I thought the following would be of interest to those who are also into historic interpretation. John Martinson The Journeyman Historic Interpretation Glossary A dictionary of common-usage terms used in Historic Interpretation and Living History Compiled by David M. Grabitske Accessibility: The degree to which an Interpretive Program is useable by all elements of the public. For instance, no matter what challenge to learning, each person will have the opportunity of a meaningful experience. Accurate: A descriptive status denoting correctness, but of modern origin. Ah-Ha Moment: The point at which a learner noticeably understands. The moment most Interpreters strive for. Coined by Wendy Ellefson. Authentic: A descriptive status denoting an artifact or antique. Back then: An amorphous place and ambiguous time in which all history is merged and confused. Blocking: A detailed description of character-specific traits and motives. See also "Persona." Blue-Blazers: See "Docent." Body Language: Physical queues from the visitor or learner that indicate a need for change; from an Interpreter these queues are deliberate supportive movements for the interpretation. Buckskinner: A practitioner of Buckskinning. Buckskinning: The act of replicating the lives and culture of Mountain Men from the late nineteenth century in the Rocky Mountain area. Buckwacker: Among serious interpreters, this is a derisive term for Mountain Men or 'Buckskinners' who are present at inappropriate events. Buttoncounter: A pejorative term for 'Hardcore' costumed interpreters for undue attention to detail. Campaigner: A type of costumed interpreter (usually military) that will only bring that which was appropriate during an identified period, and that he can carry. Cavalry Stew: Pot of water for cleaning dishes and eating utensils at living history events. So named for a legendary incident where after the infantry cleaned its plates in a kettle, cavalry soldiers then ate the dishwater. I have heard this in several places, but am not aware of its first occurrence. Cloth-Jew: A tailor of historical costumes who is overly stingy with period-appropriate cloth. Coined by Joe Albert Blunt, Chattanooga-Chickamauga National Battlefield. Costumed Interpreter: A practitioner of the art and mystery of historic interpretation, who uses period-appropriate attire to illustrate or augment interpretation, and who uses one or more interpretive strategies. Digging holes: A clever action whereby an interpreter deliberately leaves certain things unsaid in order to elicit comment or questions from the public. The modus operendi is "Know All, Tell Some." See "Interpretive Method" and "Hooks." Docent: A person who acts as a liaison between a cultural institution and its collections, usually employed to superintend galleries. Docents are not necessarily practitioners of interpretation, but generally have excellent customer service; sometimes indifferently referred to as "Blue-Blazers" or "Polo People" by costumed interpreters. Epochism: The distasteful or disrespectful belief, stereotype or assumption by modern people about human ancestors or that progress is equal to improvement, usually made under duress of ignorance or fear of the unfamiliar. The premise is that if all our human ancestors were living, and were stereotyped as "shorter, less sophisticated, less intelligent, etc." this irrational behavior would rightly be called racism. Coined in 1996. Farb: Slang for an uninformed person incorrectly portraying the past; a strong term of derision among the reenactment community, and not to be used lightly, or without documentary support. The origin of the word likely comes from the spring of 1961 during a sewing session in Glen Echo Heights, Maryland, from Gerry Rolph, a German instructor at the University of Baltimore. "Farb" is German for color. It is also noted in the Camp Chase Gazette (July 1986), "Reenacting, a retrospective," who attributed the word to George Gorman of North Carolina in Summer 1961. Gorman said it was from the phrase, "Far be it from me to criticize." Taken from "Who Was the Founding Father of Farb?" by Jonah Begone (nom de plume of Wes Stone) in Camp Chase Gazette (Sept. 1999). Firper: Slang for any First Person interpretive strategy. First Person: An interpretive strategy whereby the interpreter operates as though living in a specific time period without regard for later occurrences, and using the present tense to describe, convey and define the past. First Person Adapted: An interpretive strategy whereby the interpreter assumes that first-person responses are desired until the public indicates otherwise, and then easily transitions to another appropriate interpretive method. First Person Clairvoyant: Same as "My Time-Your Time." First Person Flexible: An interpretive strategy whereby the interpreter portrays someone from the past in the present time. Coined by Bonnie Williams in 1996. See also Stream Interpretation. First Person Pure or Strict: The practice of a strict first person presentation without ever breaking character. This can be extremely challenging for an interpreter not only for mastering the material, but to keep the 'act' from becoming a deterrent in an educational setting. Foodways: The study of historic foods in growth, preparation, and presentation. Hands-on: A demonstrational method of teaching through manual dexterity. Hardcore: A type of costumed interpreter that is concerned about minutiae of the impression. A hardcore interpreter will not use or disguise the use of modern items. See also 'Living Historian.' Hooks: same as "Digging holes," allusion to fishing. Impression: The combination of period-appropriate associative objects, mannerisms, and speech designed to evoke the past in the mind and senses of an audience. Interpretation: An effective, evocative, educational translation of the past into a meaningful present through period-appropriate objects, first hand accounts, manual experience, and media. Interpreter: A practitioner of the art and mystery of interpretation. Interpreters are usually the most receptive to public interaction, and are willing to use compromises with the present for educational impact. Interpretive Method: The clever strategy of interpretation designed to engage inquisitive interaction; commonly referred