Putting the Audience Firststaying relevant in the raceto the future

Botanic Gardens Conservation International Education Review

Volume 10 • Number 2 • October 2013

• Good connections - making audienceresearch a collaborative process

• Public places and private spaces -measuring the influence of botanicgardens on domestic gardeners

• Adapting to survive - cultivating new audiences in times of crisis

r

Participants from the 2012 International Diploma Course in Botanic Gardens Education said….

“The course was a greatopportunity to get

connected to people inother botanic gardens andBGCI. I cherish having hadtime to think about the ‘big

picture’ and not juststruggle with everyday

problem solving.”

“Networking was a greatbenefit from attending the

course. I was able todiscuss the daily challenges

of education andorganisational issues withother professionals andgained an inside view in

other institutions.”

“I value the most, theopportunity to have sometime away to reflect on mywork and refocus with some

new ideas and insightswhich I put now in my

practice!”

“Before I attended thiscourse I introduced myselfas an educator responsiblefor just students. I nowfeel that I am responsiblefor everybody and I shouldmake them appreciate theworld of plant and global

issues.”

Have you just started working for education in a botanic garden or are you anexperienced educator looking for opportunities for professional development? Then why not join the next International Diploma in Botanic Garden Education?

Organised by BGCI and the Royal Botanic Gardens, Kew, this five week course aims to equipparticipants with the skills and strategies needed to communicate effectively with their variedaudiences. By the end of the course, participants will have an understanding of all the aspects

required to establish and develop further a learning programme for their site.

The emphasis of the course is on interactive learning and the application of skills to the participants’working context, with lectures, workshops, seminars, practical activities and field visits. Topics

covered include: theory and practice of environmental education, identification of target audiences,project planning, interpretation principles and practices, lifelong learning strategies, informal

education pedagogies, fundraising, marketing, networking and evaluation.

Course dates: 12 May and 13 June 2014

For more information and to enroll on the course visit:www.bgci.org/education/diplomacourseoutline/

• There are a limited number of scholarships available for delegates.• To download an application form please visit BGCI’s website.

• Priority for scholarships will be given to participants coming from Commonwealth countries.

International Diploma in Botanic Garden EducationNew course dates announced

Binocular vision puts newaudiences in the frame Ximin Wang andHe He, Xishuangbanna Tropical BotanicalGarden, China

Public places and privatespaces - measuring the influence ofbotanic gardens on domestic gardenersSharon Willoughby, Royal Botanic GardensCranbourne and Dr Dave Kendal andAlison Farrar, Australian Research Centrefor Urban Ecology, Australia

Educational resources for botanic gardens

Good connections - makingaudience research a collaborative processTheano Moussouri, University CollegeLondon, UK

First word: Our audience keeps us real and relevant

Julia Willison, Botanic GardensConservation International

Interpretation is the key - a master plan to connect people andplants Sema Çevik, Nezahat Go kyiğitBotanic Garden, Turkey

Audience participation - using vistor surveys to drive innovationLideweij van Valkenhoef, Naturalis, TheNetherlands

Consult and collaborate -putting audiences at the heart of whatyou do Kayte McSweeney and JenKavanagh, Science Museum, London, UK

Roots is published by Botanic Gardens ConservationInternational (BGCI). It is published twice a year.Membership is open to all interested individuals,institutions and organisations that support the aims of BGCI.

Further details available from:

• Botanic Gardens Conservation International, Descanso House, 199 Kew Road, Richmond, Surrey TW9 3BW UK. Tel: +44 (0)20 8332 5953, Fax: +44 (0)20 8332 5956 E-mail: info@bgci.org, www.bgci.org

• BGCI-Russia, c/o Main Botanical Gardens, Botanicheskaya st., 4, Moscow 127276, Russia. Tel: +7 (095) 219 6160 / 5377, Fax: +7 (095) 218 0525, E-mail: seed@aha.ru, www.bgci.ru

• BGCI-Netherlands, c/o Delft University of TechnologyJulianalaan 67, NL-2628 BC Delft, NetherlandsTel: +31 15 278 4714 Fax: +31 15 278 2355E-mail: l.j.w.vandenwollenberg@tudelft.nlwww.botanischetuin.tudelft.nl

• BGCI-Canarias, c/o Jardín Botánico Canario Viera y Clavijo,Apartado de Correos 14, Tafira Alta 35017, Las Palmas de Gran Canaria, Gran Canaria, Spain. Tel: +34 928 21 95 80/82/83, Fax: +34 928 21 95 81, E-mail: jmlopez@grancanaria.es

• BGCI-China, 723 Xingke Rd., Guangzhou 510650 China.Tel:(86)20-85231992. email: Xiangying.Wen@bgci.orgwww.bgci.org/china

• BGCI-Colombia, c/o Jardín Botánico de Bogotá, Jose Celestino Mutis, Av. No. 61-13 – A.A. 59887, Santa Fe de Bogotá, D.C., Colombia. Tel: +57 630 0949, Fax: +57 630 5075, E-mail: jardin@gaitana.interred.net.co,www.humboldt.org.co/jardinesdecolombia/html/la_red.htm

• BGCI(US) Inc, c/o Chicago Botanic Garden, 1000 Lake Cook Road, Glencoe, Illinois 60022, USA.E-mail: usa@bgci.org, www.bgci.org/usa

BGCI is a worldwide membership organisation established in1987. Its mission is to mobilise botanic gardens and engagepartners in securing plant diversity for the well-being ofpeople and the planet. BGCI is an independent organisationregistered in the United Kingdom as a charity (Charity Reg No1098834) and a company limited by guarantee, No 4673175.BGCI is a tax-exempt 501(c)(3) non-profit organisation in theUSA and is a registered non-profit organisation in Russia.

Opinions expressed in this publication do not necessarilyreflect the views of the Boards or staff of BGCI or of itsmembers.

Forthcoming IssueVolume 11 Number 1: Technology and EducationLast submission date: 20 January 2013

Cover Photo: Teenagers participating in Cleveland BotanicalGarden’s urban-farming programme

Design: John Morgan, www.seascapedesign.co.uk

BGCI would like to thank the co-editors for their work inthe production of Roots

For the French Section:Loïc Ruellan – Conservatoire Botanique National de Brest,FranceAnne Lindsey - FranceAllison Marshall – FranceRéjane Brun and Melissa Garrigue - Bordeaux BotanicGarden, France

For the Spanish Section:Lourdes Rico-Arce – Royal Botanic Gardens, KewVeronica Franco - Jardín Botánico Regional Xíitbal neek’,MexicoOrlik Gómez García - Jardín Botánico Francisco JavierClavijero, MexicoBlanca Olive de la Puente – Royal Botanic Gardens JuanCarlos I, SpainMaría Bellet – Royal Botanic Garden Madrid, Spain

For the English Section:Jan ChamierDavid JeffreysKate Whittington

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Adapting to survive -cultivating new audiences in times ofcrisis Natalie Ronayne, ClevelandBotanical Garden, USA

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EDITORSJulia Willison Director of Education

Asimina Vergou Education Programme Coordinator

Volume 10 • Number 2

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01BGCI • 2013 • Roots • Vol 10 (2)

First wordOur audience keeps us real and relevant

Notre public garantit notre authenticité et notre pertinenceNuestra audiencia nos mantiene en un contexto real y pertinente

02 BGCI • 2013 • Roots • Vol 10 (2) • 02-05

ESPAÑOL

La sociedad actual está cambiandocon una rapidez nunca antes vista. La

velocidad de los cambios tecnológicos,aunado al crecimiento poblacional y lacreciente urbanización están alterandode manera profunda y tal vezpermanente las relaciones humanas conla naturaleza y con el ambiente. Ymientras el mundo que los rodea vacambiando, los jardines botánicosenfrentan cuestionamientos serios entorno a su pertinencia en la eramoderna, cuestionamientos que tienenque resolver para evitar el riesgo dequedar fuera en esta carrera hacia elfuturo.

No obstante en el campo de laeducación, los jardines botánicos hanaprovechado estos cambios ya que losprimeros ven la educación como algodinámico, socialmente pertinente y sinrestricciones, contrario al pensamientotradicional del uso de los jardinesbotánicos. De esta forma, para muchosjardines la educación se ha convertidoen una actividad central y BGCIconsistentemente ha persuadido a losjardines para que se involucren con unmayor número pero también con unamayor diversidad de grupos de personasen su oferta educativa. El desarrollo deaudiencias está en el centro de esteproceso.

En esta ocasión en Roots ofrecemos unamirada a este espectro del desarrollo deaudiencias, desde la teoría hasta lapráctica cotidiana, comenzando conTheano Moussouir del UniversityCollege, en Londres, quien argumentaque la investigación de audiencias tieneque involucrar a toda la institución. A través de estudios de caso ella

FRANÇAIS

La société change plus vite que jamais,une accélération liée à la technologie

qui, en plus de l'accroissement de lapopulation et d'une urbanisation enpleine expansion, transformeprofondément et peut-être de manièrepermanente la relation entre l’humanité etla nature et l’environnement. Tandis quele monde qui les entoure traverse ceschangements, les jardins botaniques sontconfrontés à des questions difficilesconcernant leur pertinence dans l'èremoderne, des questions auxquelles ilsdoivent répondre au risque d'êtredépassés dans la course vers l’avenir.

Dans le domaine de l’éducation toutefois,les jardins botaniques sont déjà en phased’adopter ces changements, car ilsconçoivent l’éducation comme étantdynamique, pertinente sur le plan social etaffranchie des idées traditionnelles surl’utilisation des jardins. Par conséquent,pour de nombreux jardins, l’éducation estdevenue une activité centrale et le BGCI asoutenu de manière convaincante que lesjardins devraient collaborer avec de plusgrands nombres ainsi qu’avec des groupesde personnes plus diversifiés dans le cadrede leur offre pédagogique. Ledéveloppement du public est au cœur dece processus. Par conséquent, pour denombreux jardins, l’éducation est devenueune activité centrale et le BGCI a soutenules jardins, de manière convaincante, afinqu’ils collaborent avec le plus grandnombre ainsi qu’avec des groupes depersonnes plus diversifiés dans le cadre deleur offre pédagogique. Le développementdu public est au cœur de ce processus.

Dans ce numéro de Roots, nousparcourons l’éventail de ce quereprésente le développement du public,

ENGLISH

Society is changing faster than ever, atechnologically-driven acceleration

that, together with population growthand increasing urbanisation, isprofoundly and perhaps permanentlyaltering humankind’s relationship withnature and the environment. And as theworld around them changes, so botanicgardens are facing some hard questionsabout their relevance in the modern age– questions they have to answer or riskbeing left behind in the race to thefuture.

Teaching children about the importance of plants tothe environment and health is a key to the mission of Cleveland Botanical Garden, USA (ClevelandBotanical Garden)

03BGCI • 2013 • Roots • Vol 10 (2)

muestra cómo este enfoque puedealimentar el aprendizaje a nivelinstitucional, contribuye a evaluarsituaciones complejas permitiendoalcanzar la innovación.

La Investigación de audiencias en elMuseo de Ciencias de Londres cuentacon 20 años de experienciarecolectando y utilizando la informaciónde los visitantes para retroalimentacióncreando así mayores oportunidades deaprendizaje y compromiso. KayteMcSweeney y Jen Kavanagh de dichoMuseo, muestran cómo la investigaciónde audiencias puede eliminar barreraspara el entendimiento del visitanteasegurando así su pertinencia.Asimismo, destacan la importancia deinvolucrar al público en la co-creaciónde proyectos reconociendo que losvisitantes no son entes pasivosreceptores de información sino quetambién son una fuente de conocimientoe ideas que pueden beneficiar dichosproyectos.

Pertinencia es un tema señalado porvarios de los autores. Sema Çevik delJardín Botánico de Nezahat Gokyigitrevela como utilizó la investigación de laaudiencia para desarrollar su planmaestro de interpretación para cincoaños. A través de la crítica del por qué eljardín presenta una información a losvisitantes y qué quisiera que elloshicieran al término de su visita, ellaenfatiza que el jardín comunica a losvisitantes el valor y la misión del jardínde una manera más efectiva. Lidewij vanValkenhoef del Centro Naturalis deBiodiversidad en Leiden, Holanda,explica cómo la segmentación basadaen valores y estilos de vida ha sidovaliosa para identificar los factores quemotivan a las familias a visitar dichoCentro y cómo la investigacióncualitativa puede aportar informaciónnecesaria para que las nuevasexhibiciones del museo seanpertinentes.

Focalizándose en audienciasparticulares los Reales JardinesBotánicos de Cranbourne en Melbournetienen como objetivo promover en losjardineros el uso de plantas nativasaustralianas para crear en las casasjardines biodiversos y sustentables.Dave Kendal y Sharon Willoughbyexplican cómo la investigación les haayudado a entender la influencia del

de la théorie à la pratique sur le terrain,en commençant par Theano Moussouirde l’University College de Londres quisoutient que la recherche concernant lepublic doit être adoptée par l’ensemblede l’organisation. En s’appuyant sur desétudes de cas, elle montre la façon dontcette approche peut encouragerl’apprentissage organisationnel,contribuer à évaluer des interventionscomplexes et laisser de la place àl’innovation.

Le département de recherche sur lespublics du Musée des sciences deLondres compte 20 ans d’expérience decollectage et d’utilisation desinformations et des remarques desvisiteurs, en vue de créer davantaged’opportunités d’apprentissage et decollaboration. Kayte McSweeney et JenKavanagh, du musée, décriventcomment la recherche sur le public peutfaire tomber des barrières par rapport àla compréhension des visiteurs etgarantir une plus grande pertinence.Elles soulignent également l’importancede l’implication du public dans desprojets de co-création, tout enreconnaissant que les visiteurs ne sontpas de passifs receveurs d’informationsmais qu’ils apportent en fait une foule deconnaissances et d’idées qui sontbénéfiques aux projets.

La pertinence est une thématiquesoulignée par un certain nombre de nosauteurs. Sema Çevik du Jardinbotanique Nezahat Gokyigit révèle lafaçon dont elle a utilisé la recherche surle public pour élaborer son plan directeurd’interprétation du jardin sur 5 ans. Parl’analyse des raisons pour lesquelles lejardin présente des informations auxvisiteurs et de ce qu’il souhaite queceux-ci fassent à l’issue de leur visite,elle soutient que le jardin communiqueplus efficacement ses valeurs et sesmissions aux visiteurs. Lidewij vanValkenhoef du Naturalis BiodiversityCentre de Leyde (Pays-Bas) expliquecomment la segmentation des publicsen fonction des valeurs et des modes de vie a été importante en vued’identifier les facteurs qui encouragentles familles à le visiter. Elle décritégalement comment les recherchesqualitatives fournissent les informationsdont ils ont besoin pour que lesnouvelles expositions de leur muséesoient pertinentes.

In the field of education however,botanic gardens have already beenembracing change – because they seeeducation as dynamic, socially relevantand unfettered by traditional thinking ongarden use. Thus for many gardens,education has become a core activityand BGCI has argued cogently forgardens to engage with greater numbersand more diverse groups of people intheir educational offering. Audiencedevelopment is at the heart of thisprocess.

In Roots this time we look across thespectrum of audience development, fromtheory to on-the-ground practice, startingwith Theano Moussouir from UniversityCollege, London, who argues foraudience research to be embraced by thewhole organisation. Using case studies,she demonstrates how this approach cannurture organisational learning, helpevaluate complex interventions and allowscope for innovation.

The Audience Research department atthe Science Museum in London has 20years experience of collecting and usingvisitors information and feedback tocreate more opportunities for learningand engagement. The museum’s KayteMcSweeney and Jen Kavanagh showhow audience research can removebarriers to visitor comprehension andensure relevancy. They also highlight theimportance of engaging the public in co-creation projects – acknowledging thatvisitors are not passive recipients ofinformation but instead bring a wealth ofknowledge and ideas to benefit projects.

Relevance is a theme highlighted byseveral of our authors. Sema Çevik fromNezahat Gokyigit Botanic Garden revealshow she used audience research todevelop her garden’s five-yearinterpretative master plan. Throughcritiquing why the garden is presentinginformation to visitors and what it wantsthem to do following their visit, sheargues that the garden communicates itsvalue and mission to visitors moreeffectively. Lidewij van Valkenhoef of theNaturalis Biodiversity Centre in Leiden,The Netherlands, explains howsegmentation based on values andlifestyles has been valuable in identifyingfactors that encourage families to visitthem and how qualitative research willprovide the information they need for theirnew museum exhibits to be relevant.

Focusing on particular audiences, theRoyal Botanic Gardens Cranbourne inMelbourne aims to influence homegardeners to use Australian nativeplants to create sustainable biodiversehome gardens. Sharon Willoughby andDave Kendal explain how research hashelped them to understand theinfluence of the Australian Garden ongardeners and how to develop thisfurther. Xishuangbanna Tropical BotanicGarden in China, is a priority location forbird watchers. But surveys revealedthat the public lacked the skills andequipment to appreciate the aviandisplay properly. So XTBG launched arange of new activities to highlight thelinks between birds, plants and humans.

Linking audience development torevenue generation has become moreurgent in the current global economiccrisis. A timely case study fromCleveland Botanical Garden, USA,shows how, with vision and energy, abotanic garden can survive the financialcrisis and remain sustainable byincreasing visitors numbers and,importantly, connecting with newaudiences – including under-represented inner-city students.

