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| Foreword | |
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| Preface | |
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| Acknowledgments | |
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| Interpretation from Past to Present | |
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| Defining Interpretation | |
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| Types of Interpretation | |
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| Nonpersonal | |
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| Personal | |
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| The History | |
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| The People | |
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| Federal Agencies | |
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| State Agencies | |
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| Local Agencies | |
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| Private Agencies | |
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| Conducting Meaningful Interpretation | |
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| Connecting the Visitor to the Resource | |
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| Information and Orientation Services | |
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| Education | |
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| Inspiration | |
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| Accomplishing Management Goals and Objectives | |
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| Protect the Resource | |
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| Protect the Visitor | |
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| Promote the Agency | |
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| The Foundation of Interpretation: Communication | |
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| Communication Process | |
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| Interpreter | |
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| Credibility | |
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| Message | |
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| Creates | |
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| Persuasive Techniques | |
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| Translation | |
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| Visitor | |
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| Filter | |
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| Feedback | |
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| Real World | |
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| Planning for Success | |
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| The Planning Process | |
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| Research | |
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| Resources | |
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| Public | |
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| Management | |
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| Identifying Primary Messages | |
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| Designing Interpretive Opportunities | |
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| Program Goals and Objectives | |
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| Writing Objectives-A Step-by-Step Approach | |
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| Target Audiences | |
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| Evaluation and Feedback | |
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| A Basic Structure: Program | |
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| The Message | |
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| Defined | |
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| Purpose | |
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| Creation | |
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| Research | |
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| Developing the Theme | |
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| Conducting Research | |
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| The Story | |
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| Developing the Body | |
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| Theme/Subthemes | |
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| Narrative | |
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| The Ending | |
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| Purpose | |
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| Creation | |
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| The Beginning | |
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| The Basic Program: Talk | |
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| Types of Talks | |
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| Formal | |
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| Informal | |
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| Preparation | |
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| Getting Started | |
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| Practice | |
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| Overcoming Stage Fright | |
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| Voice and Vocabulary | |
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| Adding Pizzazz | |
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| Questioning Techniques | |
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| Presentation Strategies | |
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| Characterization | |
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| Demonstration | |
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| Storytelling | |
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| Puppets | |
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| Guided Imagery | |
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| Guest Speaker | |
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| Techniques | |
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| Before the Talk | |
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| Make a Positive Impression | |
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| Be a Good Host | |
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| Props | |
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| After the Talk | |
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| Taking the Talk on the Road: Walk | |
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| Types of Walks | |
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| Resources-Natural and Cultural Settings | |
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| Facility-Visitor Center, Historic Structure, Museum | |
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| Site-Demonstration, Research, Cultural, and So On | |
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| Specialty-Night, Wet, Vehicle | |
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| Planning | |
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| Topic and Theme | |
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| Route Selection-Choosing Stops | |
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| Thematic Map and Outline | |
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| Practice | |
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| Mechanics | |
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| Getting Started | |
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| First Stop | |
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| Leading | |
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| Timing | |
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| Group Considerations-Field Tips and Techniques | |
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| Being Heard | |
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| Large Groups | |
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| Extended Walk | |
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| Teachable Moments | |
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| Rules and Regulations-The "Educational Exception" | |
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| Ending | |
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| Working in the Dark: Campfires and More! | |
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| Program Types | |
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| Night Hike | |
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| Night Sky | |
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| Campfire | |
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| Audiovisual | |
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| Mechanics | |
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| Alleviating Fears | |
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| Time Considerations-Dark, Full Moon, or Dusk | |
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| Presentations | |
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| Exploring in the Dark-Night Hike | |
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| Night-Sky Interpretation-Stargazing | |
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| Traditional Campfire | |
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| Warm-Up | |
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| Audiovisual Presentations | |
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| For the Young at Heart: Children's Interpretation | |
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| A Special Need | |
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| Types of Programs | |
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| In the Field (Informal) | |
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| In the School (Formal) | |
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| Children's Characteristics | |
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| Energetic | |
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| Curiosity | |
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| Sensory Bound | |
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| Developmental Level | |
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| Mechanics | |
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| Have Fun! | |
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| Manage Behavior | |
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| Focus on the Environment | |
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| Name Names | |
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| On Their Level | |
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| Keep It Short | |
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| Use Existing Resources | |
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| Taking the Message to the Visitor: Roving Interpretation | |
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| Reasons for Roving | |
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| Carpe Diem | |
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| Visitor Safety | |
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| Resource Protection | |
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| Marketing | |
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| Public Relations | |
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| Field Research | |
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| Planning | |
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| Location | |
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| Visitors' Needs | |
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| Props and Attention Grabbers | |
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| Mechanics | |
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| When | |
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| Where | |
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| How | |
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| Essentials for All Programs: Critical Concerns | |
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| Special Groups | |
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| Visitors with Special Needs | |
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| Elderly Visitors | |
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| Visitors Who Speak Foreign Languages | |
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| Distractions | |
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| Emergencies | |
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| Alternative Plans | |
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| Bias and "Truth" | |
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| Live Animals | |
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| Publicizing | |
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| Advertising-An Example | |
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| Activity Schedules | |
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| Bulletin Boards | |
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| Media Releases | |
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| Personal Invitations | |
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| Multisensory Equipment: Audiovisual | |
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| Equipment | |
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| Cameras | |
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| Lenses | |
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| Copy Stands | |
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| Projectors | |
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| Screens | |
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| Lapse Dissolve and Audiovisual Sync Recorders | |
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| Sound Systems | |
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| Microphones | |
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| Other Types of Audio Equipment | |
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| Computers | |
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| Flip Charts | |
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| Lighting | |
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| Proper Operation and Maintenance of Audiovisual Equipment | |
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| Batteries | |
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| Cleaning Lenses | |
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| Changed Circumstances | |
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| Other Considerations | |
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| Copyright | |
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| Photography | |
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| Practicing Defensible Interpretation: Evaluation | |
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| Why Conduct Evaluation? | |
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| What to Evaluate? | |
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| Interpreter | |
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| Audience | |
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| Program | |
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| When Should Evaluation Be Conducted? | |
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| Before (Front-End) | |
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| During (Formative) | |
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| After (Summative) | |
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| Who Conducts Evaluation? | |
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| Audience | |
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| Supervisor | |
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| Peer | |
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| Expert | |
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| Interpreter | |
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| How Should Evaluation Be Conducted? | |
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| Traditional and Scientific Evaluation | |
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| Objective-Based Assessment | |
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| Putting It All Together | |
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| Reporting Evaluation | |
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| Closing the Loop (Modification) | |
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| Growing from a Tradition: Professionalism | |
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| What Is a Profession? | |
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| From Practice to Profession | |
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| Responsibilities | |
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| The Discipline of Interpretation | |
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| Organization | |
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| Audience | |
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| Resource | |
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| Interpreter | |
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| The Future | |
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| Index | |