VERA Platform_1931 Shell Soap Dish "" iain 3D Object text/plain Alias/WaveFront Object 3D University of St Andrews VERA Platform "" text/plain Alias/WaveFront Object 3D Object "The kick-off meeting for the Culturality project, bringing together all the partners to discuss the project and the activities taking place in the next four years." Meeting "In CULTURALITY we understand crafts as an indispensable identity element capable of characterising and highlighting a territory through its traditional culture and its links to the community that inhabits it. Crafts are inevitably linked to the territory because it conditions them from the inside out, for instance, through its specific needs and the raw materials that are available in the area: it determines their types, their shapes, their decorative motifs and, of course, their use. In turn, crafts can also influence the territory, creating unique cultural landscapes and distinctive social customs that form the basis of the local shared heritage. Thus, crafts are connected to the community because it shares relations with the oral traditions, verbally transmitted know-how(s) or peculiar ways of cooperation and interaction between its habitants. Through this exhibition, the first joint effort of the members of our international and interdisciplinary consortium takes shape, and it seeks to offer the public an introduction to the ideals that gave rise to this ambitious project. We present to you a true declaration of intent that covers, despite its limited length, several of the fundamental pillars on which our efforts will be based over the coming years. The team of representatives from each of the countries that make up our partnership carefully and sensibly chose the objects that they considered would most effectively transmit the values that we wish to disseminate through our first activity as a group. In the detailed explanations that will accompany the pieces in the catalogue the viewer will be able to feel and understand the pride with which all the contributors speak about their very own artisanal traditions. CULTURALITY understands crafts, of course, our aim is to offer a leading role to the crafts as they deserve want to share the singularities and values of our own artisan traditions. Our greatest aspiration is that, through our work, traditional crafts are no longer considered a thing of the past, but rather a source of pride and sustainable development for both the present and the future. Firstly, of course, our aim is to offer crafts the leading role they deserve as containers of local traditions and ancient knowledge, regardless of their place of origin. Each of the participating countries has a rich legacy of artisans specialising in the production of pieces with particular characteristics, which makes them as interesting as they are representative of their homeland. However, when selecting a theme for a modest inaugural exhibition such as this one, we could not just work with a research field as broad and ambiguous as \u201ccrafts\u201d in general. That is where the idea of narrowing it down first came from. We immediately realised that this would be a great opportunity to highlight the fundamental role that women have played as creators, artisans, and protectors of our textile heritage and all its associated knowledge. This is another of our commitments, both short and long term, and one of the ultimate goals of the project. It cannot be a coincidence that in all the geographical locations that take part in this joint exhibition, this type of woven heritage is so strongly linked to the popular wisdom of women; women who knew how to take this rather homely duty that was, most certainly, just matter-of- factly assigned to them and create wonderful things with it. Together we can find intertwined in the threads of this textile legacy not only a catalyst for the creativity of our ancestors, but also a testimony of their empowerment. Women from all places have been weaving a great collaborative patchwork piece for centuries, in which each culture has added its contribution, and it is the responsibility of our present-day creators to continue preserving and furthering this precious legacy. The underlying line of the chosen theme is based on this very concept: today\u2019s modern designers have quite often, managed to take over from their artisan ancestors and reinterpret their know-how in ways that ignite a new appreciation for their tireless efforts. Therefore, some of the participating countries have chosen not only to show us a piece that directly represents their textile artisan heritage, but to also bring out a second item that reflects their influence on their high-quality, artisan-based contemporary design. This continuity, although scarce, should always be taken as a breath of fresh air in a sociocultural context like the one we live in right now, in which globalisation and mass production are gradually and effectively killing the interest in learning and preserving this ancestral knowledge. The peculiarities of characteristic traditional textiles linked to the folklore of a certain geographical area have also been known to act as a promoter of the sense of belonging and community among the inhabitants, carried time and time again as a banner of their pride. Where it seems that individuality is constantly being diluted in pursuit of an increasingly ubiquitous homogenization, the nods to tradition in these contemporary garments never fail to make a powerful statement. Both a well-preserved and