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Archive for July, 2010

Restorative Alchemy from the Green Kingdom

28 Jul

By Wren Smith

For thousands of years plants have been linked with many ancient traditions as spell binders, capable of working specific magic. While I’m not suggesting that interpreters practice these ancient crafts in the literal sense, I believe plants can be powerful allies in our efforts to restore a deeper connection to our cultural and ecological heritage.

Even dandelions can be captivating. The author’s niece Rylie Marie investigates.

Stories Restore
There are stories in land, stories in the rocks, in the trees, and in the plants growing in your backyard. Plants offer interpreters stories that connect the histories of people, places, and animals, stories that sweep across cultures, languages, and even species, stories of invasion, cooperation, opportunity, survival, love, and loss. Unearthing these stories provides a treasure trove of interpretive possibilities. Our real aim in learning and sharing plant stories, as well as other stories, should never be about dispensing “nickel knowledge” of natural history, but about helping visitors restore a sense of their own roots in the land. Anchoring these plant stories in universal concepts makes them more memorable, meaningful, and, at times, magical. Ecologist and writer Gary Paul Nabhan suggests that we “re-story” the land by making it a part of our story, our seasonal celebrations, our community gatherings and festivals.

It is easier to protect places that are imbued with familiar and cherished stories. In his thought-provoking book, Cultures of Habitat, Nabhan says that if we track down these stories to the finest detail, our own lives will be enriched. He adds:

In every biotic community, there are story lines that fiction writers would give their eyeteeth for…. Dormancies of lotus seeds that outdistance Rip van Winkle’s longest nap. Promiscuities amongst the neighboring oak trees that would make even Nabokov and his Lolita blush.

Nabhan asks, with the myriad of stories around us, how many of them do we recognize as touching our lives in some way?

Most Americans can identify thousands of brand names and logos, but fewer than 10 common plants in their own backyards. These plants exist outside the zone of perceived relevance. Ecologist Aldo Leopold reminded us that the first rule of tinkering is to keep all the parts. Inherent in this rule is the notion that we should also know what the parts are; otherwise how can we hope to know what’s there, or what’s missing, or in the case of invasive species, what shouldn’t be there? How can we restore our connection to the places we want to protect without the stories from the Green Kingdom?

Learning the names from these other lives is one starting point to learning these stories. Once you know the name of a plant (or animal) you can begin to learn how its story fits into the stories of other members of an ecological community and even into our own stories. You might even discover the poetry of its name. Although I’m not suggesting that the only way to appreciate plants (or anything) is to attach a name or label to them; I’m simply saying that names are a tool, and as such, can be used to build bridges or barriers. It’s all a matter of application.

In the presence of a skilled and knowledgeable interpreter, both the common and botanical names can be used to create an array of connections with the everyday lives of any visitor.

Secret Stories from the Green Kingdom
You might say that there is a whole galaxy of interpretive stories hidden in the names of plants—sunflower, moonflower, cosmos, star chickweed, and aster, to mention a few. Martha Barnette’s small but delightful book A Garden of Words is a valuable etymology resource on the origins of plant names and stories. According to Barnette, the name daisy is in reference to the sun being the “eye of the day” or day’s eyes. Aster is certainly a fitting name for a flower that resembles the celestial “blooms” of the night sky. Likewise the genus name Stellaria is appropriate for the star-like blossoms of the giant or star chickweed, Stellaria pubera. The edges of our eastern woodlands are laced in September with the white flowers of white snakeroot, judged by many to be the culprit in the death of Abraham Lincoln’s mother who died from milk sickness. Cows ingesting the plant passed a toxic chemical through their milk. This plant belongs to a genus in the aster family that is known to hybridize freely, and thus some authorities question which species is the felon in this story. Plant stories are often mysteries!

Rylie Marie is captivated by summer’s bounty.

Yaupon holly, with the colorful species name Ilex vomitoria, points to a story worth telling to a group of middle school students who may think they aren’t going to enjoy learning about binominal nomenclature, the scientific two-part classification system. I love introducing visitors to the soapwort growing at Bernheim Arboretum and Research Forest in Kentucky. This plant goes by several other common names, including bouncing bet and fullers herb, each name has its own collection of stories. Wort is from the Old English word wyrt, meaning plant, herb, or root. The name soapwort makes sense in view of the plant’s use as a delicate laundry agent. The plant was also called fullers herb, a holdover from the process of washing new carded wool or fulling. Even the scientific name, Saponaria officinalis, is redolent with meanings and stories. For starters, the genus provides a clue that the plant may contain saponins, agents that produce suds. The species name, officinalis, points to its history in the official apothecaries, the forerunners of our modern drug stores.

