<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://culturality.museum/omeka/items/show/2289">
    <dcterms:title><![CDATA[Silver Eagle Brooch]]></dcterms:title>
    <dcterms:subject><![CDATA[Fashion]]></dcterms:subject>
    <dcterms:description><![CDATA[A recycled silver eagle brooch with topography details of the Cairngorm National Park, created by Amy Ferguson Niven. ]]></dcterms:description>
    <dcterms:creator><![CDATA[2284]]></dcterms:creator>
    <dcterms:dateSubmitted><![CDATA[14/05/2026]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[14/05/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[cc274@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[951]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,57.26298268908859,-3.6481103558198336;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/2158">
    <dcterms:title><![CDATA[Dawn Treader]]></dcterms:title>
    <dcterms:source><![CDATA[craftedobjects,scotlandobjects,timespanrural]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[26/01/2026]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[17/03/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[836]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/2122">
    <dcterms:title><![CDATA[Traditional Blacksmithing ]]></dcterms:title>
    <dcterms:alternative><![CDATA[Kovaštvo Krmelj]]></dcterms:alternative>
    <dcterms:description><![CDATA[Blacksmithing is a traditional craft in which a blacksmith heats metal, usually iron or steel, and shapes it with hammer blows on an anvil. Using this ancient technique, they create tools, horseshoes, hardware, knives, artistic objects, and even sculptures. A blacksmith needs well-developed skills, strength, and precision, as the work involves mastering fire, temperature, and the properties of metal.In Slovenia, blacksmithing has a long history connected to mining and ironworking, especially in areas like Kropa, Železniki, and Ravne na Koroškem. Today, the craft is less common, but it is still preserved by artistic blacksmiths, museums, and ethnographic events. Besides Krmelj, there is only one other blacksmith in Slovenia that produces practical (cutting) tools.]]></dcterms:description>
    <dcterms:creator><![CDATA[2121]]></dcterms:creator>
    <dcterms:source><![CDATA[practices,uppercarniola]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[13/01/2026]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[13/01/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[Baš, Angelos (ed.), 2004: Slovenski etnološki leksikon (Slovene Ethnological Lexicon). Ljubljana: Mladinska knjiga.
https://prvi.rtvslo.si/podkast/intervju-radio/3633109/174860660
https://www.centerduo.eu/mojstri-rokodelci/kovastvo-krmelj/
Slavec Gradišnik, Ingrid, 2011: Kovaštvo (Blacksmithing). In: Slovenika, slovenska nacionalna enciklopedija. Ljubljana: Mladinska knjiga (pp 627-628).
https://www.etno-muzej.si/en/digitalne-zbirke/kljucne-besede/kovastvo]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[820]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,46.1276625914593,14.229099836053459;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/2103">
    <dcterms:title><![CDATA[ Reliefs made from air-dried clay.]]></dcterms:title>
    <dcterms:alternative><![CDATA[Reliefi iz zračnosušene gline.]]></dcterms:alternative>
    <dcterms:description><![CDATA[For the ground she uses mediapan  boards (groundwood panels), natural wood panels (from walnut wood) or pieces of wood she finds on the seashore. She paints mediapan base with acrylic paints, the natural wood with linen oil. The wood debris is left in its natural condition  First, she draws the shapes on paper and cuts them out, then she puts them on the rolled clay and uses a sharp little knife to cut the shape out of the clay. Then she engraves an ornament on each piece. When the clay is almost air- dried, she patinates it with linseed oil. She then assembles the pieces into a complete motif on a wooden base and glues them. Then she  paints the pieces with acrylic paints. All the stages of making the relief are carried out by hand, so that each product is unique.]]></dcterms:description>
    <dcterms:creator><![CDATA[2100]]></dcterms:creator>
    <dcterms:source><![CDATA[practices,uppercarniola]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[13/01/2026]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[13/01/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[813]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,46.1072,14.1481;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/2093">
    <dcterms:title><![CDATA[Models for baking small bread (mali kruhek)]]></dcterms:title>
    <dcterms:alternative><![CDATA[Rezbarjenje modelčkov za peko "malega kruhka"]]></dcterms:alternative>
    <dcterms:description><![CDATA[Woodcarving in general is a craft technique of shaping wood by carving decorative or functional motifs. In Slovenia, it has a long tradition, especially in the Gorenjska, Štajerska, and Ribnica regions, where it developed alongside carpentry and woodenware production. It was often present in sacred art, in the making of wooden statues, altars, and decorative furniture elements. Today, woodcarving is preserved both as an artistic and a craft practice, with many artisans combining traditional and modern techniques. Craft workshops, museums, and folk art festivals play an important role in preserving this heritage. The carving of moulds for pressing out dough for small bread is a particular feature of Škofja Loka and its surroundings. ]]></dcterms:description>
    <dcterms:creator><![CDATA[2088]]></dcterms:creator>
    <dcterms:source><![CDATA[practices]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[13/01/2026]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[13/01/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[http://www.nesnovnadediscina.si/en/register-of-intangible-cultural-heritage/making-small-breads-and-wooden-models
https://www.obrazislovenskihpokrajin.si/oseba/plestenjak-podlogar-petra/
https://www.kulturnadozivetja.si/rokodelski-center-duo/mojstri-rokodelci/item/28-petra-plestenjak-podlogar.html]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[809]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,46.16645630152873,14.307220267982746;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/2077">
    <dcterms:title><![CDATA[Sheep Shearing ]]></dcterms:title>
    <dcterms:alternative><![CDATA[Clipping ]]></dcterms:alternative>
    <dcterms:description><![CDATA[Sheep Shearing is a process used by crofters in the hebrides to remove the old wool or 'fleeces' from their sheep when the new groeth starts to 'rise' in the late summer. The traditional method of shearing is to use hand-held shears – this is till practised by some crofters in Ness, but there  is also travelling shearer who can be paid per sheep to shear using elctric clippers. Tradiotnally the shearing process would have been conducted at the village 'fanks' – commnical handling areas for  livestock that sit on the common grazing land. As the sheep are sheared a team of usually woemn, would clean off, roll up and bag the fleeces ready for the wool board to collect. Alternatively, the wool can be kept and processed at micro mills on behalf of the crofter but this is very rare and an expensive process to complete. ]]></dcterms:description>
    <dcterms:creator><![CDATA[2076]]></dcterms:creator>
    <dcterms:source><![CDATA[highlandandislands]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[05/01/2026]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[05/01/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[English,Scottish Gaelic]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[803]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58,-6;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/2070">
    <dcterms:title><![CDATA[Casin Cheese]]></dcterms:title>
    <dcterms:alternative><![CDATA[Queso casín, Quesu Casín]]></dcterms:alternative>
    <dcterms:description><![CDATA[Casín, which is produced by only two small dairies in Asturias, is one of the cheeses with the oldest written references in the world, one of the most intense in flavour, protected by a Designation of Origin since 2011, and unique in its method of production. Casín takes its name from its place of origin: the municipality of Caso, which also gives its demonym to the Asturian Mountain cattle breed, or “casina” cow, which yields little milk but of exceptional flavour thanks to the excellent pastures on which it feeds. Documentary references to Casín date back to the 14th century, when it was known as queso assadero. The cheesemaking technique used for Casín cheese arose from the need to achieve a safe and long-lasting method of preservation in an area where mild temperatures and the predominance of rainy, overcast days create high ambient humidity, which hinders the drying of the curds produced by milk coagulation. Thus, kneading emerged as the customary method of combining several small-format curds into a single piece. Repeating this process resulted in drier, more compact pastes, producing a longer-lasting product without the need for pressing. To facilitate kneading, the ‘rabilar machine’ was developed (see description below).]]></dcterms:description>
    <dcterms:source><![CDATA[asturiasmap,practices]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[19/12/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[07/04/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[D.O.P (n/d). El queso Casin. http://www.dopquesocasin.es/
D.O.P (2008). PLIEGO DE CONDICIONES DE LA DENOMINACIÓN DE ORIGEN PROTEGIDA (DOP) “QUESO CASÍN”
Marcet, I., Rendueles, M., & Díaz, M. (2023). De la que tábemos faciendo un quesu…. Ciencies. Cartafueyos Asturianos de Ciencia y Teunoloxía, 13. pp 81-93
SOCIEDAD ASTURIANA DE ESTUDIOS ECONÓMICOS E INDUSTRIALES (1985). Los quesos artesanales asturianos. Oviedo: Gráficas Summa.
Videos: Canal Prestosu | Secretos de Asturias: queso Casín https://www.youtube.com/watch?v=eISrTnGZ2wU; ]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Asturian,Spanish]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[796]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,43.18138889,-5.34055556;origin,43.37416667,-5.35861111;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/2069">
    <dcterms:title><![CDATA[Asturian Bagpipe Manufacturing]]></dcterms:title>
    <dcterms:alternative><![CDATA[Fabricación de gaita asturiana]]></dcterms:alternative>
    <dcterms:description><![CDATA[The Asturian bagpipe belongs to the group of aerophones with a flexible air reservoir and, in its most common form, consists of a mouth-blown blowpipe, a bass drone with a single reed, and a conical chanter with a double reed. The earliest surviving examples in Asturias date from the mid-19th century, although iconographic sources and written records suggest that the instrument may have been introduced as early as the Middle Ages (Fernández, 2008). ]]></dcterms:description>
    <dcterms:source><![CDATA[asturiasmap,practices]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[19/12/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[07/04/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[Fernández, Juan Alfonso (2008a): La gaita y el oficio de gaitero en Asturias. Etno-Folk: revista galega de etnomusicoloxía 11, p. 59-82.