respected past and a conscious present are indispensable parts of a future in which this knowledge is still valued and transmitted from generation to generation, as it has always been. That is what we hope to convey through this exhibition and, ultimately, one of our most ambitious goals." Collection "In CULTURALITY we understand crafts as an indispensable identity element capable of characterising and highlighting a territory through its traditional culture and its links to the community that inhabits it. Crafts are inevitably linked to the territory because it conditions them from the inside out, for instance, through its specific needs and the raw materials that are available in the area: it determines their types, their shapes, their decorative motifs and, of course, their use. In turn, crafts can also influence the territory, creating unique cultural landscapes and distinctive social customs that form the basis of the local shared heritage. Thus, crafts are connected to the community because it shares relations with the oral traditions, verbally transmitted know-how(s) or peculiar ways of cooperation and interaction between its habitants. Through this exhibition, the first joint effort of the members of our international and interdisciplinary consortium takes shape, and it seeks to offer the public an introduction to the ideals that gave rise to this ambitious project. We present to you a true declaration of intent that covers, despite its limited length, several of the fundamental pillars on which our efforts will be based over the coming years. The team of representatives from each of the countries that make up our partnership carefully and sensibly chose the objects that they considered would most effectively transmit the values that we wish to disseminate through our first activity as a group. In the detailed explanations that will accompany the pieces in the catalogue the viewer will be able to feel and understand the pride with which all the contributors speak about their very own artisanal traditions. CULTURALITY understands crafts, of course, our aim is to offer a leading role to the crafts as they deserve want to share the singularities and values of our own artisan traditions. Our greatest aspiration is that, through our work, traditional crafts are no longer considered a thing of the past, but rather a source of pride and sustainable development for both the present and the future. Firstly, of course, our aim is to offer crafts the leading role they deserve as containers of local traditions and ancient knowledge, regardless of their place of origin. Each of the participating countries has a rich legacy of artisans specialising in the production of pieces with particular characteristics, which makes them as interesting as they are representative of their homeland. However, when selecting a theme for a modest inaugural exhibition such as this one, we could not just work with a research field as broad and ambiguous as \u201ccrafts\u201d in general. That is where the idea of narrowing it down first came from. We immediately realised that this would be a great opportunity to highlight the fundamental role that women have played as creators, artisans, and protectors of our textile heritage and all its associated knowledge. This is another of our commitments, both short and long term, and one of the ultimate goals of the project. It cannot be a coincidence that in all the geographical locations that take part in this joint exhibition, this type of woven heritage is so strongly linked to the popular wisdom of women; women who knew how to take this rather homely duty that was, most certainly, just matter-of- factly assigned to them and create wonderful things with it. Together we can find intertwined in the threads of this textile legacy not only a catalyst for the creativity of our ancestors, but also a testimony of their empowerment. Women from all places have been weaving a great collaborative patchwork piece for centuries, in which each culture has added its contribution, and it is the responsibility of our present-day creators to continue preserving and furthering this precious legacy. The underlying line of the chosen theme is based on this very concept: today\u2019s modern designers have quite often, managed to take over from their artisan ancestors and reinterpret their know-how in ways that ignite a new appreciation for their tireless efforts. Therefore, some of the participating countries have chosen not only to show us a piece that directly represents their textile artisan heritage, but to also bring out a second item that reflects their influence on their high-quality, artisan-based contemporary design. This continuity, although scarce, should always be taken as a breath of fresh air in a sociocultural context like the one we live in right now, in which globalisation and mass production are gradually and effectively killing the interest in learning and preserving this ancestral knowledge. The peculiarities of characteristic traditional textiles linked to the folklore of a certain geographical area have also been known to act as a promoter of the sense of belonging and community among the inhabitants, carried time and time again as a banner of their pride. Where it seems that individuality is constantly being diluted in pursuit of an increasingly ubiquitous homogenization, the nods to tradition in these contemporary garments never fail to make a powerful statement. Both a well-preserved and respected past and a conscious present are indispensable