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We aim to make Ireland’s Ancient East the STORYTELLING INTERPRETATION 7 most engaging, enjoyable and accessible cultural holiday experience in Europe How to ... use stories about people 16 This toolkit shows how to deliver the brand promise to How to ... plan and deliver storytelling interpretation 19 your visitors, on your site, with your people. STORYTELLING INTERPRETATION AND EXPERIENCE 20

How to ... make your storytelling interpretation into an experience to remember 22

SELF-GUIDED HERITAGE TRAILS 24

How to ... create a storytelling self-guided trail 32

STORYTELLING INTERPRETATION IN COMMUNITIES 34

How to ... create a community storytelling interpretation project 38

MEDIA FOR STORYTELLING INTERPRETATION 40

How to ... create storytelling interpretation for multi-lingual audiences 43

How to ... create a storytelling panel 47

How to ... plan your storytelling interpretation 54

Front cover: Wicklow Gaol Loughcrew Cairns, Co. Meath Back cover: , Co. Wicklow

2 3 IRELAND’S ANCIENT EAST IS ALL ABOUT GREAT STORYTELLING EXPERIENCES

Ireland’s Ancient East welcomes visitors from across the world to Ireland and to our story experiences.

Our skilled and hospitable storytelling changes the way people experience our places, our past and our people.

It creates memories that touch people and that they will remember forever.

To create these memories we need to connect with the visitor by sharing the human story behind our great heritage. To develop great visitor experiences we need to develop our sites and plan how we use them to bring these stories to Image © Irish National Heritage Park Image © Irish National Heritage Park life. Within Ireland’s Ancient East we use Costumed guide at the Irish National Heritage Park, Co. Wexford storytelling interpretation to do this.

Glendalough, Co. Wicklow

4 5 WHAT IS STORYTELLING INTERPRETATION?

Our vision is to make Ireland’s Ancient East the most enjoyable, engaging and accessible culture experience in Europe. Storytelling interpretation uses It’s not just the story you want storytelling to connect people to tell, it’s the story your visitor For us to be successful we must put visitor motivations at the heart of everything we do. This means we must evolve to the places they visit. wants to hear. our experiences from being heartfelt but earnest, to being Storytelling interpretation builds Storytellers always have their eye enjoyable and engaging. meaningful relationships between places on the audience and how they are Over the last eighteen months Fáilte Ireland has worked with and communities and the people who reacting. Creating enjoyable storytelling industry partners and stakeholders to create new or enhanced visit them. It does this by focusing on interpretation requires the same tight visitor experiences for Ireland’s Ancient East. We have created the visitors and being rooted in authentic focus on your visitors. this toolkit to share our learnings with you and to show you how first-hand experience of a place. Fortunately we know the visitors to Ireland’s to implement storytelling interpretation at your site. This toolkit Storytelling interpretation is engaging, Ancient East well. We know they like: is for visitor-facing businesses and communities with stories to entertaining and accessible. It creates tell. Attraction managers, tourism businesses, accommodation • to be independent and wander off the powerful encounters and leaves providers, interpretation planners and designers will all find this beaten track memories that last a lifetime. guidance useful. The Ireland’s Ancient East brand promises the • to discover unusual and stimulating best storytelling experience in the world. This toolkit shows how Storytelling interpretation requires experiences to find your best stories and how to tell them in the best way in careful planning and skilful delivery. • to ‘connect with the past’ the best places, by using your people, your site and a range of This toolkit explains how to do that. • to delve deeper into history and culture communication media creatively. • to ‘get under the skin’ of a place I look forward to continuing our shared journey to develop • to meet Irish people, and share the Irish Ireland’s Ancient East into a world class holiday destination. way of life

Good storytelling interpretation will deliver all of these. Ireland’s Ancient East Signature Stories With help from many people across the territory, we have created a series of Signature Jenny De Saulles, Stories for Ireland’s Ancient East. These stories are shaping everything we do. Head of Ireland’s Ancient East • Ancient Ireland • Ireland’s Mystical Waterway at Fáilte Ireland • Castles And Conquests • Sacred Ireland • High Kings and Heroes • The Sport of Kings • Big Houses and Hard Times • Vikings • Maritime Gateway

You can read the stories on Irelandsancienteast.com or download them from irelandscontentpool.com. Find out more about how to use them from Ireland’s Ancient East: A toolkit for business (available to download from failteireland.ie/ IrelandsAncientEast) Loughcrew Cairns, Co. Meath

6 7 STORYTELLING INTERPRETATION WHY IS STORYTELLING INTERPRETATION IMPORTANT IN IRELAND’S ANCIENT EAST?

Stories are welcoming Storytelling interpretation: and hospitable. • focuses on the audience, what they know Since earliest times, stories have offered and what they are interested in travellers a warm introduction to a place • highlights people, actions and relationships and its people. Ireland’s Ancient East uses rather than just dates and factual details storytelling interpretation to do the same. • creates empathy between people from different times, cultures and places • creates atmosphere and builds identity and ‘sense of place’

Storytelling interpretation creates accessible, enjoyable and engaging experiences.

Hook Lighthouse, Co. Wexford Storytelling by the fire, Castell Henllys Iron Age Fort, Wales Image © Hook Heritage Image © Peter Phillipson/TellTale

8 9 STORYTELLING INTERPRETATION

STORIES CAN LINK PLACES ARE THE STORIES TRUE? Well, that just depends ... on what you are trying to do and the context.

Storytelling interpretation can include: narratives based solidly Some stories run across the whole of Ireland’s Ancient East. on well-researched facts, myths, legends and other old stories, word As visitors travel through Ireland’s Ancient Look for opportunities to link your business of mouth, and local gossip or jokes. East they will meet Vikings, monastic orders, to others. Tell your visitors where they can Normans and great families. They will meet find out more about your stories. Signpost What is important is that your visitors them more than once, at different places. them to nearby attractions and businesses. always know what sort of story you This will make Ireland’s Ancient East more are telling. coherent, meaningful and memorable. The physical features of the ‘lush green landscape’ such as hills, rivers and soils, have influenced many aspects of people’s lives here, now and in the past. These can make good links.

Ireland’s Ancient East is a landscape of places, experiences and stories. Images © Peter Phillipson/TellTale

Guide and sculpture telling the story of Cell Uachtair Lamhann, or ‘The Church of the Eight Hands’, Abbey, Co.

