Interpretation Strategy 2020–2030

An̲anguku kuṟunguṟu ngura nyangatja nyakunytjaku Kun̲pungku munu tjukaṟurungku nintintjaku pitjita tjuṯangka parkangka 2020-nguṟu 2030-kutu

Seeing the park through An̲angu eyes Interpretation Strategy 2020–2030

Pitjantjatjara/Yankunytjatjara words in this plan

An̲angu (literally, ‘people’) a word used by Pitjantjatjara/Yankunytjatara speakers to refer to themselves individually or as a group; in the context of this strategy, in passages written in English, An̲angu refers to people with traditional affiliations to the Uluṟu- Kata Tjuṯa region who may or may not be traditional owners (Nguraṟitja). inma ceremony, song or dance, especially traditional. kuniya woma python (Aspidites ramsayi).

Kuniya Piti a registered men’s sensitive site; also the general vicinity of this site at the easternmost end of Uluṟu, where the woma python woman deposited her eggs. kun̲pu strong; healthy, resilient, well-built or capable; principled and impactful; able to stand up for oneself and for others. mai bush food. mala rufous hare-wallaby (Lagorchestes hirsutus). malpa companion, partner, or friend; malpa is a relationship between equals who are ‘in it together’. Muṯitjulu the name of a waterhole on the south side of Uluṟu; also the name of the community in the park. Nguraṟitja a custodian; someone that belongs to a place; in the context of this strategy, Nguraṟitja refers to traditional Aboriginal owners of the park; those An̲angu who have direct links and rights to the land that encompasses the park. ninti knowledgeable about; familiar with; competent at; able to do; experienced with (something or someone). nintintjaku showing; teaching; helping someone become ninti. nintiringanyi learning about; becoming familiar with (something or someone); becoming ninti

Pitjantjatjara a widely spoken Aboriginal dialect belonging to the Western Desert language group.

Tjukurpa An̲angu traditional law; the foundation of An̲angu life and culture. Tjukurpa is a deep and complex concept, including systems of history, knowledge, philosophy, religion, morality and human behaviour that form the basis of An̲angu values and how An̲angu live and look after country: see the Uluṟu-Kata Tjuṯa National Park (UKTNP) Management Plan 2020–2030 for more information. tjukaṟuru honestly; correctly and appropriately; directly; in the proper way; straight. tjungu together, united. pun̲u wood art; wooden tools; also a generic term for any plant, especially trees and shrubs. wiltja shade shelter; patch of shade; shadow.

Yankunytjatjara an Aboriginal dialect belonging to the Western Desert language group.

English words used in this plan as placeholders for Pitjantjatjara/Yankunytjatjara words strong Placeholder for the Pitjantjatjara word kun̲pu. Kun̲pu means: healthy, strong and resilient; well-built or capable; principled and impactful; able to stand up for oneself and for others. country Placeholder for the Pitjantjatjara word ngura. Ngura means home, place, or landscape, but with additional layers of meaning that are not easily translated into Standard Australian English. Ngura encompasses ancestors, stories, and relationships, as well as plants, animals and the physical landscape. It references the deep significance of the land for An̲angu and acknowledges the way the landscape and An̲angu have shaped each other over time, in accordance with Tjukurpa.

Other words interpretation Interpretation is communication that helps build emotional and intellectual connections between the audience and the place or thing being interpreted. At Uluṟu-Kata Tjuṯa National Park (UKTNP), interpretation has long been key in appropriately sharing the park’s natural and cultural values with visitors – helping to protect the park into the future, as well as enriching visitor experience. interpretation The interpretation format is the form or method used for interpretation, such as signage, format hands-on activities, guided walks, films. Different formats are better suited for different purposes, audiences and contexts. Ease-of-editing, running costs and maintenance requirements also vary between interpretation formats. interpretation Interpretation techniques are different ‘tricks’ you can include in a sign, talk or activity, to techniques help visitors engage with the content and relate it back to their everyday life. Examples include using comparison (e.g. “It’s like walking into a church”), asking visitors to imagine, asking visitors to perform an action (e.g. “Show me with your hands how big you think it is”), and sharing stories or quotes. Different techniques are better suited to different audiences and contexts. key message The key message is what we hope visitors will take away with them after reading a sign or watching a talk. It could be factual (“I didn’t know X before!”) or emotional (“I feel Y when I think about Z”). theme or Themes are core underlying ideas. Key messages might change from sign to sign or year to interpretive year, but there are only four big themes for the whole park. These are long lasting, and theme they turn up again and again in different ways across the park. Any given sign or talk might address anywhere between one and all four themes. An example is “This is An̲angu Land”. topic Topics are specific content areas, such as “bush foods” or “landscape types”. At UKTNP, most topics are versatile, in that they can be used to deliver any (or at least most) of the park’s four interpretive themes. wayfinding Wayfinding is what helps people work out where they are, what they’ll find in different places, and how to get to where they want to go. Examples include signs, symbols, maps, walking tracks and landmarks. Wayfinding helps keep visitors safe and happy.

Contents Pitjantjatjara/Yankunytjatjara words in this plan ...... 2 English words used in this plan as placeholders for Pitjantjatjara/Yankunytjatjara words ...... 3 Other words ...... 3 1. Summary ...... 6 What is interpretation? ...... 6 2. Purpose ...... 8 3. Introduction and Vision ...... 8 4. Nguraṟitja principles ...... 10 A note about working together ...... 11 5. Themes, Topics, and Look and Feel ...... 12 Themes ...... 12 Topics ...... 12 Look and feel ...... 13 6. Goals and objectives ...... 14 Goal 1. Specialised interpretation grounded in living culture ...... 15 Objective 1. Safe sensitive sites ...... 15 Objective 2. Many sites, not just one ...... 17 Objective 3. Wayfinding ...... 21 Objective 4. Language and country ...... 25 Objective 5. Truth telling ...... 28 Objective 6. An̲angu leadership and An̲angu stories ...... 30 Objective 7. Engaging children...... 31 Objective 8. Cultural Centre upgrade ...... 34 Goal 2. High quality, cohesive, and well-managed interpretation ...... 36 Objective 9. Good planning, design and management ...... 36 Objective 10. New techniques and robust technology ...... 38 Appendix 1. Strategy drafting process ...... 42 Appendix 2. Key interpretation opportunities 2020–2030 ...... 43

WARNING Aboriginal and Torres Strait Islanders are warned that the following document may contain image and names of people who have passed away.

This Interpretation Strategy 2020 to 2030 including its related attachments are for the internal use of the Director of National Parks. The Director of National Parks and the Commonwealth of Australia make no representation or warranty of any kind, regarding the accuracy, or completeness of any information contained in this Interpretation Strategy 2020 to 2030, and the Director of National Parks and the Commonwealth of Australia are not liable for any loss or damage of any kind arising from the use of, or reliance on any information provided directly or indirectly in this Interpretation Strategy 2020 to 2030. Accordingly, any actions taken by you, based upon information in this Interpretation Strategy 2020 to 2030 are undertaken at your own risk.

Date Version

6.2020 0.1 First draft

Front cover Photo: Women talking with visitor about bush foods Image credit: Parks Australia. Parks Australia Artwork: Uluṟu Tjukurpa © Rene Kulitja, Niningka Lewis, Malya Teamay, Francine Kulitja, Freda Teamay, Esmerelda Kulitja, Charmaine Kulitja, Witika Kulitja/Copyright Agency.

1. Summary This strategy outlines the vision, goals and objectives for interpretation at Uluṟu-Kata Tjuṯa National Park (UKTNP) from 2020–2030. It sets a direction for us to continue to share important stories with visitors to the park and the wider public in ways that are contemporary and compelling, as well as honest and appropriate.

The strategy directs us to renew our focus on what sets UKTNP apart: An̲angu identity, An̲angu knowledge of country, and the long history of An̲angu leadership at Uluṟu. It challenges us to reflect this focus not only in the content of our interpretive publications, infrastructure and activities, but also in how we develop and deliver these publications, projects and programs.

Getting our interpretation right in this way – kun̲pu munu tjukaṟuru – has a range of different benefits for the park. For example, working together as equals is fundamental to all the park’s work, and collaborative interpretation work is one of the best ways for An̲angu and non-An̲angu to become familiar with each other’s ways, developing the skills and dispositions required to work together successfully across the park. Effectively communicating the park’s world-heritage listed values to visitors from around the world will also help ensure the protection of the park’s unique natural and cultural values, and their appreciation by the public, kuranyukutu – long into the future.

The concept of ‘Seeing the park through An̲angu eyes’ is new and challenging for many visitors. We are asking them to explore new concepts, think in new ways, and challenge existing knowledge systems and cultural constructs. The steps outlined in this strategy ensure that our interpretation is highly engaging and accessible to visitors by:  explicitly orientating visitors to their experience on park, emphasising the idea of a cultural landscape  facilitating careful scaffolding of key messages, and providing clear introductions to concepts that may be new to visitors  using infrastructure and other interventions to encourage visitors to slow down and reflect, and to consider things from multiple perspectives  encouraging empathy (e.g. actively encouraging visitors to imagine what an experience might be like from someone else’s perspective)

What is interpretation? Interpretation is “a communication process that forges emotional and intellectual connections between the audience and the resource”1. It includes publications, infrastructure and displays, and activities such as guided walks and workshops. At UKTNP, our interpretation aims to impact how visitors think, feel, and behave, before, during and after their visit.

