Amelia🐞

At the beginning of this semester, I was tasked with creating a blog. That was ten weeks ago. I wasn’t familiar with the field of nature interpretation. I enrolled in this class because it seemed interesting, and not having to commute to campus was a bonus. Little did I know how transformative this experience would be. I have connected my personal experiences to broader environmental themes, shared stories, and explored new perspectives. I grew not just as a student but as an aspiring nature interpreter. As I write my last blog post, I’m reflecting on how this journey has shaped my ethics, responsibilities, and approach to interpretation.

My evolving philosophy as a nature interpreter is shaped by the belief that environmental education is more than just delivering facts; it’s about creating emotional connections, inspiring curiosity, and encouraging respect for the natural world. As Becket al. (2018) write, “Interpreters should embody enthusiasm, knowledge, and adaptability, all while conveying a sense of humility and humour.”  This quote resonates with me, reminding me of the need to improve myself, as well as inspire others continually. 

A central belief that guides me as a nature interpreter is that nature should be accessible to everyone. We all bring different perspectives, shaped by our backgrounds and experiences, to our interactions with the environment. This idea aligns with the concept of multicultural education as well as the idea of the “invisible knapsack” of privilege and cultural influence that each person carries (Gallavan, 2003). Understanding this concept allows me to approach interpretation with humility, recognizing both my privileges and the diverse perspectives of my audience. By being aware of these dynamics, I aim to create an inclusive environment where everyone feels welcome to explore nature.

Another guiding principle for me is the power of emotional engagement through the arts. Arts-based environmental education allows for a deeper connection to nature. As van Boeckel (2013) discusses in At the Heart of Art and Earth, “arts-based methods in environmental education can make content more memorable and enjoyable.” Art helps to bridge he gap between scientific knowledge and personal experience. Additionally, as Gray et al. (2001) explore in The Music of Nature and the Nature of Music, music and natural sounds are powerful conduits in environmental education, bridging science with personal experience. This approach is meaningful to me as a creative individual who values storytelling, music, and visual expression. By integrating artistic elements into my interpretation, I aim to create memorable, emotionally resonant experiences that make environmental messages more accessible and impactful

As a nature interpreter, I feel a strong ethical responsibility to present information accurately, inclusively, and thoughtfully. One of my primary duties is to foster a genuine curiosity about the natural world, going beyond facts to help others appreciate its complexity and interconnectedness. Merenlender et al. (2016) emphasize the importance of environmental education programs that inspire action, not just knowledge. Through my work, I hope to not only educate people about nature but also motivate them to protect it.

In addition, I feel responsible for balancing realism with hope. Environmental issues can be daunting, and it’s easy for audiences to feel overwhelmed. As Rodenburg (2019) highlights, educators have a duty to instill hope, reminding audiences that positive change is possible. My role involves fostering empowerment and offering realistic views of environmental challenges while emphasizing the impact each person can have through small actions.

Given my belief in inclusivity and emotional engagement, storytelling has become a cornerstone of my interpretation approach. Stories allow me to convey scientific information in ways that are both memorable and relatable. For example, incorporating folklore or traditional stories, as Sahi (2010) describes in their discussion of Finnish folk music, can help convey the sacredness and interconnectedness of nature in a way that resonates across cultural backgrounds. Storytelling allows audiences to connect to the universality of nature’s beauty and the specificity of individual places.

Furthermore, I strive to adapt my approach based on the needs of my audience. Wals et al. (2014) argue that effective environmental education should be responsive to different learning styles and preferences. For young children, I incorporate interactive elements and simplified language, focusing on hands-on activities that nurture their innate sense of wonder. For adults, I might delve deeper into complex ecological relationships or discuss specific actions they can take to support conservation efforts. This flexibility allows me to connect with diverse audiences, ensuring that everyone feels engaged and empowered.

As I continue to develop as a nature interpreter, I am aware of areas where I can grow. One challenge I encounter is the temptation to overload audiences with information. Given my passion for sharing what I love, I sometimes feel compelled to share too much, which can overwhelm or disengage visitors. Learning to simplify and focus on key messages, as Csikszentmihalyi’s (2008) concept of “flow” suggests, will help me create more cohesive and enjoyable experiences.