Fernández, Juan Alfonso (2008b) La gaita asturiana: características y evolución. Etno-Folk: revista galega de etnomusicoloxía, 2008, no 11, p. 171-197.
López , Fernándo (2021). Los nuevos contextos sonoros de la gaita asturiana, 1980-2020 (Bachelor's thesis). Universidad de Oviedo.]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Asturian]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[795]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/2052">
    <dcterms:title><![CDATA[Gamoneu Cheese]]></dcterms:title>
    <dcterms:alternative><![CDATA[Queso Gamoneu]]></dcterms:alternative>
    <dcterms:description><![CDATA[It is a fatty, matured cheese with a natural rind, which can be made with cow’s, sheep’s, and/or goat’s milk. It is lightly smoked and has slight Penicillium blooms along the edges. Gamoneu becomes a blue-veined cheese after a long aging period in the cave. With a shorter maturation time, it is predominantly white to yellowish in color, with greenish-blue veins of Penicillium spreading from the outside toward the center. The paste is semi-hard and crumbly, with a strong but not overpowering aroma, and smoky notes. Some wheels are quite large, weighing up to eight kilograms, with an intense smoky aroma and a spicy flavor]]></dcterms:description>
    <dcterms:creator><![CDATA[2057,2054]]></dcterms:creator>
    <dcterms:source><![CDATA[asturiasmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[18/12/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[19/12/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[González-Álvarez, M. (2015). Denominaciones de Origen y Parques Nacionales: actividad quesera en Picos de Europa. Revista de humanidades (25), 57-84.
Monesma, E. (2003). La vida de los pastores de los Picos de Europa y el queso de Gamoneu. Oficios Perdidos. Documental. https://www.youtube.com/watch?v=RTFXabGx6Ro
Oliveira e Oliveira, T. C. D. (2023). Revalorização de alimentos símbolo de comunidades-território. Os casos do mel virgem de abelhas Pisilnekmej no território maseual (México) e do queijo Gamonéu de pastores de Picos de Europa (Espanha).
Prieto, D. (2019). La Escuela de Pastores de Picos de Europa: revitalizando la cultura de pastoreo quesero. PH: Boletín del Instituto Andaluz del Patrimonio Histórico, 27(98), 298-307.
Polledo, M. (2024). Evidencias arqueológicas de actividad humana en áreas de alta montaña: los Picos de Europa y su entorno durante la prehistoria. En RUIZ-FERNÁNDEZ, J., LUELMO-LAUTENSCHLAEGER, R., PÉREZ-DÍAZ, S., GARCÍA-HERNÁNDEZ, C., LÓPEZ-SÁEZ, J.A., ALBA-SÁNCHEZ, F., GALLINAR, D., RUIZ-ALONSO, M., GARCÍA, A., GONZÁLEZDÍAZ, B., (Eds.) Socio-ecología, arqueología y geohistoria de los paisajes de montaña ibéricos: una mirada multidisciplinar. Oviedo: CeCodet (Universidad de Oviedo) – Ed. Trabe. págs. 491–507.
Valle, F. (2007). Quesos artesanos de la comarca oriente de Asturias. Llanes: Consorcio del Oriente de Asturias.]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Asturian,Spanish]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[790]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,43.314444,-5.066667;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1964">
    <dcterms:title><![CDATA[Taramundi traditional knifemaking]]></dcterms:title>
    <dcterms:alternative><![CDATA[Cuchillería o navajas (navayas) de Taramundi]]></dcterms:alternative>
    <dcterms:description><![CDATA[The Taramundi knife-making tradition is an artisanal practice rooted in the rural economy of western Asturias, Spain. It consists of the handcrafted production of knives, folding blades, and other cutting tools, combining metalworking with woodcraft. This practice is distinguished by its integration of functional design and aesthetic refinement, resulting in objects that are both utilitarian and symbolic of local identity.  Historically, knife-making in Taramundi emerged as a complementary activity to subsistence farming during the eighteenth century, when access to iron ore and abundant water resources enabled the development of small-scale metallurgy. Artisans employed hydraulic hammers and forges powered by local streams, creating a distinctive technological landscape that shaped the craft’s evolution. The knives produced were primarily intended for domestic and agricultural use, reflecting the practical needs of rural households. The process involves several stages: forging and tempering steel blades, shaping wooden handles (often from native species such as boxwood) and assembling the components with meticulous attention to durability and balance. Traditional knives are characterized by their simplicity, ergonomic design, and decorative elements such as hand-carved motifs or inlaid metal details. Over time, the craft incorporated innovations, including stainless steel and modern tools, while preserving core artisanal techniques transmitted through generations.  Beyond its technical dimension, Taramundi knife-making embodies cultural values of resilience, adaptability, and craftsmanship. It represents a form of intangible heritage that connects material culture with social identity, as the craft historically reinforced household economies and community cohesion. Today, it functions as a marker of authenticity and local pride, attracting collectors and tourists who seek objects that symbolise continuity with the past.  In contemporary contexts, the practice has b]]></dcterms:description>
    <dcterms:creator><![CDATA[2004]]></dcterms:creator>
    <dcterms:source><![CDATA[asturiasmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[01/12/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[02/12/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[García Grinda, J. L. (2011). Turismo y rehabilitación del patrimonio natural y sociocultural en zonas del interior: potencialidad y riesgos. Revista Universitaria de Turismo y Patrimonio, 2(1), 45–62. 
Pérez de Castro, R. (1985). Artesanía de Taramundi: Cuchillos y navajas. Narria: Estudios de artes y costumbres populares, (39–40), 24–30. Universidad Autónoma de Madrid. ISSN 0210-9441 
Quintana López, P. (2005). La labranza y transformación artesanal del hierro en Taramundi y los Oscos. Siglos XVI-XXI. Aportación a su conocimiento (2 volumes, 848 pp.). Asociación “Os Castros” de Taramundi. 
Quintana, J. C., & Muñiz, I. G. (2025, July 8). Juan Carlos Quintana, Museo de la Cuchillería: “Queremos contar cómo se utilizaba la madera”. Revista FusionAsturias. Retrieved from https://fusionasturias.com/concejos/taramundi/juan-carlos-quintana-museo-de-la-cuchilleria-queremos-contar-como-se-utilizaba-la-madera.htm]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Asturian,Spanish]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[776]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,43.3603936,-7.1083458;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1922">
    <dcterms:title><![CDATA[One-Eyed Dog Container]]></dcterms:title>
    <dcterms:source><![CDATA[craftedobjects,timespanrural]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[04/11/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[17/03/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[759]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1915">
    <dcterms:title><![CDATA[Two Deer White Bowl with Legs]]></dcterms:title>
    <dcterms:source><![CDATA[craftedobjects,timespanrural]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[04/11/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[17/05/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[756]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1913">
    <dcterms:title><![CDATA[Wren]]></dcterms:title>
    <dcterms:source><![CDATA[craftedobjects,timespanrural]]></dcterms:source>
    <dcterms:modified><![CDATA[17/03/2026]]></dcterms:modified>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[755]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1911">
    <dcterms:title><![CDATA[Brown Mouse]]></dcterms:title>
    <dcterms:source><![CDATA[craftedobjects,timespanrural]]></dcterms:source>
    <dcterms:modified><![CDATA[17/03/2026]]></dcterms:modified>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[754]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1907">
    <dcterms:title><![CDATA[Ard Beag Ceramic Large Bowl]]></dcterms:title>
    <dcterms:source><![CDATA[craftedobjects,timespanrural]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[04/11/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[17/05/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[752]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1855">
    <dcterms:title><![CDATA[Black Clay Pottery of Molelos]]></dcterms:title>
    <dcterms:alternative><![CDATA[Barro Preto de Molelos; Olaria de Molelos]]></dcterms:alternative>
    <dcterms:description><![CDATA[Molelos Black Pottery is a traditional craft involving ceramics fired in a reducing atmosphere, characterised by wheel-throwing, polishing/buffing and traditional firing (in wood-fired kilns; today also gas-fired). Historically one of the largest centres for black pottery in Portugal (documented since the 16th century), it maintains family and professional production, combining utilitarian (thick pottery) and decorative types, with a strong local identity.]]></dcterms:description>
    <dcterms:dateSubmitted><![CDATA[27/10/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://7maravilhas.pt/portfolio/louca-preta-de-molelos/
https://www.patrimoniocultural.gov.pt/wp-content/uploads/2025/01/Ficha-MatrizPCI.pdf
https://www.youtube.com/watch?v=W3FS07QYpD0]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[732]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,40.530278,-8.095556;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1854">
    <dcterms:title><![CDATA[Handcrafted sheet metal work (working with zinc sheets).]]></dcterms:title>
    <dcterms:alternative><![CDATA[Funilaria, latoaria]]></dcterms:alternative>
    <dcterms:description><![CDATA[Traditional practice of working with zinc sheet metal to produce utensils (e.g. gutters, grain measuring troughs, funnels, pitchers). Today, tinsmithing is merely a residual activity, reminiscent of other crafts that were once more prominent. The municipality of Tondela is no exception. It is therefore important to learn about this art form, which is almost extinct, and to understand the whole range of objects that tinsmiths used to make in the past, now struggling against competition from equivalent items made from other materials, mainly plastic.]]></dcterms:description>
    <dcterms:creator><![CDATA[918]]></dcterms:creator>
    <dcterms:dateSubmitted><![CDATA[27/10/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[28/10/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://old.cm-tondela.pt/index.php/servicos/museu-terra-de-besteiros/investigacao/funilaria
http://programasaberfazer.gov.pt/arte/latoaria]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Portuguese]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[731]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,40.521326,-8.032804;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1769">
    <dcterms:title><![CDATA[Weaving bands with njiskun/ rigid heddle]]></dcterms:title>
    <dcterms:alternative><![CDATA[Båndveving med njuskun/grindvev]]></dcterms:alternative>
