Master Interpretive Plan:

Blowing Rock Historical Society

Jeff Martin
Christopher McCloud
Rebekkah Watkins

HIS 5640 - Interpretation in Museums

December 10, 2019

 1

Contents:

Acknowledgements 2
Introduction 3
Mission Statement
Purpose
Objectives
Assets 7
Site Locations
Seasonal Accessibility
Historical Marker Program Sites
Visitors 11
Demographics and Target Groups
Usage Patterns
Visitor Surveys/Feedback
Interpretive Themes 15
Site Objectives 19
BRAHM 19
Short-Term
Mid-Term
Long-Term
Edgewood Cottage 20
Short-Term
Mid-Term
Long-Term
1888 Museum 20
Short-Term
Mid-Term
Long-Term
Historical Marker Program 21
Short-Term
Mid-Term
Long-Term
List of Illustrations 22
Bibliography 24
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Acknowledgements

As the Fall 2019 Interpretation in Museums class created this master interpretive plan

they received assistance, feedback, and resources from a variety of people that they would like to

acknowledge. This project would not have been possible without the help of Tom OBrien, the

Interim President of the Blowing Rock Historical Society (BRHS). Through his many

presentations, email responses, and background knowledge, he quickly became the largest

resource for the project. Zach Dressel, an employee of Blowing Rock Art and History Museum

(BRAHM) and Appalachian State University Public History Alumnus, was also an extremely

helpful resource for this project. Zach’s assistance with items required from the BRAHM vault

and his perspectives on exhibit design specific to the display case was invaluable; especially

considering his prior work in the interpretation course during his time as a student. We also

thank Dianna Cameron, BRAHM Curator, for her help in designing the exhibit labels for the

history exhibit. Last but not least, the students in this course are especially thankful for their

professor, Dr. Andrea Burns. Dr. Burns shared her expertise on exhibit design, interpretive plan

creations, and overall public history knowledge each and every day. Without her professional

guidance and editing this project would not have been possible.
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Introduction

Mission Statement

Founded in 1985 to preserve and protect the historical character and charm of the village,

the Blowing Rock Historical Society is an active organization of over 300 members and plays a

vital role in maintaining the unique sense of place that draws thousands of visitors to Historic

Blowing Rock, North Carolina.1

Purpose

This Master Interpretive Plan assists Blowing Rock Historical Society guidance in

making changes to their organization as well as increasing the visibility and use of their assets

and historical knowledge within Blowing Rock’s community. These suggestions are based on the

assets given to us by BRHS and include: Edgewood Cottage, Blowing Rock Art and History

Museum, 1888 Museum, and the Historical Marker Project. The objectives for each asset are

included later in the plan listed by level of attainability. Level 1 (short-term) will be simple

changes, Level 2 (mid-term) will include changes that may take more time and resources, and

Level 3 (long-term) will be the highest level and the most resource dependent changes for

BRHS. Improving the visibility of BRHS to the public is of high importance and this plan looks

at methods of accomplishing that goal. The focus of this plan is on Blowing Rock Historical

Society as a whole and does not include similar organizations or their operations.

Blowing Rock Historical Society is focused on creating a sense of place and community

based on the history of the village and the community’s people over the years. This plan

1
​“Programs,” Blowing Rock Historical Society, accessed November 24, 2019,
https://www.blowingrockhistoricalsociety.com/programs.html​.
 4

highlights the assets and programs that BRHS currently owns and operates along with

recommendations on improving these assets and programs. The plan aims at increasing visitor

knowledge of Blowing Rock’s history through interpretation, exhibits, and programs hosted by

BRHS. The historical society has over 300 members and they are not alone in their desire to

preserve and celebrate the community and history of Blowing Rock.2 With the new themes and

interpretation, the membership of BRHS will grow and also see increased interest from existing

and new members of the organization with increased interest in participation as volunteers,

attendance at group events, and additional contributions to the operation of BRHS.