The park’s vision for interpretation at UKTNP in 2030 is:

Nintintjaku pitjita tjuṯa, munu An̲angu manta winkingka nyinapai, kun̲pungku munu tjukaṟurungku. An̲anguku kuṟunguṟu, paluṟu tjanangku nyakuntjikitja. Lipula-wai palyantjikitjangku, parkangka. Ka tjinguṟuyanku kulilku – “Tjukurpa ngarinyi alatjiṯu. Ka alatjinguṟu An̲angu tjuṯangkula mukuringkupai ngura nyangatja kanyilkatintjaku iritinguṟu munu kuwari munu kuranyukutu, malatja tjuṯaku.”

Strong interpretation that connects visitors and the wider public with the living cultural landscape at UKTNP, fostering respect for, and an appreciation and understanding of, An̲angu culture and country – from an An̲angu perspective, looking into the past and looking into the future.

This strategy establishes two goals and 10 objectives to achieve the vision for interpretation in 2030. These, through the next steps outlined within each objective, will guide the interpretation work we do in the park to 2030. Specific actions and plans for implementation will be expanded upon in future documents. The aim of this strategy is to outline the general direction and agenda for the next 10 years. Next steps in this strategy should be seen as beginning points, not a comprehensive list of actions.

The goals and objectives are as follows:

Goal 1 – Specialised interpretation grounded in living culture

Objective 1 To strengthen communication with visitors relating to appropriate behaviour at sensitive sites.

Objective 2 To more effectively communicate the concept of a whole cultural landscape, in which many different landscape features, connected by stories, have cultural significance.

Objective 3 To improve wayfinding at visitor sites and across the landscape.

Objective 4 To more effectively convey the richness of An̲angu language and of An̲angu knowledge of country.

Objective 5 To position the park as a place of truth-telling about local An̲angu experience in a way that feels contemporary while remaining true to Tjukurpa.

Objective 6 To highlight An̲angu leadership and position the park as a place where An̲angu tell their own stories.

Objective 7 To develop new spaces and use new methods for engaging children.

Objective 8 To update and adapt the Cultural Centre and surrounds, ensuring facilities are commensurate with other leading national institutions, while also appropriate for local conditions.

Goal 2 – High quality, cohesive, and well-managed interpretation

Objective 9 To ensure our planning and management of individual interpretive offerings (activities, facilities and publications) is purposeful and effective, incorporating better or best practice, and including an emphasis on review and maintenance.

Objective 10 To use a broader range of interpretive techniques, including new technologies (where they will be robust and appropriate for conditions) to improve message accessibility and visitor engagement and understanding.

The success of this strategy, and the extent to which we are able to achieve the above objectives will depend on:  planning and management  collaborative content development  appropriate infrastructure development, and  strategic partnerships.

2. Purpose The purpose of this document (‘the strategy’) is:  to establish the vision, and clear goals and objectives, for 2020–2030 in relation to interpretation at UKTNP  to outline the next steps we will address to achieve each objective  to outline themes, topics, and look and feel guidelines for interpretation at UKTNP.

This document should be read alongside:  UKTNP Management Plan 2020–2030  UKTNP Visitor Infrastructure Plan 2020–2030  UKTNP Infrastructure Manual (TBD)  An̲angu Employment Pathways 2020–2025.

The fundamental actions necessary to achieve the goals of this strategy, including pursuit of ambitious partnership and project opportunities, are outlined in a separate document, the UKTNP Interpretation Action Plan (2020–2030 ).

3. Introduction and Vision

Tjurkulytju kulintjaku kuranyu nguṟu pinangku munu uṯiṟa ngukunytja tjura tiṯutjaraku witiṟa kanyintjikitjaku kuṯuṯungku kuliṟa.

Clear listening, which starts with the ears, then moves to the mind, and ultimately settles in the heart as knowledge. © Tony Tjamiwa

Interpretation is “a communication process that forges emotional and intellectual connections between the audience and the resource”1. It helps visitors to make sense of their experience of a place and relate this experience back to their own lives. Interpretation helps turn looking at a rock into experiencing a cultural landscape, and visitors potentially going home transformed in some way.

Explicit interpretation occurs at UKTNP through:

 interpretive activities (e.g. guided walks, presentations, workshops)  interpretive publications (e.g. Visitor Guide, Park Notes, Park Map, website)  interpretive infrastructure and displays (e.g. display cabinets, films, signage).

Other on-site factors that can impact visitor experience of the park include:  the condition of facilities  how staff behave (even when not delivering interpretive activities)  the adequacy of communication about possible activities for visitors  the sufficiency of rest areas.

All of the factors above influence how visitors think, feel, and behave, both during and after their visit.

1 U.S. Fish and Wildlife Service, and National Wildlife Refuge System, 2014

Nguraṟitja and other stakeholders alike have been saying for a long time that the park’s communication with visitors needs to be kun̲pu – stronger – and that we need to better communicate with visitors so that they can understand what An̲angu value about the park. We also need to ensure that once established, interpretative offerings remain at the standard expected of a World Heritage site.

Talk kun̲pu, Learn to be kun̲pu. © Kumanara Taylor In the context of this strategy, as in the UKTNP Plan of Management 2020–2030, the word ‘strong’ is a placeholder for the Pitjantjatjara word kun̲pu. ‘Being kun̲pu’ is an important idea for Nguraṟitja at UKTNP. Usually translated as strong, fit, or confident, kun̲pu also implies: healthy, resilient, well-built or capable; principled and impactful; able to stand up for oneself and for others. When senior Nguraṟitja for UKTNP talk about what they want for the future, a common response is that they want country, culture, and young An̲angu to be kun̲pu.

Therefore, while taking care to remain true to Tjukurpa, and without substantially changing the topics or central ideas that our interpretive materials address, this strategy lays out a change agenda to strengthen how we share wiṟu tjuṯa parkangka – the park’s values (literally “the many good things in the park”) – with visitors.

The park’s vision for interpretation at UKTNP in 2030 is:

Nintintjaku pitjita tjuṯa, munu An̲angu manta winkingka nyinapai, kun̲pungku munu tjukaṟurungku. An̲anguku kuṟunguṟu, paluṟu tjanangku nyakuntjikitja. Lipula-wai palyantjikitjangku, parkangka. Ka tjinguṟuyanku kulilku – “Tjukurpa ngarinyi alatjiṯu. Ka alatjinguṟu An̲angu tjuṯangkula mukuringkupai ngura nyangatja kanyilkatintjaku iriti nguṟu munu kuwari munu kuranyukutu, malatja tjuṯaku.”

4. Nguraṟitja principles Consultation to date (see Appendix 1) shows that Nguraṟitja want interpretation at UKTNP to be built on the following principles.

Principle 1. Tjukurpa lipula wangkantjaku. Ngunti ngunti wangkantjaku wiya.

Be true to law and culture. Don’t speak about law falsely or lightly.

Interpretation must be true to law and culture and must emphasise law and culture. It must also convey a sense of the significance and value of the park for An̲angu, by emphasising An̲angu ownership, strength, and knowledge.

From an An̲angu perspective, sharing creation stories appropriately is a way to share with visitors, highlight the park’s significance, and assert ownership.

Principle 2. Atunymanama. Ngura tjuṯa, pitjita tjuṯa, munu raintja tjuṯa atunymanama. Show respect and care. Take care of country, visitors, and workers. This includes cultural safety.

Interpretation must encourage appropriate visitor behaviour. This is important to protect Tjukurpa, and to keep visitors safe.

Interpretation must also support appropriate staff behaviour. This is important to protect Tjukurpa, and to keep the park’s cultural landscape strong and healthy into the future.

For example, when doing interpretation work, it is important what we respect the cultural obligations and/or restrictions that Aṉangu staff are navigating every day. These obligations and restrictions, for example about who can speak publically about what, are an important part of the cultural landscape of the park.

Principle 3. Tjungu work, lipula work2. Munu kuranyukutungku palyalkatima. Work together as equals. Prepare for the future as you work.

Interpretation must be built on, and must demonstrate, An̲angu and non-An̲angu working together as equals. Each side must listen and benefit from learning from the other. Interpretation work should help build An̲angu livelihoods.

These three principles may be summarised as:  Share An̲angu knowledge, in an An̲angu way, for the benefit of everyone; or  Uphold Tjukurpa, work in an An̲angu way, back An̲angu leadership.

2 © Barbara Tjikaṯu

A note about working together Nyakukatima, kulilkatima, palyalkatima. Malpaṟara anama kuranyukutu tjungu. Observing, listening, considering, and doing as we go. Advance together as malpa. © Rene Kulitja, 2020

Realising the vision of Nguraṟitja for An̲angu livelihoods in the park requires action across the park and cannot be achieved by the Interpretation Strategy and Action Plan alone (see, for example, the separate actions outlined in the An̲angu Employment Pathways Plan 2020–2025).

However, interpretation work at UKTNP still has an important part to play in helping to achieve Management Plan goals related to working together.

Nguraṟitja are clear that interpretation work at UKTNP should:

1. Build relationships and cross-cultural understanding among park staff.

Interpretation work is one of the best areas of park work for An̲angu and non-An̲angu to become familiar with each other’s ways, and to practice working together as equals. This is because An̲angu and non-An̲angu knowledge, skills and obligations are often made explicit in interpretation development and delivery, and there are opportunities for community members with a wide range of backgrounds to contribute.

2. Provide meaningful employment for An̲angu, especially younger An̲angu.

Palunya palungalinya tjukaṟuru warkarinyi. Young one-ku, maiku, manta nyangangka kanyintjikitja. We want our young people to have good work to support their families, and look after this land. © Reggie Uluṟu, 2015 Employment for An̲angu should be strong and support culture. Culture and country benefit when young people are spending time on country, getting strong through work, making money and fulfilling their cultural and family responsibilities. Meaningful work should also enable young An̲angu to envisage careers for themselves in the park and on country.