    <dcterms:description><![CDATA[Weaving bands for traditional clothes or other purposes on a rigid heddle. The heddle is traditionally made from wood or antler, but modern ones are also made with modern materials like plastic.]]></dcterms:description>
    <dcterms:source><![CDATA[lofotenmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[13/10/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[13/10/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[Duodjeinstituhtta
Várdobáiki samisk senter
Stuornjargga Samiid Duodji]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Norwegian,Sami]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[722]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,68.58500463557306,16.70555667334062;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1767">
    <dcterms:title><![CDATA[Apicultura artesanal ]]></dcterms:title>
    <dcterms:alternative><![CDATA[Apicultura artesanal ]]></dcterms:alternative>
    <dcterms:description><![CDATA[Beekeeping has historically been an integral part of rural life in Asturias. According to the census conducted by the Marquis of Ensenada in the mid-18th century, a total of 65,813 beehives were documented in the region. The cultural and economic relevance of apiculture is reflected in practices such as the inclusion of hives and apiaries in dowries provided by parents to their daughters upon marriage, as well as in testamentary bequests—such as that of Licentiate Juan Sierra de Castañedo (from the municipality of Allande), who in 1659 stated: “a good hive shall be given to the priest attending my death, and if there are two, each shall take one.”  The imposition of wax-based tributes by monastic institutions on Asturian peasants further contributed to the entrenchment, expansion, and institutionalization of beekeeping in the region. By 2007, official records indicated the presence of approximately 25,000 beehives within the Principality of Asturias. Of these, 13,232 were registered under the Federation of Beekeepers’ Associations of the Principality of Asturias (FAPI), and were managed by a total of 776 apiarists.  Asturias exhibits an average of approximately 15 hives per beekeeper, with a significant number of practitioners operating at small scale. This pattern reveals a high degree of dispersion of beekeeping activity across the Asturian territory. While the overall volume of honey production may be modest, the ecological benefits in terms of pollination, as well as the high quality of bee-derived products—such as honey, pollen, and propolis—underscore the continued importance of apiculture in the region.  ]]></dcterms:description>
    <dcterms:creator><![CDATA[1204]]></dcterms:creator>
    <dcterms:source><![CDATA[asturiasmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[13/10/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[Avila, J. (2022). Los otros apicultores de Taramundi (Asturias). Vida apícola: revista de apicultura, (232), 58-61.
Copena, D.(2023). Abejas melíferas y comunidades rurales: una caracterización de los principales elementos patrimoniales en Galicia y Asturias. Cuadiernu: Revista internacional de patrimonio, museología social, memoria y territorio, (11), 121-146.
Díaz, E. y J. Naves (2010). Los colmenares tradicionales del noroeste de España. AÇAFA On Line 3: 1-37.
López, X. (1994). Las abejas, la miel y la cera en la sociedad tradicional asturiana. Real Instituto de Estudios Asturianos.
López, J (2022). Arqueología de la apicultura en la Asturias preindustrial. New Approaches to the Archaeology of Beekeeping, 216.]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[721]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1760">
    <dcterms:title><![CDATA[Removing flesh and films from reindeer skins with electrival screwdriver with ball attachment]]></dcterms:title>
    <dcterms:alternative><![CDATA[Fjerning av kjøtt, fett og hinner på reinskinn med elektrisk skrutrekker med pusseball]]></dcterms:alternative>
    <dcterms:description><![CDATA[Electric screwdriver with a ball attachment to remove flesh and thin flesh films to prepare the reindeer skin for processing. Traditionally this has been done with different scraping tools.]]></dcterms:description>
    <dcterms:source><![CDATA[lofotenmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[30/09/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[13/10/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[718]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,68.58486433925802,16.703929280812623;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1758">
    <dcterms:title><![CDATA[Boat building , repair and refurbishment]]></dcterms:title>
    <dcterms:alternative><![CDATA[Båtbygging, reparasjon og restaurering]]></dcterms:alternative>
    <dcterms:description><![CDATA[To build wooden boats was a skill lots of people knew in the old days, and everybody who owned a wooden boat had to know a little bit about how to repair it and mend it. Now this commom knowledge is gone bacause the use of the boats are gone. Yngve Ingebrigtsen was one of the last students that learnt how to build wooden boats. But he has never built boats in his occupation. He has worked in the workshop in Sørvågen mainly mending boats and refurbished them. But to do that you have to know how they are built. He has dream though of one day building his own boat. He knows exactly how it should be. There is an oral tradtion that is connected to the wooden boat that the fishermen have learned by experience. This is very valuable knowledge that is not written down. Learning by doing.]]></dcterms:description>
    <dcterms:source><![CDATA[practices]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[30/09/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[07/04/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[BÅTBYGGER - PLUS SKOLEN]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[717]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1755">
    <dcterms:title><![CDATA[Ingrid Larssen and the Smocking technique]]></dcterms:title>
    <dcterms:description><![CDATA[Ingrid Larssen is an artist that lives in Stokmarknes. She is using smocking as her main technique (vaffelsøm). She uses it in different sizes, and she makes small broches and big decorations that can hang on a wall. Her main material is wool, silk, thread and seaweed.]]></dcterms:description>
    <dcterms:source><![CDATA[lofotenmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[30/09/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Norwegian]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[716]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,68.570175,14.940784;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1750">
    <dcterms:title><![CDATA[Gluing]]></dcterms:title>
    <dcterms:alternative><![CDATA[Liming/Glueing]]></dcterms:alternative>
    <dcterms:description><![CDATA[At Ballangen Museum, Per Henrik Mørk, contruct models. He uses different technuiqes to acheive this, where one of the most used practice is gluing. This in nessesarcy for all of the tiny elements to stick together.]]></dcterms:description>
    <dcterms:source><![CDATA[lofotenmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[30/09/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://snl.no/lim]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Norwegian]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[715]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,68.3286347 ,16.7929442 ;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1745">
    <dcterms:title><![CDATA[Sawing]]></dcterms:title>
    <dcterms:alternative><![CDATA[Saging]]></dcterms:alternative>
    <dcterms:description><![CDATA[At Ballangen Museum, Per Henrik Mørk, is contructing a model of the laundry for the mining company. This is a scaled miniature model, based on images and contruction maps provided. Thus the peaces that make the model is small, and Per Henrik uses different types of sawing technuqies with saws in different types and shapes. Most of the material he saws is of wood, some is other material.]]></dcterms:description>
    <dcterms:source><![CDATA[lofotenmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[30/09/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://snl.no/sag]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Norwegian]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[714]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,68.3286347,16.7929442;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1264">
    <dcterms:title><![CDATA[Afuega'l pitu cheesemaking]]></dcterms:title>
    <dcterms:alternative><![CDATA[Queisu d'Afuega'l Pitu]]></dcterms:alternative>
    <dcterms:description><![CDATA[Afuega’l Pitu cheese is an artisanal product crafted with traditional methods in several regions of Asturias. It is made exclusively from cow’s milk—sourced from local farms and derived from either Frisona or Asturian valley breeds. This rich, fatty cheese is produced primarily through acid coagulation and can be enjoyed either fresh or aged. The name Afuega’l Pitu (which translates to “choke the throat” in the Asturian dialect) has an uncertain origin, and several interpretations have been proposed for this unusual name. One theory suggests that it may refer to the occasional difficulty in swallowing the cheese due to its uniquely compact and firm texture. Afuega’l Pitu is produced on a small scale and crafted artisanally under the Protected Designation of Origin (PDO). Currently, its annual production is approximately 125,000 kg.

Afuega’l Pitu cheese with PDO is produced in four traditional varieties, which are differentiated by the type of mould used—either a truncated cone-shaped mould ("atroncau") or a gauze tied at its ends, giving it a courgette-like shape ("trapu")—as well as by the absence ("blancu") or presence ("roxu") of paprika. This results in the following varieties: atroncau blancu, atroncau roxu, trapu blancu, and trapu roxu. Additionally, there are technological differences, such as the kneading of the curd—a process typical of the trapu variety and of cheeses containing paprika (i.e., trapu blancu, trapu roxu, and atroncau roxu). The cheeses typically weigh between 200 and 600 grams and are enjoyed both fresh and ripened. Afuega’l Pitu cheese is highly esteemed for its sensory attributes. According to product specifications, it has a slightly sour taste, minimal saltiness, and a creamy yet relatively dry texture; the addition of paprika gives it a stronger, spicier flavour. Its aroma is mild, becoming more pronounced as it ripens (Piñeiro Lago, 2021, p. XI).]]></dcterms:description>
    <dcterms:source><![CDATA[asturiasmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[02/09/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[28/10/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[Cuesta, P., Fernández-García, E., González De Llano, D., Montilla, A., & Rodríguez, A. (1996). Evolution of the Microbiological and Biochemical Characteristics of Afuega’l Pitu Cheese During Ripening. Journal of Dairy Science, 79(10), 1693–1698. https://doi.org/10.3168/jds.S0022-0302(96)76534-7
Fernández Ramírez, I., & González de la Plata, I. (2006). El queso Afuega’l Pitu. Fenicia / Gráficas Muñiz.