Brownshill Dolmen, Co. Carlow

10 11 STORYTELLING INTERPRETATION TELLING STORIES IN YOUR BUSINESS NOT JUST RECITING HISTORY

The storytelling interpretation that characterises the essence of Ireland’s Ancient East will:

• emphasise people and their stories • have a strong structure – a good beginning, a well-structured middle • make good use of drama and emotion and a memorable ending • have an informal, personal style and tone • include the past and the present • use (appropriate) humour • link to other stories

The single most important technique for changing history into a storytelling Hook Lighthouse, Co. Wexford experience is to focus on the people.

Storytelling interpretation is dramatic and uses the emotions and actions of the protagonists.

Hill of Uisneach, Co. Westmeath Image left © Uisneach Management Ltd. | top right Hook Heritage bottom Youghal Socio-Economic Developme nt Group Youghal Clock Gate Tower, Co.

12 13 STORYTELLING INTERPRETATION FOCUS ON CHARACTERS St. Canice’s Cathedral, Kilkenny

Using characters (real or Sometimes you will need to imagined) as a vehicle for the look hard for your characters. story is a powerful technique. It may be that what you want people to Using individuals to highlight remember is the architecture or the plants the wider story: or the geomorphology. That is fine – but finding some character-driven stories will • attracts and engages people’s attention help make that more memorable. • encourages empathy and imagination So, for example, when looking at • creates compelling and memorable architecture, talk about the architects, the narratives sponsors and their visions and influences. • gives your interpretation a voice and Talk about gardens through garden a perspective designers, plant hunters, gardeners, families Characters make a story. Storytelling and their experiences and motivations. interpretation focuses on people, their Explore vernacular architecture through the actions, emotions and experiences. builders and the people who lived there. An individual perspective can be used to recount a larger history.

Two or more individuals can share the narrative creating a richer and more gripping drama that highlights differences and tensions.

Characters can link people, past and present, who were connected to a place over time.

Different sides of the story at

Audio-visual: Bishop Ledrede’s talking portrait All images © Peter Phillipson/TellTale

14 15 STORYTELLING INTERPRETATION how to . . . MAKE YOUR USE STORIES ABOUT PEOPLE STORIES ENJOYABLE

Focusing on people influences everything: Telling stories is part of creating a great experience. 1. the research, shifting the emphasis 4. the title, so that it promises story, to people rather than dates people and action Make your stories inviting to your visitors. 2. the theming, so that people are 5. the introduction, so that people Remember they are on holiday. This could embedded in the big ideas and messages are featured from the beginning be their first visit to Ireland and they may that underpin the interpretation have very little background knowledge. 6. the text writing, so that the focus 3. the graphic and 3-D design, so that is on the action and the protagonists it reflects the mood and atmosphere Use emotion of the story 7. the illustrations, so that they include people and empathy Great storytelling triggers our imaginations so we ‘see’ and ‘feel’ the events in the story. Storytelling interpretation does Ros Tapestry, Co. Wexford the same. It makes invasions, buildings, changes in agriculture or water supply, into vivid events. It enables us to imagine ourselves living in the past and experiencing what we now call history. Keep it friendly Storytelling interpretation does not look or sound like a history book. Think of it as a novel, even a graphic novel.

It should have an informal, conversational tone. This is as true for print and audio as it is for face-to-face.

Storytelling interpretation uses illustrations not technical drawings.

Storytelling interpretation should feel personal. You can use different formats

such as letters, diaries, video diaries. Image © Alex McNeill/CDA

Storytelling interpretation can be Using direct speech, informal language and a commissioned photograph gives a personal humourous and playful or serious, angle to the story of the sustainable heating sombre and respectful. system. Calke Abbey, UK

Kerry Writers’ Museum, Listowel, Co. Kerry Image top & bottom © Peter Phillipson/TellTale

16 17 STORYTELLING INTERPRETATION STRUCTURE IN STORYTELLING how to . . . INTERPRETATION PLAN AND DELIVER STORYTELLING INTERPRETATION WELCOME TO ATHLONE Whether you are planning an event, writing a script for your guide, CASTLE VISITOR CENTRE or producing a leaflet, a panel or a website, these tips will help to Together we will explore tales of bitter battles fought, territories won strengthen your storytelling. and lost, tales of bravery and some not so brave. From its earliest Anglo Planning Norman times, prepare to walk 1. Develop your understanding of the 6. Give people contact with objects to create in the steps of kings, presidents, story. Draw a storyboard, write dialogues. a direct link to people from the past. soldiers and generals. We will tell Experiment with telling the story to visitors you their stories, some will be sad, 7. Evoke the senses, creating vivid images some treacherous, many will be in different ways and watch their reaction. of the place in the reader’s mind. bloody ... let the experience begin! 2. Decide what the main point of your story Athlone Castle – explore, is, who the characters are and where there 8. Use evocative language that engage, enjoy ... is drama, humour or interest. stirs empathy. Use images of real people to emphasise 3. Think about how you can use your site 9. to tell the story. Match locations to the that this is a ‘true story’. characters and events. 10. Find direct quotations to create an authentic sense of people telling Delivery their own story. 4. Make sure that you have a great Promising a story and an experience beginning to the story that raises people’s 11. Include questions and mystery – the in the introduction at Athlone Castle best stories have some gaps in them that

Image © Corin Bishop expectations. Promise them a story of drama, heroism, endurance, mystery, magic, leave us intrigued. tragedy, romance, betrayal – whatever fits. Storytelling interpretation, like all storytelling, is characterised 12. Keep the style personal – in words, images and graphics. If there are by a well-planned structure. 5. Tell your stories in pictures. Use images of action with people in them. opportunities for humour, use them. It will have: Structure is important because visitors do not read in sequence. • A great beginning that hooks people Vikings through a peephole at the Irish National Heritage Park, Co. Wexford into the story by building anticipation They often do not want to be organised and curiosity. This will usually set the so will read or listen to interpretation in scene and give ‘the point’ of the story. the order they choose.