As the semester ends, it is easy to become disheartened by the challenges facing our environment, but as nature interpreters, we have a duty to inspire hope and resilience. “Interpretation, properly carried out, serves as an indispensable tool to achieve successful cultural and natural resource stewardship. Interpretation takes people from passive appreciation to exciting understanding of the cultural and natural environments they experience” (Beck et al., 2018). This means balancing the realities of environmental issues with messages of empowerment, reminding audiences of the positive impact their actions can have. Ten weeks is a short time in our long life but have had one of the major impacts. To develop as an effective interpreter, I recognize that continuous reflection and adaptation are essential. Interpretation is not static; it requires a willingness to learn and evolve

My beliefs, responsibilities and ethics have been altered for the better. My blog posts may have come to an end, but my story continues, I hope I continue to develop as a nature interpreter. I hope to help others in our natural world's ever-changing landscape.

(Myself at Grosse Mountain, Vancouver)

References:

Beck, L., Cable, T. T., & Knudson, D. M. (2018). Interpreting Cultural and Natural Heritage: For a Better World.(pp.13). Sagamore Publishing.

Csikszentmihalyi, M. (2004). Flow, the secret to happiness.

Gallavan, N. P. (2003). Helping teachers unpack their "invisible knapsacks". Multicultural Education.

Merenlender, A. M., Crall, A. W., Drill, S., et al. (2016). Evaluating environmental education, citizen science, and stewardship through naturalist programs. Conservation Biology.

Rodenburg, J. (2019). Why environmental educators shouldn’t give up hope. Clearing Magazine.

Sahi, V. (2010). Using folk traditional music to communicate the sacredness of nature in Finland. Workshop Proceedings: Spiritual Values of Protected Areas of Europe.

van Boeckel, J. (2013). At the heart of art and earth: An exploration of practices in arts-based environmental education. Environmental Education Research.

Your point about the accessibility of interpretation is one of the main points I made in my own post, and I totally agree that it should be a central belief of any interpreter who wants to convey messages to a wide audience! One of the most important aspects of being an interpreter is ensuring that your audience can understand and interact with what you’re conveying. I liked your point about recognizing your own privileges and diverse perspectives of your audience. I think this ties into recognizing your position when communicating secondary points of view as well. A prime aspect of nature interpretation is making sure that the history of certain landmarks and sites is understood by the audience. Considering this, there is a fine line between speaking for and speaking over underrepresented voices.

Your point about balancing realism with hope was an aspect that I hadn’t thought of before. I find it difficult to communicate the balance between raising awareness of how seriously our planet is being threatened, while also making sure I’m not making our audience feel hopeless.

As I develop my personal ethic as a nature interpreter, I am reminded of the urgency and responsibility that comes with this role. The world is facing unprecedented environmental challenges, yet our connection to nature is dwindling. As Jacob Rodenburg (2019) mentions, “being an environmental educator in today’s world feels like you are asked to stop a rushing river armed only with a teaspoon”. To further this message, in a climate change discussion presented by the David Suzuki Foundation, it was mentioned that in San Diego, a city surrounded by stunning coastlines, 90% of kids can’t swim, 95% have never been on a boat, and 36% have never even seen the ocean despite living less than 20 minutes away (DavidSuzukiFDN, 2012). Both these points highlight a growing problem that extends beyond just San Diego. It’s a disconnect that, as a nature interpreter, I am committed to solving.

Once I stated this, I realized I might be in over my head by saying “solving” and rather maybe should say alleviate or mitigate. Even with mitigating this gap, I thought where would I start? How can I encourage a generation to care for a world they have rarely even experienced first-hand.

Connecting two worlds: The advantage of my generation:

Being born in the early 2000s, I believe I would have a unique perspective to take this challenge on. I had the advantage of growing up in an environment where outdoor play was common and afternoons were spent exploring the woods, playing sports outside, or simply daydreaming beneath a vast blue sky. I still remember the feeling of endless opportunities while emerging in nature, free of any digital world. During this time, even schooling was different. There was a greater emphasis on hands-on activities, outdoor field trips, and real-world discoveries than on screens and online classes. I have a vivid memory of the evolution of learning boards, which started with plain whiteboards and blackboards, to projectors (figure 1), and then to smartboards and more high-tech equipment.