González Álvarez, M. G., Díaz-Méndez, C., & Novo Vázquez, A. (2019). De la agricultura familiar a las denominaciones de origen protegida (DOP): Transformación del sector del queso en asturias. In Agricultura familiar y derecho a la alimentación: Reflexiones desde España, América Latina y el Caribe (pp. 131–142). Ediciones de la Universidad de Oviedo. https://investigacion.usc.es/documentos/600b7d595ef744589ee4ccfd?lang=es
López Murias, Raquel. «Las cinco muyeres de Grau que salvaron al “queisu” que llegó a prohibirse en Asturias: el Afuega’l Pitu». ElDiario.es, 15 de febrero de 2025. https://www.eldiario.es/asturias/cinco-muyeres-grau-salvaron-queisu-llego-prohibirse-asturias-afuega-l-pitu_1_12053455.html
MAPAMA. (2016). Pliego de condiciones de la denominación de origen protegida (D.O.P.) ”Afuega’l Pitu”. Ministerio de Agricultura y Pesca, Alimentación y Medioambiente (MAPAMA). [Specification of Afuega’l Pitu P.D.O. Ministry of Agriculture and Fisheries, Food and Environment (MAPAMA)].
Official website of the Protected Designation of Origin "Afuega'l Pitu": https://doafuegalpitu.es/
Piñeiro Lago, L. (2021). Study of the thermo-rheological and biochemical parameters of Afuega’l Pitu PDO cheese [Doctoral dissertation, Universidade de Vigo]. http://hdl.handle.net/11093/2269
Turismo Asturias. (2020, January 13). DOP Queso Afuega’l Pitu [Video recording]. https://www.youtube.com/watch?v=VhtNe344HzM]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Asturian,Spanish]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[593]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,43.3873217019935,-6.07267544503857;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1263">
    <dcterms:title><![CDATA[Making and charring a charcoal pile]]></dcterms:title>
    <dcterms:alternative><![CDATA[Kolmilning]]></dcterms:alternative>
    <dcterms:description><![CDATA[The charcoal clamp is a way of producing charcoal by arranging wood covered in spruce branches and "stöbbe" and is lit and chars in controlled circumstances. It's constructed by heating the wood with very little oxygen supply which makes the wood turn to charcoal instead of going up in flames and turning to ashes. The charcoal pile that is built annually at the event "Gammelvala", Brunskog, Värmland, takes about two days to build (with 12 people) and measures 4 1/2 m ∅. Depending on the wood used you can produce charcoal for grill, smithing and/or tar. The pile chars for approx. six days and up to 90% of the wood gets turned into charcoal. At least two people guard it during, at all times.]]></dcterms:description>
    <dcterms:source><![CDATA[varmlandmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[02/09/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://pub.epsilon.slu.se/4379/1/Fjellstrom_J_2001.pdf
https://www.platabergensgeopark.se/portfolio/kolarna-i-erdalen/
https://www.platabergensgeopark.se/wp-content/uploads/2021/10/Kolmilans-konstruktion10.png]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Swedish]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[592]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,59.6564613,12.8910436;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1255">
    <dcterms:title><![CDATA[N&aring;lbindning (literally: needle binding)]]></dcterms:title>
    <dcterms:alternative><![CDATA[Nålbindning, sömma, binda, nåla, vantsöm, sy]]></dcterms:alternative>
    <dcterms:description><![CDATA[Nålbidning is a way of making a fabric with a larger needle, and it can be compared to knitting or crocheting, or sewing. The needle passes through the loops made (like sewing), and therefor needs splicing quite frecuently. ]]></dcterms:description>
    <dcterms:source><![CDATA[ruralvarmland,varmlandmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[02/09/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[08/09/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[Vinterblomster. Nålbundna vantar från Dalby i Värmland. Elisabet Jacks Svantesson. ISBN 9789163391026
Värmland förr och nu 1991. ISBN 9185224308
https://en.wikipedia.org/wiki/N%C3%A5lebinding]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Swedish]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[591]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,60.71118,12.88606;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1254">
    <dcterms:title><![CDATA[(Earthenware) ceramics]]></dcterms:title>
    <dcterms:alternative><![CDATA[(Lergods)keramik]]></dcterms:alternative>
    <dcterms:description><![CDATA[The potters of Arvika have worked almost exclusivly with earthenware clay, which red clay holds a warm tone which can be experienced as connected to a rustic, comforting and "earthen" expresison. Today most buy their clay from retailers, but there's also been projects relating to rediscovering the clay in the landscape, of which this region is rich, and to "explore the conditions for producing utility and art ceramics of good technical quality from local clay", what is what the region has been good at before. Part of the project was also expreimenting with glazes that would with the clay.]]></dcterms:description>
    <dcterms:source><![CDATA[varmlandmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[02/09/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://www.hemslojd.se/det-leriga-experimentet/
https://visitvarmland.com/arvika/kultur-historia/museum/krukmakerimuseet-pa-ovre-stortorpet]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Swedish]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[590]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,59.6303487,12.8132104;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1246">
    <dcterms:title><![CDATA[Chip carving]]></dcterms:title>
    <dcterms:alternative><![CDATA[Karvsnitt]]></dcterms:alternative>
    <dcterms:description><![CDATA[Chip carving is a way of decorating the wooden surface using cuts with a knife. The cutting, instead of face milling, seals the fibers and make it into a smooth and aestetic patterning.]]></dcterms:description>
    <dcterms:source><![CDATA[varmlandmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[02/09/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[08/09/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Swedish]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[589]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,59.7265854,13.1227098;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1244">
    <dcterms:title><![CDATA[&quot;Cunqueiru&quot; or &quot;tixileiru&quot; handicraft]]></dcterms:title>
    <dcterms:alternative><![CDATA[Artesanía cunqueira o tixileira]]></dcterms:alternative>
    <dcterms:description><![CDATA[The cunqueira or tixileira tradition is an ancient craft with records dating back to the 16th century, associated with a tax linked to this activity in the southwestern region of Asturias, especially in the municipalities of Ibias and Degaña, such as Sisterna, El Bao, Trabau, and El Corralín. This craft was dedicated to wood carving (usually using a lathe) to create domestic utensils, particularly wooden tableware known as "tixelas." Among these objects, the "cachus" (wooden bowls for drinking wine), "tachadeiras" (plates with an elevated center structure for cutting food), "cimbreiras" (airtight containers similar to modern tupperware), and others stood out. As for the denomination, "cunquiero" comes from the proximity to Galicia, where they were known for their work with "cuncos" or wooden bowls. However, in the early days, they preferred to call themselves "tixileiros" because they felt that the term "cunqueiro" referred only to the bowls, which they considered a reductive description. Today, the term "cunqueiro" is more common and widely accepted.

Beyond the production process, the cunqueira tradition was characterized by intense commercial transhumance. During the winters, from October to April, when agriculture was less productive and to reduce the number of mouths to feed, the men of the valley formed groups of about seven people, usually family members, who would travel to other towns to sell and produce their pieces. These groups started in Bierzo due to its proximity and then spread throughout the peninsula, dividing their routes towards the Ruta de la Plata, Madrid, Galicia, Catalonia, and even Andalusia. In addition to this mobility, the cunqueiros had their own guild language, which reinforced their cultural identity. However, with the arrival of mining and the industrialization of earthenware and porcelain production, this craft began to decline, disappearing by the mid-20th century. Despite this, in the 1980s, Victorino García, a neighbor from Trabau]]></dcterms:description>
    <dcterms:creator><![CDATA[1195]]></dcterms:creator>
    <dcterms:source><![CDATA[asturiasmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[02/09/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[02/09/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[Gavela Sal, R. (2024). Valdeprusia. Tierra de los Tixileiros (Tapa blanda).
Rodríguez, C. (1960). El habla de Sisterna. CSIC.
Red Asturiana de Desarrollo Rural. (2004). Revista de la Red Asturiana de Desarrollo Rural, (Nº 6, Invierno de 2004).
Museo Tixileiro. (n.d.). Tixileiro: Museo de los Cunqueiros. Recuperado de https://tixileiro.com/museo/
La Guarida del Cunqueiru. (n.d.). La Guarida del Cunqueiru. Recuperado de http://laguaridadelcunqueiru.com
Méndez, I. (2015). Valdeprusia. A terra dus tixileirus [Documental]. 
Galán, A. (n.d.). Il Moulin [Documental].