• A continuous thread that runs through Good storytelling interpretation will be the interpretation and links back to the designed to attract people’s attention point of the story. to the most important elements. It will • Dramatic highlights that form be organised to give all visitors the bare compelling moments and contrast with bones of the story. the quieter parts of the story. • A strong conclusion that leaves visitors with something important and memorable to think about, a ‘twist in the tale’. Images © Peter Phillipson/TellTale

18 19 STORYTELLING INTERPRETATION AND EXPERIENCE

Your guide on the Hill of Uisneach says that you are at the heart of Ireland. He points Hill of Uisneach, Co. Westmeath STORYTELLING across the wide open landscape – that way to Knowth and Newgrange, this way to Cruachan Ai, round again, and again to Tara. He directs your gaze to the paths in the land INTERPRETATION and tells you how they came. You see them, from 4,000 or more years ago, coming to the place where you are standing. Time shrinks. You are ready to hear the old stories of Eriu AND EXPERIENCE ... and Lugh and the storyteller begins. Image © Uisneach Management Ltd. Management Uisneach © Image

Hill of Uisneach, Co. Westmeath Storytelling interpretation is place-based. It locates the main points of the story carefully within the site and the visitors’ journey through it.

Storytelling interpretation in Ireland’s Ancient East is about being where the story happened as the tales come to life around you. It is stepping into the story, breathing it, touching it and feeling it.

This animates the place and turns the story into an experience. It can build an unforgettable relationship between our visitors and the great (and small) places and events of Ireland’s history.

The ramparts of Athlone Castle are the best place in the world to understand the events of the Siege of Athlone. As you look over the Storytelling interpretation uses River Shannon, facing the far bank, the place to tell the story vividly. the ford and the footings of the old bridge, you see the Williamite army Storytelling interpretation creates great, under the redoubtable de Ginkel, place-based storytelling experiences in houses, as clearly as if they stood there. in village streets, on hills, in shops, on farms, You feel the surging hope of the at ancient monuments and at many other places. castle defenders and the crush of • Big stories may demand a landscape-scale vista. defeat. You understand the impact of that day on the history of Ireland • Stories of individuals may be told quietly because it seems like you were in small rooms. there. After that, you will never Image © Uisneach Management Ltd. Management Uisneach © Image forget Athlone. Image © Athlone Arts & Tourism

20 21 STORYTELLING INTERPRETATION AND EXPERIENCE how to . . . MAKE YOUR STORYTELLING INTERPRETATION INTO AN EXPERIENCE TO REMEMBER Plan the experience of the interpretation in detail.

Make the most of your place Engage the senses

1. Break down your story into incidents and 5. Always aim for multi-sensory match each to a place-based activity. These interpretation that uses sight, sound and ‘activities’ may be quite minor things, such touch. This will be particularly helpful for as looking at a view, unlocking a door or visitors with sensory impairments. climbing some stairs. 6. Add smell and taste experiences 2. Consider the mood of your story. Is it wherever possible. This may be harder humourous, tragic, heroic or romantic? to do but can be very powerful.

The Irish National Heritage Park, Co. Wexford Image © Peter Phillipson/TellTale Choose places where you can heighten this mood. 7. Enhance and focus the dominant sense by directing and enriching the experience. Look for specific places that relate 3. • Add background sounds to an audio tour. to people in the story. Choose places Create action and interaction that they would have used. • Give people specific things to look for e.g. finding patterns or objects, looking 8. Give people things to do. Even 4. Ensure that people with restricted for places in a view. very simple things like the opportunity mobility can access as much of the to touch an object can change the experience as possible. Offer alternative experience profoundly. experiences if necessary. 9. Have props for people to carry, use or wear.

10. If you are demonstrating any activity, find ways that people can join in.

Create a conversation

11. Be friendly. Tour guides should be remembered as warm, enthusiastic people who loved telling us about the place. (Panels and other non-personal media need to work exceptionally hard to create a similar effect!)

12. Ask people speculative questions that get them thinking about the people in your story.

13. Build surprises, or even mild shocks, Images © Peter Phillipson/TellTale into the visit. The Irish National Heritage Park, Co. Wexford

The Irish National Heritage Park, Co. Wexford, recreates historic environments and invites visitors Image © Peter Phillipson/TellTale to experience activities like gold-panning and rock-carving

22 23 SELF-GUIDED HERITAGE TRAILS SELF-GUIDED TYPES OF SELF-GUIDED TRAIL HERITAGE TRAILS

Heritage trails should help Guided? Or self-guided? Self-guided trails are very variable. visitors experience a place A good guide who knows their subject and They can use a wide range of media. Trails Self-guided trails often combine a fixed through well-told stories. loves talking to people is a fantastic way often use a combination of media, including: element such as way-markers, panels for visitors to follow a trail. But sometimes or plaques, with a portable element Every heritage trail will be different, • panels there is no guide. And many visitors prefer such as a leaflet or audio device. depending on the story, the place to explore by themselves, at their own pace. • plaques and the audience. People can follow self-guided trails on foot, leaflets A self-guided trail takes visitors to a selection • in a car, on a bike, in a canoe, on a horse Good heritage trails require careful of sites or ‘stops’ and helps explain an area • audio posts (and probably in other ways). planning and design. without a personal guide. Heritage trails in our towns and villages are a very • handheld devices – well-established form of self-guided trail. such as mobile phones apps However, a heritage trail that really • works for the users, is enjoyable to • sculptures follow, and keeps and rewards people’s attention, is rare.

Self-guided trails can be indoor or outdoor. They can cover a building, a site, a town or a landscape. PLAN TRAILS Self-guided trails can be serious and CAREFULLY scholarly, or homely and humorous. They can involve quizzes and challenges, Think carefully about your audience, collecting stickers, solving riddles, action including people with disabilities, and adventure, rest and reflection. before you create a trail. Talk to a range of potential users about what They can be associated with specific they would like. interests and activities such as photography, brass-rubbing, visiting bars, climbing towers, Trial your ideas before you invest heavily eating cakes – or many other things. in infrastructure and interpretation.

Smart phone app, Glaslough Village Heritage Trail, Co. Monaghan Image left © Monaghan County Council | inset Peter Phillipson/TellTale

24 25 SELF-GUIDED HERITAGE TRAILS LOCATION, LOCATION, LOCATION

A good self-guided trail must offer clear directions as well as a story.