parts of a future in which this knowledge is still valued and transmitted from generation to generation, as it has always been. That is what we hope to convey through this exhibition and, ultimately, one of our most ambitious goals." Collection "Exhibition\r\nCurator: Llara Fuente Corripio \r\nAssistant curator: Yulia Ruzanova\r\nExhibition setup: Llara Fuente Corripio, Yulia Ruzanova and Enrique Melendez Galan\r\n" Event "Exhibition\r\nCurator: Llara Fuente Corripio \r\nAssistant curator: Yulia Ruzanova\r\nExhibition setup: Llara Fuente Corripio, Yulia Ruzanova and Enrique Melendez Galan\r\n" Event "Ceramic clay creamer from Asturias, Spain." text/plain Alias/WaveFront Object University of St Andrews 3D Object "Ceramic clay creamer from Asturias, Spain." text/plain Alias/WaveFront Object University of St Andrews 3D Object "Coffee grounds vase" text/plain Alias/WaveFront Object University of St Andrews 3D Object "Coffee grounds vase" text/plain Alias/WaveFront Object University of St Andrews 3D Object "Coffee grounds vase from local artisan in Asturias, Spain. " Movable Heritage "A cheese vat is used in the initial stage of the cheese-making process, and the holes in the surface are\r\nmade to allow the whey to escape through them. Also, this kind of pottery is known as 'black pottery,'\r\nwhich is due to the smoke used during the firing process." Movable Heritage "Object made of iron, used as part of a mechanism to open and close a door. It is composed of two pieces joined by a handle. This piece features carved decorations with various geometric motifs." Movable Heritage "Glazed pottery painted with flower motifs, especially on the front area. This is combined with two\r\nbutterflies in a blend of green and blue. The decoration also extends to the top, around the mouth of\r\nthe piece, and around the base, with blue lines that contrast against the white color of the rest of the\r\nobject. This type of pottery, from the El Rayu (Siero) potter, originated in the 18th century, and was highly successful in the region of Asturias, playing a significant role in the development of a competitive pottery industry in the area." Movable Heritage "Called a Zapica, this jar was used to collect milk in mountainous areas. It is made of carved wood, with most of the decoration concentrated on the lid, where a geometric sun composed of angular shapes can be seen." Movable Heritage "A clay jar like this was commonly used in traditional cider-drinking culture. The pottery workshop in Faro\r\nwas one of the most renowned places for crafting household ceramics." Movable Heritage "Glazed pottery used as part of household ware. Made of pink clay, the interior is coated with a white glaze and decorated with a triskelion motif." Movable Heritage "Iron door handle featuring two distinct decorative shapes\u2014one resembling a heart, and the other composed of various geometric forms. The handle itself includes geometric motifs, such as circles and lines, crafted in brass." Movable Heritage "The large number of pots found in the Asturian region highlights the importance of \u201cpucheros\u201d and legumes in Asturian gastronomy. This particular piece was made at the Faro pottery workshop and features the traditional black finish characteristic of the area." Movable Heritage "Large horn container with an iron handle, decorated with various motifs. In this case, the inscription "Soy de Enrique" ("I belong to Enrique") features a prominent letter "E" that ends in the shape of a monkey. The rest of the decoration includes butterflies, a crown, a human figure, and vegetal motifs. Most of these types of pieces came from Extremadura with the shepherds, and the larger ones\u2014like this example\u2014were used to safely store liquids such as milk." Movable Heritage "Pre-industrial glazed pottery painted with blue motifs that contrast with the white background of the piece. The decoration features lines of varying thicknesses\u2014both vertical and horizontal\u2014which cover the body, the mouth of the jar, and the foot. Originating in the 18th century, this type of pottery was known as \u201cdel Rayu\u201d (\u201cfrom El Rayu\u201d), as most of the workshops were established in that part of the city.\r\n\r\n" Movable Heritage "A clay jug used to transport water, with two handles and vertical decorative motifs on the body of the piece. These lines are carved, and this is the only part of the object that preserves the original burnishing. This type of pottery, produced in this workshop, had a strong influence in northern Spain." Movable Heritage "Wooden lunchbox with a lid, used for transporting food. The lid fits perfectly onto the box and is decorated with carved lines. Two arrows, one on the lid and one on the body, indicate how to align them properly to close it and keep the contents secure." Movable Heritage "Carved wooden object used to stamp the name of the cheesemaker. One side displays the surname "Gonz\u00e1lez," while the opposite side features the letters "R." and "M.," along with a heart and geometric motifs as decoration. This piece was specifically made to mark Cas\u00edn cheese, a traditional product from the Caso region from Asturias." Movable Heritage "Carved wooden stamp made to mark Cas\u00edn cheese. This piece features the name of the producer: "Dorotea" on one side and the surname "Alonso" on the opposite. The name is accompanied by decorative motifs on the remaining sides, including geometric symbols and a rosette." Movable Heritage "Carved circular wooden stamp for