Even Weeds Have Stories to Tell
Examining most lawns reveals numerous interpretive stories “hidden in plain site.” Since weedy species are abundant and widely distributed, visitors are likely to reencounter these plants, and such repeated contact reinforces these stories. Dandelions are often one of the first plants noticed by children. The yellow suns are easily grasped by little hands, and children beam as they offer a bouquet to their mothers.

“Oh Sweetie, thank you, but that’s just a weed,” I recently overheard a mother say. Her response was gentler than many other responses to this floral offering I’ve heard over the years. However, the label of weed points to only a part of the story.

Author and naturalist Tavia Cathcart says, “The name dandelion comes from a French phrase dent de lion (tooth of the lion).” It’s easy for visitors and even little children to see a possible connection between this name and the sharp green teeth on the edges of dandelion leaves. Not native to the United States, but now naturalized widely, dandelions provide us with tales of travels, trials, and culinary creations, as well as myth, magic, and medicine that extend at least to the 10th and 11th centuries. Dandelions also provide high drama when viewed through the lens of warfare.

The Green Kingdom is Not Always the Peaceable Kingdom
In one of the best interpretive programs I’ve ever attended at an NAI National Workshop, Fran Blanchard and Mary Ann Bonnell reminded us that plants and their stories can be filled with all the drama of a battlefield. They also clearly conveyed their theme that plants aren’t passive in their defense of the homeland. Dressed in faux military regalia and representing the Secretary of Homeland Security and the Secretary of State, these creative interpreters staged a mock pre-battle press conference (complete with charts, maps, and graphs) from the viewpoint of plants. Workshop participants were quickly shunted into the role of press agents vying to ask questions of our illustrative leaders. Our capable commanders demonstrated numerous tactics employed by plants (chemical warfare, armored defenses of thorns and spines, etc.) in defense of their territory.

Years later, the universal concepts and relevant stories shared in that session have helped me see new stories in the land. I find new drama among the dandelions, as I now witness the turf battles and ongoing skirmishes between fastidious landowners and these “lions of the lawn.” I’ve realized that dandelions’ strategic arsenal not only includes prolific paratroopers, launched from familiar fluffy seed heads, but also underground taproots that lay claim to their territory with tenacity. Dandelions even appear to have a highly effective intelligence agency. They seem to know how low to keep their crowns, before counter attacks of land owners on lawn tanks (lawnmowers). Once the tanks have moved on, dandelions quickly raise their victory flags of yellow suns. Fortunately, universal concepts aren’t limited to those associated with warfare.

The Business of Blooming
When we describe our favorite spring wildflowers, we often use such words as delicate, fragile, and lovely. All of these descriptors are certainly accurate but they can belie the hidden tenacity of these so called genteel ladies of our spring woods. The real stories are a lot less tame and point towards some of the earliest business strategies in the “world’s oldest profession.” Contrary to popular belief, spring wildflowers usually don’t disappear from view because they succumb to freezing or frost. The real reason has more to do with the economics of ecology than frailty or frivolity. As much as their beauty may please us, spring wildflowers mean business, and most flowers are in the sex business.

Woodland wildflowers are supremely alluring and enterprising. They must take advantage of a small window of opportunity that opens in the woodlands just as daylight begins to lengthen but before the trees leaf out and block the sun. In other words, they only have a few weeks to complete their reproductive life cycle. It isn’t just the sun that they need. Survival of the next generation of viable seeds often depends on attracting pollinators that carry pollen (usually) from the male parts of other flowers. Similar to some human enterprises, flowers advertise their wares. Bright banners flap in the breeze like colorful flags at used car lots. Others offer rich perfumery. “Stop here,” they seem to say in their sexiest chemical lexicon. “We’ve got what you want, you’ve got what we need.” Some flowers like violets offer clearly marked runways so that insects can find their way to the pollen or nectar. Many flowers even offer landing pads. How’s that for customer service?

There is deception among the flowers. Some orchids imitate bees, and according to Sharman Apt Russell, author of The Anatomy of a Rose, there are some flowers that don’t live up to their end of the bargain. These trick pollinators into expending energy to visit them and offer nothing in return. Cooperation, competition, deception, and manipulation—flowers are not only full of melodrama, they are full of universal concepts.

