1. The Dialogue with the
Adult Visitor
Dorothee OlthofVAEE

2. PRAE: live interpretation, archaeology
and education

3. VAEE
the Dutch
Network for
Archaeological
Experiments
and Education

4. Didarchtik: Adult Education in
Archaeological Open Air Museums
• EXARC (EU)
• Bäckedals Folkshögskola
(Sweden)
• ArcheoParc Val Senales
(Italy)
• Parco Archeologico Didattico
del Livelet (Italy)
• Bachritterburg Kanzach (D)
• Archäologisches Zentrum
Hitzacker (D)
• Butser Ancient Farm (GB)
• Ciutadella Ibèrica de Calafell
(Spain)
• VAEE (NL)

5. Most AOAMs have great programs for
children

6. And the adults?

7. Adults are a very diverse and more
complicated target group

8. So why invest your time and energy in
adult education?
• Most museums are financed by public money. Therefore they have
the responsibility to provide educational opportunities for a wider
audience than just schools. The adults pay, so let them have a good
run for their money!
• By designing special programs for adults, museums can widen their
audiences, which could lead to higher numbers of visitors and more
‘friends’ of the museum.
• Museums can learn something from the adult learners as well.
• It binds a museum to its surrounding community and as such is vital
for the future standing and survival of open-air museums, as
something significantly more than pleasure parks.
• Because we can: in AOAM’s there is a lot of knowledge present, and
adult visitors are interested in the topic (otherwise they probably
wouldn’t be there), so it must be possible to make a match.

9. The topics we discussed during
Didarchtik:
• Visitor surveys
• Adult learning styles and museum learning
• The uses of and quality criteria for living history
(or live interpretation) as an educational tool
• The use and role of crafts
• Returning visitors
• Different approaches to visiting groups and
individuals

10. Kolb: experiential learning
Picture:
http://shagdora.files.wordpress.com/2011/09/k
olb1.jpg

11. Gardner: Multiple Intelligences
Picture:
http://edel518.wikispaces.com/file/view/9_M
I.png/134254277/599x517/9_MI.png

12. More about learning theories:
• www.learning-theories.com
• http://en.wikipedia.org/wiki/Learning_styles
• www.funderstanding.com/theories.cfm
• http://www.infed.org/thinkers/gardner.htm
Picture: http://etec51264b2010cip.pbworks.com/f/1285906778/sundberg-
learning-theories.gif

13. Very important notion:
Education ≠ Learning!
Picture: http://www.pmu.se/bilder/english/s11-
Kunskap1_eng.jpg

14. Museum learning:
Museum learning ≠ school education
Museum learning = making meaning
Visitors construct an understanding from what
they see, touch and do. Often this
understanding is not what the curator
intended with the exhibition, but it is related
to it and comes from interaction with the
exhibition (Hein 1998).

15. AOAMs can be very rich learning
environments

16. If we allow them to be so…

17. Pictures:
• http://tielt-
winge.cdenv.be/sites/tieltwinge/files/imageca
che/gallery_large_image/nieuws/leeg-huis.jpg
• http://3.bp.blogspot.com/-
9pliGnbQ7LA/UMhYtYoy3mI/AAAAAAAAAp0/L
MP_tOsD-qA/s1600/wk+a.JPG

18. Let’s present the most interesting and
complete picture we can!

21. And accept that our ideas of today will
be outdated tomorrow

22. Living History or Live Interpretation

23. Quality is essential for a good learning
experience.

24. Quality Criteria for live Interpretation
• Effective live interpretation focuses on the needs and wishes of the
visitor.
• In order to provide a chance to learn about the past, the picture
that is presented should be as authentic as possible: use authentic
materials and do proper research.
• Be honest about what you don’t know, don’t make things up.
• Stupid questions don’t exist! They are just a means to make contact
with a strangely dressed-up person doing something
incomprehensible.
• Have fun and be enthusiastic about what you do, the visitor will
appreciate it! (but know when to stop talking…)
• There are more in the Didarchtik handbook:
http://www.europeansharedtreasure.eu/detail.php?id_project_base=
2010-1-NL1-GRU06-02917

25. The use and role of crafts

26. Returning visitors
• Define your unique selling point, mission and
vision.
• Create good products that fit your unique selling
point.
• Know what your visitors expect and want and
give them 101%.
• Be social! That is much cheaper than designing
new products all the time and has more effect in
the long run.
• Provide seating and social interaction.

27. Conclusion
The most important part about the dialogue
with the adult visitor (or actually any visitor) is
exactly this dialogue:
di·a·logue or di·a·log (d -lôg , -l g )
n.
1. A conversation between two or more people.
(http://www.thefreedictionary.com/dialogue)

28. The dialogue is what makes AOAMs
unique and interesting

31. Job description for the perfect live
interpreter:
• Always cheerful
• Exceptional social skills
• Healthy and strong
• Has up to date knowledge of
(pre)history
• Skilled in at least one craft
• Good educational skills
• Intimate knowledge of learning theories
• Preferably some theatrical skills
• Willing to dress up in period clothing
• Willing to work long hours for minimum wages

32. More information about Didarchtik
and adult education in AOAMs:
• Didarchtik.exarc.net
• All products can be found on EST:
www.europeansharedtreasure.eu
• Reader about adult education in AOAMs:
http://exarc.net/manuals/adult-education-
archaeological-open-air-museums-reader