]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Asturian,Spanish]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[588]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,42.9407,-6.57125;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1192">
    <dcterms:title><![CDATA[Artist Residency]]></dcterms:title>
    <dcterms:description><![CDATA[Artist Residencies are coordinated excursions in which artists of various disciplines from music, craft or visual practices are hosted at different venues to take time to reflect, discuss, inspire and be inspired to create new work. They are a method of networkng and social enrichment for both the artists that travel into and through communities and for the people within those communities that host the artists and share their way of life. Jon Macleod facilitates residency programmes for the local arts centre in Stornoway – An Lanntair (The Lighthouse). This involves securing funding for the  programmes  and then the selection of particpants and mangement of the residency experiences. This cultural practice has evolved over the decades and Muir is Tir – The Land and the Sea , is one such residency. ]]></dcterms:description>
    <dcterms:source><![CDATA[highlandandislands]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[19/08/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[13/10/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[AAS CF . (2025, July 29). Retrieved from Applied Arts Scotland : https://www.appliedartsscotland.org.uk/projects/crafting-futures/
Churchill. (2025 , 07 29). Retrieved from The Churchill Fellowship : https://www.churchillfellowship.org
CS. (2025, JUly 29). Creative Scotland . Retrieved from Creative Scotland : https://www.creativescotland.com/about
OHT. (2025, July 2025). The Herring Girls of the Hebrides: The Backbone of a Bygone Industry. Retrieved from Vist Outer Hebrides : https://www.visitouterhebrides.co.uk/hebrideanway/blogs/read/2025/03/the-herring-girls-of-the-hebrides-the-backbone-of-a-bygone-industry-b35
SB. (2025, JUly 29). Muir is Tuir . Retrieved from Sail Britain : https://www.sailbritain.org/muir-is-tir/
Stornoway Port Authority . (2025, July 29). Retrieved from Stornoway Port : https://www.stornowayportauthority.com
V&A. (2025, July 29). Residencies . Retrieved from The Victoria and Albert Mueseum : https://www.vam.ac.uk/info/residencies?srsltid=AfmBOortTV19ecef7XKmCyWhvQOprWYqAyz2bO9SbJzD7YT1ZjN86Re4]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Scottish Gaelic]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[576]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.2073440491478,-6.387942772938831;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1186">
    <dcterms:title><![CDATA[Knive Sharpening]]></dcterms:title>
    <dcterms:alternative><![CDATA[Cutlers (Knife Makers)]]></dcterms:alternative>
    <dcterms:description><![CDATA[The Western Isles  have a rich source of croft reared meat from sheep and cattle. Local venison is also available as are supplies of fesh fish and shellfish form the sea. Guga (young gannet) is a speciality of Ness, as is black pudding (made from lambs blodd rather than pigs blood). Many local chefs are now focusing on using local produce in their menus. However, the cultural practice this data collection is focusing on links to one of the fundamental tools used by chefs – Knives. These need to be sharpened and different chefs have different methods of doing so.  Paul sharpens his own knives using a 'wet and dry' technique that he was taught by a travelling knive sharpener  when he was training at the beginning of his career. This service no - longer exists but the practice of knive sharpening is fundamental to maintaining tools. ]]></dcterms:description>
    <dcterms:source><![CDATA[highlandandislands]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[19/08/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[13/10/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[Simmons, A. (2016 ). The Knife and the Sharpener . Gastronomica , 92-94.
Symons, M. (2002). Cutting Up Cultures . Sociology Lens , 431-450.
Symons, M. (2018). Sharp: The Definitive iNtrodcution to Knives, Sharpening and Cutting. San Francisco: Chronicle Books LLC.
BBC. (2024, July 4). Married 'mesters' crafting knives in the shed. Retrieved from BBC News South Yorkshire : https://www.bbc.co.uk/news/articles/c3gvxzekqzgo]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[573]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.4733720257218,-6.283909406745984;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1129">
    <dcterms:title><![CDATA[Wood craft]]></dcterms:title>
    <dcterms:creator><![CDATA[708]]></dcterms:creator>
    <dcterms:source><![CDATA[asturiasmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[18/08/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[552]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,43.3335455978306,-5.5446023832244;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1074">
    <dcterms:title><![CDATA[Melodeon Player ]]></dcterms:title>
    <dcterms:alternative><![CDATA[Box Player’ ]]></dcterms:alternative>
    <dcterms:description><![CDATA[A Melodeon is an accordion that has buttons, rather than piano keys and requires a different skill set to play. The method of playing is captured and described  in video: AAS_AR_13 How to Play Melodeon. ]]></dcterms:description>
    <dcterms:dateSubmitted><![CDATA[11/08/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[13/10/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://www.nesshistorical.co.uk 
Communn Eachdraidh Nis has a section of their archive dedicated to the different ‘Bothans’ in each village  the stories associated with them and the court transcripts after police raids. 
https://www.welovestornoway.com/index.php/articles/38185-police-raid-recalls-struggles-at-bothan
A recent press article details the experience  and cultural significance of the ‘Bothans’ to the transmission of oral story telling and musical skills within the community. ]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Scottish Gaelic]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[534]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.484554,-6.25749941;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1073">
    <dcterms:title><![CDATA[Traditional Boat Building: Copper Roving]]></dcterms:title>
    <dcterms:description><![CDATA[One type of tradtional wooden fishing vessel is a ‘Sgoth’ or ‘Sgoth Niseach’ – a traditional type of clinker-built skiff with a dipping lug rig and a Lateen style sail, built mainly in Ness in the Western Isles of Scotland. These boats were used for line fishing during the 19th century but as this industry died out in the Western Isles, the number of Sgoths being built reduced.  In 1935 ‘Jubilee,’ built by the late John Finlay Macleod, was launched and is the last original working ‘Sgoth.’ (Falamadair, 2025). Mark Stockl is a traditional boat builder based in Ullapool and has worked extensively with Falamadair _ The North Lewis Maritime Trust, in the restoration of Sgoths for which they are the guardians. He has also built replica Sgoths for private clients (see AAS_AR_06) and restored other Ness built clinkers (see AAS_AR_10).  The full process of designing and building a traditional wooden ‘clinker’ boat is described in AAS_PR_002. The Cultural practice documented in this input focuses on the method of ‘Copper Roving’ (fixing the copper rivets through the planks to hold them in place) during the repair of AAS_AR_10. This artefact was in Mark’s workshop on the day of the interview.   ]]></dcterms:description>
    <dcterms:creator><![CDATA[860,243]]></dcterms:creator>
    <dcterms:source><![CDATA[highlandandislands]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[11/08/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[13/10/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://www.galsontrust.com/single-post/launch-of-new-maritime-festival-fèis-na-fairge. (2025, July 28). Retrieved from Urras Oighreachd Ghabhsainn : https://www.galsontrust.com/
Boat Building Academy and Furniture School . (2025, July 28). Retrieved from Boat Building Academy and Furniture School : https://boatbuildingacademy.com/boat-building-courses/40-week-boat-building-course/
CEN, 2021. Comunn Eachdraidh Nis / Ness Historical Society. [Online]  Available at: https://www.nesshistorical.co.uk [Accessed 19 July 2025].
]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[533]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,57.8644615848094,-5.121928998;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1071">
    <dcterms:title><![CDATA[Mug Making – Pulling the Handle by Hand]]></dcterms:title>
    <dcterms:description><![CDATA[Pulling the handle by hand is a technique used in mug making to compete the production of the handle. The process invloves holding clay in one hand and with the other hand (which is wet) stroking the clay into a strip. This strip is then cut into desired lentghts (apporx four inches). One end of the strip is then attached to the top of the mug. The strip is then stroked through a pulling process and looped round to form a handle. The other end is then fixed towards the base end of the mug.]]></dcterms:description>
    <dcterms:source><![CDATA[scotlandobjects]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[11/08/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[02/09/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[Leach Pottery What is Pulling Hands . (2025 , July 29 ). Retrieved from You Tube : https://www.youtube.com/watch?v=5I_JVtf__e8]]></dcterms:references>
    <dcterms:extent><![CDATA[x x]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[532]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.41727124,-6.435816483466189;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1004">
    <dcterms:title><![CDATA[Helmsdale - Rural Spot]]></dcterms:title>
    <dcterms:source><![CDATA[ruralspots]]></dcterms:source>
    <dcterms:date><![CDATA[2025-10-31]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[08/05/2025 02:34:28 pm]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[08/05/2025 02:35:00 pm]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iao@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:type><![CDATA[Workshop]]></dcterms:type>
    <dcterms:identifier><![CDATA[525]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.11661608479832,-3.6542107164859776;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/1003">
    <dcterms:title><![CDATA[V&auml;rmland - Rural Spot]]></dcterms:title>
    <dcterms:description><![CDATA[On May 15, 56 artisans and cultural practitioners, association members, and professionals from the tourism sector and Arvika Municipality gathered at Brunskog’s heritage center in Värmland to exchange ideas for activities, experiences, and methods that could bring new life to western Värmland and its surroundings. “Things Are Bubbling” was part of Region Värmland’s #RuralSpot event for CULTURALITY.]]></dcterms:description>
    <dcterms:source><![CDATA[ruralspots]]></dcterms:source>
    <dcterms:date><![CDATA[2025-05-15]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[08/05/2025 02:11:22 pm]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[08/11/2025 09:46:42 am]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iao@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:language><![CDATA[Swedish]]></dcterms:language>
    <dcterms:type><![CDATA[Workshop]]></dcterms:type>
    <dcterms:identifier><![CDATA[524]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,59.656813999297405,12.890707254409792;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/998">
    <dcterms:title><![CDATA[Zarreu - Rural Spot]]></dcterms:title>
    <dcterms:description><![CDATA[On 20th June 2025, Espacio Tormaleo is hosting a full-day event in Zarréu (Degaña, Asturias) as part of CULTURALITY. This event is part of the series called Rural Spot, which is organised by project partners in remote rural areas to foster knowledge exchange and community engagement through cultural heritage.