The lessons are plain. Audiencedevelopment is a necessity not a luxuryin these straightened times. Only byreally understanding our audiences anddeveloping mutually beneficialprogrammes, can gardens play aneffective role in tackling the challengesof the centure ahead.

And finally …

After twenty-four years, sevenEducation Congresses and 46 editionsof Roots, I am leaving BGCI this autumnfor a new role at RGB Kew. From itsinaugural publication in 1990 until thepresent, Roots has tackled the mostpressing issues in botanic gardeneducation and become THE globalvoice of garden educators, anachievement that would not have beenpossible without the wholeheartedcommitment and generosity ofcolleagues around the world. Fromwriting articles and supplying picturesto offering constructive feedback, yoursupport of Roots epitomises yourdetermination to keep education at thetop of botanic garden agendas.

En ciblant des publics spécifiques, lesJardins botaniques royaux deCranbourne à Melbourne cherchent àinciter les jardiniers amateurs à utiliserdes espèces natives d’Australie pourcréer des jardins biodiversifiés durablesde particuliers. Dave Kendal et SharonWilloughby expliquent comment larecherche leur a permis de comprendrel’influence du Jardin australien sur lesjardiniers et comment développerdavantage ce public. Le Jardin botaniquetropical de Xishuangbanna en Chine estun lieu de prédilection pour lesobservateurs d’oiseaux. Toutefois, lesenquêtes réalisées montrent un manquede matériel et de compétences de la partdu public pour pouvoir appréciercorrectement la présence aviaire. LeXTBG a donc proposé une sélection denouvelles activités pour valoriser les liensentre les oiseaux, les plantes et leshumains.

La mise en relation du développementdes publics et de la création de revenusest devenue plus urgente dans lecontexte de la crise économiquemondiale actuelle. Une étude de casopportune réalisée par le Jardinbotanique de Cleveland (États-Unis)décrit comment, avec clairvoyance eténergie, un jardin botanique peut survivreà la crise financière tout en demeurantdans une démarche durable enaugmentant le nombre de visiteurs et,surtout, en se rapprochant de nouveauxpublics, notamment des étudiants ducentre-ville sous-représentés.

Les leçons tirées sont claires. Ledéveloppement des publics est unenécessité et non un luxe en ces périodesde redressements. Ce n’est qu’encomprenant vraiment nos publics et endéveloppant des programmes qui soientbénéfiques mutuellement que les jardinspourront jouer un rôle efficace en vue des'atteler aux défis du siècle qui se profile.

Et finalement…

Après vingt-quatre années, sept Congrèssur l’éducation et 46 éditions de Roots, je quitte le BGCI cet automne pour unnouveau rôle aux JBR de Kew. Depuis sapublication inaugurale en 1990 jusqu'à cejour, Roots s’est intéressée aux questionsles plus urgentes en matière d’éducationdans les jardins botaniques et estdevenue LA voix mondiale deséducateurs des jardins botaniques,

Jardín Australiano en los jardineros ycómo promover dicha influencia. El Jardín Botánico TropicalXishuangbanna en China, es un lugarprioritario para la observación de aves.Sin embargo las investigacionesmuestran que el público carece de lasherramientas y el equipo básico paraapreciar dicha diversidad. Así, el JardínBotánico desarrolló una serie de nuevasactividades que destacan la importanciade la relación entre las aves, las plantasy los seres humanos.

Relacionar la investigación deaudiencias con la generación deingresos ha cobrado urgencia frente a laactual crisis económica global. Unestudio de caso periódico en el JardínBotánico de Cleveland, EUA, muestraque, con visión y energía un jardínbotánico puede sobrevivir la crisisfinanciera y ser sustentable mediante elaumento del número de visitantes, peromás importante aun atrayendo nuevasaudiencias, incluyendo grupos subrepresentados como estudiantes de lamisma ciudad.

Las experiencias son muchas. En estostiempos, la investigación de audienciases una necesidad y no un lujo. Soloentendiendo realmente a nuestraaudiencia y desarrollando programasmutuamente benéficos, los jardinesbotánicos podrán jugar un papel efectivopara hacer frente a los retos del presentesiglo.

Y finalmente...

Después de 24 años, siete Congresosde Educación y 46 ediciones de larevista Roots, este otoño dejo BGCI para

BGCI • 2013 • Roots • Vol 10 (2) 04

Families with young children is one of four maintarget groups at Cleveland Botanical Garden forincreasing revenue and attendance. (ClevelandBotanical Garden)

It has been an extraordinary privilege toedit Roots from its launch until today,but it is the unsung heroes among myBGCI colleagues, past and present,who ensured that longevity. To PeterWyse-Jackson, former Director Generaland now President of Missouri BotanicGarden, I owe a special debt ofgratitude because it was Peter’ssupport and encouragement thathelped keep a novice editor on thestraight and narrow in those early years.

Designer John Morgan has been mypartner in crime from the outset,somehow shoehorning text in threelanguages into clear and easy-to-readpages while putting up with myconstant meddling. And without myFrench and Spanish colleagues, whoanswered every call for translation,Roots would swiftly have reverted to aresolutely monoglot publication.

And working alongside me in theeditorial engine room, Jane Greene,Aileen Isaf, Lucy Sutherland and SarahKneebone brought qualities of insightand perspective that first highlightedand then compensated for my owndeficiencies. All have long since movedon from BGCI, but they cast longshadows and are fondly remembered.Fortunately for Roots, my co-editor andsuccessor, Asimina Vergou, continuesthat honourable tradition. To all of themand all of you, thank you for the journey.

Julia Willison

une réussite qui n’aurait pu être possiblesans l’engagement et la générosité sansréserve de collègues à travers le monde.De la rédaction d’articles et l’apport dephotos aux propositions de réactionsconstructives, votre soutien pour Rootsillustre parfaitement votre détermination àmaintenir l’éducation prioritaire dans leprogramme des jardins botaniques.

Ce fut un privilège extraordinaire d’être larédactrice en chef de Roots depuis sonlancement jusqu’à aujourd’hui, mais cesont les héros méconnus parmi mescollègues du BGCI, anciens et actuels,qui ont assuré cette longévité. EnversPeter Wyse-Jackson, ancien directeurgénéral et aujourd’hui président du Jardinbotanique du Missouri, j’ai une dettespéciale de gratitude car c’était le soutienet les encouragements de Peter qui ontpermis à une rédactrice en chef novicede rester dans le droit chemin durant cespremières années.

John Morgan, graphiste, a été moncomplice dès le début, en calant d’unemanière ou d’une autre des textes entrois langues sur des pages claires etfaciles à lire tout en supportant mesremaniements incessants. Et sans mescollègues français et espagnols, qui ontrépondu à chaque appel pour lestraductions, Roots serait rapidementredevenue une publication résolumentmonolingue.

Et travaillant à mes côtés dans la salledes machines de la rédaction, JaneGreene, Aileen Isaf, Lucy Sutherland etSarah Kneebone ont apporté des qualitésde sagacité et de perspective qui ontd’abord souligné puis compensé mespropres faiblesses. Toutes ont poursuivileur route depuis leur passage au BGCI,mais elles projettent de longues ombreset demeurent dans nos tendressouvenirs. Heureusement pour Roots, maco-éditrice et successeure, AsiminaVergou, perpétue cette honorabletradition. À eux tous et à vous tous, mercipour ce voyage.

desempeñar una nueva función en losReales Jardines Botánicos de Kew.Desde su publicación inaugural en 1990hasta la fecha, Roots ha abordado losaspectos más apremiantes en materiade educación en jardines botánicos, y seha convertido en LA voz de loseducadores de los jardines botánicos,un logro que no hubiera sido posible sinel compromiso y generosidad que detodo corazón han aportado colegas delmundo entero. Desde escribir artículoshasta el envío de fotos para ofrecer unaretroalimentación constructiva, su apoyohacia Roots personifica sudeterminación para sostener laeducación como un aspecto principal enla agenda de los jardines botánicos.

Para mí ha sido un extraordinarioprivilegio editar la revista Roots desdesu inicio hasta el día de hoy, pero son loshéroes anónimos de entre mis colegasde BGCI quienes, en el pasado y en elpresente, han asegurado su continuidad.A Peter Wyse-Jackson, primer DirectorGeneral de BGCI y actualmentePresidente del Jardín Botánico deMissouri con quien tengo una especialdeuda de gratitud ya que fue el apoyo yaliento de Peter el que mantuvo a estaeditora novata en la línea correcta enaquellos primeros años.

El diseñador John Morgan ha sido micómplice comenzando por matar untexto rebuscado en tres idiomas en unaspáginas claras y fáciles de leer perosiempre con mi constante intromisión.Sin mis colegas franceses y de hablahispana quienes siempre respondían ami llamado para la traducción, Roots sehubiese convertido en una publicaciónmonolingüe.

Y a lo largo del tiempo trabajandoconmigo en la casa de máquinas de laeditorial, Jane Greene, Aileen Isaf, LucySutherland y Sara Kneebone aportaronnuevas miradas y perspectivascompensando mis propias deficiencias.Todas ellas ya se han ido de BGCI perotodas han dejado una buena sombra yson afectuosamente recordadas.Afortunadamente para Roots, mi coeditora y sucesora Asimina Vergoucontinuará esta honrosa tradición. A todos ellos y a todos ustedes graciaspor compartir este camino.

BGCI • 2013 • Roots • Vol 10 (2) 05

BGCI • 2013 • Roots • Vol 10 (2) • 06-0906

Good connectionsmaking audience research a collaborative process

Bonnes connections – faire entrer le public dans un processus de collaborationConectando – los estudios de public como un proceso de colaboracion

Audience research in botanic gardens and other institutions has traditionally been confined

to one department and, Theano Moussouri argues, has not influenced wider institutional

goals and development as much as it should. Recognising the need to engage new

audiences, with changing demographics and engagement pathways, comes the growing

realisation that the institution as a whole must embrace this research.

Research data is used to develop ‘personas’ representing different groups of visitors. These ‘personas’ enable exhibition developers to discuss what types ofengagement and interpretation are required

Over the last fifteen years,museums1 have evolved frombeing largely object-centred, to

people-centred institutions. That changehas been traced by a shift in the wayknowledge is constructed and shared(Roberts, 1997), which is at the core ofwhat museums are about. More recently,new technologies have made it easier tocarry out the development and sharingof audience-generated knowledgerelated to museum collections. The needfor change has been driven both byexternal factors – developments insociety, policy and information andcommunication technology, etc. – andby museum professionals themselves.Nowadays, education and socialinclusion are seen as core functions formuseums (Sandell, 2007; Hein, 1998;Hooper-Greenhill, 1999).

Defining an audience

Audience development – defined here as‘the process of reaching new audiencesand retaining repeat visitors’ (Waltl, 2006)– is a necessary step to developingsocially inclusive institutions. It should notbe seen as an isolated activity carried outby one department or area of themuseum. Rather, it brings together allareas of an institution to developengaging and worthwhile experiences fordiverse audiences (Waltl, 2006). By thesame token, the need to work withdiverse audiences raises new questionsabout good practice. Museumprofessionals from curators to marketingand visitor services need to askthemselves how their organisationconceptualizes, defines and, therefore,segments their actual and potential (on-and off-line) audiences. Although this maysound like an issue of semantics, theterm ‘audience’ or any equivalent used2

is highly contested and needs to beconsidered carefully in the socioculturalcontext of the museum (Watson &Waterton, 2011). However, whateverapproach is chosen will impact onmuseum practice across the organisation,as it directly affects the nature ofinterpretation and engagement affordedby the museum exhibitions and otheractivities and resources developed.

From defining and conceptualizingaudiences, to exploring the frames ofreference different audiences might beusing to make sense of their visit,audience research is a powerful means

to various ends – such as thinking abouthow people want to be users andparticipants, making content easily andreadily available to different types ofpeople and for different types of purposeand, ultimately, for an organisation tolearn from the results. Used together,audience development and research canhelp museums explore different ways toinvolve their public in the interpretationand knowledge construction process,allowing more audience-driven agendasto emerge.

Thinking evaluatively

Audience research in museums hastraditionally been confined within a singledepartment and focused on particulartypes of provision such as exhibitions,programmes, and websites. As a result,its benefits and impact have been ratherlimited and to some extent it could beargued that it has not had a majorinfluence on wider institutional goals anddevelopment. With the engagement ofnew audiences becoming a core functionof museums, and in response tochanging demographics and engagementpathways, there is a growing realisationthat the institution as a whole mustembrace audience development andresearch to enable a real change ofculture. As our concept of audiences andour understanding of how they engagewith museum resources develops, we areconstantly faced with new, more complexsituations where top-down (theory-driven)and bottom-up (participatory) approachescoexist. Navigating these forces is noteasy and often requires a shift in the waywe think about our approach to audiencedevelopment and research: it needs totake into account and accommodate thiscomplexity and also allow for new,context-sensitive models to emerge.

This calls for an audience researchpractitioner to ask questions and facilitateevaluative thinking across theorganisation. Audience research cantherefore be viewed as a way of nurturingorganisational learning and it can alsohelp evaluate complex interventions (suchas working with new audiences that themuseum does not know much about) andallow scope for innovation.

The Museum of Modern Art (MoMa) inNew York offers a good example of thisapproach. Starting in 2010, staff acrossvarious museum departments (Education,Marketing and Communications,Curatorial, Development, Visitor Services)worked together to develop researchquestions and studies with museum-widerelevance and to help move researchfindings up the chain. One of the mostsuccessful audience development andresearch projects, the Meet Me atMoMA3, involved working with peoplewith dementia and their carers. Researchcarried out during and after it showed asignificant shift in internal practice andperceptions, which was attributed to thecross-departmental collaboration. Theauthors of the study also note that theimplementation of this type of programme

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Pupils using mobile phones at the National Maritime Museum to create new interpretation

Developing programmes that target people with andwithout disabilities can change attitudes andorganisational approaches to disability

1 ‘The generic term museum refers to an array of institutions that includes art, history, and natural history museums; science centers; historichomes; living history farms and forts; aquariums; zoos; arboretums; botanical gardens; and nature centers’ (Falk & Dierking, 2000, p.xi) 2 Such as visitors, users, public, communities.3 For more information and relevant resources see: http://www.moma.org/meetme/resources/index#history

08 BGCI • 2013 • Roots • Vol 10 (2)

Audience development and research can help museums explore different ways to involve their public inknowledge construction.

‘appears to stimulate museumprofessionals to reflect sensitively anddeeply on their practice, which, in turn,has influenced many of them to thinkdifferently about the overall museumexperience for all types of audiences. In evaluations of other types of museumprograms for families, teachers,students, and general adult audiences,we rarely, if ever, hear practitioners talkabout the importance of humor, respect,and patience in the implementation of apublic program. These are qualities thatnot only make for meaningfulexperiences for museum visitors, butbring deeper meaning to the individualswho implement these programs as well.’(Adams & Cotter, 2011: 31)

In addition, a wider shift in the waymuseums are perceived by theircommunities is reported: as a number ofmuseums across the US and abroadhave implemented similar programmesand have started conversations aboutcreativity and ageing issues, suchmuseums are seen as obvious partnersby age-related organisations andadvocacy groups (Adams & Cotter,2011). An institution-wide approach toaudience research has more recentlybeen employed by the Whitney Museumof American Art; others include theIndianapolis Children’s Museum, theMuseum of American Indians andWestern Art in Indianapolis, and DetroitInstitute of Arts4.

The approach for botanic gardens Taking an institution-wide approach toaudience development and research canshift the focus from collecting evidenceabout a single exhibit, programme orother type of provision to looking at thetypes of engagement afforded bybotanic gardens and the kinds ofexperience these can generate. Theevidence can then be compared acrossdifferent types of provisions and/oracross different audiences. One possibleapproach could be to think about whenevidence is collected, instead of the typeof provision it relates to. For example,research can focus on:

• Pre- and/or post-visit expectationsand (imagined and actual)experiences. In this case, botanicgardens could compare and contrastexpectations with reported short-,medium- and long-term visitoutcomes.

• Real-time visit experiences, and inparticular to gauge immediatereactions and interactions at theexhibit-face. For example, aninteresting topic for botanic gardensto address would be the degree towhich their exhibits, programmes andother kinds of provision can bringpeople closer to nature, or therestorative impact a visit to a botanicgarden might have. New technologycan be very useful here as one can

collect automated visitor data(Moussouri & Roussos, 2013) and itcan also generate information onaudience groupings, which is a way ofaddressing the issue of audiencesegmentation that was not possible inthe past.

Knowing what type of engagement, forwhich type of audience, can help theinstitution to be more efficient in anumber of ways. It allows the marketingdepartment to develop a more targetedpromotional approach, assists theeducation department to developmaterial and resources relevant todifferent audiences, the visitor servicesdepartment to direct enquiries in a moreaudience-focused way, and themanagement team to make strategicdecisions informed by actual evidence. It can also provide staff with insights intohow it could widen its audience baseand work with new audiences.