Figure 1: this is an example of a projector that I still vividly remember my teachers using to give lessons. (Whatever Happened to the Overhead Projector?, 2021)

However, I was still young enough to experience the quick shift to a tech-centric lifestyle. As smartphones, tablets, and social media grew more integrated into our daily lives, I saw firsthand outdoor activities take the backseat. Children today, who have never experienced a world without continual digital connectivity, are missing out on the simple pleasures and deep connections that come from connecting with nature.

This dual perspective gives me an advantage when interpreting nature. I understand what today’s children are drawn to in the digital age, but I also recognize the irreplaceable significant of both hands-on and physical experiences. My goal is to use this insight to develop programs that combine the best of both worlds, utilizing technology to enhance, rather than replace, our relationship with nature.  

One of my firm views is that everyone, particularly children, has an innate urge to interact with the natural world. Jacob Rodenburg (2019), highlights this through his experiences that younger children are always eager to appreciate nature, all they need is a chance. He describes taking children to wetlands and seeing their faces light up as they discover salamanders and frogs. These experiences have taught me that the first step in encouraging environmental care is to instill a sense of wonder and curiosity.

Since this is a longer post I want to stop here at halfway and give everyone a break from reading and do this activity:

Think of a place in nature that holds a special memory for you- maybe a childhood park, a hidden trail, or even your backyard. Now think about if that is something children growing up now would experience. What did it teach you? How can you use this place to inspire someone else to love the environment?

As a nature interpreter, my job is not only to inform, but to inspire. Interpretation should aim to create memorable, meaningful experiences that inspire action (Beck et al., 2018). This includes acknowledging that both children and adults need to reconnect with nature on their own terms (Beck et al., 2018). It is not enough to discuss climate change or species extinction. Instead, I want to give hands-on, engaging experiences that will make people care profoundly about the environment around them. I can even do this by incorporating technologies, such as microscopes, magnifying glasses, and telescopes to look at nature. For example, when I was young my dad showed me how you can hold a magnifying glass up to a leaf in the sun, and the leaf will get a hole burnt in it. I still remember this experience to this day.

Here you can see a video of this in action:

https://www.shutterstock.com/video/clip-5804798-scout-burning-leaves-by-loupe-tries-holding

Futher, the identification of global warming as a severe hazard is not a new development. At the 1988 global conference, Steve Lewis and other renowned scientists raised the alarm about the dangers of climate change, urging the world to act. Despite decades of growing scientific data, development has halted and, in some cases, reversed (DavidSuzukiFDN, 2012). This lack of momentum is that the method was frequently based on just providing data and using fear to elicit change, rather than developing compelling, meaningful experiences that could inspire a deeper, long-term connection to the subject.

An interpreting technique that appeals to me is one that mixes storytelling and discovery. Rodenburg's significance on micro-environments serves as an inspiration for me when writing for younger readers (Jacob Rodenburg, 2019). Instead of bombarding children with information about vanishing glaciers or plastic-filled oceans, I can focus on the simple wonders right in their own backyard. For example, how he brought up the idea to take them to a local park and ask, "I wonder who lives under this rock?" so when they lift it and discover a wiggling earthworm or a little salamander, they feel as if that was their own discovery (Jacob Rodenburg, 2019). It's a time of pure exhilaration, where the thrill of discovery creates a deeper, more personal relationship to nature, instilling an actual care for the environment.

I also believe in the power of storytelling. By crafting narratives about the plants, animals, and landscapes around us, I can turn facts into intriguing stories that pique the imagination. This strategy not only makes knowledge more memorable, but it also helps people create a stronger emotional bond with their surroundings by transforming abstract concepts into relatable, lived experiences (Beck et al., 2018).

Quick interactive moment: What's one tiny thing you can do today to reconnect with nature? It may be as simple as planting a flower, clearing up trash. or taking a few minutes tonight to observe the stars.

References

Beck, L., Beck, L., Cable, T. T., & Knudson, D. M. (2018). Interpreting cultural and natural heritage: For a Better World.

