins first appeared several centuries ago. So why are so many coins ribbed? Here's the rest of the story.

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The story goes that once upon a time coins were evaluated by the amount of precious metal contained in each like these ancient Greek silver coins.

These are made of electrum which is a naturally occurring alloy of gold and silver. Not only are they of irregular shape, the edges are smooth with no marks or scratches on them. So, for example, a $10 coin contained the precise amount of gold or silver that was equal to $10 in gold or silver by weight. Cheaters used to cut the edges off coins to melt them down and make new coins for their own profit. Preventive measures had to be taken. This was quite a serious issue since not every man could carry a pair of scales to check whether the coin was cut or had its proper weight.

To tackle the cheaters tricks, it was decided to gouge small lines on the coin edges. Due to this they became distinguishable enough to tell if the coin was tampered with. This extraordinary method was suggested by the very famous at that time and nowadays, physicist and Warden and Master of the British Royal Mint, Sir Isaac Newton. The idea seemed to be simple and brilliant at the same time. Eventually, all coins were marked and swindles dropped to zero. And no wonder – when one came across coin with smooth edges, they knew at once it had been cut or tampered with and would not accept it.

According to the US Mint, there's a reason. or… there was a reason for US coins to be ribbed too. Originally, the quarter and dime – in addition to other “major” coins like the dollar and half dollar – were made partially from precious metals like silver and gold. The special edge (also known as a “reeded edge”) served as protection against counterfeiting and, more importantly, fraudulent use. These coins are still reeded today.

Take the change out of your pocket and have a look at the coins rims! Now you know the rest of the story as to why they are reeded.

Interpretive example 3 - How can such a small piece of concrete tell such a powerful story of life and death?

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The Berlin Wall had stood since 1961, when it was erected by the Communist East German government to prevent residents of East Berlin from moving to West Berlin, an island of democracy in the center of East Germany. The 96-mile wall split families and friends, and became a symbol of the Cold War divisions between East and West, and communism and capitalism. East German guards were ordered to shoot anybody who attempted to cross to West Berlin, and nearly 100 people died trying to escape and cross the wall - and this tiny piece of the wall is a part of that legacy and story. Finally, in August 1990, East Germany voted to reunite with West Germany. On Oct. 3, 1990, East German states officially became part of the reunified Federal Republic of Germany, with Berlin as its capital - and the wall came down. Large sections of the wall were preserved and are found in museums around the world today and you're holding a small part of that story in your hand now.

This small piece of concrete is a part of that story, a smaller piece of a greater story - waiting decades to be released and decades into the future of stories yet to tell. And now you know the rest of its story.

Interpretive example 4 -When is a skull, more than a skull?

The Day of the Dead (DĂ­a de los Muertos) is celebrated in Mexico between October 31st and November 2nd.

It's a holiday in which Mexicans remember and honor their deceased loved ones. Though it may sound gloomy or morbid, it's not. It's a festive and colorful holiday. Mexicans visit cemeteries, decorate the graves and spend time there, in the presence of their deceased friends and family members. They also make elaborately decorated altars (called ofrendas) in their homes to welcome the spirits.

Because of its importance as a defining aspect of Mexican culture and the unique aspects of the celebration which have been passed down through generations, Mexico's indigenous festivity dedicated to the dead was recognized by UNESCO as part of the intangible cultural heritage of humanity in 2008.

So when is a skull more than a skull? When it symbolizes so much more of a cultures intangible heritage like the example shown above and has generations of stories and family memories to reveal.

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Interpretive example 5 - "Touch -me -Not" - unless you have an itch ! Want the rest of the story?

This was one of my favorite plants to interpret to visitors when I was leading interpretive hikes as a seasonal naturalist with Ohio State Parks back in my "youth". Jewelweed or "Touch me not" (the two common plant names) usefulness arises from its long history and scientifically proven efficacy in treating all sorts of skin irritations, including poison ivy. It's especially valuable for anglers and anyone who regularly visits stream banks and moist woodland paths where stinging nettles are found. Should you brush your leg or hands/arms against the nettles (ouch!), crush up some of the Jewelweed plant stems - their very moist - and rub the juice on the itchy area. It does work to stop the itching. Now this is real, as I've done it and used it. But the plant has another surprise. Thus the name "Touch me not". By the way, the seed tastes like almond.

Now you know the rest of the "Touch me Not" story I've been itching to tell you. :) Are you ready for your "The Rest of the Story"?

My favorite interpretive writer, Paul Harvey, used these interpretive techniques in his remarkable story telling. His book was one of the text books I used in my interpretation courses at Michigan State University to illustrate interpretive storytelling principles and techniques. You can find his books at Amazon.com, and watch some of his stories on YouTube. All objects, artifacts, landscapes, people have a "rest of the story". It's our job as interpreters to do a little digging to find it and reveal it to our visitors. This is the same technique we use in developing museum exhibit label copy (often the most boring so-called "interpretive" writing the world has ever seen) to make it more provocative, and in writing for interpretive panels or media for self-guiding experiences to have visitors "remember" the interpretation.

I hope this short article has given you some motivation to find and reveal the rest of the stories awaiting for you to awaken and reveal in each object or artifact in your collection, or resting quietly along trails or hidden in plain sight on community walls and landscapes. Want to learn how to do "interpretive writing" like the examples in this article?

Then check out this course. http://www.heritageinterp.com/interpretive_writing_course.html John Veverka Director Heritage Interpretation Training Center jvainterp@aol.com

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Emma Espley Freelance author and consultant.