Achieving balance

There is a growing need for museums toredress the balance between, on the onehand, the care of and researchconcerning its collections and theideas/concepts these embody and, onthe other, developing and carrying outresearch with its audiences. In practice,this means having an evidence-basedunderstanding of: 1) the types ofengagement afforded by its virtual andphysical environments and other on- andoff-line resources; and 2) the frames ofreference and meanings differentaudiences bring to the museum. Existingapproaches to audience developmentand research tend to be confined withina single department and hence have hada limited influence on wider institutionalgoals and the process of change. I would argue that, for audiencedevelopment and research to make animpact it has to be embraced by theorganisation as a whole. The examplesdiscussed above demonstrate thatmuseums can develop the capacity tothink evaluatively and be more effectivewith the following provisos:

1. Audience research becomes a centralactivity and is embraced by theorganisation as a whole

2. The organisation invests inlongitudinal and collaborativeresearch programmes

4 This was the subject of a recent webinar organised by the American Alliance of Museums: http://www.aam-us.org/resources/online-learning/past-program-archive/increase-the-impact

09BGCI • 2013 • Roots • Vol 10 (2)

complexes par rapport à comment etpourquoi différents publics s’intéressent àdifférentes activités et ressources suivantdes contextes culturels différents. Cesrésultats permettront de résoudre certainsproblèmes et de mener à deschangements d’ordre social.Cet article examine ces tendancesactuelles en matière de développement etde recherche sur les publics, et exploreleur impact sur les institutions, ainsi que ledéveloppement de publics existants etpotentiels.

RESUMEN

La investigación de audiencia o públicoque asisten a los museos ha sidotradicionalmente restricta a un solodepartamento. El resultado así eslimitado, hasta cierto punto, y se puededecir que este no ha tenido una mayorinfluencia en los cambios a las metasinstitucionales. Hoy en día el involucrar ala audiencia [publico], ha tornado unafunción central en los museos. Juntocon ello los cambios demográficos queestán ocurriendo y el envolvimiento envías de desarrollo, que en su mayoríason orientados por la tecnología actual.Todos estos factores nos estánconduciendo al crecimiento y realizaciónque la institución debe poner énfasis enesta investigación audiencia-museo parapermitir este cambio cultural que estáactualmente ocurriendo. Por otro ladolos avances en esta investigación usanteorías y métodos que pueden ofreceninterpretaciones más complejas a comoinvolucrar diferentes tipos de audienciacon diversas actividades y generarrecursos aplicados a una variedad demodelos culturales, en vía de producirresultados que pueden usarse pararesolver problemas y dirigir este cambiosocial. En este trabajo se presentan lastendencias existentes en la investigacióndel desarrollo de las audiencias, seexplora el impacto que ellas tienen enlas instituciones y el desarrollo potencialque existe en ellas mismas.

Dr Theano MoussouriLecturer in Museum StudiesUCL Institute of Archaeology31-34 Gordon SquareLondon WC1 0PY, UKEmail: t.moussouri@ucl.ac.ukWebsite: www.ucl.ac.uk

3. They actively encourage evidence-based decisions at all levels of theorganisation.

References

, Adams, M. & Cotter, N., 2011, TheImpact of the Development ofMuseum Programs for PeopleAffected by Alzheimer’s Disease orDementia. The Museum of Modern Art& Audience Focus, Inc.

, Falk, J. & Dierking, L., 2000, Learningfrom Museums: Visitor Experiencesand the Making of Meaning. WalnutCreek, CA: AltaMira Press.

,Hein, G., 1998, Learning in theMuseum. London and New York:Routledge.

,Hooper-Greenhill, E., 1999, TheEducational Role of the Museum (2ndedn). London and New York:Routledge.

,Moussouri, T. & Roussos, G., 2013,Examining the Effect of VisitorMotivation on Observed VisitStrategies Using Mobile ComputerTechnologies. Visitor Studies 16 (1),21–38.

,Roberts, L.C.,1997, From Knowledgeto Narrative: Educators and theChanging Museum. Washington, D.C.:Smithsonian Institution Press.

, Sandell, R., 2007, Museums, Prejudiceand the Reframing of Difference.London and New York: Routledge.

,Waltl, C., 2006, Museums for Visitors:Audience Development – A CrucialRole for Successful MuseumManagement Strategies. INTERCOM2006 Conference Paper.

,Watson, S. & Waterton, E., 2011,Introduction: Heritage and CommunityEngagement. In: E. Waterton & S.Watson (eds), Heritage andCommunity Engagement: Finding aNew Agenda, London and New York:Routledge.

RÉSUMÉ

Les travaux de recherche concernant lepublic des musées ont toujours étéconfiés à un seul Ministère. Enconséquence, leurs avantages et leurimpact ont été plutôt restreints et, dansune certaine mesure, on peut affirmer quecela n'a pas eu d’influence majeure sur lesobjectifs et les changementsinstitutionnels plus généraux. Gagner denouveaux publics devient un objectifcentral des musées. En parallèle, deschangements démographiques seproduisent et de nouvelles méthodes pourgagner de nouveaux publics, dontbeaucoup passent par la technologie,sont en développement. Ces facteursincitent l'institution dans son ensemble àaborder conjointement le développementdu public et la recherche sur le public afinde permettre un changement culturel.

En outre, les progrès récents dans lesétudes sur le public sont basés sur desthéories et des méthodologies permettantde proposer des interprétations plus

Video footage is a good way to gather evidence about actual experiences at the exhibit-face

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Audience research

The ambition of modern culturalinstitutions is to provide ameaningful and engaging visitor

experience. Audience research supportsthis aim by helping to define just whatsuch experiences are and highlightinghow they are best achieved. Often it is aquestion of recognising and removingbarriers to visitor understanding andmotivation, but also of appreciating howvisitors learn and what they might gainfrom a visit.

The Science Museum, London, isunusually lucky in having a dedicated in-house Audience Research and AudienceAdvocacy (ARAA) team which, whilesitting firmly in the learning department,works across many of the Museumteams supporting the development ofexhibitions, learning resources, audienceengagement initiatives and websites.(Only a minority of museums have theirown teams, most rely on consultants toconduct their research.) The ARAA teamwas set up in 1989 so has more than 20years of experience and is in a rare andprivileged position, with a wealth ofaudience knowledge and learning.

There are a number of arguments forundertaking audience research whichinclude financial and ethical ones, butprimarily it is carried out because it isuseful and constitutes good practice.Quality research can explore theeffectiveness and impact of the culturalprogrammes offered by an institutionand help staff to learn from their public,challenge ways of thinking and developinsight into what visitors really value.

Consult and collaborate putting audiences at the heart of what you do

Consultar et collaborer – metre le public au coeur de vos actions Consultar y colaborar – teniendo en cuenta al publico en lo que haces

Kayte McSweeney and Jen Kavanagh of London’s Science

Museum explain how they have developed a range of

audience research and participation stratagems, both

collaborative and co-creative, to improve the experience of

their visitors, attract new ones, and ensure the relevance and

popularity of exhibitions.

An audience researcher testing concepts for a new exhibition with visitors (Science Museum)

Research can also be an effective toolboth for reaching out to new audiences,perhaps to underrepresentedcommunities, and for developingexisting audiences in meaningful andappropriate ways. By investigatingbarriers to visitation, engagement andunderstanding, we can hope toovercome problem areas and startproviding better tailored experiences andbuilding firmer relationships with allthese groups.

So, there are a variety of benefits incarrying out and implementing effectiveaudience research. Some of the mainones are:

• Truly putting your audiences at theheart of what you do

• Providing a greater understanding ofthe needs and expectations of youraudience (both real and potential)

• Allowing experimentation andinnovation to be tested and risk to betaken

• Empowering audiences, making themfeel welcome at the site andconsidered in developments and newinitiatives

• Improved physical, intellectual andattitudinal access to your collectionand what you offer

• Improving the visitor experience,gaining repeat visits, improvingengagement with your communities,developing new audiences

• Finding out if money has been wellspent

• Measuring impact and influence

• Encouraging aid from funders andother supporters

• Informing long-term strategic decisionmaking.

Encouraging active participation

Many kinds of cultural organisations,from museums to historic houses,theatres to gardens, are now looking toinvite their audiences to take a moreactive role in engaging with their sitesand collections, rather than remainingtraditional passive consumers of culture.The process of participation covers aspectrum of different types ofengagement with audiences, and in thebroadest terms can be broken down asconsultation, collaboration and co-creation. Perhaps an organisation needsto find out what its audiences think of anew event idea, or wants to check thatthey will understand some of the contentproposed for display. Consulting withfocus groups, or through workshops orindividual discussions can help to ensuresuitability and relevance is maintainedthroughout development. When it comesto the creation of new content,developing interpretation andencouraging others to share theirknowledge on a subject, collaborativeprojects come into play. The most in-depth kind of participation would takethe form of co-creation, where audiencesare invited to become an integral part ofa project team, working alongsideinternal colleagues to develop content.

The outcomes of such participation canbe as interesting and diverse as thepeople involved, and provide benefits tothe organisation, the participants andultimately the visitors who encounterthem. Offering new perspectives on

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Year 9 students collaborating with game makers ThoughtDen to create a game about pain (Science Museum)

A visitor engrossed in a film that was co-created by Deborah Padfield and Helen Omand about adults livingwith pain (Science Museum)

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content these projects can attract newaudiences and encourage internal teamsto consider new ways of working.

Throughout the journey towardsparticipation the Audience Research andAdvocacy team have been involved in thedevelopment, planning, measuring andevaluation of the projects undertaken.This ensures that we are capturing notonly the process of how things work, butalso the influence of this way of workingon our internal teams and the impact onour participants – the public we haveinvited to co-create with us. This vigorousresearch approach is also ensuring thatthe visitor, the final recipient and largerstakeholder of these projects, alwaysremains the focus throughout thisinnovative way of working.

Two participation case studies

1: Pain Less Pain Less: the Future of Relief is anexhibition currently featured in theAntenna: Science News gallery at theScience Museum, investigating thefuture of pain relief through personalstories, scientific discovery, objects,films and interactive games.

Pain Less involved two participatorygroups during the development of theexhibition to inform both the messagesand interpretation of the exhibit. One, agroup of Year 9 students from theLangley Academy in Berkshire,represented part of the target audiencefor the gallery and were brought onboard to help create a teen-appropriateresource – a ‘blast the pain away’ gamecalled Ouch. Their involvement ensuredthat the content of the exhibition wasengaging and relevant for their agegroup. The other group constitutedadults with chronic pain who, with helpfrom artists and film-makers, were ableto creatively communicate their personalresponses to living with pain every daythrough a mixed media artwork calledFragmented lines: re-visualising pain.

The participatory projects offered theMuseum team a fresh perspective on theexhibition’s content and interpretationand helped increase its appeal to a widerrange of the museum audience. Theprocess wasn’t always plain sailing: theteam were unprepared for the sheeramount of organisation required tocoordinate these projects. Not enoughforethought was given to the difficulties

of incorporating the outcomes from thetwo groups, or the challenges of workingwith vulnerable people.

Nevertheless, during the summativeevaluation of the exhibition it was foundthat the co-produced game was veryengaging for the target audience ofyoung people and the artwork wasextremely popular with a number ofvisitors, specifically those who hadexperienced pain, while also engagingthose with a limited knowledge ofscience. One visitor remarked, ‘The artthing makes science more engaging. Thetone – it doesn’t soften it so much, it justbrings in other things.’

2: GPS and Information Age In September 2014 the Science Museumis due to open a permanent gallerycalled Information Age. The new gallerywill explore the history of informationand communication technologies fromthe past 200 years, including a sectionabout satellite communications. Thismore modern content will feature a storyabout the introduction of GPStechnology and the impact it had on theways in which soldiers navigated thedesert during the Gulf War.

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Project participants planning ideas with the interactive designers (Science Museum)

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Audience research is an effective tool for reaching out to new audiences, such as youth (Science Museum)

To inform the narrative of this part of thegallery, a co-creation project involvingtwo participation groups took place inearly 2013. The objective was to createan interactive game experience thatwould help visitors to the InformationAge gallery consider what it is like tonavigate difficult terrains, and thepositive impact technology might haveon it. As a result, one of the participationgroups featured a number of veteranswho experienced using GPS whilst incombat and who have also subsequentlylost their sight. Partnered with theseveterans were a group of blind andpartially sighted young people who usecontemporary navigation technologies.Independent adults are one of thegallery’s target audiences and thisproject allowed the Museum to broadenits reach into this audience group.

This participation was enormouslyhelpful in planning the gallery contentand offered a unique insight into thepersonal experience of those who useGPS in a way that our audiences mightnot otherwise consider. Involving theinteractive designers throughout theparticipatory process, the team ensuredthat first-hand accounts were influencingthe format and content of the game.

Managing the expectations of thoseinvolved with the project was important.The Museum had to ensure that thegame-play lived up to the participants’hopes, whilst at the same time providingan engaging and relevant experience forboth blind and sighted museum visitors.The project is currently at theprototyping phase, and the Museumplans to involve the participants intesting and evaluating. It is hoped thatby providing the participants with theskills to evaluate the prototypes, theMuseum will continue to engage newaudiences, particularly those withaccessibility challenges.

RÉSUMÉ

Disposant de son propre département derecherche sur les publics depuis 20 ans, leMusée des sciences est dans unesituation privilégiée. Il collecte et utilisedes renseignements précieux au sujet desvisiteurs. Son but est de nous fournir unemeilleure compréhension des besoins desvisiteurs actuels et potentiels. Il s’agitprincipalement d'identifier et de supprimer

les obstacles à la compréhension et auxmotivations des visiteurs, et également decomprendre les méthodesd’apprentissage des visiteurs et ce qu'ilsretiennent d'une visite. Cela peutengendrer plus d'opportunités permettantaux visiteurs d'apprendre et de s'investirdans le Musée de par la pertinenceassurée des expériences.La participation du public ou la co-création avec lui sont juste un exempledes moyens pour inciter le visiteur às’investir dans nos galeries et auprès denos collections, tout en découvrant denouvelles histoires, de nouvellesperspectives et de nouveaux contenus.Cette façon plus intime de travailler avecle public permet aux établissements d'êtreplus en lien et de mieux communiqueravec leurs publics, et de se rendre plusaccessibles, universels et attirants danstous leurs secteurs d’activités.

RESUMEN

El Museo de Ciencia tiene el previlegiode contar por los ultimos 20 años con undepartamento propio de Investigaciónde audiencia, en el se ha estadocompilando y usando la inteligenciainvaluable de los visitantes; la meta esproveer un mayor entendimiento de lasnecesidades de público actuale ypotencial. Frecuentemente se trata de

reconocer y mover las barreras para elentendimiento y motivar a los visitantes.Esta investigación ayuda a crear en elmuseo más oportunidades para elaprendizaje, sus compromisos y asegurasu experiencia y relevancia. Laparticipación o co-creación junto con elpúblico es sólo una manera de motivarlocon nuestras galerias y colecciones, almismo tiempo que se descubren nuevashistorias, prespectivas y su contenido.Esta es una manera mas profunda detrabajar con la audiencia permitiendo alos organizadores un mejor enlace ycomunicación con los visitantes, lespermite ser incluirlos de una maneramas accesible y atractiva en todas lasareas.

Kayte McSweeney, All Our StoriesResearch Coordinator and AudienceAdvocate Jen Kavanagh, Audience EngagementManager, Information AgeScience MuseumExhibition RoadSouth KensingtonLondon, SW7 2DD, UK

Email: Kayte.McSweeney@ScienceMuseum.ac.ukEmail: Jen.Kavanagh@ScienceMuseum.ac.ukWebsite: www.sciencemuseum.org.uk

The Nezahat Gökyigit BotanicGarden (NGBG) is funded by the AliNihat Gökyigit Foundation (ANG

Foundation) to preserve plant diversityand promote education, particularlythrough exhibitions that show the crucialimportance of plant diversity. In additionto its role as a research, training andeducation centre, the Garden offers asignificant green oasis to people living inthis area of Istanbul.

As a scientific institution, NGBG placesgreat importance on undertakingresearch projects on the living systems ofplants, botany, agriculture, ecology,environment, landscaping andhorticulture; establishing and exhibitinglive plant collections mainly from Turkeybut also from other parts of the world;and protecting the threatened endemic,wild or cultivated plants of Turkey. Inaddition, we try to give equal or evengreater weight to education, to increasethe knowledge, interest and awarenessof the public about plant diversity andenvironment.

Striving to reach the widest possiblepublic, NGBG became aware that weneeded a strategic approach to prioritiseour target audiences and to fully meettheir needs. Therefore, we designed aproject that prepares the way for a new

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Interpretation is the key a master plan to connect people and plants

L’interpretation est la clé : un bon plan pour connecterInterpretación es la clave: un plan maestro para conectar la gente y las plantas

Creating effective and efficient interpretation requires the removal of barriers between visitor

and garden, writes Sema Çevik. It’s essential that you know who you are talking to and their

needs and motivations, as well as reflecting on why you want to inform them and what you

want to say. Turkey’s Nezahat Gökyiğit Botanic Garden has devised a five-year interpretative

master plan to address this challenge.

Visitors to botanic gardens are notobliged to learn in a specific way, theychoose for themselves what they want toknow about, and where and when toparticipate. However, every garden wantsto communicate their mission and theirmessage to the large numbers of peoplewho visit in their leisure time. By meansof good interpretive materials, we canconnect our garden with our visitors,helping them to understand, appreciate,value, and care for plants and making

interpretative system to help us carry out an educational master plan for the future.

What is interpretation?

‘Interpretation is an educational activitywhich aims to reveal meanings andrelationships through the use of originalobjects, by firsthand experience, and byillustrative media, rather than simply tocommunicate factual information.’(Tilden, 1957)

New interpretative signs, such as this one about silk worms, help connect visitors to the garden (Nezahat GökyigitBotanic Garden)

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them feel a relevant part of theexperience – there should be no barriersbetween visitors and the garden. Theright tools encourage people to exploreand learn about nature; not all the storiesin botanic gardens are obvious and helpis needed to make them accessible. Infact, you could say that interpretation isthe magic wand that turns a park into abotanic garden.

