Heritage interpretation refers to all the ways in which information is communicated to visitors to an educational, natural or recreational site, such as a museum, park or science centre. More specifically it is the communication of information about, or the explanation of, the nature, origin, and purpose of historical, natural, or cultural resources, objects, sites and phenomena using personal or non-personal methods. Some international authorities in museology prefer the term mediation for the same concept, following usage in other European languages.
Heritage interpretation may be performed at dedicated interpretation centres or at museums, historic sites, parks, art galleries, nature centres, zoos, aquaria, botanical gardens, nature reserves and a host of other heritage sites. Its modalities can be extremely varied and may include guided walks, talks, drama, staffed stations, displays, signs, labels, artwork, brochures, interactives, audio-guides and audio-visual media. The process of developing a structured approach to interpreting these stories, messages and information is called interpretive planning. The thematic approach to heritage interpretation advocated by University of Idaho professor Sam Ham, the National Association for Interpretation, the US National Park Service, and others, is considered best practice. [1] [2] [3] [4] [5] [6] [7] [8] [9]
Those who practice this form of interpretation may include rangers, guides, naturalists, actors (who may wear period dress and do reenactments), museum curators, natural and cultural interpretive specialists, interpretation officers, heritage communicators, docents, educators, visitor services staff, interpreters or a host of other titles. The interpretive process is often assisted by new technologies such as visualizing techniques. [10]
The goal of interpretation is to improve and enrich the visitor experience by helping site visitors understand the significance of the place they are visiting, and connecting those meanings to visitors' own personal lives. [11] By weaving compelling, thematic stories about environmental phenomena and historical events, interpreters aim to provoke visitors to learn and think about their experiences. Effective interpretation enables the visitors to make associations between the information given and their previous perceptions. [12] [13] According to Moscardo [12] interpretation can produce 'Mindful Visitors' who are carefully processing information and negotiating the meanings of the observed object or intangible element.
Interpretation is often used by landowning government agencies and NGOs to promote environmental stewardship of the lands they manage.
Heritage interpretation is an educational activity which aims to reveal meanings and relationships through the use of original objects, by firsthand experience, and by illustrative media, rather than simply to communicate factual information.
Any communication process designed to reveal meanings and relationships of cultural and natural heritage to the public, through first-hand involvement with an object, artifact, landscape or site.
Interpretation is a mission-based communication process that forges emotional and intellectual connections between the interests of the audience and the meanings inherent in the resource.
— The National Association for Interpretation [ citation needed ] (United States), and adopted by The Definitions Project (a consortium of over two dozen federal and non-profit organizations in the United States) [15]
Interpretation enriches our lives through engaging emotions, enhancing experiences and deepening understanding of people, places, events and objects from past and present.
Interpretation refers to the full range of potential activities intended to heighten public awareness and enhance understanding of [a] cultural heritage site[ sic ]. These can include print and electronic publications, public lectures, on-site and directly related off-site installations, educational programs, community activities, and ongoing research, training, and evaluation of the interpretation process itself.
— International Council on Monuments and Sites' Ename Charter for the Interpretation and Presentation of Cultural Heritage Sites (2008) [16]
Mediation is the translation of the French médiation, which has the same general museum meaning as 'interpretation'. Mediation is defined as an action aimed at reconciling parties or bringing them to agreement. In the context of the museum, it is the mediation between the museum public and what the museum gives its public to see.
— Key Concepts of Museology (2010), International Committee of Museums' International Committee of ICOM for Museology (ICOFOM) [17]
In his 1957 book, "Interpreting Our Heritage", Freeman Tilden defined six principles of interpretation:
- Any interpretation that does not somehow relate what is being displayed or described to something within the personality or experience of the visitor will be sterile.
- Information, as such, is not Interpretation. Interpretation is revelation based upon information. But they are entirely different things. However all interpretation includes information.
- Interpretation is an art, which combines many arts, whether the materials presented are scientific, historical or architectural. Any art is in some degree teachable.
- The chief aim of Interpretation is not instruction, but provocation.
- Interpretation should aim to present a whole rather than a part, and must address itself to the whole man rather than any phase.
- Interpretation addressed to children (say up to the age of twelve) should not be a dilution of the presentation to adults, but should follow a fundamentally different approach. To be at its best it will require a separate program.
For the past 50 years, Tilden's principles have remained highly relevant to interpreters across the world. In 2002 Larry Beck and Ted Cable published "Interpretation for the 21st Century - Fifteen Guiding Principles for Interpreting Nature and Culture", which elaborated upon Tilden's original principles. In 2011, Beck and Cable released a new version of their principles in "The Gift of Interpretation". [18]
The International Council on Monuments and Sites is a professional association that works for the conservation and protection of cultural heritage places around the world. Now headquartered in Charenton-le-Pont, France, ICOMOS was founded in 1965 in Warsaw as a result of the Venice Charter of 1964 and offers advice to UNESCO on World Heritage Sites.
A living museum, also known as a living history museum, is a type of museum which recreates historical settings to simulate a past time period, providing visitors with an experiential interpretation of history. It is a type of museum that recreates to the fullest extent conditions of a culture, natural environment or historical period, in an example of living history.