Background to the project Discovering the WW1 Home Front: Children and charities, food and farms (Hempsted, Gloucestershire) ‘This project considers the impact of WW1 upon rural communities in the UK by looking at the changes brought about in Hempsted, a small village in Gloucestershire. Our project aims to ‘hone in’ on our local area to explore, conserve and share the lives of people on the Home Front between 1914 and 1918.’

Further details can be found by accessing the landing page of our project’s blog site: http://homefront.creativeblogs.net/ http://homefront.creativeblogs.net/2016/06/27/some-international-recognition-perhaps/

Activities/research So, what have we done? The answer is lots! Hopefully, the images and accompanying captions below help to showcase some of our most significant achievements to date.

Our first event was in June 2015, when Emma Espley led a training session for key players involved in our project to introduce them to our newly created blog site and blogging.

July 2015 saw us erect a display to promote our project in St. Swithun’s Church, in conjunction with St. Swithun’s weekend celebrations within our village.

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The school’s‘ lost’ log books from the time of WW1 were discovered by the Head Teacher whilst having a sort out over the summer holidays (August 2015). This generated enormous excitement, with some incredible evidence about the children’s blackberrying exploits being revealed.

The official launch of our project, with an extensive exhibition in the Lysons Hall, took place in midSeptember 2015, in conjunction with Heritage Open Days and the Gloucester History Festival. The 1st Hempsted Brownies kindly served refreshments, including WW1 style cakes that had been donated by members of our local WI and villagers, earning their ‘Hostess’ badge in the process.

The last couple of days in September and first few days in October 2015 were our busiest to date. A WW1-themed, cross-curricular day was held at Hempsted C of E Primary School, which included blackberry picking and apple gathering; charcoal drawing, cross-stitch pictures and the creation of a large scale mosaic; gardening activities; WW1 songs, in addition to a handling and dressing up session. The following day, members of the Hempsted Parish Magazine editorial board came into school to plan a forthcoming colour supplement with Year 6 pupils and selected, Year 5 pupils contributed to our project’s blog under the guidance of Emma Espley. All pupils from Reception to Year 6 listened intently to a talk given by the Gloucestershire Wildlife Trust about changes in the countryside over the past 100 years and later had a chance to ask plenty of questions.

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Pre-school children, parents/careers and locals were invited to add a piece to our WW1 mosaic too, a lasting legacy of our project, which is now displayed on the outside wall by the school’s main entrance. In the evening, volunteers from our local community convened for a jam making stint, utilizing Cater Cater’s kitchen based at Rodway Golf Club and the services of a professional chef. Year 6 pupils, along with their teacher and representatives from Sainsbury Gloucester Quays (who had kindly donated the essential items), ventured to Newent School to undertake a Great British Bake Off of trench cakes. On their return to school, they completed some wonderful, literacy work. On the Wednesday afternoon, the ‘Open the Book’ team were in school and cleverly managed to link the term’s value of friendship with our WW1 activities and events that occurred within our village between 1914 and 1918. The school’s newly formed Local History Group spent an enjoyable morning at the Gloucestershire Archives, seeing what happens ‘behind the scenes’ and exploring various manuscripts, maps and artifacts relating to our village’s past (as well as being intrigued by a mummified rat!).The week ended on a high note - a WW1-themed, dance workshop for Key Stage 2 pupils, with performances given to Key Stage 1, parents/careers and individuals from our the local community.

And, even more activities took place throughout October 2015! The 1st Hempsted Brownies all achieved their ‘First aid’ badge and Jeannette McGhee, Girlguiding County Archivist, paid a visit to the unit one Monday evening to share her recent research findings and former Girl-guiding memorabilia. In addition, twelve adults from our locality were fortunate to have a trip to the Gloucestershire Archives. The school’s Harvest Festival was held in St. Swithun’s Church with input from the Messy Church team. Not only did Canon Nikki Arthy relate to activities undertaken during our WW1-themed,cross-curricularweek, but members of after school club and a retiree had also baked some superb, traditional harvest loaves. Just before half-term, thanks to the coordination of Debbie Hotchkins and Kate Subryan, Year 6 pupils came to share their trench cakes, experiences and discoveries with local people at Coffee Pot, who were equally keen to relay their childhood stories to the youngsters.

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A CPD workshop, entitled ‘Sharing our WW1-themed, cross-curricular week’s activities’ was advertised to local teachers in early November 2015. Attendees were very impressed with what we had done in such a short space of time and the impact it had, undoubtedly, had on both young and old alike. Coffee Pot regulars wished to see the incredible, and rather moving, photo story of the school’s WW1-themed, cross-curricular week’s activities, so this was projected for them to view at their next meeting. Furthermore, following a request from one of the senior lecturers in the Department of Education at the University of the West of England (UWE), Emma Espley delivered a presentation to BEd students to showcase our WW1-themed, cross-curricular week’s ventures.

In December 2015, St. Swithun’s Church played host to Key Stage 2’s Christmas performances and WW1 was integrated into their theme of ‘Christmas through time’. Members of the school’s Local History Group also produced a very attractive colour supplement for the December edition of the Hempsted Parish Magazine.

Although January/February 2016 were slightly quieter than the latter quarter of 2015, the1st Hempsted Brownies worked towards their ‘Traditions’ badge, linking to WW1 themes and events whenever appropriate.

Independent research has been, and is continuing to be, conducted by members of our local community, including the school’s Local History Group, who have been/are investigating key families that lived within our village around the time of WW1 and school life back in 1914-1918.