Interpretative tools include labels, panels,audio guides, actors, storytellers, trails,guided tours, leaflets, handling tables,treasure hunts, manual interactivedisplays, computer interactiveprogrammes, scent spots, sculpture,downloadable MP3 trails, walkaboutsheets and much more. Botanic gardenscan attract more audiences by using avariety of such media. But first, we mustbe clear who we are talking to, theirmotivations and needs, why we aretelling them this stuff, why they shouldcare and what we want them to do aftertheir visit. When planning for interpretivemedia, we should not only know who weare talking to but also who we are notreaching, which obliges us to think abouthow future plans could meet their needs.

All these things should be put into themix when considering the choice ofinterpretative media. This is a bigquestion and the project NGBG hasconducted is helping to work this out.

The master plan

An interpretative master plan has helped us organise the way in which our botanicgarden presents information andcommunicates its value to visitors, the community, and even to others on a regional and national scale. The process NGBG followed includedsome essential elements forconsideration:

• Managerial realities• The interpreter• Objectives and outcomes• Resource inventory and the themes • Visitor and market analysis• Site media and services selection• Implementation • Evaluation

Managerial realities are the challengeswe faced over issues such as budget,available staffing, political support,timescale, existing policies or directives,

missions etc. We found a SWOT analysisto be an effective way of identifying thepros and cons of the impact on theorganisation and of examining theopportunities and threats ourorganisation may face as a result ofimplementing the new arrangements.

The interpreter. All aspects of theinterpretative master plan are composedand applied by ‘the interpreter’ team.Collaboration is one of the mostimportant things for the development ofthe Garden and this is the reason theteam included members from alldepartments.

Objectives and outcomes. It wasimportant to clearly identify the specificobjectives we needed the interpretationto achieve, in order to provide a fullbotanical garden experience for visitors.These included objectives of learning(what the visitor will come toknow/understand), behaviour (whatvisitors will do) and emotion (whatvisitors will feel) and encompassed theaims of our education department. Inorder to identify clear objectives, weused the ‘SMART’ model – that is,specific, measurable, appropriate,realistic and timetabled.

Resource inventory and themes.This involved conducting a completeinventory of all the sites and resourcesthat we wanted to interpret for ouraudience. To this end, we allocated acode to each category as a way ofgrouping interpretive resources. Forinstance, we gave the code letter P tocertain parts of the garden. This enabledus to apply the same structuredinterpretative tool to each member of thesame category.

From this we are able to develop a maininterpretative theme, sub-theme, andstoryline to present to visitors. (A themeis the message you want tocommunicate and will be related to yourmission and the general objectives ofinterpretation.) Themes were developedfor each interpretative tool in theapplication phase.

Visitor and market analysis.Who areour visitors? What do they hope to findout, learn, or experience with us today?These are key questions. They enabledus to identify our audiences – theirgeneral visit profile, demographic

profiles, motivations/interests, needs,visitation patterns and so on. On theother hand, we also got an idea of whowas not visiting the garden and whattheir reasons are. We may focus onplanning ways to attract these missingaudiences. Clearly, we can say visitoranalysis helped us to prioritise our targetaudiences and work towards their needs.The following section details what tookplace during the summer of 2012.

Research time

NGBG conducted a visitor surveyfocusing on the following:

• Demographic profile of visitorsincluding age, education level, visitingfrequency

• Demographic profile of non-visitorsand their comments on botanicgardens

• Visiting motivation, and how thevisitors described themselves – asexplorers, facilitators, professionals,experience seekers, spiritual pilgrims

• Visitor needs: both the ‘Hierarchy ofNeeds’ as described by AbrahamMaslow (1943) and themes they wantto learn about

• Visitor profile, using the visitorexperience model

• Existing facilities and their functions;existing interpretations and theireffects

In this study the survey consisted of 20questions and data were collected by avariety of methods including individualinterviews, focus group interviews,observation, and following groupprogress on site. There was a total of202 participants.

The information obtained helped usassess the value of the botanic gardenand its resources, as well as contributingto a greater awareness of how visitorsbehave and their expectations of theGarden. The next step was to prioritisethe target audiences. Did we want toconcentrate on retaining our existingvisitor base or was the priority to attractmissing audiences? Making thatdecision helped to define the kind ofinterpretation media to be developed.

15

Site media and services selection. Up to this point, we had looked at all thesites within the inventory, andconsidered the objectives we wanted toaccomplish Garden-wide – now weneeded to match up the objectives withthe locations. We dealt with the fourquestions below and completed theinterpretive planning form for each site.The data collected in visitor analysiswere used to choose the best sites,concepts and media.

• Interpretative significance of the site orfeature

• Interpretative concept we wanted touse this site to illustrate

• Interpretative objectives • The recommended media

Making improvements

Implementation. Below are someexamples of our new interpretation toolsafter completing the blueprint for ourmaster plan.

1. The Discovery Garden is one of themost popular sites in the Garden. Thevisitor analysis allowed us to improveits interpretation.

BGCI • 2013 • Roots • Vol 10 (2)16

2. People had reported problems with theGarden’s old direction signs so weprepared new ones that are morenature- and child-friendly.

3. Visitors said they didn’t like our newcar park. Just by assigning eachparking area a distinctive flower name,with a picture of the flower, wesucceeded in making the whole carpark more sympathetic.

Introduction of new silkworm interpretation in theDiscovery Garden (Nezahat Gökyigit Botanic Garden)

Redesigned directional signs at NGBG (Nezahat Gökyigit Botanic Garden)

The appealing ‘flower’ car parking signs (Nezahat Gökyigit Botanic Garden)

Evaluation. Evaluating techniques allowus to check if we are on track withmanagement goals and projectobjectives, to ensure the message isclear and easily understood, that bestpractice standards are met, and to learnabout what is working and what isn’t. Asregards to evaluating our range ofinterpretation tools, we follow thestrategy below.

• Formative evaluation: during thepreparation phase we carry out a trialinterpretation presentation with anaudience before finalising it. In this waywe can assess reactions, find out if thetheme is clear and our messageunderstood. This pilot study alsoenables us to check that text andgraphics can be read or audio-heardclearly.

• Summative evaluation: once theinterpretation is completed, we carryout observation and interviews to helpus find out if it is doing what weintended.

Future direction

In botanic gardens, interpretation is theconnection between visitors and thegarden. With careful planning, theinterpretive plan will bring organisation tothe garden sites, trails, experiences andstories in a way that helps to protect theresource while engaging and inspiringvisitors. Starting with questions of whatto interpret to whom and why, weselected appropriate interpretivemethods and discussed measures bywhich each method’s success could bejudged. The plan that resulted iscomprehensive but still flexible. In thecase of NGBG, the consensus thatemerged from the planning process hasgiven us a direction and momentum thatcontinues to this day.

References and Bibliography

, Emberson, C. & Veverka, J.A., 1994,Interpretive Communication: The Keyto Successful Heritage TourismMarketing Planning and ProgramDesign. Norfolk, UK: HeritageDestination Consulting Press.

, Emberson, C. & Veverka, J.A., 1994,Interpretive Themes and Objectives.Norfolk, UK: Heritage DestinationConsulting Press.

,Kneebone, S., 2005, Master Planningfor Education, Roots, 2 (2), 2–3.

, Tilden, F., 1957, Interpreting ourHeritage. University of North CarolinaPress, North Carolina

,Maslow, A. H., 1943, A theory ofhuman motivation, PsychologicalReview, 50(4), 370-396

RÉSUMÉ

L'interprétation dans un jardin botaniquecrée un lien entre les visiteurs et lesplantes. Elle aide les visiteurs àcomprendre et à apprécier les plantestout en leur donnant de la valeur et del'attention. Elle offre une informationpertinente aux visiteurs, qui leur permetde se sentir partie intégrante del'expérience. La clé pour réaliser uneinterprétation réussie et efficace est defaire tomber les barrières entre lesvisiteurs et le jardin. Cela nécessite uneréflexion critique avant de décider detout moyen d'interprétation, quel qu’ilsoit. Nous devons d'abord identifier lespersonnes à qui nous nous adressons,leurs motivations et leurs besoins. Nousdevons aussi nous interroger sur lesraisons pour lesquelles le jardin délivredes informations aux visiteurs, pourquoiceux-ci devraient s’y intéresser et ce quenous souhaiterions qu'ils fassent àl'issue de la visite. Par rapport à cesdifférents points, cet article traite de lamise en place d'un plan directeurd'interprétation sur 5 ans qui nous aide àréorganiser la façon dont notre jardinbotanique présente les informations etcomment il communique ses valeurs etses missions aux visiteurs. Grâce à unprocessus rigoureux, notre plan directeurd'interprétation permet à nos messagesde vraiment faire le lien avec nosvisiteurs et d'être compris par notrepublic de la façon la plus efficacepossible.

RESUMEN

Los medios de interpretacion en jardinesbotánicos crean vinculos entre losvisitantes y las plantas. Esto ayuda a losasistentes a entender, apreciar, evaluar ycuidar las plantas; los provee con larelevancia en hacerlos sentirse parte delmismo jardin. La clave para que lasmaterias de interpretacion sea efectivas

es el derribar las barreras entre losvisitantes y el jardin. Esto requiere de unplaneamiento cuidadoso antes dedecidir cuál será el medio deinterpretación a usar. Nosotrosrequerimos identificar a quién se estádirigiendo el mensaje, la motivación ynecesidades de los mismos. Tambiénnecesitamos examinar el por qué eljardín está dando esta información; el por qué los visitantes tienen queentender la misma; y que es lo quenosotros queremos que los visitanteshagan después de su visita. En esteartículo estos temas son expuestos y se discute el programa desarrolladodurante cinco años para el plan maestrode interpretación que nos está ayudandoa reorganizar la manera en que nuestrojardín botánico da a conocer lainformación, como comunica su valor ymisión a los visitantes.

Sema Çevik Head of EducationNezahat Gokyiğit Botanic Garden Ataturk Mah., Fatih Sultan MehmetCad.,TEM Otoyolu Anadolu Kavsagi,Atasehir, 34758,Istanbul34758 TurkeyEmail: semacevik@ngbb.org.tr Website: www.ngbb.org.tr

BGCI • 2013 • Roots • Vol 10 (2) 17

Real frozen samples show the different stages ofsilkworm (Nezahat Gökyigit Botanic Garden)

The success of any museum depends on understanding what it is that visitors really want.

Naturalis’s story is all about the abundance of nature; its stated aim is to be the most

attractive and innovative family museum in Europe. Lideweij van Valkenhoef describes

how a specialist audience survey has given them the insight to make a planned makeover

really work.

BGCI • 2013 • Roots • Vol 10 (2) • 18-2118

‘What people say, what people do, and what they say they do, are entirely different things.’

Margaret Mead

Audience participation using vistor surveys to drive innovation

Participation du public – utilise l’avis des visiteurs pour innoverParticipacion ciudadana – usando las sugerencias del publico para inovar

Naturalis has welcomed family visitors for years and is aiming to become the most attractive and innovative family museum in Europe (Mylene Siegers, 2010)

Naturalis is primarily a familymuseum: we are focused ongrandparents or parents with their

children and other groups of childrenand adults. We tell the story of the

abundance of nature and our subjectsare accessible and recognisable –visitors can step effortlessly into theworld of natural history. Increasingly,most museums are focusing on family

groups but Naturalis is ahead of thegame, having welcomed family visitorsfor years. By concentrating on this targetgroup, we aim to further strengthen ourimage and to become the mostattractive and innovative family museumin Europe. So what exactly is a ‘familymuseum’? What is really attractive andinnovative?

Time for a change

The Naturalis museum is about toundergo a renovation. The currentexhibitions date from 1998 and mostmuseums reckon that permanentexhibitions have a lifespan of 10 to 15years, after which it becomes essentialto change them for a number of reasons:

• Many exhibits will have reached theend of their technical lifespans

• The museum’s ability to attract visitorswanes, resulting in falling visitornumbers

• There are so many new content-related developments that theinformation may become obsolete.

Naturalis has a further reason to update.In 2012, it merged with the AmsterdamZoological Museum, and the NationalHerbarium Nederland. This led to atripling of the collection andconsequently the need for more storageand exhibition space.

The survey

To become a good family museum, weneeded to know exactly what familiesexpect from their visit, and for the lastten years audience surveys have beencarried out at Naturalis. This isquantitative research focused ongathering social demographicinformation from our visitors. We alsoconduct qualitative surveys duringprojects such as large events andtemporary exhibitions. This researchgives us insight into the composition andmotivation of our audience but not thedetail needed to help us completelyrenovate our exhibitions. For this, wecalled in a specialist internationalresearch network, MotivAction Researchand Strategy (MRS).

Naturalis asked MRS to undertake asurvey of the target groups with thefollowing aim: To gain insight into thetarget groups with a current or potential

interest in visiting Naturalis and, on thebasis of this input, to optimise theexhibition and determine measurablegoals.

The survey consisted of two parts andthe following research questions wereformulated:

Part 1: • Which current and potential targetgroups can be determined?

• What are the needs of current andpotential target groups and how dothey differ or converge?

Part 2:• What are the conditions as regardscontent, form and design, which thenew exhibition must satisfy in order tobe attractive to the target groups?

• What improvements do the targetgroups suggest after seeing theconcrete ideas for the new exhibition ?

Research method

We chose MRS because they developedthe ‘Mentality’ research model, whichgroups people according to theirattitudes towards life – by investigatingpeople’s perceptions, insight is gainedinto what motivates the target groups,

how trends come about, and the broadercontext in which they operate. Thismethod has been found to be a moresophisticated tool for explaining thebehaviour of citizens and consumers thantraditional categories based on age,gender, education and income.

The Mentality model classifies groups onthe basis of values and lifestyle. Peoplefrom the same social milieu share valueswith regard to work, leisure and politics.They demonstrate similar ambitions andaspirations. Each milieu has its own styleand consumption patterns, which areexpressed in actual behaviour. Thus, onthe basis of research results and customerbehaviour data, a number of personas arecreated. Personas are custom-madevisitor profiles (or characters) that bringstatistics and data about target groups tolife. They give a name and face to thevisitor, identifying their hobbies, motives,desires, and life goals and ensuring thatthe ‘customer’ concept becomes real andrecognisable.

To conduct the research the followingapproach is used:

• Determine current and potential targetgroups

• Define wishes and needs of these groups

BGCI • 2013 • Roots • Vol 10 (2) 19

Artist’s impression of the exterior of the new Naturalis which recently merged with the Amsterdam ZoologicalMuseum and the National Herbarium Nederland.(Naturalis)

• Test new ideas for the exhibition bymeans of focus groups

• Adjust the concepts on the basis ofthe outcome

The following data are analysed in orderto identify the current and potentialtarget groups and define their needs:

Culture:• Attitude towards culture and history ingeneral

• Visits to cultural organisations andactivities (more specific to naturalhistory museums)

• Motivation for these visits

Nature:• Interest in nature • Member of conservation organisations • Motives for general leisure timeactivities

• Phase of life: e.g. children living athome (in age groups), senior citizen etc.

The two main areas, culture and nature,are then amalgamated.

On the basis of the outcome the mostpromising target groups for Naturalis werethus identified and defined into thepersonas of two couples: John & Annabel,and Frank & Diana, with their children. The first couple, John & Annabel, areculture and nature lovers. They often visitmuseums and above all enjoy history andtraditional art. They visit a museum inorder to broaden their knowledge on thesubject. If they visit a museum with theirchildren or grandchildren, for them it isabove all an educational outing. John &Annabel have enjoyed higher educationand earn above average income. Thesecond couple, Frank & Diana, are notparticularly nature or culture lovers.Generally speaking, they considermuseums boring places. They do like toorganise days out with their children intheir leisure time, but generally opt for afun park rather than a museum. If they dovisit a museum it is because it offerssomething amusing or new and they willonly go if it is suitable for the children.Frank & Diana have received an averageeducation and earn an average income.

The concept of the renewal programmewas then presented to our (potential)visitors in focus groups with thefollowing research questions:

• How attractive, understandable andcomplete do you rate the concepts?

• What makes the exhibition special?What is the impact of thepresentation?

• How does the intention of theexhibition (informing, entertaining,provoking curiosity to know more)come across?

For this survey we chose to use the ‘e-safari’ method. A preselected group ofrespondents was presented with onlineinstructions. Each participant had theirown webpage and was offered thepossibility to interact if they so wished.Through a dashboard, the researchersand the client could follow in real timewhat answers were given, which moviesand photos were uploaded by theparticipants.

BGCI • 2013 • Roots • Vol 10 (2)20

Naturalis will retain many of its features that have proved to be popular, such as large objects on display which offer opportunities for photographs (Naturalis)

Outcome for Naturalis

Naturalis’s new presentation is to consistof nine different stories shown in ninegalleries, that cumulatively reveal to thevisitor the overall abundance of thenatural world. The results of the surveyshowed that all target groups respondedwith enthusiasm for the conceptspresented to them. Both John & Annabeland Frank & Diana are interested in a dayout with the family and the sharedexperience of the visit. The mostimportant difference between the twocouples lies in the fact that Frank & Dianaare looking for action: innovativeinteractive resources are essential for theirsatisfaction. John and Annabel are keento have more in-depth information.