3. Support younger An̲angu to develop ‘two ways’.

Warkangka, An̲angu kungawaṟa tjuṯa munu yangapela tjuṯa tjana piranpawai-ku purkaṟa nintiringama munu An̲anguwai-ku nintiringama. At work, young An̲angu should be learning both An̲angu and non-An̲angu – mainstream Australian – knowledge and skills. © Nguraṟitja, 2019 This is essential for An̲angu culture to continue and be strong into the future.

4. Build confidence in An̲angu workers and help familiarise young An̲angu with the park’s work.

Like all core park work, interpretation development and delivery are to be done in a way that works towards passing on the responsibility for managing the park to future generations of An̲angu.

We need to work cooperatively with other key organisations within and outside of our region to bring together the best An̲angu and non-An̲angu knowledge and skills and realise An̲angu business opportunities. There is also potential for company sponsorship to help in funding a range of new interpretation technologies, e.g. new technology in the Cultural Centre.

5. Themes, Topics, and Look and Feel

Themes This strategy establishes the following themes which will cut across all of our interpretation.

Theme 1. An̲anguku ngura nyangatja. Tjukurpa pulka ngarinyi. This is An̲angu land – in terms of belonging and meaning as well as ownership. Try to see this place as An̲angu see it.

Theme 2. Tjunguringkula warkaripai. Literally: Working together. Managing a cultural landscape, we combine the best of An̲angu and non-An̲angu knowledge to care for this place.

Theme 3. Culture kun̲pu, iritinguṟu munu kuranyukutu. Living culture – This is a place where An̲angu culture, which is ancient, is also alive, strong, ongoing. It is in conversation with mainstream Australia and the wider world.

Theme 4. Purkaṟa nintiringama. Literally: learning carefully and slowly. The park’s ecology is complex, diverse and highly variable year to year. An̲angu knowledge systems are deep and highly adapted to this place. Slow down and take the time to notice details here.

Topics Our interpretation may cover the following topic groups.

1. An̲angu identity one - Looking after big stories. Topics may include:  creation stories  not one site at Uluṟu, many sites  cultural difference (elements of culture, An̲angu values, An̲angu thought, etc.)  understanding a cultural landscape  World Heritage (example tagline: What does it mean to be World Heritage listed for culture?) 2. An̲angu identity two - Ancient traditions, still relevant:  language  young people and fun  diversity but still one Tjukurpa, one people.  considering the relevance of An̲angu culture and knowledge for Australia and the world, now and into the future 3. An̲angu leadership - Talking strong for country. Topics may include:  Pitjantjatjara Land Rights history / Homelands movement  handback story  climb close story  UKTNP governance

 recent An̲angu experiences, including sad or difficult ones. Suggestions from An̲angu staff and individual Nguraṟitja include: - NT Intervention - Uluṟu shooting - Grandmother worry story - Muṯitjulu’s perspective on the Uluṟu Statement 4. An̲angu knowledge and skills - Knowing country (land management, tools, and food provision):  intimacy with country: close observation, daily familiarity, missing country (Atunymankupai)  landscape types and knowing where you are  bush food, bush meat, hunting  keeping things in balance, including plants and animals  An̲angu science, An̲angu technologies, parallels with Western science  the richness of country, the variability of seasons

Look and feel The look and feel of interpretive materials should be consistent with UKTNP’s Brand Guidelines (the Brand):  Standard printed materials such as fact sheets, brochures and banners should adhere strictly to the approved colour palettes, typography, and logos outlined in the brand.  The look and feel of other interpretive materials may deviate from strict adherence to the way the brand is applied in these standard printed materials, but must still be consistent with the overall brand platform. The UKTNP Brand promises visitors an immersive experience, in which sense of place is central. It emphasises intimate perspectives, visual drama and colourful expression, personal reflection and/or transformation, and authenticity. Actual physical materials used in interpretive contexts, and the design of spaces, should emphasise considered simplicity (reflecting An̲angu strengths and values: resourcefulness, avoiding waste, clever design, thoughtfulness, and a long-term perspective). This means:

There should be a significant presence of rough/unpolished and local or locally-inspired material such as:  pre-rusted metal  native wood (stained), ideally with some of its natural shape remaining  corrugated iron  Mulga thatch, tjanpi (spinifex grass)-style woven grass, the matte black of art centre cushions, and similar.

6. Goals and objectives

Goal 1. Specialised interpretation grounded in living culture

Objectives English Pitjantjatjara Full objective statement 1 Safe sensitive Ngura miil-miilpa tjuṯa To strengthen communication with visitors as well as sites atunymankupai authenticity in regards to appropriate behaviour at sensitive sites. 2 Many sites, Ngura miil-miilpa tjuṯa, kutju To more effectively communicate the concept of a whole not just one wiya cultural landscape, in which many different landscape features, connected by stories, have cultural significance. 3 Wayfinding Tjakultjunkunytjaku yaaltjikutu To improve wayfinding at visitor sites and across the ankuntjaku parkangka landscape. 4 Language and Wangka munu ngura To more completely convey the richness of An̲angu country language, and of An̲angu knowledge of country.

5 Truth-telling Mula-mulapa wangkapai To position the park as a place of truth-telling about local An̲angu experience, in a way that feels contemporary while remaining true to Tjukurpa. 6 An̲angu An̲angu tjuṯa tjunguringkula To highlight An̲angu leadership, and position the park as leadership wiṟuṟa tjungu a place where An̲angu tell their own stories. and An̲angu warkaringkunytjaku stories (kuranyukutu ankupai tjungu) 7 Engaging Wiṟuṟa tjunguringanyi tjitji To develop new spaces and use new methods for children tjuṯangka engaging children. 8 Upgraded Kaltja tjintanya wiṟu palyani To update and adapt the Cultural Centre and surrounds, Cultural ensuring facilities are commensurate with other leading Centre national institutions, while also appropriate for local conditions.

Goal 2. High quality, cohesive, and well-managed interpretation

Objectives English Pitjantjatjara Full objective statement 9 Good Nyuntu sign niuwana-palyantjikitjangku To ensure our planning and management planning, munu kutjupakutjupa wangkanytjikitjangku, of individual interpretative offerings (talks, design and nyaapa nyuntu kulini wangkanytjikitjangku. displays, etc.) is purposeful and effective, management Kuṯuṯunguṟu nintintjaku. Ka ṟawa, by incorporating better or best practice nyakukatima, palyalkatima, tjukaṟuruma interpretation, and including an emphasis on regular reviews and maintenance. 10 New Kulini palyantjaku space, tili, wangka, munu To use a broader range of interpretive techniques, tjinguṟu talapon ka pitjar. Aṉangu techniques (where they will be robust and robust kungkawaṟa munu yangupalangku appropriate for conditions) by including technology mukuringanyi warka nyanganpa palyantjaku. new technologies to improve message Munu tjinguṟu pitjita tjuṯa pitjala kulintjaku. accessibility and visitor engagement and Munu kulilku “munta uwa, ngura wiṟu understanding. nyangatja, Aṉanguku ngura.”

Goal 1. Specialised interpretation grounded in living culture

Objective 1. Safe sensitive sites To strengthen communication with visitors relating to appropriate behaviour at sensitive sites.

When Sydney beaches close because of sharks, they say it really strongly and everyone understands. We’re caring for sacred places here: powerful country, important law, significant stories... our rock. Why don’t people listen? Why don’t they understand our signs? We’re not strong enough with visitors. © Rita Jingo, 2019

Kan̲i An̲angungku Tjukurpa palya tjuṯa ungama, ka ngayulu ngapartjiḻta purkaṟangku wangkaku, munun̲a kulilku. Alatji. Palya? Various An̲angu Tjukurpa are given to me, and I, in turn, am careful with them. Some of them I am able to talk about, but I have to be very careful. That’s just the way it is. Alright? © Tony Tjamiwa, 1998 Rationale Ensuring visitors behave appropriately at sensitive sites, such as not entering restricted areas, is vital to continue the protection of Tjukurpa in the park. Nguraṟitja have been asking the park to take stronger action on this for some time.

Compliance enforcement at sensitive sites is beyond the scope of this strategy. However, communication with visitors about appropriate behaviour through interpretation is integral to visitor behaviour management.

Both direct and indirect communication about desired behaviours can significantly impact compliance outcomes, e.g. seeing photographs of visitors off-track can inadvertently encourage other visitors to stray off track. Approach We will address the following drivers of undesirable behaviour at sensitive sites:  Lack of awareness – visitors may not know about restrictions.  Lack of skill – visitors may struggle to interpret or apply instructions.  Lack of care – visitors accept their impact or do not see that their personal actions will have any impact.  Disagreement – visitors actively disagree with restrictions. We will:  mark sensitive sites more clearly, including with stronger regulatory/compliance signage  intervene earlier in the visitor experience and apply a range of behavioural insights (learnings from psychology and economics about what influences people’s choices and actions) to influence visitor behaviour around sensitive sites, e.g. visitors are more likely to comply with directions if they believe that most other people also comply. Where possible, we want visitors to consider cultural restrictions at Uluṟu and Kata Tjuṯa as part of what makes the park special, rather than as something that gets in the way. There is room for the park to do much more to influence visitors in this direction.

At the same time, we should never make an interpretive decision that accepts probable lower compliance outcomes at sensitive sites in exchange for purported visitor experience benefits. Visitor attitudes have been changing over time, and we now know that a clear majority of visitors want to see us taking sensitive site restrictions seriously.