Museology is the study of museums. It explores the history of museums and their role in society, as well as the activities they engage in, including curating, preservation, public programming, and education.
A historic site or heritage site is an official location where pieces of political, military, cultural, or social history have been preserved due to their cultural heritage value. Historic sites are usually protected by law, and many have been recognized with official historic status. A historic site may be any building, landscape, site or structure that is of local, regional, national, or global significance. Usually this also means the site must be at least 50 years or older.
A tour guide (U.S.) or a tourist guide (European) is a person who provides assistance, and information on cultural, historical and contemporary heritage to people on organized sightseeing and individual clients at educational establishments, religious and historical sites such as; museums, and at various venues of tourist attraction resorts. Tour guides also take clients on outdoor guided trips. These trips include hiking, whitewater rafting, mountaineering, alpine climbing, rock climbing, ski and snowboarding in the backcountry, fishing, and biking.
Cultural heritage is the heritage of tangible and intangible heritage assets of a group or society that is inherited from past generations. Not all heritages of past generations are "heritage"; rather, heritage is a product of selection by society.
Cultural heritage management (CHM) is the vocation and practice of managing cultural heritage. It is a branch of cultural resources management (CRM), although it also draws on the practices of cultural conservation, restoration, museology, archaeology, history and architecture. While the term cultural heritage is generally used in Europe, in the US the term cultural resources is in more general use specifically referring to cultural heritage resources.
An ecomuseum is a museum focused on the identity of a place, largely based on local participation and aiming to enhance the welfare and development of local communities. Ecomuseums originated in France, the concept being developed by Georges Henri Rivière and Hugues de Varine, who coined the term ‘ecomusée’ in 1971. The term "éco" is a shortened form for "écologie", but it refers especially to a new idea of holistic interpretation of cultural heritage, in opposition to the focus on specific items and objects, performed by traditional museums.
An interpretation centre, interpretive centre, or visitor interpretive centre is an institution for dissemination of knowledge of natural or cultural heritage. Interpretation centres are a kind of new-style museum, often associated with visitor centres or ecomuseums, and located in connection to cultural, historic or natural sites.
The International Committee for the Conservation of the Industrial Heritage, usually known by its acronym TICCIH, is the international society dedicated to the study of industrial archaeology and the protection, promotion and interpretation of the industrial heritage. TICCIH's Nizhny Tagil Charter (archived), signed in 2003, is the international guidance document for the industrial heritage. In 2011, the Joint ICOMOS – TICCIH Principles for the Conservation of Industrial Heritage Sites, Structures, Areas and Landscapes, also called "The Dublin Principles", were adopted in Paris.
Geotourism is tourism associated with geological attractions and destinations. Geotourism deals with the abiotic natural and built environments. Geotourism was first defined in England by Thomas Alfred Hose in 1995.
Thematic interpretation is an approach to heritage interpretation originally advocated by Professor William J. Lewis and subsequently developed by Professor Sam H. Ham. In the thematic approach, an interpreter relies on a central theme to guide development of a communication activity or device. In presenting the activity or device, the thematic interpreter develops the theme in such a way that it will be highly relevant to an audience. According to studies, presenting a strongly relevant theme greatly increases the likelihood an interpreter will succeed in provoking an audience to think about theme-related issues.
Freeman Tilden was one of the first people to set down the principles and theories of heritage interpretation in his 1957 book, Interpreting Our Heritage.
The Association for Heritage Interpretation (AHI) is a membership based organisation for people actively involved or concerned with heritage interpretation.
Interpretive planning is an initial step in the planning and design process for informal learning-based institutions like museums, zoos, science centers, nature centers, botanical gardens, heritage sites, parks and other cultural facilities where interpretation is used to communicate messages, stories, information and experiences. It is a decision-making process that blends management needs and resource considerations with visitor needs and desires to determine the most effective way to communicate a message to a targeted audience.
The Principles for the Conservation of Heritage Sites in China is a conservation charter promulgated in 2000 by China ICOMOS with the approval of National Cultural Heritage Administration. It provides a methodological approach to the conservation of cultural heritage sites in China.
Ethnomuseology is the study of museums and museum curation in the context of the culture and cultural traditions of its collections. It is an interdisciplinary field combining museum studies, anthropology, ethnography, and often various fine arts.
Interpret Europe – European Association for Heritage Interpretation is an international membership-based association with charitable status that serves all who use first-hand experiences to give natural and cultural heritage a deeper meaning. Interpret Europe encourages dialogue and partnerships between associations and universities, providers and professionals from more than 56 countries.
Phoenix Central Park is a performing arts venue and private art gallery located at 37-49 O'Connor Street, Chippendale, New South Wales, Australia. The location is within the Chippendale Heritage Conservation Area (HCA), item ‘C9’ on Schedule 5 of the Sydney Environmental Plan (LEP) 2012. The site is also within the Chippendale Locality as described in Section 2.3.1 of the Sydney Development Control Plan (DCP) 2012.
Dragana Lucija Ratković Aydemir, is a Croatian art historian, museum professional, scholar, and entrepreneur in culture and tourism. She lives and works in Zagreb, Croatia; Istanbul and Çeşme, Turkey.
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