For Frank & Diana, the main reason to visitNaturalis is to have an enjoyable outing.Above all, it must be fun for the children.Their visit to the galleries will be moresuperficial and less structured than John& Annabel’s. They are mainly interested inparticipation: all interactive options will beexplored, whereas in-depth informationhas no added value for them. Frank &Diana also prefer guidance: the floorplanand walking route must be clear so theycan find their way through the galleries.

If John & Annabel come to Naturalis, themost important aspect is the educationalone. Therefore their visit of the gallerieswill take longer and be more focused.Sharing the visit and experience of theexhibitions is important to them. They liketo have additional information which theycan pass on to their (grand)children, toexpand their own and the children’sunderstanding. John & Annabel tend tofeel restricted by a fixed routing throughthe galleries.

The survey also indicates that bothgroups like there to be a clear relationbetween the exhibition concepts and thatthey both find the experience and impactof the exhibition enhanced by being ableto recognise themes.

With these results Naturalis has been ableto adjust the concepts in order to meetthe wishes and needs of the target groupsas well as possible. The subjects on offerwill be accessible, recognisable,welcoming. We will offer different levels ofinformation, in a cross-media approach,both physical and digital, aimed at thehead (knowledge), the heart (perception)

and the feeling (hands-on experience) tomeet the need of John & Annabel for in-depth information and the need of Frank &Diana to participate actively. We will aimfor a balance of experiencing and learningin the galleries. We will maintain the goodthings we have: the relaxed atmosphere,numerous real objects on display, objectsto touch and photo opportunities withlarge objects such as the rhinoceros (bothof these last two are highly popular). Andwe will improve what can be improved,including giving more information at avariety of levels, more context, and a clearrouting through the building.

The new presentation will combine thebest of a museum, a science centre andan experience. We will offer our visitors anintense experience, hoping it will make adeep and lasting mark.

RÉSUMÉ

En 2016, le musée Naturalis aura achevéla rénovation de ses expositions et rouvertses portes au public. Nos enquêtesquantitatives sur les visiteurs montrentque le musée attire surtout les famillesavec de jeunes enfants. Par conséquent,nous avons décidé d’axer la rénovationdes expositions sur ce groupe cible. Nousvoulons répondre à la fois à la demandedes enfants et de leurs parents ou deleurs grands-parents qui constituent nosvisiteurs habituels, ainsi qu'à celle denouveaux visiteurs potentiels.Pour identifier les groupes cibles existantset potentiels, nous avons mené desenquêtes sur les visiteurs. Pourcomprendre pleinement les désirs et lesbesoins de ces groupes, nous avonsutilisé une nouvelle méthode derecherche. Les visiteurs ont été classés enfonction du modèle mental. Lessegmentations habituelles des publics parrapport à l'âge, revenus et à l'éducationfournissent des prédictions insuffisantespour alimenter la recherche sur les visitesde musées. Le modèle mental classe lesgroupes en fonction des valeurs et dustyle de vie, qui sont de meilleursindicateurs sur qui visitera un musée. En plus des recherches quantitatives,nous avons également mené desrecherches qualitatives sur la manièredont les visiteurs habituels et potentielsperçoivent Naturalis sous sa formeactuelle. Après avoir développé lesconcepts pour la réalisation des nouvellesexpositions, nous avons testé nos idées

par rapport aux attentes des groupescibles en utilisant « E-safaris ». Noussavons maintenant ce que nos groupescibles aiment et n'aiment pas de Naturalisen l’état actuel, et ce qu'ils attendent dufutur musée.

RESUMEN

En 2016 3l Museo Naturalis completarala remodelación de su exposición yabrirá sus puertas al público. Nuestraencuesta regular (cuantitativa) devisitantes mostro que el museo atraeprincipalmente familias y sus pequeñosjóvenes. Entonces decidimos enfocar larenovación de la exposición a estegrupo. Con ello intentamos satisfacer apequeños, sus padres y abuelosquienes representan nuestros visitantestanto actuales como los futuros. Paraidentificar el potencial existente denuestros grupos objetivos hicimosencuestas a nuestros visitantes.Entendiendo los deseos y necesidadesde estos grupos por medio de unmétodo nuevo de investigación. De talmanera que nuestros visitantes fueronclasificados de acuerdo a un modelo dementalidad. El marcar clases deaudiencia de acuerdo a edades, salariosy educación nos ofrece proyeccionesinsuficientes en cuanto a la investigaciónde visitantes. Por su parte, el modelo dementalidad los clasifica de acuerdo asus valores de estilo de vida, que esmejor indicador de quien visitara elmuseo. En adición al análisiscuantitativo, también llevamos a cabouno cualitativo de cuáles y quiénes sonlos visitantes actuales y los potencialesen Naturalis tal y como se encuentraahora . Después de desarrollar losconceptos para las nuevasexposiciones, hemos hecho pruebas denuestras ideas con estos grupos usandoE-safaris (safaris electrónicos). Entoncesya conocemos que es lo que les gusta yque es lo que no de la situación actualde Naturalis, y también que es lo seespera del nuevo museo.

Lideweij van Valkenhoef Head of Communications andMarketingNaturalisDarwinweg 2, 2333 CR LeidenThe NetherlandsEmail:Lidewij.vanValkenhoef@naturalis.nlWebsite: www.naturalis.nl

BGCI • 2013 • Roots • Vol 10 (2) 21

BGCI • 2013 • Roots • Vol 10 (2) • 22-2522

The Royal Botanic GardensCranbourne (RBGC), a division ofthe older and more widely known

Royal Botanic Gardens Melbourne, wascreated in 1970, opening its gates to thepublic for the first time in 1989. Earlyvisitor experiences of the RBGC weredominated by the 363 hectares ofremnant vegetation, mostly uncleared byEuropean settlement of Victoria apart

Public places and private spaces measuring the influence of botanic gardenson domestic gardeners

Espaces publics et espaces prives – mesurer l’influence des jardins botaniques sur les jardiniers amateursEspacios publicos y privados – evaluando la influencia de los jardines botanicos en la jardineria domestica

How do botanic gardens measure and enhance their influence on the way people manage

their domestic gardens? The Royal Botanic Gardens Cranbourne’s 363-hectare site

includes both remnant bushland and landscaped Australian Garden and its core aim is

encouraging home gardeners to use native plants to create sustainable, biodiverse gardens.

Sharon Willoughby, Dave Kendal and Alison Farrar report.

then the opening of the AustralianGarden at Cranbourne in 2006 and thecompletion of its second and final stagein 2012 has dramatically altered the kindsof visitor experience and engagementthat can be carried out on site.

The Australian Garden, in contrast to thewilder bushland, is a highly landscaped,contemporary horticultural display of

from a few contained areas that hadbeen scalped by sand mining in the mid-twentieth century. Visitor activities at thistime focused on leisure activities, familybarbecues, walking and hiking, birdwatching and plant identification, butthere was very little informalinterpretation or formal educationavailable until 1995 when a PublicPrograms Team was recruited. Since

The Australian Garden is a highly landscaped, contemporary horticultural display of native Australian plants (Jorge de Araujo)

native Australian plants. The RBGC nowalso has a visitor centre, shop, café,people mover and a large PublicPrograms team covering education,interpretation, customer service staff andvolunteers (Russell et al., 2012). Formalinterpretation and education programmeshave been run in the garden since 2006with the core aim of influencing people touse Australian native plants in their ownhome gardens. While there is someanecdotal evidence that the RBGC ishaving an influence on private gardendesign, we know little about who isaffected and whether this is significantlychanging domestic gardens. Workingout whether our public programmes arehaving an impact on our local communityis really important for future planning.

With help from our Friends

In order to look at the effects of ourprogrammes the Royal Botanic Gardenestablished a social science project withthe support of the Friends of the RoyalBotanic Gardens Melbourne Helen

McLellan Research Grant. This fundingfrom our Friends enabled us to conductinterviews and questionnaires to exploreand evaluate the influence the AustralianGarden is having on home gardeners.

We have found that the AustralianGarden influences people in two ways.Firstly, through the choices they makeabout plants. People who are moreinvolved with the Australian Garden (e.g.Friends, volunteers, etc.) are more likelyto choose native, drought tolerant andwildlife attracting plants, and to avoidweedy plants. Secondly, involvement atthe RBGC is influencing garden designand choice of materials. There are strongpsychological pathways that lead to thiseffect through the ways people valueresidential gardens, their attitudes tonative plants, the way they value theRBGC, and their connectedness tonature.

In contrast to these influences we foundtwo significant disconnects. Firstly, thereexist important personal values forresidential gardens (say, as a place ofescape for citydwellers) and generalleisure values of public gardens (say, aplace to relax or exercise) that do notincrease with greater involvement withthe RBGC. Addressing these situationsmay provide opportunities for the RBGCand the Friends to engage with broaderaudiences of gardeners and open spaceusers who are not necessarily focused onnative plants. This coming (Australian)spring we are experimenting with aprogramme of ‘Yoga in the AustralianGarden’ in partnership with our localYMCA to see if this type of leisure-basedactivity will attract a new audience to theGarden or help us to engage moreclosely with those we are alreadyattracting.

BGCI • 2013 • Roots • Vol 10 (2) 23

The Lily Pad Bridge over the Ian Potter Lake in the Australian Garden offers visitors a different perspective (Jorge de Araujo)

Signs directing you to ten different walks you can take in the Australian Garden (Jorge de Araujo)

Secondly, the way that people value theAustralian Garden as a well-designedAustralian Landscape is not connectedto the RBGC’s influence on people’splant selection. While one of thepurposes of the highly landscapedAustralian Garden was to inspire homegardeners to use native plants, ourresearch suggests this may not behappening to any great extent.Obviously this finding encourages theRBGC to look at ways in which theAustralian Garden design could begin toinfluence plant selection. It also pointsto the need for more research. The finalstage of the project will involve florasurveys of home gardens to more fullyunderstand how the RBGC influence onhome gardeners we have observed istranslating to the plants that are grownin their gardens.

A pressing need

What is the connection between publicbotanic gardens and the private homegarden? Do botanic gardens influencethose who design and work in theseprivate green spaces? These areimportant questions to consider asbotanic gardens around the worldgrapple with their social role and setincreasingly ambitious agendas forpublic education – recognising thepressing need to conserve biodiversityand mitigate the impacts of climate

change. Emma Marris in her recentbook Rambunctious Garden stressesthat botanic gardens are at the forefrontof understanding that influencing homegardeners is the key to conservingbiodiversity in urban environments(Marris, 2011). We need to look beyondour traditional surveys of visitor

satisfaction and service quality andfocus on how we are to influence ouraudiences in more subtle and complexways – in this way we can learn to createprogrammes that really will have animpact on the choices our visitors make(Moskwa & Crilley, 2012).

References

,Marris, E., 2011. RambunctiousGarden: Nature in a Post Wild World.Bloomsbury Publishing, USA.

,Moskwa, E. C. & Crilley, G., 2012.Recreation, education, conservation:the multiple roles of botanic gardens inAustralia. Annals of Leisure Research,15(4): 404–21.

,Russell, C., Willoughby, S. & Burness,J., 2012. Backyards to biolinks. CityGreen 5.

RÉSUMÉ

Les Jardins botaniques royaux deCranbourne (RBGC) gèrent un site de363 hectares, comprenant un espaceavec des vestiges importants de bush etun jardin paysager australien, situé dansla frange sud-est de Melbourne enAustralie, qui est en rapide

BGCI • 2013 • Roots • Vol 10 (2) 24

The Australian Garden is influencing people’s choices about plants and garden design (Jorge de Araujo)

Garden Ambassador Information Station at the Australian Garden: volunteer Garden Ambassadors providevisitors with information about the Australian Garden and advice on native plants and home gardening(Jorge de Araujo)

développement. Les programmeséducatifs, les aménagements paysagerset les pratiques horticoles sont lescomposantes fondamentales de lastratégie que le RBGC développe pourgérer la biodiversité sur place.L'éducation au RBGC a pour butd'inciter les jardiniers amateurs à utiliserdes espèces natives d’Australie pourcréer des jardins biodiversifiés durablesde particuliers en dehors de notre jardin.La question fondamentale est la suivante: arrivons-nous à changer la manièredont nos visiteurs jardinent ?

Pour tenter de répondre à cettequestion, un projet de recherche socialeintitulé « Jardinage au-delà de nos murs» a été créé. Ce projet s'est appuyé surdes entretiens, des questionnaires et desenquêtes pour examiner l'influence dujardin australien sur les jardiniers. Enétudiant les différentes façons dont lesgens attachent de la valeur au RBGC età leur propre jardin, cela nous a permisd’obtenir des indications sur la façondont le jardin australien influence lesjardiniers et des pistes importantes pourdévelopper ce public.

RESUMEN

Los jardines botánicos de Cranbourne(RBGC) comprenden 363 hectáreas en laque existe una porción importante derestos de matorral y paisajismo deJardín Australiano (AG) localizados enuna franja en alto desarrollo en él surestede Melbourne, Australia. Programaseducativos en manejo de la tierra yprácticas de horticultura son loscomponentes claves de la estrategia queel RBGC ha desarrollado para conservarla biodiversidad del sitio. La educaciónen el RBGC tiene como meta promoverjardines de casa que usen plantasnativas australianas y así crear unabiodiversidad sustentable más allá denuestras fronteras. La pregunta clave -¿estamos cambiando el camino de denuestros visitantes al jardín? Paracontestar a ella se estableció unproyecto de investigación ‘ Jardineríamás allá de nuestra frontera’. En este sehacen entrevistas, cuestionarios yencuestas a jardines explorando lainfluencia tienen en el jardín australiano.Investigando las diferentes maneras quela gente asocia valor a los RBGC y el

que su propio jardín en casa nos hadado la percepción de como el JardínAustraliano ha influenciado a losjardineros y las pautas importantes paralos usuarios y desarrollo de suaudiencia.

Sharon WilloughbyManager Public ProgramsRoyal Botanic Gardens CranbourneBirdwood AvenueSouth Yarra Victoria 3141AustraliaWebsite: www.rbg.vic.gov.auEmail:sharon.willoughby@rbg.vic.gov.au

Dr Dave Kendal, EcologistAlison Farrar, Research Assistant,Australian Research Centre for UrbanEcologyC/o School of BotanyThe University of Melbourne, Victoria3010AustraliaEmail: dkendal@unimelb.edu.auEmail:alison.farrar@unimelb.edu.auWebsite:http://arcue.botany.unimelb.edu.au

BGCI • 2013 • Roots • Vol 10 (2) 25

The Australian Garden has dramatically altered the kinds of visitor experience and engagement that can be carried out on site (Jorge de Araujo)

BGCI • 2013 • Roots • Vol 10 (2) • 26-2926

Binocular vision puts new audiences in the frame

Les jumelles invitent de nouveaux visiteursLa vision binocular atrae nuevo publico

Attracting over 600,000 visitors a year, China’s Xishuangbanna Tropical Botanical Garden

faces the challenge of making plant conservation relevant to audiences old and new. Here

Ximin Wang and He He describe new educational programmes introduced by the garden

that are bringing an awareness of biodiversity and the relationships between plants, animals

and the environment, to a wider public.

Students learning about the structure of the fig fruit during an education session (Xishuangbanna Tropical Botanical Garden)

As the largest botanical garden inChina focusing on tropical plantdisplays, research and

conservation, Xishuangbanna TropicalBotanical Garden (XTBG) is visited bywell over half a million people annually.Targeting and communicating our plantconservation mission to so many people– an ever-growing audience – is both anopportunity and a challenge. Currently,XTBG’s educational programmes, eachwith a different audience and purpose,divide into two classifications: onefocusing on promoting rain forestbiodiversity and ethnic cultureexperience for the public, the otherfocusing on encouraging students tocarry out inquiry-based research andbiodiversity conservation.

Very different from botanical gardens innearby big cities, XTBG is located in aremote part of the country. Most visitorstravel from other places in China astourists, in groups. They come for justone visit and only spend 2–3 hours in theGarden so having a good system inplace to make information accessible isvery important. Besides interpretationboards and information materials, wehave a well-trained team of guides madeup of 50 to 60 young men and womenfrom local communities.

On special days, such as national publicholidays, national science promotionday, or during national science andtechnology week, we organise specialevents for the public. For example, there

are a lot of fireflies in the garden insummer and they are sadly quite rare inChina now, so we hold a popular FireflyFestival in May and June. The visitorscan join our night walking tours to seefireflies and other nocturnal wildlife.

An introduction to birdwatching

Nearly 200 bird species are to be found inour Garden and winter is the best time forbirdwatching. In 2011, the first Birding Fairwas held with the purpose of helping thepublic to become aware of therelationship between birds and plants.

Since birdwatching is not a popularactivity in mainland China, we carried outa questionnaire survey during the two-dayFair, to explore people’s thoughts aboutbirdwatching and assess their response tothe Fair. A total of 294 questionnaireswere collected and analysed.

The results confirmed that respondentstended to know nothing or very littleabout birdwatching and only a few birdswere known to them, most of whichwere exotic or linked to Chinese culture,such as the humming bird, peacock andcrane. We also found that knowledgeabout birds did matter a lot to the public(37 per cent) and the lack of it was oneof the factors that discouraged peoplefrom birdwatching (37 per cent). Thepaths to birdwatching are limited andalmost 60 per cent found out about it bywatching TV or through attending ourBirding Fair. It is encouraging to find thatthe birds themselves are often the mainattraction (40 per cent) for people tobegin birdwatching. As for the feedbackon the Birding Fair, about 50 per cent ofrespondents thought that promotion of itwas important, and 55 per cent hadlearned about the Fair only after visitingXTBG. A few respondents expressedtheir interest in the bird-related activitiessuch as painting, mask making and birdnaming. In summary, the first Birding Fairin 2011 was deemed a success,providing the public with a valuableopportunity to learn about birds andbirdwatching.