Interpretation (especially at introductory points in the visitor experience, e.g. the Cultural Centre, and the beginning of walks) should explain the fact that cultural restrictions can apply to even discussing particular sensitive sites. It should also communicate why visitor behaviour matters through sharing statements from a range of individual Nguraṟitja, about the impacts on them and their culture. This is in response to data from visitor surveys that indicate that some visitors feel very frustrated about sensitive site restrictions because they do not understand the need for them, and they can’t understand why this is not explained more clearly. (Please note that the park will not provide more detailed information about the Tjukurpa stories relating to particular sensitive sites.) Other visitors do not believe An̲angu preferences should dictate their actions, with some asking, for example (paraphrasing), “Why should I avoid taking photos here when I personally do not follow An̲angu cultural traditions?”. Next Steps 1. Put larger and stronger ‘sensitive site’/‘no photo’ signs at sensitive sites around Uluṟu. Review sign placement and consider increasing visual weight of fencing in these areas. 2. Put clearer and stronger signage at the start of Kata Tjuṯa walks regarding the importance of not going off track. This should include clear regulatory and/or compliance signage, as well as separate interpretive signage that presents behaving respectfully as a key part of experiencing Kata Tjuṯa. 3. Consider providing regulatory and/or compliance information throughout the park in a range of languages. 4. Consider mobile phone push technology for compliance-related communication in the future. Note that maintaining brand consistency across the park requires that we refer visitors to digital screens sparingly (see Objective 10 and Look and Feel in Section 6). 5. Develop new messaging to directly address cultural restrictions in pre-arrival information - to be placed online as well as at pull-ins, carparks, and at the Cultural Centre. 6. Provide more small moments of interpretation along the Uluṟu base walk, and at Kata Tjuṯa, through wayside signage and other installations. This will help contextualise information about restrictions, so that they are part of an overall experience, rather than an aberration from it. These signs and small installations should directly relate to things visitors can see, hear, and/or feel along the walk, such as plants, evidence of animals, and rock features (see images below).

Images – Examples of small moments of interpretation (as relates Next Step 6)

Figure 1.1 Wayside signage Left: This exhibit uses silhouettes to interpret animals that aren’t easily spotted and/or are no longer in the landscape (Slimbridge Wetland Centre, England. Design by Smith and Jones Design. Image credit: Smith and Jones Design) Right: Actual footprints adds a tactile dimension to this wayside sign (Yellowstone National Park, USA. Image credit: Glenn Willmott and NZ Department of Conservation Te Papa Atawhai)

Figure 1.3 This signage along a walking track aims to provide an “interconnected, immersive and interactive experience of the landscape”3. Together, these six signs tell a story that links things visitors can see along the walk (ie. rocks and grasses) to things visitors may value in their lives back home (ie. ice cream) (Tidbinbilla Sanctuary, ACT. Image credit: Taylor Cullity Leathlean) Figure 1.2 An installation relating directly to something visitors may see or hear as they walk (Tidbinbilla Sanctuary, ACT. Image credit: Nomad on the road)

3 From a statement by the project’s landscape architect, Taylor Cullity Leathlean.

Objective 2. Many sites, not just one To more effectively communicate the concept of a whole cultural landscape, in which many different landscape features, connected by stories, have cultural significance.

We’re not closing the whole rock, we’re just closing one of the sites. Uluṟu has always had a range of different sacred places, different stories, which we Aṉangu want to look after… Yes, there are other sites, far from the rock, with stories too – same stories, some of them. We An̲angu know about those places too. Figure 2.1 Staff workshop outcomes © Gloria Moneymoon, 2019 Excerpt from an An̲angu staff member’s response to "What are the five things that should characterise how we talk to visitors from 2020 to 2030?"

Rationale This objective directly comes from An̲angu staff and is supported by discussion with other staff and Nguraṟitja. When asked how the content of our interpretation (messaging, etc.) should develop, especially following on from the closure of the climb, the one clear response from An̲angu staff was to more accurately present Uluṟu as a series of sites, rather than just one site, and to more accurately represent Uluṟu as part of a whole landscape of sites with cultural significance.

This objective also represents a significant opportunity to enrich visitor experience in the park in keeping with the UKTNP brand by facilitating a deeper, more authentic, and more multifaceted experience.

Figure 2.2 A sketch of the region comprising major landmarks both within and without the park boundary © Rene Kulitja (N.B. This image is included to help illustrate the An̲angu perspective that the park is part of a broader network of sites. This does not mean we intend to tell visitors about all these sites.)

Approach To achieve this objective, we will:  use clearer and stronger messaging about the concept of a cultural landscape  better integrate messaging about the concept of a cultural landscape into communication materials and directional signage  invest in statement tactile and/or visual art, sculpture and/or other design elements to share this concept through different mediums. Next Steps 1. Include messaging that is explicitly about the connections between landscape and culture in order to explain directly what may be a new concept for many visitors. 2. Install materials providing a sense of the visitor’s location in the cultural landscape at key orientation locations (e.g. Cultural Centre and Entrance Precinct, intermittently along walking tracks) that reference the movement of creation ancestors. 3. Emphasise the different Tjukurpa stories, and their location, in wayfinding, trip planning resources, and in materials targeted at children. 4. Include a large physical reference to each of the main creation ancestors somewhere in the park (see Figure 2.3). 5. Offer a self-guided walk tailored to each of the Tjukurpa stories, and highlight this offering in orientation signage at the Mala Carpark and/or the Entrance Precinct, as well as at the Cultural Centre. 6. Use Tjukurpa-related visual clues to indicate which walk visitors are on, or to which story a given sign relates (see Figure 2.4). This could include providing visitors with an aerial outline of Uluṟu showing all sites associated with that story on relevant signs or via a downloadable guide/App. 7. Put words and short phrases, in Pitjantjara and other languages, in the landscape. For most of our visitors who are not used to thinking of the natural world as inherently cultural, and connected to story, this helps connect natural elements with meaning and (linguistic) identity (see Figure 2.5).

Images – Sharing the concept of a cultural landscape

Figure 2.3 Large physical reference to creation ancestors Left: ‘Endemic’ by Jane Middle: ‘Wrapped Horse’ by Yu Right: ‘Mangrove Cap’ by Fiona Cavanough and Enda Watson Fan (Sculpture by the Sea 2018, Foley (Bluewater Trail Mackay, (Bungarribee Common, NSW. NSW. Image credit: Ben QLD. Image credit: UAP) Image credit: Karl Sharp) Apfelbaum)

Figure 2.4 Tjukurpa-related visual clues Left: (Tidbinbilla Sanctuary, Middle: (Gour de Tazenat Right: ‘The Peacemakers’ by Michael ACT. Pavilion design by interpretive trail, France. Thomson (Goulburn Civic Centre, Gregory Burgess Design by Atelier Cap Paysage NSW. Image credit: Goulburn Regional Architects.) Urbanisme. Image credit: Art Gallery) Atelier Cap Paysage Urbanisme)

Figure 2.5 Language in the landscape

Top: (Bluewater Trail, Mackay. Art by Fiona Foley. Image credit: UAP)

Bottom: (Fundy National Park, New Brunswick, Canada. Image credit: Form:media)

Objective 3. Wayfinding To improve wayfinding at visitor sites and across the landscape

Rationale Good wayfinding is not just about knowing how to get somewhere, it’s also about knowing where you are (see Figure 3.1), and knowing what you’ll find in different places. Wayfinding is an important part of visitor experience, helping visitors to feel and be safe in an unfamiliar environment and making it more likely that visitors will find their way to the interpretive activities suited to them. It also reduces the time staff spend giving visitors verbal directions, or retrieving or reassuring visitors around the base of Uluṟu. Well planned wayfinding improvements will also help address recognised visitor behaviour issues in the park. This can be done by contributing to proactive management of the expectation of some visitors that they will be able to “access all areas” in the park, and by helping visitors better match where they go in the park to their wants and needs, such as photographing Uluṟu up close, allowing children to stretch their legs, etc. Additionally, beautiful or striking wayfinding can frame landscapes and direct visitor attention towards spaces that are public. By drawing attention away from spaces that we do not want visitors to explore, we can increase compliance and support the management of sensitive sites, without detracting from the visitor experience.

Wayfinding can include… Services Design Graphics Communications

In use at UKTNP  Staffed  Paths  Maps in 2019/2020 info desk  Directories and  Orientation guides signage  Marketing material

Not in use at  Volunteers  Use of certain  Directional lights UKTNP in  Shuttle materials or or graphics 2019/2020 finishes  Decision markers

Approach Orientation signage: Should be clear and simple, confirm the visitor’s place in the landscape (provide a sense of arrival) and provide “need to know” information. It should also introduce the themes for that area.

Destination signage: May just be the name of the location, if there is orientation signage nearby. It is particularly important that the aesthetics of destination signage are aligned with park messaging and the essence and intent of the Brand. Next steps 1. Include passive wayfinding in all infrastructure and display redevelopments (see Figures 3.2 and 3.3). 2. Establish clearer orientation signage at key mapped locations (e.g. entry station, Car Sunset, Mala Carpark, Kuniya Carpark), and provide clearer orientation to the Cultural Centre. 3. Install iconic/visually striking wayfinding signs at key locations in the park and consider pairing them with bold destination signage (see Figure 3.4). 4. Develop and install directional and distance markers for Uluṟu base walk (see Figure 2.5).