Cas\u00edn cheese, featuring a handle. The inscription "Berginia Prao." surrounds a geometric sun positioned at the center of the composition. Additional geometric motifs encircle the inscription, completing the decoration of the stamp" Movable Heritage "Horn container with a wooden base, featuring a wide range of decorative motifs. Garlands, plants, and other geometric patterns accompany a herding scene with a shepherd, his dog, and a cart pulled by a cow. An inscription indicates the ownership of the piece: \u201cI belong to Jose Cavallin\u201d (\u201cSoy de Jose Cavallin\u201d)." Movable Heritage "Horn container, used as a "gaxapu" due to its wooden base, featuring a handle for attaching it to a belt. Garlands and flowers decorate the piece, alongside a scene showing a woman with a rake and a man holding a scythe. The inscription, partially erased, indicates the ownership of the object: \u201cI belong to Juan \u00bfGil?\u201d (\u201cSoy de Juan \u00bfGil?\u201d)." Movable Heritage "Horn container, used as a "gaxapu" due to its wooden base, featuring a handle for attaching it to a belt. Garlands and flowers decorate the piece, alongside a scene showing a woman with a rake and a man holding a scythe. The inscription, partially erased, indicates the ownership of the object: \u201cI belong to Juan \u00bfGil?\u201d (\u201cSoy de Juan \u00bfGil?\u201d)." Movable Heritage "Horn container decorated with an inscription framed by garlands and other vegetal motifs. A carved inscription reads: "Hunting place of His Excellency, the Marquess of Rodriga, Caleao, 16 11 21" ("Coto de caza de El Exmo. Sr. Marqu\u00e9s de la Rodriga Caleao 16 11 21"). The inscription is accompanied by a hunting scene featuring a man riding a horse with a rifle, a chamois, and a dog." Movable Heritage "Horn container with an iron handle and a wooden base, traditionally used for milking in mountainous areas. It features inscriptions on both sides: \u201cI belong to Jose\u201d (\u201cSoy de Jose\u201d) and \u201cEnrique Mart.,\u201d accompanied by garlands and vegetal motifs. Two fish appear below the first inscription, and a carved clock stopped at a quarter to twelve completes the decorative programme." Movable Heritage "Gaxapu used to keep the sharpening stone in water for the scythe. This wooden container has a prismatic body supported by four small feet. A handle allows it to be attached to a belt, and geometric motifs surround the initials \u201cV. V.\u201d on the front of the object." Movable Heritage "Small circular wooden stamp used to mark Cas\u00edn cheese. A handle allows it to be held and used to stamp the carved geometric solar disc on its surface." Movable Heritage "Wooden gaxapu with a prismatic body and a semicircular base. On the back, a handle allows it to be attached to a belt, holding the sharpening stone for the scythe. On the front, two horseshoes with a nail between them appear at the top, while a large rosette is carved in the center. The lower part features various carved geometric motifs and surface textures." Movable Heritage "Wooden container with a prismatic shape\u2014semicircular at the base and square at the mouth\u2014used to hold water in which the sharpening stone is kept. A handle on the back allows it to be attached to a belt. The front features geometric motifs with various patterns, highlighting the inscription \u201cA. A.\u201d" Movable Heritage "Chestnut wood gaxapu with a prismatic body that narrows toward the base. The three front faces are carved with geometric and vegetal motifs, highlighting a central rosette and the initials \u201cM. A.\u201d A handle allows it to be attached to a belt, keeping the sharpening stone submerged in water and ready for use with the scythe." Movable Heritage "Wooden stirrups featuring geometric and vegetal motifs carved on their various sides. A handle at the top is also decorated." Movable Heritage "Chestnut wood gaxapu with a body that has a semicircular base. The front side features floral and geometric motifs and retains traces of red and blue polychromy. On the back, a handle allows the object to be attached to a belt." Movable Heritage "Horn container with an iron handle and the inscription \u201cI belong to Benjam\u00edn Cabeza\u201d (\u201cSoy de Benjam\u00edn Cabeza\u201d). Used as a gaxapu, this object features various geometric and vegetal motifs, such as garlands, palmettes, a circle, and a heart." Movable Heritage "Horn container with an iron handle. The front side features a scene of a man with a scythe, surrounded by garlands and vegetal motifs. The inscription \u201cI belong to Manuel Jes\u00fas Calvo\u201d (\u201cSoy de Manuel Jes\u00fas Calvo\u201d) indicates the ownership of the object." Movable Heritage "A carved horn with a wooden base. Used as a gaxapu, its surface is decorated with various motifs. A man riding a horse, vegetals, and flowers are part of the decorative program, which concludes with two animals: a peacock and a snake. The latter takes the shape of an "S" to begin the inscription "Soy de Jose Cavallin" ("I belong to Jose Cavallin")." Movable Heritage "Basket with a cubic shape and a lid attached with two hinges. A semicircular handle allows for comfortable transport. This type of basketry from Forcinas comes from one of the most important workshops, which employed over eighty artisans during the second half of the twentieth century, known for its high quality, design, and attention to trends" Movable Heritage "Wooden collar for livestock, featuring a brass plate nailed to the surface and decorated with stamped motifs. The initials \u201cM. A.