Objectives

There are three areas of objective themes contained within this Master Interpretive Plan

inspired directly from John Veverka’s ​Interpretive Master Planning Volume One: Strategies for

​ earning objectives, behavioral objectives, and emotional objectives offer a

the New Millennium. L

measurable, specific, and meaningful set of objectives for BRHS to work from. “What should

visitors learn or remember,” is the primary focus for the category of Learning Objectives.

Behavioral Objectives include “what do you want visitors to do.” Emotional Objectives center on

actions that are “driving forces and create feelings.”3

2
​“Programs,” ​https://www.blowingrockhistoricalsociety.com/programs.html​.

3
John A. Veverka, ​Interpretive Master Planning—Volume One: Strategies for the New Millennium
(Edinburgh, UK: MuseumsEtc, 2011), 48.
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Learning Objectives:

● Educating visitors and members about the pastimes in which community members and

tourists participated.

● Encouraging visitors and members to relate concepts and themes in their current lives and

environment based on Blowing Rock history and exhibits housed in all BRHS sites.

● Identifying the many other historical sites—apart from BRAHM, the 1888 Museum, and

Edgewood Cottage—located in and around Blowing Rock.

Behavioral Objectives:

● Building visitor traffic on BRHS social media, initially through the Facebook photo

album linked to the QR code displayed in the BRAHM pastimes exhibit.

● Engaging visitors and members in Blowing Rock with a walking tour showcasing

Historical Marker Program sites, increasing foot traffic along Main Street while also

creating a closer connection between the 1888 Museum and the site of BRAHM and

Edgewood Cottage.

● Increasing the likelihood for return visits by visitors and members to all BRHS sites new

exhibits, events, and stories.

Emotional Objectives:

● Developing visitors and members’ sense of place within Blowing Rock’s history and

connecting this to the town at present day.

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● Inciting internal thought for visitors and members to compare and contrast Blowing

Rock’s economic industries past and present.

● Sharing the personal stories and memories of visitors and members through social media,

physical memory maps, and other methods determined by BRHS​.

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Assets

Site Locations

The Blowing Rock Art and History Museum, Edgewood Cottage, and the 1888 Museum

are all located close to one another; all sites are either on or near Main Street and are within

walking distance. Though the sites are within close proximity, the Blowing Rock Historical

Society identified that visitors often seem unaware that Blowing Rock continues farther than the

Town Tavern on Main Street.

The 1888 Museum is in an ideal location to increase the Historical Society’s visibility. It

is on Main Street and adjacent to locations popular to visitors like the Martin House and Blowing

Rock City Park. There is already a large bulletin board with information for visitors located just

outside of the 1888 Museum. However, the lack of a consistent schedule for the museum, which

will be discussed in the next section, might explain why more visitors do not take the brochures

and information available at the 1888 Museum. In addition, BRHS lists its sites and projects on

its website. The information given on the website primarily addresses information about the sites

rather than the site locations. In the future, BRHS should consider providing these site’s

locations through their website allowing visitors to easily locate the sites and to see what other

sites are nearby.

The sites for the Historic Marker Program will be discussed more thoroughly in a later

section. Figure 1 provides a map of all sites affiliated with the Historic Marker Program. Figure 2

shows specifically those in downtown Blowing Rock. Those markers are much closer together,

and nearly all of them are on or close to Main Street. This allows for easy walking or driving

between locations.
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Seasonal Accessibility

According to the BRHS website, the 1888 Museum is “open seasonally and weather

permitting.”4 Beyond the seasonal and weather limitations, the museum is entirely dependent on

volunteer staffing. These factors all combine to make the 1888 Museum a very unreliable visitor

attraction. The public cannot plan on visiting if there are no set days each week for the museum’s

open hours. A more reliable schedule will lead to increased visitation.