DavidSuzukiFDN. (2012, July 20). David Suzuki and Richard Louv @AGO [Video]. YouTube. https://www.youtube.com/watch?v=F5DI1Ffdl6Y

Jacob Rodenburg. (2019, June 17). Why environmental educators shouldn’t give up hope | CLEARING: PNW Journal of Environmental Education in the Pacific Northwest. https://clearingmagazine.org/archives/14300

There are so many fascinating aspects of nature, it is almost impossible to narrow it down to just one. While I know quite a few fascinating things about nature, I do not know nearly as much as I wish that I did. I am, however, learning a lot through many environmental sciences classes, much like this one, that I have been taking. I have also done a decent amount of travelling but would like to do a lot more as I grow older. I think travelling is a fantastic way to learn more about other cultures and places.

One of the most fascinating things that happens in nature in my opinion is bioluminescence. Most of you probably already know this, but this is when organisms such as fireflies, jellyfish, and some fungi produce their own light. They do this through chemical reactions. In the ocean and on forest floors, the glow can attract mates, lure in prey, or deter predators. They create beautiful displays in dark places. A very interesting part of bioluminescence is that it is found in so many different organisms. This trait usually evolves for very different reasons in various organisms.

(Kumar, 2016).

This week, we were assigned to read chapter 21 of “Interpreting Cultural and Natural Heritage For A Better World.” One of the key parts of this chapter was the concept of authenticity and awe.  The chapter expresses that, “the backdrop of almost any interpretive site relates to its authenticity. In a world that seeps more and more toward the inauthentic, the field of interpretation relies on the authentic” (Beck et al., 2018). I think this is essential to examine because nature itself is as authentic as it can be. In order to interpret nature, you have to be authentic. This is because authenticity inspires people but also creates awe in their reactions, which in my opinion is a crucial point made within this chapter.

Another thing that I found important from this week's textbook readings was that “nature study goes beyond memorizing facts about the natural world” (Beck et al., 2018). I think this is a really important point and ties in nicely with the idea of “awe.” In order to inspire others, an interpreter must be inspired themselves. This chapter of the textbook proceeds to note the importance of mentoring children and youth. This is because later, as young adults and adults, they may have more of a desire to participate in nature-dependent recreation or look for careers in wild areas and settings (Beck et al., 2018). This brings me to my childhood. Fortunately, I grew up with parents who loved nature and who wanted to share it with me. I was also lucky enough to have the opportunity to grow up on the lake. I have so many fond memories of going for walks in the forest, swimming, canoeing, and admiring beautiful wonders of nature.

To this day, I love the water and my favourite days are spent on the lake. I do not happen to have any photos from when I was younger, but I do have some really cool pictures of some fun lake days I had this summer!

Kayaking with my boyfriend this summer!

We also went on a lot of hikes!

I loved your perspective on the concept of “awe” in our reading! Bioluminescence is an amazing example of this, and I think its connection to deep-sea creatures contributes to this interesting example. The seep-sea has a sense of mystery that many other aspects of nature can’t reflect! The largely undiscovered realm that is filled with species we have yet to discover would make anyone hearing about it intrigued. One of my favourite species that exhibit bioluminescence is the anglerfish. Bioluminescent bacteria are located in the hanging bulb-like structure above its head, which can attract prey, mates, scare predators, and much more depending on the species (Berkely, n.d.)! I remember the scene in ‘Finding Nemo’ where Dory and Nemo’s dad come across an anglerfish at the depths of the sea, and it terrified me! Ever since I have found deep sea creatures fascinating.

The most exciting aspect of nature to me is the unknown. Whether it be unknown to me personally, or scientists all over the world, there are always new discoveries waiting for us in any corner of nature. Hiking new trails allows for us to develop a new adventure even if it’s in our hometown we think we know the ins and outs of! Nature allows me to appreciate

Source:

When we are asked questions like “Where is music in nature? Where is nature in music?” These questions bring to light the beautiful and almost entangled connection between the natural world and the music we create. When we really think about it, music seems to be everywhere in nature whether it’s the rustling of leaves in the wind, the crash of ocean waves that occur so rhythmically, or the birds singing throughout the day. These sounds are nature's way of communicating, a kind of music that we often don’t appreciate. It’s unforced, free-flowing, and has a rhythm of its own. Nature itself is like a great composer, crafting music that soothes and inspires us without us even realizing it.