The Green Story in a Nutshell
Mystery and reciprocity live at the heart of the plant kingdom. A squirrel buries hundreds of acorns and eats some of them. A tree grows from one of them, and its leaves are munched by a caterpillar. The caterpillar is eaten by a bird. The bird lands on the branch outside my window and sings. Sunlight has become not only root but also wing, not only leaf but song.

For many of us this past winter was rough and long, thus we welcomed spring with its unfurling fire of green light with even more gratitude than usual. Although it is late spring at this writing, the Green Kingdom is lush, lovely, and alive here in Kentucky. But even if you live in a part of the country where the seasonal changes are less obvious, there is no escaping the inevitable fact that all living things are woven into a fabric whose warp consists of various shades of green.

Green is the color represented by photosynthesis, the solar-powered process so necessary for the richness of life on earth. In the presence of sunlight, pigments of chlorophyll like millions of miniature alchemists turn invisible molecules of water and carbon dioxide into visible forms of grass, leaves, buds, flowers, and trees. This turning of the invisible to visible and back again lies at the heart of photosynthesis and thus at the heart of the living earth. As the original alchemists, plants tap into the power of the sun and supply the energy for the planet. As interpreters, we are constantly looking for ways to create this sort of magic as we strive to restore our connections to the places we love. Learn more stories from the Green Kingdom; share them with your friends, family, and visitors. Chlorophyll may be at the heart of photosynthesis, but relevant stories are at the heart of our interpretive efforts. The Green Kingdom provides interpreters with stories that may help us turn sunlight into song.

Resources for Connecting with Plant Stories
Barnette, Martha. 1992. A Garden of Words. New York: Times Books.

Cathcart, Tavia, and Dennis Horn. 2005. Wildflowers of Tennessee the Ohio Valley and the Southern Appalachians. Auburn, Washington: Lone Pine Publishing.

Sanders, Jack. 1995. Hedgemaids and Fairy Candles. Camden Main: Ragged Mountain Press.

Sanders, Jack. 2003. The Secrets of the Wildflowers. Guilford, Connecticut: The Globe Pequot Press.

Wren Smith is the interpretive programs manager for Bernheim Arboretum and Research Forest in Kentucky. Reach her at 502-955-8512, x227 or Wren@bernheim.org.

 
 

A Conspiracy Theory in Our Parks?

23 Jul

By Skot Latona

Natural wonders such as Old Faithful (pictured here) and Delicate Arch (above) are icons of our national identity. What happens if they change? Photos by Marco Soave, Palacemusic.

At what point does restoration or management intervention erase the inherent value in our park resources? I first began puzzling over this question years ago after a simple joke on a backpack trip to the heart of Yellowstone. As my brother and I headed out for the backcountry, we left the noise of the roads behind and with it the fabulous megafauna. During the days we spent in a silent, flower-filled valley, we never saw anything larger than a squirrel until we returned to our car, which was surrounded by bison and elk.

“With such a beautiful valley, why would these animals hang out along busy roads?” I asked.

“They’re fed on the roadsides and trained to stay for visitors,” was my brother’s retort.

The rest of the trip we pointed out “clues” that Yellowstone was managed just to maximize the tourist experience: massive bull elk within a fenced cabin yard, bison licking the roadsides, and wolves denned conveniently across from a viewing overlook. What evolved became a complex theory worthy of the most fanatic conspiracy buffs. It confused my own once-firm grip on the reality of the Great Outdoors.

For example, we discovered that Old Faithful has continued to spout on average approximately every 91 minutes for the past 30 years. In 2002, over 2,300 earthquakes were measured in Yellowstone. Geothermal features are so sensitive that a single quake in Denali 1,900 miles away sent an impact rippling through Yellowstone. This distant quake caused five geysers to erupt more frequently and three to erupt less frequently, yet Old Faithful has experienced only minor changes amidst all this geologic turmoil. That information seems innocuous until it is noted that in the same year of 2002, tourism was responsible for $1.8 billion in the state of Wyoming. Old Faithful was the most popular overnight destination, accounting for nearly 40 percent of all tourist trips to the entire state. As we watched the famous geyser erupt on schedule, we noticed the water quickly run off through a grouted rock channel and our conspiracy theory was established. What would happen to the Yellowstone tourist industry, the cash cow of Wyoming, if Old Faithful dried up? We asked each other whether, in September 1988 when the Park Service evacuated the entire Old Faithful Village citing wildfire concerns, crews used their shovels to build fire lines or bury plumbing.