Following an invitation by Professor Maggie Andrews, a small display was recently set up at Avoncroft Museum for the 'Home, Food and Family in WW1’ conference organized by the Women’s History Network, Midlands Region, and the Voices of War and Peace WW1 Engagement Centre (March 2016). This generated further interest in our project and ensured a few more ‘hits’ to our project’s blog site too.

Emma Espley emma.espley@googlemail.com www.create2inspire.com

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“The unsung hero of the Chesapeake Bay.” Interpreting the oyster industry, A Symbol of Chesapeake Bay Heritage.

Oyster Recovery Partnership

OYSTERS’ PLACE IN HISTORY

A Symbol of Chesapeake Bay Heritage Oysters have held the power of life and death, offering a needed protein source to millions during the Great Depression, yet causing bloodshed during the Oyster Wars of the mid-late 1800s. Oysters have also been credited with the power of passion, finding seductive connections with Aphrodite and Casanova. But above all, oysters represent a simpler life, a slower pace and a culinary love affair with the Chesapeake Bay. They represent a life that depended on the bounty of the Bay.

Oysters were once so plentiful, they were a navigational hazard.

A hundred years ago, oyster harvests exceeded 10 million bushels a year, but those days are long gone. Oysterspecific diseases, historic over-fishing, and the onslaught of silt and sediment, run-off and degraded water quality have overwhelmed the remaining oyster reefs, leaving the wild fishery harvest rates at just a fraction of what they once were. Not only has this impacted a major economic engine for many of our rural coastal communities – all but destroying a once-thriving watermen culture – the bay’s ecosystem is also under attack.

One of the Most Endangered Habitats on the Planet The Bay oyster industry was the envy of the world with oysters so numerous they were a navigational hazard . . . until the oyster stock collapsed nearly 50 years ago because of disease, habitat loss, declining water quality and over-harvesting.

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The Bay has lost more than 99 percent of its native oysters and continues to lose an estimated 2,600 acres of oyster habitat annually. In fact, oyster reefs have been called one of the most threatened marine habitats on the planet. Bay oysters used to filter the entire bay in a matter of days — now, it takes more than a year. Oyster reefs are necessary to improve the health of the Bay, because without them, other bay species that rely on oysters will suffer. Thus, oysters have often been termed “the unsung hero of the Chesapeake Bay.” Oyster Recovery Partnership assists our partners in designing and implementing oyster restoration projects that maximize ecosystem services that oysters can provide. ORP’s mission is to increase the number of oysters in the Chesapeake Bay, and over the years, this has been accomplished by planting oysters in sanctuaries, managed reserves, and public fishing grounds. ORP has an impressive history of restoration; since 1998, 5.9 billion oysters have been planted on over 2,000 acres of oyster habitat in Maryland waters. During that time, refinements to the oyster restoration process allowed ORP and its partners to redefine success from fewer than ten acres of oyster plantings annually in our early years, to the hundreds of acres planted currently. ORP is now assisting with the one of the largest oyster reef restoration projects to occur worldwide in Harris Creek, a tributary of the Choptank River on the eastern shore of Maryland. Over 2 billion spat have been planted on 350 acres since the project began in 2011.

The restoration process is complex and could not be carried out without our partners, who work with ORP to supply oyster larvae, identify areas that will sustain successful reefs, and monitor reefs after construction.

Currently, the majority of ORP restoration efforts are directed toward sanctuary reefs, which are areas that are protected and where harvesting does not occur. Sanctuary reefs have the best chance of forming a natural, three-dimensional structure that provides habitat for Chesapeake Bay marine animals and ecosystem services such as water quality improvement.

For more information on the Oyster Recovery Program: http://oysterrecovery.org/oysters-101/history-of-oysters/

Oyster clutch planting in North Carolina.

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Interpreting the Day of the Dead, November 2nd.

University of New Mexico

The days of the dead are truly a celebration of life. When children dance with caricatures of death, eat skull sugar molds and learn to respect that life is brief, they learn there is a circle to life and to not fear death and then are free to enjoy and appreciate every moment.

Celebrating The Day of the Dead has a long history in Mexican Tradition. The Day of the dead is celebrated on November 2nd. Sometime one hears reference to “the days of the Dead” which refers to the Days of October 31 – November 2. October 31 is Halloween or All Hallows eve. November 1 is “el Dia de los innnocentes” or the day of the children and All Saints Day. November second is All Souls Day or the Day of the Dead.

Some Christian’s hold to the belief structure that every day should be treated like Christmas, - as every day Christ’s love is born and should be celebrated. Therefore, the positive, compassionate attitude that is associated with the Christmas season would ideally be maintained throughout the year. Christmas Day is celebrated formally to remind us of this value. The day of the Dead is similar. During the days of the Dead, some believe that the souls of the departed return to earth to visit with and to provide council or give advice to family and loved ones. There is a belief that this is true every day, but that November 2nd is the day set aside to remember and honor those who have past.

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In Mexico, there is a tradition of visiting gravesites. Unlike the United States where graveyards are privately owned and maintained, graveyards in Mexico are often publicly owned or managed by local churches. It is up to the families of the deceased and other community members to maintain the graves.

During the days of the dead, the family often takes the opportunity to visit the gravesite and pull weeds, clean any debris and decorate the graves of loved ones. Often candles, flowers and the favorite foods of the deceased are placed on the grave and the family visits, eats, sings and tells favorite stories about those who have passed.