Music often mimics or is inspired by nature. There are many songs that have been written about landscapes, the sea, or even the changing of the seasons. Think about how many tunes have lyrics describing rivers, mountains, or the sky. Even when lyrics aren’t involved, musicians use the sounds of nature like the calling of a bird or the rumble of thunder in their compositions to evoke a particular feeling or atmosphere. 

This connection between the two is more than just superficial. There’s a certain power that both music and nature provide that's so healing. Walking in a forest or hearing your favorite song can reduce stress and bring a sense of peace. There’s something about both that makes us feel more secure and more connected to something bigger than ourselves.

For me, one song that always brings me back to nature is Israel Kamakawiwo'ole’s version of "Over the Rainbow." Every time I hear it, I’m transported to wide-open landscapes whether it’s the memory of driving with my brother through scenic routes, windows down, the sky a blend of pinks and oranges, or simply the feeling of being close to the ocean. The soft ukulele and Israel's gentle, heartfelt voice create an image in my mind of a peaceful beach, the waves lapping at the shore in perfect harmony with the music.

It’s not just the melody that brings me back to nature but it’s the feeling the song evokes. It’s that sense of calm, of being in the moment, that connects the music to the natural world. Whether we were on a road trip or just hanging out, the song became a kind of anthem for those peaceful moments shared with my brother. It’s one of those songs where you can close your eyes and feel like you’re surrounded by nature, whether you're driving through the most scenic routes or sitting around a campfire.

When I’m feeling stressed the best thing I can do is go on a walk with some music to clear my mind! Music can really change how I interpret my surroundings and my mood. I came across a 2017 NYT article by Chris Richards discussing a concert that was rained out with a lightning storm. Richards stated that in his youth, a highly anticipated Fugazi concert was sprinkled with bursts of lightening and the sounds of rain. The experience was described as ‘tremendous’, and upon reading I found myself a bit jealous! Despite the concert being cut short, it seemed like an experience that wouldn’t be forgotten.

As someone who has anxiety surrounding driving, one of the most important things to me is being able to have music while driving. I often make the drive from Guelph to my hometown and find myself going out of my way to take backroads when I have the time. This has taught me that driving can be enjoyable when my worries are alleviated and I’m surrounded by nature. I love being able to see the leaves changing colours along country roads while listening to music at this time of year.

Reference:

Five-lined Skink and Spotted Salamander!

Well, since this week’s prompt is completely open-ended, I’m going to write about salamanders, simply because I found a couple this evening. In Ontario, we have many different species of salamander, with the most common being the Eastern Red-backed Salamander. These salamanders are relatively easy to find, inhabiting forests and often resting under logs and rocks in damp areas. These salamanders can be a good tool for nature interpretation, because of their ubiquitous nature and the fact that they are easy to find and can be handled safely with some precautions. It is best practice to handle them only with silicone gloves or after you have dampened your hands, since many species of salamanders breathe through their skin and are very sensitive to oils, and any creams, sunscreen, bug spray etc. that may be on your skin! It is best practice to place the salamanders back in the spot where you found them, gently replacing the log or rock that they were under so as to not disturb their habitat. Finding salamanders can be exciting for kids, since it is an easy way for them to engage in wildlife up-close and personal, as long as they are aware of the precautions and ethical considerations regarding handling and manipulation of their habitat.

There are 11 species of salamanders in Ontario, the Allegheny mountain dusky salamander, the Blue-spotted salamander, the Eastern newt, Eastern red-backed salamander, Four-toed salamander, Jefferson salamander, Mudpuppy, Northern dusky salamander, Northern two-lined salamander, Small-mouthed salamander, Spotted salamander, plus a unisexual complex of Ambystoma. There is also one lizard species in Ontario, the Common five-lined skink.

To begin, I would like to dissect a quote which directly relates theories of interpretivism to The Gift of Beauty from the textbook. “Interpretation should instill in people the ability, and the desire, to sense the beauty in their surroundings -- to provide spiritual uplift and to encourage resource preservation." To me, this piece of text targets the actions which should be invoked through nature interpretation, including the heightened desire and drive to interact with natural beauty, holding our spirits high and engaging in conservation and preservation. Art in nature can take many different forms and is relative to different people with different backgrounds. Whether natural art embody a photograph, a painting, a technical skill like fly fishing, a natural phenomenon or something else, it will be perceived emotionally as well as intellectually from an audience. All the various art forms relating to nature are destined to help tell a story and provide a snapshot piece of insight into that setting, or that adventure.