Subsequent journeys added fuel to the fire. Arches National Park is home to 2,000 natural arches, including the famous Delicate Arch (of Utah’s license plate fame) and Landscape Arch, which some argue is the longest natural rock span in North America. It is impossible to gaze at these delicate structures and not feel that they are defying gravity. In the last 20 years, 42 arches, including many less delicate looking than these massive wonders, are known to have collapsed in the park. In June of 1995, Landscape Arch itself shed three massive sections of rock, each a week apart, then it stabilized and has been quiet ever since. Did the Park Service close the trails around this arch to protect visitors from falling rock? Or, as in our twisted logic, was it to keep us from seeing braces that prop up the span from behind? Before you answer too smugly, consider that an obvious concrete beam already reinforces Agate Bridge in Petrified Forest National Park to keep that natural wonder from collapsing.

With our theory well under development, it was not shocking to hear a National Public Radio story about New Hampshire’s Old Man of the Mountain. This iconic landmark featured on coins, license plates, and memorabilia slid into a jumbled pile of boulders after eons of gazing out across the land. A year after the tragedy, NPR was reporting on plans to develop a memorial to the lost profile and to interpret its history and the changing landscape. The reporter was serious when she said someone from Disney had approached the commission offering “a little Hollywood magic” to rebuild the feature on the mountainside.

If you’ve visited theme park facilities, you’ve certainly seen the quality of “re-creations” built to attract visitors. Denver has a quarter-scale replica of Delicate Arch on a miniature golf course. From natural caverns in the lion’s den at the zoo to coral reefs in the city aquarium, natural wonders are duplicated with incredible realism. Given the realism we can achieve, how is a visitor to know where natural resources are being restored versus enhanced, or even created?

Before I’m shunned from the world of interpretive naturalists or banned from our national parks, recognize that I’m not honestly suggesting a planned conspiracy or even inappropriate manipulation of all the resources mentioned. However, once you buy into the joke just a little, suddenly funny bits of “evidence” appear wherever you go and the line between natural, managed, and artificial is quickly blurred. Examples of “improvements” to our natural wonders abound and the creative eye can spot them at almost any park or wayside.

The Great Wall of China at Badaling, constructed in 1505 or 1953?

It is openly acknowledged that Bosque Del Apache and other national wildlife refuges grow crops and artificially flood fields to attract the incredible clouds of waterfowl that darken the skies. Irrigation gates control the life-giving flow in the Everglades more than natural runoff. In Belize, dramatic friezes on Mayan temples are excavated, studied, then buried under fiberglass-and-concrete re-creations to protect them from weathering. The ruins of Mesa Verde have been “restored” to make them safe for visitors with little distinction made between what was rebuilt from a pile of collapsed bricks and structures that have remained standing for centuries. The Great Wall of China at Badaling was rebuilt in the 1950s with newly fired bricks fully encasing the historic wall, so none of the original can be seen. In Canyonlands National Park, steps are chiseled out of the sandstone to improve safety on challenging trails but are then camouflaged as natural fractures. California condors and Yellowstone’s wolves are tagged and every movement is tracked more closely than that of suspected terrorists.

Art restorers in museums have been working on tricks to clean and even retouch famous canvases, but when does the brush of the technician trump the stroke of the master? Is it any different for our natural wonders? When protecting weathering rock art, do we draw the line at diverting rainfall from running across it? Shellacking it with a protective coating? Or can we even touch up damaged or missing portions, as with a da Vinci painting?

Resource interpretation is described by National Park Service trainer David Larsen as finding a tangible icon, and—just like an icon on your computer desktop—“clicking” on it to reveal a whole new set of information and meanings. The interpretive technique is to use a tangible item to transport the mind to a world of universal concepts. Is that possible with reconstructed and manipulated icons? At what point does the resource lose its inherent authority over the imagination of the visitor?

True interpretive integrity requires that we interpret the resource for its inherent values and its current condition. Without restoration, many resources may disappear forever. Yet with improper interpretation, the values of those resources may be threatened. We need to be able to say comfortably and honestly that the visitor is viewing a re-creation or an artificial system when that is the case. We also need to admit that we are not able to indefinitely preserve every resource—and that perhaps our love of it is the cause of its demise. In some places this is done very well. In others, it is ignored or disingenuously minimized.

Our joke theory lives on over a decade later, with one of us throwing out a cynical observation of almost any natural wonder we experience. Maybe it is a coping mechanism to deal with our true awe of nature. Yet, as management of our natural resources becomes more and more intricate, where will the line of preservation fall and how is it interpreted? How will our meddling affect the meanings inherent in our natural and cultural wonders? At what point will we have gone too far, and will we know? Next time you visit Yellowstone, see if you can tell where the channels and manholes lead in the meadows around Old Faithful. Enjoy the joke. Then, ask yourself how much intervention is too much.

