The first and most significant step taken to remedy the problems
came in 1997 with the decision by the Michigan Humanities Council
to take cultural programming to the people, instead of letting
them come to it. It seemed a logical decision, especially given
the outcome of a 1997 study by the Travel Industry Association.
The study made clear the strong connection between culture and
outdoor adventures when it profiled cultural and heritage travelers,
and found that they rank visiting state
and national parks as high priorities when traveling.
So Mathews and the Humanities Council staff scoured their lists
of private contractors who perform live educational and cultural
programs and hired two people—a role-player and a folk
musician—to conduct one program each at six outdoor venues.
Selecting isolated yet popular vacation spots where lack of competition
from other
cultural activities made campers a captive audience, planners
sent performers out for one week in August. This pilot program
was deemed a success in providing a vivid picture that connects
the wilderness to the people who lived, worked, and died there,
and plans were laid to expand the program the following year.
In the summer of 1998, the first full-fledged Great Outdoors
Culture Tour put 85 programs in state parks, national parks and
forests, historical museums, community parks, and children’s
summer camps. With MCACA on board as a funding sponsor,
it was possible to expand the program. Eighteen storytellers,
musicians, historical role-players, dancers, and other cultural
interpreters toured individually, presenting between three and
five programs each for six weeks from July through mid-August.
The local host (i.e. park, forest, or campground administrator)
is responsible for identifying the kind of program best suited
to their site. “Because of the incredible diversity of
performers the tour provides,” says Gregg Bruff, chief
of interpretation at Pictured Rocks National Lakeshore, “we
are able to choose interpretive themes
specific to our park and we get a far greater selection than
we would be able to attract on our own.”
Hosts also provide a performance location and promote the program
locally. The goal is to attract visitors and local residents
who, combined, would compose a substantial audience of between
50 and 100 people.
During the summer of 2000, the touring schedule grew to 94 programs
by 20 presenters. MCACA provided a third year of funding through
a partnership grant with the Humanities Council. Venues included
all national parks and forests in Michigan and 19 state parks.
In planning future tours, Mathews believes a goal of 40 presenters
(180-185 programs) per season is doable. To that end, the organizers
cycle different performers into the mix each year, so that by
the time the tour is up to full capacity, there will be a complete
stable of veteran performers who know
the tour, the venues, and the types of
programs that work best.
To sustain an effective program, hosts
and presenters meet in late September at the close of the tour
season. They review program
evaluations submitted by all hosts and presenters, assess the
program, and exchange ideas for improving it.
Program marketing continues each year with a newly designed
Culture Tour bro-
chure, the primary vehicle for publicizing the summertime program.
Brochures are distributed through convention and visitors bureaus,
regional lodging, and host parks and recreation areas. Thanks
to Travel Michigan, the brochure is also distributed at state
welcome centers. In addition, the tour schedule is posted on
Travel Michigan’s and the sponsoring organizations’ websites.
Funding is just as much a collaboration. “It’s novel
that everyone pitches in,” says Nancy Mathews. “This
program has wonderful buy-in by hosts with in-kind and cash contributions,
making it easy for all parties to be involved.” Plans are
in the works for a new funding technique, providing opportunities
for audiences to make cash contributions through on-site donations
or preprinted envelopes to send to the Humanities Council. “When
the audience donates cash,” says Mathews, “the public,
in effect, becomes a partner.”
“I tell stories all the time
to kids in libraries or adults in museums. But the reward
of entertaining whole families—sometimes three generations
at the same time—in a family camping environment
is a new and particularly satisfying experience for me.” — Jenifer Ivinskas Strauss, Michigan storyteller
Timeline
1997 - Joint directory of arts and humanities
touring programs developed Pilot campfire program produced
during one week in August
1998 - Inaugural Great Outdoors Culture
Tour with 18 presenters conducting 85 programs at 31 venues
1999 - 18 presenters conduct 84 programs
at 33 venues
The first and most significant step taken to remedy the problems
came in 1997 with the decision by the Michigan Humanities Council
to take cultural programming to the people, instead of letting
them come to it. It seemed a logical decision, especially given
the outcome of a 1997 study by the Travel Industry Association.
The study made clear the strong connection between culture and
outdoor adventures when it profiled cultural and heritage travelers,
and found that they rank visiting state
and national parks as high priorities when traveling. 
In the summer of 1998, the first full-fledged Great Outdoors
Culture Tour put 85 programs in state parks, national parks and
forests, historical museums, community parks, and children’s
summer camps. With MCACA on board as a funding sponsor,
it was possible to expand the program. Eighteen storytellers,
musicians, historical role-players, dancers, and other cultural
interpreters toured individually, presenting between three and
five programs each for six weeks from July through mid-August.
During the summer of 2000, the touring schedule grew to 94 programs
by 20 presenters. MCACA provided a third year of funding through
a partnership grant with the Humanities Council. Venues included
all national parks and forests in Michigan and 19 state parks.
In planning future tours, Mathews believes a goal of 40 presenters
(180-185 programs) per season is doable. To that end, the organizers
cycle different performers into the mix each year, so that by
the time the tour is up to full capacity, there will be a complete
stable of veteran performers who know
the tour, the venues, and the types of
programs that work best.
Program marketing continues each year with a newly designed
Culture Tour bro-
chure, the primary vehicle for publicizing the summertime program.
Brochures are distributed through convention and visitors bureaus,
regional lodging, and host parks and recreation areas. Thanks
to Travel Michigan, the brochure is also distributed at state
welcome centers. In addition, the tour schedule is posted on
Travel Michigan’s and the sponsoring organizations’ websites. 