In the United States or for those for whom visiting the gravesite is not viable, (often graveyards are closed during the evening hours) the tradition has been adapted. Many set up altars in their homes and often communities host a variety of events. In Albuquerque’s south valley the Marigold parade and celebration at the West Side Community Center is one such event. Altars are usually decorated with flowers, candles, pan de muerto, ceramic skulls, and most importantly pictures of loved ones.

Food placed on the altar consists of the loved ones favorite dishes and treats. Drinks should be placed in the altar to quench the thirst of the dead after their long journey back home. In many villages it is customary to offer alcoholic beverages. Salt is considered the spice of life and is one the staples that are often left at the altar. The scents of marigolds as well as burning copal (a resin of the copal tree) are thought to be most beloved by the spirits of the dead and invite them back home.

The rituals used to celebrate the day are varied and colorful. Yet, all carry the same message, celebrating the day of the dead is a true celebration of life.

For more on the Day of the Dead: A Beginning History of the Day of the Dead, Article by Helen Tafoya-Barraza http://www.thehealingrose.com/dodhistory.html AZCentral.com – the Day of the Dead http://www.azcentral.com/ent/dead/history/historyindex.html Why Do Mexicans Celebrate the Day of the Dead? An article by Ricardo J. Salvador http://www.public.iastate.edu/~rjsalvad/scmfaq/muertos.html

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“After the Four Oaks,” An experience in interpretive writing. by Dr. Martha Benn Macdonald doctorbenn@gmail.com

After the four oak trees which provided shade and danced gently or fiercely all these years became diseased and infected, I paid someone to cut them down. Wonder if they asked questions like “the little fir tree” which so wanted to live in the beloved fairy tale? I treasured growing up in this spacious house built in 1910 on College Avenue.

It somewhat mirrored “Granny Strait’s” house built on Oakland Avenue in 1907. In fact, Granny’s sister had both houses built, so the story goes, and the back of our house was just across the alley from Granny’s house. The major difference was that her house did not have a wrap-around porch, nor did it have wide front steps. Our house was 18 steps above the street. Hers was only two. There were a few other variations as well.

For one, we had a living room to the left; her house featured a bedroom.

Over the years the only alteration I made, having inherited my childhood home, was to change one of the side dining room windows into French doors, for I enjoy porch parties, and the doors are very accommodating. A descendant of Granny’s once opened her home as a bed and breakfast and extended the back hall to include two guest bedrooms.

I mocked one architect who surmised that both houses were colonial and consulted another colleague who said, “Maybe ‘plantation revival or neo-classical.’” Its wrap-around porch and Doric columns, even though they end at the upper porch, give the house something of a plantation aura. I was amused when a former student came running up the wide porch steps a week ago carrying something resembling a box of pizza.

“What have you got, Gaston?” I queried. “Oh, I finished the house, Dr. Macdonald. It’s in charcoal, though, and I hope you’ll like it.”

“I know I will,” I assured him. He tore the drawing from his large sketch pad, and I noticed that the columns were Corinthian and that this picture, a third I’ve had done over the years, included the French doors and gave the house an interesting Gothic, Poe-like feeling.

Despite all of the playing over architectural styles, I mourn the loss of the oak trees and the azaleas and other large shrubs which deteriorated over the years. Not only did the oak trees shade the house, but the large shrubs did as well.

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My daddy, an Eye, Ear, Nose, and Throat specialist, who studied and read medicine every night because he wanted to be abreast of current trends (“your daddy was the only doctor who was ‘read up in Rock Hill,’” an old friend once said), who saved the eye sight of South Carolina writer Dorie Sanders, who traveled to conferences, and who read on the front porch also loved to tell stories on the porch. Because the tall acuba bushes and mahonia hollies came way above the porch railing, Daddy could read in silence, never noticed by neighbors gathering to talk or walk on the sidewalk below.

But I do have sun now, and I have grass. Moreover, the rooms are bright.  I pulled down my mother’s heavy draperies and glass curtains, and I have lovely vistas. “What shall I plant?” I ask myself. In the backyard and on the side borders, I have lots of circular garden beds etched by old bricks. In these, I have planted the perennials I love, like daffodils, iris, lilies. Camellias and gardenias remain from my childhood. I have also planted lots of herbs, especially “parsley, sage, rosemary, and thyme.”

No, I don’t go around singing snatches of Ophelia’s sad songs although I am extremely fond of rosemary which grows easily here, even in the hard red clay, coal underneath. Now that I have graced the far left front lawn with a statue and a lone column to complement the Doric ones on the porch, I will plant boxwood, roses, and perhaps hydrangeas because they are “period,” to name one reason.

Ed Stultz, a childhood friend, who has gardened extensively, suggested boxwood. “I loved the azaleas, but boxwood is, well, just suitable for a house like yours.” I will not rip up the liriope with tiny lavender blooms which has, as far back as I can remember, bordered the double-block walkway after the first set of steps. I will plant the boxwood against the brick under the porch and against the brick under the wide window of the living room. I will use English box because of its delightful fragrance.

Ed suggested ligustrum for the left side behind the statue, but I am opting for dark blue to purple hydrangeas.

I’ve noticed that oak-leaf hydrangeas seem to be trendy on College Avenue now, but I want to plant the traditional ones whose colors you can sometimes alter with an old rusty nail. Ligustrum is an interesting shrub, however, because it can be shaped and trimmed in a variety of styles, and it has a luscious odor.

Ed would like to see some of my father’s old roses, for Daddy once had a gorgeous rose garden. But those days have vanished. I will plant some smaller rose bushes, probably pink, yellow, or Tropicana under the hydrangeas.