BGCI • 2013 • Roots • Vol 10 (2) 27

Over half a million people annually visit XTBG (Xishuangbanna Tropical Botanical Garden)

Deputy Director of XTBG leading an engaging guided tour (Xishuangbanna Tropical Botanical Garden)

Based on the respondents’ feedback, forthe next two Birding Fairs in 2012 and2013 we promoted the Fair in other waysincluding using posters, and a microblog.Several innovative games about birdswere also introduced to the Fair andattracted many visitors to XTBG.Nowadays, the Garden is a paradise notonly for birds but also for birders from allround the world. From October to March,hundreds of birders come to visit, andmore bird species are spotted every year.

Thanks to this ideal habitat, XTBG is aperfect place to introduce people tobirdwatching and to carry outenvironmental education programmes.

Inquiry-based research

Students are another importantaudience. Usually, we run differentprogrammes for city students and thosefrom local communities. For studentsfrom big cities, such as Beijing and

Kunming, we have inquiry-basedresearch programmes, lasting for 3–5days depending on how long they areable to stay. The programmes normallyrun during the summer and winterholiday periods. The students are dividedinto groups, each with an instructor whois usually a graduate student andmember of staff in the Garden. Duringthe programme, with the instruction ofthe teacher, each group has to design a project related to XTBG’s currentresearch, such as relationships betweenflowers and insects, plant diversity in therain forest, and the relationship of rubbertrees’ to the climate. The students haveto test or prove their questions usingscientific methods. At the end, eachgroup gives a talk to the whole teamabout their research and results. A PhDstudent at the Garden is evaluating theinquiry-based research programme tosee whether it affects students’ attitudeto scientific research and their owninterest in becoming a scientist.

Local conservation

For young people from localcommunities we have a differenteducational strategy focusing onconservation education. Talks and

BGCI • 2013 • Roots • Vol 10 (2) 28

The Birding Fair aims to raise awareness of the relationship between birds and plantsXishuangbanna(Tropical Botanical Garden)

Children creating a collage out of natural materials during the Birding Fair (Xishuangbanna Tropical Botanical Garden)

exhibitions on biodiversity conservationare part of the usual approach. Recently,we have been carrying out a projectconnecting the reintroduction of nativeplants and education. One study site is asmall remnant of tropical seasonal forestnear a village in Xishuangbanna. It waspart of a larger forest area until the 1950sand although the remnant is consideredto be a ‘holy hill’ by the local Dai people,it has been gradually reduced in areauntil only around 10 hectares survivestoday. The first ecological station for thestudy of tropical rainforest wasestablished here by the ChineseAcademy of Sciences in 1958 andseveral surveys were carried out in 1959–60, 1997 and 2008, making it thelongest-studied rainforest fragment inXishuangbanna. Despite the loss offorest area, the overall species diversityhas remained similar, but only becausepioneer plants and a number of alienshave replaced many shade-tolerantprimary forest species that disappeared.The fragment is now almost surroundedby rubber monocultures, but respect forits holy status and its historical scientificimportance has ensured that a core arearemains nearly intact. With support fromlocal communities, we are going to help

them to reintroduce native plant speciesto this precious fragment. Several nearbyschools will be involved in theprogramme and XTBG plans to monitorand evaluate attitudes and behaviourchanges – hopefully positive ones – inthe students who take part in this project.

RÉSUMÉ

Les jardins botaniques, avec leursvégétaux et leurs habitats diversifiés,fournissent un refuge pour beaucoupd'oiseaux. Cela en fait un endroit idéalpour encourager l'observation desoiseaux. Avec plus de 200 espècesdifférentes d'oiseaux répertoriés, leJardin botanique tropical deXishuangbanna (XTBG) est devenu unlieu incontournable pour lesobservateurs d'oiseaux en Chine. En2011, la première fête de l'observationdes oiseaux s'est tenue au XTBG et aattiré plus de 5 000 personnes. Uneenquête par questionnaire a été réaliséedurant la fête pour comprendre lesattentes du public au sujet del'observation d'oiseaux. Malgré unefréquentation importante à lamanifestation, les résultats ont démontré

que le public savait peu de choses surl'observation des oiseaux et indiquaientque le manque de compétencesrelatives et de matériel constituait unobstacle en vue d’une plus forteparticipation à ce type d'activitérécréative. Pour aborder ces obstacles,les animateurs du XTBG ont essayéd'intégrer l'observation d'oiseaux dansleurs programmes éducatifs et, enconséquence, de nouvelles activités ontété créées qui mettent en lumière lesliens entre les oiseaux, les plantes et leshumains.

RESUMEN

Los jardines botánicos con su diversorango de plantas, especies y habitatsproveen un refugio a numerosas aves,esto los hace un lugar ideal paraobservarlas. Con más de 200 especieslocalizadas en el jardín botánico deXishuangbanna (XTBG), este se haconvertido en el lugar casi obligatorio apajareros en China. En el 2011, se llevoa cabo la primera feria de pajareros enXTBG, la cual atrajo mas de 5000gentes. Durante el evento se hizo unaencuesta con la finalidad de entender lasopiniones del público en lo referente a laobservacion de aves. A pesar de lagrande asistencia a la feria, losresultados mostrarón que el públicoconocia muy poco de aves, sin habilidadpara identificarlas y sin equipoadecuado, lo que no motivo a losasistentes a continuar con estaactividad. Para solucionar estas barreraslos educadores del XTBG han tratado deintegrar la observación de aves en susprogramas educativos. Los resultadosson nuevas actividades en las quesobresalen los enlaces entre aves,plantas y el hombre.

Ximin WangHead of Environmental EducationTeamHe HeEnvironmental EducatorXishuangbanna Tropical BotanicalGardenChinese Academy of SciencesMenglun TownshipMengla countyYunnan province 666303ChinaEmail: wxm@xtbg.org.cn Email: hehecuris@xtbg.org.cnWebsite: www.xtbg.cas.cn

BGCI • 2013 • Roots • Vol 10 (2) 29

Children enjoying a sensory experience during their visit to XTBG (Xishuangbanna Tropical Botanical Garden)

BGCI • 2013 • Roots • Vol 10 (2) • 30-3330

Being a place of beauty and atreasure trove of stunning plantsserved Cleveland Botanical

Garden well for the better part of acentury. To continue to thrive in today’sincreasingly competitive landscape ofattractions, however, Cleveland’s publicgarden needed to transform itself intosomething more than simply a museumfor plants. We recognised the need andhave made a series of adaptations tohow we think and what we do.

We’re cultivating new audiences, rangingfrom mums and dads with toddlers toinner-city teens and sophisticated youngprofessional people. We’re improving thevisitor experience to be a much moreimmersive, interactive one and we’rereaching beyond our main campus morethan ever, seeking to enrich people’s livesthrough gardening programmes at urbanfarms, schools and community gardens.The changes are part of a new businessplan called The Vision for Our VibrantFuture, which aims to increase earnedrevenue and visitor numbers, ultimatelyensuring the garden remains a vitaldestination for generations to come. Oneyear in, the new approach seems to beworking well.

Adapting to survive cultivating new audiences in times of crisis

S’adapter pour survivre: chercher de nouveaux publics en temps de criseAdaptarse para sobrevivir: buscando nuevos publicos en tiempos de crisis

The global financial crisis of 2007-2009 was bad news for gardens everywhere and

Cleveland Botanical Garden in the US was no exception, facing flat or declining attendance

and membership numbers. Yet today the garden enjoys record visitor numbers and over

8,000 households in northeast Ohio have Garden memberships. Cleveland’s President

Natalie Ronayne explains how CBG continually reinvents itself to keep pace with the

modern world and grow its audience.

‘People have seemingly endless optionsfor how to spend their time and money,and Cleveland Botanical Garden neededto differentiate itself by offeringmemorable and enriching experiences tomore audiences,’ says Jeffrey M. Biggar,past board chairman of ClevelandBotanical Garden and a driving forcebehind the development of the newbusiness plan. ‘To remain successful,

Cleveland Botanical Garden now enjoysrecord attendance levels and its largestmembership ever with more than 8,000households, representing a 15 per centincrease over the previous year. Suchspikes in attendance and membershipwould have been hard to imagine a fewyears ago, after the financial crisis of2009 had left the Garden with flat ordeclining numbers in both areas.

Sparking a passion for plants – a young boy enjoys a hands-on activity at the Garden (Cleveland Botanical Garden)

we needed to connect with a muchbroader range of people and findinnovative ways to keep them part of thegarden’s family for a long time.’

Building on heritage

While Cleveland BC reaches out to newaudiences and expands its offerings, itsprimary mission of sparking a passion forplants remains at the heart of all newinitiatives. Founded in 1930 as theGarden Center of Greater Cleveland, theorganisation has evolved from a smalllibrary for botanical books into a belovedcommunity treasure committed toproviding more than 150,000 peopleeach year with educational and inspiringexperiences. Our aim is for all our gueststo leave the garden with a betterunderstanding of and enduringconnection to the vital relationship plantshave with people and the environment.

At today’s Cleveland Botanical Gardenthat goal is accomplished in more anddifferent ways than it was even just a fewyears ago. Gone are our days ofsprawling – and expensive – flowershows where the public could onlypassively enjoy the beauty of impressivefloral arrangements. Instead, we nowshowcase exotic, exquisite and other-worldly plant life as part of immersive,hands-on experiences and specialevents that appeal to more people over abroader range of audiences.

The addition of seasonal celebrations tothe Garden’s line-up of annual eventsproved in its first year to be a successfultactic in offering more experientialopportunities for people to make newmemories and connect with plants in themagnificent setting of the garden. The‘Glow at the Garden’ holiday celebrationoffered lots of interactive options on topof thousands of holiday plantings,dozens of decorated evergreens andmore than a hundred splendidlybedecked gingerbread houses. A newtrain ride, a kid-sized shop and a bakerywhere kids can build their owngingerbread houses make the Garden aplace where families can create lastingmemories together. Likewise, during the‘Big Spring’ celebration, new blooms arethe star of the show along with a hedgemaze, a crawl-through insect exhibit anda stage where kids can dress up as bugsand butterflies.

More than 1,000 memberships wererenewed or sold for the first time duringGlow, and during both the 6-weekseasonal celebrations Cleveland BGenjoyed record attendance.

Connecting with new audiences

For most of its existence, ClevelandBotanical Garden could rely on womenwith a passion for gardening and a loveof beautiful plants to sustain it throughtheir visits and donations.

As our staff worked with consultants in2011 and 2012 to develop a broaderaudience strategy, this group stayed atopthe list. They’re referred to as ‘CoreGarden Lovers’ – women of 45 and overwho share an appreciation for gardensand the sustenance they provide formind, body and soul. We’ve found thatthese women are likely to visit the gardenagain and again over the years andpositively spread their experiencesthrough word-of-mouth.

To increase revenue and attendance,however, we needed to widen ourhorizons. Our new audience strategyadds four main target groups: familieswith young children; sophisticated‘millennials’; schoolchildren fromkindergarten through to high schoolstudents; and brides-to-be, mothers ofthe bride and wedding planners who maywell find Cleveland Botanical Garden tobe the dream-come-true setting for theirspecial day.

Mums and dads with kids aged nine andunder make up our first new audienceand we’ve had great success connectingwith them. Progressive parents lookingfor enriching and fun activities for theirkids find a rewarding haven in thegarden, and are likely to make return tripsand buy memberships. Cleveland BGsees considerable activity on itsFacebook page with social-media-minded mums, including an increase infollowers from 7,000 to 10,000 in just thepast year.

BGCI • 2013 • Roots • Vol 10 (2) 31

Women are a core visitor group of the garden and are excellent at spreading positive messages through word-of-mouth (Cleveland Botanical Garden)

Teaching children the importance of plants to ourenvironment is key to the garden’s mission(Cleveland Botanical Garden)

Sophisticated millennials are tech-savvyyoung professionals, typically aged 18 to34, who align themselves with causesand organisations that share theirpersonal values and aspirations. Thegarden’s commitment to making itscommunity healthier and greener byrestoring land and promoting the local-food movement makes it appealing tothis large set of young adults. Engagingthem while they are still single makes iteasier to maintain their interest andmembership after they get married, havechildren or otherwise expand theirfamilies. This fall, Cleveland BG launchedits first focused attempt to reachmillennials with its series of ‘HoppyHours’, showcasing hops andhorticulture on Wednesday nights withgarden staff and local brewmasters. The September RIPE! Festival also seeksto attract millennials with live bandsperforming in the garden setting, withfood and drink by some of Cleveland’strendier eateries.

The fourth new audience consists ofbrides-to-be, wedding planners andother event planners who would see thegarden as a one-of-a-kind locale for their

big day. Whether planning a wedding,corporate meeting, family reunion orbusiness retreat, anyone would see thegarden as a gem with the uniquesurroundings to set their event a worldapart from the rest.

In addition to these four, we have agrowing audience of students of all ages.For decades, Cleveland BotanicalGarden has offered field trips and in-class visits to local students andcontinues to do so to the tune of 30,000children per year. Also, since 1997 thegarden has engaged teenagers throughits urban-farming programme, GreenCorps, in which high school studentsearn as they learn in their ownneighbourhoods. The programme, whichhas provided more than 1,000 teens withinvaluable life lessons and marketableskills, is expanding this year and willbring in considerably more students bycreating schoolyard gardens in publicand private schools. Teens in the GreenCorps learning-farm programme willwork with younger students to plant andtend to the new school gardens, whichwill serve as living classrooms for studiesin everything from science and health tohistory and literature.

‘Teaching people, especially children andteenagers, the importance of plants toour environment and our health alwayshas been and always will be key to ourmission,’ says Victoria U. Broer, board

chairman of Cleveland Botanical Garden.‘Our new audience strategy allows thegarden to reach many more studentsthan ever before, so the impact will begreater and greater.’

Ever-changing yet constant

Just like any garden, Cleveland BGalways has been and always will be awork in progress, undergoing continualchange. However, its commitment toconnecting people with plants andmaking the community healthier andgreener, remains constant.

As with many not-for-profit organisations,the Garden has had to face a newfinancial reality in the years since theglobal economic collapse and is workinghard to find innovative ways to keepreaching more people, increasing earnedrevenue and securing more donations.The new audience strategy andinteractive events we’ve launched since2011 are just a few of the tactics ourbusiness plan calls us to execute. We’ve also launched a rich website, newpublications and a fresh brand image tostrengthen the Garden’s message, itsdelivery and its role as a beautiful placewhere people can celebrate life and itsspecial moments. And lastly we’vedeveloped a capital-enhancement planthat will update existing exhibits andcollections and build new features suchas an indoor children’s garden.

BGCI • 2013 • Roots • Vol 10 (2) 32

Teenagers participating in the garden’s flagship urban-farming programme (Cleveland Botanical Garden)

Cleveland Botanical Garden aims to connect with a broad range of people and find innovative ways to keep themas part of the garden’s family (Cleveland Botanical Garden)

Cleveland Botanical Garden has stoodthe test of time thanks to its ability toadapt. We are determined it will continueto reinvent itself to thrive for a secondcentury and many generations to come.

RÉSUMÉ

Actuellement dans sa 83ème année defonctionnement, le jardin botanique deCleveland a le plaisir d’enregistrer unefréquentation record et un tauxd'adhésion de ses membres le plusélevé depuis ses débuts. Il y a quelquesannées, un tel succès aurait été difficile àimaginer.

La crise financière américaine de 2009 aeu des répercussions négatives sur lafréquentation et les dotations, mais lesdirigeants du jardin de Cleveland ontréaffirmé leur engagement envers lacommunauté et ont créé, en 2012, «Notre avenir florissant » qui est un planfinancier et une stratégie ciblée sur lepublic en vue d’augmenter le nombre devisiteurs au jardin et les rentréesfinancières. Les premiers résultatsmontrent que cette approche fonctionneet que le jardin est en lien avec denouveaux publics, allant des élèves delycée aux mères de famille avec leurstrès jeunes enfants.

Outre les femmes de plus de 55 ans quiaiment le jardinage, son public cibletraditionnel, le jardin touche à présentles jeunes familles, les futures mariées etla génération Y dans le vent, en leurproposant des événements saisonnierscréatifs et d'autres activitésintéressantes. Le jardin est égalementutilisé par les étudiants du centre-villegrâce à des initiatives de sensibilisationcommunautaire comme « Green Corps »,un programme d'agriculture urbainedestiné aux adolescents de Cleveland,qui leur permet d'apprendre et degagner de l'argent tout en acquérant descompétences de la vie courante d'unevaleur inestimable. Espérons que cesjeunes jardiniers deviennent la prochainegénération de membres et de donateursdu jardin botanique de Cleveland.