A natural art form which relates to me is nature photography. From the time I was a young boy, I have been on an everlasting nature adventure, spending all my free time hiking rivers with my centrepin, catching snakes, mountain biking and kayak camping. Over the course of these countless adventures, there are too many amazing moments which go by undocumented, this is where our cellphones come into play! Within the last five years, my friend group has developed and as we get older, the trips become more magical and the more I feel the need to photograph them. I purchased a decent digital camera with a strong optical zoom feature and went straight to work. Nowadays, after wrapping up a fishing or camping trip, I have twenty to fifty saved memories which can never be forgotten. Not only have these photos added an artistic element to my time outdoors, but it has allowed me to take my story telling a next level and provide physical evidence of the topic at hand. Displaying fishing photo to people who are interested fosters a bonding experience where stories are shared, and natural interpretation is occurring on another level.

The beauty intrinsic within natural art can be used as a sort of hook for the outside audience to get involved and engaged with nature themselves. Art provides an alternative way for one to feel the effects of nature without existing within it. Aswell as it provides the individual creating the art, an outlet to demonstrate one’s true feelings and passion towards the outdoors.

In contrast to the art which has been a focus of my blog thus far, I would briefly like to draw a connection between nature and interpretive theatre. Theatrical productions can provide audience with a meaningful and memorable story which highlights a unique view. I remember as a student in elementary school, our class would visit the Backus Conservation Area in Long Point, Ontario to learn about local wildlife and pioneer life as this was a prominent area for pioneer settlement. The conservation area put on demonstrations where student employees would dress up as pioneers and act out or describe various aspects of their lives. This created a different form of interpretation and m ay have communicated information better to certain people of certain learning styles. Art is intertwined within nature interpretation through numerous routes and can help foster deeper understanding and engagement.

If I were to define privilege, I would say that privilege is one or many advantages that a particular person or group are afforded that others are not. Privilege can come from a number of things, for example a person's economic class, their race, their gender, etc. There are certain opportunities and advantages that people of privilege will benefit from, sometimes without even knowing it. It is important that we reflect on each of our own "invisible backpacks" and how that impacts our lives and the lives of those around us. Reflecting on the opportunities given or not given to each of us as individuals, as a result of our unique backgrounds (and not because of our own achievements or exploits), is an important part of keeping oneself accountable and aware of societal inequities.

In the context of nature interpretation, people of privilege are more likely to have the opportunity to attend natural sites to learn and experience nature. Privilege plays an important part in how easy or difficult it might be to access environmental interpretation programs or activities. Knowing this, it is important that nature interpreters understand how privilege might impact our conversations, our decisions, and how to accommodate diverse audiences.

Many minority groups are faced with challenges and barriers that make it more difficult to visit natural sites and participate in interpretive programs. These barriers can include physical difficulties, such as a physical disability or limited mobility in elderly people. As nature interpreters, it is important to provide equal access and ease of use to the programs or interpretive activities you are running, regardless of a participant's physical capabilities.

When I personally reflect on the many experiences I've had exploring nature, it is important to remember and appreciate that I am privileged to be a healthy, young individual who has little to no difficulty going on hikes and traversing unstable terrain. Not everyone is able to engage in perilous hikes or difficult terrains, but it is essential that nature interpretation activities remain accessible and that nature interpreters accommodate each and every individual's needs.

There are also social barriers that can make less privileged groups shy away, feel unwelcome, or feel incapable of participating in nature programs. Cultural and communication barriers can make visiting nature sites more difficult for minority groups and non-English speakers. When I think back and recall many nature sites I have visited, all of the signage, brochures, maps, or informative plaques were almost always written in English. It would be extremely difficult and discouraging to attempt to learn about nature in a language I didn't understand. Because of this, it is important that nature interpreters make an effort to invite and include cultural minorities and that national parks or nature sites incorporate various languages and translations, and/or hire bilingual interpreters.