Finally, I would like to plant Lenten roses in the far right lower corner of the lawn, but Lenten roses have never thrived here. I will do some research and find out why. Meantime, I will enjoy the hanging baskets on shepherds’ crooks in the front and pots of ferns on the lingering tree stumps.

Analysis: There is something of a theme sentence at the end of the first paragraph on page two.

Although I wrote this article to satisfy my own curiosity, I would say there are tangibles and intangibles, as well as interpretive objectives. *Learning objective-If visitors dropped by to rock, they would know something of the history of this house and its architecture, about plants, and about my family’s tastes. *Emotional objective-If visitors came calling, they might come to understand why I am choosing certain plants. *Behavioral objective-Again, if visitors came, they might decide to join a rose society or study ways to prevent diseases in oak trees.

Dr. Martha Benn Macdonald - doctorbenn@gmail.com

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Interpreting Climate Change: Strategies Patricia Walsh, CIG, CIT

Storm surge on a Louisiana highway shows the effects of rising sea levels.

(This article is second in a three-part series. This article first appeared in the March-April 2016 issue of Legacy magazine of the National Association for Interpretation.)

Last summer, Paul Ollig of the National Park Service posted an arresting photo on an NPS Facebook page showing water lapping at a bench near the Jefferson Memorial in Washington, D.C., during a particularly high tide.

The caption said rising sea levels “may soon threaten some of our country’s most beloved sites.” The post, which mentioned the NPS commitment to reducing its carbon footprint, was viewed by 9,457 people, got 143 likes and was shared 44 times.

Without ever saying “climate change,” Ollig, chief of interpretation and education for the National Mall and Memorial Parks, sparked related conversations.

The lesson? There are many strategies for interpreting climate change.

This article primarily distills advice from the NPS, the National Association for Ocean and Climate Change Interpretation (NNOCCI), the Frame Works Institute, and the National Aeronautics and Space Administration (NASA).

Face Your Fear and Embrace Controversy “Probably the largest barrier for interpreters to overcome…with the issue of climate change is fear,” says an NPS learning module. “Fear of conflict… of not knowing enough…”

But Ollig says interpreters don’t have to fear the “science of climate change, especially if you focus on your site and your resource.”

People get information from interpreters at other locations, so “it’s okay to know your part…(and) let visitors connect the dots,” adds Matt Holly, of the NPS Climate Change Response Program.

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And if someone challenges you?

Acknowledging different perspectives “instantly diffuses conflict,” says the NPS training handout “Embrace Controversy—Avoid Conflict.” “Conflict often arises from audiences feeling threatened that their perspectives are under attack.”

Stay calm and respectful. Remember controversy can help boost your credibility with quieter visitors who are gauging your response. But avoid debating scientific facts. If a skeptic tries to bait you into an argument, you may need to politely disengage.

Keep It Local and Relevant, Here and Now Nature-based sites like parks “provide a perfect place for people to experience the real impacts of climate change already occurring in places they care about,” says the NPS training module.

In preparation, list everything at your site linked to the issue: impacts to animals, ecosystems and visitor experience; energy-saving efforts; and any climate-related research. Consider visitor perspectives, and how your site’s stories have relevance for them.

Then develop climate-related themes, while also exploring how to incorporate climate change into existing programs.

“Subtle nods to climate change can sometimes be much more effective than a heavy-handed, full ‘climate change program,’” says Paul Ollig of the NPS. But what if your site doesn’t include receding glaciers, disappearing coastlines, forests hit by wildfire or live polar bear exhibits? Be creative. Even at historic sites, interpreters can compare the carbon footprint of soldiers or pioneers to modern life, or how human history links to climate.

Include the Basic Mechanics Research shows many people don’t understand the mechanics of climate change, which hinders problem solving. NNOCCI and the FrameWorks Institute recommend that whenever we refer to climate change, we use a “heat-trapping blanket” metaphor, as in: “When we burn fossil fuels like coal, oil or natural gas, we emit excess carbon dioxide that acts like a heattrapping blanket. This disrupts the climate, creating problems we need to address.”

For a visual aid, wrap cheesecloth around an EarthBall to illustrate the earth’s natural CO2 layer. Exchange the cheesecloth for a denser material to show the effect of burning fossil fuels.

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Use Frames The FrameWorks Institute compares interpreting climate change to navigating through a swamp of flawed cultural ideas which can “eat” your message, such as: • Climate change is related to holes in the ozone layer.

• Carbon dioxide is natural, therefore it is good.

• The ocean is too big to be harmed.

Also, we interpreters create our own traps by: making the problem seem too big to overcome; emphasizing “doing one thing” instead of collective action; omitting climate change mechanics; highlighting specific events while omitting larger climate principles; or focusing on “cute critters” instead of nature’s interconnections and how humans affect nature.

For effective communication, FrameWorks recommends “framing” the issue using values, explanatory metaphors, explanatory chains, and collective solutions.

The values of protection and responsible management are the most powerful. Saying “we must protect the habitats we depend on” sidesteps cultural ideas like “nature will heal itself.”

The "explanatory metaphor" of a heat-trapping blanket can be part of an "explanatory chain." In an online FrameWorks role play, Simone Mortan of Monterey Bay Aquarium notes this “blanket” of "excess" CO2 is warming earth.

"The ocean absorbs some of that heat," Mortan tells aquarium "visitors," adding this is prompting ocher sea stars along California's coast to move north "looking for colder water". Wrapping up, Mortan notes that "reducing the number of miles we drive" would help the ocean.