This edition, entitled “Rurales y Actuales”, brings together local stakeholders, cultural professionals, and policy experts to explore key themes such as gender and culture, craftsmanship and innovation, and the links between cultural management and tourism. The programme includes expert presentations (some online), local discussion panels, and networking opportunities. The event is supported by the Degaña Town Council and other local and regional institutions.

The day will close with a folktrónica/electrofolk DJ set by Castora Herz (Samain Music). All activities are free and open to the public, with refreshments and lunch included.]]></dcterms:description>
    <dcterms:source><![CDATA[ruralspots]]></dcterms:source>
    <dcterms:date><![CDATA[2025-06-20]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[08/05/2025 01:45:20 pm]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[08/05/2025 02:21:17 pm]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iao@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:type><![CDATA[Workshop]]></dcterms:type>
    <dcterms:identifier><![CDATA[519]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,42.9457644,-6.4916708;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/969">
    <dcterms:title><![CDATA[Sirli_audio_ny]]></dcterms:title>
    <dcterms:source><![CDATA[ruralspots,ruralvarmland,varmlandmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[05/08/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Swedish]]></dcterms:language>
    <dcterms:type><![CDATA[Rendition]]></dcterms:type>
    <dcterms:identifier><![CDATA[506]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/961">
    <dcterms:title><![CDATA[om f&ouml;retaget och. vad therese erbjuder]]></dcterms:title>
    <dcterms:source><![CDATA[ruralspots,ruralvarmland,varmlandmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[05/08/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Swedish]]></dcterms:language>
    <dcterms:type><![CDATA[Rendition]]></dcterms:type>
    <dcterms:identifier><![CDATA[502]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/949">
    <dcterms:title><![CDATA[f&auml;rg]]></dcterms:title>
    <dcterms:source><![CDATA[ruralspots,ruralvarmland,varmlandmap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[05/08/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[19/09/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Swedish]]></dcterms:language>
    <dcterms:type><![CDATA[Rendition]]></dcterms:type>
    <dcterms:identifier><![CDATA[496]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/919">
    <dcterms:title><![CDATA[Tinsmithing]]></dcterms:title>
    <dcterms:dateSubmitted><![CDATA[28/07/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[492]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/869">
    <dcterms:title><![CDATA[Pulled Warp]]></dcterms:title>
    <dcterms:dateSubmitted><![CDATA[24/07/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[28/07/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[487]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/868">
    <dcterms:title><![CDATA[Yarn Making]]></dcterms:title>
    <dcterms:dateSubmitted><![CDATA[24/07/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[486]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/865">
    <dcterms:title><![CDATA[Mark Stockl Boat Shed]]></dcterms:title>
    <dcterms:creator><![CDATA[Sue Blair]]></dcterms:creator>
    <dcterms:source><![CDATA[studio]]></dcterms:source>
    <dcterms:publisher><![CDATA[VERAPlatform]]></dcterms:publisher>
    <dcterms:dateSubmitted><![CDATA[07/24/2025 12:37:33 pm]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[09/18/2025 10:50:34 am]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iao@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:type><![CDATA[Tour]]></dcterms:type>
    <dcterms:identifier><![CDATA[484]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,57.8644615848094,-5.12192899763092;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/856">
    <dcterms:title><![CDATA[Dvorec Visoko, Skofja Loka, Slovenia]]></dcterms:title>
    <dcterms:source><![CDATA[studio,uppercarniola]]></dcterms:source>
    <dcterms:publisher><![CDATA[VERA Platform]]></dcterms:publisher>
    <dcterms:dateSubmitted><![CDATA[07/16/2025 03:30:15 pm]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[09/19/2025 04:16:58 pm]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iao@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:type><![CDATA[Tour]]></dcterms:type>
    <dcterms:identifier><![CDATA[475]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,46.1269267,14.2075659;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/855">
    <dcterms:title><![CDATA[Krmelj Blacksmiths, &Scaron;kofja Loka, Slovenia]]></dcterms:title>
    <dcterms:source><![CDATA[studio,uppercarniola]]></dcterms:source>
    <dcterms:publisher><![CDATA[VERA Platform]]></dcterms:publisher>
    <dcterms:dateSubmitted><![CDATA[07/16/2025 10:29:44 am]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[09/19/2025 04:15:02 pm]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iao@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:type><![CDATA[Tour]]></dcterms:type>
    <dcterms:identifier><![CDATA[474]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,46.1275861,14.2291254;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/854">
    <dcterms:title><![CDATA[Atelje Amuse, &Scaron;kofja Loka, Slovenia]]></dcterms:title>
    <dcterms:source><![CDATA[studio,uppercarniola]]></dcterms:source>
    <dcterms:publisher><![CDATA[VERA Platform]]></dcterms:publisher>
    <dcterms:dateSubmitted><![CDATA[07/15/2025 02:23:29 pm]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[09/19/2025 04:14:25 pm]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iao@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:type><![CDATA[Tour]]></dcterms:type>
    <dcterms:identifier><![CDATA[473]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,46.1662669,14.3070997;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/853">
    <dcterms:title><![CDATA[Rokodelski Arts and Crafts Centre &Scaron;kofja Loka, Slovenia]]></dcterms:title>
    <dcterms:source><![CDATA[studio,uppercarniola]]></dcterms:source>
    <dcterms:publisher><![CDATA[VERA Platform]]></dcterms:publisher>
    <dcterms:dateSubmitted><![CDATA[07/15/2025 02:19:43 pm]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[09/19/2025 04:13:27 pm]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iao@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:type><![CDATA[Tour]]></dcterms:type>
    <dcterms:identifier><![CDATA[472]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,46.1649552,14.306609;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/850">
    <dcterms:title><![CDATA[Butt of Lewis Lighthouse]]></dcterms:title>
    <dcterms:description><![CDATA[The Butt of Lewis Lighthouse is situated on the Isle of Lewis in the Outer Hebrides. It was engineered by David Stevenson in 1862. The station’s claim to fame, according to the Guinness Book of Records, is that it is the windiest spot in the UK.]]></dcterms:description>
    <dcterms:source><![CDATA[highlandandislands,tours]]></dcterms:source>
    <dcterms:publisher><![CDATA[VERA Platform]]></dcterms:publisher>
    <dcterms:dateSubmitted><![CDATA[07/10/2025 11:15:38 am]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[08/08/2025 03:25:49 pm]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iao@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:type><![CDATA[Tour]]></dcterms:type>
    <dcterms:identifier><![CDATA[469]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.5153848,-6.2612711;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/849">
    <dcterms:title><![CDATA[Borgh Pottery Studio - Sue Blair]]></dcterms:title>
    <dcterms:description><![CDATA[For five decades, Sue Blair has made unique ceramics interpreting the raw elements of the landscape in simple, striking forms.]]></dcterms:description>
    <dcterms:source><![CDATA[highlandandislands,studio,tours]]></dcterms:source>
    <dcterms:publisher><![CDATA[VERA Platform]]></dcterms:publisher>
    <dcterms:dateSubmitted><![CDATA[07/10/2025 11:12:36 am]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[08/08/2025 03:35:48 pm]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iao@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:type><![CDATA[Tour]]></dcterms:type>
    <dcterms:identifier><![CDATA[468]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.4170895,-6.4358839;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/833">
    <dcterms:title><![CDATA[Cauldron]]></dcterms:title>
    <dcterms:subject><![CDATA[PEOPLE,SOCIAL HISTORY]]></dcterms:subject>
    <dcterms:description><![CDATA[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. ]]></dcterms:description>
    <dcterms:date><![CDATA[Pre-Clearances Period]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[03/07/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[17/03/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[melendezenrique@uniovi.es]]></dcterms:contributor>
    <dcterms:extent><![CDATA[25cm x 39cm x 24cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[464]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.11674313741047,-3.6540791598452014;origin,58.14590325384175,NaN;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/736">