5. Use visual clues – such as unique colours or decals - to assist wayfinding (see Figure 2.2 in previous section). These should be consistent with the UKTNP Brand. 6. Trip planning – extend the “Proposed itinerary” information available on the website to provide improved on-site trip planning assistance to visitors (see Figure 2.6). Include suggestions tailored to the circumstances that drive our visitor experience and compliance challenges, e.g. for when it is hot, children are restless, etc. Draw on staff and industry on-ground knowledge to create these itineraries. Images – Wayfinding

Figure 3.1 Wayfinding includes knowing where you are in the landscape (Duke of York Square, London. Precinct design by Paul Davis & Partners and Elizabeth Banks Associates. Image credit: Paul Davis & Partners)

Figure 3.2 Passive wayfinding (indoor) There is no signage to indicate that this area is specifically for children, or to enter on the left and turn the corner, but the design makes this obvious. (Mary Cairncross Reserve Discovery Centre, Queensland. Design by Focus Productions. Image credit: Focus Productions)

Figure 3.3 Passive wayfinding (outdoor) Figure 3.4 Iconic wayfinding These two pieces have been designed to direct Top: The pre-rusted iron “Red Centre Way” visitor attention and therefore influence visitor signs have been tremendously popular with movement. They also reflect the UKTNP brand in visitors. There are 7 in total, and each has that they play with perspective and offer visual detailing and composition tailored to reflect drama. its location (Luritja Road - Lasseter Highway Top: (Batoche National Historic Site, Canada. Image Intersection, between Alice Springs and credit: Form:Media) Uluṟu. Design by Clouston Associates. Image Bottom: (Chemin des Carrières, France. Design by credit: Rockytours.com) Reiulf Ramstad Arkitekter and Parenthèse Paysage. Bottom: Kakadu National Park features Image credit: Florent Michel) wayfinding signage that confirms visitors are headed in the right direction, and begins to establish destination look and feel (Bowali Visitor Centre, NT. Design by Glen Murcutt Pty Ltd, Troppo Architects and Kakadu National Park. Image credit: Parks Australia)

Figure 3.5 Distance information Figure 3.6 On-site trip planning Directional and distance information can be Mechanical trip planners at Grand incorporated into other infrastructure e.g. seating Canyon National Park help save staff (Monmouthshire and Brecon Canal, UK. Image credit: time, are robust, don’t require internet, Fitzpatrick Woolmer) and let visitors see trip options based on their time and interests (Grand Canyon National Park Visitor Center, USA. Image credit: US National Parks Service)

Objective 4. Language and country

To better convey the richness of An̲angu language, and of An̲angu knowledge of country. “For my first time [sic] I realised the importance and significance of the An̲angu culture, the depth of knowledge and wisdom that [An̲angu] have, what we white people have been oblivious to for centuries.” – Feedback on a visitor survey, 2019

Rationale An̲angu knowledge is rich, varied and encompasses the same range of disciplines as other cultural traditions, e.g. medicine, ecology and sociology (though they may be categorised differently). Many visitors to the park may have a limited understanding of the breadth and depth of traditional knowledge.

This strategy identifies language (in all its richness, structural nuances and cultural relationships) and ecological knowledge as two key areas that could be communicated in more detail with visitors. There is plenty of scope to respectfully share more of this information with visitors, and/or to refresh how we share existing information, so that we come closer to doing justice to the depth and complexity of An̲angu traditions in our communication with visitors4.

The park is dual World Heritage listed for both natural and cultural values, and the natural values of the park are important to interpret alongside the cultural values. Desert animals, plants and animals are unfamiliar to many visitors, and there is significant interest in how they survive in seemingly harsh environments. Additionally, the unique landscape of the park is iconic across all seasons, and in keeping with Objective Two (more effectively communicating the concept of a whole cultural landscape), landscape-scale ecological and geological processes can be shared with visitors. The park also conducts important conservation work in collaboration with An̲angu and applies scientific knowledge to the task of protecting and maintaining the cultural landscape. Parks Australia also collaborates with external organisations with world-leading expertise in maintaining the cultural landscape of the park. The shared story of traditional ecological knowledge working in partnership with science is important to share with the public and will further emphasise the ongoing relevance of An̲angu knowledge.

Ideally, visitors to heritage areas should feel that they are realising or discovering things themselves through direct experience, rather than being told what to think. This process of personal discovery (sometimes referred to as visitors experiencing ‘ah-ha moments’) allows interpretation to impact visitors both intellectually and emotionally, in ways that can resonate long after their visit has ended. Interpretation workers often achieve this sense of immersion and revelation for visitors through encouraging them to question and to explore, but cross-cultural and historical sensitivities at the park make this exact approach inappropriate, at least at times, because it may inadvertently place An̲angu and/or visitors in a culturally-unsafe position. Visitors may also act in a voyeuristic way and ask questions of An̲angu that they would not ask of their neighbours or friends, and it is vital that the park does not facilitate or condone this behaviour.

Sharing more information about language and landscapes, plants, and animals is one way we can offer visitors detailed insights, while still respecting An̲angu cultural restrictions that apply to the sharing of knowledge and staying focussed on our interpretive themes. It is also a way we can convincingly show visitors that “culture is still strong here” and “An̲angu know a lot about this place”, as opposed to just telling them.

4 Remaining of course within the bounds of what is okay to share with visitors, and respecting the rights of traditional knowledge holders to control and benefit from the use of their knowledge

Approach Regarding language, we will emphasise language in use and language in context, e.g. sharing whole expressions and phrases, as opposed to just sharing individual words. We want visitors to see how traditional languages are connected with the rest of An̲angu culture and society (they allow a whole different way of thinking!), and we want exposure to language to help visitors appreciate that the park holds: Living culture. Substantive culture. Relevant culture.

Regarding knowledge of country, we will use both An̲angu words and concepts, and Western science words and concepts, to show visitors that An̲angu and park staff are knowledgeable about various aspects of the park’s ecology. We will acknowledge parallels, but still respect that An̲angu knowledge works differently and avoid drawing constant comparisons. That is, we will be mindful that Aboriginal landscape knowledge has historically sometimes been understood, most unhelpfully, as an inferior or quaint folk version of Western science.

Tjulpu linga tjuṯa munu tjanpi pun̲u tjuṯa – kutjupa-kutjupaku – wangkanyi, piṟanpa wai munu An̲angu wai, tjungu pitjitaku nintintjikitja

Literally: to teach visitors about all the various birds, lizards, grasses, other plants and so on, we will speak in both an An̲angu way and a non-An̲angu way.

Next Steps 1. In consultation with Nguraṟitja, offer more interpretive moments in the park that focus on plants, animals and ecological processes, including several dedicated areas focused on these topics (much like the Landscapes and NRM alcove in the Cultural Centre) (see Figure 4.1). This may include movable plant signs like those used at the Australian National Botanic Gardens (ANBG). These signs should prompt visitors to actively engage with the environment around them and/or be physically interactive themselves, e.g. have textural components. They should also include language or narratives from An̲angu (observations about when ants move, etc.) which will help us reach visitor experience goals outlined through the brand around immersiveness and feeling the layers of country. 2. Make language and knowledge of country areas of focus for ongoing collaborative interpretive content development (see Figures 4.2 and 4.3). 3. Ensure that interpretive staff have a basic grounding in scientific literacy as it applies to interpreting the park. This should be achieved through training, not as a precondition for employment. Also consider training staff in ways to respond to questions about topics such as geology with answers that also link to cultural information and the park’s interpretive themes. 4. Provide park staff with access to ongoing in-house language training. 5. Develop and implement a set of guidelines for using Pitjantjatjara/Yankunytjatjara and English in the park in ways that do justice to An̲angu literary and language traditions.

Images – Demonstrating knowledge of language and country

Figure 4.1 Interactive displays Figure 4.2 An̲angu seasonal calendar focussed on animals and plants There is substantial interest among some An̲angu The graphics and text accompanying staff in developing a much more detailed An̲angu these displays could be tailored to seasonal calendar. The existing calendar, pictured, share An̲angu language and/or simply offers a phrase for each month, such as “It traditional ecological knowledge. has become cold” and “It is now frost season” (Mary Cairncross Reserve Discovery (Uluṟu-Kata Tjuṯa National Park Cultural Centre, NT. Centre, QLD. Design by Focus Image credit: Parks Australia.) Productions. Image credit (top): Visit Sunshine Coast. Image credit (bottom): Focus Productions)

Figure 4.3 Collaborative interpretation development There is a long history at UKTNP of An̲angu and non-An̲angu staff collaborating with community members to develop publications or activities, although the park has struggled to resource this work in recent years. ‘Cultural Elements’ (pictured) is a 1 hour fee-for-service education program developed through extensive collaboration of this nature. Teachers and students give tremendously positive feedback about this program.

Objective 5. Truth telling

To position the park as a place of truth-telling about local An̲angu experience, in a way that feels contemporary while remaining true to Tjukurpa.

At the foundation of any substantive progress for reconciliation in Australia is truth and truth telling. – Craig Ritchie, AIATSIS CEO

Truth telling is about the past, the present, and the future. – Reconciliation Australia

[Truth telling and] historical acceptance requires all Australians to acknowledge and accept the shared and often difficult truths of our past, so that we can move forward together. – Reconciliation Australia

Rationale There is a strong desire from An̲angu staff and some Nguṟaritja to expand the stories we tell in the park to include some difficult events in the park’s history and contemporary issues impacting An̲angu more broadly. For example, members of the Uluṟu family have been articulating a strong desire to share the Uluṟu shooting story with visitors for at least the last five years.

It is important to note that while a lot of people believe we should do this passionately, for some visitors it will be challenging. However, Reconciliation Australia’s most recent Reconciliation Barometer found that 86% of Australians in the general community “Believe it is important to learn about past issues”. Anecdotally, international visitors also frequently report to park staff that they want to learn more about contemporary issues, and difficult stories.

A 2018 Churchill Fellowship Report on the best global models of visitor experience at heritage sites in the UK, Denmark, USA and Canada identified telling real and difficult stories without sanitising (prioritising instead immersion and emotional engagement) as an emerging trend in best practice heritage interpretation5. This will also help leverage UKTNP’s point of difference. It is typical for interpretive signs and talks in Central Australia to elaborate extensively on the history of the non- An̲angu figures in their stories while often only making passing reference to An̲angu characters, who may, for example, have no name or are portrayed as assistants to the non-Aṉ protagonists. Interpretation at UKNTP will take a different approach.