to by interpreters as "digging holes." Interpretive Mission: The stated purpose for which any interpretation is commissioned; usually it keeps the public good as its foremost objective through education and recreation. The primary object ought never to be "entertainment." Interpretive Model: In Living History, a script of period-appropriate language intended to provide substance for a character or focus to a skit; for museum programs, a scripted tour. Interpretive Plan: A detailed formal administrative document that contains a broad general history of a selected era, a specific history for the locale, a guide to period-appropriate objects, a guide to period-appropriate activity, and serves as a resource to further reference. The plan will keep the educational experience of the visitor as its primary mission. Interpretive Planning: A process that identifies and describes significant visitor experiences, and which results in a formal document that recommends ways to provide, sustain, and facilitate educational experiences for the visitor. Interpretive Programming: Specific efforts to accomplish goals derived from an interpretive plan. Interpretive Specialist: A professional interpreter formally trained in the art and mystery of interpretation, usually holding a degree from an accredited program and employed by a museum or historic site to superintend interpretive programming. Interpretive Training: A formal educational process for Interpreters to learn and practice the art and mystery of interpretation. K-Mart: Slang for "Sutler's Row." Lifeways: The study of an established pattern or daily routine in life. Living Historian: A scholar of history engaged in experimental archaeology, usually the most strict in terms of accuracy. Living Historians can be overcome with minutiae to the distraction of the educational story. See also 'Hardcore.' Living History: A pursuit of lifeways of an earlier time. Minds-on: An inquiry-based version of hands-on demonstrational method, sometimes utilizing the manual dexterity of the participants; combines Object Interpretation with Hands-on. My Time-Your Time: An interpretive strategy whereby the interpreter remains in a specific time but has comparative clairvoyance to assist a learner's understanding, using the present tense for both the past and present. This method is a combination of both First and Third Person. Coined by Thomas Sanders in 1990. Object Interpretation: An interpretive method whereby a lesson is delivered through an object, usually inquiry-based and disassociated with context or story. Olde-Tyme: Among interpreters, this is an adjective denoting something with the appearance of accuracy, but which the uniformed believe to be accurate. When applied to a Living History event, the adjective denotes fantasy. Period-appropriate: A descriptive status where something is correct for a time, place and user. Persona: Biographical details, minutiae, and motives for a living history character. See also "Blocking." Polo People: Same as "Docent." Powder Burn: A type of Living History event in which the main feature is the opportunity for reenactors to discharge lots of black powder. Reenactor: A person engaged in Living History for personal enjoyment. Reenactors generally are the least receptive to public interaction, and are the least concerned with minutiae. Repop: Slang for "Reproduction." Reproduction: An accurate object made in the present time to the specifications of an artifact, designed to take the place of an artifact to provide a manual or tactile experience. Rubberhead Indians: A pejorative for costumed interpreters portraying American Indians with shaven heads, but who seem to be from a 'tribe' of non-Indians with unconvincing rubber scalps covering their normal hair. Seen mostly among French & Indian War, American Revolution, War of 1812, and Seminole War reenactors. Skit: A designed interaction of one or more interpreters with the public that conveys some educational idea or teaches some process. Skit-killing: A deliberate act by an interpreter or audience member to disrupt a skit. Stitchnazi: A pejorative for a person who is concerned not only for the right pattern and cloth, but also the number of stitches to the inch, type of stitching, and correct thread; a person who values accuracy more than education. Stream Interpretation: An interpretive strategy whereby the interpreter portrays someone from the past in the present time. Coined by Bonnie Williams in 1996. See also First Person Flexible. Sutler's Row: An area set aside at living history events for purveyors of accurate reproductions, and other 'Olde-Tyme' goods. Theatrical Vignette: An interpretive strategy whereby the interpreter(s) enact an illustrative story or scene from the past without interaction with the audience. Third Person: An interpretive strategy whereby the interpreter remains in the present and explains the historic process or idea using the past tense. Thirper: Slang for any Third Person interpretive strategy. Time Travel: An attempt to experience the past through Living History. Tourists: Visitors to a museum or historic site, usually on vacation far from home. Tourons: A pejorative for tourists bent on not learning anything, or bent on debunking the interpretation, or in general disrupting the interpretive program; a derisive term not to be used lightly. Viz. Tourist and Moron. Visitor: Person who attends events and programs offered by museums and historic sites. Wargasm: The ecstasy of visiting historic battlefields, as described in the book Confederates in the Attic, by Tony Horowitz. Yee-Haw-Bang: The thoughtless fun of discharging blank firearms. First spoken by an Englishman observing 'redneck' Confederate reenactors in Texas, courtesy of Christopher R. Fischer. ========================================================= Important Subscriber Information: The Museum-L FAQ file is located at http://www.finalchapter.com/museum-l-faq/ . You may obtain detailed information about the listserv commands by sending a one line e-mail message to [log in to unmask] . The body of the message should read "help" (without the quotes). If you decide to leave Museum-L, please send a one line e-mail message to [log in to unmask] . The body of the message should read "Signoff Museum-L" (without the quotes).