    <dcterms:title><![CDATA[Handweaving]]></dcterms:title>
    <dcterms:alternative><![CDATA[Handvävning]]></dcterms:alternative>
    <dcterms:description><![CDATA[Henner handweaves using a loom or a heddle. A loom can be of different sizes, ranging from smaller ones on a table and larger ones that fill smaller rooms. Henner's loom is a hand weaving looom, where she dones all the preperations and weaving herself. She uses natural fibers and traditional patterns and techniques. In this document there's a mixture about information about the hobbyist and the professionals perspectives.]]></dcterms:description>
    <dcterms:creator><![CDATA[705]]></dcterms:creator>
    <dcterms:dateSubmitted><![CDATA[19/06/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[19/06/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[Den vackra nyttan : om hemslöjd i Sverige / redaktör: Gunilla Lundahl. ISBN 9178442982
Verkstad : ett tidsdokument : Arvika Konsthantverk 100 år / Kristine Thenman, Liv Midbøe, Hilda Grahnat. ISBN 9789152743508
Klässbol - att väva sin historia ISBN: 97891978252 52]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Swedish]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[414]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,59.6574488,12.890542;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/732">
    <dcterms:title><![CDATA[Felting]]></dcterms:title>
    <dcterms:alternative><![CDATA[Tovning/filtning]]></dcterms:alternative>
    <dcterms:description><![CDATA[Felting is a technique of joining fibers together. It can be done dry or wet, and Carina Haglund uses wet felting. In Swedish there are two different words usually used for felting: “tovning” which is most used, or “filtning”. “Tovning” can also be translated to roughly “tangling [of fibers]”, whereas “filtning” has the same etymology root as “felt” in English. Filtning (or felting in English) is done wet, and Haglund expresses that she rather presents what she makes in her studio as filtning, rather than tovning.]]></dcterms:description>
    <dcterms:creator><![CDATA[701]]></dcterms:creator>
    <dcterms:dateSubmitted><![CDATA[19/06/2025]]></dcterms:dateSubmitted>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[Tova- gammal teknik på nytt sätt. Gunilla Paetau Sjöberg Får boken- Anders Jansson, Nina Östman Felt passion- Ellen Bakker, RIchard Assman Att välja färg- Berit Bergström]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Swedish]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[413]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,59.729006,13.322161;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/727">
    <dcterms:title><![CDATA[Entrelac]]></dcterms:title>
    <dcterms:alternative><![CDATA[Näverstickning / Kontsrikk on the Norweigian side of the Finn forest]]></dcterms:alternative>
    <dcterms:description><![CDATA[Entrelac is a knitting technique that is strongly reminicent of woven/braided birch back, which is traditionally made and used in the area. See RV_CP_01(01)]]></dcterms:description>
    <dcterms:creator><![CDATA[695]]></dcterms:creator>
    <dcterms:dateSubmitted><![CDATA[19/06/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[15/09/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[Marias vantar. En bok om näverstickning - vantar, mössor, småslöjd. Inez Assk ISBN9789186699659 Kontstrikk. Ruth Gullbekk Bolstad. ISBN9788291195353]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Swedish]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[412]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,59.8376399,13.1230106;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/719">
    <dcterms:title><![CDATA[Wool fiber processing]]></dcterms:title>
    <dcterms:description><![CDATA[The know-how about curating, harvesting and selecting the best parts of the sheep wool and different uses according to its natural properties: socks, sweaters, woven fabrics and felted wools. Different breeds will shed different wool textures. Banking on traditional knowledge, finding the best kinds of wool from different sheep breeds and applying it to modern uses comes from cycles of investigation and practice developed throughout the decades. The yarn is colored using natural dyes many of which have been used for centuries. ]]></dcterms:description>
    <dcterms:creator><![CDATA[687]]></dcterms:creator>
    <dcterms:dateSubmitted><![CDATA[19/06/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[04/07/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://lofoten-wool.no/en https://www.nibio.no/prosjekter/amazing-grazing-baerekraftig-kjott-og-ull-fra-sau-som-beiter-i-norsk-utmark?locationfilter=true https://www.smabrukarlaget.no/aktuelt/bonde-og-smaabruker/, https://www.norskekunsthandverkere.no/kunstnerregister/ragnhild-lie https://husflid.no/ https://www.utdanningsforbundet.no/ https://www.bondelaget.no/ Esther Haukeland, Innføring til plantefarging. Cappellen, 1982. Animalia: Norwegian wool Standard. https://www.animalia.no/no/Dyr/ull-og-ullklassifisering/norsk-ullstandard/  Beder, Nicolina J., Seyður Ull Tøting. SPF. Sprotin, 2010. Flååt, Inger. Votter i Namdalen. Nauma Husflidslag, 2010. Grimstad, Ingun K. and Sårdal, Tone t. Norsk Strikkehistorie. Vormedal Forlag. 2018. Grimstad, Ingun K. and Sårdal, Tone T. Ren ull. Aschehoug, 2013. Hrútaskrá. https://www.rml.is/is/kynbotastarf/saudfjarraekt/hrutaskra Joensen, Robert. Seyðabókin. SPF. Sprotin, 2015. Johnston, Elizabeth and Juuhl, Marta K. The warp-weighted loom. Kljásteinavefstadurinn: kljásteinar klingja. Oppstadveven: klingande steinar. Skald, 2016. Kjellmo, Ellen. Båtrya i gammel og nyt tid. Orkana, 1996. Sundbø, Annemor. Usynlege Trådar i Strikkekunsten. Samlaget, 2006. https://www.norskebilledkunstnere.no/]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Norwegian]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[409]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,68.1490556685704,13.7622515654953;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/711">
    <dcterms:title><![CDATA[Jet culture]]></dcterms:title>
    <dcterms:alternative><![CDATA[Cultura del azabache]]></dcterms:alternative>
    <dcterms:description><![CDATA[The presence of high-quality jet deposits in Asturias enabled, since ancient times, its mining and artisanal use, giving rise to a culture centered around the properties of this unique mineral. Its believed protective nature generated strong demand for handcrafted creations, which were sold mainly outside the region, both in traditional forms like amulets and in more unique versions, as various pieces of jewelry]]></dcterms:description>
    <dcterms:dateSubmitted><![CDATA[18/06/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[15/09/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[408]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/710">
    <dcterms:title><![CDATA[Jet culture]]></dcterms:title>
    <dcterms:alternative><![CDATA[Cultura del azabache]]></dcterms:alternative>
    <dcterms:description><![CDATA[The presence of high-quality jet deposits in Asturias enabled, since ancient times, its mining and artisanal use, giving rise to a culture centered around the properties of this unique mineral. Its believed protective nature generated strong demand for handcrafted creations, which were sold mainly outside the region, both in traditional forms like amulets and in more unique versions, as various pieces of jewelry]]></dcterms:description>
    <dcterms:creator><![CDATA[683]]></dcterms:creator>
    <dcterms:dateSubmitted><![CDATA[18/06/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[18/06/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://www.youtube.com/watch?v=X7CzYi6DnR0 Campón, E., Fernández, C. J., & Solans, J. (1978). El azabache de los yacimientos de Oles (Asturias). Trabajos de Geología, (10), 161-167. Vevia, M. V. B. (2024). El azabache asturiano y la reina Victoria. ArqueoTimes, (9), 36-38. Mata, Á. F. (2005). Iconografía jacobea en azabache. Los Caminos de Santiago. Arte, Historia y Literatura, 169-212. Menéndez Menéndez, A. (2021, January). Aproximación al pasado, presente y futuro de la industria azabachera, un patrimonio cultural, material e inmaterial, en vías de extinción. In I Simposio anual de Patrimonio Natural y Cultural ICOMOS España (pp. 479-492). Editorial Universitat Politècnica de València.]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[407]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/709">
    <dcterms:title><![CDATA[Faro's pottery]]></dcterms:title>
    <dcterms:alternative><![CDATA[Alfarería de Faro]]></dcterms:alternative>
    <dcterms:description><![CDATA[There are two types of pottery: black pottery, obtained by reducing iron-rich clay, which has been documented since the 11th century in various closed forms (puchero, barbón, penada, cider jug...), and glazed and enamelled pottery, which appears from the 13th century (escudilla, plate, jug, botijo...). The latter has the peculiarity of having two firings, the second one to fix the glaze and the paint, with geometric, vegetal and zoomorphic decorations, the most singular being the páxara, the most representative colours being green and yellow.