Following a trail is a journey. Trail-users Potential trail users need other practical need reassurance that it is a sensible and information before they embark on the trail: safe journey with reliable directions. If the • how long the trail is directions are not clear, people are unlikely to attend to the story elements and may • how long they should allow to finish not follow the trail. it (walking, cycling or driving)

The trail design should differentiate • what sort of terrain, surfaces the directional information from the and gradients are involved storytelling content. (especially important for people with impaired mobility) Promotion and approach, Trail markers on audio trail, The directional information can be provided The Butler Trail, Co. Tipperary Mam Tor, UK • whether there are short cuts back in words, as a map, on-the-ground markers or alternative routes or virtual geomarks. Using a combination is a good solution that takes account of Providing this essential, practical people’s learning styles. Many people are information limits the opportunities not confident map-readers so always supply for telling the story. The storytelling at least one alternative navigation system. on self-guided trails therefore has to be efficient and well-planned. Unless the route is very obvious, the map and written instructions need to be in a portable format.

People will not remember a map or written directions from an entrance panel.

Image top left © John D. Kelly Photography | Images right Peter Phillipson/TellTale bottom Phillipson/Tel lTale Directional signs, Bosworth, UK

26 27 SELF-GUIDED HERITAGE TRAILS CHOOSING THE ROUTE

The route, and the way it is presented, should be carefully planned. Fixed route ...... or both?

Some trails have a fixed route so people Some self-guided trails combine both visit each stop in order. This works best approaches by having essential and where there is one entry point and one optional parts of the route. exit point e.g. a route through a building or a marked looped walk. Fixed routes Having a fixed start and finish to the trail can be important for managing visitor creates structure and gives a beginning movement and preventing congestion. and ending to the story.

Because a fixed route trail has a defined Trails should start and finish in a convenient sequence, it can be used to tell a story place (e.g. a car park). Circular walks that with a beginning, middle and end. return people to the start are a good idea.

... free choice Welcome to For over 650 years, the Butlers were the most powerful and influential family in Carrick-on-Suir. They built the finest Elizabethan manor house in Ireland, brought the woollen industry to the town and left a wonderful 17th- Wherever possible, visitors - especially CARRICK century silver collection. Download the Butler Trail audio guide app to hear fascinating stories of alleged intimacies with an English Queen, tragedy on the river and hidden Culturally Curious visitors - like to choose treasure in an Irish pub. Then continue the Butler Trails ON SUIR through the nearby towns of and .

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at each stop. Audio Guide Tour Image © OLI, Outside Looking In

The Butler Trail, Co. Tipperary

Image © Peter Phillipson/TellTale Mount Field National Park, Tasmania, Australia

28 29 SELF-GUIDED HERITAGE TRAILS PLANNING THE CONTENT

The trails in Ireland’s Ancient East should use storytelling at the individual sites and in the overall trail.

A good self-guided trail offers a ‘big idea’ All the stops on the trail should be relevant about the place. It gives people a structure to the big idea and refer to it. and purpose for their explorations. This can be general, e.g. ‘Our town is full of surprising The introduction should appear wherever

Image © Wexford Local Authority Photography Society The Norman Way, Co. Wexford secrets’ or very specific, e.g. ‘Pirates were people first encounter the trail. This may active all along this coast’. be on an introductory panel, the home page of an app or the cover of a leaflet. The title of the trail should promise a story In the case of a free choice trail that covers and an experience. It needs to tell potential a large distance, like the Norman Way, TELLING THE STORY OF THE NORMAN WAY users what the trail is about in a way that the introduction to the trail should be will intrigue or excite them. repeated at each stop. Discover the Norman Way in Wexford ... • constructed formidable buildings Step back in time and explore Wexford’s on this landscape; ancient Norman landscape. Discover the • improved agriculture and food treasures of the Norman way of life in the production here; place where it first took hold in Ireland. • supported a change in the character of The Norman Way website the Christianity practised in the country; • and enhanced military know-how and The Norman Way is a free choice, self- navigation in Ireland. guided driving trail linking 20 lesser known, unstaffed sites in County Wexford. There is a carefully planned panel at every site. The other side of the panel tells the story of All the panels have the same text on the individual site, emphasising its relevance one side. This introduces the idea that to the ‘Norman way of doing things’. the Normans brought a new way of life So, the first line of the Tacumshane windmill to Ireland: text reads:

How did the Normans change Ireland? The Normans introduced vertical tower As generations of Normans made their windmills like this one to Ireland. home here, their Norman way of doing things enhanced everyday life in Ireland. The Ballyhealy Tower House panel begins: Travel along the Norman Way in Wexford to meet the descendants of those Normans The Normans came up with an ingenious and to discover how the Normans: way to navigate the dangerous waters off South Wexford.

30 31 The Butler Family History eyes. Experience this compelling slice of history on the Butler Trail. to Black Tom as her black husband – reputedly referring to his dark the 7th Earl of Ormond. Queen Elizabeth I, Virgin Queen, referred Butler built the beautiful Manor House, was great granddaughter of Anne Boleyn, mother of Queen Elizabeth I, for whom Black Tom families in Ireland offices. and held many important until the 18th century Butlers were one of the most powerful in Carrick-on-Suir. It moved to in 1391. From the 13th early 1200s. For much of the 1300s the Butlers’ main residence was from role this important that his family took the name Butler from the to Prince John he was entitled 10% of all wine cargoes and it is was granted over 400,000 acres of land in Tipperary. As Chief Butler Theobold Fitzwalter arrived in Ireland with Prince John in 1185 and Kilkenny 8 Email: [email protected]. Please visit the website to view Butler Trail hotels. Web: packages offered by participating www.discoverireland.ie/thebutlertrail To SELF-GUIDED HERITAGE TRAILS R697 M8 N76 Dundrum 9 Callan M9 To K 10 Cashel i The Butler Trail, Co. Tipperary R692 i Knocktopher 7 Tipperary J10 N74 R692 A R701 how to . . . Fethard L B C N24 J10 R689 R697 J 4 Belfast Glen of Aherlow G LEEA i R696 i Cahir F 6 i i 5 2 D N24 Carrick-on-Suir A H Clonmel Travel Guide and Map Guide Travel e Tow Path Walk CREATE A STORYTELLING M1 GALEE E 3 1 N24 M9 120 min M3 • Carrick-on-Suir • Clonmel Cahir • Carrick-on-Suir I Cottage. scenic river walk to the quaint Swiss famous and enjoy the heritage, where you can take in the town of Cahir, renowned for its your day in the picturesque Finish off member of the Butler family, James. originally built by the most influential the recently reinstated Main Guard, town of Clonmel and take a tour Then head west to visit the bustling experience the character of town. Carrick-on-Suir Heritage Trail and history comes alive. Follow the Ormond Castle where the Butler Come and enjoy a guided tour of The Butler Trail in 1 day