Skot Latona is a Certified Interpretive Trainer at South Platte Park in Littleton, Colorado. He appreciates sharing examples, photos, or creative outlooks that could add to the “research” on his conspiracy theory. Some of his photo “evidence” can be viewed at http://picasaweb.google.com/skotlato/AConspiracyTheory or he can be reached at skotl@sspr.org.

 

PowerPoint Pitfalls (and How to “Purge” Them from Your Presentations)

19 Jul

By Jon K. Hooper

This column is a series designed to help enhance your PowerPoint presentations. Each edition pinpoints common pitfalls faced when planning, preparing, and presenting PowerPoint shows.

Pitfall: Not Embedding TrueType Fonts

Jack: When I loaded my PowerPoint show onto my host’s computer at the conference, my fonts changed to bizarre, futuristic ones.

Jill: You experienced a font shift! Did you embed your fonts when you created the show?

Jack: Say what? I’m not a computer nerd. If I had fiddled with PowerPoint’s inner workings, I would have really screwed things up!

Jill: Seems to me you screwed things up without fiddling with PowerPoint!

When you transfer a presentation from one computer to another, sometimes the wrong fonts show up on the screen. This occurs because the second computer does not have the same fonts installed. This problem can easily be solved by “embedding” your fonts into your show. Embedded fonts are part of a file so they travel with the file from computer to computer. The down side is that embedding fonts increases a file’s size and only some TrueType fonts can be embedded in PowerPoint (TrueType fonts have small blue “TT” icons when viewed in your Windows Fonts folder). Unfortunately, you can not embed fonts in Mac versions of PowerPoint.

To Purge the Pitfall
To solve this problem when initially saving your file in PowerPoint 2007, follow these steps:

  1. Click the Office button in the upper left corner of the screen, then click Save As.
  2. In the “Save As” dialog box, click Tools in the lower left corner, then click Save Options.
  3. Click the box in front of “Embed fonts in the file” (so a checkmark appears).
  4. Select “Embed all characters (best for editing by other people).” If you want to keep the file size down for a show that will only be displayed but not edited on another computer, select “Embed only the characters used in the presentation (best for reducing file size).” Be aware that with this latter approach, any letter (e.g., “z”) that you never used when creating the show on your first computer will not be available when you open the show on a second computer unless the font you’re using was already loaded on the second computer.
  5. Click OK to finalize the embedding process then give your show a file name and click Save.

Final Thoughts
Font “shifts” that occur when you create your show on one computer yet present the show on another computer can ruin a PowerPoint presentation. Simple adjustments to PowerPoint’s “Embed fonts in the file” setting can eliminate this pitfall. Of course, you can avoid this pitfall altogether by sticking to a basic typeface such as Arial that is available on almost all computers. You could also simply prepare and present your show using the same computer.

Dr. Jon Hooper has over 30 years of experience helping natural and cultural resource professionals enhance the effectiveness of their communication efforts. He is a professor of environmental interpretation at California State University, Chico, and is the owner of Verbal Victories Communication Consulting. He is a Certified Interpretive Trainer (CIT) and was Project WILD’s national Facilitator of the Year in 2006. Contact Jon at jonkhooper@hotmail.com.

 
 

Does a Zoo’s Endangered Species List Include Buildings?

12 Jul

By Amy Dee Stephens

At the Oklahoma City Zoo, the remodeled bathhouse will become the museum. Photo by Amy Dee Stephens

Shhh! Don’t tell anyone, but zoos aren’t just in the animal business anymore.

Sure, elephants and giraffes are the main reason over 150 million Americans walk through zoo gates each year. Snakes are cool, hippos are funny, and monkeys steal the show—except these days, those poor monkeys have so much to compete with!

As entertainment venues, zoos offer a vast array of options to suit visitors’ tastes: playgrounds, IMAX theaters, ropes courses, birthday party pavilions, food courts, spray parks, etc.

But zoos are suddenly finding themselves in a new and unexpected role: keepers of culture and community history. Many American zoos are celebrating their 50th or 100th birthdays, and quite by accident, their buildings reflect the changes that have occurred during that time.

For example, the Toledo Zoo possibly has the largest collection of existing buildings from the Works Progress Administration (WPA) from the 1930s.

The Toledo Zoo’s WPA-era amphitheater played host to a Paul Simon concert in 2006. Photo courtesy the Toledo Zoo.