Furthermore, economic barriers, such as the costs of transportation and travel, entrance fees, and lodging associated with attending natural parks to enjoy nature interpretation is a limiting factor for many minority groups. Unfortunately, because of these barriers, nature exploration and interpretive activities can be seen as a luxury activity that is only available to wealthier demographics. Nature interpreters and programmers should combat economic barriers associated with transportation by offering their own shuttles or transports to their facilities. In my own previous blogs, I have mentioned various places I have travelled to experience nature, which is an enormous privilege I am granted from having parents with the time and wealth to invest in such activities. I am well aware that having a cottage and travelling often is not a universal or common experience, and I couldn't be more grateful for how that has enriched my life.

When asked about my ideal role as an environmental interpreter, I immediately envision myself in a position as an ecotourism guide. I see myself as a visual and tactical learner and so the position of an ecotourism guide stands out as a perfect mix of my interests and passions: travel, adventure, and commitment to sustainability. I believe this role not only allows me to immerse myself in beautiful landscapes but also offers the unique opportunity to educate others about the importance of protecting our planet. As an environmental science student, I find myself deeply appreciative of what nature has to offer and to be able to share that appreciation with others while promoting sustainable practices would be a great opportunity.

As an ecotourism guide, I would enjoy organizing eco-friendly tours and developing experiences that draw attention to the value and beauty of natural environments. Whether it's exploring dense forests, wandering through mountain ranges, or kayaking along peaceful coastlines, I would aim to create a sense of connection between people and the land and its ecosystems. Each tour would allow for a discussion about the flora and fauna, highlighting conservation efforts and exploring the delicate equilibrium of the ecosystems we encounter. I feel that a key aspect of this role is cultivating a deeper awareness of sustainability. I would want others to consider their environmental footprint, demonstrating how small, mindful changes can create meaningful, positive change in our environment. 

I captured these images of lush forests, and I can't help but be captivated by their stunning beauty.

The beauty that would come along with being an ecotourism guide is the variety of stunning locations I would have the opportunity to work in. Every location would offer different ecological and cultural experiences, from the dry deserts of the southwest to the lush rainforests of Costa Rica. I see myself in a vibrant coastal town, leading kayaking tours while educating guests about marine conservation, or in a remote wilderness location, leading hikers through stunning scenery while sharing knowledge about local fauna. I know that for this role, the ideal locations are not just about natural beauty, they also reflect communities dedicated to sustainable tourism. Being able to work in areas that prioritize ecological preservation aligns perfectly with my values, as it allows me to both advocate environmental stewardship and support local economies. 

I am well aware that a diverse skill set would be needed for me to be a successful environmental interpreter. I would need to learn and be able to speak multiple languages, which will allow me to communicate with individuals from different backgrounds and provide a welcoming, enriching experience. I would also need to have a well-rounded understanding of local ecosystems. This allows me to study the plants, animals, and unique features of areas, as well as the environmental challenges they face. Strong organization skills are essential as well since they enable me to plan well-structured tours that ensure a seamless experience for participants. 

In unpacking this quote I want to first note that I had some difficulty understanding exactly what it meant and had to read it several times to grasp the concepts fully. For this reason, I believe this quote does not do the best job of delivering information in a simple and accessible way, as discussed in the textbook readings for this unit. Although there is a time and place for eloquence and complexity, this quote—to me—feels unnecessarily complicated to deliver its intended message and may cause readers to skip over it without trying to understand. This type of complexity is a perceived barrier to a lot of interpretation and is thus important to note in unpacking this quote, especially in the context of an interpretation course.

To best unpack the content of this quote, I want to first reword it in my own words to form an understanding of its meaning for further discussion. I believe this quote is saying that even if historical artifacts and stories do not have their own inherent value, their context as part of the broader story of history is crucial to present an honest and complete narrative. This is also much of what this unit has been about, ensuring that interpretation is prioritizing truth and accuracy over entertainment, often with specific reference to being honest about uncomfortable histories that nevertheless need to be discussed. Understanding history is important for any kind of interpretation, for example in discussion of species (in which case the evolutionary history is vital to a complete understanding), regions (in which individuals and groups who have been on the land have shaped it in various ways), or the importance of conservation (in which the processes that led to this point are valuable for knowing what may have gone wrong and what needs to be corrected moving forward). History is a valuable teacher in all areas, and I believe this is the essence of what the author wanted to express when writing this quote.