Figure 5.1 Australian War Memorial visit Members of the UKTNP Board of Management visited several national museums and galleries in 2019 to learn about uses of technology in interpretation. Members were particularly moved by their visit to the Australian War Memorial, and expressed a desire to tell stories in the same strong way at UKTNP. Image credit: Parks Australia

5 Report by Dr Caroline Butler-Bowdon, Director Strategy and Engagement, Sydney Living Museums.

Approach We want the park to be a place where visitors can explore a range of issues related to Australia’s identity and history as a nation, and the way forward towards meaningful reconciliation, by considering these issues within the context of the park. We will also work to more thoroughly address topics relating to the park’s history since the arrival of non-An̲angu (e.g. the “Bill Harney times”, the evolution of joint management, the movement of tourist accommodation to Yulara and the closure of the climb) in a way that acknowledges An̲angu as protagonists in these stories.

We will recognise and draw on the fact that An̲angu have been involved in formal conversations about truth telling at a national level. For example, we will follow the principles outlined in the report from Reconciliation Australia’s Truth Telling Symposium at Barangaroo in 2018, which included An̲angu representation.

We will apply Reconciliation Australia’s broad definition of truth telling, in which a central theme is understanding and exploring links between the disadvantage experienced by Aboriginal people today, and the difficult and damaging events of the past.

We will consider telling truths in the following ways (adapted from Reconciliation Australia online):

Form of truth telling In use at UKTNP in 2019/2020 Education, especially of school age children. YES Revitalisation and celebration of Aboriginal and Torres Strait Islander peoples’ YES practices, cultures, languages, and knowledge. Acts of recognition, including memorialisation, plaques, monuments, and NO renaming places. Sharing and restoring, including through partnerships and performing and NO visual arts. Discovery, through exploring archives and other records to understand the NO magnitude of impacts.

Next Steps 1. Set out on a process (likely involving iterative conversations) with relevant An̲angu to identify locally- specific topics they would like to share in on-park interpretation through a truth telling lens. Do this in a way that explicitly highlights that we have both visitors very interested in learning more about the park’s non-An̲angu history6and visitors who are looking for an experience that is uniquely An̲angu. Note also that there is substantial visitor interest in learning about contemporary An̲angu life. 2. Collaborate with An̲angu to develop and implement a plan to share these in the following ways:  At the Cultural Centre in among other displays  In separate purpose-built places of reflection  In other locations as suggested by Nguraṟitja 3. Look to museums that specialise in addressing difficult history, e.g. the Smithsonian’s National Museum of the American Indian in the US (opened in 2004) and the Canadian Museum for Human Rights (opened in 2014) and share examples of best practice with Nguraṟitja for further discussion.

6 “Non-An̲angu history” is of course a misleading term, because there is an An̲angu perspective and experience relevant to all the park’s history.

Objective 6. An̲angu leadership and An̲angu stories

To highlight An̲angu leadership and position the park as a place where An̲angu tell their own stories.

Tjukurpa palulanguṟu wangkakatintjaku, kun̲pungku. Our culture and land guide us to talk strong. © Malya Teamay

We don’t want others to come and interrupt [us teaching our own Tjukurpa], like [they’re] working over the top of us and covering their tracks. We are here on this land. © Reggie Uluṟu

Rationale An̲angu have expertise in story-telling and cross-cultural communication. There is also growing public interest in having real and authentic experiences with Nguraṟitja. Visitors want deeper learning experiences.

We have the opportunity to position the park as the home of, or gateway to, experiences with a range of An̲angu-owned enterprises. These enterprises may vary in scale, and which exact enterprises are operating during a particular time of visitation may be subject to change, but our promise could be that there will always be a range of options for visitors to engage directly with An̲angu. These could be linked to activities in the surrounding Indigenous Protected Area, and a recognition of culture and country in its broader context. Approach Our approach will be mindful of the following challenges:

Resourcing - There is a limited number of local An̲angu regularly able and available to work in tourism as at 2020. Many young An̲angu want to work, but substantial investment, including in the development of cultural knowledge, is required to upskill and build the confidence of most of these young An̲angu. The groups that built the skills and confidence of the current presenters between 1980 and 2015 mostly no longer exist.

Cultural differences - Traditional owner availability can change at the last minute, whereas visitors may expect to book a defined product 12+ months in advance. Next Steps 1. Meaningfully involve An̲angu in every stage of interpretation development and delivery. 2. Re/establish a range of different ways for An̲angu to be involved in face-to-face interpretation and provide or organise material support to foster An̲angu leadership and innovation in this space, e.g. we could run several different guided walking tours with An̲angu with the back-up option of a self- guided audio tour narrated by An̲angu.

Objective 7. Engaging children

To develop new spaces and use new methods for engaging children. Rationale Engaging with An̲angu children and young visitors in a more meaningful way on park is a longstanding request from Nguraṟitja. Children and family groups are not currently considered to be important audiences in most interpretive offerings throughout the park (signage, programming, etc.) and Nguraṟitja and staff acknowledge that the park’s overall offering for children and families falls well below best-practice.

Observation of visitor use of the cultural centre suggests that tailoring displays to children, mixed-age groups and school groups, could substantially improve visitor experience and our ability to achieve interpretive goals.

Feedback from visitor surveys suggests that a visit to the park as a child can remain a powerful memory for many years to come, and that adults who visited UKTNP as children often bring their own children to the park so that they can create shared family memories. There is real potential for non-Indigenous children who visit the park to have highly memorable experiences that help to build understanding about, empathy for and relationships with Indigenous people.

As programming and experiences that target children usually also engage whole families and prompt ongoing family discussion afterwards, meaningful engagement of children on park can have flow-on effects in impacting whole families.

Families are not currently a large audience for the park. The 2016 - 2018 Lasseter Region Tourism Profile collated by Tourism NT showed that 13% of visitors attended as a family group7. According to visitor surveys8, 18% of visitors selected ‘To spend time with friends or family’ as one of their primary reasons for choosing to visit the park9 and 10% selected ‘To give my children a learning experience’ as one of their primary motivations for visiting. There is significant room to grow the number of families visiting the park10.

Approach We will consider children and young people to be an important audience for interpretation on park. Interpretation targeted at children will be incorporated in signage across the park, in online resources, in facilitated programs, and in a zone in the newly developed Cultural Centre specifically for children.

Children and young adult’s voices will be incorporated into interpretation where culturally appropriate, through mediums that suit them (e.g. film and dance).

7 Most visitors who visit the Lasseter region also visit UKTNP. This sample is larger and more representative than Parks Australia’s visitor survey, which does not include visitors who travel to the park with a Commercial Tour Operator. 8 Visitor surveys run by Parks Australia from November 2019 (post climb closure) – end March 2020. 9 Visitors were asked to select up to three reasons for visiting from a list of 13 options. Please note that this survey is distributed through the e-ticketing system so only visitors who purchase an entry pass online receive the survey. 10 Marketing focuses on promoting the park to visitors (and classifying our visitors into different audiences) based on psychographics (their interests/motivations) rather than demographics (features like age, gender, etc.). Most family audiences fit within the target market of ‘curiosity nurturers’. These visitors want to encourage learning, and want to participate in learning activities, not just observe.

An̲angu ways of teaching children (e.g. storytelling) will inform interpretive programming and activities for mixed age groups.

Signage and wayfinding will help to make it clear that some spaces welcome children to play, touch and explore. This is especially important at UKTNP as some spaces in the park are not open for access/play/touching, which has the potential to cause confusion for visitors.

Outdoor interpretation and play spaces designed for children need to be safe and appropriate for children from Muṯitjulu to use after hours, with no supervision (even if the rule is that children are accompanied). Play spaces should be planned through engagement with Muṯitjulu community about purpose and appropriate use.

While staff add great value to visitor experiences, interpretive spaces should not be built that require constant staff supervision and facilitation. Most experiences for children and families should be self- facilitated. Interactive activities requiring staff facilitation may be suitable for special occasions such as school holiday programs, but children must always remain under the care and of their parents or guardians while visiting.

Resources will also be developed to support parents to answer children’s questions about the park and help them engage with An̲angu culture and the environment more deeply. Parents need support to feel confident to engage with these topics with their children when park staff are not available to facilitate.

Next Steps 1. Include tactile, multi-sensory interactive experiences at the Cultural Centre, and other areas of the park as appropriate (see Figures 7.1 and 7.2). 2. Throughout interpretive offerings across the park, integrate material for children that requires no or minimal supervision, e.g. details down low (see Figure 7.3), dedicated interpretive signage for children or the inclusion of facts/sections/prompts for family discussion on general signage (see Figure 7.4). 3. Dedicated children’s signage should be at an appropriate height, use minimal and simple English, and provide context/explanations that relate to phenomena with which children are already familiar. Signage should have prompts to action (look for, smell, touch, think about, imagine, etc.) 4. Include exhibits and spaces dedicated to families in the upgraded Cultural Centre, including an outdoor children’s play area. These spaces will be in sympathy with the natural environment and should include explicit links to creation ancestors, language, and desired visitor behaviours (e.g. kulintjaku – listening). Develop these spaces in consultation with the Muṯitjulu community. (See Figures 7.5 and 7.6) 5. Develop online resources to help parents/carers navigate the park with children. These will highlight experiences that are appropriate for children, suggest things for children to look for or consider while in the park, and share key messages about the park in language that is accessible for children. 6. Incorporate perspectives and voices of young An̲angu at the Cultural Centre through collaboration with traditional owner families.