Currently, Edgewood Cottage is only open during the summer months for the Artist in

Residence program.5 It is open every day while there is an artist there, but the building is closed

for the majority of the year. While there is some interpretation on the outside of the structure, an

opportunity to better utilize Edgewood Cottage is lacking. Edgewood Cottage connects to the

larger interpretive themes discussed later in the interpretive plan, but those connections are

currently minimal. Edgewood Cottage should be open year-round, maximizing the potential of

the site in interpretation of Blowing Rock’s history. In months when there is no Artist in

Residence, the lower floor could be used as an exhibit space. Seeing as the cottage is a restored

version of Elliott Daingerfield’s home, the exhibit should focus on his life there and his

interactions with the surrounding community. To accommodate the return of the Artist in

Residence program in the summer months, temporary and easily stored exhibits should be a

priority.

4
“Historical Hotel Cottage,” Blowing Rock Historical Society, accessed December 9, 2019,
https://www.blowingrockhistoricalsociety.com/programs.html#1888-museum​.

5
“Edgewood Cottage,” Blowing Rock Historical Society, accessed December 9, 2019,
https://www.blowingrockhistoricalsociety.com/programs.html#edgewood-cottage​.
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The Blowing Rock Art and History Museum is open Tuesday through Saturday

year-round. The museum is open on Sunday afternoons only from May through October.6

Consideration of expanding hours during the winter months to Sundays should take place

dependent on visitation trends during this time of year. Ultimately, the current schedule is

consistent and allows for visitation most days of the week. Unless the museum receives

complaints from visitors about the schedule, or notices significant changes in when visitors are

coming in, there is no immediate need to change the schedule.

The Historical Marker sites in the proposed walking tour may or may not be open when

visitors arrive depending on the season, time of day, and public access to the site. While it is

important to increase visibility for the historic sites around Blowing Rock, we need to make sure

to communicate to visitors when and if the sites are open for visitation. Likewise, the walking

tour may not always be an accessible option for all visitors. Weather conditions may make travel

unsafe. Individuals with mobility issues may also find it difficult to get to many of these sites.

Historical Marker Program Sites

The Town of Blowing Rock endorsed the program in 2008 and the first plaques were

presented in 2009. The program has eligibility guidelines for building recognition and a uniform

marker design. The red, oval markers relate, among other things, the year of initial construction;

original owner or builder; and key elements of the property’s significance. The marker

committee has identified over 125 properties in the downtown area alone that are 50 years or

6
“Welcome,” Blowing Rock Art and History Museum, accessed December 9, 2019,
https://blowingrockmuseum.org/welcome.html​.
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older. See figure 1 and figure 2 in the illustrations section for a map marking each of the sites

and a more detailed listing of the sites on the Blowing Rock Art and History Museum website.7

7
​“Blowing Rock Historical Markers,” Blowing Rock Art and History Museum, accessed December 5,
2019, https://blowingrockmuseum.org/see-do/blowing-rock-historical-marker-program.html.
 11

Visitors

Demographics and Target Groups

The demographics of the local population is vital to discussions around themes of

community. The residents of Blowing Rock are predominantly white with a median age of 60

years old. There are slightly more women than men in the town as well.8 There is no similar data

for tourists, but a greater variation in age can be assumed. One of the goals of this interpretive

plan is to foster stronger ties between the Blowing Rock Historical Society and the local Blowing

Rock community, therefore this demographic data should not be used to justify catering to an

exclusively older, white audience. The Blowing Rock Historical Society must be considerate of

the fact that people of any age, gender, race, ethnicity, and sexual orientation could visit any of

the sites. Blowing Rock’s history includes a wealth of diversity and the presentation of this

history must also serve a diverse set of visitors.

The Blowing Rock Historical Society wants to serve the needs of all visitors, and paying

particular attention to currently underrepresented young visitors should be a priority. The best

way to sustain an organization and keep it stable moving into the future is with young,

committed members. While people of all ages should be welcomed as members and contributors,

a new generation of members ensures the Historical Society’s survival well into the future. To

this end, it may be beneficial to include technology where possible, have more, better publicized,

and more interactive events, and focus on stories that are compelling for a wider audience.