“Our community has a strong association with the WPA,” said Andi Norman, director of marketing and public relations for the Toledo Zoo. “It put our ancestors back to work during the worst economic time in our country’s history.”

According to Norman, restoring their 1934 Reptile House, rather than tearing it down, was well received by visitors, who appreciate both the history and ambiance it creates.

The Oklahoma City Zoological and Botanical Garden is soon opening a zoo history museum. Memory Junction, housed in a WPA bathhouse, will share the story of the animals and visitors who have passed through the zoo’s gates for over 100 years. The quaint 80-year-old building will take on a new life—an unexpected time capsule, nestled between the ultra-modern elephant barn and the newly constructed stadium.

Although preservation projects such as these pose an array of wonderful opportunities to showcase history and architecture, zoo officials must also wade through complicated decisions:

  • Doesn’t our audience expect us to build new exhibits?
  • How do we house large animals now that space requirements have outgrown our existing buildings?
  • Wouldn’t it be cheaper to start over rather than renovate an older structure?

Sentiment aside, preserving zoo buildings often comes down to real estate and finances. The new exhibits that bring visitors through the gates require space—space that can be created by demolishing outdated structures.

The Oklahoma City Zoo is currently working to develop a 10-year master plan. Historic structures complicate the process as architects struggle to develop newly themed exhibits or simply redesign pathways to improve traffic flow, all while trying to accommodate old structures that, quite frankly, are in the way.

Because none of Oklahoma City Zoo’s buildings are designated as official landmarks, the zoo is not required to keep them. Management must grapple with the issues of historic value, social obligation, and the best long-term interest of the zoo.

The Zoo Center at the Bronx Zoo, pictured here in 2008 and 1909, was once the zoo’s elephant house building. Photos courtesy Julie Larsen Maher © Wildlife Conservation Society.

The Bronx Zoo, on the other hand, works under the New York City Landmarks Preservation Commission. Some structures within the zoo are designated as historic property. Astor Court includes stately buildings, gardens, and pools where the elite once went to be seen in the late 1800s. Over time, keepers moved animals out and Astor Court became office space. Under the direction of Susan Chin, director of planning and design, Astor Court has been converted back to animal exhibits.

Two years ago, the Bronx Zoo reopened the 1903 Lion House with exhibits based on Madagascar. It became the state’s first LEED-certified historic landmark, recognized for meeting energy-saving standards. The landmarks commission even allowed some structural changes, such as skylights and an extended basement for mechanical systems.

“But make no mistake,” said Chin, “it can take a lot of money for redevelopment. Building a new Madagascar exhibit from the ground up would have been less expensive.”

Oregon Zoo also remodels its older buildings. In 2001, two primate enclosures underwent a $750,000 remodel to create the Amazon Flooded Forest exhibit.

“We took bare, modernist cages and transformed them into split-level underwater and upper canopy viewing,” said Brent Shelby, exhibit and interpretive design manager. “I’m not sure the building was historically valuable, but from an environmental perspective, it reinforces our message about reusing resources.”

In this case, the Amazon renovation was less expensive than starting over. According to Shelby, the building had a good “skeleton,” including good structure, electrical service, and heating and air-conditioning systems.

“We added new contours and flesh to the skeleton instead of demolishing the building and sending it to a landfill somewhere,” Shelby said.

Behind all the financial and physical considerations of saving historic structures, one must ask, “How will the public respond if their favorite zoo landmark is destroyed?”

It’s a valid concern, because communities have great ownership in their zoos. The public supports their site through ticket sales, tax levies, and membership fees, and they have other entertainment choices if they lose faith in their zoo.

According to Norman, preserving visitor accommodations is equally as important as saving animal exhibits, from the favorite sculpture every zoo visitor photographs to the beloved 50-year-old amphitheater. For Toledo Zoo, the community is so linked to its heritage that tearing down a historic structure is out of the question.

“We’d need an awfully strong case for demolition,” Norman said. “The outcry from the community would be intense. I wouldn’t want to be the public relations director!”

“It’s a great thing to try to protect architecture that is meaningful, but also understand that there are tradeoffs when the facilities house a living collection,” said Chin.

No one wants to be in the position that London Zoo faces. Nearly all of its Victorian-era buildings are government-mandated as historic landmarks, so they have little option when it comes to modernizing.

To combat such challenges, London Zoo has focused upon improving its infrastructure with energy-efficient mechanical systems, living roofs, and visitor messaging about reducing environmental impact. As a result, it has received awards for both “green tourism” and sustainability. To maintain animal care standards, however, larger animals were moved to London’s sister zoo, Whipsnade Zoo.