Images – Interpratation that engages children

Figure 7.1 Tactile and multi- Figure 7.2 Relating content to Figure 7.3 Details down sensory exhibits children’s own experiences: in low. Children also like These appeal to a wide range this case, their own bodies. displays that offer fresh of ages and offer Clockwise from top left: perspectives opportunities for groups of (BodyWorks exhibition, TELUS (Veluwezoom National children to interact within World of Science, Canada. Image Park Visitors Centre, their group. credit: W3 Design Group); (Penn Netherlands. Image credit: Top: (South Toledo Bend State Museum, USA. Image credit: Kossmanndejong) Park. Image credit: Becky National Science Foundation); Husband) (Beardsley Zoo, USA. Image Bottom: (Sound Museum, credit: KDRose). Vienna. Image credit: Inge Prader and Haus der Musik)

Figure 7.4 Making signage Figure 7.5 Outdoor play spaces Figure 7.6 Dedicated more engaging for children inspired by culture and nature spaces for children (Bout du Lac Nature Reserve, Top: (National Arboretum, ACT. (Burrator Discovery Centre, France. Image credit: Pic Bois) Design by Taylor Cullity Lethlean. UK. Image credit: Smith Image credit: ABC) and Jones) Bottom: (Adelaide Zoo, SA. Design by WAX Design. Image credit: Sweet Lime Photo)

Objective 8. Cultural Centre upgrade

To update and adapt the Cultural Centre and surrounds, ensuring facilities are commensurate with other leading national institutions, while also appropriate for local conditions.

“We need a place to teach [visitors] about the Aṉangu way. A place where they can see puṉu and hear about Tjukurpa and see that this land belongs to Aṉangu.” © Nellie Patterson, quoted by Paul Burgess, Cultural Centre architect.

Rationale We have the opportunity now to seek sponsorship and partnership to effectively re-build the Cultural Centre. An upgraded Cultural Centre should incorporate much of the existing space into a larger, modular precinct that will support community aspirations to accommodate a range of functions, including:  indoor inma space  a theatre  expanded exhibition space  temporary exhibition space  private spaces for An̲angu to gather and work. As part of the design process, we have the opportunity to partner with national institutions and others to produce new interpretive content/products while advancing the careers of local An̲angu staff/creatives.

Approach We want the Cultural Centre to be:  able to comfortably accommodate large groups  able to host an expanded range of activities  inclusive of professional standard display spaces that mirror those available in leading contemporary art galleries and museums. Regarding aesthetics, there is a need to balance the benefits of a ‘community aesthetic’ (see figure 8.1 of the Kuniya Piti water tank) for visitor experience and in maintaining an An̲angu sense of ownership over the park, with consistency and a professional image. When these community-created materials are paired with more contemporary materials, the contemporary materials should be either very minimalist/functional/economical, and what you would expect from a national park; or high end finishes in climate controlled spaces that reflect the value of culture and world heritage status of the park (see images below).

Next Steps 1. Prepare a scope of works for a comprehensive Cultural Centre precinct upgrade and approach the market. 2. Ensure our plans for this precinct:  are consistent with Nguraṟitja wants  are informed by existing connections between the park and other institutions in our region, and between An̲angu and Australian interpretation specialists  address visitor concerns about difficulty in wayfinding through the existing space.

Images – Inspiration for Cultural Centre materials and finishes

Figure 8.1 Water tank at Figure 8.2 Clinic walls, Punmu and Punggurr, WA. Kuniya Piti, UKTNP The architect for these two clinics, Kaunitz Yeung, worked with two This tank is popular with design consultants, two local community art centres, and four local visitors and Muṯitjulu artists to develop these screen designs, which link to culture and community members alike. country. It was painted by young (Community artists: Jakayu Biljabu, Minyawe Miller, Sonia people from Muṯitjulu Williams, Wokka Taylor. Image credits: Brett Boardman) Community (Image credit: Parks Australia)

Figure 8.3 Wanarn Clinic, WA The screens and the cladding on this building resist high temperatures and dusty conditions while also reflecting aspects of the surrounding environment and community. (Clinic design by Kaunitz Yeung. Community Artists: Mrs Bates and Mrs Ward. Image credits: Brett Boardman)

Goal 2. High quality, cohesive, and well-managed interpretation

Objective 9. Good planning, design and management

To ensure our planning and management of individual interpretation offerings (talks, displays, etc.) is purposeful and effective, incorporating better or best practice and including an emphasis on review and maintenance.

Rationale Visitors and Nguraṟitja agree that the quality and consistency of interpretation is just as critical as the quantity.

A clear framework for the development of new interpretive products (signage, programs, etc.) and regular review and evaluation will enhance the quality of interpretation on-park and help staff to focus on areas that will have the greatest significance to An̲angu and visitors.

Audience research shows that there is currently significant room-for-improvement in interpretive offerings on-park. Figure 9.1 shows the relative importance 14 different visitor experience elements to visitors to UKTNP surveyed in 2019/2020. Excluding access to drinking water, information on Indigenous culture is considered the Figure 9.1 Satisfaction vs importance ratings of most important element of visitor experience by visitor experience elements at UKTNP in 2019 visitors.

Opportunities to engage in Aboriginal-led activities and opportunities for walks/talks by rangers are currently rated as important, but not very satisfactory by visitors.

Approach The over-all interpretive offering at the park must be cohesive. To maintain the quality of interpretation on-park, staff developing and delivering interpretation should maintain a clear line-of-site to the key messages and goals of this plan. Project briefs and plans for new interpretive offerings should clearly note how they will align with the goals of this plan.

Staff are critical to the success of interpretation on park. Supporting staff in professional development will improve staff morale and potentially, staff retention. Professional development may be formal (e.g. attendance at training) or informal (e.g. exposure to different styles of interpretation at different sites). We will give staff the freedom to experiment with different interpretive offerings, and tailor how they deliver programs to suit their own strengths and the needs of different audiences, as long as consistency with Nguraṟitja wishes and key messages is maintained.

We will foster a culture of continuous review and improvement among staff to ensure that interpretive offerings are of the highest possible quality. We will seek regular feedback from visitors about their experiences of interpretation and will act on this feedback where appropriate.

Next steps 1. Employ a simple system (e.g. matrix template) to ensure the development of all interpretive materials is targeted and has identified that key messages align with the key themes of the park. This should be shared with staff who deliver interpretation. 2. Prototyping - new interpretive programming will be trialled with small audiences before being implemented on a large-scale, and feedback will be sought from trial participants to refine these new programs. Major new interpretive signage11 should be prototyped, i.e. proposed wording and layout shown to visitors, and visitor feedback sought about whether it is clear and engaging. 3. Investigate options to work with regional organisations on co-creation projects, e.g. An̲angu specific arts, land management and leadership organisation. 4. Clear records should be maintained of information provided by An̲angu about what information can/cannot be shared. All staff who engage with the public should be familiar with these records and regularly review them to ensure ongoing best practice. 5. Training-  Staff and others who present programming will receive enough training upon commencement, and regular sessions will be conducted with all presenters (once or twice per year) to ensure messaging remains consistent, and to explore options to improve programs.  Presenters will be encouraged to regularly refresh their practice by co-presenting or discussing with an appropriate traditional owner.  Investigate professional development opportunities for staff on-park to attend conferences, workshops or specialised training in interpretation. Also investigate options for staff on-park to informally engage with interpretation practitioners at other national parks, gardens, museums and art galleries around Australia to share ideas and best practice. 6. Establish clear responsibilities for the ongoing monitoring of interpretive programs. Programs should have regular in-person reviews by Nguraṟitja to ensure they remain true to Tjukurpa (this will involve running through the program in real life, rather than through discussing it in an office).

11 Simple signage (e.g. that identifies plant or animal species) may not need to be prototyped.

Objective 10. New techniques and robust technology

To use a broader range of interpretive techniques, including new technologies (where they will be robust and appropriate for conditions) to improve message accessibility and visitor engagement and understanding.

Rationale UKTNP is an icon for Australia and is one of the world’s few dual-listed World Heritage Sites. It deserves to have contemporary, world-class infrastructure and interpretation of a standard that fits this status. Infrastructure and physical interpretation on-park (especially the Cultural Centre) currently falls well short of these standards.

In addition to dated infrastructure and challenges in wayfinding for visitors, displays in the Cultural Centre are predominantly static and text based (text panels and photographs, with limited film and use of objects for display). Presenting information predominantly through text, albeit in seven languages, excludes the many visitors who cannot read one of those languages, including many international visitors and young children. Attempting to repeat key information in a written format in so many languages also consumes a lot of space and limits the topics that can be covered and/or the depth to which they can be explored.

Interpretation is most effective when information is presented in diverse formats (text, audio, film, hands-on experiences, etc.). People will have varying preferences for how they engage with content depending on who they are travelling with, their state of mind, and the content itself. Providing key messages through different mediums/formats maximises the chance that they will be impactful for visitors.

To support An̲angu to welcome visitors to the park, and to communicate critical messages about appropriate behaviour on park, future interpretation must be offered through different formats to increase accessibility. The Cultural Centre should be contemporary, and of a standard that reflects the values of the wider park. Its current state of disrepair reflects poorly on the park as a whole and does not encourage visitors to spend sufficient time for deep learning before they explore other sites.

Approach Upgrades to the Cultural Centre will employ a range of interpretive tools and techniques to appeal to diverse audiences. These should include static text displays, audio-visuals (film, music and voice recordings), physical interactives (exhibits that can be touched/manipulated), shared-user experiences (activities/interactives that require multiple users - ideally for family groups or groups of travellers), multisensory experiences (smell, sound, touch, etc.), artistic installations, immersive experiences, object displays and displays incorporating contemporary technology.