When framing with solutions, FrameWorks emphasizes collective action. If someone asks “What can I do?” mention community efforts such as Denver's bicycle renting program, Chicago's success with green roofs, solar projects in California, or the Farmers Market Nutrition Program in New York.

Focus on Human Stories Becky Lacome, who coordinates the NPS training on interpreting climate change, stresses the importance of relating human stories.

For example, Washington, D.C. hotels and restaurants count on tourist revenue when the cherry trees bloom.

Now, however, the peak bloom is harder to predict. That could affect employment of hotel and restaurant workers.

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This exemplifies an opportunity to shift "from a science to a people story," says Paul Ollig.

Another option is to tell the stories of researchers investigating climate change at your location.

Go Hands On to Make It Stick Studies show experiential learning is the most powerful. “Doing” helps us retain about 75 percent of learning, versus 5 percent when “hearing,” or 30 percent when “watching,” says The National Training Laboratories of Bethel, Maine.

Consider the hummingbird banding project at Capulin Volcano National Monument in northern New Mexico.

Since July 2012, staff-volunteer teams have banded 851 hummers, while describing how a changing climate may affect these charismatic migratory birds.

The project has involved 300 volunteers, including students from six schools. Members of the public assist by cradling a banded hummingbird before it flies away.

Lynn Cartmell, lead NPS ranger at Capulin, said the goal “is to interest visitors in the science behind climate change using the hummingbird—a species that everyone is familiar with.” She added the project aims to create “a lasting impact and, hopefully, future change."

Incorporate the Personal Once in a wildfire program, I noted Southwestern drought was consistent with climate change models. I mentioned wanting to buy an electric car that I couldn't afford. Suddenly participants began brainstorming how I might do this—totally engaged regardless of their perspectives.

Colorado State University atmospheric scientist Scott Denning assists NASA in climate training, where he describes human-caused climate change as “simple, serious and solvable.”

Denning says personal stories build credibility, and he relies on this when he addresses the ultra-conservative Heartland Institute. After one presentation, some listeners told Denning they'd never heard that side of the climate story.

It turns out people are more likely to trust those who are familiar, likable and speak clearly, according to Teresa Myers of the George Mason University Center for Climate Change Communication.

And bring your sense of humor. NASA climate scientist Josh Willis co- created a live comedy show featuring characters such as a homeless polar bear moving in with a grizzly bear.

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"I think helping people laugh about (climate change) kind of breaks that spell" of hopelessness, Willis says in an online NASA article, adding humor helps people accept the situation and "ask, what can we do about it?"

Share Ownership of the Conversation In this era of social media, being the "sage on the stage" no longer works. Allow visitors to "co-create" the experience. NPS "co-creation techniques," include: • Posting a thought-provoking question online or on a dry-erase board to spark visitor reflections. (E.g.: "In one word, what does coal mean to you?")

• Presenting an event in story form, then inviting visitors to share related stories.

• Including moments of silence during programs for reflection.

• Providing time and materials for participants to journal ideas and feelings.

• Compare and contrast, such as "Picture this with five more feet of water."

• Use "fill-in-the-blanks" like: "I am most (hopeful or scared) about..."

Vary Your Approach In an NPS survey, 67 percent of respondents thought park rangers should talk about climate change. But the survey also revealed that visitors would rather hear about the subject in other ways. The top five preferences were: 1. Websites 2. Trail-side exhibits 3. Indoor exhibits 4. Printed information 5. Videos Hearing from a live person came in last. Yikes!

Even a motion-sensor that shuts off lights when visitors leave a room can transmit a powerful message.

"Sometimes you don't need to say anything, just do something that people will notice," says Becky Lacome of the NPS. And when you do speak, consider different vocabulary such as "global weirding" or "climate disruption."

Stay positive Angie Richman, a consultant on climate change communication, says it's critical for interpreters to share authentic hope.

"There is a balance between the truth of the situation and empowerment...," Richman says, adding “doom and gloom” doesn’t work. "We must find messages of hope to be truly effective."

Or as NPS course participant Heidi Zamzow of Monterey Bay Aquarium put it, "People want to be on the bandwagon, not on a sinking ship."

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Fail Forward I once ended a program by asking participants if any of them thought climate change was a hoax. Months later, I discovered that one man who raised his hand had complained to a volunteer staff member that he didn't "have to listen to that crap."

In hindsight, I realized I had belittled him and caused him to lose face. Ouch.

But Ollig of the NPS recommends we accept and learn from our mistakes, and to "celebrate experimentation and failure, rather than condemning it.�

Or as NPS instructors put it: “Be brave, be fearless, fail forward."

For More Information: NPS Interpreting Climate Change Self-Study Modules: http://idp.eppley.org/icc National Network of Ocean and Climate Change Interpretation: http://nnocci.org NASA Earth Ambassador Program: http://climate.nasa.gov/nasa_climate_day/Earth Ambassadors/ The FrameWorks Institute: frameworksinstitute.org Patricia Walsh, CIG, CIT, interprets nature and culture in New Mexico. She has trained in climate and climate change interpretation through the National Park Service, the National Network of Ocean and Climate Change Interpretation, and NASA. She can be reached at 6602pw@zianet.com

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Your Safety Our Concern

The Plight of a Water Safety Ranger

Brian C. Westfall CISM Peer Supporter Ouachita Project Management Office U.S. Army Corps of Engineers

The alarm clock mercifully rescued me from my grief filled dream! Emotionally drained, I reluctantly awoke my wife, to seek support and solace. I had to share my horrible nightmare. As I relived the surreal dream, waves of discontent enveloped me. This feeling has visited me many times during my career as a Corps of Engineers water safety ranger.