RESUMEN

En sus 83 años de estar funcionando, el Jardín Botánico de Cleveland seenorgullece en tener ahora el registro dela mayoría membrecía de todos sustiempos. Éxito que hace algunos añoshubiera sido difícil de imaginar. La crisisfinanciera del 2009 en los EstadosUnidos afectó la participación delpúblico y donativos, sin embargo loslíderes del Jardín público de Clivelandreafirmaron el compromiso con sucomunidad y en 2012 establecieron ‘ La visión de nuestro futuro Vibrante” –un plan de negocios y estrategia que

tiene como meta incrementar el númerode visitantes y así ganar ingresospúblicos. Los resultados inicialesmostraron que el acercamiento sífuncionaba, y el jardín se estabaformando vínculos con nuevasaudiencias que eran desde estudiantesde escuelas superiores hasta madrescon sus pequeños. En adición al núcleode jardineras mayores de 55 años, eljardín también llega a familias jóvenes,futuras esposas y sofisticadosmilenarios, ofreciendo a todos elloscelebraciones especiales y otro tipo deactividades. El jardín también daservicio a estudiantes inter-ciudades pormedio comunidades a distancia como loson los programas Cuerpos [Núcleos]Verdes y Granjas urbanas orientados aadolecentes en Cleveland, quienesaprenden y ganan mientras se capacitanen habilidades invaluables. Estosjardineros jóvenes que serán la siguientegeneración de miembros y donadores enel Jardín Botánico de Cleveland.

Natalie RonaynePresident Cleveland Botanical Garden11030 East Boulevard Cleveland, OH 44106, USAEmail: nronayne@cbgarden.orgWebsite: www.cbgarden.org

BGCI • 2013 • Roots • Vol 10 (2) 33

Above and below: Engaging with new audiences iscritical for ensuring the garden remains a vitaldestination for generations to come (ClevelandBotanical Garden)

RESOURCES

Books

The Engaging Museum:Developing Museums for VisitorInvolvement

As both botanic gardens and museumshave a strong responsibility to society(especially since many of them are insome way public-funded), they mustensure that they evolve and develop withrather than for their audiences. This

book focuses on theneed for contemporarymuseums to respond toaudiences as “partners ina joint enterprise”, butthe topics and methodsdiscussed are equallyapplicable to botanicgardens. Black arguesthat museums shouldstrive to be audience-centred rather thanproduct-led and this

demands fostering approaches whichconsider the personal context of thevisitor and view the museum visit itselfas a more holistic process.

Graham Black, 2005, RoutledgeAbington, UK and New York, USwww.routledgementalhealth.com/books/ISBN-10: 041564478X ISBN-13: 978-0415644785

Garden Tourism

Garden visitation has been a tourismmotivator for many years and can nowbe enjoyed in many different forms. Auseful tool for garden managers, thisbook examines the management andmarketing of gardens for tourism

RESSOURCES

Livres

Le musée qui engage: développerles musées pour impliquer lesvisiteurs

Les jardins botaniques et musées ayantune importante responsabilité vis-à-visde la société (en particulier parce qu’ilssont très souvent financés par des fondspublics d’une manière ou d’une autre), ilsdoivent s’assurer qu’ils se développentet changent avec plutôt que pour leurpublic. Ce livre traite principalement dela nécessité, pour les musées modernes,de réagir à leur public comme « despartenaires dans une entreprisecommune » (p.3), mais les sujets etméthodes abordés sont égalementd’intérêt pour les jardins botaniques.Black soutient que les musées devraienttenter de se recentrer sur leur publicplutôt sur leurs produits, et cecidemande des approches d’accueil quiprennent en compte le contextepersonnel des visiteurs, et considèrent lavisite du musée elle-même comme unprocessus plus complet.

Graham Black, 2005, RoutledgeAbington, UK and New York, USwww.routledgementalhealth.com/books/ISBN-10: 041564478X ISBN-13: 978-0415644785

Le tourisme des jardins

La visite de jardins est une motivationtouristique depuis de nombreusesannées, et peut maintenant êtreappréciée sous différentes formes. Outil précieux pour les directeurs dejardins, ce livre examine la gestion et lapromotion des jardins pour le tourisme,

RECURSOS

Libros

El Museo Participativo:Desarrollando Museos para laParticipación de los Visitantes

Los jardines botánicos y los museostienen una gran responsabilidad con lasociedad (sobre todo porque muchos deellos son financiados con fondospúblicos en mayor o menor medida).Ambos deben asegurar que evolucionany se desarrollan con algo más para susaudiencias. Este libro se centra en lanecesidad de que los museoscontemporáneos sean capaces deresponder y ver a sus audiencias como“socios en una empresa conjunta” (p. 3 ),aunque los tópicos y métodos descritosson igualmente aplicables a los jardinesbotánicos. Black argumenta que losmuseos deben esforzarse por llegar a ser“basados en la audiencia” vez de estar“basados en el producto”. Esto exigefomentar enfoques que tengan en cuentael contexto personal del visitante y ver lavisita al museo como un proceso másintegral.

Graham Black, 2005 , RoutledgeAbington, Reino Unido y Nueva York,EE.UU.www.routledgementalhealth.com/books/ISBN- 10: 041564478XISBN- 13: 978-0415644785

Turismo en Jardines

Visitar jardines ha sido un motivador másdel turismo desde hace muchos años yhoy en día ser disfrutado de diferentes yvariadas formas. Este libro es unaherramienta útil para los gerentes yadministradores de jardines, pues libro

BGCI • 2013 • Roots • Vol 10 (2) • 34 -4034

Resources

DisponiblesRecursos

BGCI • 2013 • Roots • Vol 10 (2) 35

purposes, before concluding with adetailed look at the form and role ofgardens in the future. It traces the historyof garden visitation right through fromEgyptian and Babylonian times to today,observing the various motivations oftourists to visit gardens and including anin-depth look at flower shows andfestivals.

Richard W. Benfield, 2013, CABIPublishing, Wallingford, UKhttp://bookshop.cabi.org/ ISBN -10: 1780641958ISBN-13: 978 1 78064 195 9

The learning garden: ecology,teaching and transformation

A primary focus of botanic gardens is tocommunicate sustainability,conservation and environmentalawareness. This groundbreaking textprovides a bridge between the theoryand practice of how educators canincorporate the environment andprinciples of sustainability into theirlessons. It tells the story of building acampus Learning Garden over ageneration of cohorts of studentteachers and environmental educationstudents. The garden began with highideals, no funding, and a strong desire todo something about the environment. The result was a transformation inattitude towards nature, community andtowards the learning process itself.Described through three metaphors

(garden asenvironment,garden ascommunity,garden astransformation)this bookprovides abridge of theoryand practice forecology-centredteaching andlearning, and

guides the reader into the ways thatteaching in the natural world changeshow people learn, and, how they teach.

Veronica Gaylie,2009, Peter LangPublishing, New York, USwww.peterlang.com ISBN-10: 1433104709 ISBN-13: 978-1433104701

avant de conclure avecune étude détaillée dela forme et du rôle desjardins à l’avenir. Ilretrace l’histoire desvisites de jardins,depuis le temps deségyptiens et desbabyloniens jusqu’àaujourd’hui, étudiant lesdiverses motivationsdes touristes pourvisiter des jardins, et comprend uneétude approfondie des foires aux fleurs,floralies et autres marchés aux plantes.

Richard W. Benfield, 2013, CABIPublishing, Wallingford, UKhttp://bookshop.cabi.org/ ISBN -10: 1780641958ISBN-13: 978 1 78064 195 9

Le jardin école: écologie,enseignement et transformation

L’un des objectifs principaux des jardinsbotaniques est de communiquer sur ledéveloppement durable, la conservationet de sensibiliser à l’environnement. Ce texte édifiant établit un lien entre lathéorie et la pratique sur comment leséducateurs peuvent introduirel’environnement et les principes dudéveloppement durable dans leursleçons. Il relate la construction d’unjardin pédagogique sur un campus, àtravers plusieurs générations d’étudiantsen enseignement et en éducation àl’environnement. Le jardin a commencéavec de grands idéaux, aucunfinancement et un désir fort de fairequelque chose pour l’environnement. Le résultat a été une transformation des attitudes envers la nature, la communauté et le processusd’apprentissage lui-même. Décrit àtravers trois métaphores (le jardincomme environnement, le jardin commecommunauté, le jardin commetransformation), ce livre lie théorie et pratique sur l’éducation etl’apprentissage centrés sur l’écologie, et guide le lecteur sur commentl’enseignement dans la nature change la façon dont les gens apprennent, et comment ils enseignent.

Veronica Gaylie,2009, Peter LangPublishing, New York, USwww.peterlang.com ISBN-10: 1433104709 ISBN-13: 978-1433104701

examina la el manejo, gestión ymarketing en los jardines confines turísticos, para concluircon un examen detallado de laforma y la función de losjardines en el futuro. Examinala historia de las visitas a losjardines, desde las épocas deEgipto y Babilonia, hasta laactualidad, poniendo atenciónen las diferentes motivacionesque tienen los turistas para

visitor los jardines, incluyendo una visionprofunda de festivals y exposiciones delos turistas a visitar los jardines y queincluye un vistazo profundo a lasexposiciones florales y otros festivales.

Richard W. Benfield , 2013 , CABIPublishing, Wallingford , Reino Unidohttp://bookshop.cabi.org/ ISBN -10: 1780641958ISBN-13: 978 1 78064 195 9

El jardín que educa: ecología,enseñanza y transformación

Uno de los enfoques principales en losjardines botánicos es comunicar lasostenibilidad , la conservación y laconciencia ambiental. Este innovadortexto proporciona un puente entre lateoría y la práctica de cómo loseducadores pueden incorporar el medioambiente y los principios de lasostenibilidad en sus clases. Cuenta la historia de la construcción de uncampus jardín que educa sobre unaserie de cohortes de estudiantes depedagogía y de educación ambiental. El jardín se inició con altos ideales, sinfinanciamiento y con un fuerte deseo dehacer algo por el medio ambiente. Elresultado fue una transformación en laactitud hacia la naturaleza, la comunidady hacia el propio proceso de aprendizaje.Descrito mediante tres metáforas (eljardín como ambiente, el jardín comocomunidad y el jardín comotransformación), este libro proporcionaun puente entre la teoría y la práctica dela enseñanza y el aprendizaje basadosen la ecología y guía al lector en lasformas en que la enseñanza en el mundonatural cambia la manera en que laspersonas aprenden y enseñan.

Veronica Gaylie,2009, Peter LangPublishing, New York, USwww.peterlang.com ISBN-10: 1433104709 ISBN-13: 978-1433104701

The Responsive Museum: WorkingWith Audiences in the Twenty-firstCentury

The audiences of botanicgardens (as well asmuseums and galleries)are ever changing, andthe complex relationshipgardens have with theirpublics brings many newchallenges and debatesover their futuredevelopment. In thisbook, a highlyexperienced team ofwriters, including

museum educators and directors, sharetheir different experiences and views,and review recent research andexamples of best practice. They analysethe implications of audiencedevelopment and broadening publicaccess, particularly in relation to specialgroups, minority communities anddisabled people, and for individual self-development and different learningstyles; they explore issues of publicaccountability and funding; discuss themerits of different evaluation tools andmethodologies for measuring audienceimpact and needs; and assess the roleof architects, designers and artists inshaping the visitor experience. It alsoreviews practical management andstaffing issues, and training and skillsneeds for the future.

Caroline Lang, John Reeve and VickyWoollard (Eds.), 2006, AshgatePublishing Ltd., Aldershot, UK http://www.ashgate.com/isbn/9780754645603ISBN-10: 0754645606 ISBN-13: 978-0754645603

Science of the People:Understanding and using sciencein everyday contexts

A big challenge for gardens is how toengage visitors in the science behindtheir collections, as well as theirimportance and conservation. In order toappeal to a broad audience, gardensmust therefore consider: how do peopleunderstand science? How do they feelabout science, how do they relate to it,what do they hope from it and what dothey fear about it? Science of thePeople: Understanding and usingscience in everyday contexts helps

Le musée interactif: travailleravec les publics du 21ème siècle

Les publics des jardins botaniques (ainsique ceux des musées et galeries)changent en permanence, et lesrelations très complexes des jardinsavec leurs publics amènent de nouveauxdéfis et des débats sur leur évolution àl’avenir. Dans ce livre, une équipe trèsexpérimentée d’écrivains, y compris desanimateurs et directeurs de musées,partagent leurs expériences et points devue, et passent en revue les étudesrécentes et exemples de bonne pratique.Ils analysent les implications d’unélargissement du public et d’uneamélioration de l’accès, en particulierpour des groupes avec des besoinsparticuliers, des communautésminoritaires, des handicapés, ainsi quepour le développement personnel etdifférents modèles d’apprentissage. Ilsexplorent les questions de financementet de responsabilité publique, discutentdes mérites de différents outils etméthodes pour mesurer l’impact sur lepublic et ses besoins, et évaluentcomment les architectes, concepteurs etartistes façonnent l’expérience desvisiteurs. Ils passent en revue lesquestions de gestion pratique et depersonnel, et les besoins en formationset compétences pour l’avenir.

Caroline Lang, John Reeve and VickyWoollard (Eds.), 2006, AshgatePublishing Ltd., Aldershot, UK http://www.ashgate.com/isbn/9780754645603ISBN-10: 0754645606 ISBN-13: 978-0754645603

Science of the people :comprendre et utiliser lessciences au quotidien

Un grand défi pour les jardins est depermettre aux visiteurs de s’approprierles fondements scientifiques descollections, ainsi que leur importance etconservation. Afin d’attirer un largepublic, les jardins doivent étudier laquestion de comment les genscomprennent les sciences. Que pensent-ils des sciences, est-ce qu’ils se sententconcernés, qu’est-ce qu’ils en espèrent,et qu’est-ce qu’ils en craignent ?Science du peuple: comprendre etutiliser les sciences tous les jours réponden partie à ces questions grâce auxentretiens minutieux réalisés par

El Museo Sensible : Trabajandocon las audiencias en el Siglo XXI

Las audiencias de los jardines botánicos(así como las de los museos y galerías )están en constante cambio. Lascomplejas relaciones que los jardinestienen con sus públicos traen nuevosretos y debates sobre su futuredesarrollo. En este libro, un equipoaltamente experimentado de escritores,entre ellos educadores y directores demuseos, comparten sus diferentesexperiencias y puntos de vista, y revisanlas más recientes investigaciones yejemplos de buenas prácticas. Analizanlas implicaciones del desarrollo de lasaudiencias y la ampliación de laaccesibilidad del público, en particularen relación con los grupos especiales,las minorías y personas concapacidades diferentes, y con losdistintos estilos de aprendizaje y auto-desarrollo individual. Exploran tópicoscomo el financiamiento yresponsabilidad públicas; discuten losméritos de diferentes herramientas deevaluación y de metodologías paramedir el impacto y las necesidades de la audiencia. Evalúan el papel de losarquitectos, diseñadores y artistas en laformación de la experiencia del visitante.También se examinan temas deadministración y gestión de personal,capacitación y habilidades que seránnecesarias en el futuro.

Caroline Lang, John Reeve and VickyWoollard (Eds.), 2006, AshgatePublishing Ltd., Aldershot, UK http://www.ashgate.com/isbn/9780754645603ISBN-10: 0754645606 ISBN-13: 978-0754645603

La Ciencia de la Gente: Usando yentendiendo la ciencia encontextos cotidianos

Un gran reto para los jardines es cómoinvolucrar a los visitantes en la cienciaque yace detrás de sus colecciones, asícomo su importancia y su conservación.Con el fin de atraer a un público másamplio , jardines deben tener siempre encuenta, por lo tanto, cómo las personasentienden la ciencia, cómo se sienten enrelación con la ciencia, cómo serelacionan con ella, qué es lo queesperan de la ciencia y qué es lo quetemen al respect. La Ciencia de la Gente:Usando y entendiendo la ciencia en

BGCI • 2013 • Roots • Vol 10 (2)36

BGCI • 2013 • Roots • Vol 10 (2) 37

answer these questions as the result ofpainstaking interviewing by ProfessorJoan Solomon of all and sundry in afairly typical small town. The result is aunique overview of how a very widerange of adults, united only by localgeography, relate to science. Many ofthe findings run contrary to what iswidely believed about how science islearnt and about how people view it.Chapters include:

• An Approach to Awareness• Publics for Science?• Ethics and Action• Interpretation and Change

Joan Solomon , 2012, Routledge,Abingdon, UK www.routledge.com/books/ ISBN-10: 041564478X ISBN-13: 978-0415644785

Gunter’s Fables – The smartmushroom, the strongest tree andother stories

Engaging children with nature is animportant part of a garden’s educationalrole. Not only does it help build bridgesback to nature for the next generation,but it also fosters a sense ofenvironmental stewardship andappreciation for the natural world. Thisseries of fables, developed by the ZERILearning Initiative, is inspired by ascientists engaged in innovative work thatcontributes to sustainable development.The fables introduce key concepts thatanyone can use to make the leap fromraw science to implementation. At theend of each fable students are thusincreasingly capable of making the sameconnections that the scientist did. Thestudents can then apply thoseconnections to think creatively about

implementing their ownprojects. Furthermore,profiling these scientists will help to give children avision of their potential. Itmakes them aware of theopportunities that thereare in the world, and thefact that if they put theirminds to it, they can doanything that they want.