The proximity to Appalachian State University offers the opportunity to bring in student

members as well. If the Blowing Rock Historical Society were more visible in Boone and offered

8
“Blowing Rock, NC Population,” World Population Review, accessed December 9, 2019,
http://worldpopulationreview.com/us-cities/blowing-rock-nc-population/​.
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incentives for students to join, there may be some students who become interested enough to

learn about Blowing Rock’s history and eventually become full members.

Usage Patterns

Based on the opening hours of the Blowing Rock Art and History Museum and

Edgewood Cottage, visitation peaks in the summer months. This coincides with the most visitor

traffic to Blowing Rock. However, there is still significant tourist visitation to nearby Boone

throughout the fall months. If the Blowing Rock Historical Society appeals to visitors and

students in Boone, expanding the hours of operation of these sites to include most days in the fall

may suit these new visitors.

If possible, the Blowing Rock Art and History Museum should attempt to gather data

about the length of time visitors spend in the museum. If it seems that visitors are quickly

moving through all of the exhibit rooms, this is evidence the exhibits are not connecting with

visitors and changes need to be made.

Based on our understanding of visitor experiences to the 1888 Museum, a staff member is

with visitors at all times, which limits the amount of time visitors spend at the site. Even though

it is a small space, visitors should be allowed to explore the 1888 Museum at their own pace

without a volunteer or staff member guiding them the entire time of their visit. As noted by

Franklin Vagnone and Deborah Ryan in ​Anarchist’s Guide to Historic House Museums,​ “We

concluded that the forced linearity of most [historic house museum] experiences, while packed

full of information, limited guests’ ability to build meaningful connection to the place … because

they were denied the meaning making that occurs through freedom of movement.”9 Allowing

Franklin D. Vagnone and Deborah E. Ryan, ​Anarchist’s Guide to Historic House Museums: A
9

Ground-Breaking Manifesto​ (Walnut Creek, CA: Left Coast Press, 2016), 117.
 13

visitors to make their own connections and explore their own curiosity is essential even in such a

confined space.

Visitor Surveys/Feedback

Options for visitor feedback at each of these sites is currently lacking. There are surveys

in the history exhibit at the Blowing Rock Art and History Museum, but their length is

prohibitive for many visitors to complete. Otherwise, the only places for feedback are on online

review sites such as Facebook and Yelp. These options are insufficient. There is currently no

way to survey visitors about current exhibits or what they would like to see in the future. Without

knowing what speaks to visitors, there is no way to keep interpretation relevant to their interests.

As Lauren Smedley writes in “6 Principles for Redesigning Museum Interpretation,” “​The

visitor’s voice being heard by the museum is an important aspect to keeping museums in check

as well as encouraging inclusivity, community, and dialogue.”10 ​ Staying relevant to visitor

interests is essential to the survival of both the Blowing Rock Art and History Museum and the

Blowing Rock Historical Society.

The solutions to this issue are simple and would provide invaluable data about visitor’s

experiences. Shorter questionnaires should replace the long surveys in the history exhibit. Rather

than an entire page, questions should be limited to no more than three questions on a single page.

Alternatively, the Blowing Rock Art and History Museum could use blank notecards and simply

ask visitors to write their thoughts. Either of these options would more likely generate responses

than the current form. At Edgewood Cottage or the 1888 Museum, similar short forms could be

placed near the entrance to the buildings. Both BRAHM and BRHS should also create feedback

10
Lauren Smedley, “6 Principles for Redesigning Museum Interpretation,” CultureConnect, accessed
December 9, 2019, ​https://cultureconnectme.com/wall-labels-interpretation/​.
 14

options on their respective websites, not only providing another way for visitors to let their

voices be heard but also generating more traffic on their websites with the benefit of increased

awareness of other sites and programs.