Galway M4 Dublin M8 M6 To Cork M50 R678 M7 N24 Ardfinnan Rathgormack 11 70 min M9

SELF-GUIDED TRAIL M7 Shannon 50 min Kilkenny R680 Limerick Clogheen 20 min C B A Wexford M8 Waterford City Rosslare Port CEAG A

Cork e Vee To Dungarvan N25 K A CK spectacular medieval walls. world-renowned or to Fethard with its other heritage sites such as Athassel Abbey, the stroll drive will take you to or scenic drive. A short to follow or head the mountains for a leisurely Explore this charming town with three heritage trails and take a tour of Cahir Castle. a morning coffee walk to Swiss Cottage. On returning to Cahir, enjoy your day in Cahir TownStart and enjoy the river Day 2 Clonmel’s hidden treasures or enjoy some shopping. the Main GuardVisit and from there discover some of Clonmel and enjoy some lunch at one of its cafes. on foot by following the heritage trail. Travel to of the Butlers at Ormond Castle. Explore the town your trail in Carrick-on-Suir and hear the story Start Day 1 The Butler Trail in 2 days 50 km EALDW Butler Sites Fishing Gardens Golfing Other Heritage Sites

Note: All roads featured are main routes concerning the Butler Trail only. Playground Tow Path Access Town Heritage Walk Visitor information Walled Town Photographs courtesy of Fáilte Ireland and e Photographic Section, e Department of Arts, Heritage and the Gaeltacht. i

Butler Trail Distances Roads, Routes & Trails Butler Sites Places of Interest Kilkenny to Carrick-on-Suir 43km A Carrick-on-Suir Waterford to Carrick-on-Suir 27km Butler Trail 1 Ormond Castle 7 Athassel Abbey A Knockroe Tomb G Sensory and Mobility Garden , what looking for good B Clonmel Carrick-on-Suir to Clonmel 21km 1. Identify who will use the trail 5. Explore the site/area Links to Butler Trail 2 Kilcash Castle 8 Kilkenny Castle B High Crosses H Glengarra Woods C Cahir

www.discoverireland.ie/thebutlertrail Clonmel to Cahir 18km Roads 3 The Main Guard 9 Callan Friary C Kilkieran High Crosses I Caves they are interested in, how motivated they experiences, attractive roads or paths, Motorways Cahir to Cashel 18km Cashel to Fethard 17km Roads 4 Cahir Castle 10 Kells Priory D Dove Hill Irish Design Centre J Glen of Aherlow Cahir to Tipperary 21km are likely to be, what their interests are, interesting places and good views. Consider Rock of Cashel Airport Clonmel to Fethard 14km 5 Swiss Cottage 11 Granagh Castle E Marlfield Village Lake and Bird Sanctuary K Cork to Cahir 76km L Fethard Medieval Walls Image © OLI, Outside Looking In Port Tow Path 6 Cahir House Hotel F The Apple Farm

how far they are prepared to walk (or drive) people with limited mobility, with buggies Dublin to Kilkenny 124km and how much time they are prepared to or in wheelchairs. Identify hazards and spend. If you do not know, carry out some obstacles, including gradients and path consumer research. surfaces that may become slippery or wet. 8. Decide on the number of stops. Aim 14. Test the draft with volunteers from for between 4 and 10 stops. If you feel you your target audience. This should include 2. Identify how you will attract these 6. Identify the stops that create the best have too few stops add some ‘desirable’ following the trail with a mock-up of the people to follow your trail. What are storytelling opportunities because of stops from Step 6 to your map, choosing the leaflet, audio guide or panels to test the the rewards of the trail? What makes strong stories linked to good experiences. ones that have the strongest stories and are directions, as well as inviting feedback on it distinctive and memorable? Decide which stops are essential, and which closest to the core route. Consider the travel the story content. Make amendments are desirable. Delete any that do not fall of your trail. time between stops. as necessary. 3. Identify the overall story into either category. Check whether any Write it in a couple of short sentences that remaining stops duplicate or repeat material 9. Check the route on the ground 15. Commission an illustrator to work identify a) the characters, b) the main action, and consider further deletions. thoroughly. Follow the route that you on the illustrations and (if required) a map c) the beginning and d) the ending. have mapped in the way that visitors will of the trail. 7. Identify your route. Map the essential in relation to the use it. Identify where directional signage 4. Develop your story stops from Step 6 and draw the shortest 16. Use a skilled writer to develop the stops on your trail. Begin with a long list and/or instructions will be needed and reasonable route between them. Compare storytelling script for both the overall story of possible stops. For each evaluate: what mark accurately on a map. Check that this with the motivations and time and for each stop. This must be written to story it tells, how powerful, interesting and you have all the necessary permissions availability of your target audience (Step 1). meet the constraints of the chosen medium. entertaining that story is and how relevant for access and installation. If it is too long, delete some stops or offer to the overall story. 17. Create a strong title and tag line that routes of different lengths. 10. Develop the experience. Walk the trail making notes about what you would like describes the overall story, emphasises the storytelling element and will appeal to your Interpretation points on the Battle of Bosworth trail the visitors to see or do. At each stop find something relevant to the story that visitors target audience. can do, look for or listen to. Identify images 18. Use a skilled designer to design the for each stop that will make the experience interpretation in a way that differentiates and the story more vivid. the directional and storytelling content so that both do their job well. 11. Decide on the medium e.g. panels, leaflet, app, etc., see pages 40-53) for 19. Produce final materials. the trail. 20. Promote and launch the trail. 12. Write an outline script of the overall stories and the stories for each site. 21. Monitor use and collect feedback. Amend the trail and its promotion accordingly. 13. Write directional instructions

Images © Peter Phillipson/TellTale for the trail.

32 33 STORYTELLING INTERPRETATION IN COMMUNITIES Community STORYTELLING storytelling interpretation can INTERPRETATION take many forms More than 1000 local people helped IN COMMUNITIES to create the Ros Tapestry.

Local festivals can include Image © Peter Phillipson/TellTale Our communities are storytelling events. Ros Tapestry, Co. Wexford full of great stories. Local people were models for dramatic photographic panels on the Holy Island Telling them well to visitors can make places of Lindisfarne. welcoming, distinctive and memorable.