The 18th century was the time of greatest splendour, with more than 70 potters. The arrival of earthenware would gradually lead to a decline in activity, until the only pottery workshop that has survived since the middle of the 20th century, making pieces in the same way as they were made in the Middle Ages.]]></dcterms:description>
    <dcterms:creator><![CDATA[681]]></dcterms:creator>
    <dcterms:dateSubmitted><![CDATA[18/06/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[18/06/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[de Aldecoa, E. I. (1985). La cerámica vidriada de Faro: motivos decorativos. Liño: Revista anual de historia del arte, (5), 235-246. Busto, M. (2021). Sistematización arqueológica de las producciones de cerámica esmaltada y vidriada de Faro de Liminas (Astrurias, España) desde el siglo XVI al XVIII. Jaén: UJA Editorial. Menéndez, J. J. A. (1997). Un ejemplo de continuidad en la producción de ceràmica desde la Edad Media al siglo XX: Faro (Asturies-España). Olaria: Estudos Arqueológicos, Históricos e Etnológicos, (2), 93-100. https://www.youtube.com/watch?v=I_FpkQ5c6jM https://www.google.com/search?q=videos+taller+de+faro+ceramica&rlz=1C1RLNS_esES958ES961]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Spanish]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[406]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,43.355833,-5.794167;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/663">
    <dcterms:title><![CDATA[Weaving]]></dcterms:title>
    <dcterms:alternative><![CDATA[A țăse]]></dcterms:alternative>
    <dcterms:description><![CDATA[.Săpânța is not a common village, precisely because it holds on its territory a rare treasure, hard to value in money or words – CIMITIRUL VESEL (THE MERRY CEMETERY). The Merry Cemetery of Săpânța – globally unique and world value monument, where tomb’s crosses are not only guarding the graves, but they are also explicitly speaking in words. The Merry Cemetery of Săpânța, where the epitaphs, unique in the word, show the richness and originality of the Romanian life philosophy and the Romanian mentality of thinking lively and authentically even about after-life things.]]></dcterms:description>
    <dcterms:creator><![CDATA[657]]></dcterms:creator>
    <dcterms:dateSubmitted><![CDATA[12/06/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[15/09/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[Memoria Ethnologică: https://www.memoria-ethnologica.ro/articole/page/98/ ]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[396]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,47.966669,23.7;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/656">
    <dcterms:title><![CDATA[Carolling]]></dcterms:title>
    <dcterms:alternative><![CDATA[Colinda]]></dcterms:alternative>
    <dcterms:source><![CDATA[taralapusuluimap]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[12/06/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[28/10/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Romanian]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[392]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,47.8355,24.0132;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/494">
    <dcterms:title><![CDATA[Zapica Jar]]></dcterms:title>
    <dcterms:alternative><![CDATA[Zapica]]></dcterms:alternative>
    <dcterms:description><![CDATA[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.]]></dcterms:description>
    <dcterms:date><![CDATA[ca. 1850/1900]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[13/04/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[20/01/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[melendezenrique@uniovi.es]]></dcterms:contributor>
    <dcterms:extent><![CDATA[12cm x 17cm x 11cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[327]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,43.53689604607413,-5.634997934103013;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/491">
    <dcterms:title><![CDATA[El Rayu (Siero) earthenware ceramic pitcher]]></dcterms:title>
    <dcterms:alternative><![CDATA[Jarra]]></dcterms:alternative>
    <dcterms:description><![CDATA[Glazed pottery painted with flower motifs, especially on the front area. This is combined with two
butterflies in a blend of green and blue. The decoration also extends to the top, around the mouth of
the piece, and around the base, with blue lines that contrast against the white color of the rest of the
object. 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.]]></dcterms:description>
    <dcterms:date><![CDATA[1920/30]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[13/04/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[20/01/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[melendezenrique@uniovi.es]]></dcterms:contributor>
    <dcterms:extent><![CDATA[22cm x 15cm x 14cm]]></dcterms:extent>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[326]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,43.53689604607413,-5.634997934103013;origin,43.39409793669156,-5.723769664764405;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/454">
    <dcterms:title><![CDATA[Wet felting]]></dcterms:title>
    <dcterms:alternative><![CDATA[Mokro polstenje]]></dcterms:alternative>
    <dcterms:description><![CDATA[Wet felting is a traditional fiber art technique that transforms wool or other natural fibers into a dense, durable fabric by using moisture, heat, and agitation. The process involves layering raw wool, sprinkling it with warm, soapy water, and then repeatedly rolling, rubbing, or pressing the fibers together. As the wool’s tiny scales catch and bond, it forms a tightly interlocked material known as felt. This versatile craft is used to create everything from clothing and accessories to decorative items and art pieces, and it offers a tactile, hands-on way to explore the unique properties of wool.]]></dcterms:description>
    <dcterms:source><![CDATA[practices]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[25/03/2025]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[02/09/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:references><![CDATA[https://www.loski-muzej.si/tovarna-klobukov-sesir/ http://www.amuse.si/opis.html https://www.loski-muzej.si/f/docs/e-publikacije/katalog-KLOBUK---oneline-katalog.pdf]]></dcterms:references>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[Slovene]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[310]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,46.1663222982793,14.307308507957;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/236">
    <dcterms:title><![CDATA[Scotch Whisky]]></dcterms:title>
    <dcterms:subject><![CDATA[Industrial Heritage,INTANGABLE HERITAGE,PEOPLE]]></dcterms:subject>
    <dcterms:description><![CDATA[The history, tradition, and process of making Scotch whisky. Peat is sometimes used to enhance the flavour and give it a smoky taste.]]></dcterms:description>
    <dcterms:source><![CDATA[highlandandislands,outerhebrides]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[17/10/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[19/08/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[128]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/229">
    <dcterms:title><![CDATA[Outer Hebrides Tourism - Sarah MacLean]]></dcterms:title>
    <dcterms:source><![CDATA[highlandandislands,ruralspotlewis]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[16/10/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[28/07/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[121]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/227">
    <dcterms:title><![CDATA[Calanais Visitor Centre - Marianne Campbell]]></dcterms:title>
    <dcterms:source><![CDATA[highlandandislands,ruralspotlewis]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[16/10/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[28/07/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[120]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/225">
    <dcterms:title><![CDATA[Calanais Visitor Centre - Mark Davis]]></dcterms:title>
    <dcterms:source><![CDATA[highlandandislands,ruralspotlewis]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[16/10/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[28/07/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[119]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/223">
    <dcterms:title><![CDATA[Harris Tweed industry - Lorna Macaulay]]></dcterms:title>
    <dcterms:source><![CDATA[highlandandislands,ruralspotlewis]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[16/10/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[28/07/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[iain]]></dcterms:contributor>
    <dcterms:extent><![CDATA[ x  x ]]></dcterms:extent>
    <dcterms:type><![CDATA[Intangible]]></dcterms:type>
    <dcterms:identifier><![CDATA[118]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/204">
    <dcterms:title><![CDATA[October 2024 Partner Meeting - Stornoway]]></dcterms:title>
    <dcterms:subject><![CDATA[INTANGABLE HERITAGE]]></dcterms:subject>
    <dcterms:description><![CDATA[All the Culturality partners met up in the Isle of Lewis to share their updates, next steps in the work packages, and participate in a workshop about project deliverables.]]></dcterms:description>
    <dcterms:source><![CDATA[events,highlandandislands,outerhebrides]]></dcterms:source>
    <dcterms:date><![CDATA[01/10/2024]]></dcterms:date>
    <dcterms:dateSubmitted><![CDATA[10/09/2024 04:41:01 pm]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[09/21/2025 04:26:50 pm]]></dcterms:modified>
    <dcterms:contributor><![CDATA[sp259@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Meeting]]></dcterms:type>
    <dcterms:identifier><![CDATA[107]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.20812845099779,-6.3871121406555185;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/80">
    <dcterms:title><![CDATA[Hattersley Mechanical Loom]]></dcterms:title>
    <dcterms:subject><![CDATA[Industrial Heritage]]></dcterms:subject>
    <dcterms:description><![CDATA[Hattersley & Sons domestic mechanical loom, used by Sam Groates at Woven in the Bone for the productino of tweed fabric. The Hattersley loom was developed by George Hattersley and Sons of Keighley, West Yorkshire, England. The plain Hattersley Domestic Loom was specially developed for cottage or home use and designed to replace the wooden handloom; the Domestic is similar in construction to a power loom. It was introduced ca.1900 and the makers claimed that a speed of 160 picks per minute could be easily attained with from 2 to 8 shafts weaving a variety of fabrics.]]></dcterms:description>
    <dcterms:creator><![CDATA[52]]></dcterms:creator>
    <dcterms:source><![CDATA[tools,scotlandobjects,highlandandislands]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[02/08/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[15/05/2026]]></dcterms:modified>
    <dcterms:contributor><![CDATA[cc274@st-andrews.ac.uk]]></dcterms:contributor>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[57]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,57.67956396479307,-2.956817660344319;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/58">
    <dcterms:title><![CDATA[Woven in the Bone Studio Tour]]></dcterms:title>
    <dcterms:description><![CDATA[A Tour of the Woven in the Bone Studio.]]></dcterms:description>
    <dcterms:source><![CDATA[examples,highlandandislands,studio,tours]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[04/07/2024 08:43:08 pm]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[08/08/2025 04:01:39 pm]]></dcterms:modified>
    <dcterms:license><![CDATA[Creative Commons Attribution License]]></dcterms:license>
    <dcterms:type><![CDATA[Tour]]></dcterms:type>
    <dcterms:identifier><![CDATA[39]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,57.67755082516866,-2.9667361932180114;]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://culturality.museum/omeka/items/show/41">
    <dcterms:title><![CDATA[Hand Knitted &lsquo;Gansey Style&rsquo; Woollen Blanket]]></dcterms:title>
    <dcterms:description><![CDATA[This beautifully hand-knitted blanket reflects the distinctive symbolic patterns of traditional fishermen’s jumpers or ganseys. Each distinct hand-knitted square depicts patterns from a particular port or harbour along the Moray Firth region, from Buckie in the southeast to Helmsdale and finally to Wick in the far north. 
The Timespan Knitting Group was formed in 2005 to keep this traditional knitting heritage connected to the sea alive and share these traditions with people of all ages. The group meets weekly at Timespan in Helmsdale, a once-thriving herring fishing port and one of the busiest in Scotland. Salted herring from Helmsdale was exported to the West Indies slave plantation, the Baltic, Ireland, and Europe and traded locally.
The group has created this wonderful artisan blanket, each knitter contributing a square, creating a map of the patterns from the Moray Firth fishing district. The blanket can be displayed as a wall hanging with an accompanying annotated map with the port names.
]]></dcterms:description>
    <dcterms:source><![CDATA[4scotlandunitedkingdom,craftedobjects,scotlandobjects,highlandandislands]]></dcterms:source>
    <dcterms:dateSubmitted><![CDATA[05/04/2024]]></dcterms:dateSubmitted>
    <dcterms:modified><![CDATA[22/09/2025]]></dcterms:modified>
    <dcterms:contributor><![CDATA[sp259]]></dcterms:contributor>
    <dcterms:type><![CDATA[Physical Object]]></dcterms:type>
    <dcterms:identifier><![CDATA[34]]></dcterms:identifier>
    <dcterms:spatial><![CDATA[current,58.11671064410715,-3.6541727313915695;]]></dcterms:spatial>
</rdf:Description></rdf:RDF>