The Bronx Zoo faced similar challenges with its 1908 Elephant Building. Keepers complained about archaic conditions, the American Zoo and Aquarium Association required more space, and even visitors recognized the housing as inadequate. A few years ago, elephants moved out and rhinos, tapirs, and babirusas moved in. It was a good solution for animals and staff.

The Oklahoma City Zoo has dealt with aging grotto exhibits in a similar fashion. The grotto design, a concrete island or pit surrounded by a moat, was an innovation from the late 1800s that provided a view of the animals without bars or caging. In Oklahoma City, the concrete grottoes that once housed bears and cats are now filled with landscaped foliage and are home to smaller species like anteaters and meerkats.

This presentation works better, but it poses its own challenge. Many visitors remember watching bears pace back and forth on hot concrete. Although grottoes were once considered state-of-the-art, today’s improved conditions cause visitors to question the animals’ treatment in the past—a negative connotation that zoos don’t want their visitors to dwell upon.

So, is this a proverbial “free pass” for zoos to eliminate their grotto exhibits and start over?

Zoos with interest in their historic structures say no, because old-style exhibits represent the changes that have occurred in zoos over time.

“We need our old buildings as a point of reference, not just to tell us about the past, but to help place the present and future in perspective,” wrote Constance M. Greiff, author of Lost America.

Norman suggests that visitors have more appreciation for zoo improvements when they know the background information. At Toledo Zoo, a plaque in the Reptile House lists the recycled materials from which the WPA built the structure: stone from the Miami canal and reclaimed brick from city buildings being torn down.

According to Greiff, the appreciation of architecture seems to operate under the “great-grandfather clause.” Aesthetically, people most appreciate the architecture from several generations ago.

That may be the reason the WPA buildings are attracting such interest, while newer structures seem to have less historic value—at least for now.

Zoos span decades of social memory. In many instances, architecture is the visual trigger for conversations that begin, “I remember the zoo when….”

William Murray, a recent visitor to the Oklahoma City Zoo, said, “I’m all for progress, but I beg you not to take away those historical markers that make Oklahoma City Zoo unique. Those are my childhood memories.”

“As the zoo continues to grow and change, it’s important to look back,” said Dwight Scott, executive director of the Oklahoma City Zoo. “Giving our visitors an avenue to share their zoo memories across the span of time is a valuable contribution to this community.”

Most zoo officials and even historians will agree that not all buildings can or should be saved. However, heightened awareness that other zoos are viewing their property with new eyes is giving decision-makers pause. Do visitors value nostalgia along with modern entertainment?

“I foresee many conversations about zoo preservation,” said Shelby. “We will have to consider a building’s intrinsic value and nostalgic purpose and decide whether to preserve that piece of history.”

No, zoos aren’t just in the animal business anymore.

Monkeys are competing with both the spray park and the artistic stone architecture. Rhino keepers are now also caring for 100-year-old buildings. And zoo directors find themselves looking back to the past as they strive to look to the future—wondering when conservation took on such new meaning for zoos.

Is it that living museums have turned into, well, history museums?

Amy Dee Stephens is a naturalist educator at the Oklahoma City Zoo. She is also a freelance writer and author of the book Oklahoma City Zoo: 1902–1959.

 

Storytelling for Interpreters and Rangers: A Unique and Critical Approach

06 Jul

By Brett Dillingham

Interpreters (including naturalists and rangers) need to be storytellers. The Ranger Interpretation Handbook produced by the International Ranger Federation states that the first of 11 principles of high-quality interpretation is that interpreters must “develop an in-depth knowledge of the natural or cultural protected area that is being interpreted and [apply] that knowledge to build a range of relevant messages/compelling stories.” However, though interpreters usually have an excellent knowledge of their environment, few have been taught how to tell stories. If they have been taught, their instruction often misses the critical areas that they need in order to craft and tell interesting, compelling stories that delight and move their audience.

Interpreters are storytellers. Pictured here: Chuck Lennox of Seattle, Washington, has the audience in the palm of his hand. Photo by Charlotte Spang.

Below is a process—plus some tips—on how to become skilled in humans’ most ancient art, that of telling good stories and telling these stories well.

First, you need to have a story you feel passionate about. Sometimes a colleague has shared a story that just begs to be told, and has given you permission to tell it. Usually, however, despite interpreters’ knowledge, they have not sought out and crafted the stories that are most meaningful to them. These are the stories they will tell best because they come from the heart.