The dreamscape was a cold, overcast November afternoon. The setting was War Memorial Golf Course, a game day parking and tailgating locality adjacent to War Memorial Stadium in Little Rock, Arkansas.

Thousands of red-clad Arkansas Razorback football fans eagerly awaited kickoff for the Arkansas verses Iowa State, Cyclones game. Go Hogs!

My wife, my son and I were enjoying the fall foliage and game day activities as we walked along the golf cart path en route to the stadium. Suddenly, the festive mood changed as a frantic mother came running up to us screaming, “Where is my son? Where is my son?” In an instant my son was gone too!

Vaulting into ranger mode, I scanned the golf course looking for my son and the missing boy. I almost immediately spotted a stream running through the golf course. I knew instantly where the child was. As I looked over the edge of the cart path bridge, my fear became reality. The mother’s 4-year old son was submerged in the stream, apparently drowned. I raced into the creek. The cold water challenged my resolve.

The child’s eyes were blue and fixed, his hair was blonde. I pulled his lifeless body to the stream bank in a near state of panic. Can I save this child I thought? Remember your CPR, remember your training. The youngster wasn’t my son, but where was my son? I yelled for 911 assistance and began CPR. A crowd gathered, all hesitant to provide assistance. Then, abruptly, the alarm clock jarred me from the more than real nightmare. I was shaken and grief stricken. I tried to collect myself and could only find relief by sharing my dream with my wife and later with friends and colleagues.

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Thankfully and joyfully this was a dream, but this nightmare and realities of my profession will always be with me. It is difficult to grasp the meanings of one’s dreams; however, in my case, I’m certain that working in the boating and water safety field for the better part of the past 30-years was a driving factor. It is also my feeling that many others in this field and other fields throughout the Corps have had similar thoughts, dreams and realities during the course of their careers.

Over the decades my coping method for negative events consisted mainly of bonding and venting with fellow rangers. This camaraderie provided me with some fashion of positive stress relief in the aftermath of critical incidents. Additional resolve came from promoting boating and water safety education Yet, I would be un-truthful to proclaim that the water-related fatalities haven’t left a lasting impact on me. All the while I couldn’t help but wonder how our ranger force was dealing with the same hardships.

Joyfully and thankfully, I now have an excellent coping mechanism for critical incident stress events. This mechanism is the Corps of Engineers Critical Incident Stress Management (CISM) program. I strongly encourage all Corps employees to seek information regarding this vitally important program. Now I have a means to manage negative impacts in a positive and healthy manner.

Critical incident stress management is a program designed to provide peer support and healthy life style choices in response to stressful work environment incidents. The CISM process lessens the overall impact of acute and cumulative stress and helps to accelerate recovery in people who are having normal reactions to abnormal events.

Any incident regardless of the type may be defined as “critical” if unusually strong emotions are generated in the people involved: line of duty death or serious injury, significant events involving children, traumatic events, including disasters, exposure to the grieving public and extended negative media exposure.

The CISM team provides information about critical incidents and stress reactions that employees can use to help identify healthy life choices. The team provides an atmosphere of concern and caring as well as indentifying personal options for dealing with stress.

Military personnel, rangers, public affairs specialists, emergency response providers and all Corps employees, please know you are not alone. Please take advantage of this opportunity. Help is out there. CISM works. One Corps one team!

For more information regarding CISM, please contact the USACE CISM National Program Manager, Mark Roderick, at 618.724.2493.

Brian C. Westfall, CISM Peer Supporter Ouachita Project Management Office U.S. Army Corps of Engineers Wk: 501.767.2108 Ext. 73011 Cell: 501.627.3437

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The Heritage Interpretation Center for the Advancement of Excellence in Interpretive Planning.

A JVA Heritage Interpretation International Group Company. http://www.heritageinterp.com/the_center_for_interpretive_planning_advancement_.html

If you're looking for professional training in interpretive planning, interpretive planning text books and related interpretive resources, or you just want to hire an expert interpretive planner to come and do your interpretive plan for you - this is the one source to make that happen.

We decided to develop our Center for Interpretive Planning Advancement and Excellence to help individuals involved with interpretive planning to sharpen their skills in various aspects of creating interpretive plans for sites, organizations and agencies. We found a lack of colleges or organizations where professional interpreters could find professional courses and training in interpretive planning. Our goal is for this Center to meet and exceed that need.

Our Mission 1. To provide a center of excellence where interpretive planners and managers can both contribute to, and expand their own, advancement of interpretive planning theory, techniques and principles.

2. To provide ideas and guidelines for creating interpretive plans that have a focus on the financial aspects of those plans to be actually implemented and put in operation.

3. To provide a gateway for sharing interpretive planning related strategies, new media, new technology and visitor studies research via publication of that material in InterpNEWS, the International Heritage Interpretation eMagazine.

4. To promote visitor studies/research and marketing strategies into interpretive planning documents.

5. To serve as a resource center for interpretive planning text books and other interpretive planning resource documents (many available free of charge).

Let me tell you more about our mission and services via YouTube: https://www.youtube.com/watch?v=9w6wBrUaFdA -------------------------------------------------------------------------------------------What services does the HIC for Interpretive Planning Advancement and Excellence offer? Our services are divided into three main realms: 1)Training courses in interpretive planning both on-line and on-site and 2) offering our own contract/consulting services in interpretive planning to develop interpretive plans for you, your site or facility.