Where possible, one topic will be explored using multiple interpretive formats, and using a range of techniques. For example, a physical display of tools may be accompanied by film of a person using that tool. Well-designed exhibits can use very simple technology and materials while being highly affecting and effective.

Exhibits in the Cultural Centre that rely on technology shall be used sparingly to minimise maintenance requirements and ensure that these exhibits do not date too quickly. UKTNP is exposed to intense climatic conditions, which may create challenges for the ongoing maintenance of technology. The

remote location of the park also makes the maintenance of technology more challenging. It is recommended that a small number of highly engaging technological interventions be included in the Cultural Centre, rather than a large number of low-quality experiences. Next steps 1. When redeveloping the Cultural Centre (and to a lesser extent, interpretation across the park), create a matrix of different key messages and diverse interpretive techniques and tools that could be used for each message. This will ensure that key messages are communicated in a number of different ways that will suit different visitors. 2. Select just a handful of robust uses of film, video and interactive technology. 3. Key information shared through technological displays should also be available through another medium as a back-up in case technology malfunctions. 4. Offer 3D scans of mai or tools that visitors can rotate/zoom in on using touch-screens. 5. Offer objects that visitors can touch, smell, etc. Train staff to offer all visitors an opportunity to touch or handle some objects. 6. Ensure any new investment in interpretation infrastructure or technology considers ongoing maintenance and repair, learning from other institutions. 7. Include consideration of sustainability in all future design briefs, not just in terms of material use, energy sources and impacts, but in terms of the ability of the park to maintain interpretation infrastructure to the highest standard. 8. Members of staff will be identified with responsibility for certain aspects of the maintenance of each experience and display in the Cultural Centre. Multiple staff will be trained in maintenance.

Images – Diverse interpretive formats and judicious use of technology

Figure 10.2 Creative use of light Here, a painting has been animated to move across the space and over visitors. (‘Songlines: Tracking the Seven Sisters’, National Museum of Australia, ACT. Image credit: E2)

Figure 10.3 Multi-user exhibits These are great for families and mixed age groups. (Hoover Dam Visitor Centre, US. Image credit: Ideum).

Figure 10.4 Inventive audio-visual formats Projected images can be offered in more interesting ways than static theatres (‘Voyagers’, National Maritime Museum, UK. Image credit: The Light Surgeons)

Figure 10.5 Visual storytelling Figure 10.6 Selective use of video Moving images projected onto a dome allow a more Pre-recorded welcome messages allow immersive viewing and listening experience every visitor to receive an introduction to (‘Songlines: Tracking the Seven Sisters’, National the exhibition from an appropriate senior Museum of Australia, ACT. Image credit: NMA) person. (‘Songlines: Tracking the Seven Sisters’, National Museum of Australia, ACT. Image credit: E2)

Figure 10.7 Touch screen detail Figure 10.9 QR codes 3D scans of objects, paired with touch These allow visitors to access more detailed screen displays, allow visitors to look at information on topics of interest to them. Linked individual objects more closely, and from information is also easily updated. (South Downs various angles. Way National Trail, UK. Image credit: Ben (Melbourne Museum, VIC. Image credit: Loughrill) Museums Victoria)

Appendix 1. Strategy drafting process Work to create the UKTNP Interpretation Strategy 2020–2030 began with workshops with Nguraṟitja and park staff in December 2018.

Input from these workshops was then explored with reference to:  UKTNP’s existing written records of traditional owner preferences, priorities, and concerns relating to interpretation in the park12  some iterative input, as the strategy drafting progressed, from individual Nguraṟitja, or small groups thereof, with long involvement in park work  visitor survey feedback for UKTNP and visitor experience research by an academic under a UKTNP research permit13  a review of key concepts from contemporary literature on global best practice interpretation for heritage places.

The strategy also draws on:  previous plans, strategies and consultants’ reports that relate to Interpretation at UKTNP  consultation with interpretation specialists from a number of major national institutions  research on different methods of sharing stories, and the use of new and engaging technology, as requested by Nguraṟitja14.

Discussions continued with staff throughout 2019 (February, June & December), and with the Tourism Consultative Committee (TCC) (February 2019 & February 2020).

The TCC and Board of Management endorsed the vision and general direction of the Draft Interpretation Strategy in February 2020.

12 This includes the new Plan of Management consultations and previous Board decisions on interpretation.

13 UKTNP supported a PhD student from the University of Western Sydney to undertake research for her study titled Moved to care for country – visitors, landscape, affect and the role of heritage in interpretation. Final analysis was provided in November 2019, reconfirming previous visitor feedback about interpretation and visitor experience.

14 This request came from consultations in December 2018, and the February 2019 TCC meeting. Nguraṟitja were able to see some of this new technology and different forms of interpretation when the Board of Management members visited Canberra in September 2019. They visited the Australian War Memorial and the National Museum of Australia, and saw various types of interpretation, displays and ways to share stories. They also heard about some the challenges in using different types of technology.

Appendix 2. Key interpretation opportunities 2020–2030

1. Cultural Centre Interpretation here will address all four themes.

Relevant VIP items: Children’s interpretive area/s (with tailored text, imagery, and  Upgrade and expand the activities). Cultural Centre

 New displays and exhibition Kids play equipment (if for visitors) to reflect creation space ancestors/park themes. Inma space

Multisensory and interactive interpretive displays (using new digital Pun̲u space technologies only very selectively, using clever and robust design, Tjungu space and observing look and feel guidelines).  Space for An̲angu businesses Daily face-to-face activities with An̲angu (may be talks, walks,  Space for large groups. activities, performances).

Programs, partnerships, and special purpose spaces that (combined) Also continue to: offer (many more) young Nguraṟitja an introduction to diverse  interpret the original careers in the arts, and present the “living culture” message to building visitors much more powerfully.  emphasise the Kuniya and Immediate construction of extra shade, and a temporary new large Liru story through its enclosed space, to host (some) interpretation (including expanded connection with the original face-to-face offerings) while main upgrade occurs. building  begin with messaging about Facilities and staff interactions, throughout the centre, that are An̲angu land and Tjukurpa designed and tightly managed so visitors want to linger and visit  cover the broad content again. areas addressed in the Tjukurpa Tunnel and Substantially improved wayfinding within the centre, including self- Nintinringkupai as at 2019 guided walks around the centre. (excluding sorry rocks and the please don’t climb New signage and/or interactive displays, in a separate area, that message). provide a wayfinding and trip-planning orientation to the park as a whole.

2. Uluṟu Interpretation here will address the following themes: Theme 1. This is An̲angu Land Theme 2. Managing a cultural landscape Theme 4. Noticing details and becoming slowly familiar.

Muṯitjulu Waterhole Regular An̲angu-guided walk Relevant VIP items: Self-guided audio tour  Wiltjas Modified walk route (a loop)  New Signs. Wayside exhibits on the nearby Kuniya Walk

New sculptural installation/s (heavy on visual communication as Also continue to: opposed to textual, and suitable for large groups).  tell the Kuniya story.

Mala Carpark Regular An̲angu-guided walk on Liru Track Relevant VIP items: Orientation signage, introducing Tjukurpa and all the rock’s  Protect sensitive sites interpretive themes  Wiltjas and seating. New interpretation signs (NB: treatment of climb history at this site is pending further conversations with Nguraṟitja).

Kuniya Piti Orientation signage Relevant VIP items: Interpretive signage about cultural restrictions at the rock  Protect sensitive sites Interpretive signage that directs visitor attention further along their  New signs. walk and away from Kuniya Piti (tasters for upcoming wayside exhibits).

North-east Face Wayside exhibits. Relevant VIP items:  Protect sensitive sites  Wiltjas and water.

3. Sunrise / Sunset Interpretation here will address the following themes: Theme 1. This is An̲angu Land Theme 4. Noticing details and becoming slowly familiar.

Bus sunset Self-guided walks Relevant VIP items: Plant signs (consider making movable to allow for seasonality)  Cafe space Key interpretation content area: bush foods (design to  Wiltjas complement content at TN).  Family area.

Car sunset Dune walk (self-guided, An̲angu-guided offered seasonally or for Relevant VIP items: private bookings).  More seating. Interpretation will provide landscape information.

TN Self-guided/audio walk (An̲angu-guided offered seasonally or for Relevant VIP items: private bookings)  Café space. Key interpretation content area: bush foods (design to Current interpretive topic: complement content at Bus sunset).  Men’s and Women’s tools and food knowledge.

4. Entry Interpretation here will address all four themes.

Entry Station Destination signs Relevant VIP items: Orientation signs.  New signs  Wifi.

Docker River entrance Iconic, interactive, photographable installation provides incentive or Relevant VIP items: visitors to stop and explore this area.  New signs. Destination signage Orientation signage Possibly also interpretation signage, providing key messages targeting Objective 2 (many sites, not just one).

5. Kata Tjuṯa Interpretation here will address the following themes: Theme 3. Living culture Theme 4. Noticing details and becoming slowly familiar.

Walpa Gorge AND Valley of the Winds New sculptural installation/s near initial wiltjas (heavy on visual From the VIP: communication as opposed to textual, and suitable for large groups)  Walking tracks Put welcome message from Nguraṟitja on its own prominent sign  New signs. near initial wiltjas (establishes themes). Wayside exhibits.

Dune Viewing Replace plant signs with movable ones. Relevant VIP items: Keep existing interpretive signs along platform (focused on  Nil. VIP states further landscape). consultation required. No substantial infrastructure changes are anticipated before 2025/2030.

Kata Tjuṯa Sunset Viewing New interpretation signage Relevant VIP items: Topics: Seasons, language, and western science plants.  New signs.

parksaustralia.gov.au/uluru