To create your story, have a simple brainstorming session with your colleagues. In a recent workshop for the staff of Glacier Bay National Park and Preserve, some of the subjects interpreters suggested were sea otters, orcas, brown bears, clams, glaciers, Tlingit history, moose, hummingbirds, and mosquitoes. After they chose the subjects most meaningful to them they began to create their own stories. This was done by creating a simple graphic organizer or story map—I call this a Visual Portrait of a Story (VPS). The VPS has five main components: beginning, problem, solution, end, and picture (or drawing).

Contrary to how most of us are taught, you begin with the problem and solution (instead of the beginning) of your subject. Jot down a few words regarding the problem and solution. Then write a sentence or two for the beginning, and a sentence or two for the end. If you are at all artistic, you can draw a picture or pictures that remind you of the story.

Next, begin the powerful tell-and-retell process. Start by telling the story to another interpreter before actually writing the whole tale down from beginning to end. Do this while standing up so you can move your body and act it out as you tell. Ask your partner to tell it back to you (retell) using body movement, sound, and facial expressions. Your partner won’t use the exact same words, nor tell it just like you; that is what you want. You will see and hear your story in a different light and may use some of the words or storytelling techniques your partner used. Remember, what you are trying to do here is craft an excellent story, the best you can for your audience.

Honing Your Story Further
This is a constructive process, so it’s helpful to have someone model the language of response and criticism. I have used the following simple but very powerful discussion process effectively to teach others how to evaluate storytelling performances at all levels. When a teller finishes the story, he or she should ask, “What did I do to make this a good storytelling?” Colleagues provide specific feedback on what made the storytelling good—the sounds, facial expressions, and body movements. At the Glacier Bay workshop, one such response was, “I liked the way you moved when you stuck your [sea otter] head out of the water.” Another was, “You spoke loudly enough that everyone could hear you.” You want your colleagues to focus on how the story was told, not the content.

Critical feedback without using harsh words encourages the teller to grow and become more effective. After three or four positive comments have been shared ask, “What could I do to make the performance even better?” One response might be, “To make it even better, you might want to show the sea otter swimming” or, “Tell the story loud enough so that the people in the very back can hear you well—that way you know everyone can understand your story.” Another response might be, “Perhaps act like you are on your back and breaking the clams with a rock.” Two or three specific suggestions are optimal. This is where tellers begin crafting their story; they have a good idea of what works and what should be modified or left out. The storytelling will be better the next time it’s told.

Storytellers learn to use variations of the questions above. This language is polite yet direct and useful. This type of guided practice increases confidence and improves performance. With a few more rehearsals, you will find that you have a great story, you tell it well, and you know the process to create more stories for other audiences.

A good story can hardly be beat. Interpreters are in the enviable position of having incredible optimal environments—and often venues—for storytelling. By creating a story from your knowledge and passion, then crafting it with the help of your colleagues, you will delight your audience with a great story, well told.

Some Further Storytelling Tips

Know your audience and choose an age-appropriate story. Make sure the story you choose isn’t too child oriented for adults or too mature for children.

Be professional. Enter the performance space with a confident stance. Acknowledge the audience by smiling and making eye contact. Wait until you have their full attention. Introduce yourself, and give the story title.

Make sure your audience can see and hear you. Work as close to them as possible. The sound of your voice is your most important tool.

Use variety in your speech. For example, make your pitch higher to show excitement. Use a long pause to build suspense. Make the tone of your voice deeper to sound like an older or larger person or animal.

Use different voices for different characters. A donkey might have a deep, slow voice. A rabbit might have a fast, high-pitched voice. The narrator should have yet another voice.

Use expression. Do not speak in a monotone. The more familiar you are with the story, the more fluent you sound. Tell the story as naturally as a conversation with a good friend, not labored like when you read something unfamiliar. Try showing an emotion on your face before it comes out of your mouth. For example, open your mouth and eyes wide to show surprise.

Use deliberate movements and fill your space. Do not distract your audience with nervous mannerisms such as rocking back and forth, playing with your hair, or leaning against a wall. Do not be glued to one spot. Move in relation to your audience for a desired effect, such as leaning in with your fingers as claws to scare when telling a bear story.

Your hands are your best friends. Do not put them in your pockets—use them!

End your story as a professional. Remember to bow.

Brett Dillingham is a professional storyteller and author of the children’s book Raven Day and the textbook Performance Literacy Through Storytelling. Contact him at brett@brettdillingham.com.