\u201d likely indicate the owner of the animal, and the rest of the carved decorations include vegetal patterns and circles. An iron piece connects both ends of the collar, which originally held a bell." Movable Heritage "Wooden stirrups reinforced with wrought iron, which is shaped into stylized vegetal forms on the front side of the object." Movable Heritage "Wooden collar with riveted iron reinforcements at both ends, connected by an iron piece designed to hold a bell. The wood is decorated with carved six-petal flowers distributed around the entire piece." Movable Heritage "Castanet used for musical accompaniment. The body is entirely decorated with geometric motifs, with a prominent eight-petal rosette featured at the center. A carved inscription shows the date \u201cVIII-XXXIIII\u201d (August 1934). This piece comes from Cangas del Narcea and displays the typical characteristics of the area: large size and rich ornamentation." Movable Heritage "A large horn container featuring a wide range of decorative motifs and notable inscriptions. Garlands, plants, and flowers are accompanied by animals and hybrid creatures. One inscription indicates ownership: \u201cI belong to Juan Rodr\u00edguez\u201d (\u201cSoy de Juan Rodr\u00edguez\u201d), while another reflects on the creation of the object: \u201cI cannot do it better \/ because my sight is failing \/ and I also lack \/ both study and the help of grace\u201d (\u201cNo puedo acerlo [sic] mejor \/ porque la vista me falta \/ tambi\u00e9n faltan falta [sic] los \/ estudios y la yuda [sic] de gracia\u201d)." Movable Heritage "This is a fine example of a traditional 'Helmsdale' patterned fisherman's gansey or jumper, dating back to\r\nthe mid-20th century. The design features motifs that include the diamond shape of herring nets and the\r\ncable patterns reminiscent of rope and rigging. This particular jumper was typically worn on special\r\noccasions or Sundays, rather than while at sea. Fisherwomen, who were skilled knitters, created ganseys\r\nduring their spare time as they awaited the herring catch to arrive at the quayside." Movable Heritage "This is a fine example of a traditional 'Helmsdale' patterned fisherman's gansey or jumper, dating back to\r\nthe mid-20th century. The design features motifs that include the diamond shape of herring nets and the\r\ncable patterns reminiscent of rope and rigging. This particular jumper was typically worn on special\r\noccasions or Sundays, rather than while at sea. Fisherwomen, who were skilled knitters, created ganseys\r\nduring their spare time as they awaited the herring catch to arrive at the quayside." Movable Heritage "The broken pieces of a corroded cast cauldron were found in 2013 during an excavation of a pre-Clearances longhouse in the Caen River Valley, in the Strath of Kildonan. The presence of tripod feet and looped swing handles suggests it was used over an open fire. It typically took the form of a witch's cauldron. A fragment was retrieved from within the wall next to the house entrance and possibly signifies a Highland tradition where iron was inserted into the house apertures, including doorways, fireplaces, and window sills, to prevent evil spirits from entering the home. " Movable Heritage "A traditional wooden bowl designed for multiple uses in an Asturian kitchen" Movable Heritage "A pottery jar with three handles and perforations in the mouth, functioning as a filter for its contents." Movable Heritage "A wooden needle featuring carved geometric motifs, with openings at the top that pierce through the wood, creating an intriguing play of light and shadow." Movable Heritage "A plate from the Faro Pottery Workshop. The glazed interior features a motif of the p\u00e1xara, a hybrid creature combining bird and fish, painted in green lines that stand out against the white surface. Additional green and brown lines encircle the central image" Movable Heritage "Wooden footwear called madre\u00f1a, used in rural areas for fieldwork or in workshops to protect the feet. The body has a boat-like shape and rests on two supports. The surface is decorated with geometric motifs such as zigzags, waves, and lines" Movable Heritage "Wooden mortar used for crushing ingredients." Movable Heritage "Turned wooden plate, almost flat, supported by a round foot. On the underside, the surface features lines as its only decorative motifs" Movable Heritage "Basket made with interwoven wood, featuring a rectangular base and a handle" Movable Heritage "Single-handled glazed pottery jar, representative of the success of this workshop in the early 20th century. Blue lines stand out against the white surface, with vegetal motifs and lines decorating both the body and the mouth of the jar" Movable Heritage "A traditional Asturian pottery jar, called a \u201cbot\u00eda,\u201d used to contain and serve liquids. Two handles help in carrying the jar" Movable Heritage "Cooking pot with a black color achieved through the reduction firing technique. The body has a balloon-like shape, with two handles for carrying. The surface features a few parallel lines and waves as its only decorative motifs." Movable Heritage "Basket bag made of interwoven wood, with an oval shape and a handle that facilitates transport" Movable Heritage "Spice container with a body shaped like a figure eight and a central axis that passes through the lid. The lid can rotate to open the container and features a handle at one end to aid in moving it" Movable Heritage