3) Providing interpretive planning resource text books and related reference materials.

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Heritage Interpretation Training Center New Professional Development Courses for Heritage Interpreters.

The HITC now offers 32 college level courses for Heritage Interpreters internationally . All of our courses are start anytime and work through the course at your own pace. All courses are e-LIVE meaning all homework is sent to the course coach, which whom you can chat, talk on the phone or via SKYPE anytime you need help. Just cut and paste the link to learn more about each courses content. Feel free to contact us if you have any questions at all. All courses and be taught "on site" at your location and for larger groups as well. Ask for details. Here are a few of our newest courses: NEW - Interpreting Critical Issues - The interpreters key role in public safety, public relations and as an agent of change in visitors attitudes and reactions to natural or human induced dramatic or dangerous events.

Thirteen Units - Tuition $400.00 www.heritageinterp.com/interpreting_critical_issues.html NEW - Advanced Interpretive Writing for Technical Publications, Interpretation Journal Research Articles and for Related Professional Publications. 13 Units, 3 CEU Credits - Tuition: $300.00 www.heritageinterp.com/advanced_interpretive_writing_-_technical_publicat.html NEW - A Curators guide for helping their docents/volunteers create truly interpretive gallery tours for Art and Traditional Museums. Techniques for revealing the hidden stories and meanings in art and artifacts for presenting dynamic and inspirational interpretive tour experiences for your visitors.

12 Units, 2 CEU Credits - Course Tuition: $200.00 www.heritageinterp.com/a_curators_guide_for_developing_gallery_tours.html NEW - Innovative Strategies in Interpretive Media and Services Planning - New Conceptual Tools for Today's Interpretive Planners. Markets on One, Mass Customization, Experiential Planning and the Psychology of Visitor - Interpretive Program Topic/Mode Preferences. If you're not using these in your interpretive media/services planning and development then you're way behind the creativity curve and could be losing new visitors as well. Welcome to the new millennium for interpretive planners where "one size does NOT fit all". Eleven Units, 3 CEU Credits - Course Tuition $350.00http://www.heritageinterp.com/interpretive_training_center_course_catalogue_.html www.heritageinterp.com/innovative_strategies_for_interpretive_media_and_s.html

Check out our full interpretive services course catalog here: http://www.heritageinterp.com/interpretive_training_center_course_catalogue_.html Note: John Veverka is now a Senior Instructor, Kansas State UniversityGlobal Campus (teaching Interpretive Master Planning - on-line.)

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Online Professional Development.

MuseumStudy.com At Museum Study our mission is to help you build a better cultural institution and be a stronger member of the team that carries out the mission of your institution.

To accomplish this we provide online professional development courses on a broad range of topics important for running a cultural institution including; Administration, Exhibits & Public Programming, Facilities Management, Collections Management, and Collection Preservation & Care. Our goal is to help you develop policies, procedures and programs to increase your institutions management and operations success.

New interpretive courses for 2016 - 2017. We now offer seven courses on Interpretation that can be taken individually or together to strengthen your interpretive skill set.

For more information on these courses paste the links below or visit our schedule page to see what other courses are coming in the months ahead. http://www.museumstudy.com/courses/course-schedule/ --------------------------------------------------------------------------------------------------------------------------------------------

Planning and Presenting Live Interpretive Programs - Start Date: September 6, 2016 - Instructor: John Veverka http://www.museumstudy.com/courses/course-list/planning-and-presenting-live-interpretive-programs/ Interpretive Writing - Start Date: November 7, 2016 - Instructor: John Veverka http://www.museumstudy.com/courses/course-list/interpretive-writing/ The Interpretive Exhibit Planners Toolbox - Start Date: January 3, 2017 - Instructor: John Veverka http://www.museumstudy.com/courses/course-list/the-interpretive-exhibit-planners-toolbox/ Evaluating Interpretive Exhibits - Start Date: March 6, 2017 - Instructor: John Veverka http://www.museumstudy.com/courses/course-list/evaluating-interpretive-exhibits/ Interpretive Planning for Historic Homes and Gardens - Start Date: May 1, 2017 Instructor: John Veverka http://www.museumstudy.com/courses/course-list/interpretive-planning-for-historic-homes-and-gardens/

For more information on our courses visit the course schedule on MuseumStudy.com.

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Interpretive Planning, Training and Design - World-Wide.

JVA has been contributing to and helping to advance the interpretive profession for over 40 years. From teaching university courses in interpretation (Michigan State University, Ohio State University and New York State University and the State University of West Georgia - heritage interpretation institutes), and years of field experience doing interpretation, we are growing still.

Our services include but are not limited to: - Interpretive Master Planning.

- Interpretive Training Courses - Interpretive Exhibit Planning - Interpretive Trail Planning - Scenic Byways Interpretive Planning.

- Regional Interpretive Systems Planning - Landscape Museum Planning.

- Visitor Research and Marketing Studies.

But there's more we do: Publishers of InterpNEWS, the International Heritage Interpretation e-Magazine with over 300,000 readers in 60 Countries. And it's FREE - yes FREE! Check out our back issues at: https://issuu.com/interpnews

Oh yes, then there's the International Heritage Interpretation Training Center and our text books. http://www.heritageinterp.com/interpretive_training_center_course_catalogue_.html

John Veverka & Associates www.heritageinterp.com jvainterp@aol.com