Meeting a local person who is willing to take time to share some local stories can be a highlight of a holiday.

Visitors are likely to stay longer in towns and villages that tell their stories well. Image © Peter Phillipson/TellTale Training local communities as tour guides in Co. Kilkenny

Holy Island of Lindisfarne, UK Image © TellTale/Alex McNeill/CDA

Workshops with the local community created the script for the ‘Window on Wild Lindisfarne’ Centre, Holy Island of Lindisfarne, UK

KCat Arts Centre, Callan, Co. Kilkenny Image left © Peter Phillipson/TellTale | right TellTale/Alex McNeill/CDA

34 35 STORYTELLING INTERPRETATION IN COMMUNITIES

Hearing ex-lighthouse keepers tell their stories makes FINDING YOUR a visit to Hook Lighthouse vivid and memorable. Co. Wexford COMMUNITY STORIES

Community stories come from the community.

The best way to find them is to gather Make sure that you involve different types a group of people who know and love of people to get a range of perspectives. your place and get them talking. Make Going into different local organisations sure someone is taking notes. is a good way to do this.

Keep this as informal and free-flowing Remember not all good stories are in the Image © Hook Heritage as possible. Choose a venue where people past or involve famous people. will be comfortable. Supply tea and scones (or, if appropriate, something stronger). You may need to direct the conversation. Developing your community stories Use a map and ask people to highlight and talk about places of interest. Ask them Practise telling your stories in different ways about the characters of the town, past so that you know the characters and the and present. main points really well.

Choose your storytelling interpretation project. Are you going to create guided tours, a self-guided trail, leaflets, panels, Community mapping workshop, Kent, UK plaques, audio – or something more creative like a performance or an artwork? Think about the skills your group has and what you will enjoy working on as well Image © Dynamic Studio as what visitors will like. Children from the small local school worked with a professional photographer to produce ideas and Test a draft version of your ideas with images for these panels at Calke Abbey, a National Trust property, UK (see also image on page 17) people who do not know your town and get feedback.

Remember community projects need to be enjoyable so pay attention to the social aspects.

Don’t rush people. Be realistic about time, especially if you are volunteers. This will take time and commitment.

A group that encourages and supports each other will be more successful. Celebrate successes regularly. Images © Janja Sivec/TellTale Image © Alex McNeill/CDA

36 37 STORYTELLING INTERPRETATION IN COMMUNITIES how to . . . CREATE A COMMUNITY STORYTELLING INTERPRETATION PROJECT

1. Appoint a co-ordinator who can drive 7. Fit people to the roles – some people the project and support the group. will like research, others performance, others may have photography, design Make sure you have an enthusiastic 2. or business skills. group and be clear from the outset what everyone wants to achieve. 8. Look at similar projects and learn from other people’s experiences while you are Be as open as possible about what you 3. planning what you will do. are doing and find ways to involve people who are interested. Make links with other 9. Be prepared to make mistakes and groups in your community, such as local learn. Trial your activity with people festivals and twinning groups. from outside your town and listen to what they tell you. Their perspective Research the stories carefully. Choose 4. of what is interesting may be very the ones you will tell. Remember that you different from yours. do not need to tell visitors everything – just the best bits. 10. Be prepared to ask for help if you need it. 5. Be creative with the stories. As a community explore them in art, drama, 11. Be prepared for criticism. You can creative writing and any other ways that be sure someone in the town will hate are available to you. what you do. Listen to the people who like it too. 6. Enjoy yourselves. Take the work seriously – but not too seriously. Your 12. Celebrate your successes – visitors will enjoy your interpretation and your failures. more if you enjoyed making it.

Colclough Walled Garden, Tintern Abbey, Co. Wexford

38 39 MEDIA FOR STORYTELLING INTERPRETATION MEDIA FOR STORYTELLING PERSONAL INTERPRETATION INTERPRETATION

You can use many media for storytelling interpretation. People telling stories are the core of Ireland’s Ancient East.

Storytelling developed as a face-to-face performance medium. A person is still the most accessible, engaging and enjoyable way to share a story. Guides and guided tours A guide who knows and loves your business, and the visitors or customers, is likely to be a great storytelling interpreter.

Face-to-face communication is great for storytelling interpretation because: But ... • The guide structures the visits so that • A tour can feel constraining for visitors the story is delivered in sequence and who prefer to explore in their own way with a range of storytelling techniques, and at their own pace. e.g. changes of pace, tone, use of • It is difficult to offer tours in different suspense and repetition. languages. • A person can be flexible and responsive • Tours only work well for a limited and adapt the story, often on the spot, number of people. for different visitors. • Maintaining consistency and quality It can be interactive and involve visitors • can be difficult. in dialogue. Come in • It is relatively easy to get feedback from visitors and to change the tour in the explore light of their comments. these ancient beech trees

older than Shakespeare’s plays

older than St. Paul’s cathedral

older than the oldest person’s great great great great great great great great great great great great grannie…

probably the oldest living things you’ve ever met

these rare and special beech trees

These trees are treasure caskets for bizarre insects that can only live in old, old beech wood. Development Group Ltd. Image © Youghal Socio-Economic Image © Youghal Socio-Economic And old, old beech trees like this, only survive here and a few other places like Epping Forest, northern Spain and Romania. The Kennedy Homestead, Dunganstown, Youghal Clock Gate Tower, Co. Cork

That’s why Burnham Beeches has New Ross, Co. Wexford been selected as one of Europe’s most important wildlife places.

Burnham Beeches is a National Nature Reserve making it All images © Peter Phillipson/TellTale except for top left Louth Adventures | 3rd down Uisneach Management Ltd. one of the top wildlife sites in the UK. It is also a Special Area of Conservation, part of a network of Europe's very best wild places.

40 41 MEDIA FOR STORYTELLING INTERPRETATION USING NON-PERSONAL MEDIA how to . . . CREATE STORYTELLING INTERPRETATION FOR MULTI-LINGUAL AUDIENCES Telling stories well without a person to tell the story is challenging. Powerscourt Gardens, Enjoy a personal audio tour of Powerscourt Gardens narrated by family owners Co. Wicklow Each medium presents different It needs: AUDIO TOUR Disfrute de un tour de audio narrado por la familia de propietarios opportunities and challenges TOUR DE AUDIO Profitez d’un guide audio personnel raconté par les propriétaires du domaine • information about users and informed Genießen Sie eine persönliche, von den Familienbesitzern erzählte Audioführung for storytelling interpretation. AUDIO GUIDE 听由我 predictions about what they will like AUDIOFÜHRER The best experiences usually • to be organised, brief and powerful 音 involve a mix of media. to make the best use of visitors’ limited time and attention Producing non-personal storytelling Anthony Wingfield, Sarah Slazenger, Alex Slazenger, Lord Powerscourt Managing Director Head Gardener 安东尼温菲尔德— Gerenta Jardinero Jefe 爵 Directrice Générale Maître Jardinier interpretation is a creative and • to use the key ingredients of Hauptgeschäftsführerin Obergärtner 莎拉施莱辛格 --总经理 格-- skilful process. story, characters, action and Garden of the Gods Adult Audio Tour Family Action Quests atmosphere effectively Tour de audio del Jardín de los Dioses Misiones en familia Audioguide du Jardin des Dieux Quêtes en Famille • a lively style that entertains Garten der Götter Erwachsenen-Audioführung Familienforschungsabenteuer as well as informs 音 家庭行动任务 个站点 个站点 S S n t n to e o e p n p n s s o o i - i - t t p

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Enjoy Your Tour - Disfrute del tour -Passez une merveilleuse visite Wir wünschen Ihnen viel Spaß bei ihrer Führung! Image ©

1. Written and spoken interpretation 6. Use familiar English words in simply in Ireland’s Ancient East should ideally constructed sentences. (This is good be provided in languages other than practice for all interpretation.) English and Irish. 7. Provide written as well as spoken English 2. Provide translations of the main points of in audio-visual presentations: many people your story in the most common languages, find reading easier than listening. particularly French and German. 8. Pay particular attention to the use 3. Where possible use native speakers of language at the beginning and end to provide the translations. of your experience.

4. It is not possible to provide translations in the native languages of all visitors. Therefore, aim to make the interpretation understandable by people who have English as a second or third language.

5. Pictures are a universal language: tell the story visually as well as in words. Image © Peter Phillipson/TellTale Powerscourt Gardens, Co. Wicklow

Powerscourt Gardens, Co. Wicklow Powerscourt Gardens, Co. Wicklow Image left © Powerscourt Estate | right Peter Phillipson/TellTale

42 43 MEDIA FOR STORYTELLING INTERPRETATION

Smithwick’s Experience, Kilkenny Audio-visual Good for storytelling interpretation because: • Audio-visual can be dramatic and powerfully evocative. • It is strongly structured, with a clear sequence and therefore good for storytelling. • It tends to keep attention (if it is not too long!). • It is a good medium for conveying complex information. • Visitors can use headsets with different audio tracks, e.g. foreign languages, or audio description for visually impaired people. • People tend to perceive it as easier than reading or listening. • It is often popular.

But ... Powerscourt Gardens, Co. Wicklow • Audio-visual is expensive to produce and to install. • It is expensive and difficult to update. • It requires an appropriate space at the right place in the visit. • It can result in ‘bunching’ visitors. Image © Peter Phillipson/TellTale Image © Powerscourt Estate Image left © Peter Phillipson/TellTale | top right Powerscourt Estate bottom

Surround audio-visual, Athlone Castle Powerscourt Gardens, Co. Wicklow Surround audio-visual, Stonehenge, UK

44 45 MEDIA FOR STORYTELLING INTERPRETATION how to . . . CREATE A STORYTELLING PANEL

1. Plan your panel carefully, using the 4. Think about how much of your story How to plan your storytelling interpretation you can show in a picture. People will advice on pages 54 and 55. often ‘read’ the picture before the words, so plan them together. 2. Don’t be overambitious; don’t give your panel too many jobs to do. 5. Aim for a maximum of 200 words on a panel. On a bilingual panel you can 3. Be absolutely clear about what the main stretch this to 125 words in each language. message of your panel is. Keep it as simple Writing a story within those constraints as possible. This will help you put the most is skilled work. important elements in the places where people will see it first.

Bosworth Battlefield, UK Image © Peter Phillipson/TellTale A bespoke image, bold design and a strong text structure that includes a contemporary quotation combine in a dramatic panel in the Lookout Tower on the Island of Lindisfarne, UK Panels (see also panel on page 35) Good for storytelling interpretation because: But ... • Panels can show images as well as words. • Panels are very limited in how much In particular they can show people things information they can carry so can only they cannot see (for instance, what this be used to tell simple stories. ruin looked like 600 years ago, or what is • They are often dull (although they below the ground). do not need to be). • They are closely associated with the place. • It is hard to include more than one • They are always available, which is often or two languages. important at an unstaffed site. • They are difficult and expensive • They are relatively cheap to produce. to change. • Panels are usually only read by more motivated visitors who like reading. • Badly designed or positioned panels can be visually intrusive and clutter a site.

Panels are hard to do well and there are many poor examples. Image © TellTale/Alex McNeill/CDA

46 47 MEDIA FOR STORYTELLING INTERPRETATION

Coed y Brenin Forest Park, Wales

CyB audio panel 2 4/7/06 2:18 pm Page 1

Image © TellTale/CDA/Kelvin Wilson Pont Llam yr Ewig Bridge of the Deer’s Leap Enw’r bont isod yw Pont Llam yr Ewig. Flynyddoedd lawer yn ôl, roedd The bridge below you is called ‘Pont Llam yr Ewig’ – ‘Bridge of At isolated, unstaffed sites, like Five Knolls near Luton, UK, a panel may be the only way to tell llawer o geirw yn yr ardal hon, ac roedd Arglwyddi Nannau yn hoff the Deer‘s Leap’. Many years ago this area was full of deer iawn o’u hela. Fodd bynnag, waeth pa mor galed ybyddent yn which the Lords of Nannau loved to hunt. However hard the story and so may have more words. This panel compensates by using atmospheric images marchogaeth, na pha mor fedrus y byddent yn hela, niallent fyth they rode, or however skilfully they hunted, they never and a strong text structure that makes the text easy to scan. ddal carw os oedd yn rhedeg i’r cyfeiriad hwn. could catch a deer if it ran this particular way. I glywed y stori werin a roddodd ei henw i’r bont, trowch yr To hear the folk-tale which gave the bridge its name, handlen (trowch hi nes eich bod chi’n gweld golau gwyrdd, a turn the handle (turn until you see a green light and try to cheisiwch ei gadw’n wyrdd). (addaswyd o Legends and Folklore keep it green). (adapted from Mary Corbett Harris’s of Llanfachreth Parish, gan Mary Corbett Harris). Legends and Folklore of Llanfachreth Parish).

6. The text must be clearly ordered and 10. Work with a good graphic designer,

designed so that it can be scanned. People illustrator and scriptwriter. Image © Steven Richards-Price, Natural Resources Wales will see the title and image first so spend time making sure these are eye-catching. 11. The stand is as important as the panel. Stands can be used creatively 7. A short (30 words max) introductory to communicate a sense of place. paragraph should give the main point of the panel and catch the readers’ interest. 12. Think carefully about where your panel will be. Make sure it is where people will It should be more prominent than the Panels are challenging for storytelling interpretation. other text. see it but not where it will dominate a view. Make sure people, including wheelchair 8. Break up blocks of text, using white users, can access it. Panels are not good for long narratives. You will need to be skilful with your words. space, subheadings and bullets. Aim Some things that can help to keep the word count down: for a maximum of six lines in a paragraph. 13. Maintain the panel well. The condition of the panel communicates a clear implicit • use images to tell the story • break your story into ‘chapters’ (Most of this Toolkit is written in that style.) and use a number of panels message about how you value and care • use a strong structure including 9. Be creative. Panels don’t have to for the site. a clear text hierarchy • tell the start of the story really well be large, rectangular or made of GRP • tell snippets and short stories • finish with a cliff-hanger and tell (glass-reinforced plastic). They can be not great sagas people where they can find out more little, funny and/or temporary and can have tactile elements, objects or sound associated with them.

48 49 MEDIA FOR STORYTELLING INTERPRETATION MORE MEDIA FOR STORYTELLING INTERPRETATION

The Titanic Experience, Cobh, Co. Cork Images © Peter Phillipson/TellTale

Low-tech interactives at St. Canice’s Cathedral, Kilkenny exhibitions Good for storytelling interpretation because: But ... • Exhibitions are often well-structured • Exhibitions need skilled design, experiences with a clear beginning, often involving a team of specialists. middle and ending. • They are often expensive and require • They can include a wide range of media considerable time and energy to produce. that holds attention and adds variety. • They are usually hard to change. • They can be atmospheric and evocative. • They can portray characters and drama well. • They can be hierarchically organised so they are appropriate for visitors with different levels of interest.

Image top © Titanic Experience Cobh Ltd | Image bottom © Peter Phillipson/TellTale Image top © Titanic Experience Cobh Ltd | bottom Peter Phillipson/TellTale Athlone Castle

50 51 MEDIA FOR STORYTELLING INTERPRETATION

Apps (including audio trails)

Downloading material to mobile phones is • The storytelling can be closely linked good for storytelling interpretation because: to the on-site experience e.g. triggered by GPS. • Audio trails can use different voices and sound effects to add variety • Apps can be used when the visitor and create atmosphere. chooses, including pre- and post-visit. • They can portray characters • Apps can be interactive and include and drama well. games, quizzes and challenges. • Mobile phones can be good for audio • They are visually unobtrusive and simple visual material. on the ground. Image © Peter Phillipson/TellTale The interpretation can be relatively • But ... easily provided in different languages. • Apps and audio trails for mobile phones Leaflets need to be well-promoted otherwise Good for storytelling visitors may not notice them. interpretation because: But ... • Apps can be heavy on data transfer and Leaflets can be attractive Leaflets should not be crammed with text: so can be expensive for overseas visitors. • • and attention-grabbing. they are limited in how much information Wherever possible provide free wi-fi. they can contain. • They can contain words and images, • Translations of different voices can be including maps. They need skilled design and high-quality difficult and expensive to obtain. • illustration to be effective. • They have a clear structure with a • Mobile phones are not good for reading beginning, middle and ending and Storing large numbers of leaflets written texts, especially long ones. • so are good for storytelling. can be a problem for small businesses. • They are not always popular with visitors. • They can be read before, • It is hard to include more than one • Not all visitors own a smart phone – or during or after a visit. or two languages on a single leaflet. want to use them in this way on a day out. • They can be available in different languages. • They are easily portable. • They can link well to site features and encourage exploration. • They are relatively easy to update. • They can give people useful information to take away, like contact details, events programme, special offers etc.

52 53 how to . . . PLAN YOUR STORYTELLING INTERPRETATION

This simplified planning process will help you develop a preliminary Interpretation Strategy for your tourism project.

For more detailed advice refer to the Fáilte Ireland manual and exercises Sharing our Stories: Using interpretation to improve the visitors’ experience at heritage sites.

1. People 2. Your Story 3. The experience 4. storytelling interpretation media

1a. Who is this for and what do they 2a. What do you want your visitors 3a. What experiences can you offer 4a. Choose your media. Read the pros want? Write down up to three important or customers to remember about that will relate to your story? and cons of the different media on visitor types for your business. you at the end of their holiday? pages 40-46 and 50-53. 3b. Look back at How to make your 1b. Identify three things that each 2b. What stories can you tell that storytelling interpretation into an 4b. Check that you can meet the group of visitors will want from the will help towards that? experience to remember on pages maintenance and running costs storytelling experience. 22-23 and write notes on how make (financial and human) of your 2c. What resources do you have your story into a great visitor experience. chosen medium. • Families will want activities they can (research, archives, objects, Focus on the visitor’s enjoyment and do together, child-friendly language photographs, local memories) be imaginative. and active engagement. to help you tell the story? • Coach tours may have a time limit 3c. Walk around your site and choose 2d. Look back at How to plan and and need room to accommodate locations for your storytelling experiences. deliver storytelling interpretation on up to 60 people at a time. page 19 and write notes on how to tell • Overseas visitors may need your story as powerfully as possible. explanations of history that all Irish people would know. They may also require information in their own language (see page 43).

Keep your eye on your Interpretation Strategy decisions during development and production. Make sure you: • include your decisions, and the reasons • refer back to your Interpretation behind them, in the briefs to designers Strategy regularly to check you are and manufacturers on track Glendalough, Co. Wicklow

54 55 STORYTELLING INTERPRETATION BRINGS THE IRELAND’S ANCIENT EAST EXPERIENCE ALIVE

If you have any questions, please do get in touch with the Ireland’s Ancient East Team. email us at [email protected]