Gunter Pauli, 2006, Zeri www.zerilearning.org/english/fables_collection.phpISBN: 9586927717

Professeur Joan Salomon de tous leshabitants d’une petite ville typique. Lerésultat est un aperçu unique decomment des adultes très différents,ayant pour tout lien un même lieugéographique, considèrent les sciences.Beaucoup des résultats sont encontradiction avec les conceptionscourantes sur comment l’on apprend lessciences et comment les gens lesconsidèrent. Les chapitres comprennententre autres :

• Une approche de la sensibilisation• Des publics pour les sciences ?• Éthique et action• Interpretation et changements

Joan Solomon , 2012, Routledge,Abingdon, UK www.routledge.com/books/ ISBN-10: 041564478X ISBN-13: 978-0415644785

Les fables de Gunter: lechampignon malin, l’arbre le plusfort et autres histories

Sensibiliser les enfants à la nature estune partie importante du rôle éducatifd’un jardin. Cela contribue nonseulement à rétablir des liens avec lanature pour les prochaines générations,mais également à développer un sensdes responsabilités vis-à-vis del’environnement, et une appréciation dumonde naturel. Cette série de fables,développées par l’Initiative pédagogiqueZERI, est inspirée de scientifiques quicontribuent au développement durable àtravers des travaux innovants. Cesfables traitent de concepts clés, quetous peuvent utiliser pour passer dessciences pures aux applications. A la finde chaque fable, les étudiants arriventaux mêmes conclusions que lesscientifiques. Ils peuvent ensuiteappliquer ces conclusions pour penserde manière créative et développer leurspropres projets. De plus, l’exemple deces scientifiques permet de montrer auxenfants leur potentiel. Ils se rendentcompte des possibilités qui existentdans le monde, et du fait que s’ils sedécident, ils peuvent faire tout ce qu’ilsveulent.

Gunter Pauli, 2006, Zeri www.zerilearning.org/english/fables_collection.phpISBN: 9586927717

contextos cotidianos, ayuda a respondera estas preguntas como resultado deminuciosas entrevistas llevadas a cabopor el profesor Joan Solomon, a todos ycada uno de los habitants de unpequeño pueblo típico. El resultado esuna visión única de cómo un ampliorango de adultos, unidos sólo por lageografía local, se relacionan con laciencia. Muchos de los resultados van en contra de lo que se cree ampliamentesobre cómo se aprende ciencia y cómola gente la ve. Los capítulos incluyen:

• Un acercamiento a la conciencia• ¿Públicos para la Ciencia?• Ética y Acción• Interpretación y Cambio

Joan Solomon , 2012, Routledge,Abingdon, UK www.routledge.com/books/ ISBN-10: 041564478X ISBN-13: 978-0415644785

Las fábulas de Gunter - El hongointeligente, El árbol más fuerte yotros cuentos

Involucrar a los niños con la naturaleza esuna parte importante de la funcióneducativa de un jardín. No sólo ayudan aconstruir puentes de contacto con lanaturaleza para la próxima generación,sino que también fomenta un sentido decuidado del ambiente y el aprecio por elmundo natural. Esta serie de fábulas,elaboradas por la Iniciativa de AprendizajeZERI, se inspira en un grupo de científicosinvolucrados en un trabajo innovador quecontribuye al desarrollo sostenible. Lasfábulas introducen conceptos clave quecualquiera puede utilizar para dar el saltode la ciencia fundamental a susaplicaciones. Al final de cada fábula, losestudiantes son cada vez más capacesde hacer las mismas relaciones que loscientíficos. Los estudiantes puedenentonces aplicar esas relaciones parapensar creativamente cómo implementarsus propios proyectos. Además, perfilar aestos científicos, ayudará a los niños atener una visión de su potencial. Esto loshace conscientes de las oportunidadesque hay en el mundo, y del hecho de que,si se deciden a ello, pueden hacercualquier cosa que quieran.

Gunter Pauli, 2006, Zeri www.zerilearning.org/english/fables_collection.phpISBN: 9586927717

BGCI • 2013 • Roots • Vol 10 (2)38

Web links/Websites

Museums for visitors: Audiencedevelopment - A crucial role forsuccessful museum managementstrategiesintercom.museum/documents/1-4Waltl.pdf

The key role for museums and gardensalike is always to serve their visitors. Todo this effectively and efficiently we haveto understand the motivation and needsof different audience segments andcreate an atmosphere that offers a rangeof experiences. It is all about pullingdown barriers and allowing visitorinvolvement and engagement, and at thesame time conserving and securing thecollection for future generations.Audience development requires thecooperation of several departments:marketing, education, curatorial andvisitor services, to offer variedexperiences and an environment forlearning as well as enjoyment. Thisarticle shows that audience developmentis not the responsibility of only a few, butof all staff working in museums.

Taking part in the artswww.takingpartinthearts.com/

The New Audiences programme of theArts Council England supported a largenumber of audience development actionresearch projects to overcome barriers toattendance, and these are documentedand provide a useful resource on theTaking Part in the arts websitehttp://www.takingpartinthearts.com. Ofparticular interest is the Morton SmythLtD (2006) research ‘How to reach abroader audience’ on culturalorganisations that have changed theiroverall positioning and have achievedbroader audiences as a result (Seehttp://www.takingpartinthearts.com/content.php?content=943). Although the

Liens internet/ Sites

Des musées pour les visiteurs : ledéveloppement de l’accueil – unrôle crucial pour des stratégies degestion des musées réussies.intercom.museum/documents/1-4Waltl.pdf

Le rôle principal des musées, comme desjardins, est d’être au service de leursvisiteurs. Pour y parvenir de manièreefficace et rationnelle, nous devonscomprendre la motivation et les besoinsdes différents publics et créer uneambiance qui offre un éventaild’expériences. Il s’agit de lever lesobstacles et de permettre l’implication et la participation du visiteur, tout enconservant et sécurisant dans le mêmetemps les collections pour lesgénérations futures. Le développementde l’accueil du public nécessite lacoopération entre plusieursdépartements : marketing, éducation,conservation et les services aux visiteurs,afin d’offrir des expériences variées et unenvironnement propice, aussi bien pourl’apprentissage que pour le plaisir. Cetarticle montre que le développement del’accueil du public n’est pas seulement laresponsabilité de quelques personnes,mais celle de toutes les équipestravaillant dans les musées.

Participer à l’artwww.takingpartinthearts.com/

Le programme New Audiences du ArtsCouncil England a soutenu un grandnombre de projets d’action-recherchepour l’amélioration de l’accueil du publicpour surmonter les obstacles à lafréquentation. Ceux-ci sont documentéset constituent une ressource utile sur lesite « Taking part in the arts »http://www.takingpartinthearts.com. Larecherche de Morton Smyth LtD (2006)‘Comment toucher un plus large public’sur les organismes culturels qui ontmodifié leur positionnement général etqui ont ainsi atteint un plus large public,est particulièrement intéressante (voirhttp://www.takingpartinthearts.com/content.php?content=943). Bien que lesressources concernent des exemples dudomaine des arts et de la culture auRoyaume-Uni, ils peuvent êtreapplicables aux jardins botaniques car ilsdonnent un guide sur les changements àapporter pour un organisme qui souhaiteêtre accessible à un plus large public.

Sitios Web / Enlaces Web

Museos para visitantes: desarrollode audiencias - Un papelfundamental para las estrategiasexitosas de gestión de museos.intercom.museum/documents/1-4Waltl.pdf

La función clave de los museos y jardinespor igual es siempre server a susvisitantes. Para hacerlo de manera eficazy eficiente, tenemos que entender lasmotivaciones y necesidades de losdiferentes segmentos del público y crearun ambiente que ofrezca una ampliagama de experiencias. Se trata dederribar barreras y permitir la participacióne involucramiento de los visitantes, y almismo tiempo conservar y asegurar lacolección para las generaciones futuras.El desarrollo de las audiencias requiere lacooperación de varios departamentos:marketing, educación, manejo curatorial yservicios a los visitantes, para ofrecerexperiencias variadas y un entorno para elaprendizaje y disfrute. Este artículomuestra que el desarrollo de la audienciano es responsabilidad de unos pocos ,sino de todo el personal que trabaja enlos museos.

Tomando parte en las arteswww.takingpartinthearts.com/

El programa de Nuevas Audiencias delArts Council England apoya a un grannúmero de proyectos de investigaciónacción orientados al desarrollo deaudiencias para superar las barreras queenfrenta la asistencia. Estos sondocumentados y proporcionan unrecurso útil alojado en el sitio web deTomando parte en las artes(http://www.takingpartinthearts.com). De particular interés es la investigaciónde Morton Smyth Ltd (2006 ) "Cómollegar a un público más amplio" llevada acabo en organizaciones culturales quehan cambiado su posicionamientoglobal y como resultado han alcanzado aun público más amplio (Verhttp://www.takingpartinthearts.com/content.php?content=943). Aunque losrecursos incluyen ejemplos del sector delas artes y cultural del Reino Unido, talesejemplos pueden ser aplicables a losjardines botánicos, ya que dan una guíasobre los tipos de cambios que unaorganización tiene que llevar a cabo paraconvertirse en accesible a un públicomás amplio.

BGCI • 2013 • Roots • Vol 10 (2) 39

resources include examples from theArt/cultural sector in the UK they can beapplicable to botanic gardens as theygive a guide on what sort of change anorganisation needs to undergo in order tobecome accessible to wider audiences.

Children, Youth and EnvironmentsUniversity of Colorado Denverwww.ucdenver.edu/academics/colleges/ArchitecturePlanning/discover/centers/CYE/Pages/index.aspx

Botanic gardens play a pivotal role inreconnecting people with nature, and areideally placed to combat the risingdetachment of children from the naturalworld. The Children, Youth andEnvironments Center for Research andDesign at the University of Coloradoundertakes interdisciplinary activities inresearch, teaching and communityoutreach that connect the worlds ofresearch, policy and practice to improveyoung people’s environments. Theirpublications section features a wealth ofresources on these topics, includingfactsheets with research-basedinformation on the benefits of bothnature and gardening for children, childfriendly lawns and gardens, and whatstudents can gain from place-basededucation – a key selling-point of anygarden’s educational programme.

Museum management: Emotionalvalue and community engagementintercom.museum/documents/3-1Suchy.pdf

Community engagement is a vital aspectof audience development, especially inreaching out to those who may view thegardens as “not for them”. Drawing onLeading with Passion, the case studiesdescribe how museums approached

L’Université des enfants, de lajeunesse et des environnementsde Denver Coloradowww.ucdenver.edu/academics/colleges/ArchitecturePlanning/discover/centers/CYE/Pages/index.aspx

Les jardins botaniques jouent un rôlecrucial pour reconnecter les gens avec lanature et occupent une place essentiellepour lutter contre le détachementcroissant des enfants avec le mondenaturel. Le Centre des enfants, de lajeunesse et des environnements pour larecherche et le design de l’Université duColorado entreprend des travauxpluridisciplinaires dans la recherche,l’enseignement et la sensibilisation descommunautés, qui relient le monde de larecherche, de la politique et despratiques pour améliorer l’environnementdes jeunes. Leur rubrique concernant lespublications dispose d’une mine deressources sur ces sujets, notammentdes fiches techniques avec desinformations issues de la recherche surles bienfaits de la nature et du jardinagesur les enfants, sur les pelouses etjardins accueillants pour les enfants, etsur ce que les élèves peuvent tirer del’éducation par le lieu – un atout clé duprogramme pédagogique de tout jardin.

Gestion de musée : la valeurémotionnelle et l’engagementcommunautaireintercom.museum/documents/3-1Suchy.pdf

L’implication de la communauté est unaspect essentiel du développement de la fréquentation, particulièrement pourtoucher les personnes qui pensent queles jardins « ne sont pas pour eux ».S’appuyant sur Leading with Passion,ces études de cas décrivent commentles musées ont abordé la question del’amélioration de l’accueil du public, enutilisant la valeur émotionnelle pourobtenir la culture des visiteurs sur l’écranradar social. La perception de la valeurémotionnelle influe sur la façon dont lesfamilles décident d’investir du temps, del’énergie, de l’argent, de l’adhésion etdes donations dans les musées.L’industrie hôtelière utilise la valeurémotionnelle depuis longtemps,constituant une solide clientèle quiassure une viabilité économique à long-terme. La recherche donne à penser quele renforcement des relations deconfiance avec les principaux

Niños, Jóvenes y Ambientes de laUniversidad de Colorado enDenverwww.ucdenver.edu/academics/colleges/ArchitecturePlanning/discover/centers/CYE/Pages/index.aspx

Los jardines botánicos juegan un papelfundamental en reconectar a la gentecon la naturaleza, y están en unaposición ideal para combatir el crecientedistanciamiento de los niños del mundonatural. El Centro de Niños, Jóvenes yAmbientes para la Investigación y elDiseño de la Universidad de Colorado enDenver realiza actividadesinterdisciplinarias de investigación,docencia y extensión a la comunidadque conectan los mundos de lainvestigación, la política y la práctica demejorar las condiciones ambientales delos jóvenes. Su sección depublicaciones cuenta con una grancantidad de recursos sobre estos temas,incluyendo hojas informativas coninformación basada en la investigaciónsobre los beneficios de la naturaleza y lajardinería para niños, jardines y àreasverdes amigables para los niños, y loque los estudiantes pueden obtener dela educación in situ- Un punto de ventaclave para los programas educativos decualquier jardín.

Manejo de Museos: valoremocional y participación de lacomunidadintercom.museum/documents/3-1Suchy.pdf

La participación comunitaria es unaspecto vital del desarrollo de lasaudiencias, sobre todo para llegar aaquellos que pueden ver los jardinescomo "no para ellos". Basándose enLiderando con Pasión, los estudios decasos describen cómo los museos seacercaron al desarrollo de audienciasusando valores emocionales paraubicarse en el radar social del consumocultural. La percepción del valoremocional influye en la forma en que lasfamilias deciden invertir tiempo, energía,dinero, membresía y donaciones a losmuseos. La industria del turismo hausado el valor emocional por algúntiempo, creando fuertes lazos de clientsen beneficio del su sostenibilidadeconómica a largo plazo. Lainvestigación sugiere que elestablecimiento de relaciones deconfianza con los principales

BGCI • 2013 • Roots • Vol 10 (2)40

audience development using emotionalvalue to get on the cultural consumer'ssocial radar screen. The perception ofemotional value influences the wayfamilies decide to invest time, energy,money, membership, and donations intothe museums. The hospitality industryhas used emotional value for some time,creating strong customer bonds for long-term economic sustainability. Researchsuggests that nurturing trustrelationships with key stakeholders doescreate emotional value so museumsmaintain and sustain a position in theheart of a community.

Twitter for Museums: Measuring,Analyzing, Reportinghttp://danamus.es/2010/04/01/twitter-for-museums/

In recent years social media has fastbecome one of the most effectivemethods of online audiencedevelopment and engagement. This article explains, in six simple steps,how you can maintain a constantlyimproving presence on twitter for yourgarden by: Listening, Benchmarking,Thinking about goals, Measuring,Analysing, and Actionable Reporting.Whilst focusing mainly on evaluatingtwitter usage, the suggestions made canalso be adapted to Facebook and othersocial media to improve and diversifyonline interaction with existing andpotential audiences.

intervenants doit créer de la valeurémotionnelle pour que les muséesmaintiennent et soutiennent leur positionau cœur de la communauté.

Twitter pour les musées :mesurer, analyser et dresser lebilanhttp://danamus.es/2010/04/01/twitter-for-museums/

Au cours des dernières années, lesmedias sociaux sont rapidementdevenus l’une des méthodes les plusefficaces de participation et dedéveloppement du public sur internet.Cet article explique, en six étapessimples, comment vous pouvezmaintenir une présence en constanteprogression sur Twitter pour votre jardin,à travers : l’écoute, l’analysecomparative, la réflexion sur lesobjectifs, la mesure, et le bilan concret.Tout en se concentrant principalementsur l’évaluation de l’utilisation de Twitter,les améliorations proposées peuventaussi être adaptées à Facebook et auxautres médias sociaux pour améliorer etdiversifier les interactions en ligne avecle public existant et potentiel.

interesados crea valores emocionalesque ayudan a los museos a mantener ysostener una posición en el seno de unacomunidad

Twitter para museos : Medir,analizar, reportarhttp://danamus.es/2010/04/01/twitter-for-museums/

En los últimos años los medios decomunicación social se han convertidorápidamente en uno de los métodos enlìnea más eficaces para el desarrollo ycaptación de audiencias. En esteartículo se explica, en seis sencillospasos, cómo su jardín puede manteneruna presencia en twitter en constantemejora escuchando, realizandobenchmarking, pensando en las metas,midiendo, analizando y creandoinformes procesables. Aunque se centraprincipalmente en la evaluación del usode twitter, las sugerencias también sepueden adaptar a Facebook y a otrasredes sociales para mejorar y diversificarla interacción en línea con las audienciasreales y potenciales.

Are you working in a botanic garden and keen to engage with yourlocal community more effectively?

A Communities in Nature: A Manual for Gardensis a new BGCI publication that provides a step-by-step guide.

It walks you through how to get started, how to negotiate access to your communities and create partnerships and, crucially, how

to embed the social role in your organisation’s culture and practices in order to achieve long-term sustainability.

Visit BGCI’s Communities in Nature portal

www.bgci.org/education/communities_in_nature to download the how-to manual and register your

interest in joining BGCI’s initiative.

For inspiration, take a look at our animation produced by Cognitive Media or watch the four films showcasing how botanic gardens have engaged with

their local communities.

Communities in Nature: Growing the Social Role of Botanic Gardens

Botanic Gardens Conservation International

Descanso House, 199 Kew Road,Richmond, Surrey, TW9 3BW, U.K.

Tel: +44 (0)20 8332 5953 Internet: www.bgci.orgE-mail: info@bgci.orghttps://twitter.com/bgci

ISSN 0965-2574

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