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Interpretive Themes

The primary themes of the revised history exhibit at Blowing Rock Art and History

Museum (BRAHM) and for this Master Interpretive Plan are: community, tourism, and sense of

place. These themes encompass the many facets of Blowing Rock’s unique history and still

connect to the existing exhibit. When coming up with themes for this project, Sam Ham’s book,

Interpretation: Making a Difference on Purpose ​was referenced​. ​His views on interpretation and

themes are that the audience needs to be stimulated to think. With the connections developed

with this stimulation, the visitor experience improves.11 Until recently, a memory map in the

history exhibit asked visitors for their memories of the community in their time spent in Blowing

Rock. The responses represented not only the experiences of life-long residents, but also visitors

to town—highlighting the shared experiences of both the museum’s long- and short-term

neighbors. The current history exhibit at BRAHM showcases several of the hotels and bed and

breakfasts that received the tourists of Blowing Rock. These visitors may not be full-time

community members, but their participation in the town stimulates continued economic growth

and continues to drive the community’s image of Blowing Rock. According to Ham, the best

way to make a well-rounded interpretive plan is to follow the TORE model—Theme, Organized,

Relevant, and Enjoyable.12 By doing this, the exhibit explores the primary themes while staying

connected to the overall interpretive plan for the Blowing Rock Historical Society.

Blowing Rock’s history of tourism and community is entirely dependent on its location

and aesthetic. This sense of place includes physical features like the town’s elevation and

11
​Sam H. Ham, ​Interpretation: Making a Difference on Purpose​ (Golden, CO: Fulcrum, 2013), ​2.

12
​Ham,​ 14.
 16

location on the Blue Ridge escarpment, contributing to the availability of skiing in the winter and

the changing colors of leaves in the fall; the Main Street, America, feel that encompasses the

downtown shops and restaurants; and the warm reception extended to every member of the

Blowing Rock community, tourists and residents alike. This sense of belonging in Blowing Rock

stems from the three common themes identified for the interpretive plan: community, tourism,

and sense of place. The artifacts of the revised exhibit cover the recreational activities of the

town’s visitors and residents—the pastimes of all Blowing Rock’s community. This new themes

of Blowing Rock history creates a stronger bond between BRAHM’s two primary audiences: the

local community and its visitors. These new themes could also be a point of interest for potential

museum members who have a connection to the town but did not feel their interests were

represented before. Current BRHS members may also find they have a stronger connection to

these themes as well, thus drawing in more participation or donations from said members.

This interpretive plan for the Blowing Rock Historical Society will include all three of

their accessible buildings, as well as the Blowing Rock Historical Markers Program. The same

themes used in the BRAHM’s revised exhibit serve as the structure for the master interpretive

plan. The theme of community centers on Edgewood Cottage. While Elliott Daingerfield was not

a native to Blowing Rock, he purchased a home and spent much time here.13 The Artists in

Residence in this space also connects BRHS with the theme of community. By keeping the

artists local and creating a local ‘art scene,’ the program creates a tie between Blowing Rock and

its community.14 Drawing in more local artists for the program will continue to develop the

13
​“Programs,” ​https://www.blowingrockhistoricalsociety.com/programs.html​.

​“Artists in Residence at Edgewood Cottage,” Blowing Rock Tourism Development Authority, accessed
14

December 9, 2019, ​https://blowingrock.com/artists-in-residence/​.

 17

community aspect of the program and help visitors to see why the program is important.

Allowing these local artists to sell their work also drives the economic importance of the

program. During the winter (off months) the cottage can be used as a historical house and an

extension of the full Blowing Rock history. This building also exists as part of the larger walking

tour as one of the three main stops. If the Artists in Residence program was to end, the space has

the potential to become a permanent exhibit space surrounding the story of Eliott Daingerfield

and the Blowing Rock community. This possibility will be considered within the asset options in

the larger interpretive plan. The 1888 Museum encompasses the theme of tourism, being a

cottage from the original Watauga Hotel; the structure itself is an artifact fitting the theme. With

a specific plan for the display of the many valuable artifacts currently held in the museum, with

the assistance of the Historic Furnishings Report, the site can visually represent the original

cottage from 1888. This full interpretive plan will include the objectives that are planned for each

asset of the Blowing Rock Historical Society.

The Historical Markers Program brings the theme “sense of place” to fruition in the

master interpretive plan. A cooperative effort between BRAHM and BRHS, the Historical

Markers Program identifies and recognizes buildings and sites, within the community of

Blowing Rock, that are significant as examples of a particular architectural style, may be of

historic importance, or simply deserve distinction by their design or relationship with Blowing

Rock’s legacy.15 This asset, along with the exhibits at BRAHM; the artists in residency program

at Edgewood; and the artifacts in the 1888 Museum are essential to developing a complete

representation of Blowing Rock’s sense of place. Each of these sites’ unique characteristics

15
​“Blowing Rock Historical Markers,”
https://blowingrockmuseum.org/see-do/blowing-rock-historical-marker-program.html.
 18

appeal to different groups of visitors. Together, they provide an experience for any visitor or

resident, of any demographic, to appreciate and enjoy their time in Blowing Rock.

Coordinating the assets of BRAHM with the Historical Markers Program allows both

residents and tourists the opportunity to explore the history of Blowing Rock outside the confines

of limited space. A walking tour through Blowing Rock centered around the historical markers

gives visitors the experience of Main Street and the many locations throughout town that recall

memories and create a sense of belonging. The master interpretive plan builds upon these general

concepts in greater length, focusing on these three main themes shared between all the spaces

afforded to the Blowing Rock Historical Society.


Blowing Rock Art and History Museum
Short-Term (3 - 6 months)
● Provide simple ways
for visitors to leave
feedback (much
shorter survey, online
feedback, etc.)
● Promote local BRHS
sites
● Increased cooperation
between BRAHM and
BRHS
16
For suggestions, see Vagnone and Ryan, 47-70.
Site Objectives
Medium-Term (6 months - 2 years)
● Consider more exhibits that tie
history and art together
● Develop and print paper maps
for the walking tour until the
online program can be
developed
● Promote the walking tour and
other historic sites around
Blowing Rock
● Use visitor feedback to alter
exhibits/presentation of exhibits
● Fix the iPad, or use that space
for something else
19
Long-Term (2+ years)
● Install electronic
screens in the history
exhibit allowing for
more photos to be
displayed
● Replace the “Haints
and Haunts” section
of the history exhibit
with something that
more directly ties in
with the core themes
● Make greater
connections within the
community of
Blowing Rock.
Perhaps take part in
local events that
expand the reach of
the museum. This
could increase
visibility and make
BRAHM a more
integral part of the
community.16
 20

Edgewood Cottage

Short-Term (3 - 6 months) Medium-Term (6 months - 2 years) Long-Term (2+ years)

● Winter months: open ● Design changeable exhibits on ● Create a staff position

sparingly to showcase Elliott Daingerfield and local (part or full-time) to
the space—and some artists run exhibit change
artifacts of local ● Set standard times of operation within cottage
artists/Daingerfield for each season with volunteer ● Have winter
● Summer months: open to run them (optional exhibits/summer
regularly to hold installation of cameras for times artists regularly
Artists in with no volunteer) visited and promoted
Residence—along ● Add walking tour maps or ● Reevaluate sales and
with holding art sales information on digital walking follow-up evaluations
● Create rack tour app (same maps and on programming and
cards/pamphlets on information housed at BRAHM visitation
Edgewood’s history and 1888 Museum)
● Create a promotion of local art
sales (involvement in Art in the
Park, sales in Edgewood, etc.)
● Complete yearly evaluations on
programming and visitation to
cottage

1888 Museum

Short-Term (3 - 6 months) Medium-Term (6 months - 2 years) Long-Term (2+ years)

● Open more often for ● Implement 1888 Museum ● Create a staff position
winter visitors (use Historical Furnishing Report (part or full-time) to
part-time employee recommendations run 1888 Museum
for this position) ● Set standard times of operation during open hours
● Decide on objects and for each season with volunteer ● Design programming
interpretation for the to run them (optional for the museum—may
tourism theme and the installation of cameras for times include Art in the
1888 Museum as a with no volunteer) Park, holiday events,
whole ● Add walking tour maps or etc.
information on digital walking ● Reevaluate
tour app (same maps and programming and
information housed at BRAHM visitation
and Edgewood Cottage)
● Complete yearly evaluations

Historical Marker Program
Short-Term (3 - 6 months) Medium-Term (6 months - 2 years)
● Undertake continued
maintenance of
plaques and website
for Historical Marker
Program
● Continue to evaluate
new potential
locations for historical
markers
21
Long-Term (2+ years)
● Promote historical marker ● Work with all
locations through developing a involved parties
self-guided walking tour (Blowing Rock
supplemented by printed or Historical Society,
electronic literature Blowing Rock Art and
History Museum, the
Town of Blowing
Rock, North Carolina
Department of
Transportation, i.e.) to
install additional
interpretation of sites
along walking tour
● Installation and
promotion of new
markers at additional
sites fitting the
program mission
statement
 22

List of Illustrations

Fig. 1 - Map of Blowing Rock Historical Marker Program Sites

 23

Fig. 2 - Inset Map of Blowing Rock Historical Marker Program Downtown Sites
 24

Bibliography

“Artists in Residence at Edgewood Cottage.” Blowing Rock Tourism Development Authority.

Accessed December 9, 2019. ​https://blowingrock.com/artists-in-residence/​.

“Blowing Rock Historical Markers.” Blowing Rock Art and History Museum. Accessed
December 5, 2019.
https://blowingrockmuseum.org/see-do/blowing-rock-historical-marker-program.html​.

“Blowing Rock, NC Population”. World Population Review. Accessed December 9, 2019.

http://worldpopulationreview.com/us-cities/blowing-rock-nc-population/​.

Ham, Sam H. ​Interpretation: Making a Difference on Purpose.​ Golden, CO: Fulcrum, 2013.

“Programs.” Blowing Rock Historical Society. Accessed November 24, 2019.

https://www.blowingrockhistoricalsociety.com/programs.html​.

Smedley, Lauren. “6 Principles for Redesigning Museum Interpretation.” CultureConnect.

Accessed December 9, 2019. ​https://cultureconnectme.com/wall-labels-interpretation/​.

Tilden, Freeman. ​Interpreting Our Heritage.​ Edited by R. Bruce Craig. Chapel Hill: University
of North Carolina Press, 2007.

Vagnone, Franklin D. and Deborah E. Ryan. ​Anarchist’s Guide to Historic House Museums: A
Ground-Breaking Manifesto​. Walnut Creek, CA: Left Coast Press, 2016.

Veverka, John A. ​Interpretive Master Planning—Volume One: Strategies for the New
Millennium​. Edinburgh, UK: MuseumsEtc, 2011.
 25

Contributions
Bekkah:
● Title page
● Contents page (p. 1)
● Acknowledgements (p. 2)
● Introduction (p. 3-6)
● Interpretive Themes (p. 15-18) - some of this is pulled from the exhibition which we all
worked on
● Site Objectives (p. 20) - Edgewood Cottage and 1888 Museum

Chris:
● Assets (p. 9-10) - Historical Marker Program
● Site Objectives (p. 20) - Historical Marker Program
● Illustrations (p. 21-22)
● A Draft of an Introduction - Bekkah’s covered my topics in greater depth when listed
with the mission statement and purpose
● Overall editing of the document and converting citations to Chicago style
Jeff:
● Assets (p. 7-10) - except for Historical Marker Program Sites
● Visitors (p. 11-14)
● Site Objectives (p. 19) - BRAHM